Aayushi International Interdisciplinary Research Journal (AIIRJ) Vol - VI Issue - I JANUARY 2019 Peer Review e-Journal Impact Factor 5.707 ISSN 2349-638x

Scrutinizing The Role And Challenges To The Folk Theatre In

Manish Surendrarao Gomase. Research Scholar. SLLCS. SRTM University, Nanded—431606.

various folk deities like and Devnarayan. Maharashtra has a rich cultural heritage. It is Devotees worship the deity throughout night by inhabited by the various social groups, marked by reciting a religious hymn and listening to legends of differences in ethnic origin, religious beliefs and the deity. practices, dialects of language/ languages they speak, Swang: social customs they observe, personal laws by which It is the folk-dance theatrical form. It lays they are governed and their artistic traditions which importance on theatrics and mimicry accompanied are best portrayed through the unique art of the Folk by song and dialogue. A group of ten or twelve Theatre. It indicates that each Folk Theatre people performs an act surrounded by the audience. performance in Maharashtra is a unique It deals with the subject-matter__ morality, folk tales, representation of the regi onal culture, its value and lives of inspiring personalities, stories from Indian its people. It is a mixture of song, dance and dialogue mythology, health, literacy, etc. and „it is marked by simplicity of staging, costumes Dashaavatar: and language.‟ (Wadikar 5) It is related to the ten avatars of Vishnu. It is The Folk Theatre in Maharashtra has said that Vishnu came on the earth to maintain developed various traditional folk forms representing __ cosmic order. These ten avatars are—Matsya, culture in Maharashtra. These theatrical forms are Kurma, Varaha, Narasinha, Vamana, Parashurama, Tamasha, Gondhal, Povada, Swang, Dashaavatar, Rama, Krishma, Buddha, and Kalki. The concept of Nautanki, Bharud, Ramlila, etc. these Avatars rises from the lowest level of life Tamasha: through the fish, the tortoise, and takes over to the Tamasha is the principal form of the Folk perfection of humanity. Theatre of Maharashtra consisting of song, music Nautanki: and dance. It flourished during the period of Moghals It is also form of the Folk Theatre in and and is still performed. According to Maharashtra enacted to provide entertainment and to Mirajkar, „Tamasha has its roots in certain religious render social messages to the audience. It is rites and the dramatic entertainment performed on ‟ generally in verse incorporating the meters like certain occasion. (Mirajkar 19) The song-dance Doha, Chhappal, Chaubola and Behartabeela. The troupe and the folk drama troupe are two modern play begins with a prayer like many other forms. Tamasha troupes. Tamasha incorporates three basic __ Ranga plays a role like chorus of setting the scenes elements the entertainment tradition, the and the time of action and introducing the main propagandist tradition and the devotional tradition. It characters. includes a love song that is sung to the There are several other forms of the Folk accompaniment of dance and musical instruments Theatre like Bhagwat, , Povada, Jalasa, etc. like dholki, tuntuna, daf, halgi, etc. These Folk Theatre forms existed in all over Gondhal: Maharashtra reinforce light on ethnicity, religion, It is a religious folk theatre form practiced in social structure, customs, practices, and so on many castes in Maharashtra. Its function is to representing a panorama of Maharashtrians‟ life. educate and entertain. It is performed to reduce the The Role of the Folk Theatre sufferings of family, caused by negative energy. The Folk Theatre is a medium which mirrors Jagran: life with its various facets. Social, cultural, political, It is all-night awakening, songs and dance in economical and official (government) condition is honour of various Hindu deities, Shiva as well as

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Aayushi International Interdisciplinary Research Journal (AIIRJ) Vol - VI Issue - I JANUARY 2019 Peer Review e-Journal Impact Factor 5.707 ISSN 2349-638x

