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TRADITIONAL LITERATURE – FEMINISM “ Men will always act like black cobras.” These were not the words of a twentieth century feminist. That was the criticism leveled on men by Tallapaka Timmakka who wrote “Subhadra Kalyanam” in the seventeenth century. “The women who get confined to their homes by man cannot be considered as a protected lot. Those women who can protect themselves are the real protected ones”. The woman who emphatically stated that women should not be under male domination but should develop self-confidence was not a leader of the women’s movement of these times. It was Bhandarm Achamamba who wrote these words in her book “ Abala Satcharitra Ratnamala” at the end of the eighteenth century. Atmori Annapurnamma was the other poet who criticized male superiority in the old days. These three were typical Telugu women. They were pained at the way women in the society and in literature were being subjected to submission by men because of their ego and superiority complex. If a woman writer criticizes male dominence these days, many people wrongly feel that she borrowed the ideas from the west or that she is a city-bred woman of the upper classes. People who cannot appreciate the life, the feelings and problems of women with an understanding mind criticize feminist movements and literature. Some others blame feminists saying that they create differences between men and women and a struggle between the sexes out of their hatred for men. If a historical study is made of our society and literature, it will be clear how incorrect and untruthful such as allegation is. As a matter of fact it is men who first kept women away from them mentally, economically, socially, politically and religiously, leading the way for the division between them. They branded women as weak and weak-minded, retaining for themselves the upper hand over women in all fields by suppressing them. The theologians and philosophers of the world also did not treat men and women with equality. They defined the world as being made by men ignoring women who make half the population of world. From Aristotle down to Hegel, it was preached that woman were weak and that men should hold sway over them. Socrates said that women were responsible for all the evils in the world. Confusions explained that women were the cause for all disasters. Prophet Mohammad ordained that men were the protectors and controllers of women. The Bible says clearly that the woman is for the man but not that man is for the woman. In Christianity also as in Hindu Dharma Saska, a woman is the property of the father first and them of the husband. Some traditionalist’s to-day argue that the duties are being worshipped in the female form also. There is some truth in their argument. Lakshmi Devi who gives health is a woman. Saraswathi who gives education and knowledge is a woman. But this fact has been twisted and it was declared that woman did not deserve to be educated and that service to her husband was equivalent to learning from guru, that the husband was the guru and god by the originators of Dharma sastras. As a result of this dictum girls got distanced from the goddess of learning. Women who are the heirs of Mahishasura Mardini. Love now becomes the weaklings who cannot attack the atrocities perpetuated by man on them. From the times of Rigveda women have been humiliated as weaklings and have been confined to their homes, stating that their husbands are their gods and their children, the progency of gods, that their home is the very Heaven. The women were ordained to perform poojas and other religious observances.What is worse. These poojas and religious observations like fasts etc. were directed towards the health, wealth and prosperity of the husbands and the children but nothing for the health and happiness of the women. As the women were confined to these rituals at home, she lost her creative talents, individuality and her identity. Because of this suppression our country lost a large number of artists and educationists. It is no wonder that Chalam, the writer bemoaned that woman became a slave not only in the family but in the society also. While praising woman as the very symbol of sacrifice, man rode rough shod over them laying down the sale that a woman should be under the control of the father in childhood, the husband in youth and son in her old age. Thus her freedom was curtailed in her life, in her thinking, in her actions and activities and over her body by man. ‘Matru devo bhava’ he said giving her the highest place but deprived her authority on her children in the fields of economics and finances and in the religious ceremonies. Even to-day in the application forms connected with education and property matters or even in worship in the form of poojas, it is the father’s name that is asked and there is no mention of the mother or her name. The practices like ‘satisahagamana’, child marriages, dowry systems, ‘ghosha’ system, polygamy. Prostitution, ‘devadasi’ system, the wretched conditions suffered by widows – all these expose the high-handed pride and contempt man has for women. Because of a few social reformers ‘sati’, child marriages and dowry system have come to be banned. The intensity been eradicated. The required change has not yet been seen in man’s mentality. Man in all walks of life looks at the world as a man’s world. The woman is treated only as an object of lust as a commodity of beauty as a machine that gives birth to heirs. The inequality between man and woman is seen in other countries also. Women in America won the right to vote after a struggle for 72 years. Girls could get admission into Universities and secure places in jobs in after a long struggle in America and the European countries. They could get the divorce act. Even there is no parity in the pay scales between men and women employees there. In our country there are no such problems and by an act men and women equal now. But other problems beset the woman in India. Women do not enjoy economic freedom. Dowry menace and dowry deaths, destroying the girl child in the fetus, rape, attack on women, husbands subjecting wives to physical and mental torture and similar tortures in home and office, indecent and provocative postures etc. trouble the women in our country. Taking the success achieved by the women of the foreign countries Indian women are now running the feminist movement. When the feminist movement was in its second phase in the seventies. Women volunteers in Bombay, Delhi, Calcutta, Hyderabad and other cities commenced the movement. The objectives of the movement are: Woman to live on an equal footing with man in the society, to look at the world through the eyes of women and treat literature in a similar manner, be their own masters on their bodies and in their lives, to tap the hidden talents of