Folk Songs and Dance of Karnataka | KPSC KAS Preparation: All subjects - KPSC KAS (Karnataka) PDF Download

Karnataka Music and Dance

• Karnataka's music and dance encompass a diverse range of classical and folk forms. These art forms are not solely for entertainment but also aim to elevate the spiritual well-being of both performers and audiences. Influences from various regions of southern and northern India have enriched Karnataka's musical and dance heritage.
• At the core of Karnataka's music and dance traditions lies Carnatic classical music, to which Karnataka has significantly contributed, shaping its structure and form. The state has also produced several prominent composers and performers. Key musical instruments include the veena, violin, and mridangam. Unlike most southern states, Karnataka has also made notable contributions to North Indian Classical music. Kuchipudi, originally from Karnataka, is a classical dance form, though Bharatanatyam is also an integral part of Karnataka's music and dance traditions.
• Folk performances play a crucial role in Karnataka's music and dance, often blending music, dance, and theater. Many of these folk forms retain their original ritualistic nature. Kunithas are traditional dance dramas that incorporate significant music and dance elements, with prominent types including dollu kunithas, pata kunithas, and dorava kunithas. The visually striking yashagana is a major folk musical performance, along with Krishna Parijatha and Bhoot Aradhane, which are other important folk forms in Karnataka's musical and dance culture.

Bharatanatyam

• Bharatanatyam is one of India's most popular classical dance forms. Although it originated in Tamil Nadu, it has also gained significant popularity in Karnataka. The specific styles of Bharatanatyam practiced in Karnataka are being elevated by dedicated artists who teach and perform in Bangalore and other cities across the state.
• The dance form traces its origins to the Fifth Veda or Natya Shastra, written by the Hindu sage Bharatmuni. The name Bharatanatyam is derived from this sage, though legend suggests it also represents the combination of emotion (bhav), music and melody (raga), and rhythm (tala). 
• Originally performed by temple dancers, known as Devadasis, Bharatanatyam was further developed by the Tanjore Quartet: Chinniah, Sivanandan, Ponniah, and Vadivelu. The dance incorporates three main elements: nritta (rhythmic dance), abhinaya (mime acting), and nritya (a combination of dance and expression), each with its own intricate sub-parts. These elements together are believed to elevate both the performer and the audience to a divine experience.

Kuchipudi

• Kuchipudi is a classical dance-drama that originated in Kuchelapuram, in southeastern Andhra Pradesh. It is also highly popular in Karnataka, where it is practiced by both men and women.
• Historically, the knowledge of Kuchipudi was kept within Brahmin communities and passed down through tradition. However, today, skilled masters and performers teach Kuchipudi in Karnataka through dance academies and art schools dedicated to this art form.
• Siddhendra Yogi, a revered sage, is credited as the founder of Kuchipudi. He guided his students to depict mythological themes through dance, based on the principles of the Natya Shastra by Bharatmuni. 
• In its early days, Kuchipudi was not seen as entertainment but as a means of personal enlightenment and sometimes a tool for social reform. The dance features graceful movements and quick rhythmic patterns, accompanied by traditional Carnatic music and songs. Although now often performed as solo or group acts, it continues to draw on stories from Hindu mythology.

Dollu Kunitha

• Dollu Kunitha is a prominent folk dance form in Karnataka, primarily performed by men and women from the Kuruba community in Northern Karnataka.
• In Karnataka, Dollu Kunitha is typically showcased to celebrate auspicious occasions. The districts of Shimoga and Chitradurga are especially renowned for their exceptional performances of this folk dance. Similar to other folk traditions across India, Dollu Kunitha serves not only as a form of entertainment but also aims to enhance the spiritual well-being of both the performers and the audience.
• Dollu Kunitha in Karnataka possesses distinct religious elements and is traditionally performed at the temples of Bireshwar. Initially, the performances focused on religious themes and were known as the 'Halumatha Purana' or simply the 'Kuruba Purana.' 
• In recent times, however, Dollu Kunitha has been utilized to promote various government initiatives and programs, such as adult education and literacy campaigns. It remains a central attraction at all religious festivals in Karnataka, especially in the northern regions. Additionally, Dollu Kunitha is often performed to welcome the harvest season and can also be organized to commemorate weddings, the birth of a child, or even funerals.

