Entertainment and Folk Theatre
In holidays we play, listen to songs, watch films. This refreshes the mind and gives energy to study again; that is the work of entertainment.
Things that refresh the mind and give happiness are entertainment. Hobbies, games, drama-film, writing-reading are its sources. Healthy entertainment of high quality is essential for healthy growth of personality.
Key idea 1 : Active and passive entertainment — In active entertainment the person takes mental-physical part; e.g. doing handicrafts, playing a sport. In passive entertainment we are only viewers; e.g. watching a match, listening to music, watching a film. Entertainment raises efficiency at work; in India festivals, sports, dance-music have been forms of entertainment since ancient times.
Key idea 2 : Puppetry and Dashavatara — Puppetry: clay dolls found in Harappan and Egypt-Greece excavations may have been puppets. Wood, wool, leather, horn and ivory were used; two styles, Rajasthani and southern. The narrator (sutradhara) is crucial for success. Dashavatara: folk theatre of Konkan and Goa after the harvest; stories of ten incarnations of Vishnu (Matsya, Koorma, Varaha, Narsimha, Wamana, Parashurama, Ram, Krishna, Buddha, Kalki); the sutradhara first invokes Ganesha; wooden masks for gods; ends with breaking dahihandi and aarati. In the 18th century Shyamji Naik Kale started a phad of Dashavatara and Vishnudas Bhave made mythological plays by modifying the Dashavatara style; so origins of Marathi theatre are seen in Dashavatara.
Key idea 3 : Bhajan — Bhajan is singing praise songs of God with instruments like taal, mridangam, pakhavaj. Two kinds: Chakri Bhajan (devotees move in a circle and sing without break) and Songi Bhajan (singer-actors in devotee roles say dialogues in song). Tukadoji Maharaj introduced a new form, Khanjiri Bhajan. In north India bhajans of Tulsidas, Surdas, Meerabai, Kabir; in Karnataka Purandardas, Kanakdas, Thyagaraj; in Gujarat Narasi Mehta; in Maharashtra Saint Namadeva grew the bhajan-keertan tradition through the Varkari sect.
- Easy : Taking part in a game — which entertainment? — Active.
- Medium : Watching a film — which? — Passive.
- Exam-type : Ends with dahihandi — which folk theatre? — Dashavatara.
In the figure: Entertainment and folk theatre.
Active = I do; passive = I watch.
Entertainment is not only passing time; it builds personality and efficiency.
Memory clue: Entertainment = freshness + efficiency. Memory clue: "Do = active, watch = passive".
Spot the difference
| Type | What | Example |
|---|---|---|
| Active | Participation | Sport, handicraft |
| Passive | Only viewer | Match, music, film |
| Chakri/Songi | Two kinds of bhajan | Singing in circle / dialogues in role |
Practice questions
- 1Why is entertainment needed?
- 2State the difference between active and passive entertainment.
- 3State the role of the sutradhara in puppetry.
- 4Write features of Dashavatara folk theatre.
- 5How did Marathi theatre arise from Dashavatara?
- 6What is the difference between Chakri and Songi bhajan?
- 7Who introduced Khanjiri bhajan?
- 8Make a chart of active and passive entertainment related to history.
Show answers (try them yourself first)
- 1Refreshes mind, builds personality and efficiency.
- 2Active = participation; passive = only viewer.
- 3Narrating and guiding the show.
- 4After harvest, ten incarnations, masks, dahihandi.
- 5Through the phads of Shyamji Naik Kale and Vishnudas Bhave.
- 6Chakri = singing in circle; Songi = song-dialogues in role.
- 7Tukadoji Maharaj.
- 8Active: writing Modi, fort models; passive: watching historical film.
Keertan, Lalit, Bharud, Tamasha and Powada
You may have heard keertan at Ganesh festival, tamasha at a fair and powada on Shiv Jayanti. Each art form gives a message and entertains too.
Keertan, lalit, bharud, tamasha and powada are main forms of folk performance in Maharashtra; along with entertainment they do public education and social awareness.