women and encourage them in this regard, to give value to their household duties and such other points. In this movement all workers are of equal importance. Some volunteers help the destitute women, some others organize programmes to encourage women activists, yet some other explain and discuss the health needs of women. This movement fights against the violent and unjust acts of man on women but has no hatred against men in general The feminists are running literary journals keeping in view the social, economic political and other aspects connected with women and their problems. ‘Manushi’ and ‘Sangharsh’ in English and Hindi, ‘Sachela’ in Bengali, ‘Milan’ and ‘Swaraj’ in Marathi are the journals published so far. In telugu ‘Stree sweeha’ and ‘Bhoomica’ are being published now. Foreign papers have been mocking at the women’s movement and women’s lib but Indian papers, the radio and the T.V. lane been giving good support. Either because of the movement or because of the influence of the media there is seen a clear change in the attitudes of parents regarding their daughters. In older days the parents never bothered even if their daughters were put to untold misery by their in-laws or even when the children were prepared to commit suicide. Now-a-days the parents are taking away their daughters from their in-laws if they are subjected to torture. They are also approaching courts of law or women movement centers for justice. A change is observed in the case of dowry problem also. If a girl has no freedom in the husband’s house as also in her parental house, her life becomes miserable. That is the reason why parents should give equal rights to the daughters also in property matters and at the time of marriage the girl should be provided with sustenance. The women’s movement demands that the girl should be provided with property that will sustain her. Though there is an act that the girl’s right has to be safe guarded, it is not being put into practice. Women’s problems will not be solved till the male mentality changes. Women’s movements will continue till men change their attitudes. Educated women employees are seen mostly in cities. They have an understanding of their problems. The atmosphere to discuss their difficulties is also congenial. The feminists have not ignored the village women. The feminists in Maharashtra requested shared jyoshi to see that some land is allotted to the daughter and wives of farmer as they thought that economic freedom is of primary importance to women. They went round village with members of shatkary. But the agriculturists refused to give some land to women. The movement also got theminated. In recent times the voice of feminists are also in the poetic field. This poetry is giving rise to an argument. The women poets are discussing very frankly the various problems connected with women and assessing the effect in the past and present times as well as in the times to come. The great pandits of the past described the physical and bodily features of the goddesses and their beauties. Some modern poets made derogatory descriptions using objectionable similes of women, their bodies and their weaknesses. Some of the poets of the women’s movement despise the narration and description of diseases and ailments hidden behind the beauty of women as indecent exploiting her sex. But those who desire the body of the woman should also be aware of the human body and its system. Imagination may be enchanting and sweet but truth remains bitter and unbearable. If the literature and poetry that has been produced so far is analysed through the eyes of a woman, we will understand the value given to the woman by the educated and the uneducated. In the foreign countries this kind of analysis has been completed. In those countries the women writers of the movement are taking the woman as the central point and one analyzing the society through the eyes of women. Telugu poets, are trying to express their feeling in strong terms. Readers should exercise patience and try to understand the problems with sympathy but should not suppress women’s literature and make history repeat itself. To assess literary values individual feeling, bias of political parties and narrow mindedness. The question may arise whether women can achieve equality using their literature as a means, whether they will be able to solve their problems through this exercise. It may be noted that the lesson on seethamma of ‘Aksharejoyoti’ brought about unity among women it awakened the women to activity. It shook the government and achieved the imposition of a ban on the use of toddy. The toddy prohibition movement of the village women provides an effective lesson to the women’s liberation movement. If all the illiterate women living in villages are made literate and are made aware of the problem they are facing all the objectives of women’s movement will be fulfilled.
*********************** Aaditya interviews ‘Hampi’ A man with an insatiable thrust for the art of drawing The two districts of West and East Godavari are very famous for fine arts, historical places and educational institutions. Rajamahendravaram [Rajahmaundry] once ruled by Raja Raja Narendrudu in particular is a very famous town. Just mention the name, Rajahmaundry, one is bound to remember, with out any effort the first poet, Nannayya, Veeresi Lingam Pantulu, the lengthiest rail cum road bridge in the whole of Asia, the nearby barrage in Dhawaleswaram, a product of the fertile imagination of Lord Cotton and of course many educational institutions. Such is the specialty of Rajahmaundry. This month we are introducing a young artist, just getting recognition and belonging to this historical place. He was born in an ordinary family. However, he has keen interest in fine arts. He has a burning desire to become a great artist in drawing. His name is ‘Hampi’. When you hear this name does it rather sound strange? Let us hear the response from him regarding this. Q-----Your name ‘Hampi’ seems to be rather unusual. Has this been given your parents or is it because you liked ‘Hampi’ so much, that you embraced this name yourself? A-----As it is, I am very much interested in drawing. I wanted to be some thing special; some thing different from others. I therefore thought about that place ‘Hampi’, a part of the Vijayanagaram empire of Krishnadevaraya and adopted it as my pen name. Q-----would you like to tell us your original name and family background? A-----I am the son of Sri Mata Satire and Smt.Ramalakshmi. My father was a worker in a spinning mill in Rajahmaundry and my mother a homemaker. I have two sisters---one elder and the other younger than me. Already married, my elder sister has been blessed with two children. Q-----How did you develop interest in this art? A-----Right from day one, I was drawn towards this fine art. I was more interested in this rather than in