Amidst the majestic landscapes of Uttarakhand, where the Himalayas cast their spell, Prof. Dr. Purohit emerges as a guardian of the fading heritage of folk art. His journey into this realm began not in the corridors of academia but in the heart of his childhood, where the vibrant hues of Ram Lila theatre ignited a passion that would shape his life’s work. Sadharmyam’s interview with Prof. Dr. Purohit offers a comprehensive portrait of a cultural custodian whose work spans from the grassroots to international collaborations, ensuring that the vibrant legacy of Uttarakhand’s folk art endures for generations to come.

Early Initiatives and Childhood Inspirations:

Prof. Dr. Purohit, you have played a pivotal role in preserving and revitalizing the fading heritage of Uttarakhand’s folk art. To begin, what initially drew you to this field, and what were your first initiatives within it?

Well, I was initially drawn to folk art through my childhood experiences as an actor in Ram Lila theatre. The allure of Ram Lila was strong, and I started a Drama club in my village during high school. One of my early successes was adapting a ballad of Sarvaranir into a theatrical form, consciously using the tunes and meter of Ram Lila. This play became popular in my village, and I continued staging various plays, including those from scripts I found in the market, written by Pandit Natharam Gaur and Pandit Radhesam Saravan.

I adapted plays like “Amar Singh Rathore” and “Bhakta Morad Dwas Raja Harishan” for the stage. This interest persisted through my MA, but I had to take a hiatus when I joined the Post and Telegraph Department after completing my B.A.

Comparing Global Traditions:

Your Ph.D. focused on Medieval English Drama and the Folk Theatre of Garhwal. What unique elements did you discover that could be compared between these two distinct theatre traditions?

After joining the university, I encountered new theatrical techniques through a visiting student from the National School of Drama, Delhi. Witnessing two folk plays during his visit inspired me to pursue a Ph.D. on folk theatre. My childhood memories of folk plays like those of Golu Devta and the curiosity about plays performed by traveling artists near Joshimath fueled my interest.

Although my initial Ph.D. idea faced some resistance, I persisted in my desire to explore the folk theatre of Garhwal. Unfortunately, my initial supervisor passed away, leaving my idea incomplete. Later, with the support of another teacher, Arun Senan, I decided to compare Garhwali folk theatre with medieval English folk drama. This comparison involved looking at elements such as Miracle and Morality plays in medieval Europe, drawing parallels with Garhwali folk plays and exploring their historical evolution.

The research process involved studying folk plays from around the world, including America, France, Germany, Italy, and Poland. I encountered challenges in obtaining references from the English-speaking world and understanding the theoretical aspects of folk theatre. Reading works by scholars like Richard Seckner, Victor Turner, Malinowski, and Bakhtin was essential to my research.

In summary, my Ph.D. aimed to establish parallels between Garhwali folk theatre and other global folk traditions, such as Roman drama and religious plays, despite facing difficulties in accessing references and understanding diverse theoretical perspectives.

Extensive Research and Documentation:

Despite your renowned expertise in English literature, you’ve dedicated considerable effort to studying the folk forms of Uttarakhand. Could you share insights into the extensive research and documentation you’ve conducted in this domain?

Delving into the world of folk theatre, I discovered approximately 50 plays from Mahabharata alone in Garhwal. My documentation journey involved both live recordings and acquiring scripts from various sources. Some scripts, like those of Ganda play, Murudar, Hathi Duryodhan, Potalya, Kangra Ka Jogi, Gujri Maryam, and Tony Rai, were never written, so I attended live performances, recorded them, and then transcribed them into English, creating what I call “performance scripts.” I covered around 25 plays from Mahabharata in this manner.

Subsequently, I expanded my focus to mass dance dramas, recording 32 scripts, and delving into other dramas related to bars. While I had childhood exposure to Parsi dramas, I concentrated on exploring deeper into the folk traditions. Notably, one mass dance drama script, Burudeva play, ran into a substantial 108 pages. Additionally, I documented smaller scripts like Bedi-Beda, Ganpati Ganesh, Lata-Latu, Lal-Bhora, Ram, Lakshman and Sita, Dasavatar, and more. I traveled to different locations to study the variants of mass dance dramas, including the script of Ramman, later declared a World Heritage site. Being the first to thoroughly document the performance of Ramman was a significant achievement.

After completing my thesis, I expanded my focus to fairs, festivals, Bardic theatre, Udgiya theatre, Ramlila theatre, and Holi theatre. Documenting diverse theatre forms wherever I found them became a passion. My interest also extended to narratives, leading me to study Nanda Devi, including the entire Nanda Devi Rajyat, an enactment of the myth of Nanda Devi’s journey from Maharmaika to Zaza.

In 2000, I organized a month-long workshop for drummers with the help of Rij Dehradun. We documented all the taals of the drummers in Dehradun and concluded with a concert directed by Narendra Singh Negi, featuring 18 instruments. I also took the initiative to support drummers like Sohanlal, helping him establish Dholnath, a successful orchestra with ten groups of dhol players earning a respectable income.

