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Folk Theatre in Goa: a Critical Study of Select Forms Thesis FOLK THEATRE IN GOA: A CRITICAL STUDY OF SELECT FORMS THESIS Submitted to GOA UNIVERSITY For the Award of the degree of Doctor of Philosophy in English by Ms. Tanvi Shridhar Kamat Bambolkar Under the Guidance of Dr. (Mrs.) K. J. Budkuley Professor of English (Retd.), Goa University. January 2018 CERTIFICATE As required under the University Ordinance, OA-19.8 (viii), I hereby certify that the thesis entitled, Folk Theatre in Goa: A Critical Study of Select Forms, submitted by Ms. Tanvi Shridhar Kamat Bambolkar for the Award of the Degree of Doctor of Philosophy in English has been completed under my guidance. The thesis is the record of the research work conducted by the candidate during the period of her study and has not previously formed the basis for the award of any Degree, Diploma, Associateship, Fellowship or other similar titles to her by this or any other University. Dr. (Mrs.) K.J.Budkuley Professor of English (Retd.), Goa University. Date: i DECLARATION As required under the University Ordinance OA-19.8 (v), I hereby declare that the thesis entitled, Folk Theatre in Goa: A Critical Study of Select Forms, is the outcome of my own research undertaken under the guidance of Dr. (Mrs.) K.J.Budkuley, Professor of English (Retd.),Goa University. All the sources used in the course of this work have been duly acknowledged in the thesis. This work has not previously formed the basis of any award of Degree, Diploma, Associateship, Fellowship or other similar titles to me, by this or any other University. Ms. Tanvi S.K.Bambolkar Research Student Department of English, Goa University Taleigao Plateau, Goa Date: ii ACKNOWLEDGEMENTS It gives me immense pleasure to express my gratitude towards those significant people without whom the current study would not have been possible. A sincere thanks to my research guide, Dr. (Mrs.) Kiran J. Budkuley, for showing me the right path, for her valuable guidance, for always trying to bring out the best in me, for being so patient, and most importantly for giving her precious time and support throughout the study. I would also like to thank Dr. A. R. Fernandes, Associate Professor, Department of English, Goa University, for his constant support and help during the research work. I express my heartfelt gratitude towards the subject experts for this research, Dr. Pandurang Phaldesai and Dr. Isabela Santa Rita Vas, for their valuable inputs in course of the study. I also express my sincere gratitude towards the performers Shri. Rama Perni, Shri. Devraay Shirodkar, and Shri. Chetan Khedekar accepting the request to be interviewed and for providing significant inputs regarding the primary texts. I also thank folklore enthusiasts Shri. Zilu Gaonkar, Shri.Mahendra Phaldesai, Shri. Nishikant Tengse for their valuable contribution. I express my gratitude towards Shri Govind Gaude, Minister for Art and Culture, Government of Goa for helping me to get in touch with the performers. My heartfelt thanks to all the performers for accepting my request to be interviewed and allowing me to document the performances. I would like to thank Smt. Nutan Mohite, Smt. Felcy Cardoso and Shri. Santosh Halarnkar, Administrative Staff, Department of English, Goa University, for their timely help. I am also grateful to the general administrative and library staff of Goa University for their whole-hearted co-operation. Thanks to my friends and family members who accompanied me for the field work during the study. Thanks to everyone who has provided me with significant sources like videos, audios and photographs relevant to the study. Special thanks to groups, especially Abhivyaktee, Panaji for letting me be the part of Lokrang festival and also for sharing the pictures of the event with me. My dearest friends Palia, Akshata, Nafisa, Anwesha, Suprabhat, Mahim, Glenis, Svetlana and Prathmesh, who have been of great help and motivation throughout my research journey. A special mention of the person who made me believe in myself in the toughest times, who lent his helping hand in whatever way possible – Adv. Hrishikesh Kadam. Last but not the least, my family members, my father Shridhar my mother Geeta, my brother Kalanand and sister-in-law Gautami, who have been a great support during the study. My sincere thanks to all of them. Date: Ms. Tanvi S.K. Bambolkar CONTENTS CHAPTER ONE: GOA: HISTORY, SOCIETY, CULTURE AND FOLKLORE 1.1 Introduction…………………………………………………………………… 1 1.2 History of Goa: From Early Settlements, Colonization to Modernization........ 1 1.2.1 Goan Society at a Glance………………………………………………. 5 1.2.2 Goan Culture…………………………………………………………… 6 1.3 An Introduction to Folklore.............................................................................. 