the conventional studies. When my sister, Nivedita was in the school, I took care of her drawing requirements. My effort was recognized there. This recognition encouraged me and I stared devoting myself completely towards drawing. Q------How about your academic qualification? A-----I studied up to intermediate. Afterwards, I was concentrating only on drawing. The urge to come up in this field was uncontrollable. Since then, I have been examining and studying as to how I can achieve this goal. Q-----Tell us more about yourself. A-----My name is Mata Venkateswara Rao. I am now passing through my 30th year. I was searching for a suitable expert in this field. The idea was under his tutelage I would register improvement in this discipline. Well ---I came into contact with Mr. Nagesh, a famous personality in Rajahmaundry in this field. He is the head of Tara arts. It is indeed my good luck that I am his disciple. Q-----would you like to tell us about your ‘guru’? A-----Let me tell you in detail about him. You must have heard about Damerla Ramarao Gallery in Rajahmaundry. It is being managed by Varada Venkat Ratnam and Rajaji. These two are very big names in this branch. My ‘guru’ Nagesh was a disciple of Rajaji. I consider myself to be quite lucky as I got an opportunity to be his disciple. Q----- Now about your job. A----- After learning the arts of drawing, I reached Hyderabad in search of livelihood. I could get a job in an advertising company. I was also freelancing for periodicals like ‘Andhra Jyoti’, ‘Bobbili Puli’. It was during this period that I came into contact with famous personalities like Mohan and Pandu. I was there for a couple of years. I could not adjust there. I went back to Rajahmaundry. I am now working as a commercial artist and looking for better opportunities. But then thanks to the computer, the opportunities are dwindling. This problem is not confined to me alone. This applies to all the commercial artists. Q-----How are you facing this situation? A-----well---I am trying to do illustrations, designs, 3d animation with the help of computer. Q----- Okay. During the period you have been in this field, some incidents might have taken place. You must have felt extremely happy. Do tell us about such incidents or occasions. A-----Chandra, a very senior artist in this field was felicitated in Rajahnaundry. In that connection, I drew his sketch and presented it as a memento. He was very happy with this. He gave me a pat on the shoulder. He also told me that there is a good artist in me and that if I work hard, I would definitely come up. In those days, I was still in Rajahmaundry. He advised me to shift to Hyderabad. When he blessed me like this, I was extremely happy. A very senior artist liked and appreciated my work. That day, I felt very much proud. I should also consider myself to be very lucky because of two more reasons. I had the privilege of seeing some of the rare pictures drawn by Damerla Rama Rao. Then as I have told you earlier, it is my good fortune to be a student of Nagesh, himself a contemporary of Damerla Ramarao. Q-----Similarly, there could be some incidents, which might have made you unhappy from a professional point of view. A-----Yes. It is there. Recently, I happened to meet a very big industrialist. He is the architect of a project on Ramayan and I have drawn some pictures for this. He is reported to have liked them but felt that had there been a touch of modernity in them, they would have been better. Here I have to tell you some thing. My personal opinion is that when you are dealing with great epics like Ramayan and Mahabharat, Ancientness should be there in the illustrations. In any case, I am not a part of this project now. I did feel bad about this remark by the industrialist. This however is not the only thing. Had I been to Shanti Niketan, I would have become a better artist. Some times, I do feel bad about it. Any way, we have to accept what is in store for us. My aim with regard to this is not destined to become a reality. However, I have taken up the study of the work, ‘The Great Artists’ series. I feel better to some extent in this regard. Q-----What are your aims and aspirations in this field? A-----I will have to study the drawings and paintings in Ajanta and Ellora caves: I would also like to do a deep study of the sculpture in Hoyasala, Cholabranzes. I am also very much interested in kerala murals as well as folk arts. Then, I would love to set for myself a clearer goal. Q-----Who are your favorite artists in this field? A-----Oh, my God! The list of such people could be very long. Any way, you asked me and I will tell you. I am a great fan of Michael Angelo, the great artist, who brought about revolutionary changes in the 15th century and is also the architect of renaissance. I also derive inspiration from Leonardo Davinci, Tipolo, Gericalt, Degas,Dali pikaso, and Gustav climpt. The works of men like Bapu, Chandra and Mohan who brought name and fame to Andhra art are always sources of inspiration to me. For me, they are just like guiding stars. I like the pictures drawn by Kondapalli Seshagiri Rao, Ramananda Bandhopadhyay, A.Ramachandran, Ganesh pain, Lakshma Goud, and vaikuntham. I also like Hussein’s Ramayana series. In so far as the new generation is concerned, I like the pictures drawn by Ele, Lakshman, Pandu, Shankar, Brahmam and above all those drawn by my guru, Sri Nagesh. If a picture is good, I will worship. However, I do not like to be influenced by the pictures of others. His guru told him one thing firmly. To see a picture and then drawing it is not at all great. A picture should be drawn based on one’s own ideas and imagination. This idea has been firmly registered in ‘Hampi’s mind. He has been carefully studying the pictures drawn by seasoned artists. It has been his aim and sincere endeavor to project before the public the artistic skills of the wonderful artists of the bygone years through his own pictures. In doing so, he has been striving to ensure that their works do not influence him directly. Let us hope that this young man’s ambition and dream to be recognized by the public will become a reality. Translation by B.G.S.Rao
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SIGN – BOARD ARTIST TURNED INTO A PAINTER OF NOTE - Lata Srinivas Pandu made a mark as an artist within a short time after setting foot in journalism… but now has no moorings. His inability to accommodate himself with the existing atmosphere, his failure to be a part of the ills of the society, the problems he faced in his personal life… all these distanced him from his career. The firm support a close friend gave him and the encouragement of his teacher and friends, made him to start painting afresh. The water colors he has been painting with the theme ‘Indian Woman’ are now a great attraction. He is proving through his paintings that beauty is