‘Struggle for self identity’ becomes the ultimate thrust of Tulu wood

      Tulu language acquired its form or structure after the effort of Christian missionaries who wrote Tulu in Kannada script and Rvt. Myanar who published 'Tulu-English dictionary' consisting of 18000 words and Rev. Brigel who wrote the grammar of Tulu language in 1872. The contribution of many Indian scholars and educated men like S.U. Paniyadi, Shinappa Hegede, Narayan  Khille, M.P.V. Sharma, Narkala Marappa Shetty laid a strong foundation to the language.  The revolutionary steps of our great men resulted in giving birth to various expressions of Tulu language. Besides composing poems, literature, music and so on it took 49 years for Tulu wood or the regional film industry to realize a film in the world of Indian cinema.  The father of Indian cinema Dhundirai Govind Phalke who is also affectionately called as Dadasaheb Phalke sowed the seeds of vision in the minds of creative men who have found an identity for Tulu nadu in the world of visuals.

       With the germination of such spirit the Tulu film industry produced the first ever film  “Enna Thangadi” in 1971. Tulu films have made a mark among the people of Dakshina Kannada, Udupi, Kasaragods and some part of Uttara Kannada and Mumbai. Though the two and half scores years’ old Tulu film industry has a limited market yet it constantly seeks to reach out maximum number of audience. In an average 30 Tulu films in a year are being produced with the efforts of adventurous men like S. R. Rajan, Vishu Kumar, Aroor Bhimarao, K.N.Taylor.

         Some of the early films such as Enna Tangady (1971), Koti Chennaya (1973), and the first Tulu color film Kariyani Kattandi Kandani (1978), Bisatti Babu (1972) are still living in the hearts of Tulu movie lovers.  One of the significance factors about the Tulu films is that it has influence of Kannada film which helps the industry to flourish and reach out a larger number of people. This can be understood by the film ‘Udalda Thudar’ which is inspired by a drama-‘Hridaya Jyothi’ in Kannada literature. This film becomes a prominent one because it had won the “Navabharatha Tulu Koota” award for its outstanding screenplay and dialog.

‘Pili Vesha in Kudla world’ is a message in itself

   ‘Tiger Dance,’ the folk dance of Dakshina Kannada is popular among literate as well as illiterate. The Tulu culture has promoted the art with a purpose. The form of presentation as ‘pili’ in itself is a message because it is believed to be the favored vehicle of Goddess Sharada. This deity is worshiped and given at most importance at the time of Dussera. It draws special attention of everyone because the men in ‘Plili Vesha’ are a symbolic expression of power of carnivore. The skillful artist who plays the role of tiger is expected to kill a sheep. Therefore killing a sheep has become a ritual.

                  The folk dances always performed with the accompaniment of the sound of heavy drums which throws an invitation to the audience. The drum beat and the movement of the bodies of the actors synchronized in such a way it creates excitements among the onlookers. Besides all the heroic actions the design of painting on the bodies of the performers creates more curiosity in the audiences.  The entertaining dances also project the dedication and skills of the artists. Since they are specialized in ‘Pilli vesha' they try to protect the painting by sleeping on the plantain leaf.  Over the years the presentation of art has become very expensive.

             In order to celebrate Dussera meaningfully the organizers have to invest money and energy especially on painting of the performers. The mythological characters may not be able to bring out the best in a traditional way but it will be able to create impact on the audience by their creativity.

'Kambala'-The Olympic of Dakshina Kannada keeps 'Tulu culture' alive

           Kambala is one of the unique practices of Tulu culture. Kambala or buffalo race reminds people of the cultural tradition of their forefathers who began it and passed it on to the next generation. It is alive and active among the farmers’ community because they value it and add meaning to the practice by holding competitions. This is also considered as the sports of farmers who participate faithfully in Kambala every year. Places like Puthur, Udupi, and Mangalore have particular spots for conducting competitions. This act of the farmers not only brings the farmers’ community together but also the new and young generation which can witness and appreciate it. Therefore the buffalo race is celebrated as ‘Kambala’ in various places of Karnataka.

         The two aspects of Kambala are the skill of the racer and the role of buffaloes. The competitors are capable of participating in Kambala because they know the art and they feel that it is meant for them. The splash of mucky water and the beating of drums by the musicians create a sense of celebration among the audience. Suruchi Dumpawar, a photographer shares in her article on ‘Kambala: Buffalo Racing in Muddy Water’, that two tracks are dug up in such a way that they are filled with mucky water and slush. The feet of the track normally kept up to 450 ft.  

    While some of the old practices in all the traditions of India are dying ‘Kambala,’ becomes unique because it has acquired its due place in the hearts of people.

Yakshagana lives still in the hearts of people

         The age old folk art of the Yaksha (nature spirits) lives still in the hearts of people even after centuries because of its unique characteristics. The musical dramas are composed from poems, epics like Ramayana and Mahabharata and some Hindu texts in order to bring out the meaning effectively so that it can be placed in the context of people’s life.

        The dance drama reminds those passionate lovers of Yakshagana by the beating of drums. When Himmela, the musicians and ‘Mummela’ the performers amalgamate together there is a new creation of art. Among the ‘Himmelas’ there are also two type of percussionists (madhdahale and chende) who add new flavour to a composition.  The classical dance holds its unique position because they are not merely contributing for the entertainment of people but also they make outstanding contribution to the world of art. Their composition involves a systematic and scientific approach. Ragas are presented in rhythmic forms which are identified as mattu and tala. In the western world they are addressed as musical meter. The contemporary classical music also has some root in this ancient art.

