Yakshagana dance drama of Karnataka

Subhashini Pathmanadan

One classical dance form based on Karnataka is called Yakshagana. This dance form has different names in different parts of Karnataka. Northern part of Karnataka calls this dance Doddaata. In Mysore this is Moodalapaya.

This dance form was later refined and called Yakshagana. Another folk dance was called Yakshagana Bombeyaata (this was a puppet show). Yakshagana could be considered as a classical dance form of Karnataka.

This is a drama almost based on dance form. It is almost similar to Bhavatha Mela Dance drama of Tamil Nadu.Karnataka is derived from Sanskrit. Naturally the dance has Sanskrit influence in numerous dimensions. Like any other Indian classical dance form, Yakshagana is deeply rooted in Hindu religious puranas and epics.

But it is mostly cherished in the Vaishnava cult. In addition it is based on four important elements: dance, drama, music and dialogue. Most themes reveal the doctrine by showing the struggle between good and evil, and the triumph of good over evil at the end.

Music is provided by professional musicians called Bhagavathars who use two main instruments: maddale and chande. Chande is used only for certain scenes. Maddale is a kind of drum. This dance drama is based on certain stories. These stories were generally called prasangas. These prasangas were written during the 17th Century and after.

The ragas selected for these dances must suit and reflect different emotional moods of scenes. For instance ragas like Thodi, Mohanam and Savari are used to portray sorrow. More than 100 ragas, it is said, are selected for Yakshagana. The music is an admixture of Hidustani and Carnatic music. 

The style of singing is entirely different in Yakshagana. The language of the music is Kannada. Chande is used only for violence, war and terror scenes.

The most enjoyable scenes are from Mahabharata and Ramayana. Different emotions are exhibited through a variety of footwork and gathi petha (different tempos). The characters dance and enter stage with a variety of hand gestures and footwork (steps) of different beats.

Introducing male characters to audience is generally common in most folk-based ritual dances. The stage where performances take place is called rangasala or natakasala. The rangasala is installed in temple grounds. In addition it is a temporary shed built with bamboo poles and decorated with fresh mango leaves.

Like ancient folk dances, classical dances and olden-day dramas, Yakshagana was staged throughout nights. It is also based on Natya Shastra. It has a lot of similarities and relationships with other Indian dance forms.

The dance form especially resembles the stances, jumps, vigorous movements, make-ups, dressing and subtle graceful facial expressions of Kerala’s state dance Kathakali and folk dance of Tamil Nadu and Therukoothu. Like Kuchupidi and Bhagavathamela dialogue takes place in between dances. Like many ancient Indian classical dance forms, female characters are played by only males.

A variety of hand gestures (muthras), common in Bharatha Natyam, Kuchupidi and Kathakali, is used in Yakshagana. For instance Pathakam, Mirugashirusam, Kadakamugam and Musti are some mudras used in this dance form. Thandava and Lassiya, two different important concepts, are equally used in this dance drama.

Like most Indian classical and folk dance forms, it provides equal opportunity to use angika, akariya, vachika and saathvika abinayas. Each character has a distinct type of make up. When characters do their allocated roles through angas (limbs or organs) is considered as angika abinaya.

..................................

<< Artscope Main Page