A folk drama that eulogises Bal Krishna

Old records can reveal interesting historical and cultural insights. Take for example the early 20th century archives of the state’s comunidades and temple communities that refer to a very unique dramatic genre — the ‘

Gavlan Kala

’ — which deals exclusively with the retelling of stories from Lord Krishna’s childhood.

The drama traces its history back to more than 100 years, to the time when entertainment was limited and innovative means had to be found to impart cultural knowledge. ‘Gavalan Kala’ successfully fulfilled the dual purpose.

Pandurang Gaonkar, 70, from Vaigini, Bicholim, who directs the music for these plays, says: “In the absence of other mediums of entertainment, the ‘Gavlan Kala’ not only imparted cultural values, but also gave children a hero like Lord Krishna to look up to.”

As a culture it is very much a part of the Konkan ethos and in Goa, temples put up the ‘Gavlan Kala’ on the second day of their respective ‘zatras’.

On that day, in broad day light (in a deviation from the usual temple tradition of staging folk dramas at night), children relive the antics and heroic exploits of the child god. Whether it is defeating the evil designs of

Bal Krishna

’s uncle King Kansa, or stealing butter from the homes of unsuspecting ‘Gopis’ or simply dancing, all the mythology related to Lord Krishna’s childhood in Gokul is played out through dialogues and songs.

Senior folk artiste,

Anand Mhaskar

, 65, from Tulshimala, Poriem-Sattari, who in his more than four-decade old career has started many-a cultural groups and groomed them in the ‘Gavalan Kala’ performance, shares the sad story of the decline of this once thriving art.

“There was a time when this folk drama would be performed in many temples in Goa. Now-a-days, most temples opt for other mediums of entertainment. There is a need to provide the tradition with an impetus,” he says.

Reference to the dramatic genre can also be found in folklorist

Vinayak Khedekar

’s book ‘Loksarita’ (1993). About the ‘Gavlan Kala’, he says: “Krishna’s role was generally given to a beautiful girl.” Musical instruments like harmonium, tabla and cymbals were used, he writes.

Cultural troupes from Marcel, Khandola, Mardol and Pilgao, famed for their ‘Gavlan Kala’ presentation, would be invited by various temple committees to perform and were traditionally paid an honorarium. However, since the play is dependent on a child cast, and children today are increasingly involved in school activities, very few troupes continue.

Like the ‘Gavalan Kala’, the other folk forms like the ‘Dashaavtar Kala’, ‘Gopal Kala’ and ‘Raat Kala’ are also disappearing.

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