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Yakshagana – Dance, Drama and Music

January 8, 2014 by Jolad Rotti

Yakshagana is a theatrical form of presenting Mythological and historical stories. A Yakshagana performance includes music, dance and dialogues.

Meaning and Origin of Yakshgana

The word Yakshgana means the songs of the Demi-Gods (yaksh ‘meaning Demi-God, and ‘gana’ meaning song). The performers wear interesting and colourful costumes, and elaborate headgears. The stage design and unique rendering is similar to that of the Western Opera.

It is believed to have originated in the coastal districts of Karnataka. The true representation of the poems enacted in these plays is attributed to have started during the Vaishnav Bhakti movement in the 11 th century. In 13th century, a Sage named Narahari Thirtha started Dashavathara performance in Udupi , which later developed into the Yakshagana of today.

Yakshagana Performance

The Play: The lively performance full of dance and drama has poetic songs sung by the chief musician known as the’ Bhagvata’ who controls the narrative. The play begins with a prelude called the “Sabhalakshana’ followed by the “Prasanga” The dialogues were traditionally impromptu, and were rendered by the actors with the flow of the song. As the dialogues are impromptu, no two performances of the same play will be identical.

Music: The performance also includes background music played by a group of musicians known as “Himmela”. The background music consists of a mix of drums, pipes and organs. The prasangas or stories are mostly based on the Hindu epics such as the Mahabharata and the Ramayana and the Puranas. Yakshaganas are also performed on significant events of the lives of historical legends. To lighten up the narrative humor is introduced in the performance by the antics of the clown called the” Hasyagar”. The mythological characters and various incarnations of Gods and Goddesses take the viewer in to a surreal world.

Characters: In Yakshagana the men portray both male and female characters.  The elaborate headgears are decorated differently for Kings and for the demons. The makeup of the demons is done to bring out their demonic character. The full ensemble of a Yakshagana consists of a minimum of 15 people, which include the musicians, the actors and the narrator.

Stage: Traditionally the performances are staged in the open air over a period of dusk to dawn. It is originally staged in the compound of a temple where the “Rangasthalla” (stage) is adorned with leaves of mango and plantain, and flowers and coconut and coloured paper add to the festive look. There are about 30 professional troupes and about 200 amateur troupes performing this ancient art form. The performances are usually held during the months of November and May.

Yakshagana is slowly but steadily gaining popularity outside India. Amateur groups have successfully staged performances in the USA and Canada.

In early times the training in the art of Yakshagana has been mostly confined to temples.  Govinda Pai Research Institute located at MGM College at Udupi and Srimaya Yakshagana Training Centre at Gunavante in Uttar Karnataka are two such institutes which train youngsters in this ancient dance form.

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Yakshagana: The Karnataka Art Form

Yakshagana is a classical folk art of Karnataka, mostly popular in the districts of Uttara Kannada, Shimoga, Udupi, Dakshina Kannada and Kasaragod district of Kerala and is considered a form of opera in western eyes. Performed as a temple art over the years,  Yakshagana  still forms an integral part of the cultural programmes presented during temple festivals in the Kasaragod region. The name, Yakshagana literally means song of the demi gods – Yaksha (demi gods or spirts of nature) Gana ( means song).  This unique dance form is a perfect blend of dance, music, songs, scholarly dialogues and colorful costumes.  Yakshagana  performers wear huge headgears, elaborate facial make-up, colorful costumes and ornaments which together give a superhuman appearance to the character presented. The themes of the plays are taken from the epics,  Ramayana  and  Mahabharata . Usually the art form is presented in Kannada, though it is also performed in Malayalam as well as Tulu (the dialect of south Karnataka).A troupe is known as a  ‘ mela ’:  the actors are the  mummela  and the musicians the  himmela.

Costume falls into several basic categories: basic male and basic female, aerial dweller and forest dweller, hunter, demon and demoness, animal and bird, deity, teacher, sage, comedian and some miscellaneous character. The traditional costume consists of a dhoti (like a wrap around skirt), a pajama, a jacket or vest, and a loose gown.  The vest-like garment is generally in shades of green or red, and the dhoti has red, black and orange checks. Red-and-white cloth is tied around the waist at the back. A character’s girth is sometimes increased by tying sheets of colorful cloth and saris around him. It is customary for males to perform the roles of females. Female costumes are simple, typically the garments worn by local women. Personality traits might be symbolized in the color of jacket worn.  Age is shown by length of jacket sleeve, type of headdress, color of hair, mustache and beard. Each characters costume, ornaments and headgear weighs from 8-10 kgs.

Ornaments: Ornaments are made of light wood, canvas and fabric, finely covered with golden foil and inlaid with colored mirrors, stones, and beetle wings. Beautiful appliqué work is done on the armlets, crowns, and belts. Armlets  (bhujakeerthi)  worn near the elbows look like wings or thorny acorns, in ancient times, real thorns were used.  Besides the heavy armlets and anklets, performers wear intricate  edehara  (chest ornaments made of wood and decorated with paper and glass pieces) and  veeragase  (an ornament tied around and flowing beneath the waist.) The   veeragase   is in the shape of a banana leaf.

Headgear: Head dresses ( kirita  or  pagade ) are complex constructions, with several tiers made from canvas and fabric stuffed with hay, and a portion made of wood covered with gold foil and inlaid with attractive artificial stones, glass and mirrors. They closely resemble the leaves. Today the head gears are made of thermocol as they are light and easy to carry around

The accompanying orchestra includes percussion instruments like chenda( cylindrical wooden drum ), maddalam( drum made out of wood of jack fruit), jagatta or chengila (cymbals:    thick bell metal  disc ) and chakratala or elathalam (small cymbals).

Possessing an art is possessing a treasure that grows forever! Learning a performing art like music or dance opens doors to novel and wonderful worlds of joy. You can bring this unbounded happiness into your life – you can learn an art at any age. To make a beginning today, enroll in the online school of performing arts : Meetkalakar Gurukul.

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What is Yakshagana (ಯಕ್ಷಗಾನ)

Information about Yakshagana (ಯಕ್ಷಗಾನ): You can find all details about Yakshagana Art here. Yakshagana is Karnataka’s richest art form with dance, song, play, costume. Know about Yakshagana in detail here:

What is Yakshagana? Here is the answer

Yakshagana (in Kannada ಯಕ್ಷಗಾನ, pronounced as Yaksha Gaana) is a traditional art form. Yakshagana is developed in to a classical form and it is growing as Karnataka’s greatest art form. It involves dance, songs, music, drama, expression, costumes, makeup, scholarly dialogue etc. Watching Yakshagana is nothing but treat to our eyes and mind.

Yakshagana is an elaborate dance-drama with melody and unique in Karnataka. Yakshagana is a rare combination of music, dance, song, scholarly dialogues and colourful makeup and costumes. Yakshagana artists are stars who are all very knowledgeable about our rich culture, Puranas (Epic).

Yakshagana also known as the art of god and it is considered sacred. Yakshagana artists perform with complete dedication and spirituality. 

When Yakshagana programme starts, a celestial world unfolds before the audience, in dark background with loud singing by the singer called Bhagavata, percussion instruments Chende and Maddale played. Artists, dressed with unique costumes creates a Yaksha Loka (Celestial world) in the stage itself.

Yakshagana also depicts on stage, the mythological and historical stories of India.

