Breaking religious barriers with Yakshagana

Yakshagana is a performing art form that traditionally propagated Hindu mythology. Over the years, this art form has caught the attention of other religions as well.

Several talents from the Muslim community who have gained prowess in the art form have contributed to making it richer. They have carved a niche for themselves in both Yakshagana Bayalata and Tala Maddale, and brought laurels to the art.

The trailblazer

One of the earliest artistes from the Muslim community who endorsed Yakshagana was F H Wodeyar.

Popularly known as ‘Doctru Mama’ or ‘Wodeyar Mama’, Wodeyar had a well-built persona and a quintessential voice and was identified by his distinct curly hair. He was born in a rich family coming from the Byari community in Arkula in Dakshina Kannada district on March 15, 1903.

Having been inspired by the words of Mahatma Gandhi and Shaukat Ali on communal harmony and patriotism during their visit to Mangaluru in 1920, Wodeyar joined the freedom struggle. In due course, he came in touch with Tala Maddale artiste and freedom fighter N S Kille and was drawn towards Yakshagana.

He then learnt arthagarike (conversation in Yakshagana) from Lakshman Shanbhog. He became popular as an arthadhari (one who does Arthagarike) and later went on to set up a troupe of his own called Wodeyar Balaga.

Recalls author Chandrakala Nandavar, who had a close connection with Wodeyar’s family, “Wodeyar did not restrict himself to one community. He was always careful with his words and used relevant phrases of the Quran in arthagarike.”

Another artiste who always leaves the audience in awe with his oratory and power-packed performance is Jabbar Samo. Hailing from Sampaje, a tiny village on the border of Dakshina Kannada district, Jabbar Samo is popular both as a Yakshagana and Tala Maddale artiste. His scholarly dialogue delivery, captivating wordplay and soulful acting have earned him a huge fan following from all communities.

“Our coastal soil carries all kinds of food, tradition and culture with grace. It is this quality that infused love for Yakshagana in me,” says Jabbar.

Son of Sheikh Budan Saheb and Bibi Mabibi of Kavradi in Udupi’s Kundapur taluk, Muhammad Ghouse has been a doyen of Yakshagana. Inspired by watching Yakshagana Bayalata,
Tala Maddale, Harikathe, music and bhajan programmes, Muhammad Ghouse is a stage sensation of Badaguthittu Yakshagana (a north-coastal Karnataka variant of the art form) through his performance.

Ghouse learnt Yakshagana for around 12 years and worked with several professional Yakshagana troupes in the area. He has played the roles of the hero, supporting hero and villain in all types of episodes.

New frontier

Happily embracing this male-dominated art by breaking both gender and other social stereotypes is Arshia of Mangaluru, who is an employee of an automobile company. She is said to be the first woman Yakshagana artiste from the Muslim community.

Arshia’s love for Yakshagana developed after she watched a show when she was 10. Initially, her teacher encouraged her talent. Later, the Kadali Kala Kendra of Mangaluru taught her the art form and offered a platform. She has taken up challenging roles like that of demon Mahishasura in the mythological episode of Chamundeshwari and made an impact.

Arshia is also an expert in playing Chende (a drum-like instrument). Their efforts have served in gaining both personal distinctions and in proving that art is beyond religion.

(Translated from Kannada by Divyashri Mudakavi)