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Burra Katha or Burrakatha, is an oral storytelling technique in the Jangam Katha tradition, performed in villages of Andhra Pradesh and Telangana in India. It is performed by a troupe consisting of one main performer and two co-performers, and is a narrative entertainment that consists of prayers, solo drama, dance, songs, poems and jokes. The performance is on the topic of either a Hindu mythological story (Jangam Katha) or a contemporary social issue.[1] It became a popular art form during the Telangana Rebellion in the early 1930-1950s.[2]
Origin
editThe modern form of Burra Katha was developed in Guntur district around 1942 with the aim of propagating political ideas among illiterate masses in villages.[3]
Etymology
edit"Burra" refers to the tambura, a musical string instrument with a hollow shell. "Katha" means story.[4]
Burra itself means "brain" in the Telugu language, as the shell of the tambura resembles a human skull. The shell is made of baked clay, dried pumpkin, or brass and copper. The instrument looks similar to a veena and the performer can pull and press strings to produce different musical sounds.
History
editBurra Katha began as the devotional songs of nomadic people, and later became a popular art form. Initially, the show was known as Jangam Katha. The jangams lingayats were wandering minstrels who worshiped and sang of Lord Siva. Two performers participated in these plays: the storyteller and his wife. With societal and cultural changes, secular aspects were incorporated into this form. The modern form has three performers of any gender.[5]
Popular Hindu artists were Pendyala Venkateswarrao, Sunkara Sri Krishna Madhava Rao, Paruchuri Ramakotayya, Sirivisetti Subbarao, Kosuri Punnayya, Govardhana, Kakumanu Subbarao, Davuluru, Chintalal Suryanarayana, Budagajangala mote papaiah, Budagajangala mote kullayappa, Budagajangala mote ramalingam, etc. Women also formed groups, e.g., Moturi Udayam, Chintala Koteswaramma, Mahankali Lakshmi, Sridevi sisters, etc.[5] Non-Hindu artists are Abraham Bhagavatar, Manohara Kavi, Khader Khan Sahib, Shaik Nazar etc.
Shaik Nazar publicized this by performing on various contemporary issues at that time and gained people's recognition. He is known as "Father of Burrakatha."
Modern form
editBurra Katha is regularly performed on radio and TV in the state of Andhra Pradesh. The main storyteller (kathakudu) narrates the story, plays the tambura and dances to music. He also wears a metal ring called an andelu on his right thumb and holds another ring in his other hand, and frequently strikes them together as a form of percussion. The co-performers play gummeta (also called dakki or budike), which are earthen drums with two heads. All three performers (or only the kathakadu) wear anklets (also called as gajjelu), which add even more music when they dance.[5]
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The performer on the right (hasyaka, meaning "joker") makes jokes and satirical comments. The performer on the left (rajakiya, meaning "politician") acts as someone who knows worldly ways and talks about politics and social issues. The main performer and co-performers constantly address each other. The co-performers interrupt the kathakudu with doubts, and they sometimes add emphasis to the main events in the story with short words similar to "Wow!" "Aha!" and "That is it."
Whenever the main performer sings a song, he or she starts with "vinara veera kumara veera gadha vinara" followed by the co-performers singing "tandhana tane tandhana na." It is also called "tandana katha."
Significance
editBurra katha was a pastime event in villages. It is seen even now during Dussehra or Sankranti festival seasons to describe events in epics like Ramayan and Mahabharat and also some of the moral stories of kings like kambojaraju katha, chinnamma katha, muggurumoratila katha, etc.[citation needed]
Present
editBurrakatha tellers are called as budagajangalu. Internet and movies play a major role in modern life. Thus, the burrakathas are now not being seen and there is no one to develop this and improve the art. In the past, burrakatha tellers were important in the villages; now there is no response for their art. So burrakatha tellers left their traditional art and have become beggars or day labourers.[6] Even in these modern times, there are no educated people in this tribe. They do not have caste certificates for developing their tribe. Daroji Eramma was a performer of Burra katha from Karnataka.
See also
editReferences
edit- ^ "Burrakatha loses sheen sans patronage". The Times of India. 14 January 2013. Archived from the original on 14 November 2013. Retrieved 2 September 2013.
- ^ Nidhi Dugar Kundalia (2015). The Lost Generation: Chronicling India's Dying Professions. Random House India. pp. 63–65. ISBN 9788184007763. Retrieved 17 October 2021.
- ^ Lectures, Bangalore University Dept of Publications and Extension (1 January 1977). Vidya Bharathi.
- ^ enrouteI (12 May 2023). "Burrakatha: The Fading Art of Rural Storytelling in Andhra Pradesh". Enroute Indian History. Retrieved 10 November 2023.
- ^ a b c "Burrakatha". www.vepachedu.org. Retrieved 10 November 2023.
- ^ "Burrakatha loses sheen sans patronage". The Times of India. 14 January 2013. ISSN 0971-8257. Retrieved 10 November 2023.
Bibliography
edit- Kajal Kumar Das (1980). Burrakatha of Andhra Pradesh. Indian Institute of Mass Communication.
- Martin Banham (1995). The Cambridge Guide to Theatre. Cambridge University Press. p. 146. ISBN 978-0-521-43437-9.
- Manohar Laxman Varadpande (1992). History of Indian Theatre. Abhinav Publications. pp. 92–93. ISBN 978-81-7017-278-9.
- Molly Kaushal (2001). Chanted narratives: the living "katha-vachana" tradition. Indira Gandhi National Centre for the Arts. pp. 123–128. ISBN 978-81-246-0182-2.