Possibilities of Innovations and Reformations in Yakṣagāna: Some Thoughts - Part 10

• Just as a person has a mother tongue that lends itself for his natural expression, a certain pitch is natural for a singer. This sahaja-śruti, i.e., natural pitch is usually comfortable for the singer and he can bring out the best of his creativity and melody. Singing is an art – mere vocal acrobatics including speed, leaps and jumps are unaesthetic. Acrobatics may help an artiste show off his strength but are certainly not artistic. While I am not against the usage of tāra-śruti (high pitch), its usage must be measured and should be a function of the sequence and the character to be represented[1]. Some think that singing at high pitch and at great speeds is an achievement. No art would actually require constant singing at tāra-śruti only. This can at most be called a display of vocal strength but certainly not of aesthetics. The music rendered by the bhāgavata should have the dramatic effect – nāṭyāyamānatā. The variations in voice and kākus used should go well with the emotion[2]. Bhāgavatas should also keep in mind the nature of the character they are accompanying. In most cases, high-pitched singing does not go well with female characters and might work well only for war sequences. It is important, in my opinion, to stick to the middle octave.

• As mentioned earlier, flute, violin and nāgasvara, if used creatively, can help add different flavours to the emotion, reduce strain on the bhāgavatas and can, as a whole, leave the audience with richer aesthetic experience. With this, Yakṣagāna-saṅgīta will certainly become more appealing.

• To inculcate the suggested refinements, quite an amount of preparation and practice is needed. It requires the artistes to take greater responsibility with respect to their art. This will also contribute towards deepening the profundity of the art.

• The tendency of fitting in biḍtigè and imposing dastus on to every word without paying heed to Rasa or aucitya seems to be on the rise over the years. It appears to have become a signature feature of Yakṣagāna-saṅgīta. This wasn’t the case in the past. Rasaucitya should direct the usage of biḍtigès. Dastus and biḍtigès go well only with some instances of sambhoga-śṛṅgāra, hāsya and certain varieties of vīra. They are not appropriate for the episodes filled with karuṇa, vipralambha-śṛṅgāra, adbhuta, bībhatsa, and śānta rasas. In some places, ciṭṭè-svaras may be employed keeping in mind the overall aesthetics.

Sāttvika

Sāttvika is related to sattva – our very existence. Sattva connected with the ātmā and in theatre art Rasa is the ātmā. Universal emotions, i.e., those that are not delimited by time and space are presented through the four modes of abhinaya. Sthāyi-bhāvas and vyabhicāri(sañcāri)-bhāvas that constitute the cittavṛttis are best expressed through sāttvikābhinaya. This is the heart of art. Art can, in fact, be called sattva-saṃsphūrti –inspired, motivated and rooted in sattva. Kalānubhava – art experience is the state of sattvodreka that can result in the tranquility of mind and help the connoisseur enjoy Rasa. A lot needs to be said about sāttvikābhinaya but words cannot capture it. Also, since it is directly related to our experience, there is nothing much to be said about it, either. I have spoken at length about this aspect in other articles and will refrain myself from repetition.

Today, people have the impression that āhārya is the strength of Yakṣagāna. It is quite natural to feel so because, today Yakṣagāna has retained its grandeur only in the aspect of āhārya. Several artistes, who are also my friends say that if a Yakṣagāna artiste speaks without wearing his costume, it will have no effect at all. Just as the popular saying goes – śālūmātreṇa paṇḍitaḥ – he is a scholar only because he wears a shawl, it appears as though veṣamātreṇa yākṣikaḥ is also true i.e., only through costumes he is recognized as a Yakṣagāna artiste! Unfortunately, artistes and connoisseurs of Yakṣagāna today seem to focus more on the external-most aspect of art and have forgotten its essence. Sattva should pervade the other modes of abhinaya.

Āṅgika and vācika can help in evoking sattva. Instead of getting into unnecessary arguments and verbosity on the stage, it is more important for the bhāgavata to capture the emotion of the character through his singing – this will help sāttvikābhinaya. Only when the artiste gets into the heart of the character can he bring out sattva through his abhinaya. In āṅgikābhinaya too, different parts of the face including the eyes, eye-brows, eye-lids, lips, check, and chin come in handy for sāttvikābhinaya, rather than the movement of all other limbs of the body. Mere hèjjègārikè (footwork) cannot help in kindling of sattva. Different karaṇas, cārīs, nṛtta-hastas, abhinaya-hastas, aṅgahāras, and maṇḍalas must be aesthetically employed; moreover, loka-dharmī is more conducive for sattva, while extreme stylization is detrimental. Movements should be performed with deep mental involvement – any movement, including the karaṇas, when performed only with mechanical perfection does not help kindle sattva.

 The kaṭṭu-mīsè (tied moustache), kirugaṇṇu (semi-closed eyes), and big muṇḍāsu used in the Baḍagutiṭṭu of the Kundapura region should be done away with for sāttvikābhinaya to come out effectively. Moreover, unnecessary constraining of the body in the name of ‘jāpu’ is not conducive for sāttvikābhinaya either. Similarly, the large number of ornamentations and the heavy costumes that the artistes of Tèṅkutiṭṭu artistes don also hampers sattva. Rendering the pada/padyas at high speeds is not conducive for sāttvikābhinaya at all.

There are some elements in the Baḍagutiṭṭu of Uttara Kannada that are conducive for sāttvikābhinaya, but the variety is low here too. Merely using the same old and cliqued phrases of speech and movement does not help; it only brings monotony and boredom.

