Folk Dances of Karnataka

                              Folk arts of Karnataka

With a strong lineage of Indian emperors ruling this state, the culture of Karnataka has been shaped by like Mauryas, Chalukyas the Hoysalas, and the Vijayanagar empire. They have left behind a rich cultural heritage that is still evident in the everyday life. Karnataka is also home of various tribes like Kodavas, Konkanis, and Tuluvas. The beautiful land has been blessed with timeless monuments, world heritage sites, luscious green forest, marvelous wildlife, romantic hill stations, stunning beaches and vibrant culture that resonates it all. The royal furtherance of the Vijaynagar empire has left a long vivacious history and illustrious landmarks that has led to them being declared as World Heritage sites.

                                Karnataka has a variety of folk arts including classical dance and puppetry.  Folk performing arts represent the cultural segments of a particular region and language. The performances presented on the stage or open fields are blended with songs, dances, facial expressions (with or without make-up), and music. These elements form the basis of any folk performing art. Audience is the most important element, whether it is an indoor or outdoor performance. Here are the some major folk forms of Karnataka ..

Dollu Kunitha:

        

        Dollu kunitha is the major folk art and the most popular drum dance of Karnataka accompanied by singing. Dollu kunitha is also known as “Gandu Kale” or Manly art is spread over the rural districts of Karnataka namely Bijapur, Belagam , Tumkur, chikkamangalur and some rural regions of Bangalore. This form of kunitha was performed only by Kurubas around the presiding diety of Beereshwara or Beeraligeshwara but later it was adopted by Deevaru, Uppaararu, Nayakaru and other sects of people.  It provides both spectacular variety and complexity of skills in the process of demonstration. It presents both entertainment and spiritual edification. In all temples of Beereshwara, it is a religious practice that the major instrument Dollu be hung in the premises of the temple by means of a thick thread tied up to the hooks fixed in the ceiling. Every time pooja is offered to Beereshwara, the custom demands that there should be an instantaneous beating of the Dollu as an accompanying act of worship.

The dollu or the Drum instrument is made of light wood with the skin attached tightly on both its sides using leather strips and metal rings.The artists performing this kunita tie these huge drums to their waists and use two small thick round sticks to play on them. Generally  the beats are counted in "Guni" or counts. one stroke on the right side of the drum with the stick held in the right and one stroke on the left side of the drum with the bare hand is called a 'Guni' . These counts gradually increases with the beating of Dollu. The artists of this dance cover the upper parts of their bodies with ' Kari Kambali" and dhothi tied tightly around their waists extend upto their knees. In case of deevaru and nayaka's belonging to shimoga district, they cover the upper parts of their body with leaves instead of kari Kambali, or with costumes resembling the tiger's skin.

This kunitha makes the audience spell bounded with its unique style. The artists perform many types of acrobatics like hopping forward, sitting on their knees, doing somersaults while beating the drums. there are various forms of other kunitha like Kudure Kunitha, Puja Kunitha, Jaggahalige Kunita etc..

Though this form of kunita is known as "Beerappana Dollu" from generations, and as a tradition practiced to please the goddess has broken its religious boundaries and has opened itself even to local festivals. Today no private or public function can be thought off without this dance. This shows the ability and efficiency of our Dollu Artists.

 Kamsale:

  Kamsale is a unique folk  art performed by the  devotees of God Mahadeshwara.  The artistes drawn from’ Haalu-Kuruba’ community, who have vowed to live a life of devotion to lord Mahadeshwara are supposed to perform Kamsale. The dancers are mainly found in the areas of Mysore , Nanjangudu, Kollegal, Mandya  and Bangalore rural districts.  Kamsale Mela is a popular folk song which deals with the history of  Lord Mahadeshwara of Mahadeshwara hills, a renowned pilgrim centre situated in Chamarajnagar District.  The Kamsale dance is named after the instrument held in hands of the dancer which is a cymbal instrument made from Bronze. The Kamsale is also called by different names i.e, Kaisale Kausale, Kaitala, Batlu etc. There are two components in the instrument. One is a palm sized bowl shaped piece with a hole in the centre ,through which a thread passes. The other is lid shaped flat cymbal. One side of the cymbal is doom shaped through which a thread passes. This thread is decorated various small beads . The bowl shaped piece is held in the left palm and the other (lid) in the right palm. When they are struck against each other , it produces a distinguished sound . The main element in art is the rhythmic clang, which blends with the  melodious music of the Mahadeshwara epic. The  instruments, in the course of the vigorous rhythmic beatings, are moved around the body of the dancer in innumerable patterns manifesting both skill and art. In a group movement the dancer provides the vision of a series of offensive and defensive actions.  The costume includes a white dhoti, white or saffron robe , a necklace of Rudrakshi beads round the neck, a red cloth round the waist. They apply Vibhooti over the forehead, holding the Kamsaale in the hands. A white bag is hung over the shoulder. These artists get initiation from the guru and serve as devotees of Mahadeshwara. They visit their God without fail during Diwali, Ugadi and Shivarathri. The Kamsale artists perform chorus singing. Generally three to eight artists participate in a Kamsale chorus. The team includes background and foreground performers. These singers glorify the power and grandeur of their god and build stories through their songs and are very loyal to their tradition. Generally these singers come from a lineage of their own or through the Master-disciple tradition and would have been initiated in the name of god and accepted singing as their main occupation throughout their lives.

