In the rich tapestry of Bengali folk theater, Chapal Bhaduri stands as a singular figure, a living bridge between tradition and modernity. As the last known male actor to play female roles in the "jatra" tradition, Bhaduri's career spans decades of cultural evolution, reflecting both the artistry and the societal shifts that have shaped Bengali theater. His journey, captured in the iconic photographs and the groundbreaking documentary "Performing the Goddess: The Chapal Bhaduri Story," is not just a story of an actor but a testament to the enduring power of art and identity.

Bhaduri's transformation into character was both a practical and a deeply ritualistic process. Before applying makeup, drawing on eyebrows, affixing eyelashes, and donning a bra, blouse, wig, and golden jewelry, he would place his hands together as if in prayer. The final touch, the application of a "third eye" on his forehead, marked his complete transformation into Shitala, the Hindu goddess of ailments, including smallpox. This moment, captured by photographer and publisher Naveen Kishore, is not just a visual representation but a profound statement of identity and purpose.

Kishore's documentary, released in 1999, brought Bhaduri's story to the world, highlighting the unique place he held in the "jatra" tradition. "Until then, he is (a) man becoming a woman. With the third eye, he becomes the goddess," Kishore explained in a video interview. "Then there’s no more banter, no humor, no cracking jokes or singing in a bad voice." This transformation was not just cosmetic; it was a spiritual and emotional journey that defined Bhaduri's art.

Born into an acting family, Bhaduri joined a "jatra" troupe in the 1950s, a time when men routinely performed female roles due to the absence of women actors. Using the stage name Chapal Rani, he quickly became a prominent figure in the Calcutta (now Kolkata) theater scene. However, as more women began participating in "jatra" productions in the 1960s and 1970s, Bhaduri found it increasingly difficult to secure work. By the time he met Kishore, he was in his 60s and performing only a handful of times a year for meager pay.

Kishore, who was running a theater publication at the time, was struck by Bhaduri's plight. He photographed the actor getting into costume, and the resulting black-and-white images were picked up by a curator and sold. Kishore gave the proceeds to Bhaduri, who later approached him seeking work, offering to cook or even make coffee. "I was in tears at my own inability… because I saw him as a star, and I thought, ‘Why would I give him a job in a kitchen?’" Kishore recalled. It was then that he decided to produce a documentary, not just to tell Bhaduri's story but to preserve a dying art form.

As a preparatory study for the film, Kishore arranged another photo shoot with Bhaduri at his home, this time in color. The photographer's approach was unobtrusive, allowing Bhaduri to feel at ease. "My entire practice is a shy one; I often lose a lot of good photographs because I feel I might be intruding," Kishore said. "The shoot itself was just him and me, and so it was natural. There’s no artifact. There’s no touching-up or anything—that’s part of the way I photograph."

Speaking from his care home in Kolkata, Bhaduri recalled the relaxed atmosphere of the shoot. "Naveen told me to forget that he was taking my pictures," he said in an email interview via a translator. "He said, ‘Erase me from your mind. You just do your thing like you always do. Don’t look at the camera.’" The resulting images, now on display at the Smithsonian’s National Museum of Asian Art, offer an intimate glimpse into Bhaduri's craft. His metamorphosis unfolds through the photos, which include shots taken via mirror reflections as he applies bright red lipstick and a circular crimson "tilaka" on his forehead.

These images became the opening scenes of "Performing the Goddess," a 44-minute character study that sees Bhaduri recounting stories from his life and career. The film, composed mostly of interview footage, captures the actor breaking into character monologues and discussing his theater experiences, from near-kidnappings by men convinced he was a woman to studying the mannerisms of brothel madams in Kolkata's red-light district. Kishore's patience paid off when Bhaduri, unsolicited, spoke at length about a three-decade relationship with a married man. This candid discussion of his sexuality in the conservative climate of 1990s India was one of the reasons the documentary was so well received.

"Performing the Goddess" was shown at film festivals and aired on Indian television. The preparatory photos were exhibited at various museums, sold at a Sotheby's auction in 2007, and later acquired by the Cincinnati Art Museum. This ongoing exposure led to what Kishore called a "strange resurrection" of Bhaduri's career. Asked about the impact of the project on his life, Bhaduri said he relished the chance to bring his art to new audiences, both in India and overseas. "People said, ‘You have taken the story of Goddess Shitala, which usually takes place in fields and street corners, to such unimaginable heights,’” he said. "That was my ultimate reward."

Chapal Bhaduri's story is a poignant reminder of the power of art to transcend time and circumstance. His dedication to the "jatra" tradition, despite the challenges he faced, is a testament to the resilience of cultural heritage. In an era where traditional art forms are increasingly threatened by modernization, Bhaduri's legacy serves as a beacon, highlighting the importance of preserving and celebrating the unique voices that define our cultural landscape.

As we reflect on Bhaduri's journey, we are reminded that art is not just a reflection of society but a catalyst for change. His willingness to share his story, both on and off the stage, has inspired generations of artists and audiences alike. In a world that often marginalizes those who do not fit neatly into predefined roles, Bhaduri's courage to embrace his identity and his craft is a powerful statement of authenticity.

The ongoing display of his images at the Smithsonian’s National Museum of Asian Art is a fitting tribute to Bhaduri's enduring legacy. It serves as a reminder that the stories of marginalized artists are not just important but essential to our understanding of the human experience. As we celebrate the achievements of Chapal Bhaduri, we are reminded that art has the power to transform, to heal, and to connect us across generations and cultures.

In the end, Chapal Bhaduri's story is not just about the last male actor to play female roles in Bengali folk theater; it is about the timeless power of art to give voice to the voiceless, to challenge norms, and to inspire. His legacy will continue to resonate, not just in the annals of theater history but in the hearts of those who recognize the transformative power of art.