Furthermore, I explored fairs, festivals, and various theatres like Holi, Ramlila, Jhark, and Bagdwal. I documented the Bagdwali ballad, totaling 220 pages, and worked on aspects central to folk theatre, such as music, costumes, properties, and cultural rituals. The extensive documentation, including 300 audio cassettes, is preserved, with a portion handed over to Professor Andrew Alter in Australia, who has digitized around 100 audio cassettes.

You’ve mentioned that there appears to be limited extensive research on the folk forms of Uttarakhand. Could you provide more insights into the existing research and documentation available regarding these industries?

Prof. Dr. Purohit: Indeed, the research landscape on Uttarakhand’s folk forms is quite unique. Most playwrights focus on creating plays for the stage, but what sets my work apart is the adaptation of folk performances for the stage. Traditionally, adapting these forms for the stage was considered difficult and futile. However, I took the daring step to present them on stage, starting with the play “Chakravyuh,” which focused specifically on the Chakravyuh performance.

While many scholars have documented aspects not directly related to folk theatre, my focus has been on writing plays based on my extensive research. I wrote a play on Jesus Christ, drawing inspiration from miracle plays. This play incorporated elements such as a woman caught in adultery, the birth of Jesus Christ, the short play of Three Magi, the Second Sephard’s play, and the Passion play. Combining these elements, I created plays like “Yakhlu Bhatoi, the Solitary Sojourner.”

Beyond that, I crafted full-length plays on various themes, including Nanda Devi Rajyat, Ganda, Burudeva, Panjbhai Kathet, and Roop Kund Ki Dukhad Yatra. The passion for these endeavors led to the documentation of a thousand-page Mahabharata in 1996. Continuing this journey, I recently documented a folk story on the creation of the universe—Vishwa Karma, spanning 36 hours. Additionally, I captured the dance drama of Dwari Devi.

Reviving the Centre for Folk Performing Arts and Culture:

You were instrumental in establishing the Centre for Folk Performing Arts and Culture at HNB Garhwal University and introducing various courses and diplomas. What was the primary vision behind founding this institution, and what are your expectations for its future?

The vision behind founding the Centre for Folk Performing Arts and Culture stemmed from the recognition that there was a lack of institutional mechanisms to preserve and experiment with the rich folk culture of Uttarakhand. This realization emerged during a three-day conference organized by R S Tolia, the Chief Secretary of Uttarakhand Government, where intellectuals, including Kapila Hassan, discussed the need for a dedicated center.

In 2004, the NAC peer team emphasized the necessity of such a center in our university. Dr. N Natarajan, the then Vice-Chancellor, approved the idea in 2006, leading to the establishment of the center. However, due to certain challenges, my tenure as the director faced obstacles, leading to my departure.

Nonetheless, the center continued its functions, with a building funded by the central government. Unfortunately, mismanagement and lack of support resulted in a decline in its operations. In 2020, the present Vice-Chancellor, Prof. Anupona Nautiyal, recognizing the potential, invited me to take charge once again. Despite challenges, we are working towards revitalizing the center and hope that, under future leadership, it will become a thriving hub for folk performing arts and culture, preserving and promoting the rich traditions of Uttarakhand.

International Collaborations and Recognition:

Your tenure as a visiting Professor of Performing Arts at Ruprecht Karl University in Heidelberg, Germany, brought recognition in the form of the Baden Wurttemberg Fellowship in 2018-19. Collaborating with eminent figures like Prof. William S. Sax and Prof. Friederick Smith, you translated the Garhwali Mahabharata into English. Can you share an overview of your experiences and the impacts of collaborating with these internationally renowned personalities?

In 2018, I held the Rupprecht-Karl chair at Heidelberg University in Germany. Although I was granted four months, due to departmental issues, I utilized three months during my tenure. The Warden-Uttenberg fellowship, my second visit in 2018 post-retirement, allowed me to collaborate with Prof. William S. Sax and Prof. Friederick Smith on translating the Garhwali Mahabharata.

Our collaborative process involved understanding the Garhwali syntax and then translating it into English. We meticulously selected the most fitting words, creating a bridge between the cultural richness of Garhwali and the nuances of English. It was a challenging yet rewarding experience, exploring the intricacies of language and culture with these esteemed scholars.

Contributions to Garhwali Theatre:

Your play, “Nanda Devi Raj Jaat,” received international recognition when staged at Heidelberg University. What was the response from Western audiences, and what new insights did you gain from this experience?

Staging “Nanda Devi Raj Jaat” at Heidelberg University was a remarkable experience. While we couldn’t present the entire play, the scenes were highly appreciated. Several German newspapers covered the performance, and it was even broadcasted on a German radio channel. The play garnered attention for its unique cultural narrative, and the photographs from the performance captured its essence. The play’s translation into multiple languages and its subsequent staging in Mumbai further extended its reach and impact.

The Garhwali community highly regards the play “Chakrvyuh,” initially staged in Garhwali and later translated into multiple languages. Could you elaborate on the genesis of this play, its subsequent developments, and adaptations, considering your significant contribution to the script alongside S. Karnpal and Krishna Nand Nautiyal?

