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DAILY
CLASS NOTES
Art & Culture

Lecture - 21
Folk Dance, Theatre,
Puppetry & Martial Arts
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Folk Dance, Theatre, Puppetry & Martial Arts

Folk Dances: Covered in the last lecture.

Q1. Consider the following pairs of tradition vs State: 2018

1. Chapchar Kut festival: Mizoram
2. Khongjom Parba ballad : Manipuri dance
3. Thang-Ta dance: Sikkim
Which of the pairs given above is/are correct?
(a) 1 only (b) 1 and 2
(c) 3 only (d) 2 and 3

Q2. Consider the following pairs: 2014

(i) Mohiniattam :Odisha
(ii) Garba: Gujarati
(iii) Yakshagana. Karnataka
Which of the pairs given above is/are correctly matched?
(a) (i) only (b) (ii) and (iii) only
(c) (i) and (iii) only (d) (i), (ii) and (iii)

Q3. With reference to the famous Sattriya dance, consider the following statements: 2013
Sattriya is a combination of music, dance and drama.
(i) It is a centuries-old living tradition of Vaishnavites of Assam.
(ii) It is based on classical Ragas and Talas of devotional songs composed by Tulsidas, Kabir and Mirabai.
Which of the statements given above is/are correct?
(a) (i) only (b) (i) and (ii) only
(c) (ii) and (iii) only (d) (i), (ii) and (iii)

Q4. In the context of cultural history of India, a pose in dance and dramatics called 'Tribhanga' has been a
favourite of Indian artists from ancient times till today. Which one of the following statements best describes
this pose? 2013
(a) One leg is bent and the body is slightly but oppositely curved at waist and neck
(b) Facial expressions, hand gestures and make-up are combined to symbolise certain epic or historic
characters
(c) Movements of body, face and hands are used to express oneself or to tell a story
(d) A little smile, slightly curved waist and certain hand gestures are emphasised to express the feelings of
love or eroticism
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Q5. How do you distinguish between Kuchipudi and Bharatnatyam dance? 2012
(i) Dancers occasionally speaking dialogues are found in Kuchipudi dance but in Bharatnatyam.
(ii) Dancing on the brass plate by keeping the feet on its edges is a features Bharatnatyam but Kuchipudi
dance does not have such a form of movement
Which of the statements given above is/are correct?
(a) (i) only (b) (ii) only
(c) Both (i) and (ii) (d) Neither (i) nor (ii)

Indian Theatre/Drama: A Timeline of Evolution:

 Ancient Roots:
 Vedic Period: The earliest sparks of drama flicker in the sacred texts of the Vedas, suggesting its deep-
seated presence in Indian culture.
 Classical Flourishing:
 Sanskrit Literature: Sanskrit plays like Kalidasa's Shakuntala represent the golden age of Indian drama,
characterized by:
 The "Five Gems": The central characters of Nayak (hero), Nayika (heroine), Vidhushak (jester),
Sutradhara (narrator), and Prati-Nayak (antagonist) provide a framework for storytelling.
 Happy Endings: A typical feature of Sanskrit dramas, often emphasizing moral lessons and divine
intervention.
 Expanding Traditions:
 Folk Drama: Beyond the Sanskrit stage, vibrant regional folk theatre traditions flourished across India,
from the Bhands of North India to the Yakshagana of Karnataka, carrying stories and celebrating local
customs.
 Modern Transformation:
 19th Century: Indian theatre enters a new era, starting with Dinbandhu Mitra's Neel Darpan, raising
social awareness through powerful plays. Parsi theatre further adds vibrant elements.
 1940s: Prithvi Theatre, founded by Prithviraj Kapoor, becomes a landmark institution, fostering modern
Indian theatre.
 Indian People's Theatre Association (IPTA): The Indian People's Theatre Association champions
social realism and political themes.
 1959: The National School of Drama is established, nurturing generations of actors and playwrights.
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Golden Age and Beyond:

