Mamunur Rashid @DS Café

Photo: Mumit M.

Mamunur Rashid needs no introduction to Bangladeshi theatre enthusiasts, cultural activists and TV audience. Considered one of the leading lights in the theatre arena, Rashid has received accolades at home and abroad for his plays, like “Rarang” -- each of which carries a bold social message. This actor-director-playwright and chief secretary of theatre troupe Aranyak was the featured artiste at DS Café this month. Unfortunately for us and Rashid's fans, due to some technical glitches, calls could not be forwarded to the Star Arts & Entertainment section. On a positive note, however, this gave us an opportunity to hear Rashid's experiences during the Liberation War. The whole team gathered around him as Rashid recounted those days. Thanks to his outstanding oratory skills, we were thrilled, shocked and moved. Excerpts from the conversation:
The Daily Star (TDS): We want to hear your experiences during the Liberation War. Where were you when the war broke out?
Rashid: When the war began, I was in Dhaka. I'd witnessed the atrocities at Rajarbagh on March 25, 1971. That night I was at a house on Green Road. The house belonged to the acclaimed actress Rosy Samad and her husband. I was writing a script (which was later turned into the movie “Shurjo Grahan”). I got stuck there; army tanks passed by the house. Situation got so tense that we even contemplated escorting Rosy Samad out of the house through the back door to some safer place.
When the curfew was lifted on March 27, I had a chance to observe the state of the city. Scenes of unimaginable brutality everywhere. At New Market, blood of cattle and humans mingled and coagulated. I used to live in the Gulistan area then. When I was passing through the Dhaka University area, I saw disabled beggars rushing to get out of the city. That was some sight!
After March 28, I moved to Jinjira. From there, we were to go to Bikrampur. Unfortunately, the day we decided to make the move, the house where we took shelter was under attack. Somehow we managed to get a boat and left the area.
After a while I moved to my hometown, Tangail. When I arrived, it looked like a ghost town. Even our house was abandoned. My father was the postmaster of the head post office in Tangail. I was relieved to learn that my family was staying over at my maternal uncle's home. At my uncle's home I got to know about Kader Siddiki, who was getting ready for direct combat. It was April and Siddiki didn't have much arms and ammo by that time. I met him at my uncle's; he came with an airgun and said he was determined to undertake armed resistance against the Pakistani occupation forces.
From there I went to our village home. Some potters of the village told us that there was a combat in an area called Kalihati and an LMG with some sacks of bullets have been recovered. I managed to take those to Siddiki. Thus my active participation in the resistance began.
Of course, informers added to the challenge. The information that I'd met Kader Siddiki somehow made its way to the Pakistani army and the village was under attack.
In May-June, I decided that I'd join Shadhin Bangla Betar Kendra. I returned to Dhaka and met with journalist-writer Shahadat Chowdhury. As part of a group, Shahadat and I crossed the border. That was an ordeal as well. To get to Agartola (India) we had to go under the CNB Bridge in Comilla. When our boat was on mid river, the Pakistani army started shooting at us. We were almost certain that we were dying. Fortunately, we made it to Agartola.
From Agartola I had to go to Dharmanagar, which was about 100 miles away. From there, I had to go through Assam and several other places to get to Kolkata. Mustafa Monwar, Hasan Imam and Jamil Chowdhury were already there. I joined Shadhin Bangla Betar Kendra as an actor, director. While working there, I had the opportunity to meet renowned personalities like Utpal Dutt and Shambhu Mitra. I was in awe of the theatre scene in Kolkata. I wrote this play called “Poshchim-er Shiri” there, which was later directed by Mustafa Monwar.
TDS: Were there TV plays addressing the contemporary situation prior to the war?
Rashid: Yes, there was. On March 1, 1971, my play “Abar Ashibo Phirey” was aired on PTV. PTV's Dhaka station played a brave role right until the war broke out. Mustafa Monwar, Abdullah Al Mamun all had significant contributions to that. At the Mouchak intersection, Shaheed (martyred) Iqbal is buried. “Abar Ashibo Phirey” was on Iqbal’s story. Jahanara Imam mentioned the play in her book. That play initiated a wave of pro-independence programmes and songs on TV. Of course we faced strong objections from the authorities but by then we were desperate. On March 23, Pakistan Republic Day, we didn't even show the Pakistani flag on TV.
TDS: As someone who has been closely involved with Bangladeshi theatre since its inception, how would you evaluate its current standing?
Rashid: Over the last four decades, thanks to impassioned activists, our theatre has attained an international standard. This is no minor achievement. West Bengal theatre has a history of 200 years. I feel at present Bangladeshi theatre is on a par with, if not better than, it. The first public (theatre) performance in Kolkata was in 1872. What many do not know is that “Neel Darpan” had its debut staging at Lion Theatre, Dhaka in 1862.
At present at least 15 quality productions are on stage regularly. A lot of experiments are being done as well. Compared to other performing art forms, theatre has always taken bold stand against tyranny and supported all progressive movements. You'll notice, all over the country, throughout the year, plays on the Liberation War are being staged. That says something.
TDS: Your play “Rarang” will have its 100th show soon. Planning anything special on the occasion?
Rashid: We want to bring Mahashweta Devi to Dhaka at the 100th show. The play highlights the indigenous community and Mahashweta Devi has made immense contribution to establishing their rights in India.
TDS: Do you reckon that the spirit of the Liberation War is gradually losing its impact on the public psyche?
Rashid: I wouldn't like to think so. I feel that the spirit is being renewed. Many complain that not enough plays on the war are being produced nowadays. I say, why is that necessarily a bad thing? My generation that has seen the war would invariably focus on our firsthand experiences when telling a story. But aren't there other stories too? A war is not just about armed resistance and combat. Those who took up arms are usually honoured but what about a postman who died on duty during the war? His sacrifice isn't important enough? It's high time that the collective effort of the nation during the war comes under limelight. I think the post-war generation is experimenting with stories like these. They may not be as overly-emotional as my generation about the war but 1971 certainly has a special significance to them. This was evident during the last general election, as first time voters and youngsters voted for those who promised that they'd bring war criminals to justice.