Dastangoi – The Lost Art of Story-Telling in Urdu
Lecture and performance
Introduction: Prof. S.R. Faruqui, Editor, Shabkhoon and a pre-eminent critic of Urdu and author of the best known work on Dastan-e-Amir Hamza
Followed by
Performance of Dastangoi
By Mahmood Farooqui, actor and theatre director who was recently awarded a fellowship by Sarai to study Dastans; and Himanshu Tyagi, actor who has worked extensively with some of the leading theatre directors in India
Illustrated talk by Mahmood Farooqui
Chair: William Dalrymple
The 46 volume Dastan-e-Amir Hamza is one of the longest prose narratives anywhere in the world. Its publication followed the centuries old practice of oral recitation of the story. Today though this monumental work and the art of its recitation, Dastangoi, have become wholly marginalized.
(Collaboration: Sarai)
Location: AUDITORIUM
Description:
Review
by
Sadiqur Rahman Kidwai
Former Professor of Urdu
Two introductory lectures preceded the Dastaan-Goi. William Darymple spoke first, on the oral traditions of Rajasthan, followed by Shamsur Rahman Faruqi who spoke on the tradition of Dastaan. He particularly elaborated on the Dastane Amir Hamza, a dastaan stretching into 47 large volumes, a small part of which was retold on this particular evening. Dastaan has been one of the most popular genres in
The Dastaan Go lays a trap, woven only by words, to catch the imagination of the listeners. For different types of listeners he innovates different strategies. Famous Dastaans have been known to have continued night after night. The Arabian Nights was originally known as Alf Laila wa Laila, which means one thousand and one nights. The original Dastaan is in Arabic and is said to have been narrated continuously over one thousand and one nights.
Story telling is as old as human civilisation. Stories were passed on from generation to generation. Most of our heritage-knowledge, religions and philosophies and tales of valour of hero and heroines, social customs which have come down to us, have been preserved in memory and transmitted to later generations orally. Also, travellers, rural folk, urban elite, Kings and courtiers found a good pastime in Dastaan.
The origin of a large number of theses stories is not traceable. The make- believe landscape in which these stories grow is the product of the imagination of the story teller. Flights of fantasy lift one into the land of fairies and ghosts, into the company of Saints and Divine, courts of the King. The magic would easily transform immediate settings into hell or heaven. The beauty of such stories lies in the style of the narrative. The same stories have been told and retold for centuries. Each time a story is told, one finds a certain freshness in the rendition. The story teller is fully within his rights to mix up the episodes of various stories and add any thing from his own imagination. The essential element is the effort to perpetuate mystery while the listener’s expectation has to be kept up by bringing in astonishing events one after the other.
The curiosity of the listener is never allowed to be satisfied. There were professional story tellers who carried on and perfected their craft. Some of them became as popular as poets or preachers. The story goes that once a Dastaan-Go was employed by the King. He was portraying the emotions of a separated lover waiting for his beloved, when came the news from home that some one was seriously ill. The Dastaan-Go called his son and asked him to continue till he returned. When the father came back after a month he found the son still narrating the restlessness of the lover waiting for his beloved!
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