Textbook: Entertainment and History | History and Political Science Class 10 (Maharashtra Board) PDF Download

 Page 1


39
6. Entertainment and History
Things that help refresh our minds 
and give a feeling of happiness are the 
sources of entertainment. Various hobbies, 
games, drama-film, writing-reading, etc. 
are the sources of entertainment.
6.1 Why do we need Entertainment ?
Healthy entertainment of excellent 
quality is essential for the healthy growth 
of one’s personality. Entertainment keeps 
our minds lively and fresh. It may 
also make us feel physically more 
energetic. So eventually our 
efficiency at work improves. 
Pursuing hobbies and games helps 
in personality development. In 
India many festivals, sports, dance-
music, etc. were developed as 
forms of entertainment since 
ancient times.
There are varied forms of 
entertainment available in the 
modern period as well.
entertainment.
Watching a sports match or listening 
to music or watching a movie are examples 
of passive entertainment. In this type of 
entertainment we are not actual participants 
but only viewers. 
Try to do it.
Make a list of various types of 
entertainment and classify them into 
different categories.
Create a chart of active and passive 
types of entertainment, which are 
related to history.
Do it.
6.2 Folk Theatre
Puppetry - Wooden Puppets 
(Kathputali) : Remains of clay dolls have 
Entertainment can be classified into 
two categories, active and passive. Active 
entertainment anticipates an individual’s 
mental-physical participation. Practicing of 
handicrafts and participating in sport 
activities are examples of active 
Puppetry - Wooden Puppets 
6.1 Why do we need Entertainment ?
6.2 Folk Theatre
6.3 Marathi Theatre
6.4 Indian Film Industry
6.5 Entertainment and Professional 
Opportunities
been found in the excavations of 
archaeological sites of Harappan 
civilisation as well as sites in Egypt and 
Greece. It is possible that they were used 
as puppets.
In ancient India materials like wood, 
wool, leather, horns and ivory were used 
to make puppets. The Kathputali, a 
traditional art of puppetry in India has two 
styles; one that developed in Rajasthan 
Page 2


39
6. Entertainment and History
Things that help refresh our minds 
and give a feeling of happiness are the 
sources of entertainment. Various hobbies, 
games, drama-film, writing-reading, etc. 
are the sources of entertainment.
6.1 Why do we need Entertainment ?
Healthy entertainment of excellent 
quality is essential for the healthy growth 
of one’s personality. Entertainment keeps 
our minds lively and fresh. It may 
also make us feel physically more 
energetic. So eventually our 
efficiency at work improves. 
Pursuing hobbies and games helps 
in personality development. In 
India many festivals, sports, dance-
music, etc. were developed as 
forms of entertainment since 
ancient times.
There are varied forms of 
entertainment available in the 
modern period as well.
entertainment.
Watching a sports match or listening 
to music or watching a movie are examples 
of passive entertainment. In this type of 
entertainment we are not actual participants 
but only viewers. 
Try to do it.
Make a list of various types of 
entertainment and classify them into 
different categories.
Create a chart of active and passive 
types of entertainment, which are 
related to history.
Do it.
6.2 Folk Theatre
Puppetry - Wooden Puppets 
(Kathputali) : Remains of clay dolls have 
Entertainment can be classified into 
two categories, active and passive. Active 
entertainment anticipates an individual’s 
mental-physical participation. Practicing of 
handicrafts and participating in sport 
activities are examples of active 
Puppetry - Wooden Puppets 
6.1 Why do we need Entertainment ?
6.2 Folk Theatre
6.3 Marathi Theatre
6.4 Indian Film Industry
6.5 Entertainment and Professional 
Opportunities
been found in the excavations of 
archaeological sites of Harappan 
civilisation as well as sites in Egypt and 
Greece. It is possible that they were used 
as puppets.
In ancient India materials like wood, 
wool, leather, horns and ivory were used 
to make puppets. The Kathputali, a 
traditional art of puppetry in India has two 
styles; one that developed in Rajasthan 
40
and the other in southern regions of India.
The artists who stage Kathputali shows 
are found in Uttar Pradesh, Maharashtra, 
Rajasthan, Assam, West Bengal, Andhra 
Pradesh, Telangana, Karnatak and Kerala. 
The role of the narrator known as 
sutradhara is very crucial in the success 
of Kathaputali stage show. The stage for 
this puppetry show is quite small but the 
puppeteers use light and sound effects in 
an ingenious way. Shadow puppets, hand 
puppets, wooden puppets and string puppets 
are used in Kathputali shows.
Dashavatara Theatre : Dashavatara is  
part of the folk theatre in Maharashtra. 
Dashavatara shows are presented in the 
regions of Konkan and Goa after harvesting 
season is over. The stories presented in 
these shows are based on the 10 incarnations 
of Vishnu, namely Matsya, Koorma, Varaha, 
Narsimha, Wamana, Parashurama, Ram, 
Krishna, Buddha and Kalki. At the beginning 
of the show sutradhara, the narrator invokes 
Lord Ganesha, the destroyer of obstacles.
In the 18th century Shyamji Naik Kale 
started a phad
*
, of Dashavatara artists 
which used to perform all over Maharashtra.
Vishnudas Bhave, the pioneer of 
Marathi theatre staged mythological plays 
by introducing some modifications in the 
Dashavatara style. Thus, the origins of the 
Marathi theatre can be traced to 
Dashavatara tradition.
