INFLUENCE OF INDIAN CLASSICAL MUSIC ON TULUNADU REGIONAL

ART FORMS

Dissertation Submitted by

ATHREYA GANGADHAR

Under the guidance of

Dr.Prabhavathy P.N.

In partial fulfillment of the award of the degree

MASTER OF MUSIC-VOCAL

Offered by

School of Kalayoga

Chinmaya Vishwavidyapeeth, Pune

June-2023

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 BONAFIDE CERTIFICATE

Certified that this thesis “INFLUENCE OF INDIAN CLASSICAL MUSIC ON

TULUNADU REGIONAL ART FORMS” is the BONAFIDE work of Athreya
Gangadhar who carried out the research under my supervision. Certified
further that to the best of my knowledge. The work reported herein does
not form part of any other thesis or dissertation on the basis of which a
degree or award was conferred on an earlier occasion on this or any
other candidate.

Signature of the Supervisor

Name of the Supervisor Designation

Date and place

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 ACKNOWLEDGEMENT

First and foremost, I would like to make a mention of my guide Dr.Prabhavathy P.N.
for her valuable help, motivation and understanding of my problems. Without her
help, this research would not have been materialized.

I would also like to thank all the artists whom I have interviewed for sharing their
knowledge and guiding me to complete this research.

Finally, I would like to make a mention of all those who helped me directly or
indirectly to accomplish this project.

Thanking you all,

Athreya Gangadhar

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INDEX

Chapter-1

History of Yakshagana & Kola - 8

Chapter-2

Musical Instruments used in Yakshagana & Kola - 15

1.Musical instruments used in Yakshagana - 15

2.Musical instruments used in Kola - 25

Chapter-3

Influence of Indian Classical Music on Yakshagana - 36

Chapter-4

Influence of Indian Classical Music on Kola - 39

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 Introduction

Tulunadu is the geographical region in the southwestern coast of India consisting of

districts named South Canara and Udupi in the state Karnataka; and Northern parts of Kasargod
district in the state of Kerala.

Tulunadu Map
According to Padhdanas(Tulu folklore) Tulunadu extends from the village of Ankola( in
present day North Canara district of Karnataka state) to the village named Neeleshwara ( in present
day Kasargod district of Kerala State). Acording to some folklores it was believed to be in between

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Gangavalli river of North Canara district to Chandragiri river of Kasargod district.The region is
named Tulunadu because of the region's native language TULU and the region’s Tulu speakers
named TULUVA’s(people who speak tulu). The language also has its own script. The region is
also known as Bermere Srishti and also Parashurama Srishti. It is a cultural and historic region
which had cultural exchanges in its arts and music. The region is famous for its folklore, artforms
and rituals.

Tulunadu has abundant art forms like which has influence of music like Yakshagana, Kola,
Kangilu, Pili Vesha(Tiger dance), Aati Kalenja, Kambula, Chennu Nalike etc; but in this
dissertation I am going to explain about 2 Art forms, they are YAKSHAGANA and KOLA. This
dissertation will cover about the Influence of Indian Classical Music i.e, both Hindusthani
Classical Music and Carnatic Classical music on Yakshagana and Kola.

Indian Classical Music: There are 2 majorly classified Classical Music system in India. They are
(i)Hindustani Classical Music and (ii)Carnatic Classical Music.
(i)Hindustani Classical Music- It is the North Indian form of Music which has rich traditions like
Dhrupad and Khayal. It mainly evolved in North Indian states of Uttar Pradesh, Rajasthan, 8Delhi,
Maharashtra etc. In this system Raag is elaborated from Vilambit laya which is slow tempo to
Madhyalaya which is Mid-tempo to Dhrut laya which is the fast Tempo. It consists of Vocal

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performances of Khyal and Dhrupad. It also has Instrumental aspects which has instruments like
Sitar, Sarangi, Bansuri, Shehnai, Harmonium, Sarod, Tabla, Pakhawaj etc.

(ii)Carnatic Classical Music- It is the oldest and South Indian form of Music which evolved in the
states like Tamilnadu, Kerala, Telangana and Karnataka. This system is also Raga-Centric and is
presented through Kritis, Varnam, Geetham etc. It consists of Vocal performance and Instrumental
performance. The instruments used in Carnatic system are Violin, Venu, Kanjira, Mridangam,
Ghatam etc.

Yakshagana: It is the art form of Tulunadu region which is a dramatical play which showcases
story’s of Hindu mythology like Ramayana Mahabharata etc. It also consists of the Musical part
which will be explained through this dissertation.

Kola: It is a Ritual performed in Tulunadu which is basically a worship of deities named Daiva's
through dance form (Nartana Seva). It also has artistic contents like craft works made out of

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coconut tree leaves, make-up, floral designs, music etc. The musical part of Kola will be explained
through following contents.

