By Dipak Kurmi
Bishnuprasad Rabha (1909–1969), an iconic figure in Assamese literature and culture, stands as a towering symbol of nationalist consciousness, revolutionary ideology, and cultural unity. Often hailed as a “revolutionary artist” by critics like Arun Sarmah, Rabha’s multifaceted contributions as a poet, playwright, music composer, singer, dancer, and actor transcended conventional artistic boundaries, weaving together the threads of patriotism, ethnic harmony, and social equality. His works, deeply rooted in the socio-political realities of Assam, reflect a profound commitment to fostering a society grounded in unity, harmony, and equitable progress. Through his literary creations, particularly his plays Krishak (Farmer) and Sapon Kuwali (Hazy Dream), Rabha articulated a vision of Assamese nationalism that embraced cultural diversity and challenged systemic injustices, leaving an indelible mark on the cultural and political landscape of Assam.
Rabha’s life was a testament to his revolutionary spirit. Born into a context of colonial oppression and socio-economic disparities, he internalized the struggles of the common masses, particularly the proletariats, whose indigence he sought to alleviate. His rejection of inherited wealth, choosing instead to distribute vast tracts of land among Assam’s poor, underscored his commitment to social justice. This act of defiance against material privilege was not merely altruistic but a reflection of his belief in the primacy of the public in Assamese society. Rabha’s experiences in exile further enriched his understanding of the lives of ordinary people, shaping his artistic oeuvre with a deep empathy for the marginalized. His engagement with the tribal communities of Assam, coupled with his political activism, informed his vision of a multicultural society where ethnic harmony and political unity could coexist. This vision, imbued with both nationalist fervor and communist ideals, found vivid expression in his literary works, particularly his plays, which served as a medium to inspire revolutionary consciousness among the masses.
Rabha’s literary corpus, as documented in Bishnuprasad Rava Rachana Sambhar, includes 26 plays, many of which remain incomplete but are rich with socio-political commentary. His plays span diverse genres—social, lyrical, poetic, historical, biographical, and even cinematic scripts—each reflecting his commitment to the Indian freedom movement and the socio-cultural realities of Assam. Among these, Krishak and Sapon Kuwali stand out as powerful articulations of his nationalist and revolutionary ideology. These plays not only highlight the struggles of Assam’s rural and urban populations but also underscore the importance of cultural unity and ethnic inclusivity in the formation of a greater Assamese identity.
In Krishak, Rabha paints a poignant picture of Assam during the turbulent years of 1942 and the post-independence period. The protagonist, Madhav Chandra Choudhury, embodies the revolutionary zeal of Assam’s youth. A brilliant student, Madhav’s participation in the Quit India Movement leads to his suspension from college, forcing him to return to his native village. There, he organizes resistance against British rule, only to face imprisonment for his activism. Upon his release, Madhav pursues higher education, eventually becoming a doctor committed to social service. However, the play takes a critical turn as Madhav grapples with the disillusionment of post-independence India. Observing the persistent socio-economic inequalities, he urges villagers to demand equitable access to education, healthcare, and economic opportunities, advocating for a socialist economy as the path to true freedom. Yet, the play’s incomplete ending, where Madhav succumbs to economic pressures and takes up employment under a malevolent tea garden owner, reflects the harsh realities of post-independence Assam. This narrative arc mirrors Rabha’s own ideological journey—from a Gandhian nationalist during his student years to a Marxist-Leninist who joined the Revolutionary Communist Party of India (RCPI) in 1946. Like Madhav, Rabha grew skeptical of the Congress-led independence, viewing it as a superficial victory that failed to address the needs of the lower classes. Through Krishak, Rabha critiques the emergence of a new bourgeois class that perpetuated economic exploitation, urging the masses to remain vigilant in their pursuit of true equality.
