Schools of Yakshagana: Badagu Tittu, Tenku Tittu, and Prasanga

Yakshagana, the vibrant folk theatre of Karnataka, has evolved into distinct schools of performance shaped by regional influences. The coastal belt stretching from Goa to Malabar is divided into two major traditions: Badagu Tittu (Northern style) and Tenku Tittu (Southern style). Alongside these, the indoor form known as Prasanga or Tola Maddale also plays a vital role in sustaining the art during monsoon months.

Badagu Tittu and Tenku Tittu

The Town of Udupi serves as the dividing line between the two schools. Though both share the same purpose of narrating mythological tales through music, dance, and drama, they differ in technique and emphasis.

  • Music and Instruments:
    • In Badagu Tittu, the Bhagavata (lead singer) uses a pair of cymbals (tala), while in Tenku Tittu, he employs the gong (Jugate Kolu).
    • The Mridanga of the northern style is longer and narrower, producing sharp, high-pitched notes. In contrast, the southern Mridanga has a wider diameter, yielding deep base notes like Kala and Mandara.
    • The Chande drum is used with greater proficiency in the south, capable of expressing even delicate sentiments such as Shringara (romance) and subtle dance forms like Lasya.
  • Performance Style:
    • Badagu Tittu emphasizes acting (abhinaya), with the Bhagavata often accompanied by a performing artist.
    • Tenku Tittu specializes in dance techniques, with the Bhagavata singing alone while the gong continues even after his recitation, adding finesse to the dancers’ movements.
  • Costumes and Make-up:
    • Southern Yakshagana costumes are more detailed and imposing, influenced by Kathakali traditions.
    • Northern costumes, though equally vibrant, focus more on functional simplicity to support acting.

Despite these differences, both schools create a unified impression of grandeur and devotion, reflecting the cultural richness of Karnataka.

Prasanga or Tola Maddale

During the monsoon season, when open-air performances are impossible, the coastal region developed Prasanga, an indoor alternative. This form retains the narrative and musical essence of Yakshagana but omits costumes, make-up, and dance.

In Prasanga, the Bhagavata sits at the center with his accompanists, while artists called Arthadharis (in contrast to Vesadharis of Yakshagana) sit in rows opposite each other. The Bhagavata selects a theme, sings invocations, and recites verses. The artists interpret these verses with dialogue, gestures, and dramatic expression, creating vivid illusions of mythological heroes without physical adornments.

Prasanga emphasizes literary and emotional exposition. Works like Krishna Sandhana and Angada Sandhana are popular choices, as they allow imaginative interpretation and tense dramatic situations. Though lacking dance and costumes, Prasanga demonstrates that powerful theatre can be achieved through dialogue and performance alone.

Themes of Yakshagana

Yakshagana themes are drawn primarily from Hindu epics such as the Ramayana, Mahabharata, and Bhagavata. These stories simplify Vedic philosophy into didactic tales, serving as both entertainment and moral instruction for rural audiences.

The dominant sentiments are Veera (valor) and Raudra (fury), often expressed through war dances. Battles like Krishna-Arjuna Kalaga, Babruvahana Kalaga, and Karna-Arjuna Kalaga are frequently staged. Even plays centered on romance or diplomacy, such as Girija Kalyana or Sandhana, inevitably include battle sequences. This emphasis makes Yakshagana a Tandava Prakara, a vigorous war-dance tradition akin to Shiva’s cosmic dance.

Occasionally, delicate Lasya dances appear, such as princesses bathing in the Ganga in Bhishma Parva. However, the essence of Yakshagana remains rooted in power, valor, and dramatic intensity.

Conclusion

The Schools of Yakshagana Badagu Tittu, Tenku Tittu, and Prasanga represent the diversity and adaptability of this art form. Whether through the grandeur of costumes, the vigor of dance, or the depth of literary exposition, Yakshagana continues to enthrall audiences while preserving the timeless spirit of Karnataka’s cultural heritage.

 

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