Prominant story tellers india 'folklore' course snu

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Just a few names - out of many prominent Indian Story Tellers India has so many story-tellers. They are the real ‘active bearers’ of tradition and are contributors towards the preservation of folklore Tulika Chandra, SNU India; ' Folklore' 1
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1. Just a few names - out of manyprominent Indian Story TellersIndia has so many story-tellers. They are the real activebearers of tradition and are contributors towards thepreservation of folkloreTulika Chandra, SNU India; ' Folklore' 1 2. Kathaiyum Paattum or storytelling with song Thanjavur - Tamil Nadu in India, the women gather to narrate . Theyhave a specific style of narration - known as Kathaiyum Paattum or,storytelling with song.Photo source: ww.bbc.com/news/world-asia-india 80-year-old Ayyamma: Ayyamma is from village of Panayakottai (TamilNadu, India) an energetic and enthusiastic storyteller, her quivering voicefull of passion. [source: http://www.dw.de/] The telling of Raja-Rani Kathai (Folk Tales), in which the Storyteller periodically breaks intosong. That is, at certain points during the telling, the Storyteller (as Characters) may singCharacters' thoughts, or the Storyteller (as Narrator) may sing about the story.Tulika Chandra, SNU India; ' Folklore' 2 3. Harikatha is one of Indian ancient, traditional art forms,where philosophy and life values are taught to people in a musicalform. Harikatha is a composite art form composed of story telling, poetry, music,drama, dance, and philosophy. Sri Achyut Das: Sri Achyut Das has performed in various languages like Kannada,Marathi, Konkani, Tamil, Telugu, etc. Hailing from a small village near Udupi, he made the name of Bhadragiriinternationally recognized through his Harikatha sessions Harikatha is one of our ancient, traditional art forms where philosophy and lifevalues are taught to people in a musical form. A singer, a dramatist, an orator, ascholar, a humorist, a linguist - combination of all these qualifications added toexcellent memory makes a Harikatha narrator. This dying art was kept alive by Sri Achyuta Das.Tulika Chandra, SNU India; ' Folklore' 3 4. Kadapamma: A young widow, Kadapa Lakshmi, a versatile performer,refused to waste away Around 1900, a lady named Kadapa Lakshmi Ammal (1869-1954)started an all-woman cultural association named Lakshmi Vilasa Sabha'in her spacious house at Triplicane, on Big Street. Kadapamma had exclusively composed a set of Javandarai, kolattam songs in Kannada, inpraise of the Dasara festival conducted by the Mysore palace. She had trained little girlsin kummi and kolattam , and every year they would celebrate javandarai during Dasara.They would make a cow and a calf in clay, worship them for nine days, and on the 10thday take them in a procession around the streets, with the children performing kolattam.The images would be immersed in the sea near Triplicane. She trained each and everywoman who stepped into her home, in art and craft thus boosting their self-confidence. Kadapamma could perform Harikatha in three languages - Tamil, Telugu and Kannada.She was a frequent visitor to Mysore Maharani's Palace, and performed Harikatha inKannada and won the title Dharma Chandrika' from the Maharani Kemparajamma, andthe young Rani Lakshmi Vilasa Sannidhana.Tulika Chandra, SNU India; ' Folklore' 4 5. Lakshminath Bezbaruah, one of Assams greateststorytellers 1938, the noted childrens writer had passed away, giving children manycharming tales. Burhi Aair Xaadhu (literally translated to Grandmas Tales) isa collection of stories or folklore, that have been compiled byfamous Assamese author and poet Laxminath Bezbarua. While some of the stories are more like the Assamese version ofPanchatantra, with speaking animals and birds as main characters of thestory, most of these are based on the life of a simple villager. The words of Laxminath Bezbarua wrap these stories up in subtleand sometimes blatant humour, which can somehow never be reflectedin translation, no matter how accurate it is.Tulika Chandra, SNU India; ' Folklore' 5 6. Teejan Bai By the time she came to the notice of theatre personality Habib Tanvir in the eighties,Teejan Bai had