A myriad of superstitions surrounded the Tamte: "People believed that rain and crops would take a beating if women touch instruments made from leather, like the Tamte. They believed their families would be prone to misfortune if they played the instrument. Such were the restrictions on women. But in fact, these were indirect attempts to discourage women from leaving the four walls of their houses…”
These were the words that opened up a conversation with K Nagaraj, a native of Kuthaganahalli in Anekal taluk in Bengaluru Urban district. He is currently the president of the State Folk Artists' Union.
Pointing to his team of enthusiastic Tamte artists, including women, performing in full vigour at Cholanayakanahalli in Bengaluru, Nagaraj recollects how he had to break several barriers to build his art troupe.
Born in a family of bonded labourers, young Nagaraj toiled alongside his father. But his mother did not want her son to continue this way, and ensured that Nagaraj joined a school. Considering their financial condition, Nagaraj went to school while working in a vineyard and stitching plates out of muttuga leaves. He completed his BA and then MA. But the road that he had been treading was not smooth.
Making and playing Tamte was the family’s ancestral occupation. “My uncle used to make Tamte using cowhide. I assisted him in drying the hide, cleaning it by rubbing with glass pieces, drawing the hide into strands and then tying it,” Nagaraj describes the process.
He adds: “But somehow, I did not like to play Tamte. I feared that if I played the Tamte, everyone would know that we were Dalits and look down upon us. I stayed away from it, thinking it was a humiliating profession," recalled Nagaraj. He is still amazed at how the Tamte turned out to be his world later.
In 1994, there was a turning point in his life. "A labourer in the neighbourhood was murdered by the employer, who even buried him,” he says. After the incident, some members of 'Jeevika', an organisation working for the eradication of bonded labour, came to the village. “Noticing my concern and enthusiasm, the organisation asked me to join their team that used to perform street plays. Later, I performed the role of a bonded labourer in the drama 'Hatti Ranga' directed by Basavalingaiah.”
It was during the same period that there was another gruesome incident at Kotiganahalli in Anekal taluk. A landlord had chopped the thumb of a labourer named Venkatesh. This incident moved Nagaraj. He scripted a skit on this incident and himself played the role of Venkatesh. The play was staged in over 200 places across Karnataka.
Accompanying music
When Nagaraj and his troupe used to stage street plays, a Tamte troupe would accompany them. They also participated in protests in every district, demanding rehabilitation of the bonded labourers. The Tamte troupe became an effective tool to draw attention in the fight against bonded labour. Inspired by its effectiveness, Nagaraj decided to form a troupe of Tamte artists.
Since then, Nagaraj has not only taught Tamte to hundreds of people, but also helped them lead a respectable and financially independent life.
It was at this stage that Nagaraj received the support of his friend Shivamma Venkatesh.
“We would go to colleges and tell students about Tamte art. We would also train interested students free of cost. We identified school dropouts and trained them. We ensured hostel facilities for many of the trainees. We even encouraged women to pursue the art. We have been doing this for the last 20 years,” says Shivamma.
Nagaraj and Shivamma have trained more than 600 people in various folk art forms including the Tamte, Dollu Kunitha, Veeragase and Kamsale. Among them, over 200 youngsters have found a livelihood in these arts.
Diverse backgrounds
The Tamte troupe led by Nagaraj is a group of young men and women full of enthusiasm. Youngsters from all castes have joined this troupe. Parents agree to send their children when they are told that it helps them financially.
“I had just joined PUC when Nagaraj sir and his troupe gave a talk on the importance of folk arts in my college. Initially, I got motivated to learn Tamte as I was told that it could fetch me some money. I approached my parents and they let me learn the art,” says Meghana, a native of Bengaluru Rural district’s Nandagudi.
With a degree in journalism and a postgraduate degree in political science, Meghana is pursuing her BEd. Since 2015, when she began playing the Tamte, she has not taken money from her parents and has relied on her self-earnings.
Social pressure was a major problem for some others in the troupe. Kavita, a BA graduate who has been with the troupe since 2014, faced a lot of criticism. Many people told her that Tamte-playing was not for girls from respectable families.
“Whenever I uploaded my Tamte dance on social media, my friends mocked me,” recalls Kavita. However, her performances across India and in countries like Singapore made her friends change their views, she adds.
The Tamte, and Nagaraj’s efforts, have thus, helped several girls complete their education.
“I am happy that Tamte as an art has nurtured several lives,” says Nagaraj.
The others in his troupe express gratitude too, for the Tamte, which is helping them live a meaningful life while making a living.
After our conversation, the troupe returned to the stage, playing the Tamte and singing until they were exhausted. And what timing, even before they laid down their Tamtes to rest, the clouds opened up, and it began pouring.
(Translated by Divyashri Mudakavi)