Performances covering the spectrum from the conventional to the experimental continue to draw enthusiastic crowds to the ongoing Bharat Rang Mahotsav organised by the National School of Drama in the city. Recently, artists from Karnataka’s Yakshagana Kendra, Udupi, delighted an audience of the initiated and uninitiated inside a tent on the NSD grounds with their performance of “Jatayu Moksha”. The Kendra, founded in 1971 under the leadership of cultural pioneers like K. Shivarama Karanth and K.S. Haridasa Bhat, has over the decades had great success in reviving and propagating the art. Yakshagana is not mentioned as a ‘classical’ genre, and at BRM too it was placed in the category of folk performances at the national festival, though it seems to amply conform to shastriya codes. However that may be, the poetry, drama, humour and liveliness of the performers drew applause from the Delhi audience, not often treated to this colourful art and its highly dramatic music.
Yakshagana (literally, ‘song of the yakshas or celestial beings’), sometimes also referred to as bayalata (literally, ‘performed in the fields’), is a theatre form of the rural regions of India’s four southern states. “Jatayu Moksha” depicted that part of the Ramayana story in which Ravana abducts Sita, and the heroic eagle Jatayu gives his life trying to save her. In the midst of their forest exile, Rama and Lakshmana come across Shoorpanakha, Ravana’s sister, who is infatuated by them. Spurning her proposals, Lakshmana chops off her nose. To avenge her humiliation, the demoness persuades Ravana to take Rama’s wife for himself. The golden deer is sent to attract Sita, and the plot is executed. Unlike the oft-seen demure Sita and Rama as Mr Perfect, here we see Sita somewhat petulant, and Rama the regular irascible scolding hubby, upbraiding his wife for being attracted to what surely must be a demon’s ploy. But alas, she persuades him after all and sets off the inevitable chain of events.
After the performance, Professor M.L. Samaga, a Yakshagana artist who came as the leader of the troupe, acquainted the audience with some of the nuances of the art. He explains here interesting facets of Yakshagana as a contemporary theatre tradition.
Has the Yakshagana Kendra made changes to adapt the art to a modern public?
Yakshagana Kendra is teaching traditional Yakshagana, its dance grammar, to the students. When the students present Yakshagana they present it in the traditional form only. As they have learnt systematically their productions appear more refined than the productions of traditional performers in professional theatres. This troupe is called Yaksha Ranga. Years ago Dr. Shivarama Karanth who was the director of the Kendra thought of eliminating traditional Kannada dialogues as this language is not understood outside Karnataka. This form was a kind of Yakshagana ballet. When Guru Sanjeeva Suvarna, who was also a disciple of Dr. Karanth, became the Principal and main guru he made some changes in bringing back traditional dances to Karanth’s ballet. What you saw in Delhi was a modified form of Karanth’s Yakshagana ballet meant for the audience who could not understand Kannada dialogues.
But if the inviting party wants only traditional Yakshagana, the same troupe performs Yakshagana in the traditional style using dialogues. When they perform in Karnataka generally there will be dialogues. The Yakshagana Kendra has not made many changes in its performances except that it is directed and condensed to the availability of time of performance.
Today, many people object to the portrayal of the Shoorpanakha scene, in which she is ridiculed. They see this as an insult to women. And they feel that noble persons like Rama and Lakshmana should not have done such a thing. Do you feel a traditional art like Yakshagana should adapt to such changes in social perceptions?
As regards the theme of the story, a Yakshagana performance has to be loyal to the song text. In the song text she comes in the guise of a beautiful damsel. Rama wants to punish her so that he indirectly draws out other demons like Ravana. Your question of correctness of Rama’s action is discussed in the traditional performance by the actors who play these roles. In fact one of the most interesting aspects of Yakshagana is the debate of such issues. The dialogues can be very argumentative and intellectual depending upon the actor’s calibre. (There is a form of Yakshagana which is without dance and costumes. Artists in civil dress sit and take roles, indulge in conversations to the accompaniment of music. This Yakshagana is called Taalamaddale, The artists of Taalamaddale are called arthadhaaris as they explicate the meaning of the song and story.
To look at the old stories from a new perspective (feminist point of view), new song text can be written and presented in the traditional framework. Such attempts have been done. That is the dynamism of Yakshagana and hence this is a living and popular theatre.
Have the artistes considered using subtitles or supertitles, so that the dramatic way of dialogue delivery is not lost in non-Kannada-speaking milieus?
When the troupe goes outside, sometimes, they tell the story in detail or distribute brochures that give details of the story. They have not yet introduced the techniques of using supertitles or subtitles parallel to the performance. They have not tried running commentary, translating the dialogues. (In fact, that is a distraction to viewers as they cannot concentrate on the stage.) But some other troupes have tried this in America. It requires a computer expert in the troupe. Generally, this group, when it goes abroad, presents Yakshagana in the ballet form but not in Karanth’s style, which is far from the traditional style.
Yakshagana Kendra’s productions are neater, condensed, and well directed to heighten the emotional effect. In fact, some professional artistes come to the Kendra to perfect their dance steps.
Are there enough people available to make the costumes and ornaments, etc.?
Getting costumes and ornaments for Yakshagana is a problem. Artisans are attracted by more remunerative professions. With difficulty, professional troupes that are more than 40 somehow get these things done in the villages. Nowadays, the carpenters use machines/lathe to make wooden ornaments. Getting traditional clothes is also difficult.
Does the Kendra receive a Government grant?
Kendra does get some grant from the Government. Yakshagana Kendra has a separate performing unit of grown-up artistes. These artistes are paid monthly by the Kendra. (Central Government’s grant for 2013-14 is not yet released.) Now the Karnataka Government also has a Yakshagana Bayalata Academy (I was the President two years ago), which also supports in its limited capacity the furtherance of Yakshagana. Now, the annual grant of this Academy is Rs. 1 crore. But the government grant is hardly sufficient and they try to depend on public donations.
A traditional art survives and prospers with the help of public support. Do you feel there is enough support from ordinary viewers? Do people come to see the performances of the Kendra artists, and are the shows ticketed?
Currently, there are three types of Yakshagana theatres: Professional troupes, who perform ticketed shows and their productions are like commercial products — entertainment oriented.
At present, there are three tent troupes and their source of income is ticketed shows. They are popular no doubt. You don’t look for traditional beauty in their shows. The other nearly 30 troupes give free shows every day; either they are supported by temples (offerings by devotees to gods, as in Guruvayur), or troupes depend upon local donors. Third, there are many amateur troupes, who also perform out of interest with local financial support.
The performances of Yakshagana Kendra are not locally ticketed shows as they cannot compete with the popular troupes who don’t care for traditional framework of Yakshagana. Their shows generally are sponsored for special occasions like NSD. Professional troupes will not come for NSD because the monetary return is not enough for them.