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What is Yakshagana?

Yaksha means nature’s spirit or celestial or demi god and Gana means song. This theatre play is a combination of music, dance, expression, costumes, dialogues, colourful makeup, lightings, stage techniques of a unique style. Yakshagana show narrates stories of Gods, heaven, kings, history of places or events of Purana. In Yakshagana, dialogue is delivered in either Tulu or Kannada and now it is enacted in English, Hindi, Malayalam too.

Earlier it was a night-long event, with elaborately adorned performers dancing to the beat of Chende-Maddale in open-air stages, named as Rangasthala – usually in the village paddy fields after the winter crop has been harvested. Now due to the changing lifestyles, Yakshagana performed with limited time. Traditionally, men portray all roles, including the female ones, though women are now part of Yakshagana troupes. A typical troupe consists of 15 to 20 actors and a Bhagavatha, main storyteller also called as director of Yakshagana show. 

Elements of Yakshagana:

The Act: Each performance typically focuses on a small sub-story (known as ‘Prasanga’) from ancient Hindu epics of Ramayana or Mahabharata and Puranas. That's why it is also called Dashavatara (10 avatars of Vishnu). The show consists of both stage performances by talented artists with costumes also called as Mummela. Bhagavatha and Chende, Maddale, Chakrathala playing artists called as Himmela or background musicians.

The Music (ಹಿಮ್ಮೇಳ): Musical instruments used in Yakshagana include Chande (drum), Harmonium (now replaced by Electronic Shruthi box), Maddale, Taala (mini metal clappers in Badagu thittu and rounded metal called Jaagate in Thenku Thittu). Chakra tala, bigger metal clappers is unique to Thenku style of Yakshagana.

The Dress (ವೇಷಭೂಷಣ) : Costumes used in Yakshagana are very unique and elaborate. Large size head gear, coloured faces, elaborate costumes all over the body and musical beads on the legs (Gejje). Performers need great physique to perform with heavy costume for several hours and also strong voice and acting/dancing skills.

The Troupes (ಮೇಳ): There are several popular troupes (known as Melas) performing Yakshagana throughout the year. Kateel Mela, Saligrama mela, Dharmasthala Mela, Hiriyadka Mela, Mandarthi Mela, Perduru Mela, Bappanadu Mela, are some of the leading names.

Experiencing Yakshagana:

Yakshagana performances occur at multiple places, mainly in the coastal areas usually from November to April, every year. There are many Yakshagana groups in WhatsApp and Telegram apps, they will share the Yakshagana program or Yakshagana Performance details on daily basis.

Yakshagana Talamaddale:

Another form of Yakshagana is Thalamaddale, in which, there are no costumes involved. Mummela (Artists who attain the roles of purana characters) will sit in front of the Himmela artists and deliver the dialogues.

Types of Yakshagana (ಯಕ್ಷಗಾನದ ವಿಧಗಳು):

There are mainly two kinds of Yakshagana, called Thenku Thittu (Southern Form) and Badagu Thittu (Northern form) Yakshagana. Again, Badagu style has other two types, called nadu thittu and badaa badagu thittu.

Yakshagana is a unique performance and cultural extravaganza, so never miss the opportunity to witness one of Karnataka’s unique art forms in India and foreign countries too.

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Guardians of tradition – Yakshagana’s resilience in Gunavante

India, a tapestry of rituals, terrains, and artistic treasures, cradles myriad places dedicated to preserving these cultural gems. Among them shines Yakshagana, Karnataka’s luminous traditional theatre, bearing witness to the state’s profound cultural legacy. It’s a spectacle that, in its grandeur, parallels the magnificence of Broadway or the opera. Through a mesmerizing fusion of music, dance, dialogue, and ornate costumes, Here, families have been passing down the art of Yakshagana from one generation to the next in villages.

In the heart of Karnataka, nestled within the Honnavar taluka of Uttara Kannada district, lies a village named Gunavante. This village isn’t just any ordinary settlement; it stands as a beacon of tradition, dedicated to the preservation and propagation of the ancient art form of Yakshagana. At the forefront of this cultural preservation is Guru Keremane Shivananda Hegde. Not just an artist, but a legacy bearer, he is the fifth in his lineage to master and promote Yakshagana.

In Gunavante, Hegde runs a Gurukula, an ancient Indian residential schooling system, where students immerse themselves in the world of Yakshagana. Under his tutelage, they not only learn the intricate steps and rhythms but also the philosophy and history behind this art form. But Hegde’s mission isn’t confined to the boundaries of Gunavante. With his troupe of dedicated artists, he travels across India, showcasing the mesmerizing performances of Yakshagana. Through these tours, he hopes to spread awareness and kindle an interest in this age-old art form, ensuring that it continues to thrive in the modern age. His son Keremane Shridhara Hegde ( natanayaksha ) continues to support his father in these endeavours along with new ideas for the larger missions of the Mandali namely –

• SHIKSHANA (Education)  
• RAKSHANA (Preservation and Propagation)  
• SAMVARDHANA (Creative Exploration and Development of Yakshagana and allied art forms)

But what sets Hegde apart is his unique background. Before delving deep into the world of Yakshagana, he pursued neuroscience.  You can comfortably experience the art form in Gunavante by booking a Savaari from Bangalore. In this article, we embark on a journey through the annals of Yakshagana, from its ancient roots to the intricate details that make it the mesmerizing spectacle it is today with his musings.

Gunavante – The heartland of Yakshagana and a family legacy

In the heart of Karnataka, nestled within the Uttara Kannada district, lies a village named Gunavante where we have a Gurukula dedicated to the art of Yakshagana. The Gurukula has been around for over 36 years. In the past, students would live with the artists, especially during the rainy season when travel was tough. They’d learn the art while living with these performers. As time went on, my grandfather had the idea to establish a dedicated school for this art. 

About 30-40 years ago, he bought a 2-acre plot in Honnavar and started a small Gurukula. This was the beginning of a more formalized training structure. Initially, there was one such school in Udupi, and then in Gunavante. Students would start by learning the basics and then join touring groups, playing minor roles. This model of moving from village to village is called “tirugata.” Other theatre schools have since adopted this approach. The Gurukula ensures they have full-time musicians. Over the years, it has attracted students not just from local areas but from all over India, who come and stay for 6-7 months to get introduced to this vibrant art.

Tracing the roots of a Yakshagana

With roots in Sanskrit literature and theatre, Yakshagana emerged between the 11th and 16th centuries in coastal Karnataka and some parts of Kerala. The name “Yakshagana” translates to “songs of the Demi-Gods/celestial beings/wild-spirits.” This dance tells stories through a mix of songs, dance, and spoken words, mostly based on the poems of Yakshagana. It was inspired by the Vaishnava Bhakti movement that started in the 11th century.

It took the format of dance drama under Vijayanagara empire in central Karnataka. After the collapse of the empire, it spread out in all of south India, especially to the west coast where it flourished in its originality.

The main stories in Yakshagana come from the Hindu tales of Ramayana and Mahabharata. At first, it was a way to share these stories in temples. But over time, it grew into a full theatre performance with professional artists. The dance now includes music, drama, and expressive movements that make the old myths come alive. With lively footwork and dance moves, it keeps the audience hooked from start to finish. 