 1960s-70s: Considered the zenith of modern Indian theatre, with celebrated playwrights like Vijay Tendulkar
and Girish Karnad creating groundbreaking works.
 Post-1980s: While facing challenges, Indian theatre continues to evolve, with diverse voices and experimental
forms emerging across the country.
Classical Sanskrit Theatre:
 An explosion of senses: Classical Sanskrit theatre isn't just a play; it's a multi-sensory feast. Get ready to be
swept away by a captivating blend of music, dance, acting, and evocative recitation.
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 Different ways to describe a drama: Sanskrit scholars used terms like "Rupaka" (shape) and "Drishyakavya"
(visual poem) to describe this unique art form, highlighting its visual and poetic qualities. "Preksakavya"
(audience poem) emphasizes the active role viewers play in co-creating the experience.
Two ways to tell a story: Ancient texts discuss two main types of drama:
 Lokadharmi: This style reflects daily life, immersing you in realistic portrayals of people and situations. It's
like watching a slice of life unfold on stage.
 Natyadharmi: This path embraces stylized presentation, employing symbolic gestures, grand costumes, and
heightened emotions. Imagine a world where every movement and expression carries a deeper meaning.
Variety is the spice of life: Sanskrit theatre boasts a diverse vocabulary for its various forms. Here's a peek into
some key terms:
 Anka: Acts within a play.
 Bhana: One-act farces, often featuring witty satire.
 Dima: Short, allegorical plays.
 Ithamgra: Plays with a surprise twist in the plot.
 Nataka: Heroic dramas with larger-than-life characters.
 Prahasana: Comedies filled with laughter and lighthearted themes.
 Prakarana: Social dramas exploring real-world relationships and conflicts.
 Svakarna: Monologues showcasing emotional depth and introspective journeys.
 Vithi: Street plays interact directly with the audience.
 Vyayog: Plays with fantastical elements and supernatural beings.
Different Playwrights by Prominent Personalities:

Dramatists Book Theme

Bhasa Svapnavasavadatta  The romantic narrative about the king Udayana and
Vasavadatta.

Ashvaghosh Sariputra Prakarna  Conversion of Sariputra by the Buddha.

Sudraka Mricchakatikam  Love affair of a rich merchant with the daughter of a

courtesan.

Kalidasa Malavikagnimitra,  Love affair of Malavika and Agnimitra.

Vikramorvashi, and Shakuntalam  Love affair of Urvasi and Purarva.
 Love affair of Shakuntala and Dushyant.

Bhavabhuti Malati Madhava  Love and horror

Vishakhadatta Mudrarakshasa  Court politics

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Harsha Ratnavali, Priyadarsika,  About a beautiful princess named Ratnavali, and a

Nagananda great King named Udayana.
 Romantic theme, contains a play within a play, called
Garbhanka.
 Popular story of Jimutavahana’s self-sacrifice to save
the Nagas.

Regional Drama (Rural):

 These dramas are present in the region of east, west, north and southern India.
Theatre Tradition from the North:

Regional Origin Features

Drama

Bhand Jammu & Kashmir  Social satire and mythical stories are often performed by
Pather masked actors.
 It is performed to deliver messages to the society.
 Music is provided with swamai, nagara and dhol.
 It is a satirical and realistic drama.

Nautanki Uttar Pradesh  It is the traditional theatre of Uttar Pradesh.

 References to Nautanki can be found in a 16th-century book
named Ain-e-Akbari, written by Abul Fazal.
 Nautanki mandalis called akharas were formed during
performances.
 Lyrical dialogues were delivered in the theatre.
 Gulab Bai of Kanpur gave a new dimension to this theatre art.
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Ramlila Uttar Pradesh & An epic portrayal of Ramayana is celebrated as a devotional

North India performance.

Ramman Uttarakhand Folk theatre celebrating local deities and legends, usually
performed by men.

Kariyila Garhwal region, Performed at village fairs and festivals, showcasing rural life and
Uttarakhand traditions.