directly and indirectly associated or influenced by it history of the past of their contemporary era whether or vice-versa. It channelizes the new ideas that bring it is social, political, economical, cultural or religious the changes in society. Its role is as follows: situation. So the historical thematic concerns occupy Social Awareness: a pivotal place in it. The Folk Theatre plays a significant role in Depiction of Politics: social awareness. There are number of evil practices There are number of political parties in were performed and are still performed. It functions Maharashtra. It is very complex to understand the to cease the practices such as child marriage, dowry, ideologies and practices of these parties to common slavery, untouchability, discrimination, corruption people. Here, the folk theatre can reinforce light on and superstition, and to favour the ideas of the situation. Even the political parties employ the independence, self-existence, equality, liberty, folk theatrical forms to disseminate their political fraternity, girl education and sacred life. Even agenda and ideologies to reach to all corners of the morality, truth, sacrifice, love, lives of inspiring state effectively. Through them, these parties personalities, stories from mythologies are preached endeavour to convince the people and to form the through this medium. It can reach to every individual opinions that favour to them. In 1940s, Indian People from lower to upper classes, castes, creeds, religions Theatre Association, the cultural front of the and races. For example, Ambedkarite Jalsas were Communist Party of , handled the regional folk performed to bring forth social inequality and to theatre form like Tamasha in Maharashtra to increase establish new social order in which each entity is social awareness and political education. Sometimes equal. these forms are oppositely used to highlight the Representation of Culture: corruption and malpractices in the political parties by It is the best medium of a representation of the social activists. It has positive and negative culture. In this regard, Dissanayaka asserts „It is a effects on the political parties. communication system embedded in the culture Communication of Government Policies and Acts: which existed much before the arrival of mass media, Government forms the Policies and the Acts and which still exists as a vital mode of to make development of state. These Policies and communication in many parts of the world Acts need to be communicated among the people, presenting a certain degree of continuity, despite and here, the Folk Theatre is useful to convey the changes‟. The Folk Theatre forms such as Ramlila, information. Understanding the importance of the Gondhal, Dashavatara, Jagran, Bhagwat, etc. revolve traditional medium, the first five year plan projected around the religious themes. It creates a religious that people in rural areas should be reached through atmosphere in society. Various traditions, customs, the traditional folk theatre form of communication. rituals, doctrines, values and principles occupy a In 1954, the Song and Drama Division of the Union significant place in it. It is a live expression of the Ministry of Information and Broadcasting was set up lifestyle and culture of people evolved through the by the Government of India to create awareness years. In other words, through the representation of among the masses of the rural India. It functions to culture, it is easy to comprehend the social structure create national integration and communal harmony of the contemporary society. and to emphasize on eradication of untouchability, Recalling History: family planning, women empowerment, fundamental It is said that the Folk Theatre emerged with rights, ideals of democracy and the aspects of socio- the Classical Sanskrit Theatre. It portrays a panorama cultural phenomenon. It is really useful to propagate of life from an ancient to a modern period. The lives the development programmes of government among of the historical personalities like Shivaji Maharaj the masses. are excellently presented through the medium of Source of Employment: Povada. In Bhagvat, an orator speaks about lives and The Folk Theatre is also a source of works of the saints like Eknath, Namdev, Tukaram, employment. There are many families or gharanas Gadge Maharaj, Janabai etc. It brings forth the performing certain forms of the Folk Theatre. They

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Aayushi International Interdisciplinary Research Journal (AIIRJ) Vol - VI Issue - I JANUARY 2019 Peer Review e-Journal Impact Factor 5.707 ISSN 2349-638x

have made it their profession hereditarily and earn eyes of the audience. So Lack of innovation in tools the bread and butter for them. There are many and techniques is also a cause of lingering behind the professional troupes of the Folk Theatre all over modern forms and it is a challenge to sustain its Maharashtra, they are hired to perform and they can popularity and existence. earn from such performances. Surekha Punekar is a Lack of Patronage: professional tamasha dancer who not only earns The Folk Theatre forms require a patronage. money but also achieves popularity all over the In past, Tamasha was patronized by the King of world. Babasaheb Purandare was a professional Sangali, similarly other forms were getting a povada singer. Thus, it provides an employment if patronage from kings, sardars, and nababs but in the not to many individuals, certainly to some present, there is almost no patronage or too much individuals. less patronage. Only Government and NGO are Thus, its role in social, political, economical, endeavoring to support these forms to some extent cultural and religious spheres of life is exceptionally however, it is not sufficient to gain popularity and significant. sustain it existence in the world of competition. Challenges to the Folk Theatre Emergence of Modern Media: The Folk Theatre is a part and parcel of the The electronic media and the print media are society of Maharashtra handling various issues with easily accessible and affordable medium of the purpose to entertain and to educate the people information, education and entertainment. Through however, its popularity is decreasing day-by-day them, one can collect information about the because of certain reasons and challenges. These happenings taking place all over the world and as a challenges are follows: form of entertainment; they are certainly better and Static Entity: affordable too. One can sit on a place and get It is a medium of entertainment and everything. It really stands as a challenge to the Folk education in the past and the present but has not Theatre. changed and reinvented itself. It has not modernized Invention of TV and Radio and Establishment of its subject-matters like its urban counterpart. Most of Cinema Theatre: the forms like Tamash, Ramlila,, Gondhal, Jagran, The 20th century was a period of invention. Kirtan, etc. operate the similar themes of mythology, The inventions of television and radio took place that history, devotion and love. These forms have woven have brought the revolutionary changes in a constraint around that has made them the static broadcasting and information. Since post entities. Any form of entertainment needs to Independence era, the cinema theatres are undergo a constant flux, and dynamic changes are established. It has attracted all classes of people. In expected to be taken place however, it is a forlorn the modern age, the popularity and craze for the film issue for the Folk Theatre. industry has reached to the peak. The cinemas from Lack of Novelty in Tools and Techniques: various regional languages and on different themes The Folk Theatre is a traditional theatre. It are screened and the use of advance technology has been employing the traditional tools and makes the world of more fascinating. techniques for performances. In the modern age, The inventions of TV and Radio and the other forms of entertainment are so advance in using establishment of cinema theatre have stretched the tools and techniques that has diminished the parallel line to the Folk Theatre in Maharashtra; it craze of the people towards the theatre. tuntuna, seems to be more concrete and firm. dholki, halgi and manjeera in Tamasha, tabala, peti, khanjeri and tal in Jagran and almost similar Less Inclination of Performers and towards instruments in Gondhal and other forms are used Performances: which are tradition whereas orchestra, musical There are less number of performers of the concert and other forms are using the advance Folk Theatre. People are not generally taking an instruments and techniques to pacify the ears and interest in it for it does not offer enough money to

