Just like elsewhere in India, Himachal Pradesh has a rich heritage of folk art and culture that is at risk of being lost. These folk performances were once popularly followed, but now they are hardly acknowledged. Specifically in regard to folk drama, there are approximately six distinct theatrical folk dramas practiced in the region. They are Kariyala, Banthara, Dhaja, Bhagtu, Haanter, and Chandroli. In this blog post, we'll discuss the Kariyala folk drama.
Kariyala is one of the most interesting forms of folk drama you will witness; it distinguishes itself from the regular drama by incorporating a range of short playlets, farces, skits, revues, and burlesques. It is more of a ritual. This folk drama is widely practiced and performed in the districts of Shimla, Solan, and Sirmour. The drama is usually centered around the social satirical commentary of the time.
Origin of Kariyala
The origin of Kariyala dates back to the reign of Dev Junag in Garh, which is presently known as Subathu. During that time period, the bonded laborers, known as "bethoo," would relax by singing and dancing to whatever they could in the evening. In addition, they would incorporate acts of mimicry that reflected their individual experiences in their daily lives. When Dev Junag noticed this, he recognized it and encouraged them to approach it systematically while suggesting some areas of improvement.
Etymology of Kariyala
The word ‘Kariyala’ is said to have been derived from the word ‘Karal’ which means offering. Since this folk drama is traditionally organized by devotees to express gratitude for fulfilled wishes and to honor their village deity for providing protection, it may somehow be related.
In Brief
Kariyala is more than a folk drama; it's a night-long ritual where artists dance, sing, mimic, and more. Kariyala usually showcases at least three distinct acts, with musical intermissions and singing of songs in languages such as Pahari, Hindi, and Punjabi between the acts. Acting roles have only been filled by men up until now.
The drama's dialogues contain deep insights into the social and cultural environment, through the use of folk expressions that are stretched, twisted, and crafted to ridicule, deride and caricature individuals and those in power. The performance is very interactive as the audience frequently adds humorous comments throughout the show and the performers are always engaging with them. The performers intentionally subvert language norms through deliberate mispronunciation and misuse of words, mocking those who adhere strictly to grammar rules. They also employ unconventional usage of mainstream languages and manipulate scripture quotes and popular vocabulary to create humor.
Folk drama had a wide audience in society, thus its primary purpose was to educate viewers on various societal issues, particularly in politics and economics.
Performers of Kariyala
The Kariyala folk artists are predominantly from the lower middle class and are members of castes such as Sanhais, Sehsis, cobblers, weavers, and Jheers. They are highly skilled in the arts of acting, dancing, and singing.
Stage of Kariyala
The stage of Kariyala is very simple. It is set in the middle of an open field. The stage is usually set at a spot where people can sit on the slopes of the hills and watch it. It is performed at a square-shaped arena called ‘Khada’, with four poles raised at each of the four corners. In the middle of the Khada, they ignite a bonfire to provide both heat and a source of light. The bonfire is considered sacred, and all performances take place around it, regardless of the season.
Performance of Kariyala
The performance of Kariyala starts in the evening and continues throughout the night, staging various popular items one after the other.
The Kariyala party or troupe usually consists of a deuan or Brahmin who becomes spiritually charged, along with other artists like actors, singers, and musicians, collectively called karayalchi. The musical accompaniment includes instruments such as nagara, dhol, karnal, and nafeeri.
The arrangement commences with the organizer sending out invitations to their family members, friends, acquaintances, and other community members from their own and neighboring villages. The host arranges for the dinner of all the guests and the Kariyala party. The kariyala party's arrival is announced through instrumental music that revolves around Jang Taal. This implies that the karayalchis have almost arrived or have already arrived.
On the day of the play, the host refrains from eating until the dyoots, which are large, clay pots, are set ablaze. To prepare for the performance, a Ghiana (bonfire) is ignited and used to burn the conical wooden stack. Great care is taken to ensure it never goes out. The priest or deuan, together with the hosting family, worships this ghiana. Then the ambers from the ghiana are carefully placed on dyoots, which are then hung on a tripod made of branches from either a cactus or baloje/chirne tree. After which these dyoots are worshipped.
