Yakshagana is a uniquely traditional form of dance theatre of the State of Karnataka, with a formidable classical background. Having a strong foundation of around five centuries, Yakshagana holds commendable status as a form of folk art, similar to Kathakali of Kerala. The main essence of this form of dance drama is its attachment with religion, which provides the most common theme for its plays. Yakshagana, being a theatre of the masses, the plays in it witness the coherent amalgamation of artistic elements of Sanskrit drama, traditional music played in temples and village squares, and battle themes from epics like Ramayana and Mahabharata, which are usually performed in the paddy fields at night. The strong hold of religious countenance in rural areas has led to an immense growth in its popularity, complimented with a highly respected status that the artistes of the plays enjoy in such places.
Yakshagana, unlike its rhetorical significance with heavenly music, is actually a unique musical convergence of the heaven and the earth. This art form exhibits finer elements of both ambiguity and energy in its presentation, brought about through singing and dancing, accompanied by the playing of a drum called chenda, besides the dramatic gestures of the artistes. The artistes adorn themselves with strikingly colourful costumes with rich contours, which highlights the rich cultural extravaganza of the coastal Districts of Karnataka.
The dramatic presentation thus evident is an utterly splendid concoction of the best of classical music, polished choreography, and primeval transcripts applied to give shape to one of the most astonishing dance dramas of India. The irony in the dramatic presentation is the ensemble of such panorama as gory battle scenes enacted out in dance steps, accompanied with some trademark dramatic special effects, dazzling costumes, and ever extending diadems, thus exhibiting robust and simple folk characters of the artistes. The ornaments worn by the artistes are prepared from softwood, which is carved and decorated with mirrors and golden coloured paper. One of the most amazing features about Yakshagana is the synchronization of both classical and folk languages into one entity, to build up such an air of fascination, which crosses artistic boundaries in theatrical discipline.
A typical Yakshagana performance begins with a prayer offering to the lord Ganesha, which is followed by a comedy act, accompanied by the background music of the chenda and the maddale, and a tala (cymbals) played by a team of three. The narrator, who is also a part of the team is called Bhagavata, and is the producer, the director, and the head of the ceremony. His primary task involves the narration of the story through songs, introduction of the characters, and occasionally conversing with them. A sound musical knowledge and a well-built physical structure are the pre-requisites for an artiste, besides a strong understanding of the Hindu scriptures. The plays witness performances by the artistes enacting the roles of several mythical characters in a flawless manner. Another unique feature of Yakshagana is the totally unrehearsed and unwritten use of dialogues, which makes it so special.
Yakshagana in the present day scenario is one of the most thriving art traditions, not only in India, but also throughout the World. It can fairly be said that the State of Karnataka alone witnesses more than 10,000 Yakshagana performances every year, taking into account all the seasonal tours, school and college shows, and so on. Such an impressive status can almost be considered a decree that Yakshagana is here to stay.