Chapter-1

HISTORY of YAKSHAGANA & KOLA

1.YAKSHAGANA: It is the traditional form of Theater, dance and music originated in Tulunadu
region ( coastal region of Karnataka and Kerala) which showcases the story of Hindu mythology
like Ramayana, Mahabharata etc. It primarily uses Tulu and Kannada language.

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 The YAKSHAGANA BAYALATA(play) consists of two major divisions in the play, they
are

• HIMMELA
• MUMMELA

Himmela is the the musical part of the play which consists of a Bhagavatha, a Maddale
vadak, Chende vadak, Harmonium for Shruti, and a Chakrataala vadak.

Mummela is the theatrical or dance part of Yakshagana which consists of

PATRADHARIS(actors) with different characters of Gods, demons,
hasyapatri(comedians) and so on.

Yakshagana has two major forms, they are:-

• Tenkutittu

•Badagutittu
Tenkutittu is the style of Yakshagana prelevant in across Southern part of Tulunadu region.
There are colourful and giant and attractive veshas( Characters with fancy costumes and makeup)
in this form. The musical part is also different which we will discuss in the next chapter. ‘Digina’
is famous in the the dancing form. Three types of colours are used, they are Rajabanna, Kaatbanna

and the Sthribanna. Tenkuntittu is known for its dance steps and Giant Rakshasas(demon
characters). Dharmasthala Mela and Kateelu Mela are 2 famous Tenkutittu Yakshagana troupes.

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Badagutittu style is famous towards Northern part of tulunadu. In this style facial expressions,
dialogue delivery. It has its own specific type of costumes. Also the musical part is different which
will be discussed in the latter part. They use natural colours and costumes for the makeup.

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 The YAKSHAGANA can also be preesented by neglecting the theatre part and only having
conversation between characters and having the himmela(musical team) which is called as ‘TALA
MADDALE’. Talamaddale is an art form of oration, involves the verbal retelling of stories using
songs from the Yakshagana text and a specific pattern of conversation. The term "Talamaddale"
derives from the combination of "tala" and "maddale," which represent two traditional percussion
instruments, namely cymbals and a double-sided drum resembling a mridangam. This name
symbolizes the rhythmic nature of this art form. Talamaddale performances incorporate music,
percussion, and the spontaneous delivery of dialogues and arguments. The texts used in

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Talamaddale, known as Prasangas, are carefully chosen excerpts from Yakshagana literature that
allow for vivid storytelling through words.

Photo depicting Taala-Maddale

Yakshagana remains a lively and captivating art form that draws in audiences with its
distinctive combination of dance, drama, music, and mythology. It acts as a cultural link, uniting
generations and safeguarding the customs and narratives of bygone eras. Yakshagana, a traditional
form of theater and dance. It is distinguished by its vivid attire, intricate makeup, lively music, and
dynamic dance sequences. Yakshagana amalgamates dance, drama, music, and mythology to
produce a mesmerizing spectacle. With a long-standing legacy spanning many centuries,
Yakshagana has undergone adaptations and assimilated diverse influences. It serves as a precious
cultural asset, safeguarding historical traditions and narratives, while simultaneously captivating
and enthralling audiences with its exceptional artistic fusion.

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2. KOLA: Kola Daivaradhane is a traditional religious practice and folk theater observed in the
Tulunadu region. It combines dance, drama, and religious rituals to create a unique cultural
performance.

The main focus of Kola Daivaradhane is the worship of a deity, believed to possess an individual
during the performance. This deity, known as Daiva in Tulu language, is revered with different
names in different localities. The performer undergoes specific rituals and preparations prior to the
performance, including fasting, purification, and adorning traditional attire and accessories.

As time has passed, Kola Daivaradhane has undergone changes and adaptations to suit the evolving
times. While it has incorporated new elements, it has successfully preserved its traditional core
and essence.

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 The kola has 16 rituals by which it is bounded. The people of 16 Vargas(categories) serve to
this 16 rituals. The kola or the Nemotsava has 3 main levels in the one night utsava(festival). They
are, It starts with Gaggaradicho i.e, the section in which the daiva is in the childhood or primary
level, the performer plays according to the deity’s childhood. The second stage will be Manichil
in which the daiva will be in the adulthood and the patri(performer) will abide by that. And the

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third stage is the Katinema where the daiva will be in its matured state or the old age in which the
patri will be ready accordingly. The Tulu culture is known for its vibrant and diverse

customs, rituals, and traditions. These practices have been passed down for centuries from the
ancient Indian civilization. One significant aspect is the Daiva Kola ritual performance, which is
deeply rooted in the traditional and cultural occupations or services of the people residing in
Tulunadu. This occupation is based on the unwavering faith and trust of the people towards their
deities and has been practiced for generations as a way of expressing devotion.

Chapter-2

MUSICAL INSTRUMENTS USED IN YAKSHAGANA & KOLA

1.Musical Instruments Used in Yakshagana:-

Instruments used in Tenkutittu: Music plays a crucial role in enhancing the performance and
creating an immersive experience in tenkutittu Yakshagana. The music is characterized by its
rhythmic beats, melodic patterns, and expressive elements, serving as a companion to the dramatic
storytelling and bringing the characters and scenes to life.

