ಭಾರತೀಯ ಕಲೆಗಳಲ್ಲಿನ ಸಾಮರಸ್ಯ ಮತ್ತು ಧ್ಯೇಯ

ನಾಡಿನ ಹಿರಿಯ ನೃತ್ಯಗುರು, ಮೈಸೂರು ಭರತನಾಟ್ಯ ಶೈಲಿಯ ಅಧ್ಯಯನಶೀಲರೂ ಆದ ವಿದುಷಿ ಲಲಿತಾಶ್ರೀನಿವಾಸನ್ ಅವರ ಅಂಕಣ - ನೃತ್ಯನಿವೇದನದ ಎರಡನೇಯ ಲೇಖನ. ಈ ಲೇಖನದಲ್ಲಿ ಭಾರತೀಯ ಕಲೆಗಳೊಳಗಿನ ಸಂಬಂಧ, ಕೊಡುಕೊಳ್ಳುವಿಕೆ, ಸಾಮರಸ್ಯದ ಕುರಿತ ಬೋಧಪ್ರದವಾದ ದೃಷ್ಟಿಯನ್ನು ಕಾಣಬಹುದು.

Why Dance

This is a new column Nritya Nivedana by Dr Lalitha shrinivasan, renowned Guru of Mysore style of Bharatanatya, Director of NUPURA- school of Dance. Special focus of this coumn is Dancers lives and experiencing the unique tradition of Art.

Yakshagana: The Performance patterns

Yakshagana is one of the most popular folk theatre forms of Karnataka. It is noted for its music, colourful costumes, vigorous dance movements, subtle expressions, and extempore dialogues. Yakshagana has two main variations, each of which has many variations: Moodalapaya (the eastern form which is popular in north Karnataka) and Paduvalapaya (western style also known as coastal Yakshagana). Of the two, the coastal Yakshagana is more popular for the great sophistication that it has achieved over the years by the efforts of artists, thinkers, and researchers. It is more exuberant and refined when compared to all the other styles.   Paduvalapaya is performed in three coastal districts of Karnataka‒Dakshina Kannada, Udupi and Uttara Kannada. In the region with Mangalore at its centre (which includes Mangalore, Sullia, Puttur, Sampaaje, Bantwala, Belthangady, Karkala, Kasaragod (Kerala), Kodagu etc.) the tenkuthittu or the southern style is dominant. In Udupi district (spreading from Udupi to Kundapura and some parts of Uttara Kannada district), the badaguthittu or northern style holds sway. The extreme northern parts of Uttara Kannada district are known for the northern style (badaabadagu tittu).