Key idea 1 : Keertan and Lalit — By tradition Naradmuni is the founder of keertan and Saint Namadev the first keertankar of Maharashtra. The keertankar (haridas, kathekaribuva) in traditional dress tells a story through singing, oratory, instruments, dance and humour. Two traditions: Naradiya (haridasi; solo; poorvarang and uttarrang) and Varkari (collective participation, cymbal players). In the freedom movement Rashtriya Keertan began; Dattopant Patwardhan of Wai started it. Members of Satyashodhak Samaj and Saint Gadge Maharaj raised awareness on abolition of caste, cleanliness and de-addiction through keertan. Lalit is an old tradition linked to Naradiya keertan, popular in Goa and Konkan; at festivals the deity is invoked on a throne and prayers made for well-being of all; it is part of the background of modern Marathi theatre.
Key idea 2 : Bharud and Tamasha — Bharud is a metaphorical song giving spiritual and ethical lessons; Saint Eknath’s bharuds are popular for variety of subjects, drama, easy rhythm and humour; he composed them to teach people aspects of life. Tamasha is a Persian word meaning ‘pleasing sight’; it developed as an independent art in the 18th century, absorbing traits of folk theatre and classical arts. Two kinds: Sangeet Bari (dance-music main) and Dholakicha Phad; later vag (drama part) was added; it begins with gan, then gavalan, then vag. ‘Vichchha Mazi Puri Kara’ and ‘Gadhavache Lagna’ are examples of modern tamasha.
Key idea 3 : Powada — Powada is a dramatic narration by alternately reciting poetry and prose; it tells the deeds of heroic men and women in a forceful style. Powada of the killing of Afzal Khan by Adnyandas, contemporary poet of Shivaji Maharaj, and of Sinhagad by Tulasidas are well known. In British times powadas on Umaji Naik, Chapekar brothers and Mahatma Gandhi were composed; during the Samyukta Maharashtra movement powadas created public awareness.
- Easy : Two parts of keertan? — Poorvarang and uttarrang.
- Medium : Eknath’s metaphorical song? — Bharud.
- Exam-type : Song telling heroes’ deeds? — Powada.
In the figure: Four folk arts.
Keertan-Bharud-Tamasha-Powada.
Tamasha is not a Marathi word; it is Persian meaning ‘pleasing sight’.
Memory clue: Four forms. Memory clue: "God in keertan, lesson in bharud, fun in tamasha, hero in powada".
Spot the difference
| Form | Main theme | Example |
|---|---|---|
| Keertan | Devotion and social awareness | Namadev, Gadge Maharaj |
| Bharud | Lessons via metaphor | Saint Eknath |
| Powada | Deeds of heroes | Powada on Afzal Khan |
Practice questions
- 1Which are the two traditions of keertan?
- 2What is Rashtriya Keertan?
- 3What is lalit?
- 4What is bharud? Why are Eknath’s bharuds popular?
- 5State two kinds of tamasha and its parts.
- 6What is powada?
- 7Write the role of keertan and powada in the freedom struggle.
- 8Write ten lines on your favourite folk art.
Show answers (try them yourself first)
- 1Naradiya (haridasi) and Varkari.
- 2Keertan creating awareness by telling life stories of leaders.
- 3Old Goa-Konkan tradition linked to Naradiya keertan.
- 4Metaphorical lesson song; variety, drama, humour.
- 5Sangeet Bari and Dholakicha Phad; gan, gavalan, vag.
- 6Narration of heroes’ deeds alternating poetry and prose.
- 7Reached people with awareness and inspiration.
- 8Student writes own observations.
Marathi Theatre
When staging a play at the school gathering, script, director, costume, set, lighting and audience are all needed. Marathi theatre too had such a journey.
Theatre is a place for performing arts. A play has factors like script, director, artists, make-up, costumes, stage, set design, lighting, audience and critics; participation of both artists and audience is essential.
Key idea 1 : Beginning and script — The Bhosale rulers of Tanjore patronised drama; some wrote plays and translated Sanskrit plays. The 19th century saw great growth of Marathi theatre; Vishnudas Bhave is called the father of Marathi theatre and his first play was ‘Seetaswayamvar’. At first there were no written scripts; only lyrics were written, dialogues were spontaneous. V. J. Kirtane wrote and printed the script of ‘Thorale Madhavrao Peshwe’ in 1861; this began the tradition of a full written script ready before staging. Earlier plays were staged in open grounds; the British built closed theatres in Mumbai such as Play House, Rippon and Victoria.