*
The meaning of phad is ‘a troupe’.
Bhajan (singing devotional songs) : 
To sing songs in praise of God and 
chanting god’s name accompanied by 
instruments like taal (cymbals), mridangam, 
pakhavaj is known as Bhajan. There are 
two types of Bhajan, Chakri Bhajan and 
Songi Bhajan.
Chakri Bhajan : Devotees keep moving 
in circular fashion and sing without break.
Songi Bhajan : The singer-actors act 
as devotees and deliver dialogues in the 
form of devotional songs.
Tukadoji Maharaj introduced a new 
form of Bhajan known as Khanjiri Bhajan.
Dashavatara
Listen to the bhajans composed by 
saints Tulsidas, Surdas, Meerabai and 
Kabir and try to learn them with the 
help of your music teacher or some 
traditional singer.
Do this.
The method of acting, make-up, 
costumes in Dashavatara shows is set by 
the tradition. The show is mostly musical 
but sometimes there may be a few 
spontaneous dialogues. The characters 
representing gods use wooden masks. The 
show ends by breaking dahihandi, an 
earthen pot of curds, followed by aarati, 
singing praises of the God.
In north India the bhajans composed 
by Saint Tulsidas, the great poet Surdas, 
Saint Meerabai and Saint Kabir are very 
popular.
Compositions of Purandardas, 
Kanakdas, Vijaydas, Bodhendraguruswami, 
Thyagaraj, etc. are sung in Karnatak.
In Gujarat Saint Narasi Mehta gave 
momentum to the Bhakti movement. In 
Maharashtra, Saint Namadeva supported 
the tradition of bhajan-keertan through the 
tradition of Varakari sect. The Varakari 
Page 3


39
6. Entertainment and History
Things that help refresh our minds 
and give a feeling of happiness are the 
sources of entertainment. Various hobbies, 
games, drama-film, writing-reading, etc. 
are the sources of entertainment.
6.1 Why do we need Entertainment ?
Healthy entertainment of excellent 
quality is essential for the healthy growth 
of one’s personality. Entertainment keeps 
our minds lively and fresh. It may 
also make us feel physically more 
energetic. So eventually our 
efficiency at work improves. 
Pursuing hobbies and games helps 
in personality development. In 
India many festivals, sports, dance-
music, etc. were developed as 
forms of entertainment since 
ancient times.
There are varied forms of 
entertainment available in the 
modern period as well.
entertainment.
Watching a sports match or listening 
to music or watching a movie are examples 
of passive entertainment. In this type of 
entertainment we are not actual participants 
but only viewers. 
Try to do it.
Make a list of various types of 
entertainment and classify them into 
different categories.
Create a chart of active and passive 
types of entertainment, which are 
related to history.
Do it.
6.2 Folk Theatre
Puppetry - Wooden Puppets 
(Kathputali) : Remains of clay dolls have 
Entertainment can be classified into 
two categories, active and passive. Active 
entertainment anticipates an individual’s 
mental-physical participation. Practicing of 
handicrafts and participating in sport 
activities are examples of active 
Puppetry - Wooden Puppets 
6.1 Why do we need Entertainment ?
6.2 Folk Theatre
6.3 Marathi Theatre
6.4 Indian Film Industry
6.5 Entertainment and Professional 
Opportunities
been found in the excavations of 
archaeological sites of Harappan 
civilisation as well as sites in Egypt and 
Greece. It is possible that they were used 
as puppets.
In ancient India materials like wood, 
wool, leather, horns and ivory were used 
to make puppets. The Kathputali, a 
traditional art of puppetry in India has two 
styles; one that developed in Rajasthan 
40
and the other in southern regions of India.
The artists who stage Kathputali shows 
are found in Uttar Pradesh, Maharashtra, 
Rajasthan, Assam, West Bengal, Andhra 
Pradesh, Telangana, Karnatak and Kerala. 
The role of the narrator known as 
sutradhara is very crucial in the success 
of Kathaputali stage show. The stage for 
this puppetry show is quite small but the 
puppeteers use light and sound effects in 
an ingenious way. Shadow puppets, hand 
puppets, wooden puppets and string puppets 
are used in Kathputali shows.
Dashavatara Theatre : Dashavatara is  
part of the folk theatre in Maharashtra. 
Dashavatara shows are presented in the 
regions of Konkan and Goa after harvesting 
season is over. The stories presented in 
these shows are based on the 10 incarnations 
of Vishnu, namely Matsya, Koorma, Varaha, 
Narsimha, Wamana, Parashurama, Ram, 
Krishna, Buddha and Kalki. At the beginning 
of the show sutradhara, the narrator invokes 
Lord Ganesha, the destroyer of obstacles.
In the 18th century Shyamji Naik Kale 
started a phad
*
, of Dashavatara artists 
which used to perform all over Maharashtra.
Vishnudas Bhave, the pioneer of 
Marathi theatre staged mythological plays 
by introducing some modifications in the 
Dashavatara style. Thus, the origins of the 
Marathi theatre can be traced to 
Dashavatara tradition.
*
The meaning of phad is ‘a troupe’.
