Saxophones

Yakshagana

India is a country with unity in diversity. Every state has its own unique culture, traditions, and its own art. Karnataka is also one of such state. One of the most prevailing arts in Karnataka is Yakshagana which was once popularly known as “Gandu Mettida Kale” which originated 400 years back. It is considered as one of the classical folk theatre in Karnataka and is most popular in the districts of Shimoga, Uttar Kannada, and Dakshina Kannada in Karnataka as well as also in Kasargod district of Kerala. In literary terms Yakshagana means a “Song sung by Yaksha”. Yakshas means a tribe one whose mention we can find in Mahabharata or in the ancient Indian literature.

 History of Yakshagana

 Yakshagana is the recent (200 years) scholastic name given which was earlier known in Kannada as “Kelike”, “Dashavatara”, “Aata”, and “Bayalaata”. The origins of Yakshagana can be traced as early as 11th century A.D. This folk art originated somewhere in between the 10th and 16th century as its reference can be found in Bheemakhanda, one of the famous writings of the great author of the 15th century Srinadha. But as an art form it was given the shape during the Vaishnava Bhakti movement which originated in southern India from the 5th to the 7th centuries.

 The Bhakti movement at that time was the movement which emphasized devotion and love for Vishnu as the chief means of spiritual perfection. The Bhakti movement spread with vigor after the10th century, whereby it took religion to the lower classes of society as at that time it was a caste rigid society and for these lower sections of the people the Vedic religion was out of its reach. Therefore to propagate and spread the message of devotion among the common people, the various methods such as existing folk music, dance and drama, as well as classical literary styles and performances, were used to convey the message of love and devotion.

  Most of the traditional forms of Indian theater, such as Ankhia Nata (Assam), Jathra (Bengal), Chau (Bihar, Bengal), Prahlada Nata (Orissa), Veedhinatakam and Chindu (Andhra), Terukoothu Bhagawathamela (Tamil Nadu), Kathakkali (Kerala) resulted from this phenomenon and, in spite of major differences, bear a clear resemblance to each other. Yakshagana is also a member of this group.

Earlier it was known as Bahunatakas but was later on given a new name what it is presently known as after getting inspired from the Yakshas or Jakkulas who used to be great singers and dancers. Yakshagana is a traditional theater which was founded by Sri Madhwaacharya and popularized by Sri Narahari Thirtha consisting various forms of combination of dance, music, actor-created dialogues, costume-makeup, and stage technique with a distinct and well-defined style. It is closely connected with other forms of art prevailing in other parts of Karnataka, and in its neighbouring states of Andhra Pradesh, Kerala, Tamil Nadu and Maharashtra.

 The reference of the evolution of Yakshagana.

 According to Vidwan Bannanje Govindacharya, a prominent Vedic scholar, the earliest reference to Yakshagana can be found in a legend attributing its origin to a “Dasavathara Ata” the performance and troupe founded by Sage Narahari Thirtha (c. 1300) in Udupi.

 By 1600 A.D. Yakshagana became an established form, wherein the Yakshagana poet Parthisubba wrote the Ramayana in Yakshagana. He is said to have been a Bhagawatha (singer) himself and is believed to have founded a troupe and who was probably the formulator of the Tenkuthittu (Southern style) of the art. It seems that Yakshagana troupe centers like Koodlu and Kumbla in Kasaragod District, and Amritheshwari, Kota, near Kundapur, have had troupes for as long as three or four centuries, indicating  that the art form had taken shape by about 1500 A.D.

 Thus Yakshagana as it is performed today must have evolved slowly, drawing elements from ritual theater, temple arts, secular arts like Bahurupi, royal courts of the time and artists’ imaginations.

Whether Yakshagana can be called folk, classical or rural?

 It is very difficult to categorize Yakshagana into folk, classical or rural. It is basically an amalgamation of all these forms. Since it is a theater form it is more plural and dynamic. Primarily it is a name given to the form prevailing in Coastal and Malnad areas of Karnataka, though in fringe forms like Doddata are also called by the same name. The traditional theater form Mudalpaya of Southern Karnataka, the Doddata of Northern Karnataka, the Kelike in the borders of Andhra Pradesh, the Ghattadakore of Kollegal in Chamarajnagar district – are such forms. Among them, the Ghattadakore is a direct branch of Coastal Yakshagana, while Mudalapaya is the most closely connected form. There is also another form called Yakshaganamu in Andhra Pradesh, which also exhibits resemblance to the forms of Karnataka plateau region.

How Yakshagana is performed?

  There are about 30 professionals in a Yakshagana troupe and it is usually performed in the twilight hours. It is an amazing blend of Sanskrit drama, folk songs from the battles and acts of heroism from the great epics of Mahabharata and Ramayana. The one who performs Yakshagana wear colorful masks which turn their performance into a visual delight for the viewers. Facial make up, made of vegetable dyes, ranges from simple to intricate designs depending upon the character’s role.

