Mangalore: 'Chikka Mela' - Dying Art of Yore Yearns for Revival

Brijesh Garodi
Daijiworld Media Network - Mangalore

Mangalore, Sep 1: 'Chikka Mela' - the term may be new for many, and ring a bell in some. It is a word familiar in the world of Yakshagana, that delightful art of the coastal part of the state.

Yakshagana is an art replete with different forms and practices, and lay people in this time and age are often unaware of its many nuances. While Yakshagana in itself is steadily losing its foothold among the young generation, its forms and practices are in urgent need of revival.

One such form is the 'Chikka Mela', found very rarely in these modern times, except in a handful of villages in the region.

Though this form of Yakshagana is on the verge of extinction, there are a few troupes here and there that strive to retain its original charm.

So what is this Chikka Mela?

Chikka Mela is a troupe of Yakshagana artistes that performs a short play based on a mythological subject. Unlike Yakshagana that is performed in the open air, Chikka Mela is performed door to door.

Usually, the troupes stage plays in open air during Diwali. But during monsoons they are unable to perform outside, and hence, in order to earn their daily bread, troupes of young artistes visit houses and perform short Yakshagana plays and entertain the fans of this art in their own backyards.

A typical Chikka Mela troupe consists of two artistes, a 'bhagavata', a 'mrudunga' and a 'shurthi'. They normally begin their performance at 6 pm and end at around 1 am. As they perform in the dark, they carry with them gas lights which provide brightness almost as good as daylight. The lights in fact add to the beauty of Chikka Mela and attract people.

The play that is performed the most is the familiar 'Radha Krishna'. Such plays not only provide a visual treat to the watchers but also serve as a rehearsal for the artistes for bigger plays.

In earlier days, when monsoon was believed to be the toughest time of the year, Chikka Mela was the only form of entertainment for people. With the rains restricting their movement, and in the absence of such pleasures as TV and computers, people could enjoy Yakshagana right in their homes. This way, children too would get a taste of the rich culture of the land.

The onus is on us to encourage such troupes and retain the traditional folk art, especially because such arts as Yakshagana and others have brought the coastal regions of Mangalore and Udupi their unique identity.