How did you discover and/or invent culture therapy and how would you define the term in your own way?

The two words – 'Culture' and 'Therapy', convey two distinct concepts. I was in charge of prisons now called 'Correctional Homes' in West Bengal. I noticed that among the prison inmates, there were many talents who put up impromptu performances during my visits. I was impressed. I also noticed apathy depression and desolation amongst the inmates. But they livened up during these performances. I felt cultural activity would be therapeutic for them in their depressive state. That is when the idea of introducing 'Culture Therapy' occurred to me.

What motivated you to take on such a revolutionary project?

The joy, the sense of elation and happiness on the faces of the inmates motivated me to introduce culture therapy.

How did this all begin?

Pradip Bhattacharya, a theatre personality and a well-known cultural figure in Berhampore introduced me to Culture Therapy at Berhampore Central Jail. We selected Tagore's Tasher Desh (Kingdom of Cards) as it symbolized the mechanized discipline and regimentation of prison life across the world. Their quest for freedom was a theme we wanted to explore. Tasher Desh was a huge success. It was the very first play to be performed outside the prison by inmates.

How did Alokananda Roy, the famous danseuse, choreographer, and teacher step in?

The inaugural performance by prisoners under 'Culture Therapy' programme was performed at Kolkata's Rabindra Sadan in 2007. The then-CM Buddhadeb Bhattacharya attended the performance. It created a storm both in intellectual circles and among the general public. After the huge public response to shows across West Bengal and Delhi, I was looking for someone to teach dance to the inmates to find out its efficacy in improving their mental health. I heard about Alokananda Roy. I immediately invited her to join our team to use dance as a therapy for the inmates.

You must have sent a formal proposal on this project to your higher-ups in the Ministry. What was the reaction?

I had reservations myself about the feasibility of such a revolutionary idea few knew about. It was unthinkable to present public performances by 'hardcore criminals' convicted of crimes ranging from theft, burglary to rape and murder. It had never happened anywhere in the world. But the idea began to take root and I slowly convinced myself that such an endeavour would bring about a revolutionary change in the criminal justice system. But there were risks involved. It was difficult to change the rigid mindset of the people above me at the governmental level. I had expected considerable resistance and it did come. Many made fun of such a 'ridiculous enterprise'. I had to convince Buddhadeb Bhattacharjee, known for his love for culture about the project. I had to also give an undertaking that I would be responsible for any mishap or anything untoward happening at the time of the first public performance.

How did the inmates react?

They were overjoyed that they exploded in thunderous jubilation when I broke the news of the first ever public performance of Tasher Desh. But they still had doubts whether the idea could actually become a reality. I gently explained how difficult it had been for me to get the nod from the state government. I told them that I had to give a personal undertaking that nothing would go wrong at the time of public performance to get clearance from the state government. The inmates pledged repeatedly that they would never to let me down. A family bonding evolved between me and my inmates of Berhampore Central Jail. They repeated this pledge after being transferred to Kolkata for the performance. I was a little nervous in spite of having come so close to the realization of my dream.

When and how did the project begin with how many inmates participated in the first workshop in Kolkata?

The Tasher Desh project began in July 2006. The first in-house performance was in November 2006.  There were about 30 inmates in the workshop including eight women. While we were pre-occupied with the eight performances of Tasher Desh across West Bengal and Delhi, Alokananda Roy had already started working with us at Presidency Jail in Kolkata. She was teaching dance to the inmates. She was overwhelmed with the love and respect they bestowed on her. After a few months, Alokananda Roy and I decided to start the workshop for Tagore's Valmiki Pratihba at Presidency Jail. In Valmiki Pratibha there were about 50 inmates including 10 men.

How did the jail staff react to this novel step within their domain?

There was unexpected resistance from the Unions of Jail Staff at Berhampore and Kolkata. I requested Alokananda Roy to include some staff members in the production so that the staff members and the inmates could work together. This blunted their resistance to some extent. She took five officers and jail wardens in the production.

How is 'Valmiki Pratibha' unique?

The training workshop and rehearsals went on for five months. It was entirely a jailhouse production. We decided that the songs in the dance drama would also be sung by the inmates. I was speechless when Alokananda picked me to sing all the songs of Valmiki because she knew I was a trained vocalist but never sang in public. I gradually prepped myself for this new role. We recorded the songs and the music at SaReGaMa Studios for seven days. I would take the prisoners out on parole for five days to the studio for the recording. I cherish the memories of those days.

You are a very talented artist yourself. Was this one of the reasons that the concept of culture therapy struck you?

Yes, I certainly am culturally inclined. Perhaps to some extent the idea of initiating the culture therapy occurred to me because of this. The fact that Bengal itself is so culturally rich, with artists, dancers and poets in almost every household, I think the evolution of culture therapy as a concept and a practice was almost a
natural progression.

What kind of objections and hurdles did you face in terms of official hurdles, financial hurdles, hurdles from the inmates, hurdles due to the timeframe that might have interfered with the normal routine discipline of the prison time-table, motivating hurdles and so on?

There were financial hurdles because there was no precedence for this kind of activity; therefore, no funds could be sanctioned officially for this project. Also there was a great deal of cynicism amongst the inmates many of whom initially resisted the idea. This included their unfamiliarity with the whole concept, their lack of confidence in themselves traced back to their prisoner status. Some families of the inmates were also sceptic about the project. The staff unions did not like the entry of outsiders into the jails because it came in the way of their total and absolute control over prisoners. But the most difficult hurdle was from my colleagues in the Indian Police Service, most of who spoke against it and the people in the state government, particularly the Minister-in-charge of the jails department. I must concede however, that a few IAS officers were very supportive and showered their love and praise for
this venture.

What made you believe that culture therapy would bring out positive results within the prison inmates?

I believe in the divinity latent within each of us. This includes the prison inmates. I strongly believe that no one is born a criminal and a majority of offences are committed in a fit of rage, in the spur of the moment or due to poverty and other causative factors. So I was convinced that culture therapy would bring out this divinity latent in them. During the entire project, there was not a single case of an inmate dropping out. Since the programme took off in 2007, there have been more than a hundred outings of the prisoners for cultural programmes, art exhibitions, musical concerts, sports competitions, stage dance, and drama productions.

In what way is your successor carrying on the trigger you set in motion?

He has willingly taken on from where I left. Most importantly, the present Chief Minister of West Bengal has been extremely supportive and is taking a personal interest in many of the productions, particularly Tagore's Valmiki Pratibha.

These ticketed performances have garnered funds too, we believe?

Close to Rs 5,000,000 have been collected in the Prisoner's Welfare Fund through these performances. The collection of funds through these cultural performances in the Prisoners' Welfare Funds has led to a rise in the educational activities inside the jails of West Bengal as the entire expenditure on the educational activities for the prisoners is met out of this fund. Money is being given to prisoners for their daughters' weddings and as scholarships for meritorious children.  They have learnt that though they are in detention as prisoners, they can help themselves and their family members.  This has enhanced their sense of dignity and self-respect tremendously which has also led to their complete reformation.