In tenkutittu Yakshagana, a group of musicians called the "maddale-mela" performs the music.
The primary instrument used is the maddale, a traditional double-headed drum. Skilled maddale
players strike the drumheads with their hands, producing intricate rhythms and varying tones.
These maddale beats are synchronized with the dancers' movements and the dialogues of the
performers on stage.

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In addition to the maddale, other musical instruments such as the chande (a percussion instrument),
taala (a cymbal), and shankha (a conch shell) are employed to create a rich and dynamic musical
backdrop.

The music in tenkutittu Yakshagana follows a specific musical structure and rhythm called "tala"
and is composed in traditional ragas (melodic scales) and talas (rhythmic cycles). The
compositions are often complex, demanding a high level of skill and precision from the musicians.

The music not only establishes the mood and atmosphere of the performance but also conveys
the emotions and traits of the characters. It adds depth and intensity to the storytelling, serving
as a powerful medium of artistic expression in this traditional art form.

Instruments used in Badagutittu: Badagutittu Yakshagana, a traditional folk theater form

popular in the coastal regions of Karnataka, India, combines dance, music, dialogue, and elaborate
costumes. Music plays a vital role in Badagutittu Yakshagana by setting the mood, narrating the
story, and enhancing the overall theatrical experience.The music in Badagutittu Yakshagana is
performed by a group of musicians known as the "Himmela" or "Yakshagana Bayalata Band." The
Himmela comprises multiple instrumentalists and vocalists who contribute to the musical
accompaniment. The music in Badagutittu Yakshagana combines rhythmic patterns, melodic

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tunes, and expressive vocals to create an energetic and animated ambiance. It adds to the visual
splendor of the performance, captivating the audience and keeping them engaged throughout.
Tenkutittu Himmela

Tenkutittu Himmela

Bhagavathike: The Bhagavathike plays an essential part in Yakshagana, a traditional form of

musical theater. They are responsible for narrating the story and reciting dialogues during the
performances.

Positioned near the musicians on one side of the stage, the Bhagavathike acts as the master of
ceremonies, guiding the audience through the performance. They introduce characters, describe
scenes, and provide context for the unfolding events.

The Bhagavathike's narration is characterized by a rhythmic and melodic style, often accompanied
by musical instruments such as the chande and maddale. They employ a distinct storytelling
approach, utilizing rich language, poetic verses, and gestures to engage the audience and create an
energetic atmosphere.

In addition to narration, the Bhagavathike also takes on specific character roles in the performance.
These may include gods, sages, or other important figures from the story. When portraying these

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characters, they employ unique costumes, makeup, and mannerisms to differentiate themselves
from other actors.

The Bhagavathike's role is crucial in upholding the continuity of the story and enhancing the
dramatic impact of the performance. Their combined skills in storytelling, acting, and music
contribute to the overall artistic experience, making Yakshagana a captivating and culturally
significant art form.

The Musical instruments used in Tenkutittu & Badagutittu are:

TENKUTITTU INSTRUMENTS BADAGUTITTU INSTRUMENTS

•Chende •Chende

•Maddale •Maddale

•Jaagate •Taala

•Chakrataala ------

•Harmonium •Harmonium

•Chende: The chende, an important percussion instrument in Yakshagana, a traditional dance

drama style originating from Tulunadu, India, is a notable instrument. It is a sizable, drum-shaped
instrument played using sticks. Constructed primarily of wood, it features two drumheads, one on
each end, typically made of tightly stretched animal skin, like goat or buffalo.

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Within Yakshagana, the chende holds a prominent role as it provides rhythmic accompaniment for
the dancers and actors on stage. Positioned behind the drum, the chende artist, also known as a
"chende artist," employs sticks to play the instrument, resulting in a resonant and pleasing sound.

The chende artist skillfully incorporates various rhythmic patterns and beats to amplify the
dramatic impact of the performance. They synchronize their beats with the lead singer and other
musicians, following their cues, to ensure harmony within the overall musical ensemble. The
chende artist's expertise in maintaining a consistent rhythm is vital for the synchronization of the
entire Yakshagana performance.

Beyond Yakshagana, the chende finds utility in other traditional art forms and festivals. It is an
integral component of the region's cultural heritage, contributing significantly to the lively and
spirited ambiance of these performances.

The 'goodu,' which is the body of the instrument, is made from jackfruit wood (also known as
Kakke, Baine, or Jambe). Chande players adhere to the Yakshagana system of talas (or taalams),
which shares similarities with the Carnatic Music talas. The rhythmic system itself has its roots in
pre-classical traditions.

