Any two dance forms presented in a jugalbandhi would serve as interesting material for comparative analysis with respect to mutual technical adaptability and aesthetics. Here Dr Shobha Shashikumar analyse the comparative patterns of Bharatanritya and Yakshagana.
The ballet was conceptualized and lyrics was written by Shathavadhani Dr. R. Ganesh. Sri Mantapa Prabhakar Upadyaya danced as Sharmishte and Dr. Shobha Shashikumar danced in the role of Devayani. Accompanying artists were Shri Hari on Mridanga, Narasimhamurthy on flute, A.P.Patak on Maddale, Prasannakumar on Rythmpad special effects. Renowned carnatic musician Kanchana Sriranjani added melody by singing lyrics to the dancing. The article contains the links of video, photos and synopsis written by Dr Shobha Shashikumar on jugalbandi in detail which held by BTM cultural academy at Bengaluru Ramana Maharshi Blind school auditorium on 18 December 2017; evening 6pm.
This journal issue contains the following articles. Editorial on the Natyashastra stories application in Yakshagana (Kannada) Nudi Namana Anjali to H.N.Ananthkumar, Adoor Ganesh Rao, Kudkadi Vishwanatha Rai and A.Eshwarayya (Kannada) Review/ Report on the Dance research symposium- August 2018 Bharatanatyabodhini book review by Arjun Bharadhwaj (English) A column on NrittaRatnavali (First ever kannada translation of Jayapasenani treatise) By renowned scholar Dr Shesha shastri followed by the meanings of technical terminologies by Vid. Rohini Subbaratnam Column on Dancelyrics with special attention to Koutwa and Article on Shastara(Aiyyappa) by Dr Manorama B N Need of the Research in Dance a Column on Performing Arts research patterns by aesthetician and researcher Dr. Shobha Shashikumar (English) Research writeup on Parakiya Nayika- by Researcher Dr Dwaritha Vishwanatha (English) Bharata Koutuka- column by Vid. Rohini subbaratnam( Kannada)- an in detailed research article on Shukasarika sangeetanrityaprabhandha Rangaakshara-column by Vid. Korgi Shankaranarayana Upadhyaya-On Rupaka - performancepattern, directional views and literature (Kannada)- on the concept Tyagaraja And many more writings.... Page design by : Dr Manorama B N
Mantapa is a popular name among the female role players in Yakshagana. He has performed on 1000 stages as a female impersonator. He did many commendable experiments in Yakshagana. Mantapa fulfilled the dream of Shatavadhani R. Ganesh by successfully conducting an experiment in the Indian aesthetics concept of rasa-dhwani-ouchitya. He started a new experiment in Yakshagana called ekavyakthi Yakshagana (solo show) that focussed especially on female roles. He was born at Parampalli near Saaligrama in Udupi district. He entered the scene as a female role artist when female characters were not much in demand. He learned the art form at Yakshagana Study Centre in Udupi during 1975-76. He debuted with Kamalashile troupe lead by Keremane Shambhu Hegade. At the time, Keremane troupe used to stage limited-time shows. Later he continued his career with Perdur and Idugunji troupes and started performing as the lead female role. But then he decided to change track and went to Bangalore to become an entrepreneur. For ten years he ran a successful ice cream business. 'Mantapa' ice cream became very popular.
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).