Swang

Swang (also spelled Swaang or Svang) is one of the oldest known forms of folk theatre in North India, blending music, dance, mime, and dialogue into a single dramatic performance. The word Swang literally means ‘imitation’ or ‘impersonation’, derived from the Sanskrit term Svangam, implying acting or disguise. As the name suggests, Swang involves actors imitating characters from mythology, history, folklore, or social life to convey moral, devotional, and entertaining narratives.
It is a theatre of the people, performed in rural settings across Haryana, Rajasthan, Uttar Pradesh, and Punjab, often in open courtyards or village squares. Though informal in structure, Swang has played a crucial role in preserving local dialects, oral literature, and folk music, while fostering social dialogue and communal harmony.

Historical Background

Swang has deep roots in India’s folk and classical dramatic traditions. Its origins can be traced back to ancient Nāṭya traditions mentioned in the Nāṭyaśāstra and the medieval Bhakti movement, when devotional and didactic theatre became popular among common people.

• Early Period: Swang likely evolved from rural storytelling and devotional performances around the 15th–16th centuries. Wandering minstrels and performers travelled from village to village, staging mythological tales and moral stories through dialogue, song, and improvisation.
• Bhakti Influence: During the Bhakti movement (14th–17th centuries), saints and poets such as Kabir, Surdas, and Tulsidas inspired the use of performance as a medium of spiritual instruction. Swang adopted this devotional tone, presenting stories of Ram, Krishna, and other deities in an accessible folk idiom.
• 18th–19th Century Development: By the 18th century, Swang had become an organised performance tradition, especially in the regions of Meerut, Rohtak, Hisar, Karnal, and Aligarh. It incorporated both mythological and social themes, reflecting rural customs and concerns.Prominent playwrights and performers such as Pandit Deep Chand Bahman of Haryana (often called the “Shakespeare of Haryana”) elevated Swang into a refined folk art with literary and philosophical depth.

Regional Spread and Styles

Swang varies across regions, each adapting local language, dialect, and themes.

1. Haryana:
   • The most prominent centre of Swang, where it is performed in Haryanvi or Braj Bhasha dialects.
   • Performances include themes of love, devotion, heroism, and morality.
   • Emphasis on humour, dialogue, and poetic recitation.
   • Notable performers: Pandit Deep Chand Bahman, Lakhmi Chand, and Pt. Mool Chand.
2. Uttar Pradesh:
   • Especially in western UP (Meerut, Aligarh, Mathura regions).
   • Focuses on Krishna Leela, Ramayana, and Puranic stories, performed in Braj and Awadhi dialects.
3. Rajasthan:
   • Merges Swang with local folk theatre forms such as Nautanki and Khyal, using Rajasthani dialects and costumes.
4. Punjab:
   • Shares similarities with Nautanki, often performed in Punjabi and Saraiki dialects, focusing on romantic or heroic legends such as Heer-Ranjha or Sassi-Punnu.

Themes and Content

Swang traditionally drew its stories from Hindu epics, Puranic legends, and folk romances, but over time, it expanded to include historical events and social issues.
Common Themes:

• Mythological: Episodes from the Ramayana and Mahabharata—such as Sita Haran, Abhimanyu Vadha, and Draupadi Cheerharan.
• Devotional: Stories of saints, miracles, and moral virtues, emphasising the power of faith and righteousness.
• Romantic and Folk Legends: Love tales like Sohni-Mahiwal, Heer-Ranjha, and Laila-Majnu.
• Social and Satirical: Later Swangs dealt with social evils like dowry, caste discrimination, alcoholism, and corruption, promoting reform and awareness.

The storytelling combines humour, satire, and moral instruction, keeping the audience engaged while imparting ethical lessons.

