A Poetic Journey of Modern Women Poetry in Kannada

4 Nov

Starting from Belegere Janakamma who was writing up to 1966, more than hundreds of women have enriched the Kannada poetry by contributing their talented works. At the end of twentieth century, the prominent and distinctly heard aspect was this ‘women’s voice’ of new age. Today the poetesses have stood equal to men to raise their voice. Many of them are observed as the important poetesses of Kannada literature. But many of these poetesses have related their poetry to Akkamahadevi of 12th century. (For example, Sa Usha’s ‘Akka Heliddu’).

During this time, the poetesses of Kannada have written the promising works which dealt with experiments in topic, pattern, rhythm and language of poetry. It is not a straightforward task for me to describe the poetic experiments done by different women writers who are from variety of social and geographical backgrounds. Belegere Janakamma (Hennata) wrote in the way to research the identity of women. The dreams and confusions of women were projected in her poems in a very simple language without any emotional obscurity.

The poems of Jayadevi Tayi Ligade (Higgutide Vishwa) was also on the same track. As Akkamahadevi gave up all the facilities of high society life and went in search of eternal search for beauty of life in her poems, Jayadevi Tayi Ligade had also strived to empty her feelings for the beloved after expressing her thoughts in the poems. But we see many differences between Akkamahadevi’s and Jayadevi’s ways. In Jayadevi’s poems, we see the image of searching for women’s identity. In Sunita Shetty’s (Taledanda) poems this search for personage comes as songs. Sometimes, even though the answer is known to everyone, she dares to ask the question again. In the long long roads of summer afternoons, she believes she may find the shade for her lifetime. Here we observe the women expressions changing with time to react to the sociological needs.

But for many poetesses, their poetic temperament is not just the easy theories about the pros and cons of man’s world. The rudeness faced by women on her biological characters has not made them inferior. Instead, they are writing with much more confidence. I can quote Cha Sarvamangala’s ‘Ammana Gudda’ as an example, for it creates the pride to see woman sharing her experience objectively. Vaidehi is the poetess who deemed to have a special and extraordinary voice. The mystic touch which is not seen in much of the modern poets is seen in her write-ups. As the poems of Vaidehi have special binding in them, her poems have gained the secret light.Image

In Kamala Hampana’s (Naanu Amrutamatiyalla) poems the dreams are burnt into ashes but the poet will stand to face it and overcome it. The prosperity, cries, memories, truths are mixed in her poems to project the real life’s dreadfulness. The poems of Shailaja Udachan Imake use of things in the nature. She loves the life in which she is in and enjoys it with all its essence. Leelavati Toranagatti’s (Vishwasa) poems speak about the commercialized culture of buying in the era of globalization. She strives to take the mind out of it and makes the experiences blissful.

L V Shantakumari, in her Maala Bekku exhibits her grief, dissatisfaction, anger and unhappiness but always in pleasant manner. She celebrates her daily life and even the topics related to morning, evening, mother, bird, tree, kite and flute can provide as the content for her poems. Malati Pattanashetty in her Mouna Karaguva Hottu distributes the intimate happiness obtained even during the bad moments. Uttamanuru Rajamma Shetty (Tumbi Kolluttale) invokes the love, marriage, social, political situations in her poems which are in the form of songs. The writings of Shivalingamma Katti have been influenced by the Vachanas but have secured their own identity.

B T Lalitha Nayak (Nam Roopli) writes simple and normal romantic poems. She observes the affairs of life without any hesitation. And that’s why she stands as a very important poet in Bandaya movement. Sarojini Chavalar (Sasya Shyamale) writes on  the silent pain of suppressed women. She also writes in Bandaya style by highlighting the faults of the society we are in. Shalini Shrinivas in Nijavenu Geleya gives the revolutionary touch to her poems about the equality of men and women.

Vijaya Subbarao’s poems in Vasundhareya Praya explains about the patience in life and balanced verve. Shashikala Veerayyaswami’s Pranayini speaks about the philosophical concern and console for woman’s pain. She does not pile it up but explains in a very silent manner. In Bagirathi Hegade’s Hennu Huli, the unpleasant incidents doesnot disturb the poet but encourages the new ways in her.

Bhagya Sudarshan in her ‘Khasagi Kone’ collection brings up the artistic aspect of day today life in words. R Nirmala’s ‘Neenu’ finds its way in nurturing the emotional force which drivens the feelings in heart. Arundhati Ramesh in ‘Belakina Saalugalu’ deals with the exploitation of women folk due to her biological appearance. Leela Kalakoti in ‘Naana Bartinanda’ gently explains the woman’s feeling without feminist attitude.

K R Sandhya Reddy in ‘Badukina Vyathe’ writes on how the human life is travelled on humane experiences. B N Nagaratna in Vikshipta writes on the day today pains without any artistic touch. Pratibha Nandakumar in ‘Nanu putti male nodiddu’ is the proud mother who sees her daughter in a much confidence.

Hema Pattanashetty in Sankara concentrates on intimate feelings when it comes to women’s life. Tulasi Venugopal in Navilugari extends her gratitude to her motherland and its culture as she has settled outside her state. D B Rajiya in ‘Chaya’ writes on how the marriage can become the bridge in making up the minds to face challenges together. H S Muktayakka in Appa is influenced by Allama’s writing style of Vachana Sahitya. Ba Ha Ramakumari in ‘Gini Muti Maavu’ believes that the worldly truth depends on how the mind thinks and she expressed it without any hesitation. Lata Rajashekar in Bhodi Vrukshada Kelage writes on the life’s delicacy in her short poems. Sukanya Maruti in ‘Anaathe’ understands the life in the Bandaya style giving it the touch of fire. Savita Nagabhushan’s poems travels in a silent manner amidst the middle class setup. Her Kitakiyalli Chandira explains the emotional challenges faced by married women.

Sujata Kumata, Mallika Ghanti, M R Kamala, Sabiha Bhumigouda, K H Poornima, U Maheshwari, Meena Mysore, Vijashri Sabarad, K Sharifa, L C Sumitra, Lalita Siddhabasaviah, Madhavi Bhandari have written the powerful poems in Bandaya literature. The dramatic representation of these poetesses will showcase on the life’s truth. H L Pushpa uses the language as a tool to keep readers astonishing. T C Poornima relates her poems with nature. Du Saraswati powerfully writes on the extremeness of this era. Sandhyadevi entered the world of poetry in her middle age but writes very significantly. Ha Ma Kanaka writes how the birth and death provides the instinct nature for love. M S Veda brings rural life and the human nature in her poems.

Jyoti Guruprasad in ‘Chukki’ writes the intimate poems on love. H N Arati sees the darkness of life with pity. Mamata G Sagar (Nadiya neerina teeva) stress on the secrecy of life without selfishness. Dharani Devi Malagitti expresses the poems in Bandaya style. Meena Sadashiv writes the touching poems intimately. Roopa Hasan in Bagilaacheya Mouna writes on the balance of life. Vinaya Okkunda in Bayarike explains how the globalization has affected the life of individuals. Sunanda Kadame in Seeludari writes how the family is important to gain natural rhythm of life. D C Geeta writes on the modern topics with the questions without answers. Sudhasharma Chavati self criticizes in her own way in her poems. Veena Bannanje is influenced by the Akka’s Adwaita in her poems. Prajna Mattihalli believes that the poems bring out the beauty to life.

Besides these poets, we can observe the large number of poetesses enriching the world of Kannada Poetry.

(Originally written in Kannada by Sunanda Prakash Kadame. Translated for presenting in twelveth convention of All India Poetess Conference Khurja held at Hubli on 6,7,8 January 2012)


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