Narrative art form
SUGANTHY KRISHNAMACHARI
HARIKATHA—Samaratha Ramadas’ Contribution to the Art of Spiritual Story Telling: I.P.Meera Grimes; Indica Books, D 40/18 Godowlia, Varanasi- 221001 (U.P.) Rs.250.
Harikatha kalakshepams have been popular in Tamil Nadu, although Harikatha is not an art that is indigenous to the state. Harikatha originated in Maharashtra and had its beginnings in the Kirtan tradition there. The Bhakti movement of Maharashtra, called Bhagavata Sampradaya, saw saints like Janabai, Ghorakumba, Vikoba, Namdev, Jnandev and others use simple verses to show people the path to salvation. Meera Grimes is ideally qualified to write this book as she herself is a Harikatha exponent. In this book, she traces the origin of the art, the changes it has undergone, the part played by various saints in the evolution of the art, and also gives transliteration and translation of the Dasabodha of Samartha Ramadas. To Tukaram goes the credit of amalgamating the elements of the Varkari tradition with its emphasis on songs and chants, and the Naradiya tradition with its emphasis on narration. Tukaram’s Harikirtana was later codified by Samartha Ramadas, who gave it the name Harikatha. It was Samartha who introduced Harikatha in Tamil Nadu.
Rare art
Samartha describes Harikatha as a rare art, because it distils the essence of the scriptures and presents it through simple stories, accompanied by music. The Dasabodha has many prescriptions and proscriptions for Harikatha artistes. If Harikatha does not come across as a rarefied art, it becomes obvious from the rules laid down by Samartha that this simplicity in presentation is acquired through practice. The Harikatha exponent must ensure that the art does not become an attempt to seek recognition for his knowledge. There are rules for listeners too. Grimes learnt the art of Harikatha under Turaiyur Rajagopala Sharma and she has given the format her Guru taught her. She has also elaborated on the various musical forms used in Harikatha, like Abhangs, Ovi, Saki, Dindi and Arya. Harikatha is the only art form that uses all kinds of music, from classical to folk. Among the talas used, the Usi tala is unique to Harikatha.
Tradition
The book gives interesting facts about Harikatha as practised in Tamil Nadu. Tanjavur Krishna Bhagavatar learnt Bharatanatyam from Appadurai Pillai and incorporated Natyam in his very first performance. Gayana padu Saraswati Bai used to lend vocal support to Kadapa Lakshmi Ammal, who took to Harikatha long before Saraswati Bai did. Turaiyur Rajagopala Sharma’s father Mahadeva Sastrigal wrote the book, Harikatha Ratnavali, consisting of 16 different Kathas. Nagapatnam Rajaram Bhagavatar performed a Harikatha on Gandhiji.
There should have been better proof reading. Glaring spelling errors and grammatical slips pop up here and there. Upakathas could have been translated as “related stories” instead of “side stories”. The author could have also included brief bio data of Harikatha artistes of today like Kalyanapuram Aravamudhachariar. A handy guide book and the historical accounts add to the interest quotient.
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