not seen in wealth or in external decoration but is found in naturalness. The women he depicts reflect Indian culture and tradition. The picture of a belle drying her hair after a head bath and plucking a jasmine flower standing in full moon light, deeply lost in sweet thoughts, arrests our attention. His brush reveals the pleasant dream a young lady enjoys as she imagines her glorious future, adorning her plait with a garland of flowers, her face full of hope and smiles. Pandu has many such beautiful and lovely paintingsthat touch our heart with a feeling of happiness and joy. Here is the interview with Pandu: Q) How did you develop interest in painting? A) As a boy returning from school I used to observe sign-board artists at work. The big letters they used to write on the boards and the way they enlarged the figures of N T R and Sridevi with the help of graphs and apply paint to their faces and body attracted me. They used to paint portraits using turpentine and linseed oil mixed with enamel colors and produce light and shade effects. At that time art meant only that to me. After passing the tenth class I opened a shop ‘Pandu arts’. My friends and artists Vinukonda Ranganayakulu, Parishuddha Rao, Salmon Raj and Y L Kanta Rao encouraged me and I started preparing boards and painted portraits. I was of the firm opinion that there was no artist greater than me in the world. In those glorious days, I happened to see a political cartoon drawn by Mohan in the newspaper udayam. Perhaps I was seventeen years old then. That cartoon opened my eyes. I was ashamed of my pride. I did not understand the meaning behind the cartoons. They appeared in thin line drawings with lovely cartoons once, the next time they appeared in powerful strokes, bold and thick. Then I realized that beyond my Vinukonda there was another world where there are artists who are greater than me. I was bowed down with a feeling of defeat and sorrow. In that depressed mood I quickly referred to other newspapers. I found a lot of difference between the cartoons of Mohan and other cartoonists. “What is this wonder? How many hands does Mohan possess” I asked myself with disbelief. I started practicing the cartoons drawn by Mohan but was disappointed at my failure. It was then a church father, who saw my efforts, suggested that I should go to Hyderabad where in the J N T U they teach painting and that I could meet Mohan also. Q) Will you narrate your experiences in the J N T U? A) I took the examination in the fine Arts college of J N T U in 1988 – 89. I, who was great in painting, failed twice. The still life paper was an important paper examination. A flower vase and some other objects have to be depicted as placed on a cloth on a table in line drawing first and the picture should be completed with light and shadows in multiple colors. Of the five hundred master artists who take the exam coming from different districts, only sixty will be selected. After the test my attitude changed. I learnt that art does not mean enlarging graphs but painting the objects on the canvas as they appear and that was called art. I practiced for two years and come out in the tenth rank in 1990 and got a seat in the college. Q) What is the influence of Mohan on you? A) After I got admission in the J N T U I met Sri Mohan in the Udayam office. Apart from being an artist he was a great individual. He used to encourage poor fellows like me (in art) and give guidance like Sri Krishna Parmatma. He introduced to me all great painters of the world through his words. He spoke of the importance of studying the Indian traditional painting. I could realize a few things from the great worlds revealed to me by Sri Mohan. I could produce a few good paintings like them. With this experience my attitude changed. I studied the Western impressionist like Paul Gangin and others like Abdul Rahman, the Parsee who paints his pictures in the Indian style, Nandalal Bose. Avaneendra Tagore, Den Prasad Roy Choudhary, Damerla Rama Rao, Adavi Bapi Raju, Gurram Mallaiah, Pydiraju, the Andhra luminaries and many, many other painters including my contemporaries. I was deeply convinced that it is better to experience art then try to understand art. Q) How did you feel after having known the works of many artists? A) It is a wonderful world, a world that grows more wonderful the more we learn about it. The lines, the contours and the colors – the undiminishing wealth and value of creative art is a great experience. I exist in that vast ocean without knowing what I am and what my standing is. I am proud I too have come to be known as an artist. It is said a crow will be called a koel when it lives among koels. Q) Who is your model and who influenced you most? A) For the cartoons and pictures I painted Mohan and Chandra is the inspiration. I created for myself a model. In the days I imitated Mohan my friends complained that it was wrong to imitate Mohan. Even today I do not understand how it can be wrong. Though I am not an expert in the field of logic and theories… it is natural that a calf follows the mother cow and grows into an adult. I realized that by following elders and by doing so one makes a mark and show merit. That is the right way. By imitating Mohan I could never reach Mohan’s perfection. The strange thing about this is that following Mohan I made a name as Pandu and Shankar as Shankar with our individualistic approaches. Many artists turned out as specialists this way. Q) Tell us your experiences in your entry into journalism A) After the Fine Arts course in J N T U, I was taken by “Vaartha” as a political cartoonist by virtue of the name and fame I had earned earlier. The political knowledge one derives by worship in a paper office is greater than the knowledge one gains by reading newspapers. It is a wonder how I could work there for two years. Later I worked as a cartoonist in A B K Prasad’s paper “Ma Bhoomi” for one year. Mr. Prasad who know much about artists, their mentality and freedom they seek, gave me great freedom. It was during this period that I tried to draw good cartoons. When this paper got closed I took training in animation in the “Wonder Tunes” managed by Ocean Park and acted as a clean-up artist and animator. I continued in that capacity till 2003 with God’s grace. Q) Why have you not been in the limelight? A) For the last three years I have not been doing anything because of a minor problem in personal life which grew into a demon. I am keeping alive because of Y T Ravi Kumar, the sculptor, who is my friend, relative and protector, who has a good heart, love, mercy and who is the personification of goodness. It is because of this great man I am painting again. Q) What is the theme of the paintings you are doing now? A) The theme of my paintings now is the Indian Woman. This theme is only for the time being. I have to take up many subjects later. I am