Yakshagana :

Yakshagana is a theatrical form of presenting Mythological and historical stories.  It combines dance , music, costumes, dialogue, make up and stage techniques with the unique style and form. The word yakshagana means the songs  of the  Demi-Gods (Yaksh means Demi-God and Gana means Songs) .. It is believed to have originated in the coastal districts of Karnataka. The true representation of the poems enacted in these plays is attributed to have started during the Vaishnav Bhakti movement in the 11^th century. In 13th century, a Sage named Narahari Thirtha started Dashavathara performance in Udupi , which later developed into the Yakshagana of today.

 A typical Yakshagana performance consists of background music played by a group of musicians known as Himmela and a dance and dialog group known as the Mummela,  who together enact Poetic epics onstage. The himmela is made up of a lead singer (bhagawata)—who also directs the production—and is referred to as the "first actor" (modalane vesha). Additional himmela members are players of traditional musical instruments, such as the Maddale (hand drum), the Pungi (pipe), the Harmonium (organ), and the Chande  (loud drums). The music is based on Ragas which are characterized by rhythmic patterns called Mattu and Tala (or Music meter in Western music). The Prasangas or stories are mostly based on the Hindu epics such as the Mahabharata and the Ramayana and the Puranas. Yakshaganas are also performed on significant events of the lives of historical legends. To lighten up the narrative humor is introduced in the performance by the antics of the clown called the” Hasyagar”. The mythological characters and various incarnations of Gods and Goddesses take the viewer in to a surreal world.

The performers wear interesting and colourful costumes, and elaborate headgears. The stage design and unique rendering is similar to that of the Western Opera. In Yakshagana the men portray both male and female characters .The elaborate headgears are decorated differently for Kings and for the demons. The makeup of the demons is done to bring out their demonic character. The full ensemble of a Yakshagana consists of a minimum of 15 people, which include the musicians, the actors and the narrator.

Scholars have classified Yakshagana broadly into several types:

Moodalopaya Yakshagana : which comprises eastern areas of  Karnataka such as Channarayapattna, Taluks of Hassan District and Madya district. Paduvlopaya Yakshagana : comprises the western parts of  Karnataka (including Kasaragod Dakshina Kannada, Udupi and Uttara Kannada).Tenkutittu  : includes areas Kasaragod (Kerala), Manalore District, Udupi, Sampaaje, Sulliya, Puttur, Bantwala, Belthangady, Karkala..,  Badagutittu : Udupi to Kundapura area, Uttara Kannada district.

Bhutha Kola:

Bhutha kola is an ancient ritual form of worship prevalent among the Tulu- Speaking community in Udupi,  districts of  South kanara in karanataka and Kasargod taluk in Kerala which is alternatively known as “Tulu-Nadu”. In Coastal Karnataka (Dakshina Kannada District, India) the term 'Bhutha' means a divine spirit which deserves periodic propitiation. The cult is practiced  from generation to generation. The 'Bhutha' rituals enormously vary from village to village according to the social structure of the society.

 Bhutha kola is a highly stylised and very artistic version of the ritual dance of the spirit impersonator which attracts all the spectator. ' Bhuthas ' are believed to be capable of shaping the welfare of a person who has made vows of dedication to religious service. The 'Bhutha' cult has its own priest class and impersonators who act as communication of the divine spirit through possession act of oracle or prophecy. 'Bhutha' worship has different types of folk music, to the tune of musician an impersonator dance and his foot step moves with heavy anklet called 'Gaggara' and in his hand 'Chaury' (Yak tail fan). An impersonator wears either metal mask or areca-leaf mask on his head. The make-up is attractive and dress are made out of simple tender coconut leaves. During the performance, musical instruments like ''Mouri' (wind pipe) 'Taase' (percussion) and 'Shruti' (wind pipe) are used. The performer dances to the tune of musical instruments and sometimes  wears a mask.  Bhutha or the divine spirit have their own Myths or epics sung during the performance.

