Manorma Sharma

Institute of Integrated Himalayan Studies (UGC Centre of Excellence)Himachal Pradesh University India, Shimla

Traditional Dance Drama Forms of Indian Himalayas: Textural Cultural and Musical Documentation

Techniques of Folk Theatres of Himachal Pradesh.

The architecture of any form of creativity is the most important aspect. As a result, the architectural design or technique is the most important factor of any creative art in order to establish its personality and grace. This architectural design of creative arts establishes the identity in a special manner. Had it not have been a criterion every creative art would have been of the same structure and design. There would have been no difference in their appearance, shape, size or other elements.

Since time immemorial artistic expressions came to be segregated into two streams: Lok-Rang and Shishta-Rang - the former denotes folk practices and the latter, elite practices. Lok-Rang became more elastic and transparent because of its inclination to the common people and its alignment with the circumstances and feelings of the common man. This is the main reason that the techniques of Lok Rang passed through many developmental stages according to the developmental process of the society.

Technique, structure or form is the backbone of any creative art. It gives that shape to the object, which suits its presentation. Aristotle is of the view that form is not only an object but it is the knowledge of giving form to any object. Concomitantly, form is not only the technique but is also the knowledge of giving form to any creativity.

The Design of Technique. The technique of any art form is very well defined in Lok-Rang. Purva-Rang, Bhasha-Bhangima, Gaan, Narityan, Vadya-Yantra and Vesh-Bhusha axe the major components of any technique of a folk theatre. In other words-Prologue, language, choreography, music, singing, dancing, musical instruments and costumes are the major components of theatrical forms.

Purva-Rang (Prologue). Muni Bharata in his Natya Shastra has very elaborately described Purva Ranga. He says, "Tatrepurvapurvarangah samapujatataah param" that is, before beginning any theatrical form Purva-Rang must be observed. Purva-Rang means the auspicious act of prayer or entertainment performed to please the gods, the guests or the public before beginning any work. The folk theatre of Himachal Pradesh observes this tradition in almost all the folk theatrical forms. The gods or goddesses are worshipped and are invited to participate in the auspicious ceremonies. This ritual is performed in many ways by means of playing different percussion instruments and Talas, dancing, singing and the Nandi (Nat or sutradhar). In Karyala and Bhagat this ritual is performed by singing "Jag Janani Jwalamukhi" or with the prayer of Gauraja etc.

The folk theatre of Himachal Pradesh has the tradition of observing Purva Rang in the form of Nandi Path according to the Sanskrit plays. In order to seek the blessings of the Almighty, prayer is offered to some gods or goddesses before actually beginning the play. Nandi means which pleases God. "Nandarite devatah yasmat tasmmananditi sangyitah".

Bhasha-Bhangima (Language and Choreography). Language is the most important aspect of the technique of plays. It is the life and soul of the body of the play. In the absence of the language e May is senseless and nothing can be expressed.

The language of the folk-dance-drama forms of Himachal Pradesh is according to their local environment. It is very clear that the language aspect of the dance-drama forms is the back bone of the plays. Because of the correct and logical use of the language these plays establish the rapport with the audience. The Mansukha of Bhagat of Kangra and Sadhu of Karyala deserve special mention in this respect. Because of their logical, satirical expressiveness, and quick witted dialogues they create the desired impression. The women artists of these plays also mark their presence felt reeause of the crispy, cheerful and often rhythmic language exposition. In it is the language aspect of the play which brings the movement, tevelopment and the flow which maintains the interest of the audience.

Gaan (Singing). In Indian literature and in the tradition of dance, poetry, content and singing are the most important components. Singing or Gaan expresses the innermost feelings of the contents as well as attracts the listeners. Gaan has the immense power to attract the listeners. Gaan has the foremost position before it can be placed as gayan in the drama. In Sanskrit literature and in Bharata's Natya Shastra it has been mentioned that Gaan should be placed before Gayan and before starting the play. Gaan is different from Gayan in its practical exposition. Whereas Gayan is used in the term of singing Gaan is replaced by Purva Rang and singing in between the play along with the dialogues. Thus, in folk plays Gaan is more useful than Gay an.

Gaan exhilarates the emotional feelings of the audience as well as it provides the rhythm and movement to dance and drama. Due to this aspect the folk plays go above the level of rural and uncultured category to a cultured and sensitive theme. This applies to the folk theatre of Himachal Pradesh, because before beginning the actual play there is provision for group singing or dancing.

Nritya (Dance). Folk plays are the media of entertainment and dance is their significant component. It is and accepted universal fact that dance is the major aspect of the folk plays. In fact, drama actually means the combination of dance and play. As such the expressiveness of the plays is depicted through dance. The dance brings gaeity and breaks the monotony of the dialogues. Due to its multifarious quality of expressiveness dance becomes the major aspect to entertain the audience. The various types of postures in the dance give expression to the play.