Key idea 2 : Musical plays — In the latter half of the 19th century Balkrishnabuva Ichalkaranjikar spread khyal music in Maharashtra; later Ustad Alladiya Khan, Abdul Karim Khan and Rahimat Khan contributed greatly. This raised taste for classical music and musical Marathi theatre was born. Plays of Kirloskar Mandali became popular; ‘Sangeet Shakuntal’ by Annasaheb Kirloskar was a big hit; ‘Sharada’ by Govind Ballal Deval comments humorously on the evil custom of marrying young girls to aged men; ‘Mooknayak’ (Shripad Krishna Kolhatkar), ‘Sangeet Manapaman’ (Krishnaji Prabhakar Khadilkar) and ‘Ekach Pyala’ (Ram Ganesh Gadkari) are important plays.
Key idea 3 : Themes and the line of actors — Khadilkar’s ‘Keechakvadh’ was a metaphorical play against the British government (audiences saw Draupadi as Mother India and Keechaka as Lord Curzon). Plays of authors like Acharya Atre (Sashtang Namaskar, Udyacha Sansar, Gharabaher), Vasant Kanetkar (Raygadala Jevha Jag Yete, Ithe Oshalala Mrutyu), Vijay Tendulkar (Ghashiram Kotwal), Vishram Bedekar (Tilak ani Agarkar) kept the stage rich. Great actors like Ganpatrao Joshi, Narayanrao Rajahamsa (Balgandharva), Keshavrao Bhosale, Chintamanrao Kolhatkar, Ganpatrao Bodas are still remembered. Kusumagraj’s ‘Natasamrat’ is based on Shakespeare’s ‘King Lear’.
- Easy : Father of Marathi theatre? — Vishnudas Bhave.
- Medium : First printed script by whom? — V. J. Kirtane, 1861.
- Exam-type : Who wrote ‘Sangeet Shakuntal’? — Annasaheb Kirloskar.
In the figure: Journey of Marathi theatre.
What happened before ‘Sita Swayamvar’ was staged? In 1842 a Kannada Yakshagana troupe performed in Sangli. Inspired by it, and with the support of the ruler of Sangli, Vishnudas Bhave decided to create a Marathi play.
What happened after ‘Sita Swayamvar’ was staged? On 5 November 1843 Bhave staged ‘Sita Swayamvar’; the day is now Marathi Rangbhumi Din. In 1853 his troupe played in Bombay, and in 1880 Annasaheb Kirloskar’s ‘Sangeet Shakuntal’ began the era of musical plays.
Bhave → Kirtane → musical → modern.
Early Marathi plays were not in closed theatres; they were in open grounds.
Memory clue: Father: Bhave; script: Kirtane; musical: Kirloskar. Memory clue: "Bha-Ki-Ki".
Spot the difference
| Play | Author | Feature |
|---|---|---|
| Sangeet Shakuntal | Annasaheb Kirloskar | Very popular musical play |
| Sharada | Govind Ballal Deval | Comment on child-marriage custom |
| Keechakvadh | K. P. Khadilkar | Anti-British metaphor |
Practice questions
- 1Which are the factors of theatre?
- 2State the contribution of Vishnudas Bhave.
- 3What is the importance of Kirtane’s script?
- 4How did musical plays arise?
- 5What was the theme of the play ‘Sharada’?
- 6How was ‘Keechakvadh’ anti-British?
- 7State the effect of the British building closed theatres.
- 8Write about one Marathi playwright and one actor.
Show answers (try them yourself first)
- 1Script, director, artists, make-up, costume, stage, set, lighting, audience.
- 2Staged mythological plays; first play Seetaswayamvar; father of Marathi theatre.
- 3The tradition of a full written script began.
- 4From khyal singing and a taste for classical music.
- 5Humorous comment on marrying a young girl to an aged man.
- 6Audiences read Draupadi = Mother India, Keechaka = Curzon.
- 7Plays gradually moved to closed theatres.
- 8Student writes the information.
Indian Film Industry and Opportunities
In a favourite historical film we recognise the period from palace, dress and language. Historians’ help is needed to show them accurately.
Cinema is a medium that brings art and technology together. The film industry arose from motion-picture technology; first silent films, then with sound-recording technology talkies came.
Key idea 1 : Maharashtra and the beginning of cinema — Maharashtra is called the home of the Indian film industry; contributions of Madanrao Pitale, the Patwardhan family of Kalyan and Harishchandra Sakharam Bhatvadekar (Savedada) are valuable. Gopal Ramchandra Torane (Dadasaheb Torane) and others made the film ‘Pundalik’ with help of foreign technicians; it was released in Mumbai in 1912. Dadasaheb Phalke’s ‘Raja Harishchandra’ was released in Mumbai in 1913; its processing was done entirely in India. Phalke also made ‘Mohini Bhasmasur’, ‘Savitri Satyavan’ and documentaries on Verul caves and Nashik-Tryambakeshwar; then the tradition of historical and mythological films came.
