The ongoing play at Shilpee Theatre, ‘Jhoda’, sheds light on the often overlooked struggles faced by people who migrated from the mountains to settle in Jhoda in the Tarai region five decades ago.

Written by Ganesh Rasik, adapted by Suman Lingden from the novel ‘Akashgangako Otmuni’, and directed by Chetan Angthupo, the play is a poignant portrayal of the challenges endured by those who sought to claim their piece of land in Jhoda.

Angthupo, driven by a desire to depict Dhimal culture and stories, was moved by the decades-long struggles of the residents for their land. This theme resonates not only with the residents of Jhoda but also of other regions, including the Capital, where squatters grapple with similar land disputes and silently endure a lot of oppression.

The absence of documented records about Jhoda during Angthupo’s research led him to rely on the living voices of those who experienced the struggles firsthand. The play thus becomes a unique documentation, amplifying the unheard stories of people who fought for their land rights, with a focus on the Dhimal community.

The play primarily depicts the struggles faced by the tribal communities residing in Jhoda. It delves into the historical political control over Jhoda, the long-standing rights of its inhabitants, and the political strategy of displacing the tribals from the eastern regions. In the Dhimal language, the stretch of forest area between two rivers is referred to as ‘jhora’, evolving over time into the term ‘jhoda’.

The Panchayat system, established in 1961, dispersed former soldiers who played a big role during the Rana revolution. The implementation of the Land Act in 1964 resulted in the abolishment of land rights for the Limbus in the Far East.

During this period, the ruling regime opened up land tenure, known as ‘jhoda’, in various locations across Jhapa, Morang and Sunsari—three districts of Madhesh—as a response to the Kipat rebellion. The play revolves around the transitional period and struggles of Jhoda tenure. Despite the state’s claim of providing jhoda for former soldiers, misunderstandings, disagreements within the political system, and the involvement of some brokers and thugs caused suffering for those who settled in Jhoda.

‘Jhoda’ begins with the powerful yet indistinct sounds of a strike and narabaji (sloganeering). Eight individuals holding sticks stand on stage, facing the police. The accompanying music, complemented by the striking sounds of sticks hitting the ground, is captivating. It hints that we are about to witness a world where ordinary people challenge the power dynamics.

In an instant, the static scene transforms into chaos as the police attack and start brutally beating up people. Amid the chaos, everyone scatters, leaving one man severely injured. The opening scene concludes with the man lying lifeless and bleeding on the ground. This beginning evokes powerful emotions, and the audience instantly connects with the characters from the onset. However, this scene is so impactful that it remains unmatched by any subsequent scenes.

The narrative then shifts to the hilly region, introducing us to Sarvajit, portrayed by Mankumar Yonghang. He is a retiree from the Malaya platoon who catches wind of the plan to station former soldiers in Jhoda. He is permitted to settle in Jhoda after giving money to San Bahadur, a former minister. With aspirations of building a promising future for his young son, Makkhe, he decides to relocate his family to the Tarai.

In the scene, it becomes evident that it’s not only Sarvajit; there is a procession of people migrating to the Tarai. Upon reaching the valley, they encounter a stone, symbolising the division between the Yakthung Limbu, a mountain tribal community, and the Dhimal, a tribal community of the Tarai.

However, living in Jhoda proves to be challenging. Constant surveillance and the threat of encounters with police and forest rangers create a sense of unease. Due to the fear of government officials coming to apprehend them, Sarvajit and others secretly clear forests at night.

Despite their efforts, constructing a small hut only brings Sarvajit fleeting joy as he becomes entangled in a forest case, facing accusations not only related to the forest but also implicated in the murder of San Bahadur.

Director Angthupo, known for his fondness for cultural dramas, has dedicated significant effort to the sets of this play. He strives to depict the cultures of the tribal Dhimal and Limbu communities. The execution and design of the set are superb, creating an atmosphere that seamlessly combines the essence of hills and plains. Every element in the set is significant, and the director and the team's efforts in designing it deserve appreciation.

Similarly, incorporating live music and dances from the Dhimal and Limbu communities enhances the play’s depiction of culture.

Another noteworthy aspect is the acting. Ramita Rai’s portrayal of Manmaya and Prince Tamang’s role as Makkhe are standout performances. Manmaya’s depiction of a wife standing against oppression to seek justice for her husband, Sarvajit, and her role as a mother supporting her young child is exemplary. Similarly, Tamang’s character, Makkhe, injects innocence into the play, offering a respite from its emotional intensity.

However, the scene where Makkhe is alone in the resolution, playing amid the backdrop sounds of strikes and narabaji, evokes a heavy emotional response from the audience. It illustrates that children like Makkhe have endured a lack of parental love due to decades-long injustices. This scene also symbolises that the responsibility of carrying forward the fight for rights now falls on the shoulders of the younger generation, represented by Makkhe.

Both Limbu and Dhimal languages are employed in the play. The use of local languages asserts a strong identity and cultural presence. When tribal communities face oppression, their language and culture are often the first to be affected, making their inclusion in the play significant.

However, the audience can not fully engage with ‘Jhoda’ due to difficulties understanding the dialogue. Occasionally, the dialogue lacks a smooth rhythm, giving the impression that the characters are trying too hard to adhere to the roles.

Nevertheless, ‘Jhoda’ is an excellent play that offers insight into the struggles faced by overlooked communities. While it narrates the story of the oppressed Dhimal and Limbu communities, its relevance extends to all those who have fought for land rights.

The play is relevant today too because, although characters and rulers may have changed over time, power imbalances, political injustices and police brutality endure. The only noticeable change is that in the past, the state employed elephants to raze settlements, while today, bulldozers are used.

Jhoda

Director: Chetan Angthupo

Wrier: Ganesh Rasik

Cast: Mankumar Yonghang, Ramita Rai, Prince Tamang

Duration: 1 hour 30 minutes

Shown till March 9 at Shilpee Theatre, Battisputali, Kathmandu.

Showtime: 5:00 pm every day, additional 1:00 pm show on Saturdays