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6. Entertainment and History 6. ENTERTAINMENT AND HISTORY 6.1 Why do we need entertainment. Entertainment ? Watching a sports match or listening 6.2 Folk Theatre to music or watching a movie are examples 6.3 Marathi Theatre of passive entertainment. In this type of 6.4 Indian Film Industry entertainment we are not actual participants 6.5 Entertainment and but only viewers. Professional Opportunities Do it. Things that help refresh our minds and give a feeling of happiness are the Create a chart of active and passive sources of entertainment. Various hobbies, types of entertainment, which are related to history. games, drama-film, writing-reading, etc. are the sources of entertainment. 6.2 Folk Theatre 6.1 Why do we need Entertainment ? Puppetry - Wooden Puppets Healthy entertainment of excellent (Kathputali) : Remains of clay dolls have quality is essential for the healthy growth of one’s personality. Entertainment keeps our minds lively and fresh. It may also make us feel physically more energetic. So eventually our efficiency at work improves. Pursuing hobbies and games helps in personality development. In India many festivals, sports, dance- music, etc. were developed as forms of entertainment since ancient times. There are varied forms of entertainment available in the Puppetry - Wooden Puppets modern period as well. been found in the excavations of Try to do it. archaeological sites of Harappan Make a list of various types of civilisation as well as sites in Egypt and entertainment and classify them into Greece. It is possible that they were used different categories. as puppets. Entertainment can be classified into In ancient India materials like wood, two categories, active and passive. Active wool, leather, horns and ivory were used entertainment anticipates an individual’s to make puppets. The Kathputali, a mental-physical participation. Practicing of traditional art of puppetry in India has two handicrafts and participating in sport styles; one that developed in Rajasthan activities are examples of active and the other in southern regions of India. In the 18th century Shyamji Naik Kale The artists who stage Kathputali shows started a phad*, of Dashavatara artists are found in Uttar Pradesh, Maharashtra, which used to perform all over Maharashtra. Rajasthan, Assam, West Bengal, Andhra Vishnudas Bhave, the pioneer of Pradesh, Telangana, Karnatak and Kerala. Marathi theatre staged mythological plays The role of the narrator known as by introducing some modifications in the sutradhara is very crucial in the success Dashavatara style. Thus, the origins of the of Kathaputali stage show. The stage for Marathi theatre can be traced to this puppetry show is quite small but the Dashavatara tradition. puppeteers use light and sound effects in *The meaning of phad is ‘a troupe’. an ingenious way. Shadow puppets, hand Bhajan (singing devotional songs) : puppets, wooden puppets and string puppets To sing songs in praise of God and are used in Kathputali shows. chanting god’s name accompanied by Dashavatara Theatre : Dashavatara is instruments like taal (cymbals), mridangam, part of the folk theatre in Maharashtra. pakhavaj is known as Bhajan. There are Dashavatara shows are presented in the two types of Bhajan, Chakri Bhajan and regions of Konkan and Goa after harvesting Songi Bhajan. season is over. The stories presented in Chakri Bhajan : Devotees keep moving these shows are based on the 10 incarnations in circular fashion and sing without break. of Vishnu, namely Matsya, Koorma, Varaha, Songi Bhajan : The singer-actors act Narsimha, Wamana, Parashurama, Ram, as devotees and deliver dialogues in the Krishna, Buddha and Kalki. At the beginning form of devotional songs. of the show sutradhara, the narrator invokes Tukadoji Maharaj introduced a new Lord Ganesha, the destroyer of obstacles. form of Bhajan known as Khanjiri Bhajan. Do this. Listen to the bhajans composed by saints Tulsidas, Surdas, Meerabai and Kabir and try to learn them with the help of your music teacher or some traditional singer. In north India the bhajans composed by Saint Tulsidas, the great poet Surdas, Dashavatara Saint Meerabai and Saint Kabir are very The method of acting, make-up, popular. costumes in Dashavatara shows is set by Compositions of Purandardas, the tradition. The show is mostly musical Kanakdas, Vijaydas, Bodhendraguruswami, but sometimes there may be a few Thyagaraj, etc. are sung in Karnatak. spontaneous dialogues. The characters In Gujarat Saint Narasi Mehta gave representing gods use wooden masks. The momentum to the Bhakti movement. In show ends by breaking dahihandi, an Maharashtra, Saint Namadeva supported the earthen pot of curds, followed by aarati, tradition of bhajan-keertan through the singing praises of the God. tradition of Varakari sect. The Varakari sect developed a glorious tradition of instruments, dance and humour. He needs bhajan-keertan. to be very well informed. Keertan is performed in a temple or in the precincts You would like