Kaka ( Naveen Choubey) and FDI in retail

Kaka ( Naveen Choubey) and FDI in retail

Kaka was not a retail trader whose fate was the core concern in the FDI debate in the parliament. But he was an intrinsic part of what we call mom and pop stores. Kaka was an adorable nuisance who had arrogated himself the task of gratuitously keeping an eye on mobile vegetable venders, local grocery shoppers, gossipmongers at Paan shops, Bhajan singers and Ganja addicts in local temples, potential and real love affairs and sundry happenings in the Mohalla. He had a vantage point, mostly a tree shed, from where he would watch all the goings-on in the vicinity, sitting on a rope-woven cot.  

He was generous in offering unsolicited advices to any one who cared to listen (or even did not care to listen). The advices had a fantastic range. He could be seen railing against the youths for destroying culture. His captive audience on save- culture speeches would mostly be unemployed youths going to or coming from nearby Paan kiosks to while away time.

Next moment Kaka could be seen lamenting on venality in the society. This time, he had Sharmaji ( a Babu in MPEB) or Verma Ji ( a postman) or Shrivastava ji (a food inspector) or any one like them as trapped listeners.

By the time, office goers would start on bicycle for offices, youths for colleges and children for schools, Kaka had read local and national news in the newspapers he had brought with him on the vantage point many times over. His itch to share special comments was irrepressible.

The motley neighbourhood crowds of children, youth, servicemen, housewives, grocers, venders, bicycle-repairers, quacks or vagabonds  of the Mohalla had no choice but to surrender to the Kaka’s tirade against the society as a whole. “ Hamare Zamane Main” would be his refrain in most of the talks.    

But how the Kaka was intrinsic part of the retail trade culture? Well, Kaka was not always a cynical old man fulminating on this or that issue. He would help housewives get grocery items quickly by sending some youths in the surrounding on errands to retail shops.

He could also be an arbiter in disputes between vegetable venders and housewives on money transactions. He was, in many ways, conscience keeper of the Mohalla.

Much as the youth and children might make him butt of jokes, much as housewives might snigger at his interventionist streaks, much as office-goers might scoff at his lament on corruption, the Kaka was part and parcel of the Mohalla culture. His absence would be sorely missed.

So, who was Kaka? He was not just one individual. Kaka was a character born out of close-knit Mohalla culture in small cities and Kasbas. He could be seen in old parts of big cities like Bhopal, Jabalpur or Indore as well. 

Kaka was essentially a lower middle class old man who had a lot of time to release his nervous energy on subjects ranging from local to international.

He could be a retired postman/ schoolteacher or a small time trader. Although irascible, Kaka was not crooked. He would be the first to help make preparations for funeral in neighbourhood. In marriage functions too, he would be among the most enthusiastic hosts, never mind if he was invited indeed.  

That Kaka is now an engendered species. The post-liberalisation culture of pizza/Berger and malls has swallowed him.      

If he still lives in his eloquent best, it is in ‘Nithalle Ki Diary’. The play by Vivechana theatre group of Jabalpur is arguably the most staged Hindi play in MP.

Director Arun Pandey conceived and scripted the play based on satirical stories of great satirist Harishankar Parsai more than two decades ago. Since then ‘Nithalle Ki Diary’ remains flagship production of Vivechana.

Kaka is the sheet anchor of several stories strung together in the play.

My one of the best friends Naveen Choubey essays the Kaka’s role. Naveen has immortalized the character. He had taken the accent for Kaka from our common friend late Mahesh Bajpeyi.

The slow and biting Bundelkhandi accent of Mahesh Bajpeyi suited Kaka well. Naveen internalized the character on stage so perfectly that even for the audience absolutely ignorant of Bundelkhandi the sheer force of dialogue delivery accompanied by quaint mannerism would delight them. No wonder then the play has been hit across India.