Yakshagana

Yakshagana (Kannada/Tulu:ಯಕ್ಷಗಾನ, pronounced as yaksha-gaana) is a dance drama popular in the state of Karnataka, India. It is believed to have evolved from pre classical music form and theatrical arts .

Yakshagana is popular in the districts of Uttara Kannada, Shivamogga, Udupi, Dakshina Kannada and Kasaragod district of Kerala. This would be considered to be a form of opera in western eyes. Actors wear costumes and enact the various roles. Traditionally, Yakshaganas would go on all night. It is sometimes simply called as Aataā in both Kannada and Tulu (meaning play).

Yaksha-gana literally means the song (gana) of a Yaksha. Yakshas were an exotic tribe mentioned in the Sanskrit literature of ancient India.
Yakshagana consists of a Himmela (background musicians) and a Mummela (dance and dialog group) which together perform a Yakshaga Prasanga. Himmela consisting of Bhagawata who is also the facilitator (singer), Maddale, Harmonium for drone (Pungi was used earlier) and Chande (loud drums). The music is based on pre-Karnataka Sangeetha Ragas characterised by melodic patterns called Mattu and Yakshagana Tala. Yakshagana Talas are believed to be based on the groves which later have evolved in to Karnataka Sangeetha Talas.

The both Yakshagana Raga and Yakshagana Tala have some folk influence. A Yakshagana performance begins at the twilight hours with the beating of several fixed compositions on drums called Abbara or Peetike, for up to an hour before the 'actors' get on the stage. The actors wear resplendent costumes, head-dresses, and painted faces which they paint themselves. A performance usually depicts a story from the Hindu epics and puranas. It consists of a narrator (Baghawatha) who either narrates the story by singing or sings precomposed dialogs of a character, backed by musicians playing on traditional musical instruments as the actors dance to the music, with actions that portray the story as it is being narrated.

All the components of Yakshagana, music, dance and dialog are improvised. Depending on the ability and scholarship of the actors, variation in dance and amount of dialog may change. It is not uncommon for actors to get into philosophical debates or arguments without going out of the framework of the character being enacted.