| FEMININE REPRESENTATION IN KARNATAKA'S FOLK DANCES –
An analysis of both the worshipped feminine and participatory feminine
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| Karnataka's rich history, culture, and natural wealth make it a treasure cove of folk dances. At present a staggering number of over 110 folk dances have been documented. (Boralingaiah) Karnataka’s folk dances are mostly termed together and introduced as ‘gaṇḍu kāle’, literally translating into male arts. Folk dances performed exclusively by women are an insignificant number. There seems to be a huge disparity in the representation of women in Karnataka’s folk dances.
Hence the scope of this study is to look at the representations of women in folk dances in Karnataka. The purpose of the study is many folds:
1. To delineate the feminine representations in Karnataka’s folk dances in two categories – the worshipped feminine and the participatory feminine
2. To understand the worshipped feminine through folklore, symbols, and practices in folk dances
3. To examine the participatory feminine in traditionally exclusive folk dances performed only by women through it form and content
4. To analyze the role of femininity and female constructs in Karnataka’s folk dances
Descriptive research methodology specifically an ethnographic approach is used as the research design in this study. Primary data has been collected by observation, participation and interviews. Secondary data has been collected through analyses of articles and books.
In the traditional worldview of binary gender, only men and women are represented. Even between these two genders, we see a huge disparity. Feminine representations are extensively studied in literature and paintings – these portrayals are delineated to understand topic. Feminine representation in folk dances of Karnataka can be studied in two broad categories. The first is the worshipped feminine or divine feminine and the second is the participatory feminine. In the worshipped feminine folk dances such as karaga kuṇita, pūjā kuṇita and jōgati nr̥tya are studied. In participatory feminine - tarle barle kunitha, lambāṇi kuṇita, umatāṭa, puguḍi nr̥tya, damāmi nr̥tya are elaborated. Women in mixed dances are also briefly mentioned to get a complete picture.
The analysis of the female representations determines the cultural evolution of feminine representation, which can broadly be grouped into four phases: pre-historic, vedic, historical, and current. Behavioral scientists studying women’s underrepresentation state that a gender-imbalanced picture of society can reinforce and perpetuate harmful gender stereotypes. The study concludes that more women should claim performance spaces and take forward the legacy of folk dances in Karnataka.
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Submitted on : 11-Oct-2024
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Arts : India/ Folk Dance/ Dollu Kunitha |
| Journal ID : 0017-101-0064
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