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Mallika Bala^1*  & Madhumita Roy^{2   
1}PhD Scholar, Indian Institute of Engineering Science and Technology Shibpur. *Corresponding author.
²Assistant Professor, Indian Institute of Engineering Science and Technology Shibpur.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.18
[Article History: Received: 31 December 2023. Revised: 23 March 2024. Accepted: 24 March 2024. Published: 30 March 2024]}

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Abstract

The idea of “nature” as something pure, pristine, untouched by humans, a pastoral piece of land, creates an exclusivist version of nature preservation. Likewise, performance is also thought to be exclusive, executed only on stage, removed from ordinary life, but in reality, the human body is continuously in a state of performance; we are continuously acting according to or “performing” our cultural beliefs, functions, gender roles, politics, etc. This paper intends to present a postcolonial ecocritical study of the short story “The Hunt” (1995) written by Mahasweta Devi, by focusing on the Indigenous ritual of hunting or performance of hunting named Jani Parab and its importance in the scenario of postcolonial environmentalism. At the “Jani Parab” festival, the tribal protagonist of this story hunts (or performs the hunting ritual) the capitalist broker who had been deforesting their land. This hunting alters several metanarratives regarding colonizer/colonized, hunter/prey, civilized/uncivilized, male/female. The story’s protagonist, an illegitimate, tribal woman, becomes “other” in every possible way. By hunting, she moves from being the “other” and becomes the hybrid subject. She becomes oppressor and oppressed, hunter and prey, nature and culture at the same time. She is the voice talking back from the jungle. This paper will focus on cultural and environmental issues, ecological and sociological aspects of tribal communities in modern India, and how they are structurally dehumanized altogether by the Caste system, capitalism, government corruption and colonial legacy. It brings together colonial inheritance, environmental issues, caste issues and capitalism – all the concerns of postcolonial ecocriticism very clearly.

Keywords: Postcolonial Ecocriticism, Hybrid Identity, Tribal Rituals, Indian Environmentalism, Caste Identity.

Sustainable Development Goals: Climate Action, Life on Land

Citation: Bala, M. & Roy, M. (2024). The Silenced “Other” Talks Back from Jungle: A Study of Hunting Ritual by Indigenous Women in Mahasweta Devi’s “The Hunt”. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.18 

Sathish Kumar C    
Assistant Professor, Department of English, VET Institute of Arts and Science (Co-Education) College, Erode – 638012, Tamilnadu, India.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.17
[Article History: Received: 26 December 2023. Revised: 22 March 2024. Accepted: 24 March 2024. Published: 30 March 2024]}

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Abstract

In 2022, the Kannada film “Kantara” captivated audiences with its unique blend of folklore, environmentalism, and political commentary. This paper argues that “Kantara” transcends conventional cinema to become a powerful agent of ecological discourse and empowerment. Set against India’s backdrop of complex human-nature interactions, “Kantara” weaves a narrative that resonates with contemporary concerns. Drawing upon postcolonial ecocriticism, indigenous studies, and film theory, this analysis delves into the film’s layered meanings. We examine how “Kantara” intertwines the legend of a forest deity with the struggles of a tribal community facing displacement. The film celebrates indigenous knowledge and critiques exploitative development through its portrayal of traditional rituals and beliefs. “Kantara” goes beyond storytelling; it immerses viewers in a sensory experience. Breathtaking visuals and a powerful musical score paint a vivid picture of the sacred forest and its inhabitants, creating a deep emotional connection. Ultimately, “Kantara” compels viewers to become active participants in the dialogue surrounding ecology and social justice. By analyzing the film’s subversive potential and its celebration of community resilience, we argue that it acts as a catalyst for ecological agency, inspiring viewers to advocate for sustainable practices and fight for cultural preservation. This paper contributes to the growing scholarship on folklore, film, and environmental activism in India. By offering a detailed analysis of “Kantara,” we aim to enrich the discourse on cinema’s role in fostering critical engagement with ecological and social issues. Examining the film’s nuanced portrayal of folklore, its powerful environmental message, and its subversive political commentary, we hope to shed light on the transformative potential of storytelling in shaping a more just and sustainable future.

