Kalaspandan

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PÁAiÀÄðPÁj ¸ÀA¥ÁzÀPÀgÀÄ: UÀÄgÀIJæà GzÀAiÀÄPÀĪÀiÁgï ±ÉnÖ

• Volume: 3 • 10 NOVEMBER 2011 • Pages: 16 • Issue: 30 th

Incorporation of

classical

dance as a subject in school education

Kathak: What does it mean to learn?

Folk Arts

of Andhra Pradesh

2

PÀ¯Á¸ÀàAzÀ£À 10 £ÀªÉA§gï 2011

KALASPANDAN 10th NOVEMBER 2011

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Kalaspandan offerts to publish advertisement for Aramgetram, Dance School Anniversary, Workshop and many more.

For further details contact : 94480 - 46368 email: kalaspandan@gmail.com - Udaykumar Shetty Editor & Publisher

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KALASPANDAN 10th NOVEMBER 2011

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Contents

GzÀAiÀÄPÀĪÀiÁgÀ ±ÉnÖ G¥À¸ÀA¥ÁzÀPÀ

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Incorporation of classical dance as a subject in school education Bharathanatya extravageza at Kentucky, USA What does it mean to learn?

Folk Arts of Andhra Pradesh

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Capt. Ganesh Karnik Vice President, N.R.I. Cell, Govt. of Karnataka

Madan. R Chairman, Notus Pharmaceuticals Pvt. Ltd.

Sri Gourishankar

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Administrator, Dakshinanmaya Sri Sharada

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Tulu Sahitya Academy Award winner,

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KALASPANDAN 10th NOVEMBER 2011

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KALASPANDAN 10th NOVEMBER 2011

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KALASPANDAN 10th NOVEMBER 2011

Incorporation of classical dance as a subject in school education

Na Tath Gnaanam, Na Tath Shilpam, Na Saa Vidyaa, Na Saa Kalaa, Na Sow Yogo, Na Tath Karma, Natyesmin Yannadrushyathe.

There is no wisdom or knowledge, no art, no craft, no device or action that is not found in Natya. The line quoted from the Natya Shastra, a treatise on Indian dance, music and drama that dates back to nearly two thousand years.

“Dance is the mother of all arts. Music and poetry exists in time, Painting and architecture in space. But the dance lives at once in time and space” (World History of Dance- Curt Sachs) "Dance is the most immediate and accessible of the arts because it involves your own body.

When you learn to move your body on a note of music, it's exciting.

You have taken control over y o u r body, and by learning to do that, you discover that you can take charge of your own life."An expression by Jacques D' Amboise that is so poignant, that it sets you thinking.

As dance in particular was intractably woven into the religion, the term ‘art’ for art’s sake did not apply here, because the ultimate goals of the dance was not merely for beauty, esthetic pleasure, entertainment or simple diversion from daily life.

The goal was to bring one closer to the spiritual oneness when the finite social mergers with Infinite Being.

Indian Classical Dance is a relatively new umbrella term of various codified art forms rooted in Natya, the sacred Hind musical theaters style, whose theory can be traced back to the Naty Shastra of Bharat Muni (400 BC).

Classical Dance in India is an eloquent expression of an ancient tradition, in which every action, be it the pursuit of knowledge, skills, craft or an art form, and become a stirring ritual and offering to the divine.

Regional Styles of Classical Dance: 1. Bharatanatyam 2. Kathakali 3. Kathak 4. Odissi 5. Mohini Attam 6.

Kuchipudi 7. Manipuri 8. Sattriya Dances Indian classical dance contributes to what defines us as a nation, a generation, a gender, a person. Often we hear the saying - To understand the culture, study the dance. How could we omit something so profound from our education system? The true object of education is to develop human personality in all its aspects. And man is not just his intellect alone. Nor is he just his body. He is a bundle of emotions and harnessing these emotions will play a vital part in his development as an individual.

Dance is the form of vibration of our body and mind. It is a form of worship through which a dancer can reach the Almighty. It is a form of Yoga. A dancer can only reach this stage through the continuous training i.e. 'Sadhana'. So in my view the child who will learn dance, the first thing she has to undergo a hard training from which she will learn discipline and patience which are the most important factors in a child's life.

Dance ispure joy. Training in classical dance results in the blossoming of the mind, body and soul - a thorough development of the personality.

Emotions are used effectively to exercise the mind and body, leading to a complete catharsis of pent up energies - positive or negative - further leading to a volcanic outburst of joy, that which can only be experienced, not written or spoken about. In dance education at its finest, students feel this magic or transcendence of dance.

For students’ their schools are considered as the second home, after the original residence where they live with their parents. Spend regularly a quality time among the large number of friends from various cultural backgrounds and with teachers, continuously for ten to twelve years. Which help them to imbibe themselves with cultures, values, attitudes etc of different classes of people, at the same time they also make others to get acquainted with their respective value system. Their making and mending of attitudes, behaviours are going on for several years. In other words that huge diversity helps them to enrich their lives, which imparts them with the cognitive notion of discerning ability.

