A Dying Art Form That Tells The Santhal Story

Daman Murmu, one of the couple of making it through artists who carry out Chadar Badar, an ancient form of Santhal puppetry, wantswishes to pass on this art to as numerous individualsmany individuals as he can. Nevertheless, so far he has actually got just one student, among his sons-in-law Tanti Soren.Carrying a wooden box with puppets hanging in them, the artist tells different stories through movements of the puppets accompanied by songs and hand-made unrefined musical instruments.I have actually been performing Chadar Badar given that 2002. Every early morning I lug this box on my bicycle as far as I can in areas surrounding my house and inform different stories, Mr. Murmu informed The Hindu on his current see to Kolkata earlier this month.A citizen of Uttar Dinajpur district in north Bengal he got his first taste

of Chadar Badar, as a kid, from a visitor who came from Dumka in Jharkhand. He discovered more about this from his uncle with whom he remained for a variety of years in Uttar Dinajpur district. In the next few years Mr. Murmu sculptedtook his own wooden dolls and performed in the adjacent

towns. He has actually been at it for over a years now, eking out a living from the rice and other food grains which he gets from individuals after his performances.Anthropologists state that Chadar Badar reflects the Santhal methodlifestyle which has an aspect of their culture and stories of migration.The stories and the songs which accompany the performance keep altering. A close analysis recommends that the stories reflect what they imbibe from societies other than their own, Kakuli Chakraborty, head of workplace, Eastern Regional Centre of the Anthropological Survey of India(AnSI)told The Hindu.The AnSI together with an NGO Sambhav recently felicitated Mr. Murmu at an event in the city.Sourav Sinha, a representative of Sambhav stated that Chadar Badar is a dying type of Santhal puppetry and felicitation of

Mr. Murmu is an effort to give some acknowledgment to it.Documentary On the other hand, filmmaker Palash Das has created a documentary on Chadar Badar titled ‘ Legend of a Puppet Program.’The documentary will certainly be screened at AnSI in the next couple of weeks.Mr. Das told The Hindu that together with various elements of the

tribal art he

has highlighted the life of another artist, Sukan Mardi of Birbhum who has been practising it for ‘the previous 18 years. Chadar Badar, besides being a tribal art type is likewise an essential tool in the tribal community to spread out social messages, he included.

‘Kallappadam’, A Homage To Native Art Form ‘Koothu’ (With Image)

Director J. Vadivel states forthcoming Tamil thriller Kallappadam, a story about how first-timers try and make a movie, is a tribute to native art kind Koothu, which is almost forgotten.

Its about the battle of a lot of good friends who set out to make their first film. Through this story, we are highlighting the virtually forgotten art form Koothu and our film is a homage to it, Vadivel told IANS.

Considering that this is my first film, I desired to do something various. I selected Koothu as the style of my film because I highly feel it has actually lost its prominence because the inception of cinema. Weve attempted to focus on the art type and it has actually been treated commercially, he stated.

The tribute has actually been paid through a tune and Vadivel feels it will certainly strike a chord with the audience.

Vadivel plays himself in the film, while his cinematographer Santhosh, music composer K and editor Gaugin reprise their own roles.

We decided to play our particular functions. To make the film they desire, these characters are forced to do something out of the sheer need, he stated.

A parallel story about the downfall of a successful starlet likewise runs with the major story. Lakshmi Priyaa has played this function. To get back in the league, shes forced to do something bad. What occurs when these two parallely running stories cross paths (types the rest of the story), he added.

Vadivel states although the actions of Lakshmis character in the film may appear bad, however she isn’t essaying a negative function.

Lakshmi is compelled to react to the situation she enters the movie, stated Vadivel, and added that the story was motivated by events that took place around him.

This is not about the battle in the industry to make my very first film. Its about how movie theater has actually taken control of other art forms like koothu. Villages that used to offer choice to koothu performances now favour cinema numbers, he said.

Heaping praise on his group, Vadivel stated everyone had numerous functions to play in the film.

All the lead stars had multiple roles to play. Santhosh for instance needed to ensure everything is recorded completely behind the camera then come prior to it to act. Gaugin would let us understand where to edit a shot and K would inform us about the appropriate rating for a scene. All this would occur while shooting, primarily on the spot, he said.

He says the performances of the actors will certainly be extremely realistic as no one tried to act.

Kallappadam, which is produced by Anand Ponniraivan, will certainly release in movie theaters on Friday. Its being dispersed by Vadivels mentor filmmaker Mysskin.

— Indo-Asian News Service hp/rb/vm

( 462 Words)

2015-03-16-13:22:25 (IANS).

