Not Many Takers For Yakshagana

Anika Sharma finds out why this traditional folk art is dying a slow death in Karnataka

It’s an art form combining vigorous dance, glittering costumes and distinct music with a distinct form of style and rhythm. Yakshagana plays are a stylistic blend of Sanskrit shlokas, refined choreography and ancient texts from the epics like the Ramayana and the Mahabharata. The result is an ethereal atmosphere on stage.

However, this traditional art form of South India, popularly known as opera in western eyes and Aataa in Kannada and Tulu, is dying a slow death. Considered as a living tradition and originally called Bayalatha, Yakshagana, popular in coastal areas of Uttara Kannada and Dakshina Kannada, is losing its earthly folk character. Youngsters today are unaware of this rare and beautiful art.

According to Srinivas Sansthan, secretary, Karnataka Kala Darshini, Yakshagana is declining in popularity because there’s no awareness among the younger generation. “This art form should become a part of school and college curriculum, and should be properly presented. Youngsters will show appreciation and interest only if they understand the history and origin of Yakshagana,” says Srinivas. Yakshagana should be conducted in accordance with natya shastras and with dialogues and mythological scripts. “There should be discussions and seminars on this art form to attract the young. Children need practical lessons. It’s important to teach them this form of story-telling,” he adds.

However, Ganapathi S Hegde, a painter and photographer who has depicted this art form in his works, says: “For me, Yakshagana is a harmony of dance, acting, facial expressions and singing. I am inspired by it. But, now I feel there is an immense cultural difference and a generation gap. There is a lack of awareness among people, but my aim is to promote Yakshagana through my paintings and pictures,” says Hegde.

Srinivas, who has been running a Yakshagana academy for the last 15 years in Bangalore, says, “Many people, mainly school students and housewives from coastal areas, come for our classes at our institute but for most it remains only a hobby. Only 10-15 persons out of 500 from our academy have taken it up professionally. The government is doing very little to promote this art. It should give recognition to artists, promote Yakshagana the way it’s promoting sports and the tourism sector.’’

He adds, “It should lend us support, monetarily and by felicitating artists with some kind of state awards. The government did give us the platform of Janapada Jatre (a festival of folk arts) and World Tourism Day to showcase our talent, but we need more recognition. It should not only be promoting Yakshagana, but should also promote other folk arts like Teerukoothu, Tamasha, etc,” says Srinivas.

He believes Yakshagana can be used to create awareness about social issues. “The government should provide lowbudget stages in every nook and corner of the city so that artists can entertain and educate people through Yakshagana. We conduct various social awareness programmes on HIV/AIDS, women empowerment, national and communal harmony. The authorities should do something to recognise the artist along with the art form. It should also grant funds for Yakshagana troupes,” he says.

Yakshagana needs revival and maybe promoting children’s Yakshagana troupes can help revive it at the grassroots level.

FOLKLORE:

• It was started in the 11th century during the Vaishnava Bhakti Movement and is popular in Uttara Kannada, Shimoga, Udupi, Dakshina Kannada and Kasaragod district of Kerala
• Famous Yakshagana poet adapted the Ramayana to Yakshagana in 1600
• There are two variants of Yakshagana —- badagutittu (a shorter and more modern form) and Tenkutittu (less exuberant costumes and accompanied by a Kerala maddalam)
• Also used in puppetry. There were some 30 string puppet troupes between 1910 and 1915