Sapon Kuwali, set in an urban aristocratic household, further amplifies Rabha’s vision of nationalist consciousness and multicultural ethos. The play revolves around a family devastated by the death of its patriarch, a participant in the Quit India Movement, who succumbs to police torture. His wife and children, particularly Sewali and her younger brother Deuti, carry forward his dream of a free India. Sewali’s songs, which reflect the plight of the poor, and her mother’s encouragement to inspire the masses through music underscore the family’s commitment to social justice. The arrival of Miss Seri Beruini, a modern and resilient woman who has overcome personal tragedies, introduces a broader perspective on global revolutionary movements, drawing parallels with struggles in Egypt, Libya, and beyond. The play’s emotional core lies in Deuti, a thirteen-year-old boy whose fervent patriotism is expressed through his leadership in a procession chanting slogans like “Bande Mataram” and “Mahatma Gandhiji ki Jay.” Deuti’s dream sequence, a vivid tableau of women laborers from diverse ethnic communities—Miri, Rabha, Bodo, Deuri, Mikir, Kamrupi, and others—dancing together, symbolizes Rabha’s vision of a pluralistic Assam united against colonial oppression. This dream, inspired by the sacrifices of Assamese martyrs like Kanaklata Baruah and Kushal Konwar, encapsulates the cultural nationalism that Rabha championed—a nationalism rooted in the harmonious coexistence of Assam’s diverse ethnic groups.
Rabha’s emphasis on multiculturalism was not merely idealistic but a response to the socio-political dynamics of Assam. The region, characterized by its diverse ethnic tapestry, had long been dominated by the Assamese middle class, which emerged as a hegemonic force in the late nineteenth century. This dominance often marginalized tribal communities, who sought recognition of their cultural identities within the broader Assamese nation. Rabha, through his association with the tribal league, understood the importance of a multicultural framework that allowed for the coexistence of diverse communities without subsuming their identities under a singular Assamese narrative. His plays, particularly Sapon Kuwali, reflect this ethos by celebrating the contributions of various ethnic groups to Assam’s freedom struggle. The dream sequence in Sapon Kuwali, as noted by critic Arun Sarmah, is a powerful metaphor for Rabha’s hope of fostering a vibrant, inclusive Assam in the minds of future generations.
Rabha’s ideological evolution—from a Gandhian freedom fighter to a Marxist revolutionary—further enriched his literary contributions. His exposure to the works of Karl Marx, Lenin, and Mao Zedong, as well as the communist movements in Soviet Russia and China, shaped his belief in a society where true freedom was achievable only through equality across all classes. This perspective is evident in the dialogues of Sewali and Seri in Sapon Kuwali, where they question the nature of India’s independence and warn against the rise of a bourgeois-dominated democracy. Rabha’s plays thus serve as both a critique of colonial and capitalist oppression and a call to action for a society built on socialist principles.
The enduring relevance of Rabha’s works lies in their ability to resonate with contemporary discussions on nationalism and identity. His plays, by highlighting the sacrifices of Assamese martyrs and the struggles of the marginalized, continue to inspire activists, critics, and readers. Rabha’s legacy as a cultural icon is rooted in his ability to weave together national glory, cultural unity, and revolutionary consciousness into a cohesive narrative of Assamese identity. His recognition of the multicultural ethos of Assam, coupled with his advocacy for ethnic harmony and political unity, positions him as a visionary who sought to redefine nationalism in a way that embraced diversity and challenged systemic inequities.
Bishnuprasad Rabha’s Krishak and Sapon Kuwali are not merely literary works but powerful reflections of his socio-nationalist consciousness. Through these plays, Rabha articulated a vision of Assam that was inclusive, equitable, and fiercely patriotic. His emphasis on the cultural diversity of Assam, combined with his revolutionary ideology, underscores the importance of unity in the face of oppression. As a poet, playwright, and revolutionary artist, Rabha’s contributions continue to shape the discourse on Assamese nationalism, reminding us of the power of art to inspire change and foster a collective identity rooted in harmony and justice.
(The writer can be reached at dipakkurmiglpltd@gmail.com)
