Folk Theatre - UPSC Notes - Art and Culture

Folk Theatre in India is a blend of music, dance, storytelling, art, religion, and festivals. It’s like a lively mix of different things that came together to create a unique form of traditional performance.

Folk theatre, rooted in the local culture, is deeply connected to the identity and values of the community. For a long time, it has been a way for people in India to communicate within and between groups and villages. Beyond that, it also brings joy to the public.

Folk Theatre – Overview

India has a long legacy of folk theatre in many areas of the country.
Traditional folk theatre portrays numerous aspects of local culture, such as social conventions, beliefs, and practices.
Folk theatre had rural roots, and the rustic flavor was reflected in the dramatic technique involved, whereas Sanskrit theatre was more urban-oriented and sophisticated in its interpretation of the play.
The majority of the still-existing folk theatre has devotional themes and dates from the 15th to 16th century AD.
With time, however, it began to incorporate love ballads and stories of local heroes and therefore took on more secular tones.
Folk theatre became a prominent technique of disseminating societal wisdom rather than simply social enjoyment in the post-independence period.

Categorization of Folk Theatres

Indian folk theatre broadly classified into two main divisions:
- Religious: Characterized by Ritual Theatre.
- Secular: Embodied in the form of Theatre of Entertainment.
The two distinct forms, Ritual Theatre and Theatre of Entertainment, mutually influence each other.
Folk and traditional expressions often follow a narrative and vocal style, incorporating elements like singing and recitation, as seen in performances such as Ramlila, Rasleela, Nautanki, and Swang.
These performances typically lack intricate gestures or dance components.
While each theatrical style has its unique form based on local customs, variations exist in execution, staging, costumes, makeup, and acting styles, despite some overarching similarities.
Southern Indian forms, such as Kathakali and Krishnattam in Kerala, emphasize dance dramas.
Northern Indian forms, like the Khyal in Rajasthan, the Maach in Madhya Pradesh, the Nautanki in Uttar Pradesh, and the Swang in Punjab, emphasize song.
Bengal, Maharashtra, and Gujarat forms prioritize dialogues in their execution, with the latter two focusing on comedy and satire.
Puppet theatre thrived across India, featuring various forms such as Shadow puppets (e.g., Gombeyatta in Karnataka, Ravana Chhaya in Orissa), Glove puppets (e.g., Gopalila in Orissa, Pavai Koothu in Tamil Nadu), Doll puppets (e.g., Bommalattam in Tamil Nadu and Mysore State, Putul Naach in Bengal), and String puppets (e.g., Kathputli in Rajasthan, Sakhi Kundhei in Orissa).
Dramatic art extends to solo forms in Indian classical dance, including Bharat Natyam, Kathak, Odissi, and Mohiniattam, as well as folk dances like Gambhira and Purulia Chhau in Bengal, Seraikella Chhau in Bihar, and Mayurbhanj Chhau in Orissa.
Dramatic content is seamlessly woven into ritual ceremonies in some regions, particularly in Kerala, with performances such as Mudiyettu and Teyyam.

Folk Theatre – Ritual Theatre

Folk theatre emerged as a prominent means of expressing devotion during the Bhakti movement, serving as a conduit for both the performer and the audience to connect with the divine. The following notable example exemplifies this genre:

Ankia Naat

An Assamese traditional one-act drama established in the 15th-16th century AD by the revered Vaishnava Saint Sankaradeva and his disciple Madhavdev.
Staged in the style of an opera, it narrates events from Lord Krishna’s life.
The Sutradhar, or narrator, is accompanied by the Gayan-Bayan Mandali, a group of musicians playing the ‘khol‘ and cymbals.
Notably, the use of masks to convey specific expressions is a distinctive feature of this theatrical form.
The plays are written in Brajavali, a hybrid language combining Assamese and Maithili.