Bhajan (singing devotional songs) : 
To sing songs in praise of God and 
chanting god’s name accompanied by 
instruments like taal (cymbals), mridangam, 
pakhavaj is known as Bhajan. There are 
two types of Bhajan, Chakri Bhajan and 
Songi Bhajan.
Chakri Bhajan : Devotees keep moving 
in circular fashion and sing without break.
Songi Bhajan : The singer-actors act 
as devotees and deliver dialogues in the 
form of devotional songs.
Tukadoji Maharaj introduced a new 
form of Bhajan known as Khanjiri Bhajan.
Dashavatara
Listen to the bhajans composed by 
saints Tulsidas, Surdas, Meerabai and 
Kabir and try to learn them with the 
help of your music teacher or some 
traditional singer.
Do this.
The method of acting, make-up, 
costumes in Dashavatara shows is set by 
the tradition. The show is mostly musical 
but sometimes there may be a few 
spontaneous dialogues. The characters 
representing gods use wooden masks. The 
show ends by breaking dahihandi, an 
earthen pot of curds, followed by aarati, 
singing praises of the God.
In north India the bhajans composed 
by Saint Tulsidas, the great poet Surdas, 
Saint Meerabai and Saint Kabir are very 
popular.
Compositions of Purandardas, 
Kanakdas, Vijaydas, Bodhendraguruswami, 
Thyagaraj, etc. are sung in Karnatak.
In Gujarat Saint Narasi Mehta gave 
momentum to the Bhakti movement. In 
Maharashtra, Saint Namadeva supported 
the tradition of bhajan-keertan through the 
tradition of Varakari sect. The Varakari 
41
instruments, dance and humour. He needs 
to be very well informed. Keertan is 
performed in a temple or in the precincts 
of a temple.
Lalit : Lalit is an old form of 
entertainment in Maharashtra. It belongs 
to the tradition of Naradiya Keertan. It is 
quite popular in Goa and Konkan.
During the performance of Lalit on the 
occasion of religious festivals, it is 
presumed that the presiding deity of that 
festival is present on the throne and then 
she is invoked for fulfilment of a desire. 
The invocation continues as follows : “Let 
everybody be granted their desire. Let 
entire village live in happiness till we 
perform next Lalit. Let the internal 
clashes vanish with this performance of 
Lalit. Let nobody’s mind be spoilt with 
prejudice. Let all transactions happen 
with clear minds. Let the community’s 
behaviour be pious.”
The Lalit is performed in a theatrical 
style. Stories of Krishna, Rama and great 
devotees are presented during the 
performance. A few texts of Lalit are 
available in Hindi as well. Lalit forms a 
part of the backdrop of modern Marathi 
theatre.
Bharud : Bharud can be described as 
a metaphorical song that has spiritual and 
ethical lessons. Bharud is comparable to 
the style of a road show. Bharuds composed 
by Saint Eknath are popular in Maharashtra 
because of its wide range of subjects, 
dramatic quality, easy rhythm and humour. 
Saint Eknath composed Bharuds with a 
purpose of educating people on various 
aspects of life. 
Tamasha : Tamasha is a Persian 
word. It means a ‘pleasing sight’. Tamasha 
developed as an independent art form in 
the 18th century, by absorbing various 
traits of folk theatre and classical arts. 
You would like to know this :
There are two main traditions of 
keertan, (1) Naraadiya or Haridasi   
(2) Varakri. Haridasi keertan is a solo 
performance. It has two parts, Poorvarang 
and Uttarrang. Naman (praising god), 
Nirupanacha Abhang (singing a 
composition that leads to the main theme) 
and Nirupan (explanation of the main 
theme) comprise the Poorvarang. 
Narration of a story to illustrate the main 
theme comprises Uttarrang. In the 
Varkari Keertan collective participation 
is more important. The players of cymbals 
also play an important part along with 
the keertankar. During the independence 
movement a new type of Keertan was 
developed, known as Rashtriya Keertan. 
It places more importance on creating 
awareness by narrating the life stories of 
great leaders of the Indian independence 
movement, scientists, social reformers, 
etc. The tradition of Rashtriya Keertan 
was started by Dattopant Patwardhan of 
Wai in Maharashtra.
Members of the Satyashodhak Samaj 
founded by Mahatma Jyotirao Phule also 
used Keertan as a medium of creating 
social awareness. The style of Keertan by 
Saint Gadge Maharaj resembled closely 
to Satyashodhak style of Keertan. He 
used to throw light on issues like abolition 
of caste, cleanliness, deaddiction, etc.
sect developed a glorious tradition of 
bhajan-keertan.
Keertan :  Traditionally, Naradmuni 
is supposed to be the founder of the 
Keertana tradition. Saint Namadev is 
known as the first keertankar of 
Maharashtra. Other saints helped the 
tradition to flourish.
The keertankar is also known as 
Haridas or Kathekaribuva. He has to dress 
in a traditional way. He needs to train 
himself in oratory, singing, musical 
Page 4


39
6. Entertainment and History
Things that help refresh our minds 
and give a feeling of happiness are the 
sources of entertainment. Various hobbies, 
games, drama-film, writing-reading, etc. 
are the sources of entertainment.
6.1 Why do we need Entertainment ?
Healthy entertainment of excellent 
quality is essential for the healthy growth 
of one’s personality. Entertainment keeps 
our minds lively and fresh. It may 
also make us feel physically more 
energetic. So eventually our 
efficiency at work improves. 