Plato once espoused, “The Dance of all arts is the one that most influences the s o u l s .”

Our Rabindra Nath Tagore had gone one step forward to evoke his faith on music (Dances+Songs+Instruments) as one of the invaluable tools for the character development.

• SATTRIYA

Dance is a powerful ally

PÀ¯Á¸ÀàAzÀ£À 10 £ÀªÉA§gï 2011

for developing many of the • BHARATANATYAM attributes of a growing child.

Dance helps children mature physically, emotionally, socially, and cognitively. The physical benefits of dance are widely accepted, but the emotional, social and cognitive attributes have only recently begun to be appreciated.

1) Physical Development: Dance involves a greater range of motion, coordination, strength and endurance than most other physical activities.

This is accomplished through movement patterns that teach coordination and kinesthetic memory.

Dancing utilizes the entire body and is an excellent form of exercise for total body fitness. Young children are naturally active, but dance offers an avenue to expand movement possibilities and skills.

2) Emotional Maturity: Dance promotes psychological health and maturity.

Children enjoy the opportunity to express their emotions and become aware of themselves and others through creative movement. A pre-school child enters a dance class or classroom with a history of emotional experiences. Movement within a class offers a structured outlet for physical release while gaining awareness and appreciation of oneself and others.

3) Social Awareness: Dance fosters social encounter, interaction, and cooperation. Children learn to communicate ideas to others through the real and immediate mode of body movement. Children quickly learn to work within a group dynamic. As the ongoing and sometimes challenging process of cooperation evolves, children learn to understand

themselves in relation to others.

4) Cognitive Development: Young children will create movement spontaneously when presented with movement ideas or problems that can be solved with a movement response. Movement provides the cognitive loop between the idea, problem, or intent and the outcome or solution. This teaches an infant, child and, ultimately, adult to function in and understand the world.

The relationship of movement to intellectual development and education is an embryonic field of study that has only recently begun to be explored.

That means co-curricular activities in schools definitely have positive bearing on mental, physical, and emotional development of students to make them responsible citizens of this country. The process of character development is believed to be started as soon as the baby begins to get acquainted with his/her surrounding. But the medical science has convinced us of such development begins at incubation period.

Building of character depends on behavioural pattern, which they inherited from their parents, and it is their attitude that espouses their respective behaviour patterns.

Man can never be completed or balanced unless his emotions are trained and developed, and here comes the need for introducing classical dance in our educational curriculum.

Science is curiosity about life, art is wonder at life, philosophy is an attitude towards life, and religion is reverence for life. True culture includes all these aspects and a cultured man ought to show development along these four lines. Therefore it is only obvious that education in aesthetics is as essential if not more than mere intellectual or physical education.

• MANIPURI

Basically Indian Classical Dances mime out stories from Indian mythology and Puranas include sequence of more abstract dance movement. Indian mythology had been developed around- values, ethics and social

KALASPANDAN 10th NOVEMBER 2011

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moorings which were then practiced in the socioreligious culture, they are still very much relevant in this modern world. Having string attached with the epistemological epithet of mythology, Exponents of classical dancers with their performances a re e n r i c h i n g continuously our culture, imparting some invaluable learning which could influence, inspire, and motive not only aspirant classical dancers but also large cross sections of connoisseurs of Indian Classical Dance. So when a child learn dance they are bound to know the story of Mahabharata, Ramayana, Bhagbat Geeta, Shiv Purana, immortal books of Mahakavi Kalidas etc. So in this way they can also learn the great Indian Literature. So after all their knowledge will be enhanced.

When a child will learn Indian classical dance automatically they will come to know about the rich cultural heritage of India. It is necessary for the school students’ to have a clear understanding of the essence of that great treasure trove. So that they could have some idea of the following gems that we are inheriting in last 2000yrs: Dance, in particular, integrates kinesthetic learning with understanding. Preschool children do not conceptualize abstract processes (Piaget).

They primarily learn through physical and sensory experiences. When children are provided with creative movement problems that involve the selection of movement choices, they learn to think in the concrete reality of movement. Thus, learning the art of dance helps young children develop knowledge, skill, and understanding about the world.

Dance helps children develop literacy. To the child verbal language and movement are entwined.

Proverbial movement expression does not cease when a child develops language. The road to literacy involves the translation of movement expression and communication into words. Learning language and learning dance are not separate threads, but are woven together and incorporated into a fabric of communication and understanding.

Dance provides children multiple perspectives.

It is “A foundation of experience necessary for the future development of more advanced skills and a way to affirm an inner life and alternate realities” (Stinson, 1990). Through dance, children develop enhanced sensory awareness, cognition, and consciousness. It is this heightened state that creates the magic of movement that is dance.