The processed skin is used to create the circular drum head, which is typically attached to the
wooden trunk using thick ropes secured by 12 hinges. The drum head has an average size of around
32 cm with an inner diameter of approximately 23 cm. The playing area of the drum head is about
20 cm in diameter. To tune the drum, wedges inserted within the ropes are twisted to tighten or
loosen the drum head. A wooden wedge is also tied to the edge of the drum head to facilitate rolling
using the dominant hand. In traditional practice, the chande is tuned to an octave above the singer's
tonic, specifically the Higher Shadja.

Chande sticks, known as chande kolu, are drum sticks that are specifically designed for playing
the chande. These sticks have varying shapes and thicknesses along their length. The left hand and
right hand sticks also have distinct shapes. Generally, the length of the sticks is approximately 28
centimeters, although it may vary depending on the diameter of the drum head.

The sticks used for playing the chande are crafted from a flexible type of bamboo. The stick
designed for the dominant hand has a thicker head, while the body tapers, and the end where the
hand grips the stick is of a normal size. On the other hand, the second stick is slightly thicker and
less tapered. The dominant stick is typically positioned on the wedge of the drum head and rolled
to create a fluttering sound. This characteristic allows the chande to generate multiple fillers

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between beats that are challenging to produce with hands or fingers alone on other drums. The
chande is played in a forceful manner, and its rhythmic patterns contribute to the formation of the
Yakshagana Tala.

Tenkutittu Chende Tenkutittu Chende Player

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 The Tenkutittu Chende is played normally by standing position, tying it’s cloth to one arm
and playing accordingly. The Badagutittu Chende is played through sitting position, the player will
sit on a chair pacing his Chende on a short wooden plank and played. The Chende in both

Badagutittu Chende

system are tuned to Bhagavata’s Shruthi. Some syllables in playing chende are TaRiKiTa
,KiTaThaKa etc. Some taalas played are Jhampe, Dhittittai, Twarita Jhampe etc.

•Maddale: Maddale also has 2 varients according to the two styles that are Tenkutittu and
Badagutittu. Maddalae is two faced percussion instrument similar to the Mridangam in Carnatic
Music. Its made from processed leather. The shyayi is applied to both sides. In olden days, it’s said
to have used bona(a mixture of wheat flour) to one side of the Maddale.

Gumpu and Chapu are the two prominent beats in Maddale. Gumpu is played by using left hand
to the left side of the drum. And The Chapu is played by forcely placing five fingers on edge of
the Shyayi of the Right side.

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 Tenkutittu Maddale

The Maddale is a traditional drum utilized in Yakshagana, a theatrical art form. Within Yakshagana
performances, the maddale holds a significant position as one of the principal musical instruments.
It assumes the responsibility of establishing the rhythm for the entire performance.

Constructed from wood, the maddale is a double-headed drum featuring a cylindrical body. Each
end of the drum is covered with animal hide, typically goat skin. Leather straps or ropes are
employed to tension the drumheads, enabling the player to adjust the pitch and tone of the
instrument. To produce sound, the maddale is struck with the hands or fingers.

In the Tenkutittu style of Yakshagana, the maddale assumes a crucial role in structuring the rhythm
of the performance. The maddale artist, known as the "maddale player" or "maddale kunitha," sits
in a cross-legged position and exhibits great skill and dexterity while playing the drum. The player
employs both hands to generate diverse sounds and rhythms, encompassing beats, accents, and
rolls.

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The role of the maddale player extends beyond providing rhythm. They utilize the drum to convey
emotions and moods during the performance. Through their adept playing, they augment the
dramatic impact of scenes, generating tension or excitement as required.

The maddale occupies an indispensable place within Yakshagana, and the maddale player is held
in high regard for their artistry and ability to enrich the overall performance. They collaborate
closely with actors, singers, and other musicians to craft a captivating and immersive experience
for the audience.

Badagutittu Maddale
Some of the Maddale Bols are Dhit Dhit Tom, TaRiKiTa etc. Some taalas played on Maddale are
Trivde Taala, Jhampe taala , Rupaka Taala, Ekataala etc.

In Badagutittu Yakshagana, the maddale drum resembles its counterpart in Tenkutittu. It is a

wooden double-headed drum with a cylindrical body covered on both ends with animal hide,
typically goat skin. The tension of the drumheads can be adjusted using leather straps or ropes,
allowing the player to modify the pitch and tone of the instrument. Similar to other styles of
Yakshagana, the maddale in Badagutittu is played by striking the drumheads with the hands or
fingers.The maddale player, known as the "maddale kunitha" or "maddale artist," plays a vital role
in Badagutittu Yakshagana. They sit in a cross-legged position and demonstrate exceptional skill
and expertise in drumming. Using both hands, the maddale player creates a variety of sounds and
rhythms, including beats, accents, and rolls, to accompany the performance.

Like in Tenkutittu, the maddale player in Badagutittu Yakshagana goes beyond providing rhythm.
They utilize the drum to convey emotions, heighten the dramatic impact of scenes, and generate

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tension or excitement as needed. The maddale player's artistic abilities and their contribution to
enhancing the overall performance are held in high regard within Badagutittu Yakshagana.While
there may be some stylistic distinctions between Badagutittu and Tenkutittu Yakshagana, the
maddale remains an indispensable component in both styles, enriching the musical and rhythmic
aspects of the performances.