Legends and folklore of Gunavante 

The coastal region is dotted with temples, each having its associated troupes that carry specific stories linked to the temple’s deity or history. These troupes play a crucial role in disseminating local tales, often intertwining them with broader narratives. For instance, the story of “Maruthi Pratapa” isn’t found in the major epics like Ramayana or Mahabharata but was penned by a local poet; it is the interesting common point between the two epics as the character of one gets into a situation in the other epic. Such stories, rooted in local beliefs and traditions, often find their way into Yakshagana performances.

However, it’s essential to understand that Yakshagana doesn’t aim to depict historical accuracy. The format thrives on fantasy, much like Shakespearean tales. It’s not about recreating real events but transporting the audience to another realm. This is why mythological tales, fantasies, and even stories from other cultures when adapted, fit seamlessly into the Yakshagana narrative. The art form’s essence lies in its ability to create otherworldly experiences, populated by fantastical creatures and tales of valour, love, and morality. In this vibrant tradition, the dialogue of the play is improvised, as is the dance, expressions, and drama. This improvisation sparks a conversation with age-old stories, making them relevant to spectators who witness it time and again.

Blending cultures and overcoming differences in Gurukula

In the initial days, our Gurukula faced resistance from traditionalists within our village. They were uncomfortable with the idea of students from various castes, both upper and lower, being treated equally. My grandfather, however, was adamant about ensuring equality among all students and resisting any form of discrimination.

Today, the Gurukula is a melting pot of cultures. Students from Gunavante and those from outside blend seamlessly. The primary challenge they face is the language barrier, with some students from the north speaking Hindi and the locals communicating in Kannada. However, the enthusiasm to learn bridges this gap. Many students, captivated by the local culture, make an effort to learn Kannada and immerse themselves in the traditions of the region. The shared passion for Yakshagana and the spirit of unity fostered by my grandfather’s principles have created a harmonious environment where everyone learns and grows together.

Balancing Tradition and Modernity in Yakshagana

Yakshagana is a dynamic art form, with many of its elements being spontaneous and created on the spot. While we have overarching stories and poems that date back 300 years, much of what unfolds on stage is improvised. We might be narrating tales from mythology, but the challenge lies in making them resonate with today’s audience.

Yakshagana isn’t just about narrating stories; it’s about reinterpreting them. Audiences are already familiar with the tales of Rama, Sita, and Krishna. They come to our performances not just to hear these stories but to witness our unique vision and portrayal of the characters. It’s this retelling, with layers of interpretation and personal experiences, that keeps the art form alive and relevant.

Every performance is influenced by the current socio-political environment, our personal experiences, and the cultural milieu we’re part of. For instance, while I’ve never met mythological figures like Draupadi or Sita, I’ve been influenced by the strong women in my life, like my mother and partner. Their conversations and their experiences shape my portrayal of characters on stage, making each performance unique.

We view Yakshagana as a language, that uses its traditional elements to craft narratives. But when performing for audiences unfamiliar with our stories or culture, like those in Delhi who might not understand Kannada, we adapt. We lean more into storytelling, ensuring the essence of the tale is communicated. My grandfather always emphasized the importance of improvisation, ensuring that while the core of the story remains intact, it’s presented in a way that’s relatable to diverse audiences.

Styles and Variations of Yakshagana

Yakshagana isn’t just a singular art form; it’s an umbrella term encompassing various sister art forms found across coastal Karnataka, Andhra Pradesh, Tamil Nadu, and Kerala. Specific to the coastal and Western Ghats regions, there are two primary styles: the southern style, known as “Thenku Thittu,” and the northern style, “Badaga Thittu.” The demarcation roughly starts from Udupi, with the northern style extending up to Uttara Kannada. These styles differ in their costumes, dance movements, and improvisation of dialogues, each carrying its distinct regional flavour.

In the southern coastal region of Karnataka, there’s a unique tradition where performers, during the off-season, move from one house to another, showcasing their art in full costume. We also have the tradition of Yakshagana puppetry. Another variation is “Yakshagana Thalamaddale,” where performers don’t don costumes but immerse themselves in characters, engaging in a musical discourse of improvisation.

The Journey of Age and Mastery

The criteria for joining our Gurukula is simple: an interest to learn. While it’s beneficial for students to know how to read and write, it’s their passion that truly matters. I recall a recent workshop where a 65-year-old woman participated, showcasing her dedication to learning Yakshagana. This art form is not just about dance and drama; it delves deep into expressions, Indian epics, mythology, and poetic dramatology.

Age and socio-economic conditions have always influenced the decision to join the Gurukula. Four decades ago, Yakshagana wasn’t as respected as it is today. We often had students from rural backgrounds, dropouts, or those who couldn’t fit into regular jobs. Many couldn’t read or write, but my grandfather took it upon himself to educate them.

Today, the scenario is different. Most students are educated and decide to join us in their adulthood. Young children often visit during weekends, while older students, typically after their 10th grade, can fully dedicate themselves to the art. However, the number of students wanting to pursue Yakshagana full-time is decreasing. We’ve implemented scholarship schemes and financial support to retain them. But, interestingly, while the total number remains constant, we see an influx of students from different parts of India, many aspiring to be actors. Their interest in this art form is growing, and that’s a silver lining for us.

Yakshagana: Unfolding its Core Elements 

Yakshagana is a dance form that’s rich in tradition and is performed to honour the Gods. To successfully stage a Yakshagana performance, several components come together to create a mesmerizing experience for the audience:

• Artists of Yakshagana Dance: The heart of any performance lies in its artists. Yakshagana artists are dedicated professionals who deeply embody their roles. Traditionally, all-male troupes danced, with men portraying female characters with grace and finesse. However, modern troupes have evolved to include women, and there are even all-women Yakshagana groups today.
• Facial Makeup of Yakshagana Dance: Expressions play a pivotal role in theatre. The intricate facial makeup in Yakshagana helps artists convey emotions and stories more vividly. Using natural dyes, the makeup is inspired by visuals and sculptures, with specific designs tailored to each character’s role.
• Headgear and Costumes of Yakshagana Dance: Indian folk dances are renowned for their vibrant costumes and elaborate headgear. In Yakshagana, the headgear, known as “Yakshagana Pagade,” is custom-made for each performer. The costumes, equally colorful and detailed, are tailored based on the character being portrayed.
• Music of Yakshagana Dance: Live music is integral to Yakshagana, enhancing the authenticity of the performance. Instruments like the flute, drum, harmonium, cymbals, and Maddale (a type of drum) are used. The dance is particularly known for its unique blend of cymbals and Maddale, which creates a distinctive rhythm.
• Plot: The narrative is the backbone of the performance. Yakshagana primarily draws its stories from the Indian epics, Ramayana and Mahabharata. Performers enact specific scenes from these epics. While traditionally these performances could last the entire night, modern renditions are usually condensed to under three hours.

Teaching Yakshagana: A Journey Beyond Black and White

When introducing the younger generation to Yakshagana, I emphasize the depth and complexity of our mythology. Our stories are rich and varied, presenting a plethora of characters and situations that anyone can relate to. However, in Yakshagana, things aren’t simply black and white.

While many traditional tales might present a straightforward battle between good and evil, our narratives delve deeper. Take the character of Ravana, for instance. On the surface, he might be labelled as a demon or a villain. But in our performances, we explore his humanity, prompting performers and audiences to question his motivations and actions.

