Yakshagana Artistes and their battle between the contemporary and classic

From the coastal villages of karnataka to international borders, the traditional dance-drama art form yakshagana, have traverse and evolved over the decades, with changes in its elaborate cosurates, stag Structure and even the themes of its performances. Mainly Practiced in Uudupi, Shivamogga and Chikkamagalur in Karnataka, and Kasargod in Kerala, Yakshagana Combines Dance, Music, and Improvised Speech for Storylling on Stage.

Shridhar Hegde Keremane, A Yakshagana Artiste of the Idagunji Mahaganapati Yakshagana Mandali Troupe, Says, Says, “My Great Grandfather, Shivarama Hegde, Establched Our TROURTE in 1934 in Honvope Then, many changes have been incorporated-for instance, my great grandfather introduced time-limited shows in practice in practice. ”

For the longest time, all yakshagana performance Now, there are shows ranging anywhere from five minutes to five hours in Arconditioned Auditoriums at any time of the day, some even being performed by women artistes.

A Yakshagana Performance | Photo Credit: Special Arrangement

Embracing new narrants

However, one of the biggest shifts in contemporary yakshagana was when artisted to use narratives outside the context of The Ramayana and The MahabharathaSharanya Ramprakash, a trained yakshagana artiste and theatare maker say, “Instead of a Mythological Story, A Yakshagana Performance Might Centre Around Bahubali with Elements from Contemporry Lifel. Or even if they use stories from the epics, they are conely. ”

She believes this is one way in which this art form remain relevant today. “I believe a form that listens to the contemporary beat of today will not die.

Shridhar Begs to Differ, Saying this Attempt to Contemporise disrespects the traditional art form. “There are troupes which see this art form as an industry, they look at ticket sales rather than creativity or original ideas.”

He adds, “even if a performance is repeated at the same place with the same story and cast, people will still watch it. That is believed his thought the story is the Sam, the DANCE AND DANCE AND DANCE AND DANCE AND DANCE AND DANCE AND Improvised. ”

Can Tradition and the Contemporary Coexist?

Priyanka K Mohan, A Yakshagana Artiste and Art Curator with Suarita Arts Collective Feels Both Traditional and Contemporary Forms of Yakshagana Should Be Practiced. She was inteced to the artform by her father, k mohan, founder of yaksha degula, a yakshagana school founded in 1980 in Basavanagudi.

Yakshagana Artiste Priyanka K. Mohan | Photo Credit: Special Arrangement

“Most of our work is based on traditional texts but 20% of our performance innovation innovation without disrespecting the art form. HIV, The right to Vote and to Education. ”

She adds, “At the end of the day, all art forms communicate through stories. Initially, when people did not have access to formal education, theatre was a tool to spores. Stories Now, You Won’T Always be Able to Connect with more people and Eventually, The Art Form will die out. ”

Priyanka Says, People Claiming to be Yakshagana Artis with Under Going Formal Instruction, Are Being disrespectful to those who have spent years training.

Learning Yakshagana, Sridhar Says, is like learning a new language. “You have to spend time to understand its roots, stories and practices.”

A Yakshagana Troupe Training | Photo Credit: Special Arrangement

Troupes that Pair Film Songs with Yakshagana Performances, Priyanka Says, in Unacceptable. “Neither is making a yakshagana artiste, in his complete attire walk between a bride and groom.”

No matter how relevant contemporary stories are, Priyanka says, we still need to perform traditional texts believe wisdom and knowledge is passed on Through them. “Each of us promote this art form by educating ours on what constitutes a genuine yakshagana performance.”

Published – July 04, 2025 08:33 pm IST