{"id":101577,"date":"2024-04-15T10:59:19","date_gmt":"2024-04-15T05:29:19","guid":{"rendered":"https:\/\/pwonlyias.com\/stage\/?post_type=udaan&p=101577"},"modified":"2024-09-18T18:02:15","modified_gmt":"2024-09-18T12:32:15","slug":"folk-theatre","status":"publish","type":"udaan","link":"https:\/\/pwonlyias.com\/stage\/udaan\/folk-theatre","title":{"rendered":"All About Folk Theatre of India"},"content":{"rendered":"

Introduction<\/b><\/span><\/h2>\n

Folk theatre reflects the various aspects of the <\/span>local <\/b>lifestyle<\/b><\/a>,<\/b> including <\/span>social norms<\/b>, beliefs and customs. It had <\/span>rural roots<\/b> and a rustic flavour.\u00a0 They emerged around the <\/span>15<\/b>th<\/b> \u2013 16<\/b>th<\/b> century AD<\/b> with <\/span>devotional themes<\/b>, but later they adopted secular tones.\u00a0<\/span><\/p>\n

Folk Theatre Of India<\/b><\/span><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Folk Theatre\u00a0<\/b><\/span><\/td>\nDescription\u00a0<\/b><\/span><\/td>\n<\/tr>\n
Bhand Pather<\/b><\/p>\n

(Kashmir)\u00a0<\/b><\/td>\n

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  • Humour<\/b> through <\/span>satire, wit<\/b>, and <\/span>parody <\/b>are used to induce laughter in the play.<\/span><\/li>\n
  • It incorporates <\/span>musical elements<\/b> with instruments like surnai, nagaara, and dhol.<\/span><\/li>\n
  • Actors mainly come from the <\/span>farming community<\/b>, reflecting their way of life, ideals, and sensitivity.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Bhaona<\/b><\/p>\n

(Assam)<\/b><\/td>\n

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    \n
  • It is a presentation of the <\/span>Ankia Naat of Assam<\/b>, featuring cultural glimpses of <\/span>Assam, Bengal, Orissa, Mathura, and Brindavan.<\/b>\u00a0<\/span><\/li>\n
  • The <\/span>Sutradhaar<\/b> initiates the folk theatre story in <\/span>Sanskrit<\/b>, transitioning into Brajboli or Assamese.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Bhavai<\/b><\/p>\n

(Gujarat)<\/b><\/td>\n

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    \n
  • Primarily found in <\/span>Kutch and Kathiawar<\/b> regions. It blends devotional and romantic sentiments, creating a distinctive cultural expression.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Burra Katha<\/b><\/p>\n

(Andhra Pradesh)<\/b><\/td>\n

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    \n
  • It is an oral storytelling technique consisting of a <\/span>main artist or narrator<\/b> and two <\/span>vanthas<\/b> or co-artists who <\/span>provide the rhythm<\/b> and the <\/span>chorus.<\/b><\/li>\n
  • Burra<\/b> is the <\/span>percussion instrument<\/b> used during the performance.\u00a0<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Chavittu Natakam<\/b><\/p>\n

(Kerala)<\/b><\/td>\n

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Dashavatar<\/b><\/p>\n

(Konkan And Goa)<\/b><\/td>\n

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  • Performers personify the <\/span>ten incarnations of Lord Vishnu<\/b>.<\/span><\/li>\n
  • They use stylised <\/span>make-up and wear masks<\/b> made of <\/span>wood<\/b> and <\/span>papier-mache<\/b>.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Daskathia<\/b><\/p>\n

(Odisha)<\/b><\/td>\n

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    \n
  • There are two narrators \u2013 <\/span>Gayaka <\/b>(chief singer) and <\/span>Palia <\/b>(co-narrator) who mainly narrate the story of Shiva and other Gods.<\/span><\/li>\n
  • The narration is accompanied by music composed using a wooden musical instrument called <\/span>kathia<\/b>.\u00a0<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Garodas<\/b><\/p>\n

(Gujarat)<\/b><\/td>\n

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    \n
  • Popular art form of the <\/span>\u2018Garoda\u2019 community.\u00a0<\/b><\/li>\n
  • It uses <\/span>painted pictures<\/b> to narrate stories of <\/span>romance and valour.<\/b><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Kariyila<\/b><\/p>\n

