DOCSLIB.ORG

Odisha's Unique Theatre Form – Mughal Tamasha

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Odisha's Unique Theatre Form – Mughal Tamasha Odisha Review JUNE - 2013 Odisha’s Unique Theatre Form – Mughal Tamasha Rabi Sankar Rath Rapid urbanization of the country accelerated by some near to extinction and some languishing and industrialization, globalization and development; breathing their last. It is therefore, necessary to ‘folk culture’ is no more cradled in the rustic do a comprehensive study of these performing hamlets of the country side. One does get to see art forms before they are extinct and people are some forms frequently manifested in city suburbs no longer able to relate to it, explain it, and largely because of a huge section of the rural understand it. Given institutional and social support audience has moved to the city in search of a new these forms can be revived, preserved and life and better livelihoods. While sophisticated TV fostered as unique art forms for both rural and and cinema is increasingly becoming common urban populace. recreation methods for these groups, they still yearn for familiar jatra, pala, daskathia or a The history of folk art in any country is theatre performance that takes them back to their obscure and therefore it is extremely difficult to roots – the rural, the rustic and the beauty and determine the exact time or period when they humility of it all. Therefore, in spite of the rapid came into existence. It is also because folk arts urbanization “folk art” still remains the art of are evolving in nature, continually adopt ‘people’ living both in urban and rural areas. themselves to changing times and needs and thus continue to lose a bit of their original form. If one wants to understand the spirit of Therefore it becomes difficult to recall the history rural India, one needs to go through the various of their form and existence. It is only through forms of folk-art in the country which has evolved studies, research, methods of recall and repeated over the centuries and is an integral part of the life performances that we attempt to trace their and culture of the rural population. These art forms original form and historical evolution. are faithful to rural life, have an authenticity and a charm of their own and are amongst the most It is on this basis that an effort is made to valuable legacies of our long and varied rural discover the original, growth and development of heritage. Folk arts in form of songs, dances, Jatras folk drama in Odisha. Folk drama forms of Odisha and dramas have nourished a rich tradition. The are closely associated with the religious culture coming of cinema and other urban forms of of Odia people. Some of them are still performed entertainment have taken a toll over the existence in rural areas as they are traditionally necessary of many such art forms with some that are extinct, for religious rituals. However, amongst the many 38 JUNE - 2013 Odisha Review forms that Odisha prides itself, MughalTamasha taken note that the form did not promote in Odisha is distinct for its flavour and purpose. communalism, since it ridiculed the filthy rich rulers Satirical in nature, the art form is very unique to and their oppressive mannerisms which put both Odisha. communities at a receiving end. It is therefore just very natural that Mughal Tamasha was popular Apart from Maharashtra, Odisha other amongst both Hindus and Muslims and both than is the only State that nurtured and patronized communities participated in it. indigenous versions of Tamasha. Among the many, Mughal Tamasha is an epigrammatic and Historically speaking Mughal Tamasha farcical play on the Mughal administration in evolved in Sangat village as a variation of the Odisha. The tradition of the play is prevalent in traditional Chaiti Tamasha in Bhadrak region of th northern Odisha districts of Bhadrak and Odisha in the later half of 18 century. Balasore. However the focus of attention and Subsequently it spread out to other places like strong popular tradition of MughalTamasha was Sahapur, Januganj, Garadpur and Kuansa. It popular in the villages surrounding the district remained confined within the region though headquarter town of Bhadrak in coastal Odisha sporadic attempts were made to perform the with a relatively high concentration of Muslim same in some other areas of Northern Odisha. population. The incredibly fertile imagination of a single genius poet Banshi Ballav Goswami had Afghans of Bengal occupied Odisha in created seven works of Tamasha; the most the 15th Century A.D. Mughals wrested power th outstanding and unique amongst them being during the last part of the 16 Century. It was ‘Mughal Tamasha’. This form is the only that is Raja Mansingh who defeated the Afghans and still alive but struggling for survival with ever established Mughal rule in Odisha. However he decreasing performances and patronage. The did not dismiss the Afghan officers who other six forms like Bhil Tamasha, surrendered before