Singing pada/padya in extremely slow speeds – ati-vilamba-kāla – only disrupts the chandaḥ-padagti and bhāṣa-padagati; it brings absolutely no clarity in the words or their meanings. Some artistes blindy believe that such extreme slow speeds are good for sāttvikābhinaya. However, it is quite evident that low speeds, in fact, work the other way round – they hamper sāttvikābhinaya. Pure ālāpana is more conducive for sāttvika. Similarly, singing at high pitch can have a negative effect too.

Artistes of the Baḍagutiṭṭu of Uttara Kannada, in the name of sāttvikābhinaya, seem to be performing padārthābhinaya only! Artistes must focus on vākyārthābhinaya to bring out sattva. Padārthābhinaya constitutes literal translation of every word of the composition into gesture language. Mere translation requires no creativity or originality. Padārthābhinaya involes, many a times, parroting the same old practised meanings – this becomes mechanical. Vākyārthābhinaya, on the other hand, requires great amount of creative talent and is always novel. The meaning of the words, after all, can be learnt from a dictionary. However, the meaning of the sentence can be suggestive – it can lead to different emotive interpretations. The world does not create newer words every day. However, using the large set of existing words, newer and newer sentences can be constructed.

Sāttvikābhinaya requires the artiste to be erudite and matured. He needs to possess holistic understanding of his medium of art. His maturity can help his art mature as well. Bringing in more and more elements of sāttvika also makes the art more and more matured. The mummeḻa and himmeḻa are merely the structural elements of sattva – these structural elements must work hand in hand to evoke sattva.


All the debates and discussions regarding Yakṣagāna will automatically get resolved if the artistes and directors internalize sattva. The answers to all our queries, examinations and analysis lies in sattva. Relying upon sāttvikābhinaya will help Yakṣagāna naturally overcome anaucitya. It will help the art make its mark in the national and international arenas. Moreover, it will win the hearts of conscious connoisseurs and will gain the love of those deeply rooted in the cultural values of the country. We should work towards achieving this goal.

~

Many are scared of refinements and modifications, as they feel that such attempts will ‘spoil’ the traditional art of Yakṣagāna. Many are anxious, agitated, and actively oppose changes in the art form. Only those who have understood the philosophy of Rasa, and know the importance of form and content of art, will welcome ideas for refinement. All concerns expressed by such matured artistes and connoisseurs may be examined with care. However, those who oppose refinement are usually motivated by personal biases leading to blind attachments and animosity – they appear to lack eye for sublimity. All forms of art need to cater to different strata of the society – they must survive at different levels at the same time. Art should progress from the gross to the subtle, from the form to the content and from bhāva to Rasa. Therefore, no art can live long unless it undergoes healthy modifications to deepen and heighten the aesthetic experience it delivers. Art devoid of dynamism is like stagnant water – it looks and smells disgusting and may breed disease-causing microbes. Our life needs to undergo changes to be meaningful; therefore, art, which is a reflection of life, needs to undergo changes as well. I have attempted to write this article with this understanding. The thoughts put out in the article should be objectively analysed by artistes and connoisseurs and implemented as far as possible. This is only a meagre attempt to discuss about a few aspects of Yakṣagāna and contemplate upon the possible changes; I have not been able to touch upon several other aspects; moreover, I have not been able to delve into the details of their implementation. We have examined the possible refinements that the four modes of abhinaya can undergo to make Yakṣagāna an even more beautiful form of art. As mentioned at the beginning of the article, Rasa should be the guiding principle for all kinds of refinements and modifications. I hope that people give up their biases and work towards enriching their art.

Concluded
This series of articles is authored by Shatavadhani Dr. R Ganesh and have been rendered into English with additional material and footnotes by Arjun Bharadwaj. The article first appeared in the anthology Prekṣaṇīyaṃ, published by the Prekshaa Pratishtana in Feburary 2020. The second edition was released in December 2022


[1] Those who are capable of effortlessly singing at higher pitches are welcome to do so. However, they must make sure that such singing does not distort the song or cause discomfort to the listeners. In some rare cases, singers might find it most comfortable to sing at high pitches only – they might be able to bring the best of their creativity there. However, such exceptions cannot be formalized as rules.

[2] Music rendered by a solo vocalist is of a different kind. There are not actors or dancers dependent on him and he can express his creativity hardly depending on other parameters. Solo singing is ekārtha presentation, i.e., the singer takes the lead role. In a pṛthagartha and bahvāhārya presentation like Yakṣagāna, the singer, i.e., the bhāgavata should keep in mind the holistic aesthetics of the theatre. Bhāgavata is, in a sense, the pramācārya of vācikābhinaya.

 

 

Author(s)

About:

Dr. Ganesh is a 'shatavadhani' and one of India’s foremost Sanskrit poets and scholars. He writes and lectures extensively on various subjects pertaining to India and Indian cultural heritage. He is a master of the ancient art of avadhana and is credited with reviving the art in Kannada. He is a recipient of the Badarayana-Vyasa Puraskar from the President of India for his contribution to the Sanskrit language.

Translator(s)

About:

Arjun is a writer, translator, engineer, and enjoys composing poems. He is well-versed in Sanskrit, Kannada, English, Greek, and German languages. His research interests lie in comparative aesthetics of classical Greek and Sanskrit literature. He has deep interest in the theatre arts and music. Arjun has (co-) translated the works of AR Krishna Shastri, DV Gundappa, Dr. SL Bhyrappa, Dr. SR Ramaswamy and Shatavadhani Dr. R Ganesh

Prekshaa Publications

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived in...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்....

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...