Launda Naach

The earliest mention of this folk dance can be found in 11th century which remained alive in the Bhojpuri region and in 19th century, this idea of transforming the centuries-old art form into a people's threatre was conceptualised by Bhikhari Thakur,[4] who is also for credited for popularising it. In the first few decades of the twentieth century when the world was witnessing revolutionary changes recognising the rights of the downtrodden, Bhikhari Thakur displayed their contsant struggle and survival instinct through agrarian theatre that came to be colloquially known as 'Launda Naach', [5] comprising "songs, dance, comedy, satire, pun, banter, parody, and theatre where men impersonate women in performances that last all night."[6]

Ramchandra Manjhi, the last disciple of Thakur, inherited a great legacy and vast repertoire of Naach Theatre such as Bidesiya, Gabarghichor, Beti Bechawa, etc.[7] 93-years-old Manjhi was awarded the Sangeet Natak Academi Award in 2017, coincidentally the centenary year of Bhikhari Thakur's theatre.

However, the Launda Naach diversified over time, transcending the boundaries and parameters established by the scions of Thakur's theatre. With the rise of multiple sources of entertainment, the folk art form has also been criticised for losing its 'professionalism', allowing objectification and validating it, and becoming an area for abuse.[8] Although the professional groups engaged in Launda Naach have been criticised for restricting the participation of women, one reason behind this is prevalence of human trafficking in the case of 'lewd dance troupes', called Aarkestra, which are gaining traction in the region where once Launda Naach was well received.[9] This rapid change has been pushing the performances of the Launda Naach ensembles to be adjusted according to the mainstream audience demands. [10]

• Ramchandra Manjhi