A prime example is the story of Vali and Sugriva from the Ramayana, which takes place in Hampi in modern-day India . When Rama, coming from Ayodhya, gets involved in their conflict, he doesn’t confront Vali directly. Instead, he hides and shoots an arrow at him. This act raises many questions. How could Rama, revered as a godly figure, resort to such a covert act? In our performances, we challenge Rama’s character to justify his actions. This approach often leads audiences to empathize with characters like Vali, even if they’re traditionally portrayed as antagonists.

In teaching Yakshagana, I stress that narratives shouldn’t be oversimplified. Villains aren’t just evil entities to be vanquished. Every character and every action has layers of meaning and motivation. Our exploration of these stories is collective and open-ended, encouraging students to think critically, question, and engage deeply with the narratives. This approach not only enriches their understanding of the art form but also equips them with a nuanced perspective on life and its complexities.

Behind the Curtains: Setting the Yakshagana Stage

Yakshagana, with its vivid facial expressions, captivating dialogues, and graceful dance moves, offers a unique theatrical experience. Its distinct staging further elevates its charm.

Set against the backdrop of a starlit sky, Yakshagana is a visual delight, characterized by its colorful costumes, detailed makeup, and rhythmic beats. The costumes and makeup play a pivotal role in character identification. For instance, red and black makeup typically signifies a demonic character, while a hero is distinguished by a pinkish-yellow face, a pronounced forehead mark, and a teardrop-shaped turban. However, these costume codes can vary regionally.

The ambience is electrified by the echoing drumbeats and the entrancing recitation of songs and mantras, immersing the audience in the narrative. The performance commences with the Bhagavatha, the lead singer, invoking divine blessings. This act is more than just a ritual; it’s a heartfelt request for a successful and blessed performance. As the story unfolds, characters spring to life, with the Bhagavatha offering a live commentary, steering the audience through the tale.

The actors’ performance is a blend of scripted and improvised lines, with cues taken from the lead musician or bhagavatar, who essentially orchestrates the show. In Karnataka, the bhagavatar sets the scene by singing and narrating, typically accompanied by a small gong or finger cymbals known as tala. Some ensembles might include both. The rhythmic essence is delivered by two drummers: one playing the hand-struck maddale and the other the stick-beaten centa. A harmonium typically provides a melodic base, and in certain performances, additional singers might support the bhagavatar.

Historically, Yakshagana performances would last the entire night. However, in keeping with modern times, they’ve been shortened to span just a few hours. This change hasn’t diminished the dance’s essence or quality. The vigour of the dance steps, the harmony of the live music, and the articulate dialogues persistently enchant audiences, preserving the enduring allure of Yakshagana.

Gunavante’s Involvement in the Gurukula

The residents of Gunavante are deeply involved in the activities of the gurukula and Yakshagana performances. They consistently show their support, attending meetings and actively participating in various events. 

While many locals are already familiar with the art form, they remain enthusiastic whenever new and engaging activities are organized. Their presence and encouragement are vital to the gurukula’s success.

The Keremane Shambhu Hegde National Performing Arts Festival

The presence of the gurukula and its activities have brought tangible benefits to Gunavante. One of the most significant events is the “ Keremane Shambhu Hegde National Performing Arts Festival,” held every February . This festival, initiated in honour of my grandfather after his passing, invites artists from all over India. With performances spanning five days, it draws a footfall of around 2,000 people every evening. Such a gathering is rare in rural areas, which typically only witness local art forms.

The festival not only showcases the richness of Indian arts, many of which originated in villages but also provides a platform for local businesses. Vendors selling special handlooms from the Western Ghats, booksellers, and other local entrepreneurs find a ready audience. The influx of visitors also benefits local lodges, which accommodate artists and attendees. Many visitors choose to stay within the village to fully experience the festival, further boosting local businesses.

The “Keremane Shambhu Hegde National Performing Arts Festival” has been a monumental success. However, organizing it is not without challenges. Securing funding is a significant hurdle, and it’s often a task to convince potential sponsors about the festival’s value. Despite these challenges, we’ve remained committed to keeping the festival non-ticketed, ensuring it remains accessible to everyone. The festival’s reputation has grown over the years, attracting artists who are eager to perform amidst the village’s natural beauty and rich cultural backdrop.

Yakshagana in a Globalized and Digital World

The future of Yakshagana, in the face of increasing globalization and digitalization, looks promising. The art form is gaining traction and reaching wider audiences, not just within India but globally. In today’s fast-paced world, not everyone might sit through an entire Yakshagana performance, but there’s a growing interest in learning about it. For many outside our traditional audience, Yakshagana offers a fresh and intriguing perspective. Unlike many dance and theatre forms that are strictly scripted, Yakshagana thrives on improvisation. This dynamic nature of the art form makes it relatable and relevant, not just in the realm of performing arts but in various facets of life.

The ability to improvise is a valuable skill, whether in the arts, in business, or in day-to-day interactions. In a corporate setting, for instance, roles can change rapidly. One might be leading a team one day and collaborating as a team member the next. Navigating these shifts requires adaptability and improvisation, much like a Yakshagana performance.

Moreover, Yakshagana emphasizes non-verbal communication, a universal language that transcends cultural and linguistic barriers. This aspect of the art form has piqued interest worldwide, leading to workshops and outreach programs that introduce more people to its beauty and depth.

Writers and scholars, intrigued by the art form, are delving deeper, further promoting its significance and relevance in today’s world. Personal journeys, like mine, where I transitioned from neuroscience to fully embracing Yakshagana, underscore its profound impact.

Challenges of Preserving Yakshagana in the Modern Era

Keeping the tradition of Yakshagana alive in today’s rapidly changing world is fraught with challenges, both social and economic.

• Recognition and Remuneration: One of the primary issues is the lack of recognition of Yakshagana as a classical art form. This has economic implications. Artists in recognized classical forms like Kathak or Bharatnatyam often receive better remuneration. There’s a noticeable preference among audiences for these forms over Yakshagana. For instance, if there’s a Bharatnatyam performance in our open-air theatre, it tends to draw a larger crowd than a Yakshagana show.
• Reliance on Government Support: Historically, we’ve depended on government grants and support. However, this assistance is unpredictable, making it challenging to sustain the art form.
• Competition from Other Media : With the advent of digital media, people find it more convenient to watch performances from the comfort of their homes. This shift in consumption patterns poses a threat to traditional live performances.
• Balancing Tradition with Modernity : While theatre allows for a lot of flexibility in terms of music and presentation, Yakshagana has its essence rooted in tradition. We face the challenge of updating and choreographing older stories without losing their core essence.
• Gurukula System : Unlike art forms like Kathakali, which have a standardized six-year training period, Yakshagana doesn’t have a fixed curriculum. While we strive to educate our students comprehensively, the lack of a standardized system can sometimes affect the quality of training.
• Quality of Production : Some troupes prioritize commercial success over the art’s integrity, leading to a dilution in the quality of performances.
• Communication Barriers : Many of our artists come from backgrounds where they haven’t received formal education. This poses challenges in communication, especially when interacting with diverse audiences or in settings that require proficiency in multiple languages.

In the face of these challenges, our commitment to Yakshagana remains unwavering. We continuously seek innovative solutions to ensure that this rich and vibrant art form continues to thrive and resonate with audiences, both old and new.

