Credit: Special Arrangement
Stories based on Indian epics and mythology have been told for centuries as part of cultural discourses. Harikatha evolved in the 18th and 19th centuries, with the singer typically narrating the stories. However,
Katha-Kutcheri is a more elaborate format which normally has defined roles. It pairs the storyteller with a vocalist, violinist, and percussionist in Karnatik concerts. Sometimes, the narrator is also the main singer.
Bengaluru-based Vinay Varanasi has made a mark in the Katha-Kutcheri circle. An architect by training, he uses his design skills to narrate and interpret stories from the ‘Ramayana’, ‘Mahabharata’, and ‘Puranas’. He presents the stories in crisp, lucid English.
“Telling a story along with music is a special experience. It does something not only to the audience but also to us, artistes, on stage,” says Varanasi.
His foray into the world of Katha-Kutcheri began about six years ago when he collaborated with Karnatik vocalist Ramakrishnan Murthy. During that concert in Bengaluru, Varanasi displayed slides of some of his sketches as he narrated stories. The event was a huge success. “Ramakrishnan Murthy was and continues to be my source of inspiration. He showed me the power of this collaborative art form,” he says.
What makes this art form special? Karnatik songs use verses in Sanskrit, Telugu, Kannada, and Tamil. They thrive on a blend of lyrics, raga, bhakti, tala, and bhava. However, the lyrics are often sung with complex pronunciations or in languages that may be unfamiliar to the audience. Even if one understands the lyrics, not knowing the context behind the composition can dilute the experience. The Katha-Kutcheri format fills these gaps. “The concert then is not just about the kritis or the story; it becomes more than the sum of its parts,” he explains.
Extensive research is involved in curating a Katha-Kutcheri. In addition to drawing from authentic texts, often in Sanskrit, one must select the right set of songs. “The music should come from similar or allied contexts to ensure it resonates with every element of the story,” he says. “The balance between music and narration should be such that at no point should it feel like there is too much of either,” he adds.
Harikathas have mostly been conducted in regional languages and are primarily attended by an audience that appreciates mythological tales. However, the exponents of Katha-Kutcheri have now embraced English to engage younger audiences.
“The younger audiences need to be respected and not made to feel intimidated. Karnatik music is beautiful because, at its core, it has the ability to move one’s heart. It’s the responsibility of artistes to combine storytelling and music in the most meaningful way,” he concludes.
(The author is the founder of a tech company. He writes about music and travel.)