him. These officers became (2) Radhakrushna Tamasha (3) Chauda / the Muslim residents of Odisha. For more than Chahoda Tamasha (4) Jogi Tamasha (5) Fakir two hundred years that the Muslims ruled, Persian Tamasha and (6) Lolin Mazabai Tamasha, ceased remained the court language. Afghan Officers who to exist long ago and are virtually lost to posterity remained in power indulged in a luxurious lifestyle. except for manuscripts in incomplete form. Scripts This affected the administration acutely. Mughal of this play have been collected and printed by Tamasha deals with loose and slack administration Dr. Krushna Chandra Behera, a professor of of the Mughal officials in a comical way. Odia literature and Sri Lalatendu Mohanty, the Director of Abhinaya Natya Sanstha in When the Marathas ruled over Odisha in Bhubaneswar. the second half of the 18th Century A.D, people became open and fearlessly criticized and made Though definite historical evidence of poet mockery of the Muslim rulers, their style of rule Banshi Ballav Goswami’s life and work is not yet and administrative slackness. The satire was forth coming, it is evident that he had acquired primarily aimed at the luxury and pompous display mastery over several languages and was an ardent of wealth that Mughals indulged in. This led to votary of Lord Shiva – Hatnagar Mahadev of the development of Mughal Tamasha. It must be Sangat village where he lived. 39 Odisha Review JUNE - 2013 Keeping in line with the tradition and a languages is unbelievably unique feature of Mughal continuation of Odisha’s indigenous regional Tamasha. version of Tamasha, a specific version which is identified as MughalTamasha is sui generis Couched in the form of a musical farce, possibly unique, unprecedented and unparalleled music and songs play a predominant role in in the annals of theatre on account of its advancing the action in an epigrammatic manner simultaneous employment of five different and a confluence is noticeable in the use of languages within course of the performance of a indigenous musical instruments along with their single play – Odia, Bengali, Hindi, Persian and more exotic counterparts. Urdu. Any Tamasha form normally makes Mughal Tamasha is the outcome of the simultaneous use of different languages including cultural interaction and confluence that took place the ones existent in Maharashtra. between the local inhabitants and the outsiders Perhaps the reason behind why Mughal when historical forces brought in to their midst. Tamasha managed to withstand and survive the As had been customary with large vagaries of time as compared to Banshi Ballav’s empires in the past, the rulers based at their other six Tamasha compositions is the dynamism capitals ruled the distant regions through and vital dramatic attributes of the form. representative who from time to time visited the Furthermore, it represented significant social different localities placed under their charge. The connotations underlying it, which mutatis and inhabitants of these territories became the victims mutandis are equally relevant and applicable to of exploitation by many of these representatives contemporary social realities. whenever they visited such localities. Apart from the drastic departure made In Mughal Tamasha, the Mirza Sahab is from tradition by choosing to employ five different one such regional representative who is on a visit languages simultaneously within the span of one to a particular locality placed under his disposal. performance as an integral part of it; it brings Through the various interactions amongst the together Muslims and Hindus and persons of different characters of the play, it is sought to different linguistic hues under the uniting backdrop portray that if the moral fabric of any society is of Lord Shiva’s benign presence moreover not discreetly and judiciously protected and Mughal Tamasha also departs from the preserved by its ruling fraternity, the decay and predominant practice of characters exclusively destruction of values- both social as well as using verse, with the characters of the drama like; personal will percolate to every level of the social Chopdar or Nakib often resorting to staccato hierarchy from the top to the bottom. Urdu and Hindi prose while addressing other characters. As such Mughal Tamasha has no definite plot. Most of the characters are un-related. They The uninhabited use of language spoken are mostly the Sebayats (people who render by people in actual life is another aspect which is personal service) of the rulers or administrators. indicative of the realistic daring which guided the They are Vestiwalla (Waterman), Jhaduwalla composition of this popular genre, while the (Sweeper), Farras (person arranging beds), creative use of his mastery over the different Hukawalla (person who arrange Huka for 40 JUNE - 2013 Odisha Review Smoking), Pankhawalla (one who fans), Bhat Sahanai (Mahuri), Dhol and Jodi Nagara. The (person who recited praises), Nanakshai music continues for hours to attract the crowd.
