Yakshagana (lit. "Songs of the demi-gods") is a composite folk-dance-drama or folk theater of southern India which combines literature, music, dance and painting. The best-known forms of this art, written in the Kannada language, are from the Dakshina Kannada, Udupi district, Uttara Kannada and to some extent from the Shimoga district of modern Karnataka. [1] [2] [3] According to the Kannada playwright and Yakshagana researcher Shivarama Karanth, there are over one hundred such plays written in Kannada in the past few centuries though not more than fifty have been staged and gained popularity. [4] The metrical forms used to compose these plays are usually native Kannada forms such as dvipadi (couplet, 2-line verse), caupadi (4-line verse), sangatya (also 4-line) and three or four types of shatpadi (6-line verse). Some Sanskritic metrical forms, such as the vrattas (4 line verse) and kandas (chapter) were also used for composition. The composed lines lend themselves to tala (beats) and are hence suitable for dance-dramas. [5]
There are a variety of dance-dramas collectively termed as Yakshagana. The Yakshagana Tenkutittu (lit. "Yakshagana of the southern style") is popular primarily in the Mangalore region and the Yakshagana Badagatittu Bayalaata (lit. "Yakshagana of northern style performed outdoors") is popular in Udupi and surrounding regions. [6] Other art forms also grouped under Yakshagana are the Nagamandalam, a dance meant to appease the deity Naga, and a variety of bhuta (spirit) dances. [2] The "Yakshagana Tenkutittu" is more akin to the classical Kathakali of Kerala. [2] According to Karanth, the region between Udupi and Ikkeri could be where the Yakshagana of the northern style originated. [7] Based on internal evidence, Karanth dates these plays to about a 100 years prior to their earliest available copy. [8] This list is not exhaustive. Many plays never reached the stage and among those that did, several plays may not have gained popularity or may longer be popular. Aliya Lingaraja, a member of the Mysore royal family and a writer in the Mysore court wrote more than forty plays which are not in this list. [9]
From about the 1960s, the Kannada Yakshaganas of the Tenkutittu style (southern style) have been replaced almost entirely by the Tulu language. According to Muthukumaraswamy and Kaushal this appears to be a form of "protest" against playing the traditional themes in Kannada taken from classical sources and a preference for local folk themes in Tulu language. [10]
Play | Author | Location | Period | Earliest available copy |
---|---|---|---|---|
Sugriva Vijaya [11] | Kandukuru Rudrakavi | 16th century | ~1550 | |
Virata Parva [12] | Vishnu Varamballi | Brahmavara | 16th century | 1564 |
Banasura Kalaga [12] | Vishnu Varamballi | 1683 | ||
Indra Kilaka [12] | Vishnu Varamballi | 1678 | ||
Sambarasura Kalaga [12] | Subramanya Nagire | Gersoppa | 16th century | 1623 |
Ravanodbhava [12] | Subramanya Nagire | 16th-17th century | ||
Krsna Sandhana [13] | Devidasa | Barkur or Udupi | 16th century | 1665 |
Bhisma Parva [13] | Devidasa | 1692 | ||
Abhimanyu Kalaga [13] | Devidasa | 1695 | ||
Saindhava Vadha [13] | Devidasa | 16th-17th century | ||
Chitrasena Kalaga [13] | Devidasa | 1695 | ||
Girija Kalyana [13] | Devidasa | 16th-17th century | ||
Krsnarjuna Putrakamesti [13] | Devidasa | 1618 | ||
Indra Kilaka [13] | Devidasa | 16th-17th century | ||
Devi Mahatme [13] | Devidasa | 16th-17th century | ||
Babhruvahana Kalaga [13] | Devidasa | 1647 | ||
Sri Krsna Balalila [13] | Devidasa | 16th-17th century | ||
Venkatesa Mahatme [13] | Devidasa | 16th-17th century | ||
Krsnarjuna Kalaga [14] | Venkata | Pandesvar | 16th century | 1663 |
Tamradhavaja Kalaga [15] | Rama | Sivapura | 16th century | 1691 |
Putrakamesti [16] | Anonymous | 1652 | ||
Rukmini Swayamvara [8] | Anonymous | 1678 | ||
Panchavati [8] | Anonymous | 1657 | ||
Pattabhisheka [16] | Anonymous | 1657 | ||
Kumbhakarna Vadha [16] | Anonymous | 1652 | ||
Sabha Lakshana [16] | Anonymous | 1623 | ||
Airavata [16] | Anonymous | 1646 | ||
Kusalava [16] | Anonymous | 1735 | ||
Krsna Balalila [16] | Anonymous | 1652 | ||
Putrakamesti [16] | Anonymous | 1651 | ||
Babhrvahana Kalaga [16] | Anonymous | 17th century | ||
Chandravali [17] | Nagappayya | Dvajapura | 17th century | 1703 |
