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Arts, Crafts, Folklife A QUARTERLY NEWSLETTER FROM NATIONAL FOLKLORE SUPPORT CENTRE VOLUME 1 ISSUE 4 JANUARY 2001 ARTS, CRAFTS, FOLKLIFE Contents 1 EDITORIAL ................................................... 3 INNOVATIONS............................................... 5 VIEWPOINT .................................................. 6 SPOTLIGHT ................................................... 8 COMMENTS ................................................. 13 HAPPENINGS ............................................... 15 REVIEWS ...................................................... 21 ANNOUNCEMENTS ............................... 9,16,24 INDIAN FOLKLIFE VOLUME 1 ISSUE 4 JANUARY 2001 National Folklore Support Centre (NFSC) is a non-governmental, non-profit organisation, registered in Chennai dedicated to the promotion of Indian folklore research, education, training, networking and publications. The aim of the centre is to integrate scholarship with activism, aesthetic appreciation with community development, comparative folklore studies with cultural diversities and identities, dissemination of information with multi-disciplinary dialogues, folklore fieldwork with developmental issues and folklore advocacy with public programming events. Folklore is a tradition based on any expressive behaviour that brings a group together, creates a convention and commits it to cultural memory. NFSC aims to achieve its goals through cooperative and experimental activities at various levels. NFSC is supported by a grant from the Ford Foundation. BOARD OF TRUSTEES Ashoke Chatterjee Distinguished Fellow, National Institute of Design, Ahmedabad N. Bhakthavathsala Reddy Dean, School of Folk and Tribal lore, Warangal Birendranath Datta Chandrabrala Borroah Road, Shilpakhuri, Guwahati Dadi D. Pudumjee B2/2211 Vasant Kunj, New Delhi Deborah Thiagarajan INDIAN FOLKLIFE President, Madras Craft Foundation, Chennai Jyotindra Jain In this issue, we have initiated discussion on Arts, Senior Director, Crafts Museum, New Delhi Komal Kothari Crafts and Folklife. The articles in this issue provide Chairman, NFSC. Director, Rupayan Sansthan, insights into the history of Indian arts, crafts and Folklore Institute of Rajasthan,Jodhpur,Rajasthan folklife’s underlying strata and out present day Munira Sen Executive Director, Madhyam,Bangalore concerns. We feel it is significant to present the M.D.Muthukumaraswamy diversity of contexts in which Indian arts and crafts Executive Trustee and Director, NFSC, Chennai K. Ramadas thrive. Our attempt is to identify grassroot forces Deputy Director, that determine the streams of cultural dynamics. 2 Regional Resources Centre for Folk Performing Arts, Udupi P. Subramaniyam Moreover these discussions might also exemplify Director, Centre for Development Research and Training, Chennai and initiate a more deeper engagement and Y. A. Sudhakar Reddy Reader, Centre for Folk Culture Studies, S. N. School, Hyderabad reflective discussions in the future issues of Indian Veenapani Chawla Folklife. And we sincerely hope that it unfolds a Director, Adishakti Laboratory for Theater Research, Pondicherry possibility of new ways of seeing and interpreting ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ our folklife. STAFF Regional Resource Persons We invite submissions of articles, illustrations, Programme Officer V. Jayarajan N. Venugopalan, Publications Purushothama Bilimale reports, reviews offering historical, fieldwork oriented, articles in English on works in other Administrative Officers Parag M. Sarma D. Sadasivam, Finance Sanat Kumar Mitra languages, multi-disciplinary and cultural T.R. Sivasubramaniam, Satyabrata Ghosh approaches to folklore. Articles should confirm Public Relations Susmita Poddar to the latest edition of MLA style manual. Programme Assistants M.N. Venkatesha R. Murugan, Data Bank and Library Jasmine K. Dharod, Public Programme INDIAN FOLKLIFE - EDITORIAL TEAM Athrongla Sangtam, Public Programme M.D. Muthukumaraswamy, Editor Support Staff N. Venugopalan, Associate Editor NEXT ISSUE Santhilatha S. Kumar Ranjan De, Designer Dhan Bahadur Rana Theme of the April issue of Indian Folklife is V. Thennarsu Creativity, Folklife and Documentation. Closing date C. Kannan for submission of articles for the next issue is ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ April 15, 2001. All Communications should be Cover Illustration: addressed to: The Associate Editor, Indian Folklife, National Folklore Warli wall paintings from Maharashtra, India Support Centre, No: 7, Fifth Cross Street,Rajalakshmi taken from Folk Designs From India, The Pepin Nagar, Velachery, Chennai - 600 042.Ph: 044-2448589, Press BV, 1999 Telefax: 044-2450553, email: [email protected] INDIAN FOLKLIFE VOLUME 1 ISSUE 4 JANUARY 2001 EDITORIAL Creolization of Self and