Art Kind Comes Alive

Chindu Yakshaganam, flourished across villages of Telangana. The entertainers, called ‘‘ Yakshulu’ also has varied names like Nagasulu, Kurmapulu, Sanulu and Bhogalu. They later earned the name of ‘‘ Jakkulu’. Poet Srinatha referred to a character in among his works, as ‘‘ Jakkula Purandhrini’. Pendela Nagamma and Pendela Gangamma were two historical names. The court dancer of Kakatiya Pratapa Rudra was Machaladevi. It is said she got her household history penned in the format of ‘‘ Yakshagana’and got it staged in the fort of Orugallu (present day Warangal) in the existence of court scholars. As of now this tradition can be found only in Telangana. These groups were named as ‘‘ Bharatulu’, ‘‘ Bahuroopulu’, ‘ Saindhavulu’, ‘ Dasarulu’and ‘ Chindu Madigalu’. The texts they got composed by historians were presented in easy poetic meter. Though at one time this was for solo presentation by women, slowly male characters too were added. But the style of rendition by ‘‘ Gante Bhagavatulu’ and ‘‘ Chilukala Bhagavathulu’ became popular and became benchmark for this art.

‘‘ Chindu-Jogitalu’ is one sect whose exclusive audience were Madigas. A Jogita is expected to have exclusive right to dance in praise of God. Considering thatEver since the word ‘‘ Jogu’has become a prefix to their names like ‘ Jogu Chindula Ramavva’, ‘‘ Jogu Ellavva’, ‘‘ Jogu Chinnabai’, ‘ Jogu Pooboni’and so on. Subsequent artistes brought the tradition of art of their ancestors. ‘‘ Jogu’ is now a trademark word for artistes who are pursuing this art.

Over a period it has ended up being a sub-caste of Madigas. This art ‘‘ Chindu Bhgavatam’ was being mostly catered by Madiga community of those areas. They never ever moved beyond this circle, for, the so called higher castes never permitted them to present Bhagavatam shows in their areas. The character ‘‘ Yellamma’, considered as avatara of Goddess Parvati was constantly highlighted and just women played this function unlike guys who played female functions in the Bhagavatams.

The late ‘‘ Chindu Yellamma’ was a prominent artiste whose performers was invited by Nataraja Ramakrishna, when he was the Chairman of former Dance academy of the state. When this writer had asked why they restricted their art just to the realm of Madigas, why not to other community gatherings, she had actually mentioned that those who provide this art are considered as ‘‘ Chinna Madigas’, a bit lesser than Madigas in general. Therefore our access is limited only to the Pedda Madigas not to others. However she had actually revealed her appreciation to Nataraja Ramakrishna who brought them into limelight at Ravindra Bharati. For the first time our show was opened to general public, she said. From then on a growing number of opportunities poured in to the extent, it has now end up being an annual event under the aegis of Department of Culture.

Their repertoire is rather huge. They cover all the significant epics like Mahabharata, Ramayana or Bhagavata. They have stories that surround regional Goddesses too particularly ‘‘ Yellamma’. About 50 plays are there in their kit. This self assistance group make their own accessories for characters, do make up in the corners of a street or under a tree, sing and play instruments and use harmonium as Shruthi instrument. While staging their plays, all the artistes would be noticeableshow up, either playing a functioncontributing or supplying background music rating. Generally these artiste groups belong to a single household.

Individuals who can not see God Madhava in humans, branded us untouchables, lamented Chindu Yellamma. ‘‘ We will certainly not for ever be called untouchables’. Indeed those good days are here and now at Ravindra Bharathi’s open air auditorium in the facade of primary theatre, Chindu Yakshaganam is enduring.

An excellent efficiency

Bhasha Samskritika Sakha and Chindu Yakshagana association provided ‘‘ Chindu Yakshaganam’ last week at Ghantasala Pranganam in the premises of Ravindra Bharati. Gaddam Swamy and celebration provided the story of ‘‘ Batukamma

‘. All the artistes belonged to Gaddam family, the head played the king of Orugallu. Srinivas handled him the function of Chinnamma (Batukamma). Chakrapani as Padmvathi, Narendra as rain God Varuna, Venkatadri, Naresh, Praveen Kumar and Amarendra Kumar in other roles likewise aquitted themselves well.

On the following days Chintala Cheruvu Lakshmayya and family of Nalgonda provided ‘‘ Banasura Vadha’ and Pillitla Yadagiri and celebration provided ‘‘ Sati Tulasi’.

Both the performers presented the stories strongly in Yakshagana style with song, dance and drama. As part of this Chindu Yakshagana celebration ‘‘ Kantamati Charitra’ by Gaddam Sambayya and celebration of Warangal and ‘‘ Alli Arjun Charitra’ by Gaddam Kanakayya and party, ‘‘ Nartanasala’ and some other plays were likewise staged.