Load more

Recommended publications
  • Folk Theatre Forms of India: Tamasha,Significance of Props
    Folk Theatre Forms of India: Tamasha Tamasha is considered a major traditional dance form of the Marathi theatre, which includes celebration filled with dancing and singing and is performed mainly by nomadic theatre groups throughout the Maharashtra region. The word “Tamasha” is loaned from Persian, which in turn loaned it from Arabic, meaning a show or theatrical entertainment.​1​ In the Armenian language, “To do a Tamasha” means to follow an exciting and fun process or entertainment. Unofficially, this word has come to represent commotion or display full of excitement.​1​ The traditional form of Tamasha was inspired by a lot of other art forms like Kathakali, Kaveli, ghazals etc. The region of Maharashtra had a long theatrical tradition, with early references to the cave inscriptions at Nashik by Gautami Balashri, the mother of the 1st-century Satavahana ruler, Gautamiputras Satakarni. The inscription mentions him organizing Utsava’s a form of theatrical entertainment for his subjects.​1​ Tamasha acquired a distinct form in the late Peshwa period of the Maratha Empire and incorporated elements from older traditional forms like Dasavatar, Gondhal, Kirtan etc. Traditional Tamasha format consisted of dancing boys known as Nachya, who also played women’s roles, a poet-composer known as Shahir, who played the traditional role of Sutradhar, who compered the show. However, with time, women started taking part in Tamasha.​2​ Marathi theatre marked its journey at the beginning of 1843.​3​ In the following years, Tamasha primarily consisted of singing and dancing, expanded its range and added small dramatic skits known as Vag Natya.​3​ These included long narrative poems performed by the Shahir and his chorus, with actors improvising their lines.
    [Show full text]
  • Conceptualising Popular Culture ‘Lavani’ and ‘Powada’ in Maharashtra
    Special articles Conceptualising Popular Culture ‘Lavani’ and ‘Powada’ in Maharashtra The sphere of cultural studies, as it has developed in India, has viewed the ‘popular’ in terms of mass-mediated forms – cinema and art. Its relative silence on caste-based cultural forms or forms that contested caste is surprising, since several of these forms had contested the claims of national culture and national identity. While these caste-based cultural practices with their roots in the social and material conditions of the dalits and bahujans have long been marginalised by bourgeois forms of art and entertainment, the category of the popular lives on and continues to relate to everyday lives, struggles and labour of different classes, castes and gender. This paper looks at caste-based forms of cultural labour such as the lavani and the powada as grounds on which cultural and political struggles are worked out and argue that struggles over cultural meanings are inseparable from struggles of survival. SHARMILA REGE he present paper emerged as a part tested and if viewed as a struggle to under- crete issues of the 1970s; mainly the re- of two ongoing concerns; one of stand and intervene in the structures and sistance of British working class men and Tdocumenting the regional, caste- processes of active domination and sub- youth, later broadening to include women based forms of popular culture and the ordination, it has a potent potential for and ethnic minorities. By the 1980s cul- other of designing a politically engaged transformative pedagogies in regional tural studies had been exported to the US, course in cultural studies for postgraduate universities.
    [Show full text]
  • Revitalizing Mumbai Textile Mill Lands for the City Vinay Surve University of Massachusetts Amherst
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 Revitalizing Mumbai Textile Mill Lands for the City Vinay Surve University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Architectural Engineering Commons, Interior Architecture Commons, Landscape Architecture Commons, and the Urban, Community and Regional Planning Commons Surve, Vinay, "Revitalizing Mumbai Textile Mill Lands for the City" (2011). Masters Theses 1911 - February 2014. 722. Retrieved from https://scholarworks.umass.edu/theses/722 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Revitalizing Mumbai textile mill lands for the city A Dissertation Presented by VINAY ARUN SURVE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARCHITECTURE September 2011 Architecture + Design Program Department of Art, Architecture and Art History Revitalizing Mumbai textile mill lands for the city A Dissertation Presented by VINAY ARUN SURVE Approved as to style and content by: _______________________________________ Kathleen Lugosch, Chair _______________________________________ Max Page, Member _______________________________________ Alexander C. Schreyer, Member ____________________________________ William T. Oedel, Chair, Department of Art, Architecture and Art History DEDICATION For my beloved Aai (mother), Bhau (Father), Manish (Brother), Tejas (Brother), Bhakti (Sister in law), and Tunnu (Nephew). And Professor David Dillon ACKNOWLEDGMENTS I would like to start by thanking the institution, UMASS Amherst for providing every support system in achieving this milestone.