(Himachal Pradesh)<\/b><\/td>\n

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    \n
  • It is an open-air theatre. The performance occurs throughout the <\/span>night<\/b> and comprises a <\/span>series of small plays<\/b> and skits.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Kutiyattam\u00a0<\/b><\/p>\n

(Kerala)<\/b><\/td>\n

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Krishnattam<\/b><\/p>\n

(Kerala)<\/b><\/td>\n

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    \n
  • It originated in the <\/span>17th century<\/b> under <\/span>King Manavada<\/b> of Calicut’s patronage.<\/span><\/li>\n
  • It comprises <\/span>eight plays<\/b> performed over <\/span>eight consecutive days<\/b>.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Kuruvanji\u00a0<\/b><\/p>\n

(Tamil Nadu)<\/b><\/td>\n

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  • The first Kuruvanji was composed by <\/span>Thirukutarajappa Kaviyar.\u00a0<\/b><\/li>\n
  • The <\/span>basic theme<\/b> revolves around a <\/span>love-struck heroine.\u00a0<\/b><\/li>\n
  • It is performed in a <\/span>dance ballet<\/b> form with <\/span>Bharatnatyam.\u00a0<\/b><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Mudiyettu<\/b><\/p>\n

(Kerala)<\/b><\/td>\n

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    \n
  • It is celebrated during <\/span>Vrischikam <\/b>(November-December) and is primarily performed in <\/span>Kali temples.<\/b><\/li>\n
  • It serves as an <\/span>offering to the Goddess<\/b> and portrays the <\/span>triumph<\/b> of <\/span>goddess Bhadrakali <\/b>over the <\/span>asura Darika<\/b>.<\/span><\/li>\n
  • The performance features <\/span>seven characters<\/b>, including Shiva, Narada, Darika, Danavendra, Bhadrakali, Kooli, and Koimbidar, all adorned with elaborate makeup.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Oja-Pali<\/b><\/p>\n

(Assam)<\/b><\/td>\n

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    \n
  • It is associated with the festival of <\/span>Manasa<\/b> or the serpent goddess.\u00a0<\/span><\/li>\n
  • Oja<\/b> is the<\/span> main narrator, <\/b>and <\/span>Pali <\/b>are the members of the<\/span> chorus<\/b>.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Powada<\/b><\/p>\n

(Maharashtra)<\/b><\/td>\n

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    \n
  • Represent the heroic deeds of <\/span>Shivaji against Afjal Khan<\/b>.\u00a0<\/span><\/li>\n
  • They are sung by the folk musicians known as <\/span>Gondhalis and Shahirs.<\/b><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Raasleela<\/b><\/p>\n

(Uttar Pradesh)<\/b><\/td>\n

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    \n
  • It is based on <\/span>Lord Krishna’s<\/b> legends. It’s believed that <\/span>Nand Das <\/b>wrote the initial plays. It combines <\/span>prose dialogues<\/b> with <\/span>songs<\/b> and scenes.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Swang<\/b><\/p>\n

(Punjab And Haryana)<\/b><\/td>\n

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    \n
  • Initially, folk theatre was <\/span>music-based<\/b> but gradually incorporated <\/span>prose<\/b> into its dialogues. <\/span>Two styles<\/b> of Swang exist in <\/span>Rohtak<\/b> and <\/span>Haathras<\/b>, featuring Haryanvi (Bangru) and Brajbhasha languages, respectively.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Tamaasha<\/b><\/p>\n

(<\/b>Maharashtra<\/b><\/a>)<\/b><\/td>\n

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  • Unlike other theatre forms, <\/span>the female actress (Murki)<\/b> is the chief exponent of dance movements.<\/span><\/li>\n
  • It incorporates classical music, lightning-speed <\/span>footwork<\/b>, and <\/span>vivid gestures<\/b> to portray various emotions.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Therukoothu<\/b><\/p>\n

(Tamil Nadu)<\/b><\/td>\n

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    \n
  • It is performed to ensure a bountiful harvest. At its core, there is a <\/span>cycle of eight plays<\/b> based on the life of <\/span>Draupadi.<\/b><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Villu Pattu<\/b><\/p>\n

(Deccan)<\/b><\/td>\n

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    \n
  • It is a form of <\/span>musical theatre<\/b> in which stories of <\/span>Ramayana<\/b> are narrated.<\/span><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
Yakshagaana<\/b><\/p>\n

(<\/b>Karnataka<\/b><\/a>)<\/b><\/td>\n

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