Bhutharadhane (Bhutha Worship)

Karnataka.
Dakshina Kannada.

      Tulunadu is home to countless local festivals and traditional events. Local performing arts, passed down from generation to generation, are on display at many ties of these events, each a unique chance to experience the mysterious charm of Dakshina Kannada.

     One of the most spectacular cultural expressions in which the region of Dakshina Kannada has traditionally chosen to introduce itself is Bhutha worship (Bhutharadhane). Any visitor to this ebullient land will not miss, except in the rainy season, the devotional bustle, the haunting beats of drum or the riveting tune of the pipe with which this colorful art form is heralded. Culturally contiguous to the Theyyam of Kerala, the Bhutha worship was once, by a profound and not-too-innocent orientalist mistranslation, associated with 'Demonaltry'. But it is now seen on a different light.

     The Bhutha worship is a complex phenomenon of traditional cults, some of totemic origin, but all rooted in authentic social equations and folk experience, reflecting the various hopes and frustrations of people, providing for the cathartic release of tensions. It flourished as a form of belief and is linked with the identities of communities. The Bhuthas are associated with agriculture and allied vocations, whose projection and prosperity they are supposed to ensure. The folk heroes of the region are celebrated in it for their daring, benevolence and tragic end, who are believed to possess super-natural powers to do good to the good and the faithful and retail retribution to the wicked. There are more than a 100 Bhuthas of startling variety worshiped in Dakshina Kannada and some of the better known ones are Panjurli, Kalkuda-Kallurti, Koti-Chennaya, Jumadi, Melerayi, Kodamanithaya, Pilichamundi, Koragathaniya, Bobbariya, Koddabbu and Thannimaniga.

      The Bhutha cult is centered on the Bhutha shrine, which houses the image, the mask, the weapons and other objects associated with its worship. Another aspect of the worship is the ritual performance in which the Bhutha impersonator, in full ritual attire, recites the epic to announce his putative presence and imperiously promises benediction to his faithful devotees.

     The Bhutha impersonator in the ritual performance, reveals in his powers, brandishes his sword, dares the fire to burn him and swaggers before the cowering devotees. When possessed, he becomes the medium through which the Bhutha projects itself, straddling the past, present and the future. He becomes the protector of truth, and the dispenser of justice.

 

     The ritual conjures up a world of supernatural associations and the performance is suggestive of the wonderful world of creation, transformation and dematerialization, in which the real and the fantastic, the authentic and the illusory merge to produce a strange feeling of excitement, subjugation and fulfillment.

     In Dakshina Kannada, the world of human beings, the natural world and the supernatural world are bound together in fantastic folk traditions. These ritualistic worship traditions have been passed down as a concrete expression of the cultural understanding that the Divine and the spirit of one's ancestors permeate the entire universe...

Kambala - Race Of Buffaloes

Karnataka.
Dakshina Kannada.

     Kambala is race of buffaloes, very popular in coastal Karnataka. More than 20,000 people assemble to witness famous Kambalas. Decades ago, Kambalas were held on religious occasions only. Now, almost every weekend a Kambala is held at different place, between December and March. In modern Kambalas, which are professionally managed, more than 100 pairs of buffaloes participate. The owner of the winning pair is honoured at the end of the race...

Race at Kambala :-- 

 Kambala Track :--

Yakshagana

Karnataka.
Dakshina Kannada.

     Yakshagana is a rich traditional art of Karnataka which has reached a great height among Indian's traditional arts. It has a history of at least five hundred years. It is a unique blend of various arts like music, dance, make-up, etc. The literature used for this dance - drama draws mostly on Puranic stories. Similar art forms are prevalent in different regions of Southern India, such as Kathakkali (Kerala), Theruvukoothu (Tamilnadu), Bhagavatha Mela (Andhra). Yakshagana in different forms and names like Sannata, Doddata, Parijatha, etc. can be seen in different parts of Karnataka.

     Initially this folk theatrical art was confined to the temple. Even now there are several Yakshagana troupes which are sponsored by temples like Mandarthi, Marnakatte, Dharmasthala, Kateel, Mangaladevi, etc. Yakshagana has not only entertained people but has given them lessons in Puranic stories, and values of life. It has also propagated the idea of Bakthi.

     In Coastal Karnataka Yakshagana can be divided broadly into two styles, namely Thenku Thittu (Southern Style). Badagu Thittu (Northern Style). The North Kanara style is a slight variation of Badaguthittu. Thenkuthittu is prevalent in south between Udupi and Kasaragod.

     The Yakshagana troupes begin their itinerant performances at the time of "Deepavali" (in November). The dance drama is performed through the night. The performing season comes to an end in May. But special performances can be arranged in the rainy season also. There are about thirty professional Melas (troupes) and hundreds of artists and others make a living through Yakshagana.

     The greenroom of Yakshagana is called Chowki. Pooja is offered to Lord Ganapathy and the other gods at the Chowki both in the beginning and the end of each performance. Different characters appear on the Rangastala like Gods, Kings, Princes, Queens, Princesses, Ministers, Servants, Rakshasas, Vanaras (Monkeys), Shabaras (hunters), etc. Different facial make-ups and costumes are used for different characters, which are very colorful and gorgeous. Generally men perform the female roles.

     Recently Yakshagana has undergone certain changes by the inclusion of historic, folk, imaginative themes, not only in Kannada but also in Tulu. Later nowadays children Mela and Ladies troupes have also come up. Research and teaching places have been set up at different places. Now and then Akashavani and TV Channels broadcast Yakshagana performances. Several books on Yakshagana have also been published. There is still another form of Yakshagana which is known as Talamaddale where costumes and dance are dispensed with. The artists called Arthadharies expound the story only by extempore dialogue, co-ordinated by the Himmela.

      Even in these modern days of powerful media like TV, Yakshagana has still retained its place and influence on the people, thus keeping the rare cultural heritage alive...