been performing Pandavani (story of the pandavas) in her inimitable voiceand style for the past several years. Pandvani is a folk narrative which is sung in a typicalstyle. Her presentation style and humour on stage is remarkable. Born in 1956, she gave her first performance at the age of 13 and in the process becamethe first woman to sing in the kapalik shaili (style) of the pandavni, till then a male onlybastion. In-time she received national and international recognition, a Padma Shri in 1988, SangeetNatak Akademi Award in 1995, and Padma Bhushan in 2003. Beginning in the 80s, she travelled all over the world as a cultural ambassador to variouscountries where she enthralled audiences with her unique folk singing and her powerfulvoice; and passing on her singing to the younger generationTulika Chandra, SNU India; ' Folklore' 6 7. The Bauls of Bengal Tagore was influenced by them,Dylan admired them, The Beatles thought that they were similar to them. Bauls still wander about in rural Bengal (and sometimes on stage with westernrockstars) searching for the maner manush (the ideal being) with an ektara intheir hands and songs orally transmitted from one generation to the next. Originally, the Bauls were nonconformists, who rejected the traditional socialnorms to form a distinct sect that upheld music as their religion. Baul is also thename given to the genre of folk music developed by this creative cult. Its easy to identify a Baul singer from his uncut, often coiled hair, saffron robe,necklace of beads made of basil (Tulsi) stems, and of course the single-stringedinstrument, the Ektara. Music is their only source of sustenance. They live onwhatever they are offered by villagers in return, and travel from place to place, asif they were on a vehicle of ecstasy.Tulika Chandra, SNU India; ' Folklore' 7 8. Villu pattu As far as the oral tradition of storytelling goes, this one from parts ofKerala and Tamil Nadu is a little dramatic when it comes to themusical instrument it uses to accompany the words a bow placed onan inverted mud pot. A performer beats the pot while singing. There is usually another co-singerwho acts as active listener to the narration, utteringappropriate oral responses to the songs.Tulika Chandra, SNU India; ' Folklore' 8 9. Burra Katha Picture courtesy: http://sssbpt.org/ This form of South Indian oral storytelling was banned by the British aswell as the Nizam of Hyderabad. It is usually a combination of threemen. The main storyteller narrates the story, he plays musical instrumentsand also dances. The performer to his right is the joker in the pack whouses satire to raise the laughs. The third is the one who knows the world and talks about politics andsocial issues. During their performance they interact with each othersand raise various questions probably the reason why they werebanned.Tulika Chandra, SNU India; ' Folklore' 9 10. Birendra Krishna Bhadra (Mahalaya recitation) The All India Radio has the pride of broadcasting since three decades,the original Sanskrit recitation of the slaying of the demon by a verypopular narrator, Birendra Krishna Bhadra, which is played evenduring the last Mahalaya, the 10 day long Dushehra festival in NorthIndia. Birendra Krishna Bhadra is a powerful story-teller who possesses astrong and vibrant style of his own.Tulika Chandra, SNU India; ' Folklore' 10 11. Haryanvi Raagini The Haryanvis are not known for subtlety of language. They like to tellit as it is and pour loads of sarcasm into it. The oral tradition of raagini is the rustic version of the Haryanvi stand-upcomedy where the performer doesnt shy away from taking theshouts out of the audience.Tulika Chandra, SNU India; ' Folklore' 11 12. Kakkuji - Barsana (near Mathura UP, India) Mangal Singh, popularly known as Kakkuji, is a farmer who is bracketed as aperson from low income group He is 91 years old but has a voice that can beat even a teenager. Energetic andfull of life, he has a distinct narrative style and upholds the native form offolktales and folksongs. Every evening he holds a gathering at his small muhalla (locality) at Barsana. Hehas his audience of young & old who listen to the folktale and folk songs of thatregion, from him: Raja Nal, Kanha, Radha, Radhas SakhiTulika Chandra, SNU India; ' Folklore' 12