Centre for Folk Culture Studies

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https://dspace.uohyd.ac.in/handle/1/52

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Browsing Centre for Folk Culture Studies by Supervisor "Sudhakar Reddy, Y.A"
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    Conflicting identities in dalit movement in Andhra Pradesh
    (University of Hyderabad, 2018-05-01) Mallikarjuna Chiruthoti ; Sudhakar Reddy, Y.A
    Dalit movement in India can be treated as socio-economic and politico-cultural movement. Since Dalits are marginalized and treated as excluded by the mainstream caste ridden society, the voices of protest emerged within the Dalit groups and manifested severally as anti-untouchable, temple entry and rights of equality movements during the Colonial phase of history in India. They are all sporadic and isolated events which failed to draw the attention of the mainstream society. With the support of the Colonial regime few individuals like Ambedkar spearheaded the depressed classes’ movement. Despite this, the movement did not achieve the status of unified movement. Each Dalit group had their own path under different banners. Each Dalit movement has highlighted different issues related to Dalits and varied around ideologies. In the process of articulation of Dalit identity connected with the self-esteem and the self-image of a community became poly-vocal. Each movement mainly concentrated on the social and Dalit identity, not on the economic issues. When it comes to the States of Andhra Pradesh and Telangana, there were sixty one Dalit castes located in these States. Within these sixty one Dalit groups, Malas and Madigas are demographically dominant. Each Dalit group had their own identity, traditional occupation and caste myths. All these Dalit groups were known as Panchamas or Avarnas or Chandalas or untouchables. These untouchable groups started fighting against the upper castes dominant ideology to eradicate untouchability and caste discrimination. On one hand, they are fighting against the non-Dalit people and on the other hand they are fighting among each other. The conflicts among the Dalits are traditionally linked to the origin of these communities. Even now one can identify the above mentioned conflicts in the present day Dalit movement. From this perspective the present thesis is intend to trace out the types of conflicts in the Dalit movement.
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    Make-up and costume as a silent text
    (University of Hyderabad, 2000-05-01) Harichandra, R.R ; Sudhakar Reddy, Y.A
    Considering the importance of the study of make-up, costume and ornaments in theatre, the present work tried to probe into the practice of it in folk theatre. The preliminary observations on folk theatre made to realise that make-up, costume and ornament survived more effectively and consistently through generations in folk theatre. The consistency of the make-up, costume and ornament is such that, it itself became the identity of folk theatre. It is because of make-up, costume and ornament that the audience identify the play to which genre it belongs to, such as, Kuchipudi Yakshaganam, Cindu Yakshaganam, Veedhi Bhagavatam, Melattoor Bhagavatam, etc,.This observation being the driving force for the study of make-up, costume and ornament, Cindu Bhagavatam is taken as the subject matter for research in this thesis. The Cindu Bhagavatam is a theatrical form of the community of the Madigas and performed by the Cindus, a sub-sect within the Madigas. The tradition of Cindu Bhagavatam is quite popular in Teiangana and Rayalaseema regions and is said to be in vogue for the past several centuries. In order to understand the nuances of make-up, costume and ornament, in Cindu Bhagavatam the present work is carried out. A modest attempt has been done in this thesis to bring out various aspects of make-up, costume and ornament, and how they reflect the verbal and non-verbal text, which are owned by the community as exclusive right to perform
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    Scroll narratives of Bengal : tradition and continuity
    (University of Hyderabad, 2018-08-01) Saroj Kumar Sarkar ; Sudhakar Reddy, Y.A
    The Scroll Narrative Art has assumed a decisive role in the society. How enthusiastically they are composing kathas ( narratives ) gradually kathas (narratives or stories) are changing into geetikas (sweet melodies) and skillfully, the melodies are arising into visual images on the pictorial/scroll surfaces. Finally well made scroll paintings altogether stories are reaching to the mass, as the form of mass-amusement and mass-communication to reinforce it as the type of audio-visual presentation tools to speak of it before the crowd as an intercultural method of communication. Scroll narrative artist community known as Patuas performs scroll in villages at the household’s doorsteps. Actually, they are bards and for the sake of their livelihoods they wander the village to villages. The performance of scrolls in numerous sequences are juxtaposed on a long scroll surface either as episode of a tale, or as a sequence of event development through time. Stories are composed into the narratives from myths, epics, history or legends, regional folk tales, applied folklore, and contemporary incidents such as 9/11, HIV/AIDS, Nirbhaya rape. Pat Chitra performance spread around the country as a ritual performance slowly, in Bengal province it has taken a turn towards educative and entertainment value.
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    Tantric art \b from ritual to visual
    (University of Hyderabad, 2018-08-01) Lakshmi, R ; Sudhakar Reddy, Y.A
    The contents of Tantric literature can broadly be studied in (i) philosophical and (ii) spiritual contexts. The contents of Tantra work can broadly be divided into four heads, they are: 1.Jnana (wisdom) 2.Yoga (meditation) 3.Kriya (action) and, 4.Carya or siddhi (attainment). These are the general feature which does not apply to each and every Tantric work. The foremost aim of Tantra is to achieve deliverance and siddhi (mysticalpower). To understand its basic ingredients it’s necessary to study its historical background which is very vast and having different schools of thought. The present study clears the concepts, there by its contents are known. The metaphysical art of Tantra has variety of forms, showing different graphic patterns of vivid colours and tones.The reflections of Tantric ideology in the art forms- painting; sculpture and so on,have an aesthetic value besides being powerful in its symbolism, philosophy and worldview of its followers.For broader discussion, these images impart an extraordinary example of how the cognitive faculty of imagination was trained through the careful practice of visualization. These images mean evidential practice, but also finding the meaning of a particular civilization
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    Theatre of the marginalised \b politics of representation
    (University of Hyderabad, 2003-12-30) Ramarao Peddi ; Sudhakar Reddy, Y.A