Tamasha, a centuries-old Marathi entertainment tradition, has captivated Abhishek Khedekar's lens. His six-month immersion with Tamasha troupes between 2015 and 2016 resulted in a captivating exhibition titled 'Tamasha' at the Dilip Piramal Art Gallery at the NCPA. Curated by Bharat Sikka, the exhibition is a masterful blend of docufiction, combining photographs with photographs of photographs, archival imagery, and assembled collages. This approach transcends mere documentation, offering a layered narrative that delves into Khedekar's unique encounters with Tamasha.
Tamasha, a traveling theater form, blends music, dance, and storytelling, traditionally incorporating devotional songs, skits, and heroic ballads. However, in recent decades, it has evolved to incorporate contemporary entertainment forms. Khedekar's journey began with a challenge, as he struggled to gain access to Tamasha troupes for his final-year project at the National Institute of Design. His perseverance led him to Narayangaon, where he immersed himself in the world of the Tukaram Khedkar Sahe Pandurang Mule Manjarvadikar Tamasha Mandal.
Khedekar's experience was marked by a deep connection with the troupe, sharing their simple meals, sleeping in tents and buses, and adhering to their demanding schedules. He observed the troupe's living quarters, where each member claimed their space with a steel trunk containing their belongings. The exhibition showcases his unique ability to capture the essence of Tamasha, as seen through his constructed collages. One striking image, for instance, transforms a man swimming in a river into a surreal scene with thorns floating on the water's surface, adding depth and symbolism.
Khedekar's work also highlights the challenges faced by Tamasha troupes. He documented subtle and overt acts of hostility, including caste discrimination and gender-based aggression. A woman's scar, a result of a bottle thrown by a drunk audience member, serves as a stark reminder of these issues. Despite historical associations with Mang and Mahar communities, Tamasha now welcomes performers from diverse castes, though social prejudice persists.
The exhibition also explores the evolving nature of Tamasha. Khedekar observes the introduction of new props and modifications to acts, reflecting changing audience tastes. Avikshkar Mule, the third-generation owner of the Tukaram Khedkar company, exemplifies this adaptation with extra lights, a disco ball, and a rain machine. He even employs a hip-hop troupe, showcasing the troupe's efforts to remain commercially viable in a changing landscape.
Khedekar's photographs demand close study, revealing embedded meanings. A disco ball, prominently displayed in one image, symbolizes the troupe's efforts to stay relevant in a declining interest in traditional Tamasha. As Tamasha evolves, it continues to captivate audiences and preserve its rich cultural heritage, offering a fascinating glimpse into a world of tradition and transformation.
