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Langer Rede, Kurzer Sinn Geschichtenerzählen in Indien

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Langer Rede, Kurzer Sinn Geschichtenerzählen in Indien Gegenwartsliteratur Langer Rede, kurzer Sinn Geschichtenerzählen in Indien Danish Raza Geschichtenerzählen bei Literaturfestivals oder privaten Zusammenkünften rückt ins Zentrum der Aufmerksamkeit. Den Weg zur öffentlichen Kunstfertigkeit skizziert der Text. eschichten zu hören und sie von Generation zu Ge- Kahani (Geschichte) 2.0 neration weiterzugeben, ist Teil der indischen Kultur. In den letzten beiden Jahrzehnten ist das Geschich- Vor rund dreißig Jahren nahm das professionelle Geschichten- Gtenerzählen jedoch als Kunstfertigkeit ins Blickfeld geraten. erzählen weltweit, später auch in Indien, Gestalt an. Während Professionelle Erzähler/-innen bieten Märchen aus verschie- Raghunath ihre Kunst in Chennai perfektionierte, gründe- denen kulturellen, historischen und ideologischen Kontexten te Geeta Ramanujan in Bangalore die Kathalaya Academy of dar und finden eine immer größere Zuhörerschaft. Storytelling. Mahmood Farooqui, Danish Husain und andere machten die Kunst des Dastangoi1 in Nord- und Zentralin- Als Jeeva Raghunath sich vor rund zwanzig Jahren als dien popuär. „Anfangs waren die Geschichten auf ein kind- Geschichtenerzählerin präsentierte, wurde sie oft ge- liches Publikum ausgerichtet, dann folgten Literaturfestivals. fragt: „Nun ja, aber was machen Sie?“ Inzwischen hat Jetzt ist es fast keine Mühsal mehr, Geschichtenerzählerin zu sie einen langen Weg zur professionellen Geschichten- sein“, sagt Raghunath. „Was wir jetzt erleben, ist Teil eines erzählerin indischer Volksmärchen zurückgelegt und 23 breiteren Trends, zu den Wurzeln unserer Kultur zurückzu- Länder bereist. Sie hat sich auf Volksmärchen speziali- kehren. Jetzt sehen wir College-Studenten, die Manto, Bul- siert. „Ich kann zu viele Namen und Fakten nicht gut leh Shah und Kabir lesen“, sagt der in Delhi lebende Erzäh- im Gedächtnis behalten. Deshalb versuche ich gar nicht ler in der Tradition des Urdu-Dastangoi, Syed Sahil Agha. erst, mythologische Geschichten zu erzählen. Ich bevor- zuge Volksmärchen und lasse ein bisschen Humor ein- Nicht jede Geschichte eignet sich zum Erzählen. Der Schau- fließen“, sagt Raghunath, die auch Co-Direktorin der spieler Victor Ahuja meint: „Meist wählt die Geschichte dich Federation of Asian Storytellers (FEAST) ist. aus und nicht du die Geschichte. Die Geschichte muss zu dir sprechen, sie muss etwas in dir bewirken. So eine Geschichte Raghunath war eine der Teilnehmerinnen am 2. In- lohnt sich weiterzugeben. Aber dieselbe Geschichte kann bei ternationalen Festival des Geschichtenerzählens, den mir funktionieren, bei jemand anderem nicht.“ Sahil Agha er- Udaipur Tales. Das jährlich dreitägige Event Ende No- klärt, dass die Auswahl einer Geschichte ein organischer Pro- vember 2018 ehrt die Tradition des mündlichen Ge- zess sei: „Aus einer großen Auswahl wächst dir eine bestimmte schichtenerzählens. Zum Festival kamen Künstler/-in- Geschichte zu. Sie sagt dir: ‚Teile mich mit den Leuten. Ich nen aus Indien, Bhutan und Russland. Sie alle hatten trage viele Geheimnisse in mir, lass sie mich entwirren‘.“ mit verschiedenen Genres des Geschichtenerzählens ex- perimentiert. Der Schauspieler Vicky Ahuja präsentierte Aus dem Englischen übersetzt Premchands Geschichte Bade Bhaisahab. Die Theater- von Miriam Wenner Schauspielerin und Regisseurin Vaishali Bhisht trug die Zum Autor Geschichte Eine alleingelassene Frau von Dario Fo und Danish Raza schreibt für die Zeitung Hindustan Franca Rame vor. Syed Sahil Agha bot zusammen mit Times. Seine Schwerpunktthemen sind Gender, der Opernsängerin Kabuki Khanna eine musikalische Identitätspolitik, Menschenrechte, Konflikta- Version von Vijayadan Dethas Geschichte Duvidha. nalysen und Rhetorik. „Wir wollten Kulturen am Leben erhalten, die sich Tag für Tag verflüchtigen. Dazu verlegten wir uns aufs Ge- Texthinweis schichtenerzählen, weil Geschichten in unserem Unbe- Erstveröffentlichung in der Hindustan Times am 7. wussten aufbewahrt bleiben. Die Geschichten dringen Dezember 2018 unter dem Titel The long and short of storytelling in India. in unsere Seelen ein und verändern uns auf eine Weise, die wir nicht wahrnehmen“, sagte Sushmita Singha, die Endnote Mitbegründerin des Festivals. 1 Urdu-Form des Geschichtenerzählens mit persischen Wurzeln; MW. 10 | Südasien 1/2019.
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