Puja Kunitha

• Puja Kunitha is a widely practiced ritualistic folk dance in Karnataka, predominantly found in the Bangalore and Mandya districts. It is known for its vibrant colors and visually captivating performances.
• In Puja Kunitha, visual grandeur is prioritized over detailed oral storytelling. This dance form is ritually performed to honor the worship of the Shakti cult. As an essential component of Karnataka's Kunitha tradition, Puja Kunitha translates to ritualistic folk dances.
• The main deity worshiped in Karnataka's Puja Kunitha is the goddess Shakti in her various incarnations. It plays a vital role in all religious ceremonies, particularly those focused on Shakti worship. 
• Puja Kunitha performances are commonly featured in religious processions, fairs, and festivals. Its grandeur and elegance create a highly spiritual atmosphere for both performers and spectators. Despite its strong religious themes, Puja Kunitha is widely appreciated for its grace and vibrant colors.

Pata Kunitha

• Pata Kunitha is a well-known folk dance form in Karnataka, particularly popular among the people of the Mysore region. Like other Kunithas, which are dance-dramas with ritualistic significance, Pata Kunitha originally had a religious purpose.
• In Pata Kunitha, the focus is less on narration and more on the rhythm and skill of the dancers. This dance form is vibrant and colorful, offering a visually captivating experience.
• Pata Kunitha in Karnataka is primarily performed by men, with each performance typically involving 10 to 15 participants. The dance features the use of patas—long bamboo poles adorned with colorful ribbons. These poles, which are about 10 to 15 feet tall, are often topped with silver or brass umbrellas. The dancers skillfully manipulate these poles, accompanied by rhythmic music. Pata Kunitha is commonly performed at rural religious gatherings in the villages of Karnataka. Although some narration is included, it plays a minor role, with the main focus being on the dancers' dexterity in handling the bamboo poles.
• While Pata Kunitha originally held some religious significance, much of that has faded over time. However, it remains a largely ritualistic performance. The elaborately decorated bamboo poles may have once had totemic importance, but today, the dance is primarily appreciated for its visual appeal. Along with Beesu Kamsale, Pata Kunitha is one of the most popular folk dance forms in the Mysore region of Karnataka.

Bhootha Aradhane

• Bhootha Aradhane, which means "devil worship," is a ritualistic practice widely observed in the coastal regions of Karnataka. This unique festival blends folk beliefs, striking visual spectacle, and ritualistic magic aimed at warding off evil by worshipping the devil itself.
• The ritual is known for its captivating and eerie atmosphere, maintaining its ancient traditions without interruption. Bhootha Aradhane is visually impressive, typically involving a grand procession where idols representing bhootas or devils are carried with much fanfare. 
• These idols are traditionally painted and designed to evoke a sense of fear. Throughout the procession, drums are played, and firecrackers are set off as the crowd carries the idols to a raised platform where the final rites are performed.

Nagamandala

• Nagamandala is a serpent worship ritual practiced in Southern Karnataka, a variant of similar rituals found across India. This elaborate, night-long ceremony focuses on the ritualistic appeasement of the serpent, symbolizing fertility and the life force.
• The ritual involves music, dance, Sanskrit and Kannada chants, and the possession of the head priest. Male dancers, known as Vaidyas, perform Nagamandala, dressing as nagakannikas or female serpents. They dance around a sacred, intricately designed pattern on the ground, which represents the serpent spirit. 
• A Brahmin priest plays a central role, becoming possessed during the ritual, signifying the serpent spirit's presence among the devotees. The design of the Nagamandala itself is a work of art, featuring traditional and symbolic patterns with the serpent image at its center.

Gorava Kunitha

• Gorava Kunitha is a unique ritualistic folk dance from Karnataka, deeply revered among the Shaivite cults of the state. This dance form is practiced across both the northern and southern regions of Karnataka, with slight variations in style.
• The most popular performances of Gorava Kunitha can be found in the districts of Mysore, Shimoga, and Belgaum. Unlike other ritualistic dance forms or Kunithas in Karnataka, Gorava Kunitha stands out for its distinct style and cultural significance.
• Typically, Gorava Kunitha is performed by groups of 10 to 11 men, who usually belong to the singing tribe of the Goravas, fervent devotees of Lord Shiva. These performances are often held at Gorava fairs, where the participants, all members of the Gorava clan, come together to perform.
• There is no rigid structure to a Gorava Kunitha performance. The dancers wear rugged black outfits with white patches and don black fur caps, often made from bear fur. Holding damaru drums in their hands, they proceed in a procession while chanting mystic songs. These songs, passed down through oral tradition, are believed to carry deep spiritual meanings. 
• They are sung to the accompaniment of small bronze bells and flute-like instruments. The dance itself involves trance-like movements, with dancers often entering a trance during the performance. In its northern variant, the dancers smear their heads with yellow paste. After the performance, it is common for the dancers to distribute prasadas to the gathered devotees.

