Filmmaker Rajeev Kumar’s documentaries record the journey of painting and the tradition of Punjabi rangmanch

‘If it was not documented, it did not happen.’

Such is the power of documentation, but it’s a realm that calls for an extra impetus. India may have won an Oscar for its documentary The Elephant Whisperers. Year after year its documentaries might be creating a buzz on the global stage. But there is no doubt that documentaries still remain a niche segment.

So feels National Award-winning filmmaker Rajeev Kumar. Indeed, it doesn’t stop him from dedicating both his energy and passion to documenting Punjab’s rich heritage as well as exploring its contemporary concerns. Though his filmography includes acclaimed films like Nabar, he shares how his cinematic journey began with non-fiction. Being associated with the magnum opus Surabhi, India’s longest-running cultural series, love for documenting facts goes back in time. Even as a student of the Department of Indian Theatre, Panjab University, Chandigarh, he made a documentary on the radical Punjabi poet Avtar Singh Pash.

More recently, he has created and produced a clutch of documentaries, two of which chronicle Punjab’s history of theatre and another of its visual arts. Directed by Santiniketan alumnus Tarsem Singh Sidhu, Punjab di Chitarkala records the journey of painting since times immemorial. Parda Uthan Te, directed by Jagdish Tiwari, is undeniably a treasure trove of facts.

Apart from informing us how the first Punjabi play Sharab Kaur was made in 1895, the documentary provides an overarching view of the long-standing tradition of Punjabi rangmanch. From the grand dame of Punjabi theatre Norah Richards, to the first actress of Punjabi stage Uma Gurbax Singh, to setting up of the department of theatre in Panjab University in 1972, to contemporary stalwarts who have taken Punjabi theatre to newer heights, the film touches upon many important landmarks.

Similarly, Punjab di Chitarkala traces the significant markers of visual arts. Tarsem informs, “It’s an educational film, especially designed for students. It dispels myths and establishes Punjab’s priceless legacy in visual arts.”

Dipping back to the Kushan period to painting in Maharaja Ranjit Singh’s reign, it takes note of the present trends in the world of colours and imagination, even as AI emerges as a major disruptor. Since one can’t help but wish the makers had included clips of stage performances in Parda Uthan Te, to make it more dynamic and engaging, Rajeev is open to constructive criticism and ready to incorporate necessary changes. He does share how making these documentaries, especially getting stakeholders on board, was an onerous task. However, there is no denying the archival and informative value of the films. Come to think of it, given the import of such films, Rajeev observes, “These documentaries should have been made long ago.”

The genesis of not just these two documentaries, but many more in the pipeline owe it’s birthing to the ardour of NRI Jasjeet Singh, who had earlier produced notable film The Black Prince on the life of Maharaja Duleep Singh. When he proposed the idea, Rajeev was reluctant to begin with. But Jasjeet was determined to showcase his home state’s beauty as well as its travesty. Highlighting Punjab was his way of paying back to his roots.

The films will be finally shown on YouTube as well as an app, Quam TV. However, right now as Rajeev is taking both documentaries to its target audiences in departments of fine arts, as well as theatre in colleges and universities in Punjab, the response has been more than encouraging. Many experts are hailing it as an index, a ready reckoner for those desirous of a deep dive into these disciplines.

Documentary-viewing might not yet be a culture in India, but Rajeev is optimistic, more so since distribution is no longer an obstacle race. He elucidates, “With the advent of YouTube there has been democratisation in the process of distribution.” Making documentaries, as of now, is certainly not a money-minting enterprise, but more a labour of love. But he is positive, “It’s a matter of time when these will turn into a profitable model.” Till then, government patronage is needed. But since a host of documentaries on burning issues like illegal mining could ruffle the feathers of the powers that be, Rajeev is not very hopeful on that front. Viewers’ endorsement, however, is something he is truly counting upon.

While many OTT platforms are relying upon sensationalism and crime-fuelled documentaries, but with interest for variegated content growing since Covid, Rajeev believes there is enough viewership for meaningful and purpose-driven content. Between fact-based documentation and flight of imagination, he doesn’t find one more challenging than the other. Often, as the line between the two fuses, like in his film Dushman, which is sourced in an actual case of honour killing in Haryana, he views himself quintessentially as a story-teller.

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