Other: Thoughts on Creativity and Cultural Politics M.D.Muthukumaraswamy Once William Blake1 did fieldwork in hell in a memorable temporality of live musical gestures, the drumming fancy and came back with a collection of proverbs. One actors suggest the ritual creation of an image of Ganapati of his proverbs that has mythical premonition and with a drum signifying his potbelly. Temporal these sweeping over the entire history of modern thought musical gestures are the identities of actors depend only would be The most sublime act is to set another before you. on the possibility of responsive rhythms of celebration. The irony, stupor, pain, pleasure and helplessness Thus establishing the plane of performance as if it were contained in this proverb that is about the fundamentals the plane of human existence that finds expression only of human existence, resurged again as a regrettable in the unforeseen event of interaction, the play goes on reversal in the cruellest Sartrean dictum other is hell. In to build narrative units of rhythm to tell the story of Indian cultural studies and practices the metaphorical Ganapati. If life is theatre’s double in Artaudian terms equivalences of self and other have been found in pairs then rhythm is the best signifier for the collage and such as orient and occident, mind and senses, folk and process of plurality. In sensuous terms, rhythm classical, local and global, urban and institutes helpless response to every rural, casteism and linguistic solicitation and thereby creates chauvinism, nationalism and sub- expressions of freedom against all regional linguistic chauvinism and abominable taboos. The performance man and woman with the hellishness uses recognisable and evocative bits of of Blakean or Sartrean variety. With rhythm from varieties of folk traditions the impingement of hell pre-imposed in a fine fusion to achieve its story on either of the binaries, the telling. conceptual pairs set the limits and formation of discourses on arts and Sparsely using words in English, the crafts situated in community life. In performance alludes to one of the the present confluence of different myths of Ganapati. Ambiguously streams of historical forces, is there a goddess Parvati on her own creates her 3 preferred option to see self and other son Martanda, out of her bodily dirt. as fluid signs2 and their constant co- The feminine dirt of a son angers the mingling and creolization as sites of masculine god Siva when he desires life forms and cultural expressions? consummation with his wife Parvati. Fluidity offers not only subversive Beheading the gate keeping son slippages out of all sorts of cultural politics but also Martanda, Siva enters into Parvati’s chamber. The rigidity glimpses of processes of creativity. Here I must add of masculine and feminine selves inevitably results in that treating these diverse historical forces of cultural crime. After consummation, on Parvati’s pleadings Siva politics inside an irreverential synchrony of present tense gives life to the son with an elephant head. This birth is a delightful discovery, for me. Adishakti’s Ganapati, a story of Ganapati is again and again enacted in the play directed by Veenapani Chawla recently performance from a variety of perspectives by raising demonstrated the tantalising prospect of mediation the question what is this figure all about? Adishakti’s between fluid self and melting other. actors refer to another myth where the identity of a person is decided by the transposed head and go on to Performed in the Other Festival on December 3, 2000 in ascertain Ganapati’s identity needs to be determined by Chennai (Could I have asked for a more appropriate his head. title for the festival?) Ganapati, a musical drama, conveyed what millions of words usually fail to But then, what is in a head? Or better still, what is a communicate on creativity and freedom. While writing head? In one of the sensuous retellings of the myth about Ganapati I aspire not to describe it but to call it Ganapati’s elephant trunk becomes a western saxophone into being. With the fallible light of recollection I and his belly an Indian drum. Initially the Indian belatedly accept the seductive invitation of the drummer resists and ignores the invading saxophone performance to explore the aesthetics of interaction: an but the interaction is so playfully seductive that they aesthetics that rearticulates the religious faith towards relate and create incredibly theatrical music and dance. the possibility of return to existence, expression, love Within the framework of Ganapati myth, is this an and life after total destruction. Readers who hear the instance of the Lost Son in the unconscious ascertaining echoes of Nietzchean eternal recurrence are actually him in the concrete and conscious
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