Dollu Kunitha

Dollu Kunitha (dance), is a major form of art, occupies the pride of place among folk dances. Dollu Kunitha is a popular drum dance of Karnataka accompanied by singing. It provides both spectacular variety and complexity of skills in the process of demonstration. Woven around the presiding deity of Beereshwara or Beeralingeswara, chiefly worshipped by the Kuruba Gowdas of Karnataka and Andhra Pradesh, also called Halumathasthas, it presents both entertainment and spiritual edification.

“Dollu Kunita” is a unique folk art  performed during  jatras, social occasions and cultural festivals. It calls for a tremendous physical stamina and concentration by artistes.

The troupe consists of about to a dozen artistes as dancing partners. Against the background we have tala, tappadi, trumpets, gong and flute, raised to a high-pitched tenor. These instruments are perforce used to reinforce the rich vibrations of Dollu. A miniature model of Dollu, easy to carry in hand, and handle it for beating – is often employed while singing a distinct class of songs-Dollu Songs/Drum Songs. Because there is beating of Dollu here by the fingers.

A determined and hardworking women’s troupe from Shimoga district has made a foray into "Dollu Kunita," a folk dance form, which is considered a male-dominated art.

Theyyam

Theyyam  is a popular ritual dance of  Kerala, India, predominant in the  districts of Kannur and Kasargod. As a living cult with several thousand-year-old traditions, rituals and customs, it embraces almost all the castes and classes of the Hindu religion in this region. The term Theyyam is a corrupt form of Daivam or God. People of these districts consider Theyyam itself as a God and they seek blessings from this Theyyam.

Nagamandala

Nagamandala, an elaborate form of serpent worship, is unique to Tulu Nadu (Coastal Karnataka). There is a distinct form of dance associated with it that is akin to yakshagana. Conducted in an extravagant manner throughout the night. Nagamandala is performed during the months (December to April), before the monsoon.

There are two groups of performers in Nagamandala – the first being ‘Paatri’ (a Brahmin) who after inhaling the areca flowers gets possessed by the cobra God, and the second group is known as ‘Naagakannika’ identified as ‘Ardhanari’ who dances and sings around an elaborate serpent design drawn with natural colors on the sacred ground.

The ‘Vaidya’ community group draws the designs (a circle of snakes) on the sacred ground using five different colors. The five colors are white (white mud), red (mix of lime powder and turmeric powder), green (‘jangama soppu’ green leaves powder), yellow (turmeric powder) and black (roasted and powdered paddy husk). The combination of these five colors is called as ‘panchavarnahudi’ in the local dialect.

Yakshagana

Yakshagana Performance

Yakshagana is a dance drama popular in the state of Karnataka. It is believed to have evolved from pre classical music form and theatrical arts. Yakshagana is popular in the districts of Uttara Kannada, Shimoga district, Udupi, Dakshina Kannada and Kasaragod district. 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 “Aata” in both Kannada and Tulu (meaning play). literally means the song  of a Yaksha.

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”, Hormonium for drone and “Chande” (loud drums). The music is based on pre-Karnataka Sangeetha Yakshagana_Raga” characterised by melodic patterns called Mattu and Yakshagana Talas. 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.

Sthree vesha or Female role

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.

With the socio-economic changes of the 19th Century, arts like Yakshagana also changed. The 19th Century produced a big number of compositions. By the early decades of this Century the structure of Yakshagana reached a definite shape and form. Being a theater form, unlike a dance form Yakshagana is more plural and dynamic. 1930’s saw some changes in compositions, organizations and presentation. Dance and the spoken word was further developed and refined. But in costume, a type of degeneration started setting in due to the use of ‘modern’ clothing and stone jewellery, in place of hand loom clothing and wooden ornaments.

The year 1950 saw the birth of ‘tent’ troupes, giving performances to audience by tickets, with ‘tent theaters’ and furniture for seating. These troupes brought in commercialization of Yakshagana, with both merits and demerits. Yakshagana saw major changes in form and organisation, electrical lights replaced the ‘gas lights’ or ‘petromax’ lamps. Seating arrangements improved. Major changes came in the themes, with the inclusion of folk epics, Sanskrit dramas and created (imaginary) stories forming the thematic base. Popular entertainment became the criterion in place of ‘classical’ presentation. Tulu, the language of the Southern part of the D.K. district was introduced on the stage, where hitherto only Kannada was used. This gained great popularity. All these trends continued with added vigor after 1970s, with a new element of influence. Noted writer, Late Dr. Kota Shivaram Karanth experimented with the dance form by introducing Western musical instruments. He also reduced the time of a Yakshagana performance from 12 hours to two and half hours, for the convenience of city dwellers. Another trend that has emerged in modern Yakshagana is the incorporation of movie stories.

Yakshagana has undergone innovation in dance and theatre, which includes performances of Shakespeare

Source: wikipedia.org

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Kambala

Kambala or Buffalo Race is a well-known sport in Karnataka. Though it is difficult to trace the history of this sport yet it is popularly believed that the sport has its origin in the farming community of Karnataka. Following the age-old traditions today Kambala is played as recreational sport by the farmers. The buffalo race is played before the harvesting season commences. It is a way showing gratitude the gods who protect their crops from destruction. To celebrate this moment they organize for different kinds of outdoor sports. Kambala is also seen as the beginning of the sowing season for the next round of crops. Besides these the sport is also organized during religious festivals, such as, Kodamantaya and Jumaadi Bhuta Kolas.

Wondering how the game is played. To begin with Kambala is a very simple to play. A track for running is used this track usually is set within the paddy field. Two buffaloes are tied to a cart and the contest takes place between two pair of buffaloes. These animals are controlled by the farmer who carries a whip with him. In the ancient ages the winning pair of buffaloes was rewarded with fruits such as coconut and other simple gifts. Later, however, these plain gifts were replaced by money.

Betting has become commonly associated with the game. Even today people go to watch Kambala in Karnataka with much enthusiasm. This sport is more popular in the coastal Karnataka.

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