Discerning India- Living Cultures of Tulunadu
Discerning India- Living Cultures of Tulunadu?is a unique?Online Course?that attempts to introduce the participants to the distinctive cultural traits of Tulunadu and look at what makes the region surrounding 365体育投注, India -a microcosm of India. The region stretching across the Arabian Coast from Byndoor in Karnataka to Kasargod in Kerala, known as Tulunadu in the popular lore, is a mosaic of cultures. This cultural hub with intriguing and fascinating domestic diversity offers a glimpse of the essence of Indianness. The indigenous worship traditions, vibrant folk theatres and syncretic living ways add a distinctive richness to the region.? This course introduces the participants to the glimpses of this cultural heritage and leaves them with a desire to delve deeper.
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The idea of the course...
This course is primarily designed to introduce the unique cultural aspects of Tulunad and to provide a general overview about the knowledge systems of the communities. It is an attempt to introduce the participants to the region and its ways of living.?
One way to define Tulunad is to understand it as the geographical location where the people speak in Tulu language, and hence the name Tulunad [Tulu + Nad (land, place)]. Tulunadu may be also viewed by extending the geographical location to those places where Tulu was spoken in the past and where the people’s social and cultural lives embody certain ideas which are now considered to be pre-dominantly present among the current Tulu speaking population. We consider both these definitions in what we understand Tulunad to be.
We are aware that there is no one homogenous authentic lived experience shared by all the people of the region, but the attempt is to provide an understanding of the practices and ideas of the people.
Living Cultures of Tulunadu
Components
The course engages the audience with lectures, video documentaries, and reading materials on different units. The participants will be exposed to diverse contours of living cultures of the region from the interspersing points of view of religion, culture and society of Tulunadu- the region surrounding 365体育投注.
The Course comprises the following Units:
-? ? Yakshagana
-????Kambala
-????Naga Worship
-????Bhuta Worship
-????Siri Worship
-????Pilivesha
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Yakshagana is a vibrant traditional theatre form that has evolved from folk base and is performed in the coastal districts of Dakshina Kannada, Udupi, and Uttara Kannada, and some parts of Shimoga, Chikkamagalur, and Madikeri in Karnataka, as well as in the Kasaragod district of Kerala. This art form has a recorded history spanning over five centuries. This multifaceted folk theatre artfully integrates dance, music, dialogue, physical expression, stagecraft, elaborate costumes, and vivid makeup, establishing itself as a potent medium for artistic communication and cultural expression. This folk theatre serves as entertainment and acts as a site of community education and engagement, transmitting cultural values and historical narratives across generations.
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Kambala is a mud-track buffalo race, that takes place in Tulunadu from the month of November to March every year. The buffaloes are paired and are made to run in a muddy field or in a mud track. Kambala began as a ritualistic tradition that was a part of the feudal agricultural Tulu society. However, after the 1970s, specifically following the Land Reform of 1974, it gained popularity as a competitive sport. At present, there are over 20 competitive Kambala races, in addition to more than 300 traditional Kambalas involving ritualistic aspects, held annually across various regions of Tulunadu.
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Naga worship, known as Nagaaradhane in the region, constitutes a distinctive worship practice observed in the coastal districts of Dakshina Kannada, Udupi, and Kasaragod. Naga worship is deeply intertwined with social, religious, and ecological considerations. Historically, people of this traditional agrarian society maintained a profound and intimate connection with nature. The majority of their worship traditions and belief systems find their origins deeply rooted in the agrarian way of life. Naga worship of Tulunadu is to be understood within this framework.
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Bhuta Worship, a tradition distinct to Tulunadu, is a complex blend of oral narratives and rituals passed down through generations. Bhutas are the deities of Tulu people which are revered by the community, representing the very essence of the land. The matrilineal kinship system practised by the majority of the communities in the region, is necessarily connected to the continuation of the Bhuta worship tradition. This tradition is deeply intertwined with the idea of community justice, social cohesion, and kinship relations. Bhuta worship also involves an oral storytelling tradition which is an integral part of the cultural memory of Tulu people.
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Siri worship, in the Tulunadu region, is characterized as a form of worship tradition that principally upholds the idea of women’s empowerment and the advocacy for gender justice. This practice is intricately linked to the wellbeing of women and children. The ceremonial observance and ritual offerings associated with Siri worship occurs within specific temples and sacred locations throughout Tulunadu, taking place annually from March to May in the form of Siri Jathre (Siri Festival). Siri is a cultural heroine of Tulunadu who fought against the patriarchal practices and the patriarchal structures which oppressed women. Her life and struggles are chronicled in the Siri Paaddana, an oral narrative passed down through generations.
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Pilivesha or “Hulivesha,” (Tiger Dance) is a popular and traditional folk dance of Tulunadu. It is a form of folk art that celebrates the tiger as a symbol of divinity, blessing, and valour. Pilivesha is considered a ‘folk dance’ given its inclusive nature and its connection with the common people. As a ‘folk’ tradition, Pilivesha embraces constant innovation, seamlessly integrating elements from other performative traditions into its performances. ‘Pili’ in Tulu language translates to ‘Tiger,’ and ‘vesha’ denotes ‘makeup’ or ‘costume.’ Thus, ‘Pilivesha’ can be understood as the art of impersonating a tiger through makeup and costume. The performance is a curious mix of tradition, ritual and entertainment that acts as a binding force in a community ridden with caste and religious complexities.