Kamal Haasan: Theyyam Is A 1000-year-old Art Kind; Do Not RequireHave To Copy It From …

The veteran star blasted the accusations of his Uttama Bad guy look being copied from a French professional photographers picture

Everything began when the first look of Uttama Villain came out sometime back in 2013 when Kamal Haasans look inspired from Theyyam art kind, started getting compared to a French photographers picture. It is 2015 and with simply few weeks to go prior to the films huge release, the controversy of the look being copied from the French photographers pic refuses to pass awaywane.

After clarifying about the problem for lots ofoften times, when Mr Haasan was asked about the debate once more, this is exactly what he had to state, Theyyam is a 1000-year-old Indian art kind; i don’t needhave to copy it from a French photographer. If a French photographer concerns India and photos a temple developed by Krishnadevaraya, will it become his? And can you then state that we copied it from them?

Plainly the star appears to be distressed with duplicated questions on the Theyyam appearance debate. For me, this controversy is just an uniformed minds contrived imagination, included the Vishwaroopam actor. Talking more about his appearance and role, Kamal said, I tried to incorporate 2 ancient art types -Onvillu and Theyyam and bring it into a movie. Even Karnatakas Yakshagana was substantiated of this ancient temple dance (Theyyam). The face painting design that you see in the posters is over a thousand years of ages in the temples, Theyyam artistes still do it with natural colours and they do not even utilize a brush.

After listening to Kamal Haasans opinion on the problem, I do feel that he has a point and it is about time the haters stop comparing the Uttama Villain want to the most discussed image.

Females Folk Artistes Present Haryanvi Art Types To City

ALLAHABAD: A group of young ladiesgirls folk artistes of Haryana are on an objective to propagate the Hariyanvi culture, specifically common in the areas surrounding Rajasthan, Punjab and Himachal Pradesh, on the global map.

The artistes are nowadays presenting the standard dance types in the Sangam city in the ongoing three-day Bharat Lokrang Mahotsav being arranged at North Central Zone Cultural Centre (NCZCC) in coolaboration with the ministry of culture.

Haryana owes its standard art and culture to the villages surrounding Rajasthan, Punjab and Himachal Pradesh where intermingling of culture of the border state has given folk dance types like Ghoomer, Faag, Khodia, Dhamaal, Guga among others. However, due to absence of patronage some of the art form is passing away and we desire to revive these art kind, said Kavita Chandel, the group leader. She is likewise a folk vocalist.

“Peter And The Starcatcher” Raises Whimsy To An Art Kind On March 10-15 At …

Scottish writer and playwright J. M. Barrie presented Peter Pan, that incorrigible scamp, buddy to fairies and Neverlands Native American tribe, and scourge of pirates everywhere, in chapters 13-18 of his 1902 novel The Little White Bird and burnished his credibility as a mischief maker in his 1904 stage play, Peter Pan; or, the Boy Who Wouldnt Grow Up. Peters tricks are famous, however his origins continued to be questionable for 102 years, till syndicated newspaper humor writer and author Dave Barry and suspense author Ridley Pearson collaborated in 2006 to publish Peter and the Starcatchers.

Tony Award candidate Rick Elice (The Addams Family, Jersey Boys) transformed Barry and Pearsons very popular kids novel into splendidly witty and wayward prequel to Barries books. Peter and the Starcatcher, a several Tony Award-victorying 2012 Broadway have fun with music by Wayne Barker (Dame Edna: Back with a Revenge) and book and lyrics by Elice, is a marvelous, remarkably developed, and entirely wonderful theatrical romp through the untold chapters of Peter Pans early life. Broadway Series South and North Carolina Theatre, which brought Phoenix Entertainments touring production of this splendid program to Raleigh Memorial Auditorium for eight efficiencies on March 10-15, have actually provided their patrons with a guaranteed remedy for the end-of-winter blahs.

Bryan Welnicki is a pleasure as the initially nameless 13-year-old orphan Boy, whom Londons St. Norberts Orphanage for Lost Boys offers to the scurvy Expense Slank (Gabe Martinez), the treacherous slave-driving captain of the slow-as-molasses ship, the Neverland, who plans to hijack a consignment from Queen Victoria bound for the mythical kingdom of Rundoon. Welnickis Kid, who is eventually rechristened Peter, is an entirely charming rogue, with touseled hair; and Martinezs Slank is the epitome of the sinister bad guys of early 20th century melodramas. Peter is the poster child for Children Who Wont Mature; Slank has a mug tailor-made for a wanted poster.

Aisling Halpin is a pip as Molly Aster, the precocious 13-year-old little girl of Lord Leonard Astor (Andy Ingalls), who is a spy for Queen Victoria and a Starcatcher sworn to safeguard the super-secret, enchanting starstuff which can turn fish into mermaids which the queen has actually left to him to take Rundoon for disposal.