    [Show full text]
  • International Conference on Maharashtra
    INTERNATIONAL CONFERENCE ON MAHARASHTRA 21 – 25 SEPTEMBER 2021, OXFORD Platform: Zoom All timings below are British Summer Time (GMT + 1) Tuesday 21st September 12.30pm – Welcome Note – Polly O’Hanlon and Shailen Bhandare (with Shraddha Kumbhojkar, Anjali Nerlekar and Aruna Pendse) 1pm - 3 pm 1. Circulation: Journeys and identities Chair: Anne Feldhaus Narayan Bhosle and Vandana Sonalkar (University of Mumbai / TISS, Mumbai) – From Circulation to Settlement: Nomadic Tribes in Transition Shreeyash Palshikar (Philadelphia, USA) - Wandering Wonderworkers: Circulations of Madaris in Maharashtra, Maratha period to the present Madhuri Deshmukh (Oakton Community College, Des Plaines, USA) - Vanvās to Vārī: The Travel History of Songs and Poetry in Maharashtra Mario da Penha (Rutgers University, New Jersey, USA) - Beggars On the Move: Hijra Journeys in the Eighteenth-century Deccan 3.30 – 5.30 pm 2. Circulation, Literature and the Early Modern Public Sphere Chair: Ananya Vajpeyi Sachin Ketkar (MS University, Vadodara) - Travelling Santas, Circulation and Formation of ‘the Multilingual Local’ of World Literature in the early modern Marathi Prachi Deshpande (CSSS, Kolkata) - Writing and Circulation: A Material Approach to Early Modern Marathi Literature Roy Fischel (SOAS, UK) - Circulation, Patronage, and Silence in the Practice of History Writing in Early Modern Maharashtra Wednesday 22nd September 10.30 am -12.30 pm 3. Marathi Abroad Chair: Shailen Bhandare Anagha Bhatt-Behere (SPPU, Pune) - From Russia to Bombay, from Bombay to Soviet Union and Back: The journey of Annabhau Sathe’s Maza Russia cha Pravas Aditya Panse (Independent scholar, London, UK) - 配य車नी पयहिलेली हिलययत: मरयठी प्रियशय車नी १८६७ ते १९४७ यय कयळयत हलहिलेल्यय इ車ग्ल車डच्यय प्रियसिर्णनय車चय सयमयहिक अभ्ययस 4.