against the practice of painting a subject that has been attempted for a number of centuries. Though there is Indian ness in the water colors I am doing now, the style I have followed is the realistic style. Q) What is your opinion on the influence of, global thinking on Indian Painting? A) Our artists have to get rid of the influence of light and shade effect on the human anatomy as introduce by the British artists. It is a great challenge for the young artists like me. But there is no need to panic. There is the possibility of imbibing the Indian style gradually. If we look at the art of any country, we detect a particular style and tradition in their art. But in Indian institutes the teachers talk first of European art styles and then talk of the glory of Indian art introducing it through the back door. Thus the western system and styles got into our blood making us lose the life force of Indian tradition and the identity. This is a shameful situation. If only we start understanding first the Ajanta and Ellora art and Indian sculpture and then take up the Western systems. There would have been a great number of noted artists now. To make matters worse, the global norms are erasing out the margins and boundaries mixing up ‘colors’. This is a more dangerous development. The advent of internet has proved disastrous to artists like us. Only a very few great artists are following the Indian style, while artists of our caliber have to go back to the flat technique of the Indian tradition after having passed successfully the three dimensional presentation. The teaching methodology has to be changed. Those who master the old Indian technique will be the benefactors. Q) The awards and rewards won by you… A) The “Vaddadi Papaiah Award”, the prize given by the political cartoonists Forum in 2000 and the Best Cartoonist Award received from the Speaker Sri G M C Balayogi presented by Hyderabad were some. Also the consolation prize from Prajashakti and the second prize from the AIDS Board in the national contest. Q) Your boyhood, education and family background… A) Though I was born in Guntur I studied at Vinukonda up to the tenth class. I was named Pandu Ranga Rao after my father who passed away soon after my birth. My mother is Subbamma. She retired recently from the Govt. S T Hostel having worked as a cook. My brother senior to me is Durga Prasad. Venkayamma is my sister-in-law. My wife’s name is Bhavani. She is more educated than I am. Sri Vaishnavi is my daughter. Q) What is your aim in life? A) To understand our painting and sculpture; keeping up the tradition and playing my part in keeping it alive is my goal. In this great journey if I can worship the goddess of art and be a simple leaf of this mighty tree called art and drop down silently, I consider it a great boon.
Nrityachoodamani Smt. Shobha Naidu
Smt. K. SHOBHA NAIDU, today, is one of the most outstanding exponents of Kuchipudi Dance. Her greatness lies in her total dedication to this exacting genre with classical base and an uncompromising commitment. She is highly imaginative with contemporary taste and sensibility. She is recognized all over the world as an authority of this famous dance from her performances exceed 2500 all round the world. She led cultural delegations of Government of India to countries like Canada, U. K., Middle East and Far East countries. With her troop of 18 members, she gave more than thirty performances all over U S A, from New York to San Francisco. Her 50 days tour of USSR evoked great intere among Russian dance lovers and resulted in two girls coming all the way to Hyderabad to learn Kuchipudi dance.
Smt. Shobha has
dedicated herself to take Kuchipudi to wider audience both within and
outside India. She strives for excellence all the time, as a
performing artist, as a choreographer and, as a teacher. She has been
the Principal and director of Kuchipudi Art Academy of Hyderabad which
was founded by her in the year 1980. she supervises the training of
hundred and more young dancers, some twenty of whom are acclaimed as
fine performing artists. She also started branch of the
Kuchipudi Art Academy at Rajahmundry.
She has been awarded the coveted title “Nritya Choodamani” by no less on institution than Krishna Gana Sabha of Madras. In 1991 she has been given a prestigious award by Central Sangeetha Nataka Academy. She has also been the recipient of “Nrityavihar” given by Sri Sringara Samsad of Bombay for the year 1992 to acknowledged artists. She is wedded to her art and has refused lucrative offers from cinema world from which there have been a number of offers from eminent producers and directors.
********************* Golla Kalapam “Golla” means “Milk Maid” Kalapam means action. One day the Milk Maid is going to the city to sell her buttermilk. On the way she met a Brahmin (Learned Man). She innocently asks the Brahmin some Questions about the cast and untouchbility. Etc… He replies her questions. The whole question and answer is in rethimic Dance Drama, “Kalapam” will win the hearts of the spectators with its high entertainment value. A deep study of this branch which was introduced 150 years ago will reveal a wonderful gold mine about what at “Golla Kalapam” is. A tradition bound presentation will fill ones heart with ‘Shanta rasa’. This genre of kuchipudi shows a skill that far surpasses modern techniques. In the beginning “Golla Kalapam” was presented for more than eight hours with only two characters. The duration has been reduced to a few minutes in modern times. “Golla Kalapam” was designed to give a message to those who know about the spirit of the original presentation. “Golla Kalapam” was designed to give a message to those who knew about the spirit of Vedas and worldly – wisdom and to illiterate it to persons in an excitingly entertaining manner Bhagavathula Ramaiah who was considered a maha yogi. Created this mode of performance. The method he chose sharpens ones imagination and thought sequence and makes the audience enjoy the experience in a happy state of the mind. The deep wisdom embodied in Vedas is presented in capsule form with only two characters who indulge in a sort of an argument or a dialogue. The two characters discuss the caste system of our society and the reason why minor and major differences arose in its practice with questions and answers and thus enlighten the audience. “Golla Kalapam” was made familiar to people with the dialogue between a woman selling milk and curds ad a Brahmin on a highway. In the early days, officials of the rank of District Collectors used to witness the performance along with their families present sarees and dhotis to the performer honoring them. In those days women did not come forward to present dance items. Three men used to take part in this Kalapam. In the families which followed Kuchipudi dance system, in olden times, all members had to learn