FOLK Theatre of Kangra kangra culture





Home SHIMLA KULLU KANGRA CHAMBA DHARAMSHALA PALAMPUR MANDI TIBETANWORLD COMMUNITY GUEST BOOK FAIRS &FESTIVALS Sujanpur Tira Kinnaur]	FOLK Theatre of Kangra “ Jhamakra have gone into the hands of such people who are directing this folk dance under the impressions of disco dance !” says the disappointed folklorist, Dr Guam Vitality. In order to survey and promote the dying culture of the Kangra valley he had founded the Kangra Lok Sahitya Parishad in November 1972 at Raj Mandir, Nerti (Kangra). It was his team of artistes like Kamal Hamirpuri, Dr Prem Bhardwaj, Dr Shami Sharma and Sukhdev Sharma who made strenuous efforts to make the dying folk theatre of Kangra once again alive in 1987. Satire and humor are the chief ingredients of this theatre. It projects social, economic and political problems of the day-to-day public life. Basically, Krishna leela, sang and Punjabi drams were the main features of this traditional theatre of Kangra. The performing art of Kangra folk theatre is followed by a “ sukhan” or “ manauti” i.e. when the wish of a particular person is fulfilled by a particular deity. A kind of “jagrata” is celebrated to please that deity. The folklorist observes: “After conducting a survey of this traditional theatre in the whole Kangra valley, I found three regions: Lower Palampur, Central Kangra and Lower Nurpur i.e. three variations in performance, matter and dialect. But in all I felt that the whole folk theatre has an impact of ‘Bruj’, Rass Dharya’ parties and ‘Bhagat’ of that very region.” All characters in this folk theatre are men. Herein even the role of female characters is played by males. There were the days when Kangra folk theatre was the monopoly of the down-trodden and the labour class only- simply because there had been no other source of entertainment, and this folk theatre could
Hotel Booking Tour Booking Photo Gallery Trekking Eco-tourism Sustainable Development Religion Friend Search	provide them an entertainment free of charge. There used to be scenes of sex, romance and love, and the language used was vulgar and rustic. That is why women were not allowed to see this kind of theatre then. Even people of high gentry avoided it but some eager ones used to enjoy it in a hide seek manner. The “Bhagat” plays a major role in this folk theatre. He even stages the misbehavior of the government employers, police or a patwari etc. In a romantic yet satirical manner. Even the persons being criticized are tempted to laugh and enjoy such a folk performance. The “Bhagatya” is a party of traditional performing artistes of this region who are invited by folks to please the deity who has fulfilled their wish. This folk theatre has basically three parts. The first one shows the devotion to a particular deity since such a performance is followed by a “wish fulfilled”. Hence, normally Krishan leela is performed. The second part forms a kind of humorous imitation (“nakul”). The jester of this folk performance is the major character here. Herein even Jhamakra is performed and the audience are thrilled with joy. The third and final part of this folk performance is occupied by drama. Such a folk drama is similar to “karyala” and “Matthra” the other folk dramas so popular in Himachal. “But Krishan leela is There only in Kangra folk theatre and not in other dramas of Himachal,” reveals Dr Vyathit. Dr. Vyathit has given a useful twist to the dying folk theatre of Kangra. Now refined and cultured language is used in it. The new kinds of saangs have been introduced in order to present current problems like population control, environment pollution and literacy campaign. It has infused a new sprit not only among the traditional parties but also among those of other castes. Now the high gentry is also allowed to participate irrespective of caste and creed.