      Yakshagana lives even today very prominently in heart of people for its art and originality. It not only connects ancient art with contemporary but also finds relevance in the lives of ordinary people in the country side. The specialty of Yakshagan among many other folk arts is that it keeps mesmerizing even the city folks today. It lives and popularized especially in coastal Karnataka.

‘Bhuta Kola’ awakes people to transcend their thinking

                                                   

            ‘Butha Kola’ or Butha worship reminds people of not only the ancient practices of their ancestors but also the strong  belief that is passed on from generation to generation. The meaning of the phrase ‘Butha-Kola’ is; Butha-Supernatural spirit and Kola-ceremony. This being an ancient ritual practice, the Tulu speaking community especially Bunts, Billavas and other Sudra casts of South Kanara take pride in pursuing the cultural tradition. In Butha worship the believers make effort in satisfying the spirit and seek its assistance and blessing. This sort of worship is special in Tulu-nadu because of the various nuances. It also unveils the innumerable aspects of the ritual ceremony. 

   This may be paradoxical in nature because of the two Gods, Deva and Daiva. Though Deva is worshiped in every community yet the focus in Botha Kola is Daiva. The element that distinguishes Daiva from Deva is the way the philosophy and theology is perceived by the people of Tulu-nadu. This does not demand for high literacy to understand but what builds people’s belief is that the strong faith that it will do good to them. The different casts’ worshipers gather in their locality and celebrate this ceremony. The significance of such practice is that the impact it has created among believers. For instance people, the way the dancer decorates himself in ‘Jumadi Daiva’ style, and tying of Siri (palm leaves) on the hip of the dancer as skirt, the presence of the Patri (priest) are some of the obvious elements which strengthens people faith. 

Kori Rotti-The traditional food of Tulu-nadu is the delicacy of Mangalore

          “Kori rotti is just awesome and no MacDonald is equal to kori rotti,” were the spontaneous words of some boys of Manglore on Kori Rotti. Among all the Mangalore cuisines Kori Rotti dominates because it is delicacy. Though rotti is available everywhere and eaten always yet it has a significance in Tulu-nadu. It is not, yet another festival but most awaited time to celebrate the birth of The Lord Krishna with lots of fun involving some of his child like characters. Kori Rotta becomes delicacy because on the Wadashi day which comes after the day of Lord Krishna’s Janmastami, the people of Tulu-nadu get excited to have Kori rotti as their main dish.

         The specialty of this food is felt very well when we see the boys of Mangalore enjoy eating kori rotti. It is considered as one of the cuisines of Mangalore and takes the highest priority in the menu cards of Mangalore. This one aspect of kori rotti is an unforgettable contribution of Tulu-nadu to the coastal district of Karnataka. Today many restaurants are named after kori rotti. In any functions of Mangalore kori rotti is served first. They all speak the importance of Tulu nadu to the port city of Karnataka. 

The characteristics of kori rotti are very notable. When it is made, the color of kori rotti -ornage stands for the prosperity of people in Tulu-nadu.

Tulu Nadu-a Nandanavana of India

           Tulu Nadu is a place that reminds us of its unforgettable past. The name is perhaps a traditional one but has rich heritage. The indigenous people called ‘Tuluva,’were always proud of the name, Tulu-nadu. It was ruled by Tolav dynasty. Tuluva also denotes the people and an area where Tulu was spoken by people. Tuluva has its great significance if its root is traced in Kannada language. One of the writers, B.A. Saletore finds its root in Kannada as Tulu which means ‘to attack.’ The nature of Tuluva is described as warlike people. Historians and great writers have described ‘Tulu-nadu’ in different ways from their experiences. Tulu-nadu is one of the coastal districts of Karnataka called South Kanara. The new name ‘South Kanara’ is the result of the conversion from Tulu-nadu in 1860 and this became part of the British division, in the Madras Presidency.

       The most renowned Indian and a historical figure, Sarojini Naidu pronounced Tulu nadu, a Nandanavana of India or in other words, a pleasure garden of India. Naidu has a reason to say Tulu-nadu as Nandanavana. Sediyapu Krishna Bhat, a man of great acquaintance of Tulu culture added his opinion to Tulu as water. The place which abounds in water helped fishermen thrive. K.V. Ramesh interprets Tulu-nadu is a region which is filled with soft fruits. The name is has root in Dravidian language as Turu which stands for cattle. This draws meaning for Tuluva as cattle breeders. Over the years, as the time took a new turn in terms of development. As a result the name Tulu-nadu came to be known as South Kanara. This is basically a place of forest which has rich and luxuriant flora and timber. The rich land is beautifully described by the author Kranti Farias in his book, ‘The Christian Impact in South Kanara,’ as s as, “The Western Ghats have steep cliffs in the northern part and in the southern have parallel ridges intersected by deep valleys beyond 80 Kms from the sea.”

            South Kanara is one of the spots of India for its wealth. Another testimony which leaves us a clue to realize the importance of the region is Tipu Sulthan’s strict policy. When Mangalore was under the dynasty of Tipu Sultan of Mysore he ordered uncompromising policy which put forward several penalties for those who dared to sell sandalwood trees because these trees were the major source of revenue to the state. Therefore Tulu-nadu or South Kanara is a place of sandalwood which probably made the place gain more prominence in the Indian map. This prominence is still held truth today in different forms of development.

L Arun,

MCMS, 0129701