Naach, Launda Naach or Bidesiya

• Published in: Performance research Vol. 22; no. 5; p. 106
• Main Author: Dost, Jainendra Kumar
• Format: Journal Article
• Language: English
• Published: Abingdon Taylor & Francis Ltd 01.08.2017
• Subjects: Actors; Caste; Cultural values; Gender identity; Masculinity; Name changes; Otherness; Performance (Arts); Traditions; Bihar India
• ISSN: 1352-8165; 1469-9990
• DOI: 10.1080/13528165.2017.1384187

This article will look at the social politics of name changing or (re) naming of the folk theatre form of Bihar, India called Naach. It will attempt to analyze how caste-class structures and gender politics have led to the (re) naming of Naach as Launda Naach and as Bidesiya over the years. It shall argue that the (re) naming of Naach as Launda Naach is a strategy employed by the upper castes and classes of Bhojpuri society as a way of belittling a popular folk tradition that belongs to the Other. One of the most prominent characteristics of Naach is female impersonation by male actors. When these male actors are referred to as laundas, it is considered an abuse. The word launda literally means a young boy but in everyday language, it is considered a derogatory term suggesting a man who is effeminate, vulgar, immature and from an inferior class or caste. The word also precariously stands at the edge of moral boundaries prescribed by society and thus the addition of the word launda to naach thus becomes a way of stigmatizing the form. Furthermore, when Naach or Launda Naach is replaced with the term Bidesiya (which literally means 'migrant'), by the urban elite, the exercise flattens out other dominant themes like feminism, caste-struggle, child marriage, dowry that are a prominent part of the performance tradition of Naach. The article will argue that the popularity of the legendary artist Bhikari Thakur lead to the dominant elite to co-opt him by calling his folk tradition Bidesiya.