The Standards for Dance in Early Childhood are important because they • Provide a scaffold outlining the breadth and scope of learning and teaching dance as an art upon which to design curricula and course syllabi.

• Standards are a guide, not a directive nor a curriculum. They offer constructive support,

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suggesting areas of curriculum but not defining it. Standards allow each district or school to develop an approach most suited to local or individual values.

• Serve as a springboard for creativity for the learning and teaching of dance making: improvisation, choreography, and composition.

• Standards suggest avenues of creative exploration in the arts-making processes of Performing, Creating, Responding to, and Interconnecting dance learning to knowledge of other disciplines and life skills.

• Define age-appropriate expectations and levels of achievement in the art of dance.

• Standards inform individual schools of dance and school districts what students should know and be able to do in the art of dance at certain benchmark levels when taught by a highly qualified dance teacher in a graduated curriculum.

Dance education in schools is important because it develops kinesthetic intelligence. This intelligence is echoed in other aspects of students' lives. Sometimes dance permits humans to express, communicate and understand ideas, feelings and emotions they could not say or understand in other ways. When students receive dance education, they accumulate information and learn ways of thinking that complement other subjects. Some students through exposure to dance in their schools will go on to obtain pre-professional training needed to become successful dancers or to have dance related careers.

Dance education can be offered in a variety of methods. Students can get a brief taste of the dance forms by way of lecturedemonstrations or small, simple workshops. Else,

• KATHAK

KALASPANDAN 10th NOVEMBER 2011

elaborate capsules of sequentially rich programs may be offered through the year. In the curricular context, classical dance may be a subject on its own or a component within other subjects like Music, Social Studies, Literature or Language. It would be interesting to see how we could interweave dance into Science and Mathematics too.

imperative that our youth be exposed and educated in our rich culture, so that they become channels of expression of our national spirit. The end product of this kind of education will be a cultured citizen, a confident and intelligent human being, a patron of the arts, a living, breathing storehouse of India’s cultural heritage.

Creating and performing dances is one critical component. But a majority of students will not go on to earn a living in dance. Therefore, a broad approach to dance instruction in schools allows students to absorb information according to their capabilities and levels of interest. This helps in generating a complete awareness about the dance form at the school level itself and in the long run, we are creating an informed and intelligent audience for our classical dance forms.

As the saying goes, “Charity begins at home”, that means at first, we, as Indian should take care of our own art form (dance) before drooling for any foreign dance, without indulge in spurious imitation. We should also see that its retains its distinctive feature and that, if any change is made at all, such change must be organic, not sudden, and it must be an evolution in accordance with the heart of the national genius. And so I plead that while dance should form part of our school curriculum it should be essentially Indian for Indian students.

The need of the day is to create a true national spirit and what better manner to do that than by initiating young minds in the classical arts. The greatness or littleness of a nation is determined to a large extent on how the youth are trained. In the first place, they have to be cultured citizens. Each nation has a culture unique to itself, and the classical arts are a vibrant expression of this culture.

Therefore, it would only be

Let me conclude with a sermon of Swami Vivekananda, - “Education is the manifestation of what is already within”. Therefore it is necessary to incorporate classical dance in school education to allow our little buds to help them manifest themselves in becoming a true person in life.

- Sanchita Lahoti Bangalore, Mobile : 08880565690

• KATHAKALI

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Bharathanatya extravageza at Kentucky, USA

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fter successful presentation of Arangetrams from two USA students under the able tutelage and Direction of Dr.Vasundhara Doraswamy, another student from Louisville,Kentucky ,USA Kum.Neha Srinivasan D/o Smt. Chandrika & Sri. Lakshmiraghavan Srinivasan of Louisville,Kentucky, USA presented her Arangetram on 30th July 2011 at Sacred Heart Auditorium, Louisville,Kentucky, USA. The two hours Solo Slot from Bharathanatya Repertory starting from Nruthyanjali, Alarippu, Kauthuam, Kirthana, Varnam, Devarnama ,Lingastacam and Tillana were presented by Neha impressively. And with her histrionic expression, she was able to hold Rasikas intact. Her Performance of Sri Rama Varna set to Kararapriya Raaga and AdiTala, she narrated the episode connected with the life of Sri Rama—especially the sanchari bhava in the Shabari episode brought tears to audience.

Her Nritta and Abhinaya both were receptive and pleasing. She proved to be a Professional Dancer in making. While concluding her performance, she, in her Tillana which was in Mishra Shivaranjini Raaga set to Adi-Taala was a treat to Rasikas. In her Two hours presentation, she has shown her Art taught to her by her Guru in a presentable manner.