 Yakshagana Ornaments are made out of light wood, mirror work, colored stones.Though, lighter materials like thermocol are used in modern days, ornaments are still predominantly woodwork. Yakshagana costumes consist of headgear (Kirita or Pagade), Kavacha that decorates chest, Buja Keerthi (armlets) that decorate shoulders, and belts (Dabu) all made up of light wood and covered with golden foil. Mirror works on these ornaments helps to reflect light during show and adds more color to costumes. These armaments are worn on a vest and covers upper half of the body. Lower half is covered with Kachche that comes in a unique combination of red, yellow and orange checks. Bulky pads (cloths) are used under Kachche and this makes actors different from general audience in size.Bannada Vesha that involves detailed facial makeup is used to depict monsters. It may take three to four hrs to complete makeup for certain vesha.

 Traditionally, males used to play female roles in Yakshagana. However, recently Yakshagana has seen female artist who have performed in both male and female roles. Stree Vesha uses sari and other decorative ornaments.

 

Apart from the costumes another interesting thing in Yakshagana is that Yakshagana consists of Yakshagana Raga which refers to melodic framework used in Yakshagana. It is based on pre-classical melodic forms that comprise a series of five or more musical notes upon which a melody is founded. Ragas in Yakshagana are closely associated with a set of melodic forms called Mattu. In Yakshagana tradition, ragas are associated with different times of the night throughout which Yakshagana is performed.

 Then there is also Yakshagana Tala which is basically a framework for rhythms in Yakshagana that are determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance.
Then there is also a Yakshagana Prasanga which is a collection of poems written to form a music drama called Yakshagana. The poems are composed in well known Kannada metre using the frame work of Yakshagana Raga and Yakshagana Tala. Yakshagana also has what is called a Yakshagana metre (prosody). The collection of Yakshagana poems forming a musical drama is called a Prasanga. Oldest surviving parasanga books are believed to have been composed in 15th century. But many compositions have been lost. Before 15th century there are evidences to show that oral compositions were in use.

The instruments used in Yakshagana include Yakshagana bells which are a pair of finger bells made of a special alloy (traditional five metals). They are made to fit the tonic of the singer (bhagawatha). Usually professional singer carries more than one of their own finger bells to be able to sing for different drones. Pair of finger bells is available for different keys. Then there is the maddale (Kannada: ಮದ್ದಲೆ) which is a percussion instrument from Karnataka, India. It is the primary rhythmic accompaniment in a Yakshagana ensemble along with Chande.

  Maddale used in Yakshagana looks similar to Mridangam but is markedly different in structure, acustics, playing techniques and the rhythm system (Yakshagana Tala). Maddale uses the Yakshagana Tala system. Traditionally the variety of Maddale is shorter and high pitched. Maddale is available in more than three different variations.

 Then there is chande whichis a drum used in the traditional and classical music of South India and particularly in Karnataka. It provides rhythmic accompaniment in several dance dramas of South India such as Yakshagana. It follows the Yakshagana Tala system. The rhythms are based on pre-classical music forms, folk groves and some rhythms are similar to Karnataka Sangeeta and to lesser extent Hindustani Sangeetha. There are different varieties in this instrument. Two major varieties are the Badagu Thittu Chande (Northern School) and the Thenku Thittu Chande (Southern School). The later is also spelt as chenda and is used exclusively in the art forms of southern costal Karnataka and Kerala

 Growth and changes in Yakshagana

 During the nineteenth century, socio-economic changes in India brought about a change in Yakshagana. A large number of new compositions were produced during the 19th century, and the art form began to be performed outside its native territory. Around 1800 A.D., a troupe from Dharmastala visited the court of the king of Mysore and established a troupe there.

 In the 1840s, a troupe from Uttara Kannada (North Kanara) visited Maharashtra, and inspired the first modern age mythological drama by Vishudas Bhave. A number of troupes arose all over coastal Karnataka and possibly in other parts of Karnataka. By the early decades of the twentieth century, the structure of Yakshagana reached a definite shape and form.

 In the 1930s some changes occurred in compositions, organization and presentation. Dance and the spoken word was further developed and refined, but costumes began to degenerate as ‘modern’ clothing and stone jewelry was replaced by hand-woven fabrics and wooden ornaments. In 1950s, Yakshagana was commercialized by ‘tent’ troupes, selling tickets for performances in ‘tent theaters’ with seats for the audience. Electrical lighting replaced the ‘gas lights’ or ‘petromax’ lamps and seating arrangements improved. Themes were expanded to include folk epics, Sanskrit dramas and created (imaginary) stories. Popular entertainment value, rather than ‘classical’ presentation, became the standard for judging a Yakshagana performance.

