Yakshagana - A folk art
Sahithi P.S. (P.S.Sahithi@csc.liv.ac.uk)
Mon, 26 May 1997 21:55:31 +0100 (BST)
TECHNICAL VIEW POINT
YAKSHAGANA: A FOLK ART
(Excerpts from "Traditions of Indian Classical Dance" by Mohan Khokar)
Dancing in Yakshagana is not very highly developed, a possible reason
why the art is relegated to the category of folk theatre. The flavour
is mostly 'taanDava'. Except in the scenes of fighting and the like,
not much use is made of the body as a whole. Facial expressions are
present, but they are neither intense nor too distinct. 'hastaas'
(Stylised hand gestures for communicating specific ideas and
of suggesting ojects and actions, for example, clouds, a mirror,
to take an oath, to touch, beauty etc.) are practically absent.
There are several varieties of footwork to go with different
moods and situations. In the course of dancing the body allows itself
certain flexions and swayings, but none of these carry sharp definitions.
However, there are jumps and leaps that have a forceful impact.
As the name itself suggests, the heart of Yakshagana is 'gaana'.
In many cases, the scripts of Yakshagana plays are written first for
their musical value and only then for their literary worth. The music
style is a blend of folk and Carnatic, but more influenced by Carnatic
devoid of its familiar frills and trills. Some 100+ 'raagaas' are
known to the Yakshagana tradition, but only a few are in vogue.
Apparently, 'raagaas' capable of expounding emotions like anger,
wonder, bravery and pathos are mostly in demand.
Musical instruments in Karnataka Yakshaganas include gongs and
drums ('maddela', the 'chenda' of kathakali which has an ear-splitting
sound!). Some plays use 'pungi' (similar to veena..), which provides
the drone.
The scripts written are generally very simple and usually a play
carries 200 to 300 stanzas. Scripts include a combination of vachanam,
padyam and paaTa. Majority of verses are intended to be sung by
characters themselves whilst the others serve as narrative or
linking pieces.
Some of the famous play writers in Karnataka are Subramanya, Halemakki
Rama, Rama Bhatta, Shantayya and Madhavadasa. Some popular
plays include Bhishma Vijaya, Girija Kalyana, Karna-Arjuna kalaha,
Draupadi Pratapa and Krishna Parijata.
Yakshaganas are performed not only a part of rituals - so common in
early societies - but also a popular mode of recreation and a
coveted accomplishment. Unfortunately, like many other art
forms, some identify it as poor peoples' art.
Regards
Sahithi
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References:
1. Mohan Khokar, "Traditions of Indian Classical Dance", 1979.
2. "The Journal of Indian art", Published under the patronage of
the Government of India by Griggs etc., London etc., 1891?