Kala

Kala represents an ancient Vaishnavite folk theatre deeply rooted in the following aspects:

Primarily focused on depicting the various lives and incarnations of Vishnu.
Notable branches of Kala include:
- Dashavatar Kala
- Gopal Kala
- Gaulan Kala

Folk Theatre - Kala — Folk Theatre – Kala

Ramlila

Ramlila stands out as a renowned folk theatre tradition in the Uttar Pradesh region, characterized by the following features:
- A performance centered around the epic Ramayana, integrating elements such as music, dances, and dialogues capturing the essence of the narrative in the days leading up to Dussehra.
- Typically enacted by male performers, who also take on the role of portraying Sita.
- Recognized for its cultural significance, Ramlila festivities were honored by UNESCO in 2008, declaring them as one of the “Intangible Cultural Heritage of Humanity.”

Raslila

Raslila is a dance play that dramatizes the teenage love tales of Krishna and Radha. This tradition is predominantly prevalent in Gujarat and some regions of North India.

Bhuta Aradhana

Bhuta Aradhana is a traditional practice along the Karnataka coast that involves honoring departed ancestors. Key elements include:
- Bhuta: Meaning spirit.
- Kola: A common ceremonial theatre form used in Bhuta worship.

Ramman

Ramman is a ritualistic theatre practiced in Uttarakhand’s Garhwal area, dedicated to the local god Bhumiyal Devta. Noteworthy features include:
- Recognized on the UNESCO Representative List of Intangible Cultural Heritage of Humanity.
- People of the Bhandari caste wear a religious mask representing Narasimha (half-man and half-lion).
- Involves the performance of various songs, dances, and the narration of stories, including those of Lord Rama.

Folk Theatre – Theatres of Entertainment in North, West, and Eastern India/Secular Theatre

In the realm of storytelling, this genre of theatre leans towards a more secular narrative, primarily serving as a source of entertainment for rural communities. These performances are centered around tales of love, heroism, and socio-cultural customs.

Bhavai

Bhavai emerges as a distinguished form of Rajasthani folk theatre, distinguished by the following characteristics:
- Utilizing dance as a significant element, it unfolds a series of short plays to convey its narrative.
- The central theme often revolves around romance, with actors skillfully managing clay pots or metal pitchers.
- The performance is enriched by semi-classical music, presented in a distinct folk style and accompanied by instruments such as the Jhanjhar and the dholak.
- In Bhavai theatre, the storyteller, referred to as the Nayaka, assumes a pivotal role in guiding the audience through the unfolding stories.

Daskathia

Daskathia holds prominence as a distinctive form of Odisha folk theatre, featuring the following characteristics:
- Two narrators play pivotal roles in this form:
  - Gayaka: The principal vocalist.
  - Palia: The co-narrator.
- The narrative is enriched by dramatic music produced on the Kathia, a wooden musical instrument.
- The central figure in the story is Lord Shiva.
- A close variant of this style is the Chhaiti Ghoda, incorporating two musical instruments – the dhol and mohuri – and involving three narrators.

Garodas

Garodas is a prominent art form among Gujarat’s ‘Garoda‘ Brahmin group, known for narrating tales of passion and bravery through painted drawings.

Jatra

Jatra is a popular folk theatre in Eastern India, often presented as an open-air performance. It finds its origins in the endeavors of Vaishnava Saint Chaitanya Mahaprabhu, who utilized this medium to disseminate the teachings of Lord Krishna during his journeys through rural Bengal.
- Over time, variations such as Rama Jatra, Shiv Jatra, and Chandi Jatra emerged, telling stories rooted in Puranic traditions.
- In modern times, Jatra has been adapted to convey narratives with secular, historical, and even patriotic themes.
- A notable form of street theatre in Odisha, known as Sahi Jatra, has gained significant popularity.

Kariyila

Kariyila is an open-air theatre popular in the foothills of Himachal Pradesh, commonly featured at village fairs and festivals. The shows, lasting all night, comprise a series of short plays and sketches.