Maach Madhya Pradesh  A traditional theatre of Madhya Pradesh, it literally means

stage/play.
 In this, songs are given prominence in between the dialogues.
 It is generally based on mythological themes.

Swangs North India (Rohtak Short satirical skits featuring witty dialogue and social
& Hathras styles) commentary.

Naqal Punjab Dramatic storytelling with song and dance, often dealing with
historical or social themes.

Theatre Tradition from the East:

Regional Drama Origin Key Features
Jatra Bengal  Linked to Chaitanya's Bhakti movement.
 Focuses on music and stylized delivery/oration.
 Often themed around spiritual devotion or historical narratives.
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Sumang Leela Manipur  Courtyard play performed by men dressed as women.

 Blends graceful dance, vibrant costumes, and lyrical storytelling.
 Celebrates traditional themes and cultural values.

Ankia-nat Assam  Popularized by playwright-saint Shankardev.

(Bhoana)  Combines live music, dance, and elaborate costumes.
 Explores religious, mythological, and social themes.

Ojapali Assam  Dynamic performance incorporating songs, dialogues, gestures,

improvisation, and dramatization.
 Often satirical and humorous, engaging the audience in interactive
storytelling.
Daskathia Odisha  Characterized by the use of a pair of wooden instruments for music
creation.
 Renowned for "Prahlad Natak," a popular play based on Hindu
mythology.
 Celebrates ancient traditions and showcases rhythmic storytelling.

Theater Tradition from Western India:

Regional Drama Origin Key Features
Bhavai Gujarat  Unique blend of devotional themes with romantic sentiments.
 Utilizes vibrant costumes, energetic dances, and captivating
storytelling.
 Often explores mythological narratives and celebrates local folklore.

Tamasha Maharashtra  Renowned for its humorous and often risqué content.
 Features playful dialogues, witty satire, and lively dance sequences.
 Offers social commentary and celebrates the spirit of community
through performance.

Garoda Gujarat  Popular art form of the Garoda community, featuring intricate
puppetry.
 Combines music, storytelling, and beautifully crafted puppets to
bring myths and legends to life.
 Captivates audiences with its visual spectacle and engaging
narratives.
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Dashavatar Konkan  Traditional performance showcasing the ten avatars of Lord Vishnu.
Region  Utilizes elaborate costumes, masks, and dynamic movements to
(Maharashtra, portray mythological tales.
Goa)  Celebrates Hindu faith and devotional practices through dramatic
storytelling.

Powada Maharashtra  Heroic ballads narrating the brave deeds of Chhatrapati Shivaji, the
Maratha king.
 Features powerful recitations, rhythmic music, and dramatic
enactments.
 Inspires patriotism and celebrates historical figures and cultural
identity.

Theatre Tradition of South India:

Regional Dance Origin Key Features
Yakshagana Karnataka  Vividly painted masks, elaborate costumes, and dynamic
storytelling.
 Blends music, dance, drama, and puppetry to depict
mythological and historical narratives.
 Enjoyed royal patronage in the Vijayanagara Empire.

Tal Maddale Karnataka  Considered the precursor to Yakshagana, focusing on rhythmic

drum accompaniment.
 Features energetic footwork, acrobatic movements, and
synchronized drumming patterns.
 Celebrates traditional themes and community spirit.
Bhuta Aradhana Karnataka  Ritualistic dance honouring local deities and ancestral spirits.
 Features vigorous movements, trance-like states, and vibrant
costumes adorned with bells.
 Offers glimpses into spiritual beliefs and ancient traditions.
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Bayalata Karnataka  Performed in open-air theatre during deity worship

ceremonies.
 Combines storytelling, acrobatic feats, and vibrant visuals like
colourful costumes and props.
 Celebrate community unity and devotion through expressive
dance.
Therukoothu Tamil Nadu  Street theatre form primarily focused on epics like
Mahabharata and Ramayana.
 Utilizes painted faces, elaborate costumes, and rhythmic
singing to narrate and enact mythical tales.
 Captivates audiences with interactive performances and lively
storytelling.