The Program was compeered by Smt.Chandrika Srinivasan and Sri Lakshmiraghavan Srinivasan. Light effects by Smt.Poorna Devi Kemparaj Urs. The Second Arangetram of Kum.Shyama Iyer, who is also a disciple of Dr.Vasundhara Doraswamy and the daughter of Smt. Akila Iyer and Sri. Sunder Iyer of Louisville,Kentucky, USA, presented her items from Bharathanatya reportery on 6th August 2011, items starting from Nruthyanjali, Alarippu, Kautuvam,Keerthana, Varnam, Padam, Abhang, and Tillana. While performing Varna which was of Navarasa of which, the main deity is being Meenakshi, Composed by Vid. Lalgudi Jayaraman in Ragamalika , set to Adi- Taala, She was able to depict Navarasas as a mature danseuse. In her concluding Tillana in Aahir Bhairavi Raaga set to Adi-Taala, was full of Nritta which made her steal the hearts of Art Lovers. Kum.Shyama is a dedicated pursuer of Bharathanatya. She received applause from the Rasikas for her Kalinga Krishna Kautuvam.

Her Aremandi and Angashuddhi were visible in her performance. She has a bright future in her Dancing Career. The program was compeered by Smt.Akila and Sunder Iyer. Light effects by Smt. Poorna Devi Kemparaj Urs. Both the Arangetram programs took place at Sacred Heart Auditorium. The live orchestras for both the Arangetram were given by Dr.Vasundhara

Doraswamy on Natuvanga, Vidushi. P.Rama on Vocal, Vid.Jayaram on Flute, Vid.Janardhan on Mridanga, Vid.Pradyumna on Rhythm Pad. In between these two Arangetrams which received the standing ovation from the Audience, Teens Of Kentucky a Non –Profit organization whose main mission is Preventing Cancer in Our Lifetime approached Dr.Vasundhara to present a Solo Bharathanatya for a Fund Raising Program for James Graham Brown Cancer Center Louisville, Kentucky, USA on 31st July 2011 at Kentucky Country Day School. Auditorium, Kentucky. Kentucky Country day school was the Venue Sponsor. Dr. Vasundhara, an established Danseuse and internationally acclaimed Guru and Choreographer, gladly agreed to present a Solo Performance for the noble cause.

Dr.Vasundhara commenced her performance with Melaprapthi continued with Ardhanarishwara of Late Sri Muthuswamy Deekshitar set to Kumudapriya Raaga and Roopaka Taala. In Ardhanarishwara, she has shown unusual hastas and swift Nritta covering the entire stage in between her Abhinaya filled with Grace and Beauty and followed by Janakiramana.

The main item of the evening presentation, Padavarna in Raaga Valachi set to Adi-Taala composed by an established Critic and Dance Historian, Sri Subbudu (Anna me Araginil). In this episode, Devayan, the concert of Muruga is disgust and in anger calls her Sakhi(friend) and says that “My Husband Muruga has fallen into the Trap of Valli, who is of Low caste and a Tribal damsel. I do not know what has happened to him and why is he behaving so cheap? She must have drugged him.

That is why, he is behind her. My friend, let him come back to me, and I will teach him a lesson”.

The entire Varna was presented by Dr.Vasundhara in a clean narrative form, making even a layman to understand the storyline. Her brisk footwork akin to the jathis by Vid.Pradyumna enhanced the stature of the Varna. Her mukhabhinaya expressing different Rasas in the episode were noteworthy.

In her second half, she commenced her performance with Meera Bhajan “Jhulat Radha” blended with Sringara Rasa, narrating the Love lore of Lord Radha Krishna.

Another main item of the evening program was Dashavatara, the ten incarnations of Lord Ranganatha, who is taking rest on “Sheshanaga” in Ksheerasagara (the ocean of milk) was feast to eyes of Art Connoisseurs. Dr. Vasundhara depicted each Avatara with perfect Nritta, Nrithya and Abhinaya for which she received loud applause from the audience.

Her concluding Tillana, composition of Vidushi.Smt. Nagamani Srinath in Raaga “Shivashakthi” set to Adi-Taala in which, Dr.Vasundhara depicted the episode of Saint Kanakadasa, who was driven out of the temple of Lord Krishna by the priests since he was of Low Caste, depriving him of audience of Sri Krishna. He prays the Lord Krishna for Darshan on the back side of the temple. In turn, Lord surrenders to his obeisance and turns back, making a passage in the wall of the temple, giving audience to Saint Kanakadasa. This part of Episode was depicted by Dr.Vasundhara with such a mastery which made her receive standing ovation. Even today, there is an opening in the Udupi Krishna Temple which is popularly known as Kanakana Kindi. The Live Music was scored by Vidushi P.Rama, Flute by Vid. Jairam, Mridanga by Vid. Janardhan, Rhythm pad and Jathis by Pradyumna and Natuvanga by Vidushi Smt.Vani Ramesh of Virginia, USA. The Program was compeered by Dr.Plava Keerthi Kemparaj Urs and Stage Lighting by Smt. Poorna Devi Kemparaj Urs.