Maach

Maach is the folk theatre of Madhya Pradesh’s Malwa area, initially based on mythical subjects like the Mahabharata and Ramayana. Over time, it expanded its repertoire to include romantic folk stories. A distinctive feature is the conversations conveyed in the form of couplets known as Rangat Dohas.

Swang

Swangs are a popular form of entertainment in the Punjab and Haryana region, typically musical plays performed in verses. Accompanied by the ektara, harmonium, sarangi, dholak, and khartal music, it involves conversation and impersonation.

Nautanki

Nautanki, a branch of Swang, is the most popular form of theatre in North India, mentioned in Abul Fazl’s Ain-i-Akbari. The plays unfold through dance and song, featuring historical, social, and traditional tales. Dialogue is delivered in a poetic style, often accompanied by the rhythms of a Nagada drum. Two prominent Nautanki schools centered around Kanpur and Lucknow gained prominence in later years.

Ojapali

Ojapali is a distinctive Assamese tale theatrical genre intricately linked with the Manasha or Serpent Goddess festival.
The narrative is divided into three unique parts: Baniya Khanda, Bhatiyali Khanda, and Deva Khanda.
The main narrator is known as Oja, while the choir members are referred to as Palis.

Powada

Powada is a theatrical expression rooted in history, specifically associated with the valorous act of Shivaji against his adversary Afzal Khan.
These are operatic ballads performed by Gondhalis and Shahirs, folk musicians adept at recounting tales of bravery.
Powada finds its most significant popularity in the Maharashtra region, where it resonates as a cherished cultural expression.

Tamasha

Tamasha is a Maharashtra folk theatre known for its hilarity and sensual elements.
Distinguished by the inclusion of female performers.
Typically features the playing of Lavani songs during performances.

Villu Pattu

Villu Pattu is a musical theatre popular in Deccan, translating to ‘bow-song.’
Involves the narration of Ramayana stories using bow-shaped instruments.

Bhand Pather

Bhand Pather is a Jammu and Kashmir folk theatre combining modern societal satire and legendary tales.
Despite being performed by Muslims, it maintains a secular attitude.
Encompasses elements of music, dancing, and drama.

Bhaona

Bhaona is an Assamese folk theatre, particularly on Majuli Island.
Aims to use entertainment and drama to promote religious and moral teachings.
Features Ankia Naat presentations with prevalent Vaishnavite elements.
Narrated by a Sutradhar (Narrator) who sings verses from sacred books and includes songs and music.
Constructed by Sankardeva in the early 16th century.

Dashavatar

Farmers in the Konkan area, especially in Sindhudurg (Maharashtra) and North Goa, use Dashavatar as a form of theatre.
Commemorates Lord Vishnu’s ten incarnations.
Divided into two sections: ‘poorva-ranga’ (first portion) and ‘uttararanga’ (second part).
The primary act, the second session, is based on mythical legends.

Naqal or Bhand

Naqal or Bhand is a performance based on imitation in Punjab (Naqal) and Uttar Pradesh (Bhand).
The performer, known as ‘Behroopiya’ or ‘Naqalchi’ (impersonator), uses humor, oddities, wit, and humor to convey social or political points.
Artists from the Muslim Bhand Community typically perform it.

Theatres of South India

As the popularity of Sanskrit classical theatre waned in North India around the 8th century AD, it gained traction in the southern regions of the country.
South Indian theatrical traditions distinguish themselves by placing a greater emphasis on dance, unlike the focus on music prevalent in Northern India.

Yakshagana

Yakshagana stands out as one of the earliest theatre traditions still practiced in Karnataka and parts of Kerala.
Initially performed by the special community known as Jakkula Varu in the royal courts of the Vijayanagara dynasty.
Originating as a primarily descriptive dance-drama executed by a single performer.
Over time, it evolved, incorporating more variables and transforming into a standard dance play, with significant influence from the Vaishnava Bhakti Movement.