Koodiyattam Kerala  India's oldest surviving classical theatre form, emphasizing

facial expressions and gestures.
 Known for its rigorous training, stylized movements, and
intricate plot structures.
 Offers a unique window into ancient theatrical traditions and
artistic expression.

Burrakatha Andhra Pradesh  Narrative dance-drama with a main artist, narrator, and co-
artists providing rhythm and chorus.
 Combines storytelling, music, dance, and vibrant costumes to
explore historical legends and social themes.
 Offers a dynamic blend of performance styles and audience
engagement.
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Villu Paatu Tamil Nadu  Story-telling through rhythmic song and dance using a bow-
shaped instrument called 'Villu'.
 Primarily focuses on folk tales and local legends, celebrating
cultural heritage.
 Utilizes simple props, energetic movements, and captivating
vocals to engage audiences.
Theyyam Kerala  Ritualistic dance performed by trained artists embodying
powerful deities and spirits.
 Features elaborate costumes, masks, face paint, and vigorous
movements reflecting divine energy.
 Offers a glimpse into deep-rooted spiritual beliefs and ancient
ritualistic practices.
Krishnattam Kerala  17th-century dance-drama tradition dedicated to Lord
Krishna's life and stories.
 Characterized by graceful movements, elegant costumes, and
expressive dance sequences.
 Celebrates devotion, spirituality, and the beauty of storytelling
through dance.
Pagati Veshalu Telangana  Role-playing dance drama featuring a main character in
disguise and supporting actors.
 Combines elements of storytelling, dance, music, and humour
to explore social themes and community life.
 Offers a vibrant and engaging performance style celebrating
cultural traditions.
The Modern Tapestry of Indian Theatre:
Pre-Independence Bengal:
 Fertile Ground: Bengal served as a cradle for modern Indian theatre, nurturing pioneers like Tagore's
experimental theatre and the politically charged performances of the Indian National Theatre.
Post-Independence Growth:
 IPTA (1940s): The Indian People's Theatre Association revolutionized the scene, championing socialist
realism and social justice themes through powerful plays.
 Prithvi Theatre: Established by Prithviraj Kapoor, it became a landmark institution, fostering modern theatre
and acting techniques.
Regional Voices:
 Shombhu Mitra (Bengal): A celebrated playwright and director, he explored social realities and historical
narratives through innovative approaches.
 People's Art Club of Kerala: This collective pushed boundaries with socially conscious and experimental
performances, reflecting the vibrant Kerala theatre scene.
National Recognition:
 1950s - Indian National Theatre: Established by the government, it aimed to showcase diverse regional
performances and promote national drama.
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 1959 - Ebrahim Alkazi & National School of Drama (NSD): Alkazi's leadership transformed the NSD into
a premier institution, training generations of actors and shaping modern Indian theatre.
Golden Age (1960s-70s):
 A Stellar Constellation: This period saw the emergence of iconic playwrights like Utpal Dutt, Vijay
Tendulkar, Badal Sarkar, Habib Tanwin, and Girish Karnad.
 Diverse Voices and Bold Exploration: These giants tackled varied themes, from social inequalities and
political satire to psychological depths and mythological reinterpretations. Their innovative styles and
powerful storytelling redefined Indian theatre.

Indian Puppetry:
 Traces of puppetry appear as early as 4000 years ago during the Harappan civilization.
 The earliest reference to the art of puppetry is found in the Tamil classic ‘Silappadikaram’ written around
the 1st or 2nd century B.C and the Sanskrit epic Mahabharata.
 Natyashastra, written from the 2nd century BC to the 2nd century AD., does not refer to the art of puppetry
but the producer- cum-director of the human theatre which has been termed as Sutradhar meaning the holder
of strings.