•Jaagate: Jaagate is the circular metallic plate like instrument which is played by
Bhagavata(singer) of the Tenkutittu. It is also tuned to the pitch of the Bhagavata and it is used as
taala to give beats. It is holded with one hand and struck with a stick in another hand.

Jaagate
•Taala: The taala is used by Badagutittu Bhagavata to play rhythemic cycle. The Tala instrument
in Yakshagana comprises a pair of petite, circular metal discs crafted from brass or bronze. The
chande player grasps one disc in each hand and skillfully brings them together in a rhythmic
sequence, producing percussive accompaniment for the Yakshagana performance.

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•Chakrataala: Chakrataala is the big kind of taala that is played with the Chende of the
Badagutittu style. According to the interview I made, Chakrataala is also set to the Shruti.
Chakrataala is not used in Tenkutittu style.

Chakrataala
•Harmonium: Harmonium is used as Shruthi provider to the Bhagavathas of both Tenkutittu and
Badagutittu styles. Nowadays some Bhagavatas use electronic Shruti box to or Shruthi.

2.Musical Instruments used in Kola:- The significance of music in Kola cannot be overstated. It
plays a crucial role in setting a sacred atmosphere, fostering emotional resonance, facilitating

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trance-like states, accompanying the rituals, and safeguarding cultural heritage. Music enriches the
worship experience, infusing it with profound meaning, vibrancy, and depth, thereby strengthening
the spiritual bond between worshippers and the divine.

Instruments used Primarily or in the Mainstream:-

Instrument Type

Vaadya/Vaade Blowing instrument

Shruti Supporting instrument

Thase Percussion

Dol Bass percussion

Kombu A kind of wind

The above mentioned instruments are played mainly in the main space of the
Daivastana(Deity’s shrine) in front or adjacent to the Daiva patri. These instruments were played
importantly by 3 castes, they are Sherigara, Jogi & Devadiga. But nowadays there is no compulsion
of caste, anyone willing to do seva can do the Musical offering.

•Vaadya/Vaade: Vaadya is the instrument similar to the Shehnai used in the Hindustani classical
music, but it’s not completely like a Shehnai. It’s making and some playing techniques are similar
to Nagaswaram played in the Carnatic Classical music, but is not completely similar to the
Nagaswaram also. The history about the Vaadya is unclear it may have been originated in the
Tulunadu region or might have been made the influence of other music forms of India. In popular
culture the Vaadya player is also known as ‘Sherigar’.

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 I had interviewed the Vaadya player(Sherigar) named Suresh Sherigar and had collected some
information about the instrument which will be explained. There is much influence of Carnatic
classical musical rather than Hindustani music to the playing style and music of this instrument.
Sherigara playing VAADYA

According to the interview, the Shruthi(pitch) in which the Vaadya is played is ‘BLACK 5 or A#’.
It is also known as the Mangalavaadya(instrument used for auspicious events like marriage etc.)in
Tulunadu region. It has 8 holes for the playing use. The Shadjam or the swara Sa is produced by
closing the first two holes of the Vaadya, Rishabham or Ri is produced by closing first hole,
Madyamam or Ma Is produced by closing all the holes and so on.
The blowing part of the Vaadya is called as ‘VOLI’ in Tulu. It is said to be made from the leaf of
the palm tree(Tari da voli in Tulu) or from the Leaf sheath fibre of the Arecanut tree(Kang da
Paale in Tulu). The vadya produces sound while blown through voli and finger placements
accordingly on the holes

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The body or the middle part of the Vaadya is made from the metal or the wood. The end circular
part of the Vaadya is called as Anas in Tulu, it is also made up of the metal.

•Shruthi: Shruthi is the instrument used in Kola to give a particular Shruthi(pitch) to the
Sherigara(Vaadya player) like the Tanpura or the Sur peti used in the Indian classical music. It
gives a monotonous melodious sound to the the Sherigara to enhance his performance. Shruthi is
also played during the ‘Homa’ part of the Kola. The part of the Shruthi player in the Kola is very
crucial because he has keep on to give the single pitch in the whole night of kola with minimum
breaks.

The musician in the first row is the Shruthi player

In the making of the Shruthi it is similar to the Vaadya like it’s body or the middle portion is
made up of the the metal. The ending portion is also made up of the metal. The blowing part which
is called the ‘Voli' is again made up of the Palm leaf or the leaf sheath fibre of the the Arecanut
tree.

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•Thase: Thase is the the percussion instrument used in Kola. It acts as as a Taala part of kola like
in Indian classical music. The concept of Thase is very popular in Tulunadu as it is used in Pili
Vesha, simha vesha, karadi vesha etc. which are other art forms. Thase is played with 2 sticks with
a unique technique.