Pursuing hobbies and games helps 
in personality development. In 
India many festivals, sports, dance-
music, etc. were developed as 
forms of entertainment since 
ancient times.
There are varied forms of 
entertainment available in the 
modern period as well.
entertainment.
Watching a sports match or listening 
to music or watching a movie are examples 
of passive entertainment. In this type of 
entertainment we are not actual participants 
but only viewers. 
Try to do it.
Make a list of various types of 
entertainment and classify them into 
different categories.
Create a chart of active and passive 
types of entertainment, which are 
related to history.
Do it.
6.2 Folk Theatre
Puppetry - Wooden Puppets 
(Kathputali) : Remains of clay dolls have 
Entertainment can be classified into 
two categories, active and passive. Active 
entertainment anticipates an individual’s 
mental-physical participation. Practicing of 
handicrafts and participating in sport 
activities are examples of active 
Puppetry - Wooden Puppets 
6.1 Why do we need Entertainment ?
6.2 Folk Theatre
6.3 Marathi Theatre
6.4 Indian Film Industry
6.5 Entertainment and Professional 
Opportunities
been found in the excavations of 
archaeological sites of Harappan 
civilisation as well as sites in Egypt and 
Greece. It is possible that they were used 
as puppets.
In ancient India materials like wood, 
wool, leather, horns and ivory were used 
to make puppets. The Kathputali, a 
traditional art of puppetry in India has two 
styles; one that developed in Rajasthan 
40
and the other in southern regions of India.
The artists who stage Kathputali shows 
are found in Uttar Pradesh, Maharashtra, 
Rajasthan, Assam, West Bengal, Andhra 
Pradesh, Telangana, Karnatak and Kerala. 
The role of the narrator known as 
sutradhara is very crucial in the success 
of Kathaputali stage show. The stage for 
this puppetry show is quite small but the 
puppeteers use light and sound effects in 
an ingenious way. Shadow puppets, hand 
puppets, wooden puppets and string puppets 
are used in Kathputali shows.
Dashavatara Theatre : Dashavatara is  
part of the folk theatre in Maharashtra. 
Dashavatara shows are presented in the 
regions of Konkan and Goa after harvesting 
season is over. The stories presented in 
these shows are based on the 10 incarnations 
of Vishnu, namely Matsya, Koorma, Varaha, 
Narsimha, Wamana, Parashurama, Ram, 
Krishna, Buddha and Kalki. At the beginning 
of the show sutradhara, the narrator invokes 
Lord Ganesha, the destroyer of obstacles.
In the 18th century Shyamji Naik Kale 
started a phad
*
, of Dashavatara artists 
which used to perform all over Maharashtra.
Vishnudas Bhave, the pioneer of 
Marathi theatre staged mythological plays 
by introducing some modifications in the 
Dashavatara style. Thus, the origins of the 
Marathi theatre can be traced to 
Dashavatara tradition.
*
The meaning of phad is ‘a troupe’.
Bhajan (singing devotional songs) : 
To sing songs in praise of God and 
chanting god’s name accompanied by 
instruments like taal (cymbals), mridangam, 
pakhavaj is known as Bhajan. There are 
two types of Bhajan, Chakri Bhajan and 
Songi Bhajan.
Chakri Bhajan : Devotees keep moving 
in circular fashion and sing without break.
Songi Bhajan : The singer-actors act 
as devotees and deliver dialogues in the 
form of devotional songs.
Tukadoji Maharaj introduced a new 
form of Bhajan known as Khanjiri Bhajan.
Dashavatara
Listen to the bhajans composed by 
saints Tulsidas, Surdas, Meerabai and 
Kabir and try to learn them with the 
help of your music teacher or some 
traditional singer.
Do this.
The method of acting, make-up, 
costumes in Dashavatara shows is set by 
the tradition. The show is mostly musical 
but sometimes there may be a few 
spontaneous dialogues. The characters 
representing gods use wooden masks. The 
show ends by breaking dahihandi, an 
earthen pot of curds, followed by aarati, 
singing praises of the God.
In north India the bhajans composed 
by Saint Tulsidas, the great poet Surdas, 
Saint Meerabai and Saint Kabir are very 
popular.
Compositions of Purandardas, 
Kanakdas, Vijaydas, Bodhendraguruswami, 
Thyagaraj, etc. are sung in Karnatak.
In Gujarat Saint Narasi Mehta gave 
momentum to the Bhakti movement. In 
Maharashtra, Saint Namadeva supported 
the tradition of bhajan-keertan through the 
tradition of Varakari sect. The Varakari 
41
instruments, dance and humour. He needs 
to be very well informed. Keertan is 
performed in a temple or in the precincts 
of a temple.
Lalit : Lalit is an old form of 
entertainment in Maharashtra. It belongs 
to the tradition of Naradiya Keertan. It is 
quite popular in Goa and Konkan.
During the performance of Lalit on the 
occasion of religious festivals, it is 
presumed that the presiding deity of that 
festival is present on the throne and then 
she is invoked for fulfilment of a desire. 
The invocation continues as follows : “Let 
everybody be granted their desire. Let 
entire village live in happiness till we 
perform next Lalit. Let the internal 
clashes vanish with this performance of 
Lalit. Let nobody’s mind be spoilt with 
prejudice. Let all transactions happen 
with clear minds. Let the community’s 
behaviour be pious.”
