BHARATI PAWASKAR
The impressions that our mind gathers in young age are usually lasting and are difficult to erase in the later phase of life. What we see and experience around us leaves permanent marks on our personality. Prof Dr Prakash Khandge admits to this and states that he was drawn to folklore and devoted his entire life in researching and documenting the same so that the GenNext is aware of the rich Indian cultural and social history.
A living encyclopaedia in folk arts and literature, Dr Khandge will be in Goa on October 19 to speak on ‘Mythology of Khandoba’. An Indian academic, researcher, journalist and writer based in Mumbai, Dr Khandge is co-ordinator at Shahir Amar Shaikh Adhyasan, Lok Kala Academy at Mumbai University. A member of the Sangeet Natak Akademi, he was the founder and head of Lok Kala Academy (Performing folk arts department) of the University of Mumbai. He has been guiding PhD students too.
Dr Khandge’s extensive study and research in the field of folk arts and literature, performing arts and tribal arts of India of the past 35 years, has been the backbone of his scholarly lectures across India and abroad, especially in China and the US. Dr Khandge delivered lectures for tribal teachers workshops organised by CCRT, government of India and in the seminar of Tribal Art Festival (Adirang) organised by National School of Drama.
“All this was possible because of my upbringing and surrounding,” he admits, adding, “Born in a traditional Vaishnav Varkari Sampraday family from Pimpalgaon in Ahmednagar, my father and grandfather were Kirtankars and in my formative years I used to attend Kirtans along with my grandmother. I grew up in an atmosphere surrounded by traditional devotional practices such as the singing of kakad aarti and abhang the reading out of Hari-vijay, Pandav-pratap, Navnath and the like. I participated in the vari when I was nine. When I was a class four student our family relocated to Mumbai’s working-class neighbourhood of Lalbaug, where I was exposed to folk performing art forms such as Balya dance, Gajnritya, Talwar dandpatte, Zimma phugdya and the like…”
Explaining that there are two traditions in the Varkari cult - Bhakti Sampradaya and Lokdaivat Sampraday (folk deity devotional tradition of Vaishnavas). “Deities, Khandoba (Kanada Malhar) and Vithoba (Kanada Vitthalu), both from Karnataka had deep influence on my mind and psyche,” states Dr Khandge, adding, “My thesis for PhD was - ‘Jagaran - Ek Vidhinatya, Vagmaya, Prayog’ which received the A K Priolkar best doctoral thesis award.”
The books he penned - Chaal Majhya Payat, Khandobache Jagran, Bhandar Buka, Nohe Eklyacha Khel and Performing Folk Arts of Maharashtra are scholarly works. He also edited few books - Garja Maharashtra Majha, Lok Leni and Lok Parikrama that talk of folklore. Apart from this he also wrote chapters for Marathi Vishwakosh and Sanskritik Maharashtra (both for government of Maharashtra), Shahar Pune (Popular Prakashan) and Art Land (Delhi).
“I lived a life full of contrasts - uprooting myself from a remote village in Maharashtra to ground in the commercial capital Mumbai. Living in a chawl in Byculla, I studied in the roadside light as a kid and somehow reached to post-graduation level. I have experienced life in its different aspects - it was never a straight line or comfortable go for me. The road was always zigzag and crooked with ups and downs. Life threw tremendous struggles at me. I have tasted poverty and success too came my way and that’s what inspired me to write my autobiography - to let people know how life treats you and how you have to make gold out of whatever is thrown at you by life,” says this 62-year-old professor who is not ashamed to share his days of struggle.
There were days when he did not have even a rupee in his pocket and had to sell papad during Diwali to make a living. But after graduation when he took up a job with Hindustan Lever, life changed. But he soon quit, and took to journalism.
During this time he was on the State committee of Lok Kala and worked towards offering prestige to folk performing arts in Maharashtra like Lavani and Tamasha Maharashtra Tamasha. Through Sahitya Sanskruti he worked to give a place of dignity to the folk performing arts and the neglected folk artists whom the society looked down upon. His contribution did not go in vain. The government of Maharashtra and India, noted it and many awards came his way.
“Things are different in other countries. Folk artists are treated with respect,” observes Dr Khandge who has visited several countries and studied their culture. “The basic culture and spirit behind folk forms is similar. The soul is same, but the body may be different. It’s for the society to explore its beauty and enjoy the art, instead of giving names as all art is divine,” concludes Dr Khandge.