Different types of Thase

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In the making of Thase, the Copper bowl is used as the base and the top of the bowl is covered
with the fibre sheet nowadays. In olden days leather membrane was used as the cover for the bowl
to produce the sound. The wooden(called as Maratha Mane in Tulu) is used as support to the bowl
and the sides are being tied with the ropes and adjusted accordinly to the quality of sound. In the
olden days Wooden sticks(Suruli bettha) was used to play, but nowadays fibre sticks are being
used to play.

Making of Thase

Thase produces sound when Thasedaar(thase player) plays the drum with both the sticks. Is the
player is Right hander, his left hand stick will be kept in the position so that it will be pressed
against the edges of the Thase and the right hand will be placed freely in order to produce peculiar
sound required for Kola.

•Dol: Dol is the double headed drum played with the Thase as a base drum. It is the circular drum
which gives base beats like the dagga in the tabla. It produces a soothing bassy sound which gives
a very good effect with the sharp hitting sound of the Thase and the melodious Vaadya.

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 Dol player. Dols

In the making of the dol, hard leather is used. The center body of the Dol is made up of wood
primarily or metal is also used. The double headed drum is tied firmly with the help of the rope
and tighted accordingly to other quality of sound like high pitch or low pitch. One side of the dol
is played with a Stick and another side with the help of the hand chaap(closed beats) and slides are
done. The stick used to play the Dol is made up of Coconut Stem.

•Kombu: The Kombu, a traditional wind instrument utilized in the Kola, is characterized by its
elongated and curved shape, resembling a trumpet. It possesses a distinct design, featuring a wide
opening at one end and a narrow mouthpiece at the other. The mouthpiece is typically covered
with a reed or bamboo membrane, serving as a vibrating medium when air is blown through the
instrument.

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During the Kola ceremony, the Kombu is played in a distinctive manner. The musician blows air
into the mouthpiece, generating a powerful and resonant sound. This sound holds great reverence
and is believed to summon the presence of the deity or divine entity depicted in the Kola. It
contributes a profound and enigmatic quality to the overall atmosphere of the ritual.

In addition to its role in the Kola, the Kombu occasionally finds application in other traditional
musical performances within Tulunadu. These are some of the common uses of kombu in
Daivaradhane, but it's important to note that specific practices may vary based on regional
traditions and customs.

Kombu

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Other instruments used in Kola are
• Tembare, Gaggara.
• Dol set by the special community
•Tembare, Gaggara: Tembare is the two headed leather instrument played by the kola performers
community namely Pambada community, Parava community and the Nalike community while
singing the Pad-dana, Sandhi and Beera. It is played through a thin stick according to the beat of
the Pad-dana. It is made from thick leather and wooden piece in the centre and tied through the
rope.

woman with Tembare

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• Gaggara: Gaggara is the big metal anklet which is played by the daiva nartaka in the beginning
of the Kola i.e, Gaggaradichi in which he takes Gaggara in the hands and plays it in a fixed rhythm
after that which he wears it into his legs.

Gaggara

• Dol set by special community: The set of Dol is being played by the people of Koraga
community. It is believed that without their music the Kola is incomplete. Infact in the Kola of the
deity of their community only dol set is played. Their team include Kolal(flute), Malla dol, Elya
Dol, Elya Chende, Chaila etc
Kolal(flute) is played with the traditional tunes.

Kolal(flute)

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Dol played by this community is different from the aherigara’s dol, This dol are huge in size despite
same making

Dol hanged up in the house after use

Elya Chende is type of percussion instrument played along with Dol.

Elya Chende tied up in the house after use

The combination of these instruments produces a lively and rhythmic musical foundation
for the Buta Kola performance. The music, coupled with the dance movements and attire,
contributes to the immersive ambiance of the ritual. It is important to mention that the specifics of
Kola performances can differ to some extent among various regions and communities, resulting in
variations in the musical components and instruments employed.

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 Chapter-3

INFLUENCE OF INDIAN CLASSICAL MUSIC ON YAKSHAGANA

Yakshagana has more influence of Indian classical Music in which it has more influence of the
Carnatic Classical Music than the Hindusthani Classical Music. The Bhagavatha(singer) mostly
starts his Music with the Nattai or Naati Raagam which is based on Carnatic Music. The
Bhagavatha does aalaps which is the the integral part of Indian classical music. Not too long aalaps
are DG one in Yakshagana, it’s done according to the count of a Taal or aesthetically. In the
beginning during the entry of Baala gopala vesha or Katte vesha Gajamukhadavage is mostly sung
in Ashta taala. Then for stree vesha Chikka prayada baale is sung. Songs are sung for Raajavesha,
Punduvesha and Bannadavesha in different raags set to different taala. At the end of the
Yakshagana Mangala(conclusion song) is sung in Raaga Madhyamavathi.