The right dyoot is the first to be worshiped in the name of Dev Biju. The entire family then sprinkles "homan" – a mixture of ghee, rice, barley, sesame, bael (Aegle marmelos, L.), lotus seeds, shakkar (brown sugar), and other auspicious ingredients – over the "dyoot".
Following the Dyoot lighting ceremony, the Karayalchis relish some food. As the karayalchis enjoy their refreshments, the audience gathers in anticipation of the show. And so begins Kariyala.
The performance usually begins with Mangalacharan, a musical composition that seeks the blessings of three primary Hindu deities - Brahma, Vishnu, and Maheshwara, as well as forest gods and goddesses, and Saraswati, the goddess of knowledge. Following this, the Manasukha or Dandoo comes forward and declares the play's central theme to the assembled crowd. Kariyala explores a diverse range of themes, including history and mythology, with a contemporary twist. The stories of Ramleela, Raasleela, Krishnaleela, and other tales from the Puranas are portrayed in a modern and satirical way.
Following the announcement, a male actor dressed as Chandravali enters the arena holding a plate, or 'thali', with a well-lit lamp. He proceeds to dance around the bonfire holding the lamp. This marks the auspicious beginning of the performance. Chandravali represents Goddess Lakshmi, the deity of wealth and prosperity.
After Chandravali's performance, the stage takes on a new form for 'Sadhu Ka Swang'. This section showcases several actors who wear the attire of Sadhus and make a grand entrance by moving through the audience and arriving at the performance area. They engage in conversations with each other or with those who are present in the arena. The Sadhus engage in deep discussions regarding spiritual and metaphysical topics according to their individual sects and traditions. Generally, the dialogue is short and biting, depending on the occasion and subject being discussed.
Upon completion of Sadhu Ka Swang, the other swangs are then presented successively. During breaks in the Swangs, various folk dances and songs are performed to keep the audience entertained. In certain regions, it is customary to partake in community dancing, where men and women align in straight rows or semi-circles, singing and dancing throughout the night. So, there also includes a section where everyone dances together and the entire valley reverberates with the sound of music.
The plays are full of dances that are set with songs. The performance features a variety of folk dance styles, including Nati, Giddha, Luddi, Dangi, and Dandaras, accompanied by traditional musical genres like Jhanjhoti, Mohana, Gangi, Jhooriyan, and Laman.
Additionally, they take requests from the audience to perform songs. The Kariyala comes to an end with an arti, followed by the offering of a combination of flour, jaggery, and ghee-coated to the dyoots. Additionally, Ghiana is revered and ritually sprinkled with water to conclude the Karayala ceremony. Typically, the performance concludes after 4 am.
Famous Kariyala Acts
There are numerous swaangs (acts) in kariyala. Some of the well known titles still played include Jhoolana, Sadhu ka swang, Mem-Saab ka swang, Gangi-Sundar ka swang, Barada-Baradi ka swang, Rajput ka swang, Chooranwale ka swang, Hathi ka swang, Daag-Daoon ka swang, Nawab ka swang, Coolee ka swang, Lamberdar ka swang, Brahmin ka swang, Badhal ka swang, Chacha-Bhateeje ka swang etc.
The makeup of Kariyala Artists
In order to achieve their desired looks, the Kariyala artists make use of wigs, Kohl powder, and costume jewelry. The ingredients for face powder consist of finely milled limestone or all-purpose flour, whereas kohl is made by carbonizing lamp soot, and the wigs are made using tree bark.
As with most folk art traditions, this particular practice is in danger of dying out due to technological advancements and the decline of communal gatherings. Long gone are the days when folks had the time to go out and connect with their community for hours. Despite the performers' efforts to incorporate modern equipment, it appears there seems to be no chance for development. You will get to witness this only in a handful of locations in Himachal Pradesh today.
If theater professionals, government officials, and other influential figures in the arts don't show a strong commitment to reviving and modernizing this age-old folk art, it will cease to exist. It is important that we take the necessary steps to preserve this art form and make it relevant to today's audiences. Otherwise, we will be losing an important link to our cultural heritage.
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* The pictures are not owned by me. It is purely for educational purposes only.
It’s so brilliant and detail oriented. Love the fact that you went into each and every part that goes into performing the Kariyala. I didn’t even know half of these. So, it was definitely a brilliant read for me.