| 1 | '''Navya Movement''' |
| 2 | |
| 3 | |
| 4 | Influential modernist literary movement in |
| 5 | Kannada initiated by Gopalakrishna Adiga’s |
| 6 | two poetry collections, Nadedu Banda Dari |
| 7 | (1952) and Bhumigita (1959). The movement is |
| 8 | described in G.B. Joshi and Kirtinath |
| 9 | Kurthakoti’s major rewriting of Kannada |
| 10 | literary history in a 3-volume book with the |
| 11 | same title as Adiga’s anthology, Nadedu Banda |
| 12 | Dari (1959). Navya represented a departure |
| 13 | from Navodaya’s transcendental romanticism, |
| 14 | emphasising instead a more limited protagonist |
| 15 | placed within contemporary mass-culture and |
| 16 | consumerism. It acknowledged the influence of |
| 17 | Kafka, Camus, Sartre and Freud. The |
| 18 | movement reached its creative pinnacle in the |
| 19 | late 60s with U.R. Ananthamurthy’s fiction |
| 20 | (Samskara, 1966) and developed an |
| 21 | uncompromising political opposition to the |
| 22 | hegemonic Brahmin élite. It extended directly |
| 23 | into the cinema with Pattabhi Rama Reddy’s |
| 24 | film of Samskara (1970), encouraging |
| 25 | modernist writers, playwrights and stage |
| 26 | directors to turn to the cinema (e.g. P. |
| 27 | Lankesh, Girish Karnad, Chandrasekhar |
| 28 | Kambhar, B.V. Karanth, Baraguru |
| 29 | Ramchandrappa, actor C.R. Simha et al.). The |
| 30 | shift into cinema perpetuated the belief that |
| 31 | film is an extension of literature, spawning |
| 32 | many adaptations of the writings of e.g. Masti |
| 33 | Venkatesha Iyengar, Chaduranga, Triveni, T.R. |
| 34 | Subba Rao and S.L. Bhairappa. In retrospect, |
| 35 | only three films - Samskara, Lankesh’s Pallavi |
| 36 | (1976) and Girish Kasaravalli’s |
| 37 | Ghattashraddha (1977) - have direct political |
| 38 | and formal links with Navya. Later, many |
| 39 | ‘kalatmaka’ (artistic) or ‘Prayogika’ |
| 40 | (experimental) films claimed to derive e.g. |
| 41 | from Chaduranga’s novels (the writer filmed his |
| 42 | own novel Sarvamangala, 1968), while |
| 43 | directors like N. Lakshminarayan, G.V. Iyer |
| 44 | and Puttanna Kanagal went on to formulate |
| 45 | an art-house aesthetic quickly enshrined in |
| 46 | Karnataka film and TV policies. |
| 47 | |
| 48 | [[Glossary]] |