Abstract
The storytelling tradition, “Dastangoi,” comes from “Dastan” in Persian, meaning ‘story,’ and “goi,” meaning ‘to tell.’ Traditional bards, called “Dastango” in Persian, acted out these tales in parts of the Arab world, Persia and India. The storytellers would hardly use props, and relied on their linguistic and acting skills to captivate the crowds that would gather around them. But during the 19th century, the art began to die off. This study explores an interaction of this revived art-form with the modern society and illustrates how a traditional art which was dominated by elements of a particular religion in both its form and content transforms itself to become more acceptable to the urban audience. It further argues that the term ‘revival’ then, is loosely played with while describing its present position, as much of what is seen today in the name of Dastangoi, both as tradition and as an art, is hugely inventive and thus, even contested. By treating Dastangoi as a social subject, we argue that the art never travels in a vacuum and is hugely influenced by the social currents surrounding it, both temporary and permanent. Without predicting what its future will be, this study aims to explore the possible avenues in which Dastangoi as an art-form or as a social movement might travel on its road ahead based on its current trajectory.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
The Arts in Social, Political, and Community Life
KEYWORDS
Dastangoi, Diasporic Art, Storytelling, Tradition, Performers, Narration