to know this : of a temple. There are two main traditions of Lalit : Lalit is an old form of keertan, (1) Naraadiya or Haridasi entertainment in Maharashtra. It belongs (2) Varakri. Haridasi keertan is a solo performance. It has two parts, Poorvarang to the tradition of Naradiya Keertan. It is and Uttarrang. Naman (praising god), quite popular in Goa and Konkan. Nirupanacha Abhang (singing a During the performance of Lalit on the composition that leads to the main theme) occasion of religious festivals, it is and Nirupan (explanation of the main presumed that the presiding deity of that theme) comprise the Poorvarang. festival is present on the throne and then Narration of a story to illustrate the main she is invoked for fulfilment of a desire. theme comprises Uttarrang. In the The invocation continues as follows : “Let Varkari Keertan collective participation everybody be granted their desire. Let is more important. The players of cymbals entire village live in happiness till we also play an important part along with perform next Lalit. Let the internal the keertankar. During the independence clashes vanish with this performance of movement a new type of Keertan was Lalit. Let nobody’s mind be spoilt with developed, known as Rashtriya Keertan. prejudice. Let all transactions happen It places more importance on creating with clear minds. Let the community’s awareness by narrating the life stories of behaviour be pious.” great leaders of the Indian independence movement, scientists, social reformers, The Lalit is performed in a theatrical etc. The tradition of Rashtriya Keertan style. Stories of Krishana, Rama and great was started by Dattopant Patwardhan of devotees are presented during the Wai in Maharashtra. performance. A few texts of Lalit are Members of the Satyashodhak Samaj available in Hindi as well. Lalit forms a founded by Mahatma Jyotirao Phule also part of the backdrop of modern Marathi used Keertan as a medium of creating theatre. social awareness. The style of Keertan by Bharud : Bharud can be described as Saint Gadge Maharaj resembled closely a metaphorical song that has spiritual and to Satyashodhak style of Keertan. He ethical lessons. Bharud is comparable to used to throw light on issues like abolition the style of a road show. Bharuds composed of caste, cleanliness, deaddiction, etc. by Saint Eknath are popular in Maharashtra Keertan : Traditionally, Naradmuni because of its wide range of subjects, is supposed to be the founder of the dramatic quality, easy rhythm and humour. Keertana tradition. Saint Namadev is Saint Eknath composed Bharuds with a known as the first keertankar of purpose of educating people on various Maharashtra. Other saints helped the aspects of life. tradition to flourish. Tamasha : Tamasha is a Persian The keertankar is also known as word. It means a ‘pleasing sight’. Tamasha Haridas or Kathekaribuva. He has to dress developed as an independent art form in in a traditional way. He needs to train the 18th century, by absorbing various himself in oratory, singing, musical traits of folk theatre and classical arts. There are two types of traditional Tamasha, as well as the audience is essential for a Sangeet Bari and Dholakicha Phad. Dance successful performance. The theatre and music are more important than drama comprises several factors such as script, in a Sangeet Bari. Tamasha with drama director, artists, make-up, costumes, stage, as the main part, was developed later. It art design (backdrop of the stage), lighting included Vag, the dramatic part, little arrangement, audience and critics. Dance later. The Vag becomes very lively and and music can also be part of a drama. A entertaining because of its spontaneous drama is usually enacted with the help of humour. The show begins by singing the dialogues. However, mime can also be praise of Lord Ganesha, known as Gana. used as the medium of expression. It is followed with the presentation of The rulers of the Bhosale family of Gavalan. The second part of Tamasha Tanjore were great patrons of drama. presents the Vag. The popular plays like Some of them had written a few plays Vichchha Mazi Puri Kara or Gadhavache and also translated Sanskrit plays. The Lagna are examples of the modern form 19th century saw a great development of of Tamasha. the Marathi thetre. Vishnudas Bhave is Powada : Powada is a dramatic known as the father of the Marathi narration by alternatingly reciting poetry theatre. Seetaswayamvar was the first and prosaic extracts. Powada narrates play presented by him. great deeds of heroic men and women in The movement started by Vishnudas a very forceful and inspiring style. The Bhave was followed in Maharashtra by Powada composed by Adnyandas, a historical, mythological and also light contemporary poet of Chhatrapti Shivaji farcical stage plays. The farcical plays Maharaj, narrating the incidence of the dealt with social issues in a humorous way. killing of Afzal Khan and another one on Initially no written scripts were used.
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