- H.Ramaswamy Louisville, Kentucky, USA

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s human beings we discover and retain hundreds of pieces of information on a day to day basis. Through our senses we acquire information, both consciously and subconsciously, be it from reading a book, attending a lecture or simply by observing the world around us. Learning is intellectually stimulating, enriching for the mind and soul, but there are many different ways of learning and some are more effective than others.

it doesn’t, otherwise it would lose its nuances; its beauty, its appeal. It takes hours and hours of rehearsals, years and years of dedication and even then you’re only scratching on the surface.

Yes there are moments of despair but there’s also sheer delight and those peaks and troughs are all part of the journey. Learning for development promotes a strong work ethic which in turn gives you a wonderful feeling of achievement.

I would like to consider what it means to learn and how our approach to learning affects our quest for knowledge. The way that I see it, there are two contrasting ends of the spectrum – learning for assessment and learning for development.

We benefit from the former because it allows us to reflect on our current learning status for future improvement, whilst the latter, learning for development, recognises the act of learning as an ongoing process.

In many ways I feel incredibly lucky to have started my Kathak journey because, out of the context of my degree, it would have not been so accessible to me. Having said that, I was learning the form for assessment and my technique and artistic development certainly suffered because of it. Indian art and philosophy teaches us the importance of the learning process and the Guru-disciple relationship exemplifies this even further. In the west we seem to spend our dancing lives working towards an assessment of some kind but the added stress and pressure that assessment brings jeopardises our training. For

I experienced both ends of the spectrum whilst on my quest for knowledge: to learn, and hopefully embody, Kathak. It is important to understand that I was learning the form for assessment, mostly because it was part of my degree, but I feel that, in the long run, this hindered my learning. Any art form is complex but with their strong cultural roots, centuries old traditions and high-art techniques, the Indian classical arts are particularly difficult to master. My third and final year of university was physically and mentally draining and the pressure to succeed was immensely high. This was mostly my own doing but, nevertheless, the pressure was there. My finals were the result of three years work, I had to do well, didn’t I? The year started well, I put in the time and practice and, most importantly, I enjoyed it. But in the coming months, the pressure mounted and I developed an adverse attitude towards my learning of Kathak. It was the combination of endless practice and minimal results that made me become so frustrated with it. Why couldn’t I embody the intricate mudras hand gestures, why couldn’t I turn consecutively on my heel for chakkadar spins, why couldn’t I lose my inhibitions for the nyrita expressional pieces? My love for Kathak was turning into hate – I cared almost too much for this beautiful dance form – I was more concerned with the assessment (the instant product) rather than the process (the more tangible, long-lasting lesson). I was at a point in my dancing where learning wasn’t enjoyable, I couldn’t find a place of relaxation, nor could I accept that the body takes time to adjust to a new dance technique, and that change would come, but just not yet. Something as rich and defined as Kathak isn’t going to come easily, and thank goodness

KALASPANDAN 10th NOVEMBER 2011

me, the pressure became too much and I spent too much time worrying about how I would be ready for assessment rather than the lessons I was learning and why I was putting myself through it all in the first place. It wasn’t until the last few weeks of training that I began to understand the value of the learning process but, by then, it was too late.

That turbulent year of training taught me one main thing, to be present – in class, in rehearsal, in body and mind. If we are not present, then our learning objectives are easily lost and things become monotonous, uninspired and invaluable. Learning for development, resolves the problems that arise through assessment – the panic, the anxiety, the stress – by allowing one to value the process of learning. But whether you are learning for assessment or learning for development, you should really be learning because you want to. In other words, the interest, the passion, the desire need to be there otherwise it’s all meaningless.

- Lucinda Al-Zoghbi

What does it mean to learn?

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SAMSKRUTHI SAURABHA - 2011 T

he heritage city of Karnatka is Mysore. Mysore is always culturally rich by various performing art forms, its teaching and presentations. samskruthi academy of performing arts organized a 3 days long national dance festival SAMSKRUTHI SAURABHA. Ethnically designed stage backdrop inviting the art lovers took a start by formal onaugration done by Sampath Iyengar. senior art critic S.R.Krishnamurthy and Uday Kumar Shetty were the chief guests, then presided by assistant director of Kannada and Culture Department Annengowda.

The 1st day’s bharthanatyam performance

by Chithkala School of Dance from Bengaluru gave a well scencornized and collective items of Pushpanjali, Devi sthuti devarnama and Tillana,

each nrutya bhanda had the intensity of clarity .

2 day of Samskruthi Saurabha took a start with Vidhushi Divyasena’s solo bharthanatyam. all the compostions had immense rasa and bhava.

