Yakshagana is a celestial song with elements of colour, philosophy. One element bogs artists down: The desperate struggle to stay afloat.
Published Jun 26, 2024 | 8:00 AM ⚊ Updated Jun 26, 2024 | 10:26 AM
Yakshagana, a classical dance-drama originating from coastal Karnataka.
In a world where traditional art forms often struggle to survive, Yakshagana, a classical dance-drama that originated in coastal Karnataka, stands as a testimony to cultural resilience.
Rooted in the coastal and Malnad regions, this vibrant art form dates back to the 16th century and continues to enchant audiences with its colourful storytelling and elaborate performances.
Yakshagana combines dance, music, dialogue, costume, makeup, and stage techniques. It holds a revered place in Karnataka’s cultural landscape.
In this feature, the writer delves into the life and experiences of two dedicated Yakshagana artists, exploring the challenges and joys of preserving and performing this ancient art.
Veteran artist and educator Rajashekhara Hebbar from Saligrama, Udupi, has devoted his life to preserving and promoting Yakshagana. He explained that Yakshagana has a rich tradition rooted in the guru-disciple relationship.
Yakshagana Artist in Stree Vesha. (Supplied)
In the past, disciples would stay with their gurus, assisting with household chores in exchange for learning the art. This symbiotic relationship ensured the transmission of skills and cultural values from one generation to the next.
“Yakshagana performers who were once unfamiliar with the nuances of Yaksha are now enthusiastic about donning the Yaksha attire and performing. This art form is deeply rooted in the guru-disciple tradition, where disciples lived with their gurus, helping with household chores while learning the art,” he said.
Hebbar lamented the changes Yakshagana underwent over the years.
“Earlier, there were no formal centres for learning Yakshagana; it was entirely based on the guru-disciple tradition. Nowadays, the income for gurus is minimal, making it difficult for them to take in disciples. Many artists turn to the homes of wealthy patrons for sustenance, receiving rice and other provisions instead of money.”
Young Yakshagana artists performing in Kundapura. (Deeksha Devadiga/South First)
Monsoons typically halt performances, leaving artists without a stable income. Artists often relocate to cities like Bengaluru or Mumbai, performing for limited audiences to make ends meet.
The lack of a regular income and minimal governmental support, such as pensions, adds to their struggles. “Elderly artists face difficulties without pensions or sufficient support,” Hebbar noted.
In response to these challenges, Yakshagana centres have emerged, dedicated to preserving and promoting the art.
“Our centre has been operating for 50 years. My father started it in 1972. We conduct classes on weekends, and around 30-35 students of all ages participate,” Hebbar said.
The centre focuses on teaching various aspects of Yakshagana, from Bhagawata (singer) to Maddale (hand drum) and Chande (loud drum).
Despite the dedication, financial constraints limit the number of students. “We provide facilities without charging fees, focusing on those genuinely interested in learning Yakshagana. This year, we have around eight children enrolled; we aim to limit it to 10 due to expenses.”
Srinivas Devadiga, an artist from the Maranakatte Mela, shared his journey, which began after he passed the seventh grade.
“I trained under Dr Shivaram Karanth and then Mabala Karanth at the Yakshagana Kala Kendra in Udupi. My teachers were Venkatramana Ganiga and Neelavara Ramakrishna, and I have been with Maranakatte Mela for the past 43 years,” he recalled.
Yakshaganna Artist In Antagonist Role. (Supplied)
Srinivas highlighted the financial struggles faced by artists in smaller melas. “Chikkamela (small mela) is performed mainly during Navaratri, and there’s no work during the monsoon. This makes it challenging for artists to sustain themselves.”
There are about 30 full-fledged professional troupes and about 200 amateur troupes in Yakshagana. Professional troupes go on tour between November and May, giving about 180–200 shows.
Troupes associated with temples perform shows, offerings by devotees to appease the deity. Dharmasthala Mela, Maranakatte Mela, Kateel Mela, and Mandarthi Mela are four important troupes associated with temples.
Shows by these troupes are booked as far as 20 years in advance.
Professional troupe artists are on tour for six months, travelling from village to village performing night after night and are paid a certain salary year-round.
“We can ask for our salary as per our choice anytime around the year. If a sudden need arises, we can ask for part of our salary during the off-season. But most artists are dependent on other employment to sustain,” Srinivas explained.
There is a growing interest among girls in learning Yakshagana. (Deeksha Devadiga/SouthFirst)
Small-time artists who are part of commercial groups to sustain a livelihood, engage in off-season performances where a smaller group performs. Top-rated and seasonal artists are not part of such groups. Even Srinivas hesitated when asked if he performed in chikkamelas.
Chikkamela troupes usually consist of five individuals who move from house to house and perform a certain prasanga (scene). After the performance, the residents offer tokens of appreciation in the form of money or rice. The artists are not supposed to bargain or set an amount of remuneration.
Artist Rajashekhara Hebbar believes nowadays chikkamela has exceeded beyond just Navaratri. “Chikkamela has become very common and has exceeded beyond the monsoon season. Commercial amateur artists perform chikkamela throughout the year to make money.”
Despite the challenges, there is a deep-seated passion among Yakshagana artists to preserve this cultural treasure.
Srinivas noted, “Our Maranakatte Mela has bookings well in advance, at least for another 20-25 years. This shows the enduring love for Yakshagana.”
Srinivas, who also runs a free Yakshagana Kendra in Kundapura along with Gopal Ganiga, has students ranging from all ages wanting to learn the deep-rooted art form.
Young artist getting ready for Yakshagana performance. (Deeksha Devadiga/Supplied)
There is a growing interest among girls in learning Yakshagana. “More girls are coming forward to learn, and even very young girls are joining us. However, boys are not as interested,” Srinivas observed.
The Covid-19 pandemic brought significant changes to Yakshagana’s performances. Previously, performances would continue until late at night and beyond, but now they end by 1:30 am. The number of performances has reduced, with small troupes occasionally performing.
The lack of a regular income and minimal governmental support, such as pensions, adds to the struggles. “Senior artists face difficulties without pensions or sufficient support,” Hebbar noted.
The government provides minimal support, such as a pension for artists over the age of 56, but the process is cumbersome and the amount is meagre.
“There are many who are unaware of the pension and the process is lengthy and not very beneficial. Those who have applied do not receive it regularly,” Srinivas added.
Yakshagana is more than just a performance art. It is a living tradition that connects communities, fosters cultural identity, and brings joy to both performers and audiences. The need for dedicated teachers, regular classes, and more performance opportunities is critical to ensure the survival and growth of this beautiful art form.
As these dedicated artists continue to navigate the evolving landscape, their commitment ensures that the vibrant spirit of Yakshagana will thrive for generations to come.
(Edited by Majnu Babu)
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