O site do Adishakti, de que se falou ontem, vale a pena ser visitado , http://www.adishaktitheatrearts.org/index.htm , embora esteja desactualizado (alguém os avisa??..; só refere, por exemplo, os espectáculos para 2004-05).
Tem a biografia de L.Rajappa, marionetista de sombras, mas não o refere falecido…
“A ninth generation (afinal sempre são mais de sete!…lol..) Traditional Leather Puppeteer from Tamilnadu. He has performed extensively in South India. He also teaches puppet-making and performance craft at Adishakti.
Recently he was awarded the Kalaimamani Award by the Pondicherry Government. He has been with Adishakti since 2002. “
Uma coisa que me esqueci de perguntar hoje: em Pondicherry (ou, agora, Puducherry)
vêem-se muitos vestígios da passagem francesa?
Encontrei num blog a referência a um filme sobre ele:
Story Tellers (English & Tamil / 0:25:02 / Dec. 2006 / India / Prashanth Kumar R, Daya J)
“In an era of globalized mass media, television and cinema have become the predominant sources of popular entertainment. As they stride over cultural diversity and traditions, a sort of homogenization is gaining force, making in roads into the social spaces enjoyed by the traditional art forms and pushing them onto the sidelines, into oblivion. The film is based on the art and life of L. Rajappa, a shadow puppeteer from Pondicherry.”
Fantoches de cabedal (ou de sombras)
The themes of Mahabharata and Ramayana, imbued with religious thought as well as social ethics, are narrated through select episodes in the course of a single night.
- The entire epic comes for a marathon narrative in its sequence of events over several successive nights.
- The philosophy conveyed is: the good overpowering the evil and the gods never mixing with the evil demons.
- They are derived from the visual art performances like the Patta Chitra (scroll paintings) (é a arte pátua, ainda no Museu de Etnologia? parece-me que não, mas…) of the south of India, the Jadano Pat (rolled painting) of Bengal, the Chitrakathi (single paintings) of Maharashtra, Yampat (scroll paintings) of Bihar and the Phad (panel painting) of Rajasthan.
- It was given high patronage by the local potentates there and allowed settlements in different regions.
- The clan, which was a wandering tribe, spread their art as they migrated to the further south, performing the shadow plays of Maharashtra.
- Another clan of the original tribe migrated to Karnataka, taking their art form with them.
- The art flourished throughout the later centuries and was rejuvenated under the royal patronage of various rulers in these regions.
The shadow shows invariably begin with an invocation to Ganesha, the elephant-headed son of Shiva, who is treated as the patron God of all puppets.
Often Saraswati, the goddess of learning finds a place in the opening prayer, to the accompaniment of Bramha, the creator of the universe, who conducts the dance-music. The show remains mostly a family affair confined to a particular sect, although, others can join. The female members are generally not inducted as puppeteers though children are encouraged to learn in many clans. The casting of the shadow on the screen is by the oil lamp, slowly getting replaced by the electric light.
Mas é uma arte em extinção.
Por fim, o que dá o nome ao laboratório Adishakti:
Shakti, do Sânscrito shak – “ser capaz”
A energia cósmica primordial, as forças dinâmicas que se movem pelo universo inteiro.
Conceito, ou personificação, do poder criativo feminino, “A Grande Mãe Divina” do hinduísmo.
Adi-Shakti ou Adi Shakti
Conceito hindu do Shakti primário, o poder feminino na base de toda a criação
Prevalecente na denominação Shakta, que adora a deusa Devi em todas as suas manifestações.
PS – uma coisa me deixa em dúvida, quanto ao uso do cabedal, dado que a maioria dos tamil são hindús. há quem se preocupe com isso, há outros que não, qual é a tradição?