The enrichment of each character through her satvika abhinaya got huge appreciation from the art lovers. nd

Same day the second group performance by nrutyagiri, Mysore took a good start with young dancers rendering their dance pieces to lord shiva, which was concluded with Tillana to the able accompanying artists.

The valedictory ceremony of Samskruthi Saurabha had Dr. Vasundara Doraswamy, Smt Krupa Phadke and KSN Prasad as guests. The

bharthnatyam sols performance by Vidhusi Arundathi from Thirthahalli, Shivamogga required little more of angashuddha and control over navarasas. Overall it was a smooth start with devarnama to manglam a colourefull way. The next performance by Bharthanajali, Manglore was throughllu enjoued by one and all for the one hour long dasavatara group performance.

The cheorography was apt and neat. Each dancer had a good angasuddha and easy flow abhinaya.

The symmetry, scincornization, costume were perfect, the musical part gave a huge support of un paralled accompanying artists from kerala to make the audience forget the virtual world.

Overall samskruthi was successful in getting class of dance teams and audience which enhanced the beauty of culture in Mysore.

EVERY FRIDAY CULTURAL EVENING PROGRAMME 29th SUCCESSFUL YEAR Indian Council for Cultural Relations, Department of Kannada and Cultural, Department of Youth Services & Sports, Youth Writers and Artists Guild

Programmes between 15th November 2011 and 15th December 2011 18th November 2011

Ms. Lavanya Vijayakumar, Bengaluru

Bharatanatyam Dance Recital

25th November 2011

Ms. Angabala Irengbam, Bengaluru

Manipuri Group Dance

02nd December 2011

Vidwan Balasubramanya Sharma, Bengaluru

Carnatic Music

09th December 2011

Smt. Manasi Raghunandan, Bengaluru

Odissi Dance Recital

Time: 6.30 p.m.

Venue: Yavanika, State Youth Center, Nrupathunga Road, Bengaluru

All are cordially invited

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Folk Arts

KALASPANDAN 10th NOVEMBER 2011

of Andhra Pradesh - Dr. Arja Srikanth

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he term “Folk” has widely spread and has different meanings. On observation it can be noted that there are many differences in the meanings of this term from the past to till date.

According to the Indian languages Sanskrit and in Telugu the term Folk is reffered as “Janapadam” In the ancient Sanskrit and Telugu literature the term “Janapadam”(Folk) was used for country, village and the Janapadulu (The Folks) for the people who perform rituals (yagnas), villagers and citizens, but it is to be noted that nowhere the word was used as a synonym for illiterates or uncivilized people. The term Folk is not used in the above sense in ancient times but by the beginning of new era the above meanings were almost fixed for the term. The reason for this could be the view proposed by human anthropologists who studied the different stages of evolution and the development of human cultural civilization. Apart from this, another reason that strengthened this opinion might be the negligence of certain sects of civilians. If Anthropologists had considered the evolution of Technology and Civilization instead of the Cultural Development, there might have been a different meaning for this term. However, the above mentioned opinion is vanishing as large numbers of researches are taking place on the Folklore. Modern scholars have clearly defined the wide-spread meaning of the term “Janapadulu” or the ‘Folk’ and clearly proposed who they are.

Considering the development of the Technology, Education and Employment opportunities which are reducing the distances between cities and the villages, they have also created a new outlook keeping mainly the cultural development in view. The well known Folk-lorist Alan Dundes had proposed that “the Tribes, villagers, urban, rural people who have similar kind of customs, irrespective of the fact that where they reside can be categorized as ‘Folk’. As a result the Culture had become important making the residing areas oblivious and the term covers the people worldwide.

The complete knowledge about these people is known as Folklore. Arts are the important wing of this vast Folk lore which has been divided into many divisions to facilitate the study of the same.

Though the meaning of the Art is wide-spread, here it is being used in limited sense and only the dance, music, featuring / presentation forms are considered as Folk Arts. To know the origin of these Arts we have to depend on the ancient period only. The dances of nomads provide the support to the today’s Folk dances and there is an opinion that the Folk dances have laid foundation for Traditional and Classical dances. However, no research has been done to support this opinion though it is a fact. We can observe that the basic aspects of nomads have gradually flourished in Folk and Classical fields along with the evolution and development of human civilization.

If the study of the historical background of Folk Arts is limited to the Andhra Pradesh zone i.e. to the Telugu language only, then, it could be noted that the Folk Arts have considerable presence in Telugu literature. The authors pertaining to the

Telugu language viz., Nannaya, Thikkanna, Palkuriki Somanatha, Nannechodudu, Vachana Somanna, Srinatha, Vallabha Raidu, Gowrana, Pedapati Errana, Sri Krishna Devarayalu, Tarigoppala Mallana, Raghunatha Rayalu, Maarada Venkaiah etc., in their literature have mentioned about Folk Arts and there are chances to consider the opinion that the Classical Arts have evolved from Folk Arts as Folk Arts were existing even before the book “Gadha Saptasathi” written by Haludu and Natya sastra” of Bharata.

