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'''Bhikari Thakur''' (18 December 1887 – 10 July 1971) was an Indian [[Bhojpuri language]] poet, playwright, lyricist, actor, [[folk dance]]r, [[folk singer]] and social activist, widely regarded as the greatest writer in the Bhojpuri Langauage and most popular folk writer of [[Purvanchal]] and [[Bihar]].<ref>{{Cite book|last=Leiter|first=Samuel L.|title=Encyclopedia of Asian Theatre: A-N|publisher=Greenwood Press|year=2007|isbn=9780313335297|pages=61}}</ref><ref>{{Cite book|title=The Journal of the Bihar Purāvid Parishad, Vol. 19-20|publisher=Bihar Purāvid Parishad|year=1995}}</ref><ref>{{cite web|url=http://www.thehindu.com/todays-paper/tp-features/tp-metroplus/article3534122.ece|title=On the Shakespeare of Bhojpuri|author=Shalaja Tripathi|publisher=[[The Hindu]]date=16 June 2012|access-date=2 January 2015}}</ref><ref>{{Cite book|title=Agra University Journal of Research: Letters, Volumes 1-5|publisher=Agra University|year=1952}}</ref> He is | '''Bhikari Thakur''' (18 December 1887 – 10 July 1971) was an Indian [[Bhojpuri language]] poet, playwright, lyricist, actor, [[folk dance]]r, [[folk singer]] and social activist, widely regarded as the greatest writer in the Bhojpuri Langauage and most popular folk writer of [[Purvanchal]] and [[Bihar]].<ref>{{Cite book|last=Leiter|first=Samuel L.|title=Encyclopedia of Asian Theatre: A-N|publisher=Greenwood Press|year=2007|isbn=9780313335297|pages=61}}</ref><ref>{{Cite book|title=The Journal of the Bihar Purāvid Parishad, Vol. 19-20|publisher=Bihar Purāvid Parishad|year=1995}}</ref><ref>{{cite web|url=http://www.thehindu.com/todays-paper/tp-features/tp-metroplus/article3534122.ece|title=On the Shakespeare of Bhojpuri|author=Shalaja Tripathi|publisher=[[The Hindu]]|date=16 June 2012|access-date=2 January 2015}}</ref><ref>{{Cite book|title=Agra University Journal of Research: Letters, Volumes 1-5|publisher=Agra University|year=1952}}</ref> He is often called the "[[William Shakespeare|Shakespeare]] of Bhojpuri" and "Rai Bahadur".<ref>{{Cite book|title=Encyclopaedia of Indian Theatre, Vol. VI|publisher=Raj Publication|year=2004|isbn=9788186208359}}</ref> His works consist of more than a dozen plays, [[Monologue]]s, Poems, [[Bhajan]]s which appeared in print as nearly three dozen books. His noteworthy works are [[Bidesiya (play)|Bidesiya]], [[Gabarghichor]], [[Beti Bechwa]] and Bhai Birodh, Gabarghichor is often compared with [[Bertolt Brecht]]'s play ''[[The Caucasian Chalk Circle]]''.<ref>{{Cite web|title=Bhikhari Thakur: Voice of the marginalised|url=https://www.thehindu.com/entertainment/theatre/bhikhari-thakur-voice-of-the-marginalised/article30931327.ece/amp/|website=THE Hindu}}</ref> He is also known as the father of the Bidesiya folk theatre tradition.<ref>{{Cite book|last=Narayan|first=Badri|title=Culture and Emotional Economy of Migration|year=2016|isbn=978-1315448039|pages=74}}</ref> | ||
Thakur was born and raised in Kutubpur village of [[Saran district|Saran]], in his adolescent he married to Matuna from which he had only one son: Shilanath Thakur. In early 1900s, he started his career as an actor, writer, singer and dancer. he remained active till his death in 1971. He published most of his works between 1938 to 1962. His early works were dialogues and musical plays, later he wrote some philosophical works, [[Bhajan]]s, Harikirtans and other poems. | Thakur was born and raised in Kutubpur village of [[Saran district|Saran]], in his adolescent he married to Matuna from which he had only one son: Shilanath Thakur. In the early 1900s, he started his career as an actor, writer, singer and dancer. he remained active till his death in 1971. He published most of his works between 1938 to 1962. His early works were dialogues and musical plays, later he wrote some philosophical works, [[Bhajan]]s, Harikirtans and other poems. | ||
==Life== | ==Life== | ||
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==Theatrical Company== | ==Theatrical Company== | ||
