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Rocks of Hampi
The Rocks Of Hampi In The Poem Of That Title Are An Extension Of The Fiend Of The Folktales; They Are Frozen Memories, Amorphous Archetypes Of A Lost World Of Primal Experience, The Thirst Of The Scorching Sun: The Buffaloes That Cannot Swim, The Flames Of ShivaýS Third Eye, Tales Waiting To Bloom, Ahalya Waiting For Emancipation, Yet Unable To Become The Powerful Phallus Or Event A Limb Of Shiva. The Rocks Want To Converse With The World, To Make Friends With The Mother And The Baby, Ignite Memories Thus Anamnesing The World Obivious Of Its Past, Or Inspire Revenge. They Also Symbolise The Fantasy Of Untamed Freedom: They Are Naked Wild Horses Waiting To Gallop Away To The Horizon. The Inversion Works Here Filling The Non-Living Rocks With Life, Turning Memories Into Dreams And Making The Silence Speak. The Rocks Belong To The World Of The Fiend Of He Folktale And To That Of Myth And Like The Fiend Framed And Kept In A Museum, The Rocks Are Frozen Dreams Of Liberation Now Under The Tourist Gace.
Two Plays
In Chandrasekhar Kambar's timeless classic The Bringer of Rain: Rishyashringya, a village afflicted with a deadly famine eagerly awaits the arrival of the chieftain's son, whose homecoming promises the return of rain. As the death toll rises, age-old secrets are unravelled and mythical forces step out of hiding. Will the sky relent? Power and bloodshed run hand in hand in Kambar's latest, Mahmoud Gawan. Set in the fifteenth-century Bahamani Sultanate, it follows Gawan's rise to fame during a time of intense civil strife when empires routinely rose and fell. Alluring and sublime, Two Plays is a must-read for anyone hoping to dip their toes into the rich waters of Kannada folklore and theatre.
Two Plays
In Chandrasekhar Kambar's timeless classic The Bringer of Rain: Rishyashringya, a village afflicted with a deadly famine eagerly awaits the arrival of the chieftain's son, whose homecoming promises the return of rain. As the death toll rises, age-old secrets are unravelled and mythical forces step out of hiding. Will the sky relent? Power and bloodshed run hand in hand in Kambar's latest, Mahmoud Gawan. Set in the fifteenth-century Bahamani Sultanate, it follows Gawan's rise to fame during a time of intense civil strife when empires routinely rose and fell. Alluring and sublime, Two Plays is a must-read for anyone hoping to dip their toes into the rich waters of Kannada folklore and theatre.
Shiva's Drum
'...It looks like the rhythm of Shivapura life is upset. Even the seasons don't keep time. The river looks wasted. The waves no longer run with a youthful vigour. The rocks under water are like bones jutting out of an old face.' In Shivapura, the villagers worship their gods and nature, and cultivate the crops that their forebears have been growing since time immemorial. Sweet water flows in the Chalimele river, the trees bear delicious fruit, and the cattle and other animals are part of the household. But Baramegowda, the landowner and headman, replaces traditional crops with sugarcane, a cash crop, and encourages the excessive use of chemical pesticides, amassing great wealth. He also enli...
Karimayi
The story of the archetypal Mother, the mother of all Chandrashekhar Kambar s stories, variously called Mayi, Idimayi, and now Karimayi, is at the heart of this novel. The narrative of Karimayi moves through an astounding time span, beginning from the mythopoeic times of Goddess Karimayi s birth to the historical and cultural shifts in the life of a small rural community called Shivapura during the British colonial era. Written in the Kannada language in 1975, Karimayi breaks the familiar narrative of an idyllic and traditional village community getting destroyed by the incursion of modernity. Instead, the multiple and layered narrative of Karimayi weaves everything into itself the story of the village s past, the myth of Karimayi, the disorder that sets in with the invasion of colonial modernity and the lure of the city, but, most importantly, also of the disruption of another form of native modernity that the village community has already begun to incorporate into its rhythms of life. "
The Mother Supreme
Shetavi, the goddess of death, adopts and blesses an orphan boy (Sanjiva) with healing powers whilst retaining the the right to decide who can be cured. Sanjiva cures, and falls in love with, a princess against his mothers wishes. A struggle between mother and son ensues and symbolises the human condition.
The Shadow of the Tiger and Other Plays
Chandrasekhar Kambar is a leading poet, novelist, folklorist and dramatist writing in Kannada. I belong geographically to a village, and sociologically to what was considered to be an oppressed, uneducated class. I am, therefore, a folk person simply because I honestly cannot be anything else. His plays rework his folk heritage from a contemporary perspective, blending folk performance forms, myths, legends, and ritual beliefs. The result is a colourful tapestry of music, dance, song, farce and narration which nevertheless delivers hardhitting blows at the feudal social system which still exists in rural India today. The three plays in this volume illustrate the broad range of Kambar s playwriting. The Shadow of the Tiger is a symbolic and philosophic work concerned with illusion and reality, and contesting forms of truth. Tukra s Dream centers on a poor villager who survives precariously on the very edges of rural society. In Alibaba and the Forty Thieves, the wellknown tale becomes an enjoyable spoof as well as a comment on greed. Celebrated as a poet in his home state of Karnataka, Kambar s work is imbued with a poetic sensibility, laced with earthy humour.
Siri Sampige
Siri Sampige: Rajasthani Translation Done From Hindi By Jyotipunj Of Chandrasekhar Kambar'S Kannada Play.
Twist in the Folktale
Each of the playwrights in this collection takes a folktale and turns it into a contemporary experimental play, intervening in the traditional material and reshaping conventions from an urban perspective. Although the folk and rural element remain embedded in the body of the narratives, it is interesting to note the shifts and intersections which occur in the process of rendering folklore as a present-day performative text. Jokumaraswami by leading Kannada playwright and poet Chandrasekhar Kambar is a vibrant, earthy play which creatively reworks the folk myth of a phallic god of fertility into a powerfully contemporary anti-feudal message. Pebet is a folktale about a mother bird fighting to protect her children from a predatory cat politicized by H. Kanhailal, who transforms this familiar story into a struggle against the political and cultural colonization of Manipur. Charandas Chor by veteran playwright/director Habib Tanvir, performed by Naya Theatre s Chattisgarhi folk artists, is a contemporary Indian classic depicting the irrepressible folk hero and honest thief , Charandas, a Robin Hood figure who charms his way into everyone s heart.