Caste and Religion have also played an important role in the evolution of Folk Arts. Human greed for power had created religions and castes.

There is an epical background for each caste and a different methodology of worshipping the God. Arts have been borne when these people required tools to promote and propagate their caste and to worship the God. Consequently they transformed as Tradition and became livelihood to certain sects. All these consequences clearly explain the variation in these Arts. The Indian Culture which exhibits unity in diversity is special because of this philosophy and devotion. The same thing can be explained citing Arts as the example, in spite of showing variation, the basic aspect of all these Arts is the worship and devotion. On the whole it can be concluded that effect of philosophy during the progress of basic aspects of Arts in the nomadic period had continued on Folk Arts also.

Classification The researchers and the scholars have chosen the classification for their study of Folk Arts. Folk Arts have been divided into Music, Dance and Features (Rupakas) in the classification of Dorson.

The eminent scholar of A.P. Dr. Biruduraju Ramaraju had divided the Folk Arts into four divisions under the title the visual Arts “Drusyakala” i.e., Music, Dance, Featuring (Rupakam) and others. Another eminent scholar of A.P. Dr.Nayani Krishna Kumari classified the Folk literature into three types viz., “Geya Sakha” (the Poetry), “Vachana Sakha” (the Prose) and “Drusya sakha” (the Visual-Art form).

The Drusya Sakha or the visual Arts is again reclassified as Direct performance by artists and performance by Puppets and other tools where artistes take the back stage. The other Folk-lorists of A.P. Dr.R.V.S. Sundaram has agreed with Dorsin and suggested few internal divisions for Music, Dance and Features (Rupakas). Dr.G.S.Mohan had included the Vasthu and painting also in Folk Arts along with Music, Dance and the Features

(Rupakas). There are many more classifications of these Arts by different researchers but the Dorson’s classification is being considered as important. It is a fact that all the Folk Arts can be comfortably included in the categories of Music, Dance and Features (Rupakas), but depending on the presentation, place and caste, they have been further divided by researchers. However, they have not considered the purpose of these Arts while classifying them. The two main purposes of these Arts are to create entertainment and to increase philosophical attitude in the Folk lore.

If we consider these two purposes, then the Folk Arts can be divided into philosophical and entertaining divisions, which help us to study their basic forms and their popularity as well. Initially, the number of Folk Arts with the purpose of propagating philosophy were more compared to the number of Arts formed to entertain. Gradually, the Arts propagating philosophy have transformed into the other category by erasing their traditional boundaries. An explanation in this context has to be noted. “Though Arts have not changed the traditions of people, in the long run they have changed their original form and have become mediums for entertainment and are being considered as Folk Arts. Among these Traditions few were limited to a particular caste and place but after they have transformed into Arts they have lost their limitations, there around 150 such Arts are popular in Andhra Pradesh”. All the Arts preaching religion or caste can be considered as the philosophical or devotional and others fall under the category of entertainment. However, those Arts, which fall under philosophical category, will join the entertaining category once

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narration starts only with prayer, * it doesn’t have fixed duration as the stories and *they had the feasibility to prolong or cut short depending on the tastes of audience. Most of the Kadhaganams are based on the Kulapuranam (caste based epic stories) but depending on the variations in presentation style, music instruments used, subject, depending on the artists and castes they are popular by many names. Few are given below.

their limitations like caste, religion and place are erased. If these changes are considered, then, the number of Arts in the entertaining category is more than that of the philosophical category. But if we consider the purpose and basic forms of these Arts, the number Arts in the entertaining category becomes less than that of the philosophical category. This classification is useful if we would like to separate their popularity and their basic forms. On the whole it can be observed that the Traditional Arts have transformed a lot depending on the changes in the society. Here some of the Folk Arts have been discussed regarding their featuring and performance wise.

Kadhaganas (Story Narrations) The term “Kadhaganam” is an Telugu word which means “Story narration” This is an Art in which the stories are told in the form of songs, few of them also include dance, but the stress is on music rather than dance. There is a lot of importance for the literature of these stories.

Many researches have been taken place by the researchers from literary field as they are the people, who laid foundation for the research of Folk Arts. There are different opinions about the origin of this Art. Few are under the opinion that this Art has born in medieval period, few think that these were told extempore and other are under view that that this is like any other literature.