7 1.3.1 Folklore of Goa………………………………………………………… 8 1.4 General Introduction of Research Area……………………………………… 14 1.4.1 Scope of the Study…………………………………………………… 15 1.4.2 Expected Outcomes Met…………………………………………….. 15 1.4.3 Aims and Objectives of the Study…………………………………… 15 1.4.4 Hypothesis…………………………………………………………… 16 1.5 Primary Texts, Methodology and De-Limitations………………………… 16 1.5.1 Primary Text………………………………………………………… 16 1.5.2 Methodology………………………………………………………… 21 1.5.3 De-Limitations of the Study………………………………………… 22 1.5.4 Literature Survey……………………………………………………. 22 1.6 Chapter Outline…………………………………………………………… 24 1.7 Relevance of the Study and Scope for Future Research………………….. 26 CHAPTER TWO: FOLKLORE IN THE CONTEXT OF SOCIETY AND CULTURE: A THEORETIC PERSPECTIVE 2.1 Introduction................................................................................................ 28 2.2 Understanding Folklore: Some Theories and Definitions.......................... 28 2.2.1 Understanding the Term Folklore...................................................... 29 2.2.2 Early Developments in the Folklore Studies..................................... 32 2.3 Development of Folklore Theories............................................................. 34 2.3.1 Mythological Theory......................................................................... 34 2.3.2 The Indian and Indo-European Theories........................................... 35 2.3.3 Historical-Geographical Theory........................................................ 37 2.4 Vladimir Propp and his Folklore Theories.................................................. 38 2.4.1 Difference between Folklore and Literature...................................... 38 2.4.2 Folklore and Historical Phenomenon................................................ 39 2.4.3 Folklore Studies and the Question of Genres.................................... 41 2.5 Folklore Studies in Twentieth Century...................................................... 42 2.5.1 Comparative Folklore Study............................................................. 42 2.5.2 National Folklore Theory................................................................... 43 2.5.3 Anthropological Theory..................................................................... 44 2.5.4 Psychoanalytical Theory.................................................................... 46 2.5.5 Structural Folklore Theory................................................................. 46 2.6 Indian Concept of Loka-Veda(Folklore)..................................................... 47 2.6.1 Indian Folklore Studies..................................................................... 48 2.7 Society: A Product of Cultural Evolution.................................................. 49 2.8 Culture: As Perceived through the Ages.................................................... 52 CHAPTER THREE: SOCIAL DYNAMICS IN GOAN FOLK THEATRE 3.1 Goan Social Dynamics: Undercurrents of Hierarchy…………………….. 54 3.2.1 Cast Hierarchy in Goa: Context and Structure……………………... 55 3.2.2 Inter Community Relationships: Harmonies and Complexities……. 59 3.2.3 Concept of Gender and the Status of Women in Goan Society…..... 60 3.3.1 Folklore: Voice of the Subaltern…………………………………… 61 3.3.2 Folklore Theatre and Gender Dynamics…………………………… 63 3.3.3.1 Depiction of Female Mythic Entities: Deification and Demonization 64 3.3.3.2 Deified Female Characters………………………………….. 64 3.3.3.3 Demonized Female Characters……………………………... 64 3.3.4.1 The Portrayal of the Real Life Woman……………………. 65 3.3.4.2 Role of Women vis-à-vis Folk Theatre…………………….. 67 3.3.4.3 Men in the Shoes of Women……………………………….. 67 3.4.1 Social Dynamics vis-à-vis Goan Folk Theatre under Study……… 69 3.4.2 Attacking Social Hierarchies through Folk Theatre………………. 72 3.4.3 Sociological Manifestations and Mythological Characters………. 77 3.4.4 Inclusivity in Siolim Zagor: Outcome of Political History………. 78 3.5 Conclusion……………………………………………………………… 81 CHAPTER FOUR: EVOLUTION OF GOAN FOLK THEATRE: FROM DEVOTIONAL INFOTAINMENT TO CONTEMPORARY COMMERCIALIZATION 4.1 Introduction to the concept of Infotainment…………………………… 84 4.1.1 Infotainment Potential of Folk Theatre: Characteristics…………. 86 4.2 Devotional Infotainment in Goan Folk Theatre………………………… 87 4.2.1 Infotainment: Enhancing Societal Awareness……………………. 89 4.3 Evolution of Goan Folk Theatre Forms: Pre-liberation Perspective…… 91 4.3.1 Portuguese Conquest of Goa: its Phases and Impact on Folk Theatre 92 4.3.2 Post-Liberation Goa and Influence on Folk Theatre……………… 93 4.4 Evolution of Space in Goan Folk Theatre………………………………. 95 4.4.1 Folk Theatre forms: Evolution or Dilution……………………….. 97 4.5 New Venues and Modes of Performances……………………………… 98 4.5.1 Competition and Adaptation of Folk Theatre into New Modes….. 98 4.5.2 Change in Folk Theatre Forms
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