The Lalit is performed in a theatrical 
style. Stories of Krishna, Rama and great 
devotees are presented during the 
performance. A few texts of Lalit are 
available in Hindi as well. Lalit forms a 
part of the backdrop of modern Marathi 
theatre.
Bharud : Bharud can be described as 
a metaphorical song that has spiritual and 
ethical lessons. Bharud is comparable to 
the style of a road show. Bharuds composed 
by Saint Eknath are popular in Maharashtra 
because of its wide range of subjects, 
dramatic quality, easy rhythm and humour. 
Saint Eknath composed Bharuds with a 
purpose of educating people on various 
aspects of life. 
Tamasha : Tamasha is a Persian 
word. It means a ‘pleasing sight’. Tamasha 
developed as an independent art form in 
the 18th century, by absorbing various 
traits of folk theatre and classical arts. 
You would like to know this :
There are two main traditions of 
keertan, (1) Naraadiya or Haridasi   
(2) Varakri. Haridasi keertan is a solo 
performance. It has two parts, Poorvarang 
and Uttarrang. Naman (praising god), 
Nirupanacha Abhang (singing a 
composition that leads to the main theme) 
and Nirupan (explanation of the main 
theme) comprise the Poorvarang. 
Narration of a story to illustrate the main 
theme comprises Uttarrang. In the 
Varkari Keertan collective participation 
is more important. The players of cymbals 
also play an important part along with 
the keertankar. During the independence 
movement a new type of Keertan was 
developed, known as Rashtriya Keertan. 
It places more importance on creating 
awareness by narrating the life stories of 
great leaders of the Indian independence 
movement, scientists, social reformers, 
etc. The tradition of Rashtriya Keertan 
was started by Dattopant Patwardhan of 
Wai in Maharashtra.
Members of the Satyashodhak Samaj 
founded by Mahatma Jyotirao Phule also 
used Keertan as a medium of creating 
social awareness. The style of Keertan by 
Saint Gadge Maharaj resembled closely 
to Satyashodhak style of Keertan. He 
used to throw light on issues like abolition 
of caste, cleanliness, deaddiction, etc.
sect developed a glorious tradition of 
bhajan-keertan.
Keertan :  Traditionally, Naradmuni 
is supposed to be the founder of the 
Keertana tradition. Saint Namadev is 
known as the first keertankar of 
Maharashtra. Other saints helped the 
tradition to flourish.
The keertankar is also known as 
Haridas or Kathekaribuva. He has to dress 
in a traditional way. He needs to train 
himself in oratory, singing, musical 
42
as well as the audience is essential for a 
successful performance. The theatre 
comprises several factors such as script, 
director, artists, make-up, costumes, stage, 
art design (backdrop of the stage), lighting 
arrangement, audience and critics. Dance 
and music can also be part of a drama. A 
drama is usually enacted with the help of 
dialogues. However, mime can also be 
used as the medium of expression. 
The rulers of the Bhosale family of 
Tanjore were great patrons of drama. 
Some of them had written a few plays 
and also translated Sanskrit plays. The 
19
th
 century saw a great development of 
the Marathi thetre. Vishnudas Bhave is 
known as the father of the Marathi 
theatre. Seetaswayamvar was the first 
play presented by him.
The movement started by Vishnudas 
Bhave was followed in Maharashtra by 
historical, mythological and also light 
farcical stage plays. The farcical plays 
dealt with social issues in a humorous way.
Initially no written scripts were used. 
Often, only the lyrics were written down 
but the dialogues used to be spontaneous. 
V.J. Kirtane was the first author who wrote 
the script of Thorale Madhavrao Peshwe 
in 1861 and its printed copy was made 
available. This was the beginning of the 
tradition of having a complete written 
script ready before staging a play.
In the latter half of the 19th century, 
Balkrishnbuva Ichalkaranjikar made 
special efforts to introduce classical khyal 
music in Maharashtra. After him Ustad 
Alladiya Khan, Ustad Abdul Karim Khan 
and Ustad Rahimatkhan contributed in a 
great way. Their efforts helped in developing 
a taste for classical music among the 
audience in Maharashtra. The growing 
popularity of classical music resulted in 
the origin of musical Marathi theatre. The 
musical plays of Kirloskar Mandali became 
Gather information about dramas 
on the life of Chhatrapati Shivaji 
Maharaj, Chhatrapati Sambhaji 
Maharaj, Mahatma Jyotirao Phule, 
Lokamanya Tilak, Mahatma Gandhi 
and Dr.Babasaheb Ambedkar.
There are two types of traditional Tamasha, 
Sangeet Bari and Dholakicha Phad. Dance 
and music are more important than drama 
in a Sangeet Bari.  Tamasha with drama 
as the main part, was developed later. It 
included Vag, the dramatic part, little 
later. The Vag becomes very lively and 
entertaining because of its spontaneous 
humour. The show begins by singing the 
praise of Lord Ganesha, known as Gana. 
It is followed with the presentation of 
Gavalan. The second part of Tamasha  presents the Vag. The popular plays like 
Vichchha Mazi Puri Kara or Gadhavache 
Lagna are examples of the modern form 
of Tamasha.