In early 20th century, Bhikhari formed his own theater company against the wills of his parents.<ref>{{Cite book|last1=Banham|first1=Martin|title=The Cambridge Guide to Theatre|last2=Brandon|first2=James R.|publisher=Cambridge university press|year=1995|isbn=9780521434379|pages=105}}</ref> In early days, the company used to perform only [[Ramlila]] but later it started staging plays written by Bhikhari Thakur. Most of the played were performed in open sky on an elevated platform surrounded by audience. The company had group of skilled singers, dancers and actors. Some notable names are [[Ramchandra Manjhi]] (dancer), Mahendra (singer), Ram Lacchan and Juthan were [[comedian]]s, musicians were Ghinawan ([[Dholak]]), Tafzul (Tal), Alijan ([[Sarangi]]) and Jagdeo ([[Harmonium]]).<ref>{{Cite book|last=Dwiwedi|first=Bhagwati Prasad|title=Bhikhari Thakur: Bhojpuri ke Bharatendu|publisher=Aashu Prakashan|year=2000|pages=70}}</ref> | In the early 20th century, Bhikhari formed his own theater company against the wills of his parents.<ref>{{Cite book|last1=Banham|first1=Martin|title=The Cambridge Guide to Theatre|last2=Brandon|first2=James R.|publisher=Cambridge university press|year=1995|isbn=9780521434379|pages=105}}</ref> In early days, the company used to perform only [[Ramlila]] but later it started staging plays written by Bhikhari Thakur. Most of the played were performed in open sky on an elevated platform surrounded by audience. The company had group of skilled singers, dancers and actors. Some notable names are [[Ramchandra Manjhi]] (dancer), Mahendra (singer), Ram Lacchan and Juthan were [[comedian]]s, musicians were Ghinawan ([[Dholak]]), Tafzul (Tal), Alijan ([[Sarangi]]) and Jagdeo ([[Harmonium]]).<ref>{{Cite book|last=Dwiwedi|first=Bhagwati Prasad|title=Bhikhari Thakur: Bhojpuri ke Bharatendu|publisher=Aashu Prakashan|year=2000|pages=70}}</ref> | ||
In those days, due to [[Parda system]], it was very hard for women to perform in plays, Bhikhari Thakur included the [[Launda Naach|Launda dancers]] to cast them as women in his plays. Later it became one of the greatest attractions of his plays, in January 2021 government of India feliciated [[Ramchandra Manjhi]], a Launda dancer of his company with [[Padma Shri]], the fourth highest civilian honour of India.<ref>{{Cite news|title=Padma Shri Ramchandra Manjhi and Dulari Devi: Tale of two artists, and of art, caste and grit in Bihar|work=The Indian Express|url=https://www.indianexpress.com/article/india/tale-of-two-padma-shri-winners-of-art-caste-and-grit-in-bihar-7167011/lite/|url-status=live}}</ref> | In those days, due to [[Parda system]], it was very hard for women to perform in plays, Bhikhari Thakur included the [[Launda Naach|Launda dancers]] to cast them as women in his plays. Later it became one of the greatest attractions of his plays, in January 2021 government of India feliciated [[Ramchandra Manjhi]], a Launda dancer of his company with [[Padma Shri]], the fourth highest civilian honour of India.<ref>{{Cite news|title=Padma Shri Ramchandra Manjhi and Dulari Devi: Tale of two artists, and of art, caste and grit in Bihar|work=The Indian Express|url=https://www.indianexpress.com/article/india/tale-of-two-padma-shri-winners-of-art-caste-and-grit-in-bihar-7167011/lite/|url-status=live}}</ref> | ||
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== Style and Contributions == | == Style and Contributions == | ||
Plays of Bhikhari Thakur were different from modern plays of 20th century, which used to have dialogues only, in spite of this, the plays of Thakur were closer to the style used in classical [[Sanskrit theatre]] and [[Shakespeare|Shakespeare's]] style, which used to contain songs and dialogues both.<ref>{{Cite book|title=Gomez|publisher=Vani Prakashan|pages=97}}</ref> Plays written by Thakur imbibed many principles from the Classical Indian Theatre.For example, His plays used to start with ''maṃgalācaran'' which is an essential part of Sanskrit plays in which prayers are dedicated to [[Ganapati]] and [[Saraswati]], asking for the blessings[[Saraswati|.]] They also had ''Samājī'' which is equivalent to ''Shutradhāra'' of Sanskrit theatre and [[Greek chorus|Chorus]] of [[Greek Theatre]]. The samaji used to explain about the play in the [[Prologue]], its characters and used to draw example parallel to [[Hindu mythology]].<ref name="Chaturvedi">{{Cite news|last=Chaturvedi|first=Namrata|title="BIDESIA" – THE FOLK THEATRE OF EASTERN INDIA|work=The Theatre Times|url=https://www.thetheatretimes.com/bidesia-folk-theatre-eastern-india/}}</ref> Another important part of his plays were '''labār''' which are known as '''viduṣak''' in Indian classical theatre, who used to come in the middle of the play just to entertain the audience by doing some comedy.<ref>{{Cite book|last=Narayan|first=Badri|title=Culture and Emotional Economy of Migration|pages=76}}</ref> The characters of the plays of Bhikhari Thakur are of types representing the general rather than the particular. For example, in the play [[Bidesiya (play)|Bidesiya]], the character of ''Bidesi'' represents all the young men who used to go to Assam and Bengal for earning. Similarly ''Batohi'' means ''Traveller'' and represents a random person who is going to Kolkata.