Kamsale

• Kamsale, also known as Beesu Kamsale, is a dynamic and vigorous dance form from Karnataka, blending aesthetic beauty with martial precision. This traditional dance is primarily practiced by the Kannada-speaking communities in the districts of Mysore, Nanjagud, Kollegal, and Bangalore.
• The religious aspect of Kamsale is significant, as it is closely linked to the worship of Lord Mahadeswara Shiva. Performers of Kamsale are deeply devoted to the deity, and the art form is passed down orally through a tightly held tradition from teacher to student.
• Kamsale derives its name from the musical instrument used during the performance, which consists of a pair of cymbal-like discs made of bronze. These discs, with a hollow center, are struck together to produce a loud, rhythmic clang that accompanies the dance. Typically, Kamsale is performed by a group of three to five dancers, although the number can increase to include up to twelve participants, including singers. The performers wear traditional gold and red attire, with slight variations in color schemes between dancers and singers.
• The songs performed during Kamsale are typically drawn from the Mahadeswara epic, celebrating the glory of Lord Mahadeswara. These songs are not documented in written form but are instead handed down orally, preserving the purity of the tradition.

Yakshagana

• Yakshagana is a highly popular traditional theatrical form in Karnataka, known for its unique blend of various performance traditions. It is challenging to classify Yakshagana strictly as folk, rural, or classical, as it incorporates elements from all these categories. Originating from the Bhakti movement in southern India, the name Yakshagana translates to "songs of the celestial beings."
• The themes in Yakshagana typically draw from the epics of the Ramayana and Mahabharata, as well as other significant episodes from Hindu mythology. Unlike traditional dance forms, Yakshagana as a theatrical form enjoys greater creative freedom. Performances are traditionally presented by specialized traveling troupes of 15 to 20 artists who move from village to village. These performances usually occur at night, beginning in the late afternoon and continuing until the early hours of the morning. Villagers from surrounding areas gather to watch, and there is no charge for tickets.
• The costumes and makeup of Yakshagana performers are deeply codified and rooted in tradition, with specific attire and makeup designated for different characters. Heroes, demons, comedians, and the narrator or "Bhagavat" all have distinct costumes. The Bhagavat plays a crucial role in guiding the narrative, while the performers use a mix of verse and prose dialogues to advance the plot. The performances also incorporate songs and dances, adding to the theatrical spectacle.

Togalu Bombeaata

• Togalu Bombeaata is an ancient form of puppetry that remains popular in rural Karnataka. This traditional puppet theater uses leather puppets to depict themes from the epics and mythological stories. Beyond entertainment, Togalu Bombeaata serves instructional purposes and is sometimes believed to perform magical rituals, infused with divine power in certain regions of Karnataka.
• The puppets in Togalu Bombeaata are made from leather, with their designs heavily influenced by ancient iconography, allowing viewers to easily recognize mythological characters. Common themes include stories from the Ramayana and Mahabharata. The scripts and modes of communication have been passed down through generations, maintaining the tradition's authenticity.

Krishna Parijatha

• Krishna Parijatha is a traditional folk theater form in Karnataka, often considered a blend of Yakshagana and Byalatta or as a regional variant of Yakshagana. Its open-air performances align it with Byalatta, while the use of a single narrator, similar to the Bhagavat in Yakshagana, brings it closer to Yakshagana's style. Krishna Parijatha is particularly popular in Northern Karnataka, where it continues to be performed in village squares and open markets.
• The themes in Krishna Parijatha are typically drawn from Hindu mythology, with stories from the Ramayana and Mahabharata being common. The performances feature elaborate makeup, music, dance, and a combination of prose and verse. A single narrator, often accompanied by a clown or Vidushaka, guides the narrative, making these nighttime performances both engaging and culturally significant.

Carnatic Music

• Carnatic music, one of the two main forms of classical music in India, has deep roots in Karnataka. The state has made significant contributions to this musical tradition, with Shaarjnadava being one of the earliest known exponents from Karnataka. The legacy of Carnatic music in Karnataka has been further enriched by legendary composers like the Shivayogis, Purandara Daasa, Govinda Dikshit, and his son Venkata Mukhi, who revolutionized the genre. Later figures like Tyaagraja and Muttu Swamy Deekshit continued this rich tradition.
• Carnatic music is one of the oldest musical traditions still practiced today. It is characterized by a system of 72 scales within an octave and is mainly monophonic. The knowledge of Carnatic music has been passed down through generations, and it remains a vital part of Karnataka's cultural heritage. This form of music is revered not just as an art form but as a spiritual path, enabling both performers and listeners to experience the divine.