Prof. Dr. Purohit: “Chakravyuh” has its roots in my childhood experiences of witnessing it at various locations. In 1993 or 1994, while watching it with anthropologist Prof. R.S. Nehru, he questioned the play’s linguistic diversity. This moment sparked the idea of transforming the play, and I collaborated with Krishna Nand Nautiyal and S. Karnpal.

In 2000, we embarked on a drummers’ documentation project, securing funds for a concert. Later, in 2001, I expressed my desire to create a play. Collaborating with Sarveshwar Kanpal and Krishnanand Nautiyal, we crafted a play with Garhwali tunes and a unique design. Despite initial challenges, the play gained popularity, with over 200 shows and translations into English.

Adapting Christian Themes:

We’ve discussed your script for the Christian play “Yakhlu Bhatoi,” considered the first Garhwali play based on Christian themes. What was the context of creating this play, and how do you see the relevance of adapting such themes to the Garhwali theatre landscape today?

Fr. John Chackanattu inspired the creation of ” Yakhlu Bhatoi” for Christmas celebrations. Drawing from the life of Jesus Christ, the play presented a unique perspective. The relevance of such themes lies in fostering understanding and appreciation for different faiths. By delving into Christianity, the play encourages empathy and contributes to a synthesis among civilizations.

The play was broadcast on German radio, emphasizing its international recognition. In today’s interconnected world, appreciating diverse religions and creating a synthetic model of coexistence becomes essential. Democracy, a prevalent religion in the western world, derives its values from various faiths, including Christianity, Hinduism, and Buddhism. This synthesis serves as a model for fostering unity in our diverse society.

Unique Elements of Garhwali Theatre:

Each folk theatre tradition possesses unique characteristics. What, in your opinion, distinguishes Garhwali theatre, and are there elements within it that could inspire other forms of art?

Modern theater cannot simply amalgamate our idiom with Yakshagana of Karnataka, Kathakali of Kerala, or Kudiyattam. Each theatre form carries its own singular qualities and uniqueness. While we, too, have our distinct characteristics, such as the masked dance Rama Buddeva, which can be applied to contemporary issues. For instance, someone can approach Buddeva and ask about the number of political parties, as per the idiom. In my interpretation, there are three political parties. One is “Hambi Khata Tumbi kha” (UPA), the second is “Hamari Alawa Koi Na khai” (BJP), and the third is “Sabane Khadiya Hame nahi mila” (Uttarakhand Government). Buddeva’s versatile character allows the idiom to be incorporated seamlessly.

I recall an incident in Badrinath where a hardcore communist, Nandikeswar Hathwa, became the Chairman of Badrinath Temple Committee. When Buddeva was questioned about this transformation, considering the individual’s staunch anti-religious stance, Buddeva explained it by referencing the myth of Ajamal. Ajamal, an atheist, unknowingly named one of his sons Narayan. In his dying moments, he called out to his son, saying, “Narpali” instead of Narayan. Buddeva creatively used this tale to shed light on the communist’s unexpected role, adding a layer of complexity to the narrative. This kind of idiom can be effectively employed to convey contemporary issues.

Future Steps for Garhwali Theatre:

While various government organizations strive to preserve and promote folk traditions, what additional steps do you believe are essential for the future of Garhwali theatre, considering the current scenario and the efforts undertaken by the Uttarakhand Government?

Prof. Dr. Purohit: The government should make crucial decisions for the future of Garhwali theatre. All exponents, whether they are singers, drummers, drama directors, or actors, should be financially supported. Providing them with the necessary funds to practice theatre is essential. These artists, once adequately supported, should be appointed as gurus. Similar to the practice in Rajasthan, the government should grant stipends to these gurus. Rajasthan’s government financially supports gurus involved in Ravan Hatha, tabla, and traditional singing, fostering a Guru-Shishya Parampara. Uttarakhand should adopt a similar approach by paying gurus and disciples appropriately.

Surprisingly, the Guru-Shishya Parampara initiated by the government currently has only six gurus for the entire state. Given the abundance of talent in Uttarakhand, the selection of only six gurus is inadequate. The government should recognize and financially support the multitude of masters and performers across the 13 districts, ensuring the preservation and transmission of cultural traditions. Individuals skilled in various forms, such as playing holy, singing traditional songs, or creating ceremonial flags, should be acknowledged and funded to teach and sustain these traditions. If the German government can invest heavily in maintaining opera theaters to prevent their decline, we, too, should allocate funds to preserve the Pandava theater in Garhwal.

Prof. Dr. Purohit’s journey is not just an academic pursuit—it’s a profound commitment to preserving, promoting, and celebrating the cultural treasures of Uttarakhand. Like a Himalayan winter scarf woven with dedication, passion, and a profound commitment Purohit’s multifaceted contributions to folk art, from extensive documentation to international collaborations, leave an indelible mark on the cultural landscape. As Uttarakhand navigates the intersection of tradition and modernity, Prof. Dr. Purohit stands as a guiding force, ensuring the vibrant legacy of folk art endures for generations to come. His endeavours, reveal a scholar whose work transcends the confines of academia. Through his dedication, the vibrant traditions of Uttarakhand find a voice that resonates far beyond the Himalayan valleys.