>GreenC bot Rescued 1 archive link. Wayback Medic 2.5 |
Ankitchadha (talk | contribs) enhanced article for consistency |
||
| Line 1: | Line 1: | ||
{{Short description|Oral storytelling technique in the Katha tradition}} | |||
{{Use dmy dates|date=June 2019}} | {{Use dmy dates|date=June 2019}} | ||
{{Use Indian English|date=June 2019}} | {{Use Indian English|date=June 2019}} | ||
== | {{More citations needed|date=March 2025}}{{about|an oral storytelling technique|film|Burra Katha (film)}} | ||
The | [[File:India village musicians.jpg|thumbnail|Ancient [[Jangam]] Folk performers]] | ||
'''Burra Katha''' or Burrakatha, is an [[oral storytelling]] technique in the [[Jangam|Jangam Katha]] tradition, performed in the 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 form of entertainment that consists of prayers, solo drama, dance, songs, poems and jokes. The performance is on the topic of either a [[Hindu]] Historical story ([[Jangam|Jangam Katha]]) or a contemporary social issue.<ref>{{cite web | title = Burrakatha loses sheen sans patronage| url = https://timesofindia.indiatimes.com/city/visakhapatnam/Burrakatha-loses-sheen-sans-patronage/articleshow/18012802.cms | archive-url = https://web.archive.org/web/20131114014507/http://articles.timesofindia.indiatimes.com/2013-01-14/visakhapatnam/36332535_1_artistes-burrakatha-art-form | url-status = live | archive-date = 14 November 2013 |date=14 January 2013| access-date = 2013-09-02 | |||
| newspaper = [[The Times of India]] }}</ref> It became a popular art form during the [[Telangana Rebellion]] in the early 1930-1950s.<ref>{{cite book|title=The Lost Generation: Chronicling India's Dying Professions|url=https://books.google.com/books?id=gMsdCwAAQBAJ&pg=PT64|author=Nidhi Dugar Kundalia|publisher=Random House India|pages=63–65|year=2015|isbn=9788184007763|accessdate=17 October 2021}}</ref> | |||
==Etymology== | ==Etymology== | ||
"Burra" | "Burra" refers to the [[Tanpura|tambura]], a musical string instrument with a hollow shell. "Katha" means story.{{Citation needed|date=June 2025}} | ||
"Burra" means "brain" in the [[Telugu language|Telugu]] language, as the shell of the tambura resembles a [[human skull]].{{Cn|date=March 2025}} The shell may be made of baked clay, dried pumpkin, or brass and copper.{{Cn|date=March 2025}} The instrument looks similar to a [[veena]] and the performer can pull and press strings to produce different musical sounds. | |||
Burra means | |||
==History== | ==History== | ||
Burra Katha began as the devotional songs of nomadic people, and later became a popular art form.{{Cn|date=March 2025}} Initially, the show was known as [[Jangam]] Katha.{{Cn|date=March 2025}} The [[jangam|jangams lingayats]] were wandering minstrels who worshiped and sang of [[Shiva|Lord Siva]]. Two performers participated in these plays: the storyteller and his wife.{{Cn|date=March 2025}} With societal and cultural changes, secular aspects were incorporated into this form. The modern form has three performers of any gender.<ref name=":0">{{Cite web |title=Burrakatha |url=https://www.vepachedu.org/burrakatha.htm |access-date=2023-11-10 |website=www.vepachedu.org}}</ref> | |||
==Modern form== | |||
The modern form of Burra Katha was developed in [[Guntur district|Guntur]] around 1942 with the aim of propagating political ideas among illiterate masses in villages.<ref>{{Cite book |last=Lectures |first=Bangalore University Dept of Publications and Extension |url=https://books.google.com/books?id=g4U5AAAAIAAJ |title=Vidya Bharathi |date=1977-01-01 |language=en}}</ref> | |||
Shaik Nazar | Shaik Nazar publicized Burra Katha by performing on contemporary issues and is known as "Father of Burrakatha."{{Cn|date=March 2025}} | ||
= | Burra Katha is regularly performed on radio and TV in the state of [[Andhra Pradesh]].{{Cn|date=March 2025}} 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 to the music when they dance.<ref name=":0" /> [[File:Burrakatha Artists in Telangana Jateeya Samaikyatha Vajrotsavalu (17 September 2022) 03.jpg|thumb|Burrakatha Artists in Telangana Jateeya Samaikyatha Vajrotsavalu (17 September 2022)]] | ||
The main storyteller (kathakudu) narrates the story | |||
