Subaltern Narratives in Bhanubil : A Critical Analysis of Colonial Exploitation, Resistance, and Identity/ ভানুবিল নাটকে প্রান্তিক কণ্ঠস্বর : ঔপনিবেশিক শোষণ, প্রতিরোধ ও আত্মপরিচয়ের সন্ধানে মণিপুরি জাতির নাট্যিক বয়ান

Abstract

This paper critically analyzes Shubhashish Sinha’s play ‘Bhanubil’ as a significant contribution to the theatrical history of peasant resistance in Bangladesh. Moving beyond the dominant Bengali-centric narratives, the study focuses on the overlooked 1935 Manipuri peasant rebellion in Bhanubil. Drawing on the theoretical framework of Subaltern Studies, as articulated by Antonio Gramsci, Ranajit Guha, and Gayatri Chakravorty Spivak, this research argues that ‘Bhanubil’ functions as a “counter-history.” It challenges conventional historical accounts by giving voice to the marginalized Manipuri community and their multi-layered struggles against historical-geographical displacement, economic-political exploitation, and cultural-linguistic suppression.

             This paper employs a qualitative research methodology, utilizing critical theatrical analysis to examine Shubhashish Sinha's play ‘Bhanubil.’ The paper examines how the play’s use of language—contrasting the landlords’ hegemonic Bengali with the Manipuris’ native Bishnupriya Manipuri—symbolizes the power dynamics and cultural resistance. It further demonstrates that the rebellion was not merely an economic protest against oppressive taxation and forced labor but a profound struggle for a unique cultural identity and existence. The analysis highlights how the rebellion united both Hindu and Muslim Manipuri communities, as well as men and women, against a common oppressor, underscoring its broad, inclusive nature. Furthermore, the study explores how the play’s use of folk theatre techniques, music, and dance serves to preserve and present this oral history, making it a compelling and relevant document for contemporary discussions on marginalization and cultural preservation.

             By analyzing the play's narrative and theatrical techniques, this study concludes that ‘Bhanubil’ is a powerful theoretical statement, proving that the subaltern can indeed speak through their own cultural and artistic mediums. The research asserts that this theatrical work ensures the rightful place of the Manipuri rebellion in historical discourse, moving it from the margins to the mainstream and providing a model for understanding similar struggles of oppressed communities worldwide.