Promoting Yakshagana Among the Younger Generation

For the younger generation to truly support and uplift the tradition of Yakshagana, exposure is key. I’d encourage them to immerse themselves in the art form. This could mean visiting places where performances are held, getting to know the artists personally, and understanding the intricacies of the craft.

If someone has organizational skills or resources, hosting shows or events centred around Yakshagana can be immensely beneficial. In today’s digital age, leveraging social media, creating documentaries, and using other modern tools can help in spreading awareness and appreciation for the art form. Networking, connecting with like-minded individuals, and collaborating with those in the broader realm of arts and culture can further amplify its reach.

Given that we’re in an era of global travel and exchange, exploring and sharing Yakshagana beyond our immediate boundaries can introduce it to a wider audience. The path forward lies in both cherishing the tradition and adapting to modern means of promotion and engagement.

How to reach Gunavante 

Gunavante is accessible via National Highway 66 (NH66) which runs along the western coast of India. If you are travelling from Bangalore, take NH 48 which connects to NH66. Once on NH66, head towards Honavar and then take local roads to reach Gunavante. The best way to reach this village is by booking a Savaari from Bangalore for a comfortable commute. 

The nearest railway station to Gunavante is Honavar Railway Station: Honavar is connected by the Konkan Railway, which links major cities on the west coast. Once you arrive at Honavar, you can hire a taxi or take local transportation to reach Gunavante.

The nearest airports to Gunavante are Dabolim Airport in Goa and Mangalore International Airport. After landing, book an airport taxi to reach Honavar and subsequently Gunavante. The drive is approximately 3-4 hours.

Things to do in near Gunavante

Honnavar, a coastal town in Karnataka, is renowned for its stunning landscapes and rich history. Located just 9.1 km from Gunavante, it offers a plethora of activities for visitors. Easily accessible from Bangalore, Mangalore, Goa, and Shimoga, Honnavar is famous for its suspension bridges, waterfalls, coastal cuisine, hiking trails, and mangrove forests, among other attractions. Here are some popular things to do and see in Honnavar:

• Apsarakonda : Apsarakonda, meaning ‘Pond of Angels,’ is a picturesque destination 7 km from Honnavar’s city center. It offers breathtaking views of nature, including a divine sunset over the beach and the Pandavas caves. The area is home to ancient temples like Maha Ganapati temple and Ugra Narasimha temple, surrounded by lush green forests and gushing waterfalls, creating a serene atmosphere. To explore Karnataka’s most stunning waterfalls, be sure to refer to this informative guide.
• Eco Beach: Located 20 km from the famous Murudeshwara Temple, Eco Beach is a ‘Blue Flag’ certified beach in India. Previously known as Kasargod Beach, it is a tranquil and eco-friendly spot ideal for families, women travellers, and anyone seeking a peaceful time in nature. The beach, jointly developed by the Kasargod Village Forest Committee and the forest & Tourism department, offers various activities and amenities for visitors.
• Kodlamane Shree Vishnumurthy Temple: This temple dedicated to Lord Vishnu is a hidden gem in Karnataka. Located in Honnavar taluka of the Uttar Kannada district, it is known for its Vedic Hindu architecture and the Garuda Stambha at the main gate. The temple holds religious significance and is a pilgrimage site for many.
• Basavaraj Durga Islands: Dating back to the 16th century, the Basavaraj Durga Fort and temple on an island are must-visit attractions. Situated about 7 km from the main town, the temple can be reached by boat, crossing the Arabian Sea through River Sharavathi. Legends say it was constructed by rulers of the 16th and 17th centuries.
• Sharavathi Kandla Mangrove Boardwalk: Also known as Kandla Vana, this Mangrove Boardwalk is a recent addition to Honnavar’s tourist attractions. It’s an excellent place to explore and connect with nature, maintained by the Karnataka Forest Department. Located approximately 3 km from Honnavar, just opposite Eco Beach, it’s an educational spot with informative signboards about the region’s flora and fauna.

Why choose Savaari to travel to witness Yakshagana? 

Savaari recognizes the immense cultural wealth and diverse artistic expressions that India offers. Every corner of the country tells a story, woven with traditions, rituals, and art forms that have evolved over centuries. At the heart of Savaari’s mission is the belief that travel isn’t just about moving from one place to another; it’s about immersing oneself in these stories and experiencing the depth of India’s cultural heritage.

With Savaari’s commitment to providing seamless connectivity, even to the most remote locations, they are not just offering a mode of transport but an invitation. An invitation to delve deep into the myriad art forms that give each Indian state its unique identity. Yakshagana is so profound and mesmerizing that it alone can be a compelling reason for someone to visit Gunavante. By making the booking process as simple as a tap by downloading the Savaari app , Savaari ensures that the beauty of such art forms remains accessible to all. It’s not just about convenience; it’s about bridging the gap between curious travellers and the rich tapestry of arts that India has to offer. In essence, when you choose Savaari, you’re not just choosing a ride; you’re choosing an experience, an exploration, and a journey into the heart of what makes India truly incredible.

Last Updated on November 15, 2023 by Shabari Shankar

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What is Yakshagana?

The Prime Minister of India has expressed deep grief over the demise of noted Yakshagana playback singer, Shri Balipa Narayana Bhagawatha.

About yakshagana:.

• Yakshagana is a traditional folk dance form popular in Coastal Karnataka districts. 
• It is a rare combination of dance, music, song , scholarly dialogues and colourful costumes.
• Traditionally, men portray all roles, including the female ones, though women are now part of Yakshagana troupes.
• A typical troupe consists of 15 to 20 actors and a Bhagawatha, who is the master of ceremonies and the main storyteller .

What are the elements of Yakshagana?

• The Act: Each performance typically focuses on a small sub-story (known as ‘Prasanga’) from ancient Hindu epics of Ramayana or Mahabharata . The show consists of both stage performances by talented artists and commentary (performed by the lead singer or Bhagawatha) accompanied by traditional music. 
• The Music: Musical instruments used in Yakshagana include Chande (drums), Harmonium, Maddale, Taala (mini metal clappers) and flute among others. 
• The Dress: Costumes used in Yakshagana are very unique and elaborate. Large size headgear, coloured faces, elaborate costumes all over the body and musical beads on the legs (Gejje).

Q1) What is folk dance?

Folk dance is generally a type of dance that is a vernacular, usually recreational, expression of a past or present culture.

 Source:   PM condoles demise of noted Yakshagana playback singer, Shri Balipa Narayana Bhagawatha

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Yakshagana is a traditional folk dance form popular in coastal Karnataka districts and some parts of Kerala. It is considered that Yakshagana has originated as a product of the Vaishnava bhakti movement .

The article provides information about one of the signature folk dances of Karnataka – Yakshagana in the context of the  IAS Exam .

The information is useful for preparing the Art & Culture section of the UPSC Syllabus .

The candidates can read more on Art & Culture topics for their upcoming exams from the links provided below:

Introduction

• Yakshagana literally means, “song” of the yaksha (demi-gods/spirits).
• Mummela (foreground actors)
• Himmela (singers and instrumentalists in the background).
• It is a theatrical art form of Karnataka, originally an all-night performance where the mela travelled from one village to another.
• It is also performed in the south Canara districts of Karnataka and Kasaragod district of Kerala.
• Yakshagana is performed in open-air theatres.
• It is usually performed in the village paddy fields after the winter crop has been harvested.