compulsorily “Golla Kalapam ’’. In recent times that tradition is not being followed. Artists who have passed seventy years above know fully the performance. “Golla Kalapm’’ which came into existence during 1833 – 98 with Bhagavathula Ramaiah was learnt by many gurus and had a great time. Only very few dance gurus of the modern times have knowledge of the entire performance but they cannot present it in its full length. Girls of the present times,
Golla Kalapam is the essence of Advoita . Male actors who were playing female roles used to take part in this performance with their heart and soul in it as if it were a yagna. They narrate in very simple terms the formation of the focus, its growth in the mother’s womb and the manner the baby is born. The milk maid asks the Brahmin “Why do you perform pujas and other religious ceremonies? Why your attire, your language? What is special in the manner you act….?” The answers given by the Brahmin will certainly convince the hearers. In olden days the ordinary mridangam and the bag pipe were used unlike the modern instruments used now. Ramaiah, who created this mode using simple words to explain deep Vedanta, is to be commended for his intelligence and learning. He explained the human body as a vehicle made of five agents’ food, prana mind knowledge and happiness. This explanation is highly meaningful and simple. Similarly his description of the human body. A potter hits the day into a lump and creates out of it items of different shapes and sizes. The goldsmith creates different varieties of ornaments out of gold. The cows which are in different colors give only milk that is white. Ramaiah pointed out that though there are many shapes and features paramatma is one “Golla Kalapam” reveals how one can develop “gnana yoga” (“Knowledge”) and enlightenment which Bhagavadgita preaches. Traditional dance and the significant nuances of folk art are mingled in “Golla Kalapam” in proper proportions. We find discussions on caste and mans behaviour, the tradition of sacrificing an animal during yognas and yagas their need and the resentment expressed at this practice. The skill in presenting the dialogue and the argument before the very eyes of the audience wins the approval and acceptance of the spectators as well as their praise this aspect of the presentation is a surprise indeed. “Golla Kalapam” produced the impression that the audience was actually taking part in an intellectual exercise. There are talks on the beauties of new moon nights, smart sayings on the moon that provoked new thinking, wild forest flowers and their influence on the senses etc.,. The love life of the parents, the. The questions of the milk maid as to why these differences seen among their children the skirmishes, the jealousies among those born of love problems here discussion with the Brahmin – al these give us a surprise. “Golla and Kalapam” speaks of the happiness of family life as well as the spiritual principles to be followed which directs people towards a mental yaga. The Kalapam teaches a lesson also. Man can live a pure and pious life just like the lotus, which grows in dirty waters and yet nothing touches the petals, just like earth worms that live in muddy waters without the mud soiling their bodies. Man can also manage his life in a similar manner. Ramaiah had shown extraordinary talent in dance and dance direction with a fencing sword in one hand and script writing in the other beating time. His perfection and mastery has become diluted now once, in olden days “Golla kalapam” was relayed over Aakasha Vani. Balantrapu Rajanikantha Rao and Srirangana Gopalaratnam had played the parts rendering the performance. Later Chinta Krishnamurthy and Bhagavathula Ramakotaiah continued the tradition. The performance given by Ramakotaiah in 1955 was unforgettable. The first dance training institute was established in Hyderabad with the Government giving its recognition. His children are now giving the performances and keeping up “ Kalapam” and its future. If we count the number of performances of “Golla Kalapam” since 2000. We can understand how the art is being forgotten. The art form is being maintained by the East Bhagavathulu of Vishakhapatnam district in their performances of “Golla Kalapam”. The tradition of reciting the entire dialogue by rote is fast disappearing. “Golla Kalapam” came out in book form in recent times. Very few have read the entire book completely and understood it. It was the effort of Chintalapati Narasimham that brought the book out. Rama Devi, though a Malayali, brought out out “Golla Kalapam” in English out of interest with great care. She is attempting to introduce the dance form in universities in the dance sections and give some instruction in its performance. In the central University Vedantam Radeshyam is holding classes specially. Attempts are being made to present the item before interested audiences. If “Golla Kalapam” is critically assessed through modern kinking, many aspects of the dance form will come to light. There is much to be learnt by those who are wedded to dance by studying this form. GOLLA KALAPAM IS ONE OF THE FINEST DANCE DRAMA OF OUR ANCIENT TRADATIONAL SIMPLE KNOWLEDGE ABOUT VEDENTA TO THE HUMAN BEING. *********************
FOLK – LORE LITERATURE by Dr. Ravi Premalatha Dr. Ravi Premalatha was born in 1945 in Nagireddy palle in Nalgonda district in 1945 to Smt. Manorama and Sri Ravi Rami Raeddy. She completed B. Sc., B. Ed. And M. A. degrees and worked as lecturer in Sri Ramachandra College. She did research on folk-lore LITERATURE AND Pouranic stories for her Ph. D. degree. She retired from service in 2004. iwoman interviewed her to learn details about folk literature. Q. Good morning Dr. Premalatha garu. You did research on folk-lore literature. What prompted you to choose this subject? Ans. What I was working as lecturer, folk – lore literature was introduced for the first time in 1972 as an optional subject in the syllabus. It was a new subject. That was one reason. I was born and bred in a Telangana Village. My mother used to narrate folk tales to me from my childhood. These two aspects made me choose the subject as my research topic. Q. Will you tell us how the name folk – lore literature was accorded to it? Ans. The learning and knowledge of those who live in the country side is called the learning of the village folk. The village folk-lore has been reflecting the religion practices, traditions. These aspects define the social institution. They promote national integration while being the cementing force of individual and group aspirations. The ancient tales are the foundations of literacy trends and culture. They reflect the mentality of ancient peoples and thus occupy an important place in the enlightenment gained by the village folk. The knowledge that safe guards the mind set of the village people is known as the wisdom of the villages. Q. Will you please define folk-lore literature? Ans. It is better to treat as an instrument helping in treating an awakening of total folk-lore knowledge than treating it as an internal aspect of folk-lore learning. Every aspect of this lore helps in describing and in creating awareness about this literature. Folk – lore literature explains the medical aspects, about the art of cooking, the influence of mantras and tantras, the art of handicrafts of professions, customs, ornaments implements used at homes and at work, proverbs models of speech etc. Richard Doreson the famous folk – lore specialist divided this literature into two divisions. 