String Puppetry:
 About:
 String puppets, also known as marionettes, have a long and illustrious history in India.
 Marionette: A marionette is a puppet controlled from above using wires or strings depending on regional
variations. A marionette’s puppeteer is called a marionette.
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 Examples:
Kalasutri of Bahuliya  The performers of kalasutri bahulya (kalasutri, string, and bahulya,
(Maharashtra) puppet), are descendants of puppeteer families who originally came
from Rajasthan and Gujarat.

Kathputli (Rajasthan)  It is the most popular form of puppetry.

 Its name is derived from the words ‘Kath’ (wood) and ‘putli’ (doll).
 The puppets are dressed in traditional Rajasthani garb.

Gombeyaata (Karnataka)  They are modelled after the various characters from the Yakshagana
theatres.
 This puppetry is distinguished by the use of more than one
puppeteer to manipulate the puppets.

Bommalattam (Tamil Nadu)  It is the largest puppetry form.

 It combines rod and string puppetry elements. The strings are
attached to an iron ring that the puppeteer wears on his head.
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Glove Puppets:
 Glove puppets are also known as sleeve, hand, or palm puppets.
 The head is made of papier mache, cloth, or wood, and it has two hands that emerge from just below the neck.
The remainder of the figure is made up of a long flowing skirt.
Example:
Pavakoothu (Kerala)  Here manipulation of fingers happens.
 It came into existence during the 18th century due to the influence of
Kathakali, on puppet performances.

Rods Puppets:
 Rod puppets are an extension of glove puppets but are often much larger and supported and manipulated by
rods from below.
Examples:
Yamapuri in Bihar  It depicts death, the Hindu god of death and the Heaven
of Hindu tradition.

Putul Nach in Bengal  It means doll dance and spread across some of the
northeastern states like Tripura also.
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Shadow puppets:
● India has the most diverse range of shadow puppet types and styles. Shadow puppets are two-dimensional
figures.
Examples:
Togalu Gombeyatta from Karnataka  Gombe means Doll. The performance usually starts with an
invocation to the Hindu god Ganesha placed under a tree,
surrounded by peacocks, rooster and parrots accompanied
by the Hindu goddess of learning Saraswati, clowns
Killikyeta and his wife Bagarakka

Ravana Chhaya from Odisha  Rabana Chhaya performances are held at night, the shadow
of the puppets being projected onto a white curtain against
the light of an oil lamp.

Tholu Bommalattam from Andhra  The performance begins with a series of sung invocations
and a line of ornate, strikingly stylized puppets pinned in
overlapping fashion onto the sides of the screen.

Tribal Puppetry:
Chadar Badni - Santhals Of  Chadar Badar is a traditional puppet of Santhal which was in the news
Jharkhand recently.
 Chadar Badar, also known as Santhal Puppetry, is a tribal performing art
practised primarily by the Santhal people in the Indian states of Jharkhand,
West Bengal, Odisha, Bihar, and Assam.
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Tradition of Martial Arts in India:

 The tradition of martial arts in India has a rich and diverse history that dates back thousands of years.
 These martial arts were developed for various purposes, including defence, games, health and fitness,
entertainment, and ritualistic practices.
 One of the most ancient and influential traditions of martial arts in India is the Kalari tradition, often
referred to as the "mother of martial arts" in the country.
 Jogo da pau, or "stick game," is a Portuguese martial art that also focuses on the use of sticks. It is believed to
have an Indian influence on it.
Some Examples of Martial Art in India:

Martial Art Region Notable Information

Kalaripayattu Kerala  Known as the "mother of martial arts."
 Kalari refers to a specific type of training hall
where martial arts are practised and taught.

Silambam Tamil Nadu  Traditional martial art from Tamil Nadu.

 The record of its origin can be traced to Lord
Murugan and Sage Agastya who created the art
of Silambam.
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Kuttu Varisai Tamil Nadu  Mentioned in Sangam literature.

 It means ‘empty hand combat’.

Gatka Punjab  Weapon-based martial forms.

