‘Bayen’: A tale of a woman’s struggle in a deeply superstitious society

On June 10 & 11, the National School of Drama, as part of their ‘Summer Theatre Festival’ organised a brilliant act of Mahasweta Devi’s ‘Bayen’, directed by Usha Ganguly.
The act starts with a few women talking about the nature of men and how their temperaments can escalate to violence over the slightest mistakes made by women. And while the women engaged in discussions and made jokes, suddenly there was a loud bell.The atmosphere then becomes tense and a woman, wearing old clothes, her hair in a mess, enters the scene while sounding the bell. As soon as the group of women hear the bell, they turn their faces to the other side.
To the women, she is a figure of dread, someone who should not be looked at for it can bring misfortune, she is ‘Bayen’.
The act then transports the viewers to some years ago and introduces a woman Chandidasi. Chandi was born into the Dom community who were traditionally tasked with the burial of deceased children. After her father’s death, Chandi took charge of doing the burial and last rites of young children, a work that even the strong-hearted men could not do.

Chandidasi's life takes a turn when she meets Malinder, an eligible bachelor from her community. The first time they meet each other, Malinder instantly falls for her courage and ethics. Soon, their love blossoms, and it all leads to their marriage.
The early days of their union were blissful and calm, and as a cherry on top, they were blessed with a baby boy who both Malinder and Chandi loved dearly.
Unfortunately, their happiness did not live long. Gossip and superstitions started to plague Chandidasi’s life. The villagers question how a woman with a child can bury children with such ease, all of them forgetting that they were the ones who requested her to pick up the shovel so that their deceased kids are given proper burials and are not eaten by animals in the wild.
Soon, Malinder’s sister, who has a grudge against Chandi accuses her of bringing misfortune to the family. To make things worse, her sick daughter succumbs to death and the accusations on Chandi increase.

The worst of it all was that Malinder who always stood like a rock with Chandi also questioned her if she had a hand in the innocent child’s death.
One fine day the village experiences heavy rainfall and thunder and Chandi is afraid about the animals desecrating the graves of children. In a resolve to protect these innocent souls, she ventures out of her home late at night and starts digging graves even deeper so that the wild animals can’t catch a hold of the bodies.
Sadly, her actions are misinterpreted by some men who catch her in the act and accuse her of re-digging the graves of children and then eating them. They bring these accusations to Malinder, who, influenced by the villagers, disowns Chandidasi publicly.
As the mob gathers to beat and kill her, the women of the village intervene. But, the intervention was not out of compassion, but from self-interest. They realise that without Chandidasi, no one will be left to bury their own deceased children, leaving them vulnerable to animals. Thus, a compromise is reached. Chandidasi is exiled to the outskirts of the village, marked as a Bayen who must ring a bell to announce her presence, ensuring she remains unseen and untouched.

The tragedy of her life does not end here. When her grown-up son finally realises who his mother is and talks to her, the same day she is killed in a train accident.
Today, ‘Bayen’ is not just Chandidasi’s story but also a powerful example on the plight of women who are subjected to prejudice and superstition. It lays bare the harsh reality of how society favours women only when they are needed and discards them when they are not.