1. Story oriented and 2. . Folk – tales are those that teach truths of life through little moral stories. In these stories there are beautiful lasses, poor working girls and mother – in – law and daughter – in – laws, aunts and the like. The woman of these stories is seen as the mother, as wife, as sister, as the daughter-in-law, the lives led by these people, the problems they face in life and other consequences, solutions etc. all these aspects take shape as stories. Q. Will you narrate such a story? Ans. I will tell you a story that proves the self – confidence of women. Four men who are brothers carry away a beautiful girl. The men are thieves. They are ask the girl to marry them. The girl refuses their demand. They confine the girl in a room and keep their mother to watch her. One day when one of the thieves enters the room, the girl who hides behind the door kills him by hitting hard on his head with a wooden pestle. She separates the head, hangs it to the door frame, places a frying pan under the head and boils oil in it. Blood drips from the head drop by drop and produces a hissing sound. The three other thieves think that their mother is frying a savory called ‘Garelu’ and stay away outside. The girl takes this opportunity to escape, rides a horse reaches her house and marries the young man she loves. The thieves who learn of this deceit search for her all over. They reach the place where she lives. She meets them in a disguise and invites them to her house. She kills them one by one by hitting hard on their heads with a pestle. Our society has made the kitchen the heaven for women. The woman does not know anything about the world, about weapons, about war fare etc. so, in this story the heroine converts the kitchen into the battle field and saves herself. This story stands as a convincing example for the mental resolution and courage of woman. There is another story in which daughters-in-law save themselves from their termagant mother-in-law and change her into god a woman. In folk tales mother-in-law do not give hell to their daughters-in-law seeking from them cars, ornaments, jewels, property and wealth. They tease the girls in another way. They prevent daughters-in-law from eating what they like. They do not permit them to wear white sarees; will not allow them to decorate their hair with jasmine flowers. Once such a mother – in – law goes out to the market the eldest girl decides to prepare snake guard curry which she likes, the second wants to eat date fruits, the third looks forward to wear a white saree after taking an oil bath, the fourth to drink toddy and the fifth to eat the cake made of jaggery and ground nuts… The mother-in-law who hears their conversation secretly returns quickly. The girls ask her why she did not go to the market. She tells the girls that when she went to the market she saw a serpent as long as a snake guard, white in color as if dropped in a white saree, its eyes resembling date fruits and it was casting its skin resembling the white foam of toddy. The snake raised its head which looked like the ground nut cake. She was afraid of it on seeing it and returned. The daughters-in-law realize that their mother heard their conversation and devise a plan. One day the old woman goes to the field. One of the girls puts on the disguise of a woman possessed by a female deity and shouts that she would take away any mother-in-law that teases her daughters. The old woman gets frightened and prays to the deity to save her and that she would take good care of her daughters-in-law which she does from then on. This story reveals that if girls are united and clever they can oppose anyone and win. If the part played by women in analyzed it makes clear the psychology and the ways of living of women. Q. Do you think that women in folk-lore stories support women’s lib or feminism? Ans. It is not the twentieth century feminists that accused men of being venomous snakes. It was Tallapaka Thimmakka of the seventeenth centuary in her “Subhadra Kalyanam”. It was Bhandaru Achamamba of the eighteenth centuary who pleaded that women should save themselves; those women should not be under the control of man, that women should develop self-confidence in her book “Abala Sacharitra Ratna Mala”. Atmari Annapurnamma had criticized the men who tried to teach morals to women. These three women are typical Telugu women who expressed their agony on women who were oppressed by man dominated society. There are many among village belles who had fought for women’s liberty and freedom with courage and conviction. Among them Chakali Pullamma, Jakku Chandrakka are prominent. The Sitamma lesson in Akshara Jyoti created the required awareness in women for action and gave the impetus for the Sara Udyamam. Q. Proverbs in Folk-lore literature have a prominence. Similarly Batamma games, rangolis also have their importance. Please tell us about them. Ans. Yes, it is true. Proverbs have their origin in folk-lore. There is a proverb “just as the tamarind tree went to the house of her mother… This proverb is used when the house wife is not able to go to her mother because she has not a moments rest. This proverb is used to signify the hopelessness of the situation at home. Once a tamarind tree would to go to her mother’s house after completing her work at the end of summer. But she was first busy with the fresh sprouts, then with the flowers, later with the green fruits and finally with the ripe fruits. Summer again. The same busy schedule every year without respite. She could not at all go to her mother. A tree and a woman are the symbols of fruitfulness and life. The different stages of a tree have a close resemble ness with the life of a woman. With the fresh sprouts of leaf buds of the tamarind tree can be compared the childhood of a woman, with the flowers, the youth of a woman, and the fruits with the children of the woman. Just as the tree is hectically engaged with the flowers and fruits, the woman also does not find breathing time like the tree. With her household duties. The lady of the house who is busy attending to her husband and the children suppresses her desire to go to her mother and spends her life in drudgery. This proverb reflects the sacrificing nature of the woman. The famous folk lore specialist Alen Dundus while analyzing proverbs says that three types of proverbs can be identified. 