After the police gave their opinion on the new controversial Hindi film Deshdrohi, the Maharashtra government issued a ban on the film and the matter was taken to court. However since the court has now issued orders to the state to take necessary actions, the ball has landed back in the court of the Maharashtra government. The state fears that releasing this film might add fuel to the existing fire of the two communities pitted against each other in recent times - the North Indians and the Maharashtrians. The state's move can signify one of the following - that the state does not trust the self appointed Censor board that grants a certificate only after deeply scrutinising a film's theme, subject and way of presentation or it fears losing its vote-bank in case its biased policies get noticed by its revered citizens and therefore foresees a loss of power. What else must have prompted Mr. R. R. Patil to try to pass a law granting 80% priority in the state service sector to the sons of the soil and quote that the decision regarding banning the play BHAIYA HAAT PAAY PASARI that has completed more than 250 shows to be taken up only after a detailed study happens in the case.

There is a possibility that even the state feels that the Marathi Manus in the capital city of Mumbai fears a loss of identity owing to the domination of other communities. Hence, it recently made Marathi a compulsory language across schools in Maharashtra. At the same time it can't afford doing away with the votes of the North Indians in the city. And that is how Mr. Kripashankar Singh finds a way to the presidentship of the Mumbai Regional Congress. This only proves the helplessness of the state. The BJP is busy playing hide and seek since it cannot carry the burden of the Marathi Manus issue to the centre. Likewise, the MNS and Shivsena cannot afford losing the Marathi Manus vote factory. So they become the self-proclaimed messiahs of the Maharashtrians. In this entire political hullabaloo, no one has really made an effort to know what the actual Marathi Manus wants.

However the real question still remains. How thoughtful it is to drag the art sector in the dingy mathematics of politics? It's not new for artists to witness the state backing off at the last moment after giving constant assurances of freedom of expression. There have been incidents of banning plays like YADA KADACHIT, AAMHI PAACHPUTE, PATI MAAZE CHHATRPATI, MI NATHURAM GODSE BOLTOY, etc in the past. If not the state, there were other parallel bodies prompting such incidents otherwise. It was only because of the media backing that these plays could get the strength and support to reinstate and demand justice. It is an unwritten rule that once the censor board approves a creation, no authority can impose a ban or boycott it. However this rule is not observed. Sometimes it is the state that fears a public uprising. If not, it is up to any religious extremist organisation to control the fate of such creations by brandishing their swords of terror.

Recently the issue of the Marathi Manus losing his identity, especially in Mumbai has gained prime importance. Three plays, namely BHAIYA HAAT PAAY PASARI, MARATHI MANASA and AAYTYAVAR KOYATO in the Marathi theatre circuit are addressing this issue. BHAIYA HAAT PAAY PASARI was brought on stage two years back by the legendary late Machhindra Kambli. Its narrative deals with the displacement of the Marathi speaking population owing to a severe infiltration of North Indians in the city. Thus, the original resident of the city is now on the verge of disappearing. However, the play also showcases the attitude of the Marathi Manus to be a major factor responsible for his retreat. When Kambli acted in this play, the play became a bit biased owing to Kambli's love towards the language. However after his death, the play remains honest to its script and presents the pros and cons of both the communities simultaneously. In his last interview to Loksatta, Kambli mentioned that Mr. Kripashankar Singh had loved the play and that he didn't find anything objectionable in it. Today, the same Mr. Singh is said to be in non-compliance with the play.

The Marathi stage has always found itself addressing contemporary issues. It has followed suit regarding the issue of Marathi also. Earlier the issue was addressed in a play called 'MR. NAMDEO MHANE...'. A noteworthy fact is that Kambli addressed it in BHAIYA HAAT PAAY PASARI almost a year before Raj Thackerey made it his party's USP.

Of the other plays that deal with the Marathi issue is Janardan Lavangare's MARATHI MANASA. Although in MARATHI MANASA, the issue is not the central theme of the play and hence much cannot be commented on it. This play was however arranged for the members of the Congress, NCP and the BJP. This only means that the parties did not have a problem with the satirical comments in it regarding the issue. Lavangare however laments being neglected by the self-proclaimed messiahs of the Marathi cause. In his answer to them, Lavangare expressed deep gratitude to the above parties through his posters on the last show of the play.'

AAYTYAVAR KOYATO is a play that fiercely propagates the Marathi cause to such an extent that it even uses Raj Thackerey's Marathi Manus agenda for its publicity. The protagonist imagines himself to be Thackerey and indulges in extremist elocution. All these plays have been approved by the censor board and hence banning or boycotting them would be unjust.

However if the government is doing so only to please some gormless individual or community then the theatre fraternity will have to stand up for itself. The Maharashtra government is already walking a tight, knotted rope owing to its deeds. Let's hope it doesn't do something that might loosen one of these knots.

*The writer is Assistant Editor, Loksatta and a theatre critic. He has a regular column on drama in Loksatta. This article first appeared in the editorial section of Loksatta on 30th November 2008. It has been reproduced here with minor changes. The article has been translated by Asmit Pathare.