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Aayushi International Interdisciplinary Research Journal (AIIRJ) Vol - VI Issue - I JANUARY 2019 Peer Review e-Journal Impact Factor 5.707 ISSN 2349-638x

them and taste of people (audience) has also changed for the government to communicate its policies and but, being a static entity, the Folk Theatre does not for the people who has made it as their source of vary as per audience taste. So an absence of interest employment. But it certain inbuilt and outer variables of performers and audience really hammers the Folk like its static nature, lack of novelty in technique and Theatre. It is a challenge before the Folk Theatre to tools, lack of patronage, less interest of performers rejuvenate an interest of the performers and and towards performance, modern media—TV, audience. radio, theatre, mobile, computer, etc. rare Occasional Performances: performances and exploitation of the performers The Folk Theatre forms are occasionally have certainly hampered the popularity and has performed. Tamasha is generally peformed in fair, raised a question to its sustenance against such Jagran at the time of marriage, Gondhal at the time challenges in the modern time. In spite of this, some of some religion event, Povada at the time of Shivaji changes in themes, techniques, tools, stage direction Maharaj Birth Anniversary, etc. Such irregularity in and government policies can be made to create an performances obviously goes in negation to these interest and to attract the audience towards it. theatrical forms. Exploitation of Performers: References: The performers are treated just as puppets in 1. Alekar, Satish. Collected Plays of Satish Alekar. the hands of the Folk Theatre troupes owners. New Delhi. Oxford University Press. 2010. Print. Bandopadhyay‟s term „little men, marginalized men‟ 2. Deshpande, V. B. Marathi Natyakosh. Pune: (Alekar 286) exactly describes the essence of their Nishant Prakashan Aani Kalagaurav. Dec. 2000. Print. lives. The theatre owners often sexually and 3. Gokhale,Shanta , Playwright at the Centre: Marathi economically exploit them. In the regard of Drama from1843 to the Present. Calcutta: Seagell economic exploitation in Tamasha performers, Books Pri. Ltd.2000. Print. Shanta Gokhale asserts „Gradually I came to 4. Kale, Narayan K., Marathi Rangabhoomi 1940-70: understand the economics of their lives. Half of their Simhavalokan Ani Samalochan.: Bhaurao Baithake earning would go to the owner. Once I Smriti Granth.1940. Print. offered to pay them directly, but they would not hear 5. Kidd,Ross. “The Performing Arts and Development of it.‟ (Gokhale 355) They experience insecurity, in India: Three Case Studies and a Comparative frustration, despair and pathos. In Tamasha, women Analysis.”Continuity and Change in and men dancers are physically and sexually Communication Systems. Eds. G. Wang and W. Dissanayake. New Jersey: Albax. 1984. Print. oppressed. The movie „Natrang‟ throws light on 6. 6.Mirajkar,V.K., : A Critical Study, sexual exploitation of Nachya and women Ph.D. Thesis, Submitted to SRTMU. Nanded. 2005, performers. Sartre diction „for many, life begins on 7. Reddy, K. Venkata and Dhawan R. K. Flowering of the other side of despair‟ matches well to describe Indian Drama: An Introduction. Eds. K. Venkata their lives. It abstains them from the Folk Theatre. Reddy and R. K. Dhawan. New Delhi: Prestige These are some of the challenges to the Folk Books. 2004. Print. Theatre that need to be solved soon to gain 8. Wadikar, Shailaja. Vijay Tendulkar‟s Contribution to popularity and to function for educating and the Contemporary Indian Theatre. Ph. D. Thesis. entertaining people from all sections of the society. Submitted to SRTMU, Nanded. 2002. To conclude, the Folk Theatre reinforces light on the contemporary society. It functions to educate and to entertain the people. It significantly influences the society in formation of lifestyle, art of living and opinion. It brings a social awareness among the mass, represents culture of the region and recalls the historical happenings of the past that makes the people proud of their ancestor. It is helpful

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