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Performing Nautanki: Popular Community Folk

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Performing Nautanki: Popular Community Folk PERFORMING NAUTANKI: POPULAR COMMUNITY FOLK PERFORMANCES AS SITES OF DIALOGUE AND SOCIAL CHANGE A dissertation presented to the faculty of the College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Devendra Sharma August 2006 © 2006 Devendra Sharma All Rights Reserved This dissertation entitled PERFORMING NAUTANKI: POPULAR COMMUNITY FOLK PERFORMANCES AS SITES OF DIALOGUE AND SOCIAL CHANGE by DEVENDRA SHARMA has been approved for the School of Communication Studies and the Scripps College of Communication by Arvind Singhal Professor, School of Communication Studies Gregory J. Shepherd Dean, Scripps College of Communication Abstract SHARMA, DEVENDRA, Ph.D., August 2006, Communication Studies PERFORMING NAUTANKI: POPULAR COMMUNITY FOLK PERFORMANCES AS SITES OF DIALOGUE AND SOCIAL CHANGE (250 pp.) Director of Dissertation: Arvind Singhal This research analyzes the communicative dimensions of Nautanki, a highly popular folk performance tradition in rural north India. It explores how Nautanki creates participatory dialogue, builds community, and opens up possibilities for social change in rural India. It also tries to understand the position of Nautanki as a traditional folk form in a continuously changing global world. This research uses Mikhail Bakhtin’s concept of performance as carnival and Dwight Conquergood’s notion of performance as an alternative to textocentrism to understand Nautanki as a community folk form and an expression of ordinary rural Indian culture. The research employed reflexive and native ethnographic methods. The author, himself a Nautanki artist, used his dual position as a performer-scholar to understand Nautanki’s role in rural communities. Specifically, the method included observation of participation and in-depth interviews with Nautanki performers, writers, troupe managers, owners, their clients, and audience members in the field. The present research suggests that Nautanki enhances the feeling of community in rural India and provides community members an opportunity to connect to their cultural heritage. The research also shows that Nautanki helps its audiences to challenge various oppressive social traditions such as dowry and adopt certain pro-social thoughts and behaviors, including gender equality and better health practices. However, this research also shows that Nautanki faces numerous challenges, including competition from an expanding mass media, changing audience preferences, and non-professionalism among its ranks. However, it seems that community folk performance traditions will continue to hold their place in the changing media atmosphere as they are more immediate and connect to their audiences in an intimate manner. Unfortunately, ordinary folk forms have not been given their due respect by Indian elites. In this respect, Nautanki performances and this dissertation represent sites of struggle to reclaim dignity for “ordinary culture.” Approved: Arvind Singhal Professor, School of Communication Studies Acknowledgements I would like to record my deepest respect and gratitude to my father and renowned Nautanki artist Pundit Ram Dayal Sharma for inspiring me to conduct this research. This dissertation could only become possible due to the access he provided me to the world of Nautanki. His deep knowledge of Nautanki which he affectionately shared with me as a father and guru since my childhood propelled me on this journey. I thank him also for accompanying me in my dissertation research field trip to villages in north India in the hot summer of 2005. I can not thank enough my committee chair Dr. Arvind Singhal for mentoring me carefully and working with me on my journey of researching and writing this dissertation, and for his oversight throughout my graduate studies at Ohio University. Without his guidance, a timely completion of this dissertation would have been impossible. I would also like to thank Drs. William Rawlins, Roger Aden, and Gini Gorlinski for agreeing to be part of my dissertation committee and giving me invaluable suggestions and advise from time to time. My heartfelt thanks go to the numerous Nautanki performers, writers, gurus and ustaads (traditional teachers) troupe owners and managers, audience members and villagers without whose contributions I could not conduct this research. I would like to convey my gratitude to the Department of Communication Studies, Ohio University, Friends of India Endowment, Athens Ohio, and Graduate Student Senate, Ohio University for providing me financial assistance to enable my field trip to north India. Also my special thanks go to my colleagues at the Department of Communication, California State University, where I