Powada : Powada (ballad) is a 
dramatic narration by alternatingly reciting 
poetry and prosaic extracts. Powada 
narrates great deeds of heroic men and 
women in a very forceful and inspiring 
style. The Powada composed by 
Adnyandas, a contemporary poet of 
Chhatrapti Shivaji Maharaj, narrating the 
incidence of the killing of Afzal Khan 
and another one on the battle of Sinhagad, 
composed by Tulasidas, are two well-
known examples of Powada.
In the British period, Powadas narrating 
the stories of Umaji Naik, Chapekar 
brothers, Mahatma Gandhi were composed. 
During the ‘Samyukt Maharashtra’ 
movement the powadas were used as a 
medium of creating public awareness.
6.3 Marathi Theatre 
Theatre is a place devoted to 
performances, either solo or collective, of 
performing arts. Participation of the artist 
Page 5


39
6. Entertainment and History
Things that help refresh our minds 
and give a feeling of happiness are the 
sources of entertainment. Various hobbies, 
games, drama-film, writing-reading, etc. 
are the sources of entertainment.
6.1 Why do we need Entertainment ?
Healthy entertainment of excellent 
quality is essential for the healthy growth 
of one’s personality. Entertainment keeps 
our minds lively and fresh. It may 
also make us feel physically more 
energetic. So eventually our 
efficiency at work improves. 
Pursuing hobbies and games helps 
in personality development. In 
India many festivals, sports, dance-
music, etc. were developed as 
forms of entertainment since 
ancient times.
There are varied forms of 
entertainment available in the 
modern period as well.
entertainment.
Watching a sports match or listening 
to music or watching a movie are examples 
of passive entertainment. In this type of 
entertainment we are not actual participants 
but only viewers. 
Try to do it.
Make a list of various types of 
entertainment and classify them into 
different categories.
Create a chart of active and passive 
types of entertainment, which are 
related to history.
Do it.
6.2 Folk Theatre
Puppetry - Wooden Puppets 
(Kathputali) : Remains of clay dolls have 
Entertainment can be classified into 
two categories, active and passive. Active 
entertainment anticipates an individual’s 
mental-physical participation. Practicing of 
handicrafts and participating in sport 
activities are examples of active 
Puppetry - Wooden Puppets 
6.1 Why do we need Entertainment ?
6.2 Folk Theatre
6.3 Marathi Theatre
6.4 Indian Film Industry
6.5 Entertainment and Professional 
Opportunities
been found in the excavations of 
archaeological sites of Harappan 
civilisation as well as sites in Egypt and 
Greece. It is possible that they were used 
as puppets.
In ancient India materials like wood, 
wool, leather, horns and ivory were used 
to make puppets. The Kathputali, a 
traditional art of puppetry in India has two 
styles; one that developed in Rajasthan 
40
and the other in southern regions of India.
The artists who stage Kathputali shows 
are found in Uttar Pradesh, Maharashtra, 
Rajasthan, Assam, West Bengal, Andhra 
Pradesh, Telangana, Karnatak and Kerala. 
The role of the narrator known as 
sutradhara is very crucial in the success 
of Kathaputali stage show. The stage for 
this puppetry show is quite small but the 
puppeteers use light and sound effects in 
an ingenious way. Shadow puppets, hand 
puppets, wooden puppets and string puppets 
are used in Kathputali shows.
Dashavatara Theatre : Dashavatara is  
part of the folk theatre in Maharashtra. 
Dashavatara shows are presented in the 
regions of Konkan and Goa after harvesting 
season is over. The stories presented in 
these shows are based on the 10 incarnations 
of Vishnu, namely Matsya, Koorma, Varaha, 
Narsimha, Wamana, Parashurama, Ram, 
Krishna, Buddha and Kalki. At the beginning 
of the show sutradhara, the narrator invokes 
Lord Ganesha, the destroyer of obstacles.
In the 18th century Shyamji Naik Kale 
started a phad
*
, of Dashavatara artists 
which used to perform all over Maharashtra.
Vishnudas Bhave, the pioneer of 
Marathi theatre staged mythological plays 
by introducing some modifications in the 
Dashavatara style. Thus, the origins of the 
Marathi theatre can be traced to 
Dashavatara tradition.
*
The meaning of phad is ‘a troupe’.
Bhajan (singing devotional songs) : 
To sing songs in praise of God and 
chanting god’s name accompanied by 
instruments like taal (cymbals), mridangam, 
pakhavaj is known as Bhajan. There are 
two types of Bhajan, Chakri Bhajan and 
Songi Bhajan.
Chakri Bhajan : Devotees keep moving 
in circular fashion and sing without break.
Songi Bhajan : The singer-actors act 
as devotees and deliver dialogues in the 
form of devotional songs.
Tukadoji Maharaj introduced a new 
form of Bhajan known as Khanjiri Bhajan.
Dashavatara
Listen to the bhajans composed by 
saints Tulsidas, Surdas, Meerabai and 
Kabir and try to learn them with the 
help of your music teacher or some 
traditional singer.
Do this.
The method of acting, make-up, 
costumes in Dashavatara shows is set by 
the tradition. The show is mostly musical 
but sometimes there may be a few 
spontaneous dialogues. The characters 
representing gods use wooden masks. The 
show ends by breaking dahihandi, an 
earthen pot of curds, followed by aarati, 
singing praises of the God.