Source – The Hindu

Elements of Yakshagana

• Each performance typically focuses on a small sub-story (known as ‘Prasanga’ ) from ancient Hindu epics of Ramayana or Mahabharata.
• The show consists of both stage performances by talented artists and commentary (performed by the lead singer or Bhagavatha) accompanied by traditional music.

Musical instruments used in Yakshagana include:

• Chande (drums),
• Taala (mini metal clappers) and
• Flute among others.
• Costumes used in Yakshagana are unique and elaborate.
• Large size headgear, coloured faces, elaborate costumes all over the body and musical beads on the legs (Gejje).
• Kavacha decorates the chest, armlets for the shoulders and belts are made up of light wood and covered with golden foil.
• Performers need a great physique to perform with heavy costumes for several hours, and also strong voice and acting/dancing skills.

The Language

• Yakshagana is generally presented in Kannada , but also performed in Malayalam and Tulu languages on certain occasions.

The Troupes

There are several popular troupes (known as Melas) performing Yakshagana throughout the year. Some leading melas include:

• Saligrama mela,
• Dharmasthala Mela,
• Mandarthi Mela,
• Perduru Mela

What is ‘Pagade’ of Yakshagana?

• It is a headdress or kirita.
• The Pagade is not readymade to be placed on the head.
• The crown worn by characters which have both heroic and playful characteristics is a work of art by itself.

Other Art Forms of Yakshagana

Yakshagana was formerly known as Bayatala by some people in Karnataka. The sister art forms associated with Yakshagana are listed below:

• Therukoothu of Tamil Nadu,
• Kutiyattam and Chakyarkoothu of Kerala,
• Veedhinataka of Andhra Pradesh

Other Forms of Dance-drama or Folk Theatre

There is a wide variety of folk music, dance and drama forms. They can share common themes and concerns. Depending on the purpose of celebration, its characteristics also vary.

When it is performed and by whom?

• The rhythms of daily life
• The turn of the seasons
• The highlights of the agricultural calendar
• Important events (births and marriages)
• Sowing of the wheat crop
• Fishing communities
• Other local communities

Yakshagana and Gombeyatta

• Gombeyatta is the traditional string puppet of Karnataka.
• They are styled and designed like the characters of Yakshagana, the traditional theatre form of the region.
• The episodes enacted in Gombeyatta are usually based on Prasangas of the Yakshagana plays.
• The puppets are highly stylised and their costumes and make-up are similar to Yakshagana.
• The puppets of Gombeyatta resemble the actors of Yakshagana and the sets are also designed like the Yakshagana stage.

Variants of Yakshagana

It is found that two variants of Yakshagana exist. The characteristics/features of these two different styles of Yakshagana are listed and tabled below:

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Yakshagana Dance, Origin and Features

Yakshagana, originating in Karnataka, India, during the 15th-century Bhakti movement, is a vibrant dance form blending music, drama, and classical roots.

Table of Contents

Yakshagana Dance is a vibrant and traditional dance form that originated in the coastal regions of Karnataka, India. This ancient art form has deep roots in the cultural and religious heritage of the region and has been preserved and passed down through generations. The term “Yakshagana” is derived from the combination of two words: “Yaksha,” which refers to celestial beings in Hindu mythology, and “Gana,” meaning song. Together, Yakshagana can be translated as the song of the celestial beings.

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Yakshagana Dance Origins and History

The origins of Yakshagana can be traced back to the Bhakti movement in the 15th century. It was during this time that the great saint-poet Purandara Dasa, considered the father of Carnatic music, composed devotional songs in Kannada. These compositions, known as “Padams,” were performed through dance and drama, laying the foundation for Yakshagana as a performing art.

Over the centuries, Yakshagana evolved and absorbed influences from various sources, including folk traditions, classical dance forms, and the epics of Hindu mythology. The dance form gained popularity as a means of storytelling, often depicting episodes from the Ramayana, Mahabharata, and other mythological texts.

Elements of Yakshagana Dance

Music and instruments .

Background Music (Himmela): Yakshagana is accompanied by a unique form of background music called “Himmela,” produced by a group of musicians playing traditional instruments. The ensemble typically includes a percussion instrument called the “Chande,” a wind instrument known as the “Maddale,” and a string instrument called the “Taala.”

Costumes and Makeup 

Yakshagana Attire (Vesha): One of the distinctive features of Yakshagana is the elaborate costumes worn by the performers. The characters, known as “Kolata,” are adorned with vibrant and colorful attire that includes intricate headgear, jewelry, and makeup. The costumes help distinguish the various characters, such as gods, demons, and mythological figures.

Mudras and Dance Movements 

• Hand Gestures (Mudras): Yakshagana incorporates a rich vocabulary of hand gestures, known as mudras, which convey specific emotions, actions, or expressions. The performers use these mudras to communicate the storyline to the audience effectively.
• Dance Movements (Angikabhinaya): The dance movements in Yakshagana are dynamic and energetic, involving intricate footwork and body postures. Performers use stylized movements to portray characters and convey the narrative with grace and precision.

Yakshagana Dance: Unique Features and Variants

Yakshagana, one of the oldest theatrical traditions still thriving in Karnataka and Kerala, has a rich history and unique features that set it apart as a distinctive cultural art form.

Yakshagana finds its roots in the royal courts of the Vijayanagar dynasty, where it was performed by a specialized community known as Jakkula Varu. Over the centuries, this traditional art form has evolved, adapting to changing times while preserving its essence.

The term “Yakshagana” is derived from various sources, including Aata Bayalaata, Kelike, and Dashavatara. Primarily recognized as a genre centered around Yakshagana poems, the art form combines storytelling, music, and dance to narrate mythological tales from epics like the Ramayana and Mahabharata.

Musical Foundation

Yakshagana’s performances are rooted in the ancient Ghandharva grama musical system, highlighting its deep connection to classical music. This musical foundation adds a unique and melodious dimension to the overall presentation.

Vaishnava Bhakti Influence

Currently viewed as a dance form strongly influenced by the Vaishnava Bhakti movements, Yakshagana reflects spiritual themes and devotional storytelling. The performances often convey moral and philosophical messages, contributing to the cultural and ethical fabric of the region.

Geographical Divisions

Intellectuals and researchers have categorized Yakshagana into two main groups based on geographical distinctions.

• Moodalopaya: Encompassing the eastern regions of Karnataka, this category represents a specific style and influence unique to the areas it covers.
• Paduvlopaya: Spanning the western parts of Karnataka, Udupi, Kasaragod, and Uttara Kannada, this category further divides into sub-variants, each with its distinctive characteristics.

Sub-Variants of Paduvalopaya

• Tenkutittu: This sub-variant includes areas like Kerala’s Kasaragod, Mangalore’s district, and regions such as Sullia, Udupi, Belthangady, Saampaje, and Bantwal. It brings forth a specific flavor reflective of its geographical and cultural context.
• Badagutittu: Covering the Udupi region and extending to Kundapura in the Uttara Kannada district, this sub-variant showcases its own nuances, adding to the diversity within Yakshagana.
• Badabadagutittu (Uttara Kannadatittu): The final sub-variant encompasses the northern territories of Uttara Kannada, presenting a distinct expression of Yakshagana in this particular region.