However, it has to be noted that the changing times and the human psychology have great influence on these Art forms, hence, it is possible to assess the changes but it is rather difficult to conclude anything about their original forms. We can only imagine that the stories have found their way in the songs and consequently the foundation was laid for their literature which must have taken long time. This imagination suggests us that these were not told extempore. Hence, it is assumed that the final form of Kadhaganam has been popular because of few people who were experts in the story-telling with the help of music and dance. The few important features of Kadhaganams are they are based on music; have traditional backdrop; the subjects are chosen from caste related epics and have religious influence. Apart from these Kadhaganam has certain special features like *It can start without any introductory verses like in other theatre forms and performance or story

1. Oggukatha 2. Jangam katha 3. Sarada katha 4. Pamba katha 5. Aasadi katha 6. Mandechula Katha 7. Palnati katha 8. Pandavula katha 9. Burra katha 10. Baindla katha 11. Tandana katha

12. Madel Puranam 13. Padma puranam 14. Jamukula katha 15. Kommu katha 16. Picchikuntla katha 17. Runja katha 18. Kaakipadigela katha 19. Gollasuddhulu 20. Veeramushthi katha 21. Tellacheerala katha 22. Patam katha.

Folk Dances Folk dances are mainly based on methods of Worship, Traditions and Culture, but also popular as entertaining Art form. There are different versions regarding their origin. Few describe their different back grounds in different times, others are insisting on their ancient status. However, it is observed that these Arts are based on aspects like Social, Cultural and Traditional differences, physical features of the places and the psychology of people with different Cultures.

Presently all the Folk dances cater to the entertainment. These dances are mainly performed by male and female dancers together or sometimes only by males or only by females.

Apart from this few dances imitate animals. and birds too. The popular among these dances are as follows:

KALASPANDAN 10th NOVEMBER 2011

1. Kolaatam 2. Jada kolatam 3. Dappula jada 4. Chekka bhajana 5. Chirutala bhajana 6. Tala bajana 7. Pandari bhajana 8. Kuluku bhajana 9. Garagala nrityam 10. Veera natyam 11. Goravayya nrityam 12. Madhuri nrityam 13. Bonaala nrityam 14. Chindu nrityam 15. Tappetagullu 16. Oggudolla nrityam 17. Dappula nrityam

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18. Pillanagrovi nrityam 19. Urumula nrityam 20. Aswa nrityam 21. Nemali nrityam 22. Bathakamma 23. Gobbi 24. Jattijhamu 25. Gondli nrityam 26. Jakkini kopu 27. Katthula nrityam 28. Naamala singadi nrityam 29. Jattiaasaadula nrityam 30. Gangireddulaata 31. Jyothi nrityam 32. Jaalari nrityam 33. Sidhi nrityam 34. Kaaruvaamela nrityam

Folk Theatre Among all the Folk Arts the Folk Theatre is the most important and advanced. Again there is a difference in opinions about their origin, few scholars think that they are based on Vedas, few say they are based on imitation, few others consider philosophy and few suggest western influence.

There is another opinion that these forms are originated from Tolubommalata (Leather Puppet show). However, the opinion that the changes and development of the Arts have led to this form is very convincing. When compared with the classical dramas these are very simple and presented with more freedom and use limited resources. Other specialty is that there is not much difference between the profile of artists and the spectators.

Folk Theatre use dance and music form of Arts and reflect the Folk life-styles; hence, it is not exaggerating to treat this theatre as a complete form of an Art. Folk Theatre has no limitations and fixed rules and is very successful in serving the dual purpose i.e., entertaining and conveying messages.

The Folk Theatre is classified as Veedhi bhagavataalu (the street balleds), Veedhi natakaalu (the street theatre), Yakshaganaalu (the operas) and they are known by some other names depending on the place, caste and style. Few are mentioned below: • Yanadi Bhagotam • Dhakkali Bhagotam • Maala Bhagotam • Nakkala Bhagotam • Daasari Bhagotam • Toorpu Bhagavatam • Gondhaleveedhi Bhagotam • Chindu Bhagotam • Kangundikuppam Veedhinatakam • Chenchu Natakam • Chirutalaramayanam • Mittilidaaarla Yakshaganam. continues...

Á¸ÀàACPÉ zÀ£ÆÀ ÖÃ10 ÉA§gï KALASPANDAN 2011 PÀ16 ¯Á¸ÀàAzÀ£PÀÀ ¯10 §gï£Àª2011 10th October 2011 Posting Date : 10th & 11th November 2011 : Posted at GPO, Bangalore.

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KALASPANDAN 10th NOVEMBER 2011 RNI: KARBIL/2009/29668.

RNP/BGS/2125/2010-12.

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Printed by Udayakumar Shetty T.B., Published and owned by Udayakumar Shetty T.B., #61/1, Sri Ranga, 3rd Cross, SBM Colony, BSK 1st Stage, Bangalore - 560 050. Printed at Lavanya Mudrana, No. 19, 15th Cross, Vidya Peeta Circle, Banashankari 1st Stage, Bangalore-560 050. Editor Udayakumar Shetty T.B