In north India the bhajans composed 
by Saint Tulsidas, the great poet Surdas, 
Saint Meerabai and Saint Kabir are very 
popular.
Compositions of Purandardas, 
Kanakdas, Vijaydas, Bodhendraguruswami, 
Thyagaraj, etc. are sung in Karnatak.
In Gujarat Saint Narasi Mehta gave 
momentum to the Bhakti movement. In 
Maharashtra, Saint Namadeva supported 
the tradition of bhajan-keertan through the 
tradition of Varakari sect. The Varakari 
41
instruments, dance and humour. He needs 
to be very well informed. Keertan is 
performed in a temple or in the precincts 
of a temple.
Lalit : Lalit is an old form of 
entertainment in Maharashtra. It belongs 
to the tradition of Naradiya Keertan. It is 
quite popular in Goa and Konkan.
During the performance of Lalit on the 
occasion of religious festivals, it is 
presumed that the presiding deity of that 
festival is present on the throne and then 
she is invoked for fulfilment of a desire. 
The invocation continues as follows : “Let 
everybody be granted their desire. Let 
entire village live in happiness till we 
perform next Lalit. Let the internal 
clashes vanish with this performance of 
Lalit. Let nobody’s mind be spoilt with 
prejudice. Let all transactions happen 
with clear minds. Let the community’s 
behaviour be pious.”
The Lalit is performed in a theatrical 
style. Stories of Krishna, Rama and great 
devotees are presented during the 
performance. A few texts of Lalit are 
available in Hindi as well. Lalit forms a 
part of the backdrop of modern Marathi 
theatre.
Bharud : Bharud can be described as 
a metaphorical song that has spiritual and 
ethical lessons. Bharud is comparable to 
the style of a road show. Bharuds composed 
by Saint Eknath are popular in Maharashtra 
because of its wide range of subjects, 
dramatic quality, easy rhythm and humour. 
Saint Eknath composed Bharuds with a 
purpose of educating people on various 
aspects of life. 
Tamasha : Tamasha is a Persian 
word. It means a ‘pleasing sight’. Tamasha 
developed as an independent art form in 
the 18th century, by absorbing various 
traits of folk theatre and classical arts. 
You would like to know this :
There are two main traditions of 
keertan, (1) Naraadiya or Haridasi   
(2) Varakri. Haridasi keertan is a solo 
performance. It has two parts, Poorvarang 
and Uttarrang. Naman (praising god), 
Nirupanacha Abhang (singing a 
composition that leads to the main theme) 
and Nirupan (explanation of the main 
theme) comprise the Poorvarang. 
Narration of a story to illustrate the main 
theme comprises Uttarrang. In the 
Varkari Keertan collective participation 
is more important. The players of cymbals 
also play an important part along with 
the keertankar. During the independence 
movement a new type of Keertan was 
developed, known as Rashtriya Keertan. 
It places more importance on creating 
awareness by narrating the life stories of 
great leaders of the Indian independence 
movement, scientists, social reformers, 
etc. The tradition of Rashtriya Keertan 
was started by Dattopant Patwardhan of 
Wai in Maharashtra.
Members of the Satyashodhak Samaj 
founded by Mahatma Jyotirao Phule also 
used Keertan as a medium of creating 
social awareness. The style of Keertan by 
Saint Gadge Maharaj resembled closely 
to Satyashodhak style of Keertan. He 
used to throw light on issues like abolition 
of caste, cleanliness, deaddiction, etc.
sect developed a glorious tradition of 
bhajan-keertan.
Keertan :  Traditionally, Naradmuni 
is supposed to be the founder of the 
Keertana tradition. Saint Namadev is 
known as the first keertankar of 
Maharashtra. Other saints helped the 
tradition to flourish.
The keertankar is also known as 
Haridas or Kathekaribuva. He has to dress 
in a traditional way. He needs to train 
himself in oratory, singing, musical 
42
as well as the audience is essential for a 
successful performance. The theatre 
comprises several factors such as script, 
director, artists, make-up, costumes, stage, 
art design (backdrop of the stage), lighting 
arrangement, audience and critics. Dance 
and music can also be part of a drama. A 
drama is usually enacted with the help of 
dialogues. However, mime can also be 
used as the medium of expression. 
The rulers of the Bhosale family of 
Tanjore were great patrons of drama. 
Some of them had written a few plays 
and also translated Sanskrit plays. The 
19
th
 century saw a great development of 
the Marathi thetre. Vishnudas Bhave is 
known as the father of the Marathi 
theatre. Seetaswayamvar was the first 
play presented by him.
The movement started by Vishnudas 
Bhave was followed in Maharashtra by 
historical, mythological and also light 
farcical stage plays. The farcical plays 
dealt with social issues in a humorous way.
Initially no written scripts were used. 
Often, only the lyrics were written down 
but the dialogues used to be spontaneous. 
V.J. Kirtane was the first author who wrote 
the script of Thorale Madhavrao Peshwe 
in 1861 and its printed copy was made 
available. This was the beginning of the 
tradition of having a complete written 
script ready before staging a play.
