Over 20 renowned Bengali theatre troupes have found themselves excluded from the list of eligible recipients for the Union government’s repertory grant scheme, Guru-Shishya Parampara, creating a substantial uproar among Kolkata’s theatre veterans.
The Union Ministry of Culture’s scheme, Financial Assistance for Promotion of Guru-Shishya Parampara (Repertory Grant), provides essential financial support to drama groups, theatre troupes, music ensembles, children’s theatre, and other performing arts activities. Through this scheme, the guru or director of a group receives ₹15,000 per month, while the shishyas or group members receive between ₹2,000 and ₹10,000 per month, depending on their age.
On Monday, Sima Mukherjee, who runs the troupe Rangroop, voiced her concerns by addressing an underlying question posed by some individuals: “Why should we receive monetary grants from the government if we criticize them in theatre?” Her rebuttal was sharp: “Is the government paying us from their pocket or is it our money, the taxpayers’ money, at the end of the day?” This sentiment has been echoed widely in the artistic community, particularly as around 24 theatre troupes from West Bengal, including Laketown Sreebhumi Sanskriti led by Debesh Chattopadhyay, Ashokenagar Nattyamukh by Abhi Chakraborty, and Nandipat by Prakash Bhattacharya, have been denied grants for the fiscal year 2023-2024, according to the recent circular.
The announcement has sparked outrage from several corners of the artistic community. Sujan Mukhopadhyay, who helms the 52-year-old Bengali theatre troupe Chetana, highlighted the historical context, noting how theatre in West Bengal has long served as a platform for public dissent and is not meant to cater to any political regime’s interests. “What has happened with the grants this year is deplorable. It has traces of conspiracy and personal bias. So many veterans, well-known theatre practitioners, and their troupes are being deprived,” Mukhopadhyay stated. He noted that while there is value in elevating young practitioners, it should not come at the expense of established groups.
Veteran Bengali theatre practitioners articulated their grievances during a press interaction on Monday, August 5, 2024. Mr. Chattopadhyay expressed that a climate of fear has been fostered within West Bengal’s theatre community by the Central government. He alleged, “Dropping us from the grant will scare theatre practitioners into believing that unless they support the government, they will be cut off from its financial support schemes.
.” He urged his peers and local media to refrain from giving their grievances a political spin as they plan to take the issue up with the State’s Culture Minister and Chief Minister Mamata Banerjee.
Adding to the chorus of dissent, Saurav Palodhi, who has led the troupe Icchemoto for the past decade, accused the prevalent theatre scene of favouritism, where groups that align more closely with the views of the saffron party receive disproportionate power and resources. Palodhi lamented the impact on his team: “I feel bad for the poor cast and crew members who relied on this grant to pursue theatre as their day job.” He further demanded a thorough review of how current grant recipients spend the money and stressed an urgent need to audit the work ethic of the excluded troupes.
Mr. Chakraborty emphasized the far-reaching economic ramifications of the grant’s withdrawal, affecting not just troupe members but also extending to ancillary service providers. “For troupes like us, that do not operate out of Kolkata, there is a network of support service providers like tiffin providers, drivers, etc., who will all be affected by the lack of grants,” he explained.
In the midst of this furore, BJP leader Shamik Bhattacharyya addressed the controversy, stating he had raised the issue with the Ministry of Culture and looked forward to resolving the “misunderstanding.” This statement, however, did little to assuage the concerns of the theatre community, who view the exclusion as part of a larger narrative seeking to sideline dissenting voices.
As the tension escalates, Bengali theatre practitioners brace themselves for the impact of these grant denials on their craft and livelihood. While the state’s cultural stalwarts continue to voice their discontent, the broader implications for artistic expression and financial sustainability remain at the heart of this heated debate. Theatre in West Bengal, much like other cultural forms, finds itself at the intersection of politics and art, a delicate balance fraught with challenges and spirited resistance.