Aati Kalanja:

Aati Kalanja' is a ritualistic folk dance performed by the 'Nalke' Community. Kalanja is the  name of a minor spirit, who is in charge of the protection of the village folk during the monsoon  month of July- August . As a part of ritual, a person of Nalke community dresses up in the form of Bhutha “Spirit” known as Kalanja  with the costume made up of the tender coconut leaves, anklets, colourful cloth, a  long cap made up of Areca spathe ,paint their face with various colours and designs and holds an umbrella decorated with leaves and flowers . Then the artist and his assistant , a drummer ,go around the village and dance in front of each house.  The householders reward them with paddy, coconut, turmeric , rice etc.. It is believed that honoring the Kalenja in this manner will rid the village of all evil spirits. Kalenja is believed to be the protector of the village(s) from evil spirits. Hence the impersonator of Kalenja is welcomed by the villagers during the rainy season.

Bolak-Aat:  

Bolak-aat  is a dance form performed by Kodavas. The Kodavas  are a unique group who differ in customs, traditions and religion from the surrounding populace, and have an annual harvest dance. According  to a legend 'Lord vishnu' took various avatars (in Carnation) for the destruction of the evil demons. To destroy the demon 'Bhasmasura'  Vishnu danced in the 30 varieties, and one among them is 'Bolkat' . This dance is performed in front of oil lamp in an open field. This performed exclusively  by  men in the Kodava Dress. Performers in their hand 'Chavari' (Yak-animal fur) and in the another hand holds Kodava katti(sickle). Many  regional variations are found in dance forms that few  performers use only 'Chavari' and dance to the tune of 'Dudi', an hourglass-shaped Drum which provides the Rhythm. When they dance with a sickle in  their hand it is identified as 'Kattiyaata'. They sing songs to the tune of 'Dudi', on theme of Kodava heroic deeds of gods and  goddess of the region.

Ummattat:

In Ummattat ,Participants are exclusively women folk of Coorg ethnic. The myth says that on the occasion of 'Samudra manthan'  the distrubution of 'Amrutha' went in the hands of Vishnu who he appeared in the guise of 'Mohini' (female roll). The replica of 'Mohini' and  dance is today named as 'Ummattata' in  the Kodava region. Kodava  women folk wear  the Kodava traditional dress with jewellery, ribbon on the forehead and kunkum, holding the brass cymbals in their hands, in a swinging  rhythm they dance in the circle. At the centre one women stands with  a pot full of water who represents water  diety 'Kaveri'. Kodava  people  worship the 'Kaveri ' as their community goddess.

Kombat:

Kombat is a religious dance form which is traditionally performed in Temples, but in the recent years it is also be performed in other places.  Kodava men dancing , holding horns of the “Krishnamruga” (a dark coloured spotted deer in Kodava legend) is the main attraction of this dance form. The wind piping musicians and percussionist render rhythmic tunes to the performers.  This art has certain martial movements because the Kodavas are known for the Courage and  techniques used in warfare. The performers wear their ethnic dress, and deer horns are used in place of daggers for self protection.

Hagalu Veshagaararu: (Day Actor’s)

Veeshagaararu are a group of wandering actors of Karnataka and Andhra Pradesh. They are proficient  in the art of miming. They disguise themselves as different characters or roles and present their performances in cities and villages. In Andhra Pradesh these actors are known as Pagati Veeshagaararu. They can impersonate mythological, divine, or social characters and can present events of even daily life. Some of them have the skill of producing even a full-length play like a professional performing troupe.The hagalu veeshgaararu or "day-actors" don't need any regular stage. They don't need a green-room. They put on their make-up and costumes in their camp and start on their daily expedition. They go from door to door in the village or town where they have pitched their camp and offer to perform their show. They enact amusing scenes, sing  Vachana Sahithyas  by Basavanna, Sarvagna and others. They don't need curtains,  nor the back stage  equipment.  they just carry their musical instruments with them a harmonium, a "Tabla-Daggaa" and a pair of cymbals. . An assistant will carry a bag to collect the grains which are  given as reward. veeshagaararu belong mostly to the "Veerashiva" tradition, while some are Muslims.  Sometimes they are addressed as “Jyaatigaar” caste.

They are known among the people by different names Hagalu veeshgaararu (day actors); Sudugaadu Siddha (saadhu of the cemetery); Bahuroopi (one who appears in different roles). As their name suggest, they perform only during day time. Only men  folk take part in the performance. Female roles are taken up by men. The Veeshagaararu mainly entertain their audience, though incidentally by depicting mythological and epic stories in the form of dialogue and songs they disseminate normal ideas and wisdom.