In the latter half of the 19th century, 
Balkrishnbuva Ichalkaranjikar made 
special efforts to introduce classical khyal 
music in Maharashtra. After him Ustad 
Alladiya Khan, Ustad Abdul Karim Khan 
and Ustad Rahimatkhan contributed in a 
great way. Their efforts helped in developing 
a taste for classical music among the 
audience in Maharashtra. The growing 
popularity of classical music resulted in 
the origin of musical Marathi theatre. The 
musical plays of Kirloskar Mandali became 
Gather information about dramas 
on the life of Chhatrapati Shivaji 
Maharaj, Chhatrapati Sambhaji 
Maharaj, Mahatma Jyotirao Phule, 
Lokamanya Tilak, Mahatma Gandhi 
and Dr.Babasaheb Ambedkar.
There are two types of traditional Tamasha, 
Sangeet Bari and Dholakicha Phad. Dance 
and music are more important than drama 
in a Sangeet Bari.  Tamasha with drama 
as the main part, was developed later. It 
included Vag, the dramatic part, little 
later. The Vag becomes very lively and 
entertaining because of its spontaneous 
humour. The show begins by singing the 
praise of Lord Ganesha, known as Gana. 
It is followed with the presentation of 
Gavalan. The second part of Tamasha  presents the Vag. The popular plays like 
Vichchha Mazi Puri Kara or Gadhavache 
Lagna are examples of the modern form 
of Tamasha.
Powada : Powada (ballad) is a 
dramatic narration by alternatingly reciting 
poetry and prosaic extracts. Powada 
narrates great deeds of heroic men and 
women in a very forceful and inspiring 
style. The Powada composed by 
Adnyandas, a contemporary poet of 
Chhatrapti Shivaji Maharaj, narrating the 
incidence of the killing of Afzal Khan 
and another one on the battle of Sinhagad, 
composed by Tulasidas, are two well-
known examples of Powada.
In the British period, Powadas narrating 
the stories of Umaji Naik, Chapekar 
brothers, Mahatma Gandhi were composed. 
During the ‘Samyukt Maharashtra’ 
movement the powadas were used as a 
medium of creating public awareness.
6.3 Marathi Theatre 
Theatre is a place devoted to 
performances, either solo or collective, of 
performing arts. Participation of the artist 
43
Do you know ?
Types of movies : Satirical movies, 
Documentaries, Advertising films, 
Children’s films, Movies about army, 
Educational movies, Movies narrating a 
story, etc.  
Do you know ?
Khadilkar wrote Keechakvadh, a 
metaphorical drama to denounce the 
British government. It was based on 
certain events in the Mahabharata. 
Draupadi represented helpless Mother 
India, while Yudhishthira represented 
the moderates and Bheem, the extremists. 
Keechaka represented the insolent 
Viceroy Lord Curzon. The audience used 
to percieve the characters in this fashion 
and feel enraged about the imperialistic 
attitude of the British government.
Do you know ?
The renowned author-poet Vishnu 
Waman Shirwadkar, also known as 
Kusumagraj wrote Natasamrat, a play 
styled after Shakespeare’s well known 
play, ‘King Lear’. It became very 
popular. Ganpatrao Belvalkar, the tragic 
protagonist of Natasamrat represents a 
blend of two well-known personalities 
of early Marathi stage, Ganpatrao Joshi 
and Nanasaheb Phatak. 
great actors. The early Marathi playes 
were staged on open grounds. The British 
first built closed theatres like Play House, 
Rippon and Victoria in Mumbai.  Thereafter, 
the shows of Marathi plays gradually took 
to closed theatres. 
very popular. Sangeet Shakuntal written by 
Annasaheb Kirloskar earned a great 
popularity. Another musical play, Sharada, 
written by Govind Ballal Deval is quite 
important, as it comments in a humorous 
style on the evil custom of marrying young 
girls to aged men. Also plays such as 
Mooknayak, written by Shripad Krishna 
Kolahtkar, Sangeet Manapaman, written 
by Krishnaji Prabhakar Khadilkar and 
Ekach Pyala written by Ram Ganesh 
Gadkari are important in the history of 
Marathi theatre. 
6.4 Indian film Industry
Cinema : Cinema is a medium that 
brings together art and technology. With the 
technology of motion pictures the film 
industry came into being. It gave rise to the 
era of silent movies. Later, the technology 
of sound recording was introduced and the 
age of sound movies began.
The popular plays written by Acharya 
Atre like Sashtang Namaskar, Udyacha 
Sansar, Gharabaher etc. helped the 
Marathi theatre to sustain through a 
temporary decline. The recent plays based 
on historical themes like Raygadala Jevha 
Jag Yete and Ithe Oshalala Mrutyu by 
Vasant Kanetkar,  Ghashiram Kotwal by 
Vijay Tendulkar, Tilak Ani Agarkar by 
Vishram Bedekar became very popular.
The Marathi stage continued to get 
enriched because of its varied subjects and 
types of the plays. Marathi stage artists of 
the bygone era like Ganpatrao Joshi, 
Narayanrao Rajahamsa, more popularly 
known as Balgandharva, Keshavrao 
Bhosale, Chintamanrao Kolhatkar and 
Ganpatrao Bodas are still remembered as 
The honour of making and releasing 
the first full length movie goes to 
Maharashtra. Maharashtra is known as the 
land that nurtured the Indian film industry. 
The contribution of  Madanrao Madhavrao 
Pitale, the Patwardhan family of Kalyan, 
Harishchandra Sakharam Bhatvadekar, 
also known as Savedada is very important 
in the development of Indian movies.