 Performed by Sikhs of Punjab.
 The name Gatka refers to someone whose
freedom is due to grace.

Sqay Kashmir  Traditional martial art from Kashmir.

 Sqay is a Kashmiri martial art style, similar to
sword fighting.

Thang Ta Manipur  Associated with Manipuri dance.

 Created by the Meitei people of Manipur

Thoda Himachal Pradesh  It is a mixture of martial arts, sports and culture.

Mardani Khel Maharashtra  It is traditional Maharashtrian Armed martial

art.
 Widely practised in the district of Kolhapur

Musti Yuddha Uttar Pradesh  It is an unarmed martial art form resembling

boxing.
 It used techniques like kicks, punches, and knee
and elbow strikes.
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Pari Khanda Jharkhand  It entails fighting with a sword and shield.

Paika Odisha  It is a peasant military training school in Odisha.

 It is a combination of dance and combat.

UNESCO'S LIST OF INTANGIBLE CULTURAL HERITAGE:

INTRODUCTION
 Intangible cultural heritage means the traditions or living expressions inherited from our ancestors and passed
through generations as a way of life. These include oral traditions, performing arts, social practices, rituals,
festive events, knowledge and practices concerning nature and the universe and the knowledge and skills to
produce traditional crafts.
 Conservation of intangible cultural heritage is of paramount importance in maintaining cultural diversity
amidst growing globalization. Further, a wider understanding of the intangible cultural heritage of different
communities helps in enhancing intercultural dialogue and encourages mutual respect.
 UNESCO established its lists of Intangible Cultural Heritage with the aim of ensuring the better protection of
important intangible cultural heritages worldwide and to create awareness of their significance.
 UNESCO's programme has compiled two lists
1. The Representative List of the Intangible Cultural Heritage of Humanity
 It comprises of cultural practices and expressions that help demonstrate the diversity of this heritage
and raise awareness about its importance.
2. The List of Intangible Cultural Heritage in Need of Urgent Safeguarding.
 It is composed of those cultural elements that concerned communities and countries consider
vulnerable and require urgent measures to keep them alive.
 The representative list is important from the exam's Perspective.

UNESCO'S LIST OF INTANGIBLE CULTURAL HERITAGE:

India has the following 15 items in the Representative List of the Tangible Cultural Heritage of Humanity:
Representative List of the Intangible Cultural Heritage (ICH) of Humanity:
S.No. ICH Element Year of Inscription

1. Tradition of Vedic chanting 2008

2. Ramlila, the traditional performance of the Ramayana 2008
3. Kutiyattam, Sanskrit theatre 2008
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4. Ramman, religious festival and ritual theatre of the Garhwal 2009

Himalayas, India
5. Mudiyettu, ritual theatre and dance drama of Kerala 2010
6. Kalbelia folk songs and dances of Rajasthan 2010
7. Chhau dance 2010
8. Buddhist chanting of Ladakh: recitation of sacred Buddhist texts in 2012
the trans-Himalayan Ladakh region, Jammu and Kashmir, India

9. Sankirtana, ritual singing, drumming and dancing of Manipur 2013

10. Traditional brass and copper craft of utensil making among the 2014
Thatheras of Jandiala Guru, Punjab, India
11. Yoga 2016
12. Nawrouz, Novruz, Nowrouz, Nowrouz, Nawrouz, Nauryz, 2016
Nooruz, Nowruz, Navruz, Nevruz, Nowruz, Navruz
13. Kumbh Mela 2017
14. Durga Puja in Kolkata 2021
15. Garba of Gujarat 2023

#Q1. With reference to Manipur Sankirtana, consider the following statements:

1. It is a song and dance performance.
2. Cymbals are the only musical instruments used in the performance.
3. It is performed to narrate the life and deeds of Lord Krishna.
Which of the statements given above is/are correct?
(a) 1, 2 and 3 (b) 1 and 3 only
(c) 2 and 3 only de beste (d) 1 only

