My Science School

Though it had been around for years. Burra Katha gained unprecedented prominence during the early 20th Century Because this oral storytelling folk art form got an absolutely new lease of life-from its mostly religious and mythological focus till then, in the 1930s it became a powerful tool during the Indian freedom movement for spreading the message of colonial oppression. Traditionally performed by a three-people team-one lead performer and two others who beat a drum called dinki. Burra Katha was popular in rural areas of not just Andhra Pradesh (including what is now Telangana) but also of Kamataka. Some of the artists still active today have performed this art form for decades, and feel it is losing its sheen because today it does not have many takers, especially among the youth-neither as performers nor as viewers. The theatre form is striving to stay afloat by re-inventing itself in many ways-such as having a troupe of more than three members, not confining to just religious and mythological themes but taking up opportunities to spread message on contemporary issues, etc.

Picture Credit : Google

A research article suggests folk theatre forms such as Tamil Nadu's thenukoothu, and theyyam and yakshagana of neighbouring States all had a common point of origin before branching out to become what they are today. This seems fairly accurate if something even as basic as the make-up and costume are anything to go by- they are elaborate. But since they branched out, the performances have their differences too. Theyyam is a form of ritualistic open theatre usually performed in front of a shrine. While the history, culture, and themes surrounding this theatre can fill pages of several books. what is incredible about theyyam is how it changes the caste equation, albeit temporarily in a theyyam performance, the artiste becomes a deity, and these performers have invariably belonged to the Scheduled Caste. But so long as the performance lasts. the performer-the deity"-is revered while everyone else, irrespective of their caste, is reduced to just a mass of collective reverence. And wordlessly if momentarily, the ritual dissolves the caste system.

Picture Credit : Google 

A dance-drama performance said to have originated in the coastal regions of Karnataka, Yakshagana translates to celestial (yaksha) music (gana). With episodes from epics brought to life in villages and around paddy fields, this has traditionally been a night-long performance that brings together music, song, dance, and complex costumes. Said to have been around for centuries, Yakshagana was always performed by men, including for female characters. However, women are part of the troupe these days. It is believed that yakshagana does not normally have any set script and that the rich scholarly narrative is the visible evidence of the artist's spontaneity. As with many other such folk theatre forms, this one is experimenting too. And if media reports are any indication, it seems to have the comforting patronage of even the younger generation today.

Yakshagana is slowly but steadily gaining popularity outside India. Amateur groups have successfully staged performances in the USA and Canada.  The performances are usually held during the months of November and May.

Picture Credit : Google 

Deeply linked to the cultural history of Tamil Nadu therickoothi combines two Tamil words thenu, meaning street and koothu meaning performance Marked by elaborate costumes that make it easy for one to spot the characters even from afar, thenukoothu is said to have its origins in the worship of the Mother Goddess and tied inexplicably to Draupadi a most powerful character from The Mahabharata" But what is remarkable about thenukoothu is the several layers it shoulders, a testimony to its long tradition, continuous evolution, and generous accommodation of the times it is set in. Which is why poignant episodes from epics and snarky remarks about indifferent governments rub shoulders effortlessly in today's performances, continuing to pin riveted audience to their floor-seat.

Music is an important part of Therukoothu art form. Dolak or Miruthangam, Jalra (Thaalam), Harmoniyam (sruthy box) are the musical instruments employed in this art form. In most of the Therukoothu groups, either Mugaveena or Flute is played. The main objective of the street theatre is to go closer to those who have been marginalized by society. It creates a new space for common people. The other objective of the street theatre is mainly to convey a particular idea through the direct but brief and effective means of dramaturgy.

Picture Credit : Google