Nala Damayanti [17] | Nagappayya | 17th-18th century | ||
Ghatotkaca [17] | Nagappayya | 17th-18th century | ||
Gayacharitre [18] | Halemakki Rama | Halemakki | 17th century | 1618 |
Lava Kusa [19] | Rama Bhatta | Hattiangadi | 17th century | 17th-18th century |
Draupadi Swayamvara [19] | Rama Bhatta | 17th-18th century | ||
Atikaya [19] | Rama Bhatta | 17th-18th century | ||
Subhadra Kalyana [19] | Rama Bhatta | 1716 | ||
Druva Charitre [19] | Rama Bhatta | 17th-18th century | ||
Rati Kalyana [19] | Rama Bhatta | 17th-18th century | ||
Kamsa Vadha [19] | Rama Bhatta | 17th-18th century | ||
Billa Habba [19] | Rama Bhatta | 17th-18th century | ||
Draupadi Vastrapaharana [19] | Rama Bhatta | 17th-18th century | ||
Rajasuya [19] | Rama Bhatta | 17th-18th century | ||
Sulochana Charite [19] | Rama Bhatta | 17th-18th century | ||
Setu Madhava [19] | Rama Bhatta | 17th-18th century | ||
Sesha Garvapaharana [19] | Rama Bhatta | 17th-18th century | ||
Girija Vilasa [19] | Rama Bhatta | 17th-18th century | ||
Indrajitu Kalaga [19] | Rama Bhatta | 17th-18th century | ||
Kanakangi Kalyana [20] | Nityananda Avadhuta | Not Known | 17th century | 1683 |
Parijata [20] | Subba Ajapura | Brahmavara | 18th century | 1698-1715 |
Rukmini Svayamvara [20] | Subba Ajapura | 1698-1715 | ||
Mairavana Kalaga [21] | Venkata Ajapura | Brahmavara | 18th century | 1726 |
Manasa Charite [21] | Venkanna | Mulki | 18th century | 1750 |
Samudra Mathana [21] | Vasudeva Prabhu | Mulki | 18th century | 18th century |
Chandrahasa-Billahabba [21] | Vasudeva Prabhu | 1814 | ||
Kamsa Vadhe [21] | Vasudeva Prabhu | 18th century | ||
Radha Vilasa [21] | Vasudeva Prabhu | 18th century | ||
Rajasuya [9] | Bhima | Uttara Kannada | 19th century | 19th century |
Prahalada charite [9] | Mayyavati Venkata | Mangalore | 19th century | 19th century |
Bhisma Parva [9] | Yennemadi Venkataramanayya | Shirali | 19th century | 19th century |
Putrakamesti [9] | Gersoppe Santappayya | Gersoppa | 19th century | 1850 |
Karnarjuna Kalaga [9] | Gersoppe Santappayya | 1850 | ||
Ratnavati Kalyana [22] | Lakshminaranappa | Nandalike | 19th century | 19th century |
Kumara Vijaya [22] | Lakshminaranappa | 19th century | ||
Bhisma Vijaya [23] | Narasimha Sastry | Tirthahalli | 20th century | 20th century |
Vidyunmati Kalyana [23] | Narasimha Sastry | 20th century | ||
Tulu is a Dravidian language whose speakers are concentrated in Dakshina Kannada and the southern part of Udupi of Karnataka in south-western India and in the northern part of the Kasaragod district of Kerala. The native speakers of Tulu are referred to as Tuluva or Tulu people and the geographical area is unofficially called Tulu Nadu.
Kuchipudi is one of the eight major Indian classical dances. It originates from a village named Kuchipudi in the Indian state of Andhra Pradesh.
Kàrāvàlī, also known as Kanara or Canara in Indo-British English, is the a historically significant stretch of land situated by the southwestern coast of India, alongside the Arabian Sea in the present-day Indian state of Karnataka. The region comprises three civil districts, namely: Uttara Kannada, Udupi, and Dakshina Kannada.
Kannada literature is the corpus of written forms of the Kannada language, a member of the Dravidian family spoken mainly in the Indian state of Karnataka and written in the Kannada script.
Yakshagana is a traditional theatre, developed in Dakshina Kannada, Udupi, Uttara Kannada, Shimoga and western parts of Chikmagalur districts, in the state of Karnataka and in Kasaragod district in Kerala that combines dance, music, dialogue, costume, make-up, and stage techniques with a unique style and form. It is believed to have evolved from pre-classical music and theatre during the period of the Bhakti movement. It is sometimes simply called "Aata" or āṭa. This theatre style is mainly found in coastal regions of Karnataka in various forms. Towards the south from Dakshina Kannada to Kasaragod of Tulu Nadu region, the form of Yakshagana is called Thenku thittu and towards the north from Udupi up to Uttara Kannada it is called Badaga thittu. Both of these forms are equally played all over the region. Yakshagana is traditionally presented from dusk to dawn. Its stories are drawn from Ramayana, Mahabharata, Bhagavata and other epics from both Hindu and Jain and other ancient Indic traditions.