According to the interview done with the famous Yakshagana artist Shri Suresh Kamath, he
gave some valuable information like- the Hindustani classical raagas like Des, Brindavani Sarang,
Patdeep are sung by Bhagavata set to different compositions. Nava-Rasa pradhana singing is also
found. Mooji-Muktaaya which can be called as Tihai is found here. Most importantly The Guru
Shishya Parampara prevelant in Yakshagana training.

Also he gave information about the vast Influence of the Carnatic classical music on
Yakshagana. Carnatic Raagas like Shivaranjini, Nattai, Chakravaaka, Mohana, Hindila, Abheri,
Madhyamavathi, Hamsanandi are set to different compositions. On the other hand there are many
Carnatic taals which are Jhampe taala, Roopaka taala, Aadi taala, Eka taala etc. Other than this
there are some special Yakshagaana taals which are Trivde Taala, Dhitittai, Twaritha Jhampe etc.
The Chende and Maddale player uses these taals. There is also the concept of the 1st kaala to 4th
kaala laya(tempo).

After peetike, the Chende player is expected to play all the taals in a aesthetic manner with the
Maddale and Chakrataala. The different syllables used by Maddale and Chende players in their
respective instruments are Dhit Dhit Tom, TaRiKiTa, KiTaThaKa etc.

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 Yakshagana, primarily influenced by local folk traditions and Sanskrit literature, has also
incorporated elements of Indian classical music, including Carnatic music. The influence of Indian
classical music on Yakshagana can be observed in several ways:

Raga-based Music: Yakshagana incorporates the use of ragas, which are melodic modes
fundamental to Indian classical music. Musicians accompanying the performance employ different
ragas to create appropriate musical moods and evoke specific emotions in the audience. The
melodies in Yakshagana adhere to the principles of Indian classical music and are often based on
specific ragas. Some of the famous Bhagavata’s are Balipa Narayana bhagavata, Padyana Ganapati
bhat, Patla Satish Shetty etc.

Tala (Rhythm) Patterns: Yakshagana music draws inspiration from the rhythmic aspect of Indian
classical music, known as tala. Complex tala patterns, derived from rhythmic cycles used in
classical music, are played on traditional percussion instruments such as maddale, chande, and
mridangam during Yakshagana performances. These intricate rhythmic patterns add dynamism
and energy to the overall performance.

Musical Instruments: Indian classical music has influenced the selection and utilization of musical
instruments in Yakshagana. In addition to the traditional Yakshagana instruments like
maddale,chande,jaagte,Chakrataala etc. are employed to enrich the musical experience. These
instruments contribute to the depth and richness of the musical accompaniment in Yakshagana.

Bhava (Emotional Expression): Yakshagana incorporates the expressive aspect of emotions

through music, inspired by Indian classical music's emphasis on "bhava." Various melodic phrases,
ornamentations, and vocal techniques are employed in Yakshagana to convey different emotions
and moods within the narrative. The performers' ability to express the bhava through their musical
rendition adds beauty and intensity to the overall Yakshagana performance.

Training and Learning: Many Yakshagana artists undergo training in Indian classical music
alongside their theatrical training. This knowledge of classical music enhances their understanding
and interpretation of the musical aspects in Yakshagana. They learn about ragas, talas, and the
intricacies of Indian classical music, which they can then apply to their performances,
improvisations, and musical compositions in Yakshagana.

It is important to acknowledge that while Yakshagana has been influenced by Indian classical
music, it has developed its own distinct style and identity over the centuries. The fusion of folk

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elements, classical music, and dramatic storytelling in Yakshagana has given rise to a unique and
captivating art form that continues to evolve while preserving its traditional essence.

Yakshagana music draws its inspiration from classical Indian ragas and talas. The ragas
employed in Yakshagana performances are usually influenced by the Carnatic music tradition.
Each character, mood, and situation in the performance is represented by carefully selected ragas.
The rhythmic structure of the music is provided by talas like Adi Tala and Rupaka Tala. The
Bhagavathas, who are highly skilled vocalists, are an essential component of Yakshagana music.
They not only sing the songs but also narrate the story and deliver dialogues for the characters.
The Bhagavathas have a distinctive style of singing that involves melodic improvisation and
dramatic expression. They possess a thorough understanding of the ragas and talas employed in
Yakshagana. Yakshagana songs are typically composed in poetic verses known as Padya. These
verses, rich in literary and metaphorical elements, are sung by the Bhagavathas. The songs
encompass dialogues, descriptions, and emotional expressions. To enhance the percussion patterns
and infuse energy into the performance, Sollus, which are rhythmic syllables, are utilized in
Yakshagana music. Yakshagana music is an essential and lively component of the traditional
theatrical art form. Its rhythmic pulsations, creative melodic variations, and emotive singing all
contribute to creating an engaging and enchanting atmosphere when witnessing a Yakshagana
performance.

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 Chapter-4

INFLUENCE OF INDIAN CLASSICAL MUSIC ON KOLA

Kola has lesser influence of the Indian Classical Music on it. It has some influence of Hindustani
music and some more influence of Carnatic music on it. The concept of Shruthi, Raaga and Taala
in Kola proves that it has some or the influence of Indian classical.