1. Absence of contradiction. 2. Presence of contradiction 3. One better than the other. He says if we go on analyzing them we can equate them with the principles in mathematics. For example: those that do not show contradiction. We say we do not find a mother-in-law or a knife which are not soft. That is a mother-in-law is not kind. So also a knife. The mother-in-law and the knife are similar. Then there is the one where contradiction is observed – pot the mother-in-law breaks is already cracked, but the pot the daughter-in-law breaks is a new pot! As the mother-in-law and the daughter-in-law are opposed to each other this proverb is applied to them. In folk literature riddles also play an important part. Villagers mingle their experiences, their surroundings and the traditions of society and express what they want to say imaginatively. Look at this riddle: “It has born in the forest, has grown in the forest, came to our house and turned this way and that”- the churning stick. It is man’s intellect that changed the tree into the churning stick. The villager used the parts of trees as household articles. By saying it turns this way and that its use is hinted at. The movement of the churning stick indicates the moving human body, particularly of a woman and her body language as a dance movement. The inanimate wooden stick is given life and is made to dance and this butter churning activity also speaks of the woman’s labour. Take another riddle: “The sparrow matured under the green tree”. The tree here stands for greenery. The green tree maturing denotes that the chilli plant has ripe red chillis instead of saying that a person sowed chilli seeds and reared the plant we say that the sparrow matured, came of age. The green plant represents q woman. Now about the Bathakamma Aata. It means worshipping life, Bathakamma as a Goddess. Lakshmi, Saraswathi and Gowri are worshipped by three types of flowers as a single entity called Bathakamma. This is also called the festival of flowers. This festival reveals the artistry of women in their knowledge of literature, music and dance. Gowri devi who spells prosperity to women is Bathakamma. On this festival day the whole of nature is filled with flowers. The forests and fields are adorned with different varieties of flowers. The maize crop and the paddy fields show off their corn heads. The tanks are full of water lilies and lotuses. The women express their artistic talent in arranging the Bathakammas in tastefully decorated flower patterns. The festival commences from Mahalayamasya and continues till Maharnavami. Married women wake up early in the morning, take an oil bath. Wash and clean the front yards of their houses, place a brass plate with many varieties of flowers and in the evening dance around the plate in groups singing songs in praise of Bathakamma. On the last day they let out the Bathakammas into the river. The flowers used in this ritual have the equality of cleaning the waters and so they are used in that manner. This festival was gained importance as an occasion when women are granted prosperity and children. In the songs of Bathakamma the words used express the thoughts and the way of the life of women. Women make life and their labours easy by singing, treating work as worship Paramatma, in the form of Gowri and Eshwara. Q. Will you tell us about rangoli patterns? Our elders say that before men go out there should be rangoli patterns in front of the door steps. Why? Ans. The rangoli patterns symbolize the artistic and innovative talent of women. Using only their fingers and palms, following their imagination they formulate drawings in wonderful combinations of patterns that reflect traditions. These patterns are indeed the very wonderful ornaments of the Goddess of art of drawing. The ancients have defined these patterns using rice flour and flowers as the art that is practiced to satisfy the elements of nature. This has been treated as a specialized art by our elders. The ancient art of rangoli is called by many names in Telugu country. The patterns are called Muggulu, Pattulu, Parikalu, Urungulu, POthalu, Rangavallikalu, Muggu Geetalu, Muggu Karralu, etc. In older days women used to draw these patterns on front yards washing them by cow dung water. “Muggu” is made of lime stone powder. There is a belief that these patterns prevent the entry of evil forces into houses. In older days men used to know the day and the week observing the patterns drown by women. It is said that the patterns are a must because men go out for work learning from the patterns drawn on a particular day of a particular week what day it is and what week. In course of time this habit became a tradition. First it was the patterns drawn by lines. Later it developed into patterns drawn by dots. Village women draw the patterns using the line method. The lines & patterns they draw releasing the lime powder through three fingers reflecting their feelings and thoughts beautifully. The patterns before the doorstep are drawn with limestone powder and before the deity in the Pooja room with powdered rice. The Hindu tradition is to worship Tulasi, drawing patterns before the Tulasi plant that grows in the basil fortress in the back yards. Women worship Tulasi for prosperity and children. The Telugu woman draws patterns in the front yard or before the door steps leading into the street representing prosperity, wealth and fruitfulness. In the pooja mandir the woman draws patterns revealing her desires. If we give deep thought to this tradition and habit of the women and apply the theory of psychology to it we realize that the woman pays importance to beautify her and relegates this habit to her house and its surroundings and as part of beautifying herself beautifies the house also by drawing pleasing patterns. This tradition of Muggu is also seen in the ancient lore of sculpture. The patterns drawn in caves on the rock walls gradually moved out and took their place before door steps of houses. In caves we can see the moon, trees and tendrils being sculpted. Similarly we see these patterns in the talismans tied around the arms or necks of children also. Village folk strongly believe that if these patterns are drown ghosts, spirits and evil forces dare not enter their houses. They draw patterns using turmeric powder also. Even today from the beginning of Dhanurmasa we find different varieties of these beautiful patterns in front of the Hindu houses. That is why we say that these patterns are the symbols of our culture and traditions. Folk lore literature and knowledge are an ocean. There remain many more things to learn about them. It is a thirst that cannot be quenched.
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