The right | The performer on the right (''hasyaka'', meaning "joker") makes jokes and satirical comments. The performer on the left (''rajakiya'', meaning "politician") acts as a worldly character 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 exclamations.{{Cn|date=March 2025}} | ||
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. | 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''."{{Cn|date=March 2025}} | ||
==Significance== | ==Significance== | ||
Burra katha was a pastime | Burra katha was a village pastime, but the cultural importance of this form has diminished.<ref>{{Cite news |date=2013-01-14 |title=Burrakatha loses sheen sans patronage |work=The Times of India |url=https://timesofindia.indiatimes.com/city/visakhapatnam/burrakatha-loses-sheen-sans-patronage/articleshow/18012802.cms |access-date=2023-11-10 |issn=0971-8257}}</ref> It is currently performed during [[Navratri|Dussehra]] or [[Sankranti]] festival seasons to describe epics like [[Ramayan]] and [[Mahabharat]] and moral stories like kambojaraju katha, chinnamma katha, or muggurumoratila katha.{{Citation Needed|date=February 2019}} | ||
==See also== | ==See also== | ||
Latest revision as of 14:28, 24 June 2025
 | This article needs additional citations for verification. (March 2025) |
Burra Katha or Burrakatha, is an oral storytelling technique in the Jangam Katha tradition, performed in the 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 form of entertainment that consists of prayers, solo drama, dance, songs, poems and jokes. The performance is on the topic of either a Hindu Historical 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]
Etymology[edit | edit source]
"Burra" refers to the tambura, a musical string instrument with a hollow shell. "Katha" means story.[citation needed]
"Burra" means "brain" in the Telugu language, as the shell of the tambura resembles a human skull.[citation needed] The shell may be made of baked clay, dried pumpkin, or brass and copper.[citation needed] The instrument looks similar to a veena and the performer can pull and press strings to produce different musical sounds.
History[edit | edit source]
Burra Katha began as the devotional songs of nomadic people, and later became a popular art form.[citation needed] Initially, the show was known as Jangam Katha.[citation needed] The jangams lingayats were wandering minstrels who worshiped and sang of Lord Siva. Two performers participated in these plays: the storyteller and his wife.[citation needed] With societal and cultural changes, secular aspects were incorporated into this form. The modern form has three performers of any gender.[3]
Modern form[edit | edit source]
The modern form of Burra Katha was developed in Guntur around 1942 with the aim of propagating political ideas among illiterate masses in villages.[4]
Shaik Nazar publicized Burra Katha by performing on contemporary issues and is known as "Father of Burrakatha."[citation needed]
Burra Katha is regularly performed on radio and TV in the state of Andhra Pradesh.[citation needed] 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 to the music when they dance.[3]
_03.jpg)
The performer on the right (hasyaka, meaning "joker") makes jokes and satirical comments. The performer on the left (rajakiya, meaning "politician") acts as a worldly character 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 exclamations.[citation needed]
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."[citation needed]
Significance[edit | edit source]
Burra katha was a village pastime, but the cultural importance of this form has diminished.[5] It is currently performed during Dussehra or Sankranti festival seasons to describe epics like Ramayan and Mahabharat and moral stories like kambojaraju katha, chinnamma katha, or muggurumoratila katha.[citation needed]
See also[edit | edit source]
References[edit | edit source]
- ↑ "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.
- ↑ 3.0 3.1 "Burrakatha". www.vepachedu.org. Retrieved 10 November 2023.
- ↑ Lectures, Bangalore University Dept of Publications and Extension (1 January 1977). Vidya Bharathi.
- ↑ "Burrakatha loses sheen sans patronage". The Times of India. 14 January 2013. ISSN 0971-8257. Retrieved 10 November 2023.
Bibliography[edit | edit source]
- 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.