Yakshagana Dance UPSC

Yakshagana, originating in Karnataka, India, during the 15th-century Bhakti movement, is a vibrant dance form blending music, drama, and classical roots. It evolved from the devotional compositions of Purandara Dasa and found prominence in Vijayanagar royal courts. The performance features unique background music (Himmela), elaborate costumes (Vesha), expressive hand gestures (Mudras), and dynamic dance movements (Angikabhinaya). Rooted in the Ghandharva grama musical system, Yakshagana depicts mythological tales with characters donning colorful attire. Influenced by Vaishnava Bhakti, it conveys spiritual themes and moral messages, categorized geographically into Moodalopaya and Paduvlopaya with sub-variants reflecting regional nuances.

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Yakshagana Dance FAQs

What is the origin of yakshagana dance.

Yakshagana originated during the Bhakti movement in the 15th century, influenced by the devotional songs (Padams) composed by Purandara Dasa, the father of Carnatic music.

What does the term "Yakshagana" mean?

"Yakshagana" translates to the "song of the celestial beings," derived from "Yaksha" (celestial beings) and "Gana" (song) in Hindu mythology.

What are the key elements of Yakshagana?

Key elements include unique background music (Himmela), elaborate costumes (Vesha) for characters (Kolata), rich hand gestures (Mudras), and dynamic dance movements (Angikabhinaya).

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Comparative Literature as Alternative Humanities Ethics, Affect and the Everyday Social

In the last few decades, scholars in the Humanities have found it necessary to examine the fundamental underpinnings upon which their disciplines are built. One of the primary questions that animated this re-examination has been regarding the very terms of our engagement with countries and communities that inhabit radically  different  social  and moral life-worlds, living as they do outside the orbit of European Enlightenment values that still regulate both organization and practice within and outside the academy, across the world. Instead of accepting difference as a defining feature of the human condition, the grand narratives of the Enlightenment were used as colonial and imperial tools to homogenize the diversity of experience, emotion and expression as the high tide of colonial modernity swept the world. The consequent otherness and alienation that characterised human society have deeply impacted literary and cultural production. We witness a disjunction between the objective, scientific discourse with its claim to truth and  the everyday social experience of the human subject which Humanities seek to understand. These asymmetries compel us to rethink the Humanities from alternative positions and perspectives to embody and address the plural orders of reality and the differences between them. How can the collection of disciplines we call the Humanities recover the capacity of self-reflection and self-criticism? Much has been written about how stereotypes invade our imagination to contaminate our experience and knowledge.

Comparative Literature’s commitment to alterity and plurality gives it a foundational interest in the non-stereotypical, non-canonized, un-heard narratives of “others” that constitute a radical sense of the literary. Such articulations can only emerge from the confluence of different locations, experiences, and identities, demonstrating how   our vision of “others” projects our own versions of ourselves onto the outside world.

An alternative view of the Humanities will have to come to terms with the ideas of relationality, plurality and cultural mobility as the defining features of all epochs including that of the pre-modern. Texts, ideas, images, metaphors, themes,  modes, genres, tales are all human endeavours and like humans  themselves  these  have  the capacity to travel across constructed, eternally  given  or  pre-fixed  borders,  thereby defying the exclusivist, essentialist ideas of culture and literature.  The  prevailing inclination towards connected sociologies and connected histories, while  a  step  in  the right direction, often reflects the dominant discourses which impose homogeneity and hierarchy, evincing a lack of empathy for  the  precarious  endeavor  of  encountering alterity and a lack of understanding of the transient and the contingent.

Thus, we propose plurality as a conceptual framework to address this eco-system of interconnectedness and relationality in terms of their manifestations in the languages and literatures of all nations, regions and communities, regardless of their location in the hierarchy of political and economic regimes, or of their internal stratifications. We would like to recover  the  mutuality  of  interconnections  and  interdependence  between literatures and cultures across the world. The assertion that  we  live  in  a  post-human world prompts us, as humans to consider our experience in terms of relationality and plurality. These emerge as conceptual tools for recasting our relations with the other - be it humans, animals or the non- living.

Texts are actualised through their immersion in the shared ideological  and  affective worlds that constitute the everyday world. From orality to print  to  the  visual  media, modes of intersubjective engagement are implicated in  structures  of  power  relations within society and our response to them. The very practice of Comparative Literature is an acknowledgement of plurality and a willingness to engage with difference. The discipline emphasises upon relationality,  heterogeneity,  multivocal  perspectives,  and direct engagement with alterity that translation offers as a process and a product. Built into the discipline is the  interaction  between  literatures  in  multiple  languages  both within the nation and in other countries of the world. Furthermore, it takes orality and performance in its ambit. It reaches out to all other disciplines by asking the existential question : can we open ourselves to the location of the other and view the world from the vantage point of difference that we encounter outside ourselves? Can we frame a dialogic mode of interaction that reading teaches us to our relations with the world, to expand our view of the world outside our own limited subjectivity ? Hence, we propose Comparative Literature as an alternate paradigm - and invite reflections upon the possibilities inherent in the conceptual frame structured by the reciprocal, the relational and the plural. It is our hope that it will help to grasp and address the nature of the crisis that afflicts the Humanities today both in intradisciplinary and interdisciplinary framework.

S u b - t h e m e s :

Some of the sub-themes in the context of the main theme that can be taken up for discussion are as follows:

Interrogating categorial binaries (tradition/ modernity/ nature culture / regional/national/ east/west, etc.)/ Literary Studies and Social Sciences/ The Posthuman as a paradigm in literary studies.

Worlding literature / Historicising canons / Global and local as reading contexts. The idea of the classic in modernity: circulation or creativity? Translation and the encounter with difference.

Translating “dialects”/ The oral texts/ Archaic texts.

The plural nation: stratification and resistance/ Literary historiography and geopolitics/ Intertextuality and chronotopes.

Polyphony/ Polysemy in  literature/  Poetry  and  cosmopolitanism. Interrogating “Minor” literature as a category/ Identity theories as critiques of the Humanities/ Life-writings from the margins.

The performativity of literature/ Screenplay as literature/ Intermediality in literature. South Asian literatures and cultures: relations, reciprocity and ruptures/ Population movements and literature.

Papers are invited from the scholars of Comparative Literature, Cultural Studies , Theatre Studies, Gender Studies, Black Studies, Dalit Studies, etc., or any aspect of litearture and culture that will help us understand and practice the Humanities in accordance with the ethical perspectives outlined above.

Abstracts of about 250 words along with a short bio-note of about 100 words may be submitted to c lai2024 @ admin.du.ac.in

Upon acceptance, participants will be provided with registration details through mail. The Registration Fee will include workshop kit, certificate, lunch, and refreshments during the three days of the conference. Participants would need to become members of CLAI on receiving their acceptance letters in order to present papers, if they are not already members of CLAI.

For further information please visit: htt ps://www.clai.in/upcoming-event/

IMPORTAnT DATEs:

  Last date of abstract submission: 15th May, 2024 Selected participants will be notified by: 30th May, 2024 Last date of registration: 15th July, 2024

REGISTRATIOn FEE:

Faculty members: Rs.3000/-

Research scholars/students: Rs.2000/-

Students with accomodation: Rs. 5000/-

International participants: US$ 200

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What I’ve Learned From My Students’ College Essays

The genre is often maligned for being formulaic and melodramatic, but it’s more important than you think.

