JOIN USFolklore has its roots deep in the culture of the common people. It is enriched by a wealth of wisdom and experience over generations. However, in the fast-paced modern world that we live in today, this knowledge is slowly being lost to the vagaries of technology and globalisation.
Recognising the loss and trying to reverse it is Ekataari, a Mysuru-based folk group. Ekataari is a one-stringed musical instrument that has been used by the folk singers for many years. “The instrument produces one note that resonates within all of us,” says Devanand Varaprasad, the group’s founder.
Devanand is a folk singer, music director and theatre artiste. A native of Arkalgud in Hassan district, he was no stranger to the world of music while growing up. His father K T Keshavaiah is a Harikathe singer and mother Kalamma is a folk singer. Devanand had no formal training in music, but grew up listening to folk music. His first brush with theatre was in college when he met H Janardhan, a theatre personality.
For someone who was not well-versed in literature, theatre turned out to be the stepping stone towards discovering a new world of literature, art and culture. Today, he has put together a group of singers and artistes who are dedicated to reintroducing the folk art forms to people and enabling their revival. He works extensively in the fields of folk arts and theatre with Ekataari.
Innovative efforts
Ekataari has chalked out a number of unique programmes to popularise folk culture. Here’s a look at some of the initiatives that they are engaged in. Mayakaararige Marvaade is an initiative to remember the folk scholars and legendary artistes for their contribution towards the field of folklore. Scholars such as Kalegowda Nagavara and artistes such as Malavalli Madhavaswamy have been felicitated for their contributions under this initiative.
Haadu Thorida Haadi is a programme that seeks to introduce poets, writers and singers who popularised a new genre of songs in the 1970s and 1980s. “The songs sung as part of various pro-people movements were popular due to the strong folk elements present, which helped people relate easily to the cause,” says Devanand.
“The movements and struggles are not dead. They are merely forgotten. A song like Halligada Hasuguse, which speaks of bringing bonded labourers to the mainstream of the society, is just as relevant today as it was when first written.” Haadu Thorida Haadi invites people to have discussions with the poets and singers who then share their experiences with the audience.
Apart from these initiatives, Ekataari also conducts programmes to introduce people to the songs of saints and poets. Bidirunayarigalladavalu seeks to introduce the works of Shishunala Sharifa, the saint-poet. Rajaratnam Kavya is aimed at introducing poet G P Rajaratnam in a new light. Another notable initiative is Ekataari’s effort to popularise folk art among students.
“Today, folk poems and songs are prescribed to students as part of their syllabus. However, they just study it without understanding the cultural significance. In many cases, the teachers too are unaware of the significance of the folk forms. So, we visit schools and colleges, sing the songs and explain the significance of the folk form and the region it originates from. This helps students not only learn about the folk art, but also appreciate it,” explains Devanand.
Making a comeback
Folklore is strongly entwined in our culture and daily life. It is never stagnant, but is jangama (which translates to constantly moving in Kannada). Its wisdom helps us create our identity and teaches us about relationships in the society. Hence, it is all the more essential that such values are retained in today’s age of nuclear families.
“With the advent of technology, we have greater access to information from all over the world. People today are enamoured by the culture of other countries. As a result, we have developed a disdain towards our folk culture. Only when we respect our culture, can we save our language and folklore,” opines Devanand.
Folk art forms are making a comeback of sorts today. Many artistes are seeking to incorporate folk forms in music, theatre and cinema. They are experimenting with folk art by incorporating them in theatre and cinema.
“I have worked on various plays like Bharatha Bhagya Vidhata and Natana’s Chama Cheluve. We have incorporated many folk art forms and music in these plays. They have been received very well,” says Devanand with a conviction that their efforts to popularise folk art are bearing fruits. “We speak about folk art wherever we go. If our efforts reach even one in 100 people, we will be satisfied.”
Devanand can be reached on 9900462955.