Burra Katha

Burra Katha is a prominent Andhra Pradesh story-telling tradition.
Named after the percussion instrument Burra, frequently utilized during performances.
Led by a primary artist or storyteller, supported by two co-artists providing rhythm and chorus.

Pagati Veshaalu

A prominent folk ritual in the Telangana area and Andhra Pradesh’s Krishna district.
Primarily a role-playing game centered on vesham (disguise), featuring the main character and several supporting characters.

Bayalata

An open-air theatre practice in Karnataka performed during local god worship.
Stories centered on Radha-Krishna love.
Classified into five types: Dasarat, Sannata, Doddata, Parijata, and Yakshagana.
Parijata and Yakshagana narrated by a single Sutradhar, while the other three forms involve a chorus of three to four people, aided by a Vidushaka.

Tal-Maddale

Maddale is a type of drum, and Tal is a type of cymbal, generally regarded as Yakshagana’s predecessor.
Story narrated by a Bhagavata with the help of a bunch of Arthadharis.
Performed seated, without costumes, dance, or acting.
Mostly carried out in Kerala and coastal Karnataka.

Theyyam

Theyyam performances are held in Kerala and are comparable to a Karnataka ritual known as Bhuta Kola.
An open-air play that takes place in front of local temples to honor ancestors and gods.
Themes include Vaishnavism, Shaktism, and Shaivism.
Players dressed in extravagant headgear and brightly colored clothes.
Finds mention in Sangam Literature.

Krishna Attam

Krishna Attam is a vibrant dance-drama tradition originating from Kerala, with roots dating back to the mid-seventeenth century.
It unfolds as an eight-day carnival based on the works of Krishna Geethi, featuring performances in temples on eight consecutive evenings narrating the life of Lord Krishna.

Kuruvanji

Kuruvanji, with a history spanning roughly 300 years, is renowned for its traditional Tamil poetry and melodies.
The first Kuruvanji was composed by Thirukutarajappa Kaviyar.
Central theme revolves around a love-struck woman, with the term Kuruvanji literally meaning “fortune-teller” foretelling the heroine’s fate.
Utilizes Bharatnatyam as the major dance form in Tamil Nadu, presented in a dance ballet style.

In India, folk theatre has served as a powerful means to disseminate crucial social, political, and cultural messages through dramatic narratives, aiming to enhance public awareness. This unique form of expression transcends formal boundaries, directly engaging with people and operating as an indigenous medium that resonates with diverse communities.

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FAQs on Folk Theatre

What is Indian folk theatre?
- Folk Theatre in India is a composite art form that integrates elements from music, dance, pantomime, versification, epic and ballad recitation, graphic and plastic arts, religion, and festival peasantry.
Which is the most ancient folk theatre in India?
- Kutiyattam is considered the most ancient folk theatre in India. It is the only surviving specimen of ancient Sanskrit theatre, believed to have originated around the beginning of the Common Era. UNESCO recognizes it as a Masterpiece of the Oral and Intangible Heritage of Humanity.
Who is the father of folk theatre?
- Ali Baksh of Rewari is recognized as the father of traditional folk theatre in Haryana. He staged the mythological-cum-historical saga Padmavati. Other prominent artists during the British rule and later include Swami Har Dev, Pandit Bhartu, Dhoom, Qutabi, Pandit Lakshmi Chand, and others.
What is a folk drama in theatre?
- Folk drama refers to noncommercial, generally rural theater and pageantry based on folk traditions and local history. It often incorporates elements that reflect the cultural and historical context of a specific region.
Who is the father of Theatre in India?
- Ebrahim Alkazi is recognized as the father of Indian theatre. His contributions raised the respect people had for the art form, making a significant impact on the theatrical landscape in India.
What is the history of folk theatre in India?
- Folk theatre in India has rural roots, reflecting a rustic flavor in its dramatic techniques. Sanskrit theatre, on the other hand, was more urban-oriented and sophisticated. The majority of existing folk theatre has devotional themes and dates back to the 15th to 16th century AD.

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