 Tulu, the language of the southern part of the Dakshina Kannada district, was introduced on the stage, where previously only Kannada had been spoken, greatly increasing the popularity of Yakshagana. All these trends continued with added vigor after the 1970s. The writer Dr. Kota Shivaram Karanth experimented with the dance form by introducing western musical instruments. He also reduced the time of a Yakshagana performance from twelve hours to two and half hours, for the convenience of city dwellers.

 The year 1950 saw the birth of ‘tent’ troupes, giving performances to audience by tickets, with ‘tent theaters’ and furniture for seating. These troupes brought in commercialization of Yakshagana, with both merits and demerits. Yakshagana saw major changes in form and organization; electrical lights replaced the ‘gas lights’ or ‘petromax’ lamps. Seating arrangements improved. Major changes came in the themes, with the inclusion of folk epics, Sanskrit dramas and created (imaginary) stories forming the thematic base. Popular entertainment became the criterion in place of ‘classical’ presentation.

 Modern Yakshagana has undergone considerable innovation, including adaptations of Shakespeare. and the incorporation of movie stories. Yakshagana was performed in Hindi for the first time in 2005 .    Traditionally, males are playing female roles in Yakshagana. However, more recently Yakshagana has seen female artists who have performed in both male and female roles. Stree Vesha uses sari and other decorative ornaments.

 Training and Research

The late Sri Kukkila Krishna Bhat has performed lot of research and written several books on Yakshagana. He was one of the authorities on Yakshagana history of Karnataka. “Partisubba” is one of his most famous books.  The training schools for Yaskhagana are very few in Coastal Karnataka. As most troupes are associated with temples, the training has been confined to the temple premises. However, the Govinda Pai Research Institute, located at MGM College, Udupi, runs a Yakshagana Kalakendra in Udupi that trains youngsters in this ancient dance form. Another famous institute is the SRIMAYA Yakshagana Training Center founded by Late Shri Keremane Shambhu Hegde.

 Women in Yakshagana.

 Earlier due to rigid social system and the male dominant society, women were restrained from learning Yakshagana more so because Yakshagana had a tag attached to it being a masculine art form. But with the times change there emerged a few women who broke the tradition and learnt Yakshagana which eventually led to the staging of women Yakshagana performances. The credit goes to Akkani Amma who not only learnt and taught Yakshagana to women, but also bravely established the first ever women Yakshagana troupe Mahila Yakshagana Kalamitra Mandali way back in 1979. It was Akkani Amma who spread the fragrance of Yakshagana in the State capital. But the Syndicate Bank Recreation Club, Manipal established in 1981 made an effort to boost women Yakshagana in the region. This troupe does not exist anymore but successfully opened the doors of Yakshagana for women in the coastal districts. In the last three decades many such women Yakshagana troupes came up and also many of them closed but still some of active women troupes exist which include Yaksha Kala Sri Vedike, Khandige Mari of Sullia, Sri Siddhi Vinayaka Mahila Yakshagana Mandali of Surathkala Kadri Manjula, Bhagvati Mahila Vedike to name the few.

 Yakshagana outside India

 Yakshagana is finding new grounds outside India. Amateur troupes have emerged on the coasts of California, USA and Ontario Canada. “Yakshagana Kalavrinda” and “Yaksharanga” in the USA and “Yakshamitra” in Canada are a few such examples. “Yakshagana Kalavrinda” performs on the east coast of USA. Yakshagana in the USA started after the visit of Yakshagana artist Sri Chittani Ramachandra Hegde. His performance at the age of 74 was so inspiring that art lovers decided to continue this great art thousands of miles away from its home. Sri Kidayuru Ganesh who accompanied Sri Chittani stayed back for couple of months to train new generation of Yakshagana artists. The result was a performance of Yakshagana “Sudanvarjuna Kalaga” with participation from local enthusiasts. Since then Yaksharanga has performed many shows around California. These troupes usually use a recorded background Yakshagana music(Himmela) for their performances. Other amateur troop outside of India is “Yakshamitra” in Toronto, “Canada”. Yakshamitra uses local live music (Himmela) for their performance.

 Another Yakshagana Troupe “Shri Idagunji Mahaganapati Yakshagana Mandali, Keremane’ Keremane Mela headed by Shri Keremane Shambu Hegde and Shri Keremane Shivanand Hegde toured USA and performed about 22 programs all over North America. The troupe visited about 12 countries and celebrated 75 years in history of Yakshagana.

 Inspite of various obstacles and with the changing times this form of art has tried to sustain itself and for this many organisations are working in the direction not to let this form of art die. Apart from many organisations people should also cooperate and work in this direction.

 

About the Author

• Has done post-graduation in Political Science from Mumbai University, Maharashtra, India.
• Has worked in an Non-Governmental Organisation called “Centre for Study of Society and Secularism dealing with various issues.
• Has written and published various articles.
• Presently writing various articles in various newspapers and magazines.

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