by Sujay Bendur - Daijiworld News Network
Dubai, Aug 7: On the occasion of its Third Anniversary, Yaksha Mitraru of Dubai has planned to present a grand Yakshagana play, Sri Lalitopakhyana, with Bhagavathar Narayana Shabaraya, accompanied By P V Paramesh and Dayanand Mejar, on August 18 at 3 pm in Nashwan Hall, Al Nasr Liesureland,Dubai.
Yakshagana, believed to have a history of a thousand years, is regarded as having represented a specific type of music of the 'yakshas'. Yaksha is the name of certain demi-gods attending on 'Kubera'- the god of wealth in the Hindu mythology. 'Gaana' means song. By combining the meaning, the term Yakshagana can be termed as the 'song of Yakshas'.
Of the 20 districts in Karnataka, Yakshagana has established its firm roots in the districts of Dakshina Kannada, Uttara Kannada, Dharwad, Mysore and Hassan. Based on its technique of presentation, Yakshagana has been broadly classified into 'Mudalapaya' (the custom of the east) and 'Paduvalapaya' (the custom of the west).
Popularly known as 'Bayalata' or 'Aata', Mudalapaya is widely practised in places like Tumkur, Bangalore, Kolar, Mandya, Mysore, Hassan, Chitradurga, Bellary, Dharwad, Bijapur, Gulbarga, Raichur, Bidar and Belgaum. While Yakshagana of North Karnataka has assumed varied forms like 'Sannata', 'Doddata', 'Krishna Parijatha' and 'Dasarata'.
The form of Paduvalapaya', popular extensively in Uttara and Dakshina Kannada districts, has been further divided into 'Tenku Tittu' (south) and 'Badagu Tittu' (north). Paduvalapaya is practised in places like Karki, Keladi, Ikkeri, Sagar, Kolluru, Maranakatt, Sankuru, Coondapur, Kotesvara, Kota, Udupi, Dharmasthala, Mangalore, Brahmavara, Suratkal and Saligrama.
The epics of Ramayana and Mahabharata offer extensive material for Yakshagana Prasangas (topic). The literature is presented both in verse and prose and the former is interpreted in simple prose and dialogues. The show begins with an announcement of Yakshagana by beating the 'Chande', a percussion instrument, in important places of the village.
Stage:
Yakshagana is performed on a rectangular stage built with four wooden poles installed on four corners and covered by mats of palm leaves on the top. Away from the backstage is a small place called 'Chowki', the greenroom for the artistes. The audience sits on all the three sides of the platform and a curtain covers only the back stage.
Characters:
The moving force of Yakshagana is the Bhagavata, the chief narrator of the story, in the verse form. Bhagavata also conducts light-hearted conversation with the 'Vidushaka'- the jester. The dialogues between these two characters are very amusing and the Bhagavata ably supports the Vidushaka in carrying out extempore dialogues.
Music:
Music is the essence of Yakshagana and the narration is in verse form. It is the songs and poems which transmit the story and the songs are invariably sung by the Bhagavata. The music in Yakshagana is excellent and it seems to have been woven into Yakshagana with commendable background knowledge of its costuming and make up of the characters. Prose in Yakshagana is in the form of dialogues. The songs are sung by the Bhagavata at a very high pith and hence is considered as a distinct style of music. The rhythm that dictates the body movements, footwork and the performance actually flows from the musical instruments. In Paduvalapaya, 'Chande' (a cylindrical percussion drum beaten with two thin sticks) is the vigorous instrument and the beats of the Chande are symbolic of valour and prowess. Regional differences allow the use of other instruments like gong and cymbals. In Mudalapaya, the chief instrument is Mukhaveena (flute like wind instrument, a form of Nadaswara, a kind of musical pipe). Percussion instruments like the 'Maddale' and the 'Mrudanga' lend musical support. The latest trend is to use harmonium.
Performance:
The entire Yakshagana performance rests on footwork, body movements, gestures and facial expressions. The rhythmic movements are the yardstick to feel the pulse of Yakshagana. Devoid of gentle movements, the dancing pattern in Yakshagana consists of squatting and jumping requiring quick body movements. During the battle sequences, the tempo of the dance is swift and intense and the pattern varies from one character to another. The performers donning a heavy costume jump high in the air and reel vigorously without losing physical balance and rhythm. The dancing spectacle of demon characters like 'Atikaya', 'Indrajitu' or 'Shurpanakhi' is breath-taking. The gestures, movements and footwork visually aid the comprehension of play. It is delightful to observe that no artiste oversteps his role by resorting to long speeches. He performs with utmost dignity befitting the role.
Costume and make-up:
The splendour of Yakshagana lies with the unusual costumes and make-up of the artistes. The smooth flow of heavy and gorgeous costumes testify to the stimulating power of this audiovisual medium.
Headgears have a wide array of crowns. The selection of the headgear commensurates with the role represented by the artistes. The less important characters wear simple turbans of cloth. 'Mundasu' is a heavily-set headgear, which gives a rich look to the character. It is broader in the middle which tapers as it proceeds upwards and appears like a lotus leaf. Since the Mundasu is heavy, it requires talent and prowess to wear it and dance.
Female costuming is simple and matches with the contemporary style but does not match with the psychedelic and gorgeous costumes of male roles.
For further Information on the Yakshagana show on August 18, contact:
Dubai : Chidanand – 050 6953041,Sudhakar Thumbe- 050 3580329
Jebel Ali : Anand – 050 5854784, Lawrence – 050 7540965
Sharjah – Vishwanath Shetty – 050 5528534
Abu Dhabi – Sarvathom Shetty – 050 6125464,Pradeep Kirodian – 050 4953432
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