Ancient art form, new artistes and audiences

In Tumakuru, a Yakshagana troupe is opening up the art form to new actors and audiences, writes Pavan Kumar H.

As the bhagavata pauses the recitation, the sounds of the chande and maddale come to a halt. King Chandramandala of Pavakapura discusses the ‘overall development’ of the kingdom with his minister Vrudhi.

While the king is of the opinion that development should bring happiness to his subjects; the minister advocates for speedy implementation so that a larger number of people can grow rich and lead a luxurious life.

The discussion, spanning the next three hours and 84 Yakshagana poems, deliberates the impact of mindless development that results in pollution of natural resources and the consequence of the same on human existence.

This is a scene from Chandramandala Charitam, a Yakshagana prasanga performed by the 16 members of Yakshadeevige at Tumakuru’s Kannada Bhavan. This troupe works to take Yakshagana to a new audience.

Commentary on social issues is not new to Yakshagana, a traditional form of art with roots in the coastal regions of Karnataka. However, what is interesting about Chandramandala Charitam, is the fact that 12 of the artistes do not have much exposure to Yakshagana. 

Over the last decade, Yakshadeevige, led by Arathi Patrame, has been experimenting with various subjects of mythology and social subjects, involving enthusiasts who are new to Yakshagana. It also conducts training in Yakshagana.

Since 2014, more than 100 students of Yakshadeevige have presented over 100 mythology-based prasangas such as Gadayudda, Krishnarjuna Kalaga, Karnarjuna, Jambavathi Kalyana, Rathi Kalyana, Daksha Yajna, Thataka Samhara, Mahisha Mardini, Sudarshana Vijaya and theme-based prasangas such as Marisha Kalyana (a prasanga on environmental protection) and Macbeth (an adaptation of Shakespeare’s play).

Arathi says Yakshagana is flexible enough to accommodate any subject; however, at the same time, there is a framework in the way it has to be presented. “And in a place like Tumakuru, where coastal Karnataka’s traditional Yakshagana has limited penetration, reaching out to the audience is a challenge,” she says. 

A powerful medium of traditional communication, Yakshagana makes extensive use of creative elements like gestures, facial expression, body movement, costuming, make-up, music, dance and dialogue.

The impromptu nature of Yakshagana is one of the most significant features of the form — the artistes develop dialogues on their own, based on the songs rendered by the bhagavata in the background. This makes every show a fresh take, providing artistes with much scope for creativity.

For Chandramandala Charitam, noted Yakshagana poet Ganaraj Kumble combined themes relating to sustainable development with mythology, to drive home the message about how human greed is leading to irreversible damage to nature.

Through characters like Ghorasura and Gralasura ( two demons who invade the earth and water to pollute them), Bhoodevi (mother earth), Jaladevi (goddess of water), industrialists, villagers and Bakapakshi (crane), the prasanga tries to highlight the message that unchecked development will inevitably harm humans.

For the 150-odd member audience, who were also new to the art form, the message of water scarcity and pollution was especially hard-hitting as they face the situation every summer.

Newcomers

Yakshadeevige’s efforts are bringing changes on the ground as more enthusiasts, especially young people, women and children are taking up the art form.

For Class 10 student Tirthajanya T J, who has been part of Yakshadeevige’s journey for the last nine years, learning Yakshagana has transformed her life mentally and physically. “I can speak Kannada much more eloquently and with the right intonation. The Kannada used in Yakshagana is not something we use in our daily life. While practising for the 20-odd prasangas I have been part of, I have enhanced my vocabulary and opened myself to a new horizon of literature,” she says.

Tirthajanya, who has been performing Yakshagana since she was eight years old, adds that it still excites her to wear the traditional ‘vesha’. “The long hours of practice have improved my flexibility and endurance,” she says.