am a faculty member at present, for providing me with time, financial assistance and moral support to finish my dissertation fast. I would specially like to thank my sister Indu Sharma for providing me valuable support in all ways throughout my stay in Athens, Ohio during the long process of this research. I will like to express my respectful regards and thanks to my mother Ms. Krishna Sharma for giving me affectionate support from India during my graduate studies, and my brothers Sangeet Sharma, Sahitya Sharma and Vishnu Sharma for sending me helpful information related to my research from India. Finally, I thank my wife Vandana Sharma for her patience and loving support in this journey. This dissertation is dedicated to my parents whose affection and love has instilled confidence in me, inspiring me to move ahead in life. 9 Table of Contents Page Abstract…………………………………………………………………………................4 Acknowledgements………………………………………………………………………..6 Dedication…………………………………………………………………………………8 List of Figures……………………………………………………………........................12 Chapter 1: From Mudhera Village to Athens Ohio...........................................................14 Chapter 2: Purpose and Rationale………………………………………………………..29 Background: Communication for Social change………………………...............30 Participatory Paradigm of Communication for Social Change…………………..33 Performance for Social Change………………………………………………….34 Rationale for the Present Research………………………………………………39 A Brief History of the Nautanki Performance Tradition………………...............43 Nautanki: The Contemporary Scenario………………………………………….46 Summary…………………………………………………………………………50 Chapter 3: Review of Literature…………………………………………………………52 Community Performance as Carnival…………………………………...............53 Performance as a Challenge to Textocentrism…………………………...............64 Performance as Post-Modern Public Rhetoric …………………………..............70 Community Performance as a Tool to Make Rhetorical Discourse More Understandable…………………………………………………………….73 Discourse on Indigenous Performance Traditions of India……………………...75 Research Questions …………………………………….………………………102 10 Summary………………………………………………………………..............103 Chapter 4: Research Methodology……………………………………………………...104 Reflexive Ethnography and Native Ethnography………………………………105 My Position as Researcher……………………………………………………...108 Observation of Participation……………………………………………………108 Field Notes and In-depth Individual and Group Interviews……………………110 Field Operationalization of the Research Plan………………………………….112 Summary………………………………………………………………………..117 Chapter 5: Reflections from the Field…………………………………………………..118 The Architectonics of Nautanki Performance…………………………………..118 Theme 1: Nautanki and Community…………………………………................123 Nautanki and the Feeling of Community……………………………….125 Community Participation in Nautanki…………………………….........135 Nautanki as Means for Audiences to Connect with Cultural Roots……142 Theme 2: Nautanki as Entertainment and Purveyor of Social Messages………146 Nautanki’s Influence on Audiences……………………………….........155 Communicating Social Messages through Nautanki…………………...161 Impact of Nautanki’s Social Messages on Audiences………………….165 Message Impact: Nautanki versus Mass Media………………………...174 Theme 3: Nautanki’s Changing Form, Challenges, and Future Possibilities of Growth………………………………………………………………………….183 Challenges before Nautanki…………………………………………….186 11 Nautanki and the Mass Media…………………………………..186 Obscenity in Nautanki…………………………………………..188 Non-Professionalism in Nautanki………………………………196 Non-Contemporary Scripts……………………………………..201 Suggestions to Strengthen Nautanki and Future Directions……………205 Change in Nautanki’s Form and Content, and Government Support……………………………………………206 Encouraging a New Generation of Artists……………………...208 Conclusion……………………………………………………………………...211 Chapter 6: Discussion and Implications………………………………………………..214 Nautanki’s Role in Preserving and Changing Community..................................215 Questioning the Dominance of Textocentrism………………………………….219 Nautanki in a Global World…………………………………………………….225 A Struggle to Privilege the Ordinary Culture…………………………………..232 References……………………………………………………………………....236 12 List of Figures Figures Page 1. The author performing with his father, renowned Nautanki singer Pundit Ram Dayal Sharma…………………………………………………...14 2. Nautanki actress Sitara in Nautanki Amar Singh Rathore……………….......43 3. Pundit Ram Dayal Sharma and comedian Kishan Swaroop “Awara” in a Nautanki performance………………………………………………………..45 4. Nautanki artists meet in a workshop to get training from BLM on how to incorporate contemporary social issues in their performances………………51 5. Spatial depiction of a typical Nautanki performance……………………….121 6. A humorous scene from the Nautanki Beti ka Byah [The Marriage of Daughter]
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