    [Show full text]
  • Theatre Arts
    POTTI SREE RAMULU TELUGU UNIVERSITY Department of Theatre arts, Lalitha Kala peetham Hyderabad INDIAN THEATRE (Theory) Paper No: 1630101 (core) Marks: 80 Unit -1: Folk Theatre A) Evolution of Drama – Different Theories – Themes- Performing Characteristics B) Indian Folk Plays –Ramleela - Tamasha – Jatra –Therukuthu Unit – 2: Sanskrit Theatre A) Theories of Evolution of Sanskrit play B) Dasharupaakaalu – Natakam - Prakaranam – Prahasanam – Theories of Bharatha of Drama – Chathurvidhaabhinaayaalu - Importance- Rasa – Bhava- Lokadharmi – Vrithi – Pravrithi Unit – 3: Modern Indian Theatre A) 1. Evolution – Political, Social, Cultural Background – English & Sanskrit Translations – Kalidas, Sudraka Plays - Shakespeare Plays 2. First writings of Modern Theatre – Folk – Social – Historical – Mythologies B) 1. Play writings on Nationalistic Themes - Marati - Bengali - Hindi Plays 2. Parsi Theatre – Other Professional Theatre Groups – Dharwada - Gubbi - Prithvi Unit – 4: Revolutionary Play Writings (1943 – 1960) A) Realism Writings B) Revolutionary Writings Unit – 5: Modern Playwrights – Contemporary Theatre A) Dharamveer Bharathi - Mohan Rakesh - Vijay Tendulkar - Badal Sarcar – Girish Karnad - Safdar Hashmi B) Experiments of NSD - Andhayug – Ghasiram Kothwal – Tuglaq – Chakravyu Reference Books;- 1. 1. Indian Theatre - Adya Rangacharya 2. Traditional Indian Theatre - Kapila Vatsayana 3. Indian Folk Theatre - Balwart Gargi 4. Folk Performing Art of A.P. - M.N.Sarma 5. Folklore of A.P. - B.Ramaraju 6. Yakshaganam - S.V.Jogarao 7. Natyashastram
    [Show full text]
  • Contextualizing Power Politics of Tamasha Art and Female Suffering in Dalit Autobiography
    Asian Journal of Humanity, Art and Literature, Volume 1, No 2 (2014) Contextualizing Power Politics of Tamasha Art and Female Suffering in Dalit Autobiography Morve Roshan K. Center for Comparative Literature and Translation Studies, School of Language, Literature and Culture Studies, Central University of Gujarat, India ABSTRACT “Tamasha” is a form of entertainment, which came in the Volume 1, Number 2/2014 16th century and transforms it into business and politics after the independence of India. It became a cultural part DOI: of the Kolhati community in Maharashtra. This paper has significant to define that the politics of Tamasha and female suffering through the twentieth century dalit autobiography Kishor Kale‟s Kolhatyach Por (1994). It will Licensed: also discuss that his personal and painful experiences where he born and grown up in the misery environment. Source of Support: Nil It needs to understand that how the dalit women Conflict of Interest: None declared becoming the victims of politics and how their family takes tragic and painful end. Therefore, this paper tries to Email for correspondence: make a link between the Tamasha dancers and the dalit [email protected] experiences through the power politics. In the end, it comes to conclude that emergence of the dehumanized social conditions and ignorance of the dalit Kolhaty community. It demands for their right and the respect of the Tamasha art. Key words: Kolhaty; Maharashta; tamasha; dancer; politics; Dalit autobiography INTRODUCTION „Tamasha‟ is a Persian word meaning is fun or entertainment. Other scholars suppose that diverse pieces of musical dance and dramatic entertainment to form tamasha something came in Maharashtra in the 16th century, in the Mughal period.
    [Show full text]
  • Issn 2454-859 Issn 2454-8596
    ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal HISTROY OF GUJRATI DRAMA (NATAK) Dr. jignesh Upadhyay Government arts and commerce college, Gadhada (Swamina), Botad. Volume.1 Issue 1 August 2015 Page 1 ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal HISTROY OF GUJRATI DRAMA (NATAK) The region of Gujarat has a long tradition of folk-theatre, Bhavai, which originated in the 14th-century. Thereafter, in early 16th century, a new element was introduced by Portuguese missionaries, who performed Yesu Mashiha Ka Tamasha, based on the life of Jesus Christ, using the Tamasha folk tradition of Maharashtra, which they imbibed during their work in Goa or Maharashtra.[1] Sanskrit drama was performed in temple and royal courts and temples of Gujarat, it didn't influence the local theatre tradition for the masses. The era of British Raj saw British officials inviting foreign operas and theatre groups to entertain them, this in turn inspired local Parsis to start their own travelling theatre groups, largely performed in Gujarati.[2] The first play published in Gujarati was Laxmi by Dalpatram in 1850, it was inspired by ancient Greek comedy Plutus by Aristophanes.[3] In the year 1852, a Parsi theatre group had performed a Shakespearean play in Gujarati language in the city of Surat. In 1853, Parsee Natak Mandali the first theatre group of Gujarati theatre was founded by Framjee Gustadjee Dalal, which staged the first Parsi-Gujarati play,Rustam Sohrab based on the tale of Rostam and Sohrab part of the 10th-century Persian epicShahnameh by Ferdowsi on 29 October 1853, at at the Grant Road Theatre in Mumbai, this marked the begin of Gujarati theatre.