According to the interview done with the famous Sherigars(vadya player) Shri Porkody Suresh
Serigar, Carnatic Raagas like Mayamalavagoula, Shankarabharana, Kalyani, Todi, Revati,
Kanada, Ahogi etc. are used. In the other hand, Hindustani raagas like Brindavani Sarang ,
Madhukauns, Chandrakauns, Bibhas etc are used.

Paddana, Beera and Sandhi are 3 types of songs sung during the Kola which says story or praisal
of the drity. These songs are set to a tune and a rhythemic structure played through Tembare.
Paddana is an ancient storytelling tradition, presenting a distinctive art form in which the narrator
recounts epic tales, folk legends, historical events, and moral stories in a rhythmic and poetic
manner. Derived from the word "pada," meaning verse or poetic composition, paddanas have been
transmitted orally through generations. Skilled storytellers, known as paddanas or paddanagas,
commit intricate verses to memory and deliver them in a captivating manner. The hallmark of
paddanas lies in their rhythmic structure. Storytellers utilize poetic verses and employ specific
meters and rhyme schemes, infusing the narration with a musical quality. Through expressive
gestures, facial expressions, and body movements, paddanas are brought to life. The storyteller's
voice modulation and dramatic skills engage the audience, effectively conveying the emotions of
the characters.Paddanas encompass a wide array of themes, including mythology, historical events,
social issues, moral teachings, and folk tales. These narratives often incorporate elements of local
culture, traditions, and beliefs. Serving as a source of entertainment, cultural preservation, and
education in the Tulunadu region, paddanas carry the rich oral traditions and historical knowledge
of the community. They continue to be performed during festivals, cultural gatherings, and
community events, showcasing the storytelling prowess and artistic heritage of the region.

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 The Vadya is set to the pitch black 5 which is the standard pitch of playing Carnatic classical
Saxophone. The percussion instrument Thase is played with the estimated used of Carnatic taals
like Aadi taala, Roopaka, Khanda chapu etc.

The Dol player used Chap and Sliding techniques with his one hand. The concept of Chap is
in percussion instruments of Indian classical. The concept of the Tani Avartanam of Carnatic music
is played by the Thase player. These are some the information available on Influence of Indian
Classical Music on the Music part of the Kola.

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- 41 -
 CONCLUSION

As we know that the Indian Classical Music has very rich tradition and itself a vast ocean of
knowledge, I have tried my best to explain the Influences of it on Tulunadu regional art forms. So
from my research done on ‘Influence of Indian Classical Music on Tulunadu regional Art forms’
I have come to few conclusions.

In Chapter 1, I have explained about the history of the art forms. Coming to the Chapter 2 I have
come across to he details of the different musical instruments used in the Tulunadu region. In
Chapter 3 and 4, I have explained about the influence of the Indian Classical music on the
respective art forms. Through this research, I found that there is more scope for the application of
classical music on these art forms. In this research I came to learn about Musical part of the Art
forms in the Tulunadu region. Furthermore, the influence of Indian classical music has served as
a bridge between generations, ensuring the transmission of knowledge and skills from one era to
another. The dedicated practitioners and gurus have passed down their expertise and passion for
the art, nurturing young talents and encouraging their exploration and experimentation within the
framework of Tulunadu regional art forms. This intergenerational exchange has not only preserved
the integrity of these art forms but has also facilitated their evolution, enabling them to remain
relevant and resonant in contemporary times.Moreover, the influence of Indian classical music on
Tulunadu regional art forms has contributed to their wider recognition and appreciation beyond
the local boundaries. As artists and performers infused classical music elements into their
creations, they have attracted audiences from diverse backgrounds, fostering cultural exchange
and dialogue. This cross-pollination has enriched both the Indian classical music tradition and
Tulunadu regional art forms, creating a vibrant and dynamic artistic landscape.

In essence, the influence of Indian classical music on Tulunadu regional art forms has been a
transformative force, breathing new life into traditional expressions and paving the way for their
continued growth and relevance. This amalgamation of two artistic legacies has not only celebrated
the uniqueness of Tulunadu's cultural heritage but has also fostered creativity, innovation, and
cross-cultural understanding. As we look to the future, it is essential to recognize and cherish this
interplay between Indian classical music and Tulunadu regional art forms, as it holds the key to
preserving our artistic legacy while nurturing its evolution in a globalized world.

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BIBLIOGRAPHY

Books:
•Yakshagana Bayalata- Kota Shivarana Karanta
•Nudikattu- Bannanje Babu Amin

Websites:
• https://youtu.be/qxPmZonoDfY
• https://youtu.be/G2yhNj1ljJg

Interviews:
• Shri Porkody Suresh Sherigara – famous Vadya Artist
• Shri Suresh Kamath – famous Yakshagana Artist

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