Lucknow's Theatrical Rebellion: 'Bawli Betiyaan' Amplifies Women's Voices Against Societal Labels
In Lucknow, young women who boldly declare "I've grown up, I have choices" often face harsh societal backlash, being branded with derogatory terms like 'buri ladkiyan', 'besharam', 'belihaaz', and 'behaya'. However, a powerful artistic movement is emerging as these women fight back, reclaiming their narratives through compelling theatre. The award-winning playwright, theatre director, and screenwriter Purva Naresh has spearheaded this resistance with her impactful play 'Bawli Betiyaan', which premiered at the Mahindra Sanatkada Lucknow Festival held at Raja Ram Pal Singh Park.
Unveiling Untold Stories of Autonomy and Defiance
'Bawli Betiyaan and Songs of The Wicked Women' delves deep into the lives of young women who have found their voice, embracing autonomy and defiantly rejecting societal expectations. No longer content with being perceived as 'good girls', these women are unapologetically taking centerstage, asserting their boundaries and choices. The 90-minute production masterfully weaves together stories from two distinct eras—pre and post-Partition—creating a rich tapestry of rebellion and resilience.
Through heartfelt testimonials and evocative music, the play explores the complex notion of 'sharam' (shame) and the quiet, yet powerful, rebellions it ignites. By shedding the heavy weight of societal expectations, these so-called 'wicked women' are actively rewriting the script of their lives, challenging norms and inspiring audiences with their courage.
Journey on the Freedom Express: Tales of Historical and Contemporary Defiance
The play begins with women embarking on a metaphorical journey aboard the Freedom Express, where their stories unfold in captivating detail. From the pre-Partition era, audiences are introduced to remarkable figures like Gauhar Jaan, who defiantly stood up to British authorities, refusing to let them undermine India's dignity. Another character draws inspiration from Kanpur's Azizan Bai, who made the ultimate sacrifice to protect revolutionaries such as Nana Sahib and Tatya Tope, becoming an enduring symbol of courage and patriotism.
Post-Partition narratives include the story of Iqbal Bano, who bravely donned a black sari and performed Faiz Ahmed Faiz's banned poem 'Hum Dekhenge' in defiance of General Muhammad Zia-ul-Haq's orders. These historical accounts are seamlessly blended with contemporary tales, such as those of Shimli Basu, who openly discusses owning her body and life as an adult, and Charvi Ojha, who recounts a bold move at a house party to assert her adulthood.
Reclaiming Labels with Pride and Artistic Integrity
Both Shimli and Charvi shared how their assertive actions led to them being labeled as 'besharam', 'rebel', and 'unladylike'. Instead of succumbing to these tags, they reclaimed them with pride, transforming societal judgments into badges of honor. The play features a talented ensemble of artists, including Srijonee Bhattacharjee, Anamika, Dilip Panday, Shubham Tiwari, Akhilesh, and Gunjan Jain, who bring these narratives to life with authenticity and passion.
Purva Naresh describes 'Bawli Betiyaan' as "a bold theatrical ride exploring the complex concept of 'sharam' and the quiet rebellions it sparks." She notes that while the script evolves with each performance, adapting to the artists' interpretations, the core texture remains rooted in truth. This contemporary production weaves together tales of defiance, desire, and resistance, set to music and movement on the metaphorical Besharam Express. On stage, young women boldly question limits, assert their freedom, and reclaim the term 'Bawli' on their own terms, offering a powerful commentary on gender norms and self-expression.