    [Show full text]
  • Types of Traditional Media Optional Module 7A Traditional Media
    Types of Traditional Media Optional Module 7A Traditional media 26 Notes TYPES OF TRADITIONAL MEDIA You have learnt that traditional media is a very useful form of communication. Traditional media however, exists in various forms as seen and practised in different parts of India. Some of the forms still exists in some places but may not be in its original form and content. They have been reinvented according to the modern environment. There are many such forms which plays a vital role in our daily lives. In this lesson, you will learn about the different forms of traditional media in detail, their form and structure as well as their use in Indian society. OBJECTIVES After studying this lesson, you will able to do the following: • list the various forms of traditional media; • explain the form and structure of different forms of traditional media; • describe the use of these media forms in society. 26.1 TYPES OF TRADITIONAL MEDIA Can you recall the different forms of traditional media, that you learnt in your previous lesson. Let us list them. drama street theatre puppetry dance story telling song music painting motifs and symbols We shall discuss each one of them in detail MASS COMMUNICATION 9 Optional Module 7A Types of Traditional Media Traditional media 26.2 DRAMA Most of you may have heard of the term ‘drama’. Have you ever seen a drama being performed in your neighbourhood or in a theatre ? Notes Drama is one of the most popular forms of traditional media. Let us understand this form by using an example from the rural areas.
    [Show full text]
  • Bertolt Brecht's Concept of 'Epic-Drama' and Alienation Theory
    Lapis Lazuli -An International Literary Journal (LLILJ) Vol.3/ NO.1/Spring 2013 Bertolt Brecht‟s Concept of „Epic-drama‟ and Alienation Theory and „Tamasha Art‟ in Marathi Theatre: A Comparative Study Smita Mujumdar ABSTRACT Bertolt Brecht is a bewildering figure in the field of drama. Brechtian theory of epic theatre became so popular that its influence reached far beyond the communist countries. Since earlier period of Marathi theatre, this concept of epic-drama with A-effect theory was already implicit in „Tamasha‟- Folk Art form of Marathi tradition. The main purpose of this paper is to see whether Brecht‟s theory of alienation A-effect and concept of „epic-drama‟ was already implicit in Tamasha form in Marathi theatre. If we allude to the historical background and the history of development of European drama and Marathi dramatic tradition, we can see that the changing conditions of society inspired Brecht to think differently about dramatic form which resulted in bringing out a new technique with a new theory and it influenced the whole world theatre including Marathi theatre of the time onwards. It is noted here that how old, ancient this form is, known since ever before the birth of Brecht, and how it is coming as new literary form in written play form, imitating Brecht‟s style and Lapis Lazuli -An International Literary Journal (LLILJ) ISSN 2249-4529, Vol.3/ NO.1/Spring2013 URL of the Issue: http://pintersociety.com/vol-3-no-1spring-2013/ URL of the article: http://pintersociety.com/wp-content/uploads/2013/07/Smita-mujumdar-9.pdf © www.pintersociety.com 1 Women and Life Force in Shaw‟s „Widower’s House‟ and „Man and Superman’ concept.
    [Show full text]
  • Utilization of Folk Art As Involving Theatre in Communication Programme in India Kusum Kanwara, Arti Maheshwarib
    Proceeding of The 4th Conference on Communication, Culture and Media Studies Utilization of folk art as involving theatre in communication programme in India Kusum Kanwara, Arti Maheshwarib ᵅManipal University Jaipur, India, [email protected] bManipal University Jaipur, India Abstract Art is an expression of characteristics of the human mind .It reflects human emotions & human beings spontaneously express there frame of mind through various art form. The expression communicate in various style like singing, dancing, drawing, painting, acting & sculpture. Folk arts are primarily concertina with appealing to emotions include strong dimensions of communicating in India. Folk art which is combination of dance, music & drama, that provide face to face communication through theatre. This art convey message through entertainment colour, costume, dance & music remain the heart of the theatre. Keywords: expression; concertina; communication; relationship; 1. Introduction Folk art is country person’s creative work, blossomed out in varied forms and answering life, work and spiritual needs, taking part in rituals, tradition, economic and cultural activity including all life spheres. After historical changes unstable public and economic structure, folk creative work breaks away more from the countryside. A large number of today’s folk artists city and town inhabitants and their creative work in theatre, dance, and music has join into city life culture and art process, therefore it is more or less usual that today’s folk creative works, and perceived as work of persons without higher academic studies and merging one way or another with folk art traditions and extending them. Folk art may be defined as the art created among groups that exist within the frame work of existing society but for the geographical and, cultural reasons are largely and separated from the sophisticated cultural reasons and the developments of their time.
