Yakshagana, our cultural heritage

Yakshagana is a rich traditional art of Karnataka which has reached a great height among India’s traditional arts. It has a history of at least five hundred years. It is a unique blend of various arts like music, dance-drama draws mostly on Puranic stories. Similar art-forms are prevalent in different regions of Southern India, such as Kathakali (Kerala) Theruvukoothu(Tamilnadu), Bhagavatha Mela (Andhra). Yakshagana in different forms and names like Sannata, Doddata, Parijatha, etc. can be seen in different parts of Karnataka.

" different types of actors in yakshagana"

Initially this folk theatrical art was confined to the temple. Even now there are several yakshagana troupes which are sponsored by temples like Mandarthi, Marnakatte, Dharmastala, Kateel, Kamala Shile, Mangaladevi etc. Yakshagana has not only entertained people but has given them lessons in Puranic stories and values of life. It has also propagated the idea of Bhakthi. In coastal Karnataka yakshagana can be divided broadly into two styles, namely Thenku Thittu (Southern Style). Badagu Thittu (Northern Style). The North Kanara style is a slight variation of Badaguthittu. Thenkuthittu is prevalent in south between dupiand Kasaragod.

The yakshagana troupes begin their itinerant performances at the time of ‘Deepavali’. The dance drama is performed through the night. The performing season comes to an end in May. But special performances can be arranged in the rainy season also. There are about thirty professional Melas and hundreds of artists and others make a living through Yakshagana.A simple stage is sufficient for ‘Yakshagana Bayalata’. The stage is called Rangasthala; the set of background musicis called Himmela consisting of :

·        A Bhagavatha, the director-singer who uses Thala or Jagate

·        Maddalegara who plays maddale

·        Chandegara who plays chande

·        A Shruthigara who keeps shruthi on harmonium

The poetic composition sung by the Bhagavatha is called ‘Yakshagana Prasanga’ which ia a very renderedin poetic form set to different ‘Ragas’ and ‘Thalas’. The singing, accomplished by the musicians (Himmela), is explicated by the actors dance, gestures and actions(abhinaya). After the Bhagavatha’s lead singing the actors launch their dialogue and explain the meaning of the song and enact the story. The dialogue is extempore.

Even in these modern days of powerful media like TV, Yakshagana has still retained its place and influence on the people, thus keeping the rare cultural heritage alive.

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