<ref name="Chaturvedi"/> | Plays of Bhikhari Thakur were different from modern plays of the 20th century, which used to have dialogues only, in spite of this, the plays of Thakur were closer to the style used in classical [[Sanskrit theatre]] and [[Shakespeare|Shakespeare's]] style, which used to contain songs and dialogues both.<ref>{{Cite book|title=Gomez|publisher=Vani Prakashan|pages=97}}</ref> Plays written by Thakur imbibed many principles from the Classical Indian Theatre.For example, His plays used to start with ''maṃgalācaran'' which is an essential part of Sanskrit plays in which prayers are dedicated to [[Ganapati]] and [[Saraswati]], asking for the blessings[[Saraswati|.]] They also had ''Samājī'' which is equivalent to ''Shutradhāra'' of Sanskrit theatre and [[Greek chorus|Chorus]] of [[Greek Theatre]]. The samaji used to explain about the play in the [[Prologue]], its characters and used to draw example parallel to [[Hindu mythology]].<ref name="Chaturvedi">{{Cite news|last=Chaturvedi|first=Namrata|title="BIDESIA" – THE FOLK THEATRE OF EASTERN INDIA|work=The Theatre Times|url=https://www.thetheatretimes.com/bidesia-folk-theatre-eastern-india/}}</ref> Another important part of his plays were '''labār''' which are known as '''viduṣak''' in Indian classical theatre, who used to come in the middle of the play just to entertain the audience by doing some comedy.<ref>{{Cite book|last=Narayan|first=Badri|title=Culture and Emotional Economy of Migration|pages=76}}</ref> The characters of the plays of Bhikhari Thakur are of types representing the general rather than the particular. For example, in the play [[Bidesiya (play)|Bidesiya]], the character of ''Bidesi'' represents all the young men who used to go to Assam and Bengal for earning. Similarly ''Batohi'' means ''Traveller'' and represents a random person who is going to Kolkata.<ref name="Chaturvedi"/> | ||
He incorporated everything that he found appropriate and exciting from other popular theatre in his plays. His Bidesiya is the blend of religious, secular, [[Tragedy]], [[Comedy]], traditional and modern theatre genre. He also included instruments like [[Tabla]], [[Harmonium]], [[Dholak]], [[Sitar]], [[Cymbal|Jhal]], and [[Flute|Bansi]]. He also adopted all the popular Bhojpuri Folk songs genre in his plays like [[Biraha]], Purbi, [[Kajari]], Alha, Fagua, Chaita, Sorathi, Chaubola etc.<ref name="Prakash" /> He also created a new form of [[Chhand (poetry)|Chhand]] which are called ''Bidesiya Chhand'', unlike the chhands in vernaculars, which are [[Matrika metre|Matrik]], Bidesiya chhand is ''Varnik'' or syllabic like classical sanskrit poetry, which have 32 syllables in each line like ''Ghankashari Chhanda'' of Sanskrit.<ref>{{Cite book|last=Shandilya|first=Rajeshwari|title=Bhojpuri Lokgeetan me geeti tatva|publisher=Bhojpuri Sansthan|year=2001|location=Patna|pages=189}}</ref> For example in [[Bidesiya (Play)|Bidesiya]], ''Pyari'' is expounding her husband's appearance to ''Batohi'':<ref>{{Cite book|title=Bhikhari Thakur Rachnawali: Part 1|publisher=Lok Kalakar Bhikhari Thakur Aashram|year=1979|location=Qutubpur (Saran)|pages=33}}</ref> | He incorporated everything that he found appropriate and exciting from other popular theatre in his plays. His Bidesiya is the blend of religious, secular, [[Tragedy]], [[Comedy]], traditional and modern theatre genre. He also included instruments like [[Tabla]], [[Harmonium]], [[Dholak]], [[Sitar]], [[Cymbal|Jhal]], and [[Flute|Bansi]]. He also adopted all the popular Bhojpuri Folk songs genre in his plays like [[Biraha]], Purbi, [[Kajari]], Alha, Fagua, Chaita, Sorathi, Chaubola etc.<ref name="Prakash" /> He also created a new form of [[Chhand (poetry)|Chhand]] which are called ''Bidesiya Chhand'', unlike the chhands in vernaculars, which are [[Matrika metre|Matrik]], Bidesiya chhand is ''Varnik'' or syllabic like classical sanskrit poetry, which have 32 syllables in each line like ''Ghankashari Chhanda'' of Sanskrit.<ref>{{Cite book|last=Shandilya|first=Rajeshwari|title=Bhojpuri Lokgeetan me geeti tatva|publisher=Bhojpuri Sansthan|year=2001|location=Patna|pages=189}}</ref> For example in [[Bidesiya (Play)|Bidesiya]], ''Pyari'' is expounding her husband's appearance to ''Batohi'':<ref>{{Cite book|title=Bhikhari Thakur Rachnawali: Part 1|publisher=Lok Kalakar Bhikhari Thakur Aashram|year=1979|location=Qutubpur (Saran)|pages=33}}</ref> | ||