FOLK DRAMA AND ENTERTAINMENTS
FOLK DRAMA
Folk-drama has its roots in the distant past and has been handed down from
generation to generation. During Muslim rule when dramatic activities virtually
came to a stand-still, the villages were bursting with folk-drama, dancing,
mimicry, jugglery, Nautanki and various other forms of fun and frivolity known
as Swang, Naqal, Tamasha etc. The artistes who performed them went from village
to village beating their drums or step-sticks and collecting audiences. All
credit goes to these performers for keeping alive the dramatic tradition of Punjab.
The folk-drama of the Punjab is of two main types like religious and
secular. The former is generally musical in form in which events of
religious importance like the Ram Lila or the Krishna Lila are presented. The
latter comprises mostly Swang, Naqal and Nautanki. Its performances are meant
only for entertainment.
Krishna
Lila or Ras
Krishna Lila has its roots in folk-dance. From primitive times dance has been
a common form of propitiating gods and goddess and Ras is likely an off-shoot of such religious dancing. Worshippers of Lord Krishna dressed as
Gopis, danced round his image. This form of worship later came to be called Ras.
The performers of the Ras are called Rasdharis. Besides musicians the troupes
include boys in their early teens. One of these boys with a handsome face is
given the role of Krishna. His make-up is very scrupulously done. He holds a
flute in his hand, wears a peacock crown on his head and looks impressive.
Another younger boy with feminine looks plays Radha. In make-up greater accent
is always put on the appearance of Krishna than of Radha. Other boys play the
roles of Gopis and all perform through dance and drama various incidents from
the life of Krishna. Ras Lila is an assortment of devotional songs, music, dance
and acting. The rainy season during which the birthday of Lord Krishna is
celebrated is the most appropriate period for these performances.
Ram
Lila
Ram Lila starts on the first Naurata and continues evey evening for the next
ten days. The epic is roughly divided into ten parts and every night one part is
performed. There is zeal and devotion all along. All the participants are
amateurs and boys in their early teens perform the roles of girls. Great care is
taken in the choice of proper costumes and make-up. Ram's army is equipped with
bows and arrows, demons wear large masks and Hanuman has a long tail appended.
On one side of the stage there is Sita sitting sad and dejected and on the other
side, war between Ram and Ravan goes on. The main scenes shown in the Ram Lila are
Sita's swayambar, Ram's exile, cutting of Saroopnakha's nose by Lakshman,
abduction of Sita, Hanuman's meeting Sita in Ravanas Ashok Vatika, war
between Ram and Ravan, resuscitation of the unconscious Lakshman, Hanuman's
carrying a mountain on his palm, defeat of Ravan and victory of Ram. The
dialogue between the actors is traditional and sometimes it is improvised on the
spur of the moment. The greatest attraction of the Ram Lila is in the
presentation of scenes and great effort is made to make them absorbing. The
tenth day of the performance start with the victory of Ram and the defeat of
Ravan. Huge effigies of Ravan, his brother Kumbkharna and his son Meghnad are
put up. The effigies are made of paper and bamboo and are nicely stuffed with
crackers. A little before sunset, they are set on fire and while the flames from
the burning effigies leap towards the sky, the air is rent with the boom of
crackers.
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