Structure of Performance

A Swang performance is a lively combination of drama, music, and poetry, lasting several hours—sometimes through the night.
Typical Structure:

1. Mangalacharan (Invocation): The performance begins with prayers to deities and saints for success and audience well-being.
2. Introduction and Musical Prelude: The Sutradhar (narrator) introduces the story, the performers, and the moral theme. Musical instruments like dholak, harmonium, nagara, and sarangi accompany the opening songs.
3. Main Performance:
   • The drama unfolds through alternating sequences of songs, recitations, and dialogues.
   • The dialogue delivery is highly poetic, using metres such as doha, chaupai, and rasa.
   • Comic interludes and satirical commentary lighten the mood.
4. Climax and Moral Resolution: The story concludes with the triumph of virtue over vice, followed by a moral epilogue.

Language and Dialogue: Swang is performed in the local dialect of the audience—Haryanvi, Braj, or Rajasthani—making it easily relatable. The language is rhythmical, witty, and musical, often accompanied by rhyming couplets.

Music and Dance

Music forms the soul of Swang, integrating folk melodies and rhythms with expressive acting.

• Singing: Each actor sings his or her lines; musical dialogue exchanges (Jugalbani) between characters are a defining feature.
• Instruments: Common instruments include harmonium, dholak, nagara, sarangi, and manjira.
• Dance: Simple folk steps and gestures are used to accentuate emotions rather than technical virtuosity.
• Raagas and Taals: Folk raagas like Kafi, Bhairavi, and Kalyan are used, along with taals such as keharwa and dadra.

Performance Space and Style

Swang is traditionally performed in the open air, often in a village square or temple courtyard, with the audience sitting in a semi-circle around the performers. There is no elaborate stage, curtain, or scenery. The focus remains on dialogue delivery, singing, and expressive acting rather than visual spectacle.

• Costumes: Actors wear simple yet colourful attire reflecting the character’s role—kings, sages, gods, or commoners.
• Make-up: Natural colours and minimal makeup are used, as performances are held under open light.
• Gender Roles: Traditionally, Swang was performed entirely by men, with male actors enacting female roles. However, in recent times, women troupes have also taken part, bringing a new dimension to the art form.

Important Figures and Playwrights

1. Pandit Deep Chand Bahman (1850–1940):
   • A literary genius from Haryana, considered the pioneer and reformer of Swang.
   • His plays combined philosophical depth with social realism and poetic beauty.
   • Famous works: Satyavan Savitri, Harishchandra, Puranmal, and Jhansi ki Rani.
2. Lakhmi Chand (1903–1945):
   • Revered as “Surya Kavi” of Haryana, he modernised Swang by infusing it with folk wisdom and lyrical brilliance.
   • His performances were known for emotional intensity and moral depth.
3. Pandit Mool Chand and Pandit Shivlal:
   • Contributed significantly to the preservation and spread of Swang in rural North India.

Social and Cultural Significance

Swang is not just entertainment—it is a vehicle of cultural education and moral reflection.
Cultural Roles:

• Moral and Religious Education: Teaches ethics, devotion, and social values.
• Community Bonding: Performed in village gatherings, fairs, and festivals, fostering unity and shared cultural pride.
• Social Commentary: Offers satire on human vices and social evils, subtly inspiring reform.
• Preservation of Language and Folk Heritage: Keeps alive dialects like Haryanvi, Braj, and Rajasthani and promotes regional music traditions.

Through its humour, music, and emotion, Swang remains an accessible art that mirrors the life and conscience of rural India.

Relation to Other Folk Theatres

Swang is regarded as a precursor to other North Indian folk theatre forms, notably Nautanki and Raas Leela.

• Nautanki, which emerged in the 19th century, borrowed Swang’s musical dialogue and poetic structure but adopted a more theatrical presentation.
• Raas Leela evolved alongside Swang, sharing its devotional and narrative elements rooted in Krishna worship.

Contemporary Relevance

In modern times, Swang faces challenges due to the rise of cinema, television, and digital entertainment. However, it continues to be performed in rural festivals and cultural events in Haryana and Uttar Pradesh, often supported by state academies and cultural organisations.
Efforts are being made to revive the tradition through:

• Documentation and research by universities and folk art councils.
• Inclusion in cultural festivals like Surajkund Mela and Haryana Day celebrations.
• Training programmes and workshops for new generations of artists.