Key idea 2 : Marathi and Hindi historical films — Anandrao Painter made an Indian-made cine-camera; his cousin Baburao Painter (Mistri) made ‘Sairandhri’ in 1918, the first historical film ‘Simhgarh’ (silent), also ‘Kalyancha Khajina’, ‘Bajiprabhu Deshapande’, ‘Netaji Palkar’ and the realistic ‘Savakari Pash’. In 1925 Bhalji Pendharkar’s ‘Bajirao-Mastani’ was banned by the British suspecting it would spread nationalist feelings. Kamalabai Mangarulkar was the first woman producer. Prabhat Company’s ‘Ramshastri’ (1944) became popular; after independence came Acharya Atre’s Mahatma Phule, Vishram Bedekar’s Vasudev Balwant Phadke, Dinkar Patil’s ‘Dhanya te Santaji Dhanaji’ and Prabhakar Pendharkar’s ‘Bal Shivaji’. In Hindi ‘Sikandar’, ‘Tansen’, ‘Samrat Chandragupta’, ‘Prithvivallabha’, ‘Mughal-e-Azam’, ‘Dr. Kotnis ki Amar Kahani’, and freedom-struggle films ‘Andolan’, ‘Jhansi ki Rani’. Films Division makes documentaries, which used to be shown in theatres before the main film.
Key idea 3 : Opportunities for students of history — In drama, accuracy of the stage backdrop needs deep knowledge of arts and architecture of that period; script and dialogue writers need experts of language, history of language and culture of the period. In films art directors create backdrops, costumes, jewellery, make-up, hairstyles suitable to the period; history students can work as art directors or consultants. To write dialogue one must know the language and culture of that period. Studios like Bombay Talkies, Rajkamal, R.K. Studios and Navketan grew the film industry.
- Easy : First full-length Indian film (govt recognition)? — Raja Harishchandra, 1913.
- Medium : First historical film? — Simhgarh (Baburao Painter).
- Exam-type : First woman producer? — Kamalabai Mangarulkar.
In the figure: Early films.
‘Shree Pundalik’ by Dadasaheb Torne was released in Mumbai on 18 May 1912 and ‘Raja Harishchandra’ by Dadasaheb Phalke on 3 May 1913. The Government of India recognises ‘Raja Harishchandra’ as the first full-length Indian feature film; some object that ‘Pundalik’ was a recording of a play, while some historians count ‘Pundalik’ as first (there is a dispute). ‘Sant Tukaram’ (1936, Prabhat) was honoured at the Venice International Film Festival as per sources; the textbook mentions Paris, so check with the book.
12-13-18-44.
There is dispute over which of ‘Pundalik’ and ‘Raja Harishchandra’ is first; the government counts ‘Raja Harishchandra’ first.
Memory clue: Pundalik 1912, Raja Harishchandra 1913. Memory clue: "Twelve, thirteen, one year apart".
Spot the difference
| Film | By whom | Year |
|---|---|---|
| Pundalik | Dadasaheb Torne | 1912 |
| Raja Harishchandra | Dadasaheb Phalke | 1913 |
| Sairandhri | Baburao Painter | 1918 |
Practice questions
- 1Why is Maharashtra called the home of the Indian film industry?
- 2Write the contribution of Dadasaheb Phalke.
- 3Name the films of Baburao Painter.
- 4Why was ‘Bajirao-Mastani’ banned?
- 5Who was Kamalabai Mangarulkar?
- 6Why is knowledge of history important in the film industry?
- 7What opportunities exist for history students in drama and films?
- 8Write a review of a historical film you have seen.
Show answers (try them yourself first)
- 1Because the first films and many pioneers were from Maharashtra.
- 2Raja Harishchandra, Mohini Bhasmasur, Savitri Satyavan, documentaries.
- 3Sairandhri, Simhgarh, Kalyancha Khajina, Savakari Pash.
- 4The British suspected it would spread nationalist feelings.
- 5The first woman producer.
- 6To show dress, language and backdrop accurately.
- 7Art director, consultant, script-dialogue researcher.
- 8Student writes on story, period accuracy and music.