Kota Shivaram Karanth, also abbreviated as K. Shivaram Karanth, was an Indian polymath, who was a novelist in Kannada language, playwright and an ecological conservationist. Ramachandra Guha called him the "Rabindranath Tagore of Modern India, who has been one of the finest novelists-activists since independence". He was the third writer to be decorated with the Jnanpith Award for Kannada, the highest literary honor conferred in India. His son Ullas is an ecological conservationist.
Arebhashe or Aregannada or Gowda Kannada is a dialect of Kannada mainly by Gowda and other communities in the region Madikeri, Somwarpet, and Virajpet taluks of Kodagu district, Sullia, taluks of Dakshina Kannada district; Bangalore and Mysore districts in the Indian state of Karnataka. As well as Bandadka, Kasaragod District in the Indian state of Kerala, Arebhashe is also called as Gowda Kannada. The language was recognized by the Karnataka State government and formed an academy in 2011 to preserve the culture and literature of the Arebhahse Region which is named as Karnataka Arebhashe Samskruthi mathu Sahitya Academy supported by then Chief Minister D. V. Sadananda Gowda.
Basrur / Basroor is a village in Kundapura taluk in Udupi district of Karnataka. Historically Basrur was also called Barcelor, Barcelore, Barcalor, Basnur, Bares, Abu-Sarur and Barsellor.
Mysore literature in Kannada is a body of literature composed in the Kannada language in the historical Kingdom of Mysore in Southern India and written in the Kannada script. The writings date from the Kingdom of Mysore, which existed from around 1600 CE until the establishment of modern India in 1947. Many of the works of this literature written on religious themes are labeled Veerashaiva or Vaishnava in acknowledgment of the two faiths that gave form to the literature and fostered it until the advent of the modern era. Despite a gradual decline in the popularity of Jainism, authors devoted to the faith produced some works of merit. Secular themes dealing with a wide range of subjects were also written on. Kannada literature flourished for a short while in the court of the neighbouring kingdom of the Nayakas of Keladi whose territory was annexed by Mysore in 1763.
Sri Idagunji Mahaganapati Yakshagana Mandali, Keremane (R)(Kannada: ಇಡಗುಂಜಿ ಮಹಾಗಣಪತಿ ಯಕ್ಷಗಾನ ಮಂಡಳಿ)or simply the Keremane Yakshagana Troupe is a Yakshagana troupe based in the Uttara Kannada district of Karnataka, India. It was started by Keremane Shivarama Hegde in 1934. He is an exponent of this art form and is the first Yakshagana artist to win the Rashtrapati Award, an award handed out by the President of India to people who excel in various fields. The troupe has survived three generations, with his children Shambu Hegde, Mahabala Hegde and Gajanana Hegde and his grand son Shivananda Hegde also being exponents of Yakshagana. Keremane Shivananda Hegde is the current director of the troupe and the institution.
Ramchandra P. N. is a filmmaker making feature films, short films, documentaries and TV programs. in India. He is a Tuluva based in Mumbai.
Mangaloreans are a collection of diverse ethnic groups that hail from the historical locales of South Canara (Tulunaad) on the south western coast of Karnataka, India, particularly the residents native to Mangaluru.
Udyavara Madhava Acharya was an Indian orator, short story writer, poet, and theatre artist. He is credited with modernisation of the traditional theatre form of Yakshagana. Some of his noted works include Baagida Mara, Rangasthalada Kanavarikegalu, and Nenapadalu Shakunthale. He was a recipient of the Karnataka state Rajyotsava Award in 1999 and the Karnataka Sahitya Academy Award in 1970.
Canarese Konkani are a set of dialects spoken by minority Konkani people of the Canara region of Karnataka, and also in Kasaragod of Kerala that was part of South Canara. Kanarese script is the primary mode of writing used in Carnatacan Konkani, as recognised by the Konkani Academy.
Kogga Devanna Kamath was an Indian artist who specialised in Yakshagana puppetry.
Naranappa Uppoor (1918–1984) was a famous bhagavath of Yakshagana art during 20th Century. He was much known for his voice, knowledge of tradition and heritage of Yakshagana. Dr. Shivarama Karanth, writer and his contemporary opined that Naranappa Uppoor is one person who is very familiar with the rich heritage of stage traditions. Only he can tell us what we had in the past and what we are losing.
B. R. Nagesh was an English teacher and lecturer in the two coastal districts of Udupi and Dakshina Kannada of Karnataka, South India. His passion was theater; and is known best for his off beat plays that he had directed in Udupi, Mulki, Kundapur, Mangalore, Kasargodu, Chikmagaluru and other places in the area. His plays, often subtle, intense and throwing up various possibilities for interpretations, brought a new wave of freshness to the theater scene of the area that he catered to; in the 1970s and 1980s.
Chittani Ramachandra Hegde was a Yakshagana artist from Honnavara, Uttara Kannada, Karnataka. He was the first Yakshagana artist to be awarded the Padma Shri Award by the Government of India.