Vadya (Instruments). To make the dance-drama lively and full of expressions instruments play an important role. It is believed that clapping of the hands must have been the major instrument to provide rhythm and movement. The folk plays of Himachal Pradesh also make use of this natural instrument. Other instruments used in these plays are mostly of four types as described in ancient literature; percussion, struck, wind and string instruments alias membranophomc. ideophonic, aerophonic and chordophonic. All the four types of instruments are used according to the requirements of the play. Dhol. Dholak, Nagara, Khanjari, Damaru, Huduk etc., are the main percussion instruments; Thali, Ghanti, Ghada, Kami, etc., as struck instruments; Shehnai, Karnal, Ranshingha, Bansuri, Shankh and Kingari, Dwatra, Ektara and Sarangi are the main wind and string instruments respectively. The use of instruments provides depth and movement to the folk plays. Many types of the expressions and feelings are expressed through the accompaniment of the instruments.

Many types of Tolas are played on percussion instruments with intricacies of their bols and rhythmic patterns. Other instruments provide drone and different tunes to the accompaniment of wind and struck instruments, thus, they present a feast of orchestration. Costumes

Costumes are the most essential element of the plays. Every play has its own typical costumes according to the theme of the play. Because of the costume a simple person is recognized as king, saint, jester, dancer, minister, officer, doctor or any other person as described in the play. The costume and acting is according to the actors of the play give the expression of a successful deliverance of the theme, which induces the faith and reality among the audience.

In most of the plays of Himachal Pradesh the traditional dress of an artist is according to the requirement of the play, place of performance and the character of the play. Usually it includes Churidar Pajama, Kurta, Topi, Choli, Lehanga, etc. In such plays in which the actors personify the characters of king or Gods as Krishna, Rama or in other plays in which the actors personify the characters of king or Gods as Krishna, Rama or enact the mythological characters like Shravan, Raja Harish Chandra, etc. The costume is according to the description available in the text of such plays or which is appropriate to the character. Jesters or other comic characters wear costumes according to the theme of the play or the requirement of the play. Their main aim is to provide humour and entertain the public.

These days the folk theatre of Himachal Pradesh has undergone a drastic change and many new approaches and aspects are included in these plays, which is the demand of the fast-changing time. It may be a good sign in the area of its progress because it may prove helpful in popularizing the old and traditional folk theatre.

Folk Theatre of Himachal Pradesh.

The folk theatre of Himachal Pradesh has been classified into five types

1. Leela Natya,

2. Swang Natya,

3. Nati Natya,

4 .Khyal Natya and 5. Khel or Jatra Natya.

1. Leela Natya are the dance drama forms in which episodes from epics are enacted. The popular forms are Ram Leela, Raas Leela, Luv-Kush Gatha, Shrawan Kumar, Bhartrihari, etc.

2. Swang Natya is the synonym of Abhinaya. Abhinaya is the depiction or enactment of the drama. All the essentials of drama as described in the ancient texts can be found in the Swang Natya type of theatre. The main purpose of this form is to provide entertainment. The actors personify some specific characters or by mimicry they spread the message among the masses. Karyala, Banthara, Haran, Jhamakra, Dhaja, Bhagat, Chandrauli, etc. are the popular Swang dance-drama forms.

3. Nati folk dance-dramas are the mock dance drama forms representing some stories, episodes from epics, anecdotes having religious and social background. The major characteristic of Nati dance-drama is its performance with music. The story is represented through dance. Phagali, Bishu, Thoda, Sinh and Burha , Danav-Nritya , Mask dances, etc., are the popular Nati dance-drama forms.

4. Khyal Natya is the lyrical ballad type dance-drama form. In this form, poetry and music are so strong that the actors need not represent it through acting or costumes. These are long episodes from the epics or other anecdotes from the stories popular in the area. Haar, Vaar, Ainchali, Gugga Gatha, Harul, Barlaaj, etc. are the ballad dance-drama forms known as Khyal Natya.

5 Khel or Jatra Natya are the folk plays performed to depict the rituals, religious, social activities and for the purpose of entertainment. Deu-Khel, Rakhshas-Khel, Fish -Game (Maun), Jatra, Bhunda, Shant, etc. can be classified under this category.

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Literature

1. Manorma Sharma. TRADITIONAL DANCE DRAMA FORMS OF INDIAN HIMALAYAS: TEXTURAL CULTURAL AND MUSICAL DOCUMENTATION. INSTITUTE OF INTEGRATED HIMALAYAN STUDIES. Institute of Integrated Himalayan Studies (UGC Centre of Excellence) Himachal Pradesh University Shimla, India. 2007. P. 7-13.



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