Goravara Kunitha:

The Goravas who belong to the superior professional tradition of Karnataka , exhibit the animal behaviour in humans through their traditional but attractive art form. Gorava dance or 'Goravara kunita' a dance of the  Shiva-cult is more popular in the Mysore region and North Karnataka regions. In North Karnataka the 'Goravas' worship "Mylara linga" (Eshvara God). Whereas in South Karnataka (Mysore region) the  'Goravas' who worship the diety called as 'Mudukutore mallikaarjuna'. In the southern part of Karnataka the goravas are Calls by different names viz, Gorava, Goggayya, Gadabaddayya and in the northern parts they are called as Gvaarappa , Vagga and Vaaghya. Their costume includes a hat made out of the hairs of bear, a long black rug as a robe, a necklace made of cowries worn across the chest, a bag dangling down the shoulder , a trishul (trident) Nagabetta, a hand held hour clock shaped drum in the right hand (Damaruga), a flute in the left hand. they smear Vibhooti and crimson powder over the forehead. . In traditional context the 'Gorava' devotees who dance in trance, some time bark like dogs, It is believed that the totem of the 'Mylaralinga' is dog. About ten to twelve Goravas , attired in their customary costumes and make up stand in a row at an elevated level, the very sight of these artistes can excite the onlooker. The senior gorava plays the flute and makes a vibrating sound with his damaruga, while the other goravas join them slowly in tune with the beats of the damaruga, they start dancing. The dancers foot moves in clock- wise and zig-zag form, there is no fixed choreography to these performers. In between they stretch forward their hats and wear them back. Slowly as the music increases, they turn back and forth, whirl around, go round in circles. In between these movements, they remove the bear hats and place them in the center and move round the hats. No other instrument other than the flute and damaruga are used in a goravara Kunita. The unique beats of the damaruga along with the music of the flute combine to give a special harmony, to which the artistes dance in different postures.

Veeragaase:

Veeragaase is popular folk dance. It is a symbolic presentation of the heroism and valour of God ‘Veerabhadra’ . This dance is performed during festivals and mainly in the Hindhu month of Shravana and Karthika. . It is a vigorous dance based on Hindu mythology and involves very intense energy-sapping dance movements.

The dancers put on white turban like head gear and wear kaavi coloured dhotis, Rudrakshamala, Nagabharanas and a wooden plaque of Lord Veerabhadra on their chest and smear their forehead ears and eye brows with Vibhooti. Sporting an unsheathed sword in the right hand and a wooden plaque of Veerabhadra in the left hand the dancers perform a martial dance to the beat of Karadi and chamel drums. The dance troupe  usually consists of two, four or six members. A lead singer in the troupe narrates the “ Daksha yajna” epic with a  huge decorative pole called Nandikolu which has an orange flag at the top is held by one of the dancers and the traditional percussion instruments called sambal and dimmu lend music to the dance.  Cymbals and Shehanoy(wind pipe)  are also used. The dance also involves a ritualistic piercing of a needle across the mouth.

Veerabhadra Kunitha:

The dance form depicts the story of ‘Veerabhadra’ , the super being (minor God) created by the wrath of Rudra ( lord Shiva) to teach the lesson to his father-in-law  Dakha . when he stepped in to destroy the Yagna (fire sacrifice) of Daksha, after his daughter Dakshayani (Sati) - consort of Shiva, self-immolated in yagna fire. Along with him was created, his consort or wife Bhadrakali, from the wrath of Devi.  Veerabhadra to go to the place of the yaga and destroy the ceremony. Hence, the fiery mood that prevails in the dance. Dancers wear traditional colour full kache and wore long white hairs with face sculpture on the head. In one hand they hold sword and dance to and fro powerfully.

Puppetry (Togalu  gombeyaata):

Togalu gombeyaata is a Puppet show unique to the state of Karnataka. Togalu Gombeyaata translates to a play of leather dolls in the native language of Kannada.  It is a form of shadow puppetry.The art of leather puppetry of nearly 15 centuries . It has extended its influence to many far Eastern countries , even today representing our glorious culture in those parts.  The Sanskrit word for puppet is Puttalike  or Puttika .The animation of puppets though imaginative manipulation is what is suggested by the etymology of Puutalika, or Pupa.

Generally string puppets are made of softwood, painted according to the character. The puppets are designed according to the live Yakshagana or regional folk play pattern. Demon characters of puppets reflects the design of village Mother Goddess temple iconography. String puppets are manipulated from above the stage, manipulator's handling technique is unseen because of the upper part of the stage covered with block screen. Puppets appear from the left wing to right, sometime from above the stage. Stories selected for the performance are from the Ramayana and Mahabharata episodes. Song, dialogue exchange delivered by the manipulator behind the screen. traditionally performance played in the oil lamp, it has now substituted  to electric bulb. Size of the puppets are 2 feet to 3 and half feet only. Gorgeous costume of the puppets are similar to the regional yakshagana and made out of goldpaper, ornaments adorned shoulder, chest gears and headgear’s, paints reddish to demon character and bulged eyes with long teeth. The divine characters coloured with yellow, green and humorist character face paints quite jet black. Accompanying instruments to marionette play are "Maddale" (percussion) "Shehanoy" (wind pipe) and "Taala" (metal cymbals) and leading singer sings the major songs assistants add the chorus voice.