SAANG(Swang)

The folk theatre of Haryana

    

                           Written by Dharam pal dhull

Saang is not much different from folk theatre traditions followed in many other parts of the country under different names — Raas Leela (Braj), Bhavai (Gujarat) Pandvani (MP), Tamasha (Maharashtra), Yakashgaan (Mysore) and Pandav dance (Uttarakhand). 

      Saang is the amalgamation of drama, music, dance, poetry, preach and comedy. This theatre is primarily based on Hindu mythology depicting Indian Epics and Puranas and the matter contained in the religious books has been the source material for the themes and characters. However, following changes in likings and demography of the society, the theatre included multiple aspects involving almost all facets of life and social living. It was a stage for pleasure and conveying moral truths, and also to strengthen the cultural integrity. Besides a source of amusement Saang has been used as a forum of collection of funds for creating different  public amenities in villages like construction of schools buildings, community centres (Paras), digging of well and ponds, etc.

In fact, present form of Saang includes several themes of theatre mixed together with mythological love, popular history and sociological, philosophical and religious themes and different colours of secular values. It expresses the relationship of love, depicting legendary and modern tales of valour, sacrifice, humour and whatever interest human mind.  Popular mythological themes include Raja Harish Chander, Raja Vikramaditya, Pooran Bhagat, Prahalad Bhagat, Nal- Damyanti, Gopi Chand Bharathari, Cheer Haran, Kichak Vadh, Daraupadi, Satyawan-Savitri, Narsi Bhagat, Jaani Chor, Nihalde, Padmavat and many more. Saang has enriched itself by using and adopting themes of romances like Sorath, Padmawat, Nihalde, Nautanki, Heer Ranjha, Lilo-Chaman and others. There are historical and semi-historical themes, such as Raja Rissalu, Amar Singh Rathor, Jaimal Phata, Sarwar Neer, Roop-Basant, Jaswant Singh, Ajeet Singh-Rajbala, etc. 

Having a deep rooted tradition, Saang is based on the 'open stage' technique, the open theatre style. It is an all male cultural troupe, comprising of twenty to thirty artistes, including the director, producer musicians and actors. (There have been all women of the Saang troupe also, towards the end of the nineteenth century, in parts of Haryana and western Uttar Pradesh in which male characters would also played by female artistes. Saangs by all women troupe were generally organised in marriages or other ceremonies of rich families).  The stage generally consist of circular open area or a platform of wooden benches having no elaborated or decorated arrangements like green rooms, curtains or backdrops. There are no microphones or loudspeakers either.

Audience sits making circle around the stage and the actors perform moving from one corner to the other facing all audience turn by turn. Musicians begin their orchestra and junior singers and dancers sing religious songs an hour before the main show.  The Guru appears when the stage is set. He also sings offering song (Bheint) in praise of Bhavani, the Goddess of Knowledge, and his Guru. The play starts with brief introduction about it. Ragini, Chambola, Kafias, Dohas, dance, Goonga Dhamoda (a fast dance to make audience sit peacefully), mimicry, long dialogues of discussion between different characters, jokes by the comedian, etc. are the main ingredients of the play. The artistes perform getting up and taking their turns at acting. There are prompters for each character who do their job excellently. A number of musical instruments like the Ektara, Khartal, Dholak, Tabla, Sarangi and Harmonium are included to bring about the flavour into the Raginies and the dialogues.The presentation may go for from 6 -7 hours to whole of the night. If staged during day time, it takes 4-5 hours.

The over four century old folk theatre “Saang” in Haryana is the corrupt form of Swaang, which is India’s one of the oldest theatre existed even before ritual-ridden Vedic presentations and Sanskrit dramas. It came in its present form in 16th century.

Following contribution of the popular artistes of Haryanavi language Brahaman Bihari Lal, Chetan Sharma, Balmukund Gupt, Girdhar, etc., creation of present form of Saang  is attributed to Kishan Lal Bhatt who laid foundation of present Saang some two hundred years ago while, names of Kavi Shankar Dass of Meerut, Ali Bucks of Rewari are also among the notable early pioneers.  Pt Deep Chand , Pt Lakhmichand, Jat Mehar Singh, Pt Mange Ram, Hardeva, Bulli, Baaje Bhagat, Ram Kishan Beas, Dhanpat Singh, Pt Nathu Ram are the prominent folk poets and artistes who took Saang to peak of Haryana’s culture. Pt. Deep Chand of village Khanda (Sonipat) was probably most celebrated “Saangi”. He polished the style of Ali Bucks and gave a new colour to this folk art. The British Government awarded him the title of Rai Sahab as he attracted recruits during the First World War. Pt Lakhmi Chand disciple of Maan Singh is termed as Surya Kavi. He was the most popular poet who touched all socio religious aspect in his Raginies. His Raginies are most popular in folk even now.  Mange Ram and a number of other Saangies of Lakhmi Chand Gharana furthered the style of Lakhmi Chand. Hardeva and his disciple Baaje Bhagat polished Chambola and mixed different styles of folk music. Mehar Singh was very popular poet and Ragini singer among fellow military personnel during his service.  He then touched the hearts of rural folk lore by touching all aspects of their life in his Raginies.. 

Unfortunately, this old form of Haryana’s folk culture is disappearing from the scene. Thanks to the modern equipments and means of amusement available always in pockets and bed rooms people seem to be no more interested in Saang. However, Raginies of the old Saangies are popular in rural and urban youth also despite of modern fast music and songs. Efforts made by different universities of the state and the concerned department of Haryana Government are not so fruitful. They can preserve this theatre but liking of folk probably cannot be controlled. 

                ------------ Dharam Pal Dhull