    [Show full text]
  • Making of a Tamasha
    INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS presents HASYA: COMEDY, HUMOR AND SATIRE IN INDIAN TRADITIONS SERIES MAKING OF A TAMASHA A film by Sanjay Maharishi Duration: 46 minutes May 8th, 2013 at 5 pm Venue: Media Centre Auditorium, IGNCA, 3, Dr. Rajendra Prasad Road, New Delhi 110 001 Film screening will be followed by a discussion with Sanjay Maharishi and Aniruddha Khutwad ALL ARE WELCOME Synopsis Making of a Tamasha was filmed in 2010 with student actors of the National School of Drama in the small town of Baramati, Maharashtra. The film is part of a series of films that chronicles the working method of contemporary theatre directors. These films were made keeping in mind young as well as veteran theatre practitioners, directors and actors on one hand and theatre enthusiasts and aficionados who may not be directly practicing but form an essential part of the audience. In the film, the students work with director Aniruddha Khutwad and put together a widely appreciated performance of the Tamasha play Sanya Bhaye Kotwal. The film explores the physical, cultural and mental landscape of the director, his major influences and his way of dealing with challenges in form and content of the Tamasha. About Tamasha Tamasha, as the form stands today, is a secular, variety entertainment package, mostly catering to the village people of Maharashtra. Its antecedents have been traced back to the practices of ‘khadi gammat’ (literally meaning ‘entertainment given by standing performers’) by the low caste Mangs and Mahars. It draws from several folk and popular traditions like Jagaran – Gondhal.
    [Show full text]
  • 11 Appendix.Pdf
    Appendix 1 1.1 S.N.D.T. University Department of Sociology M.A. Part I & II • Some Core and Seminar Courses '•« Reflections on Classical Sociologists - Marx, Durkhelm and Weber : Paper No,£ Ob.iectlves 1, . To acquaint the students with the soolal thought of the three classical thinl^ers against the background of the new social economic order inaugurated by the Industrial Revolution. 2, To assess the relevance of their thought to contenrporary times and to the Indian situation. 3, To acquaint thera with the near-perennial issue of structure versus agency or deterrslnisn with voluntarisn. I. Industrial society in Qiglaiid, Germany and Frrnce in the Nineteenth Century t 1. Idea of Progress 2. Ideology of free competition and the operation of the Market Forces * 3. Ideology of Laissez-Faire state II. Karl Marx : 18I8-1883 A. Brief Biographical Sketch Influence of Saint Simon and Fuerbach B. Dialectical and Historical Materialism 1. Man-Nature Relationship 2, The production system and exploitation, nodes of production, slavery, fuedalism, capitrlisa, comciunism,. asiatic mode • 3. Classes, class conflict, class conscionsness, class ir itself, class for itself". W. Base and Superstructure 5. Alienation C. Marxist writings on Indian Society D. Religion and False Consciousness E. Theory of State 1. Ruling Class £Uid the State 2. Theoiy of Revolution 3. Withering Away of the state F. Marxist Method. 1.3 III. Einile Durkheim A. Brief Biographical 3cetch Influence of Saint Sinon and Coate B. Concerns with Social Solidarity and /jionie 1. Division of Labour - (a) iMechanlcal Solidaritiy (b) Organic Solidarity 2". Religion as an integrating force role of fanlly and moral education alternative to the state.
    [Show full text]