Keywords: Kannada cinema, folklore, Bhootara, ecological agency, indigenous studies, environmental activism.

Sustainable Development Goals: Climate Action, Life on Land

Citation: Kumar, S. C. (2024). From Folklore to Film: The Politics of Storytelling and Ecological Agency in the film Kantara. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.17 

Devika B    
Senior Research Fellow, Christ University.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.16
[Article History: Received: 30 December 2023. Revised: 14 February 2024. Accepted: 20 March 2024. Published: 22 March 2024]}

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Abstract

The worship of nature and natural entities has a rich and profound history in most ancient cultures that thrived on the planet. However, as civilizations advanced with technological and scientific innovations, the interconnectedness between nature and human beings gradually declined, and mankind separated itself from its natural habitats. But in many cultures across the world, communities still embody pantheistic traditions, thus showing a sustainable way of living with nature to the rest of the world. This paper explores the tradition of serpent worship and the practice of maintaining sacred groves known as ‘sarpakavus’ in the South Indian state of Kerala. ‘Sarpakavu’, translated as ‘the sacred grove of serpent gods’, are small but dense pockets of biodiversity that are believed to be the abode of serpent gods. Beyond cultural significance, these groves serve as hotspots of ecological diversity. This research delves into the cultural, ecological, and performative aspects of serpent worship within these spaces. focusing on the elaborate rituals of performance and worship associated with the serpent deities, the paper positions ‘sarpakavus’ (sacred serpent groves) of Kerala as an example of indigenous ecology that shows a model of a symbiotic way of living with nature. As Kerala is currently undergoing a rapid urbanization process of building highways, railways, and ports, this research highlights the need to protect and conserve the tradition of maintaining the existing ‘sarpakavus’ and their importance in sustaining the ecological balance of the region.

Keywords: Serpent worship, sacred groves, performance ecologies, cultural ecology, ritual performance.

Sustainable Development Goals: Climate Action, Life on Land

Citation: Devika, B. (2024). The Sacred Groves of the Serpent Gods: ‘Sarpakavus’ of Kerala as Indigenous Ecology. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.16 

Liu Yixing^1*  & Chow Ow Wei^{2   
1}Music Department, Faculty of Human Ecology, Universiti Putra Malaysia.
²Music Department, Faculty of Human Ecology, Universiti Putra Malaysia.

^{Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.13
[Article History: Received: 31 December 2023. Revised: 20 February 2024. Accepted: 24 February 2024. Published: 24 February 2024]}

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 Abstract

This article examines the dynamics of the Feitao ritual, a traditional practice of the Maonan ethnic minority, within the broader context of globalization and heritagization in China. It addresses the challenge of preserving the cultural identity and memory of ethnic minorities amidst economic development imperatives, a dilemma common to many late-developing countries. By focusing on transforming the Feitao ritual from a communal practice to a performative spectacle, this study unravels the intricate process of heritage ecology within minority rituals. Utilizing a combination of ethnological fieldwork and interviews, this article explores the perceptions and approaches toward the post-heritagization of the ritual among the Maonan community members and policymakers. It also emphasizes on the evolution of the ritual into a significant tourist attraction, showcasing the performative transformation of religious practices by an ethnic minority in China. The central argument of this article is that this ritual is formed in ecological interactions; it also symbolizes a self-defense for the rights and a pursuit of recognition for a minority group. It has been a vital medium for the Maonan people to construct and uphold a positive self-perception. This study endorses a faith-aware and community memory-focused approach to preserve the cultural heritage of ethnic minorities. The authors contend that this approach is essential to safeguard the cultural memory and identity of minorities in developing countries like China against the homogenizing forces brought by globalization in China.

Keywords: Maonan minority group, Feitao ritual, heritage, ecology, globalization.

Sustainable Development Goals: Climate Action, Life on Land

Citation: Liu Y., & Chow O.W. (2024). Preserving the Feitao Ritual in an Era of Globalization: The Heritage Ecology of Maonan Ethnic Minority in Modern China. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.13