By Nell Freudenberger

Most high school seniors approach the college essay with dread. Either their upbringing hasn’t supplied them with several hundred words of adversity, or worse, they’re afraid that packaging the genuine trauma they’ve experienced is the only way to secure their future. The college counselor at the Brooklyn high school where I’m a writing tutor advises against trauma porn. “Keep it brief , ” she says, “and show how you rose above it.”

I started volunteering in New York City schools in my 20s, before I had kids of my own. At the time, I liked hanging out with teenagers, whom I sometimes had more interesting conversations with than I did my peers. Often I worked with students who spoke English as a second language or who used slang in their writing, and at first I was hung up on grammar. Should I correct any deviation from “standard English” to appeal to some Wizard of Oz behind the curtains of a college admissions office? Or should I encourage students to write the way they speak, in pursuit of an authentic voice, that most elusive of literary qualities?

In fact, I was missing the point. One of many lessons the students have taught me is to let the story dictate the voice of the essay. A few years ago, I worked with a boy who claimed to have nothing to write about. His life had been ordinary, he said; nothing had happened to him. I asked if he wanted to try writing about a family member, his favorite school subject, a summer job? He glanced at his phone, his posture and expression suggesting that he’d rather be anywhere but in front of a computer with me. “Hobbies?” I suggested, without much hope. He gave me a shy glance. “I like to box,” he said.

I’ve had this experience with reluctant writers again and again — when a topic clicks with a student, an essay can unfurl spontaneously. Of course the primary goal of a college essay is to help its author get an education that leads to a career. Changes in testing policies and financial aid have made applying to college more confusing than ever, but essays have remained basically the same. I would argue that they’re much more than an onerous task or rote exercise, and that unlike standardized tests they are infinitely variable and sometimes beautiful. College essays also provide an opportunity to learn precision, clarity and the process of working toward the truth through multiple revisions.

When a topic clicks with a student, an essay can unfurl spontaneously.

Even if writing doesn’t end up being fundamental to their future professions, students learn to choose language carefully and to be suspicious of the first words that come to mind. Especially now, as college students shoulder so much of the country’s ethical responsibility for war with their protest movement, essay writing teaches prospective students an increasingly urgent lesson: that choosing their own words over ready-made phrases is the only reliable way to ensure they’re thinking for themselves.

Teenagers are ideal writers for several reasons. They’re usually free of preconceptions about writing, and they tend not to use self-consciously ‘‘literary’’ language. They’re allergic to hypocrisy and are generally unfiltered: They overshare, ask personal questions and call you out for microaggressions as well as less egregious (but still mortifying) verbal errors, such as referring to weed as ‘‘pot.’’ Most important, they have yet to put down their best stories in a finished form.

I can imagine an essay taking a risk and distinguishing itself formally — a poem or a one-act play — but most kids use a more straightforward model: a hook followed by a narrative built around “small moments” that lead to a concluding lesson or aspiration for the future. I never get tired of working with students on these essays because each one is different, and the short, rigid form sometimes makes an emotional story even more powerful. Before I read Javier Zamora’s wrenching “Solito,” I worked with a student who had been transported by a coyote into the U.S. and was reunited with his mother in the parking lot of a big-box store. I don’t remember whether this essay focused on specific skills or coping mechanisms that he gained from his ordeal. I remember only the bliss of the parent-and-child reunion in that uninspiring setting. If I were making a case to an admissions officer, I would suggest that simply being able to convey that experience demonstrates the kind of resilience that any college should admire.

The essays that have stayed with me over the years don’t follow a pattern. There are some narratives on very predictable topics — living up to the expectations of immigrant parents, or suffering from depression in 2020 — that are moving because of the attention with which the student describes the experience. One girl determined to become an engineer while watching her father build furniture from scraps after work; a boy, grieving for his mother during lockdown, began taking pictures of the sky.

If, as Lorrie Moore said, “a short story is a love affair; a novel is a marriage,” what is a college essay? Every once in a while I sit down next to a student and start reading, and I have to suppress my excitement, because there on the Google Doc in front of me is a real writer’s voice. One of the first students I ever worked with wrote about falling in love with another girl in dance class, the absolute magic of watching her move and the terror in the conflict between her feelings and the instruction of her religious middle school. She made me think that college essays are less like love than limerence: one-sided, obsessive, idiosyncratic but profound, the first draft of the most personal story their writers will ever tell.

Nell Freudenberger’s novel “The Limits” was published by Knopf last month. She volunteers through the PEN America Writers in the Schools program.

The State of Development Journals 2024: Quality, Acceptance Rates, Review Times, and What’s New

David mckenzie.

This is the eighth in my annual series of efforts to put together data on development economics journals that is not otherwise publicly available or easy to access (see  2017 ,  2018 ,  2019 ,  2020 , 2021 , 2022 , 2023 for the previous editions). I once again thank all the journal editors and editorial staff who graciously shared their statistics with me.

Journal Quality

The most well-known metric of journal quality is its impact factor . The standard impact factor is the mean number of citations in the last year of papers published in the journal in the past 2 years, while the 5-year is the mean number of cites in the last year of papers published in the last 5. As noted in previous years, the distribution of citations are highly skewed, and while the mean number of citations differs across journals, there is substantial overlap in the distributions – most of the variation in citations is within, rather than across journals. We continue to see growth in these impact factors at many journals. The big news this year is that they have decided that you really don’t need three decimal places any more in the impact factors.  I compliment these stats with RePec’s journal rankings which take into account article downloads and abstract views in addition to citations. 

Table 3 then shows two additional metrics, taken from Scimago , which uses information from the Scopus database. The first is the SJR (SCImago Journal Rank), which is a prestige-weighted citation metric – which works like Google PageRank, giving more weight to citations in sources with a relatively high SJR. I’ve included some of the top general journals in economics for comparison. Scimago also provides an H-index which is the number of papers published by a journal  in any year that were cited at least h times in the reference year – so this captures how many papers continue to be influential but as a result, favors more established journals, and ones that publish more articles, that have a larger body of articles to draw upon. 

How many submissions are received, and what are the chances of getting accepted?

Table 4 shows the number of submissions received each year. See previous years posts for statistics before 2019. The total submissions in the 11 journals tracked is almost 10,000 papers (note I received no data from the Review of Development Economics this year so have excluded it).  Total submissions in these journals are up 7.7% over last year, although not quite at the 2020 peak.

At most journals the number of submissions has either leveled off or fallen since a peak in 2020-21. World Development had the largest 2020 peak when they had a special call for a variety of short papers on COVID-19, but perhaps the combination of people sending off lots of papers during the pandemic and then being a little slower to start new projects has halted the rapid growth somewhat.

·       The newish World Development Perspectives already received 532 submissions last year, more than many long established development journals.

·       The Review of Development Economics has seen very rapid growth in submissions. I only started collecting stats for it last year, but the editors note that in 2015 they received about 450 submissions, and this has now grown to more than 1,500 last year.

Table 5 shows the total number of papers published in each journal. 782 papers were published in 2023, so that’s a lot of development research (even though less than 1 in 10 of the submitted papers and down slightly on the 811 papers published in 2022). I’ve noted in previous years that some of the journals have been able to flexibly increase the number of articles published as their submission numbers have risen, reducing publication lags as well. 

The ratio of the number of papers published to those submitted is approximately the acceptance rate. Of course papers are often published in a different year from when they are submitted, and so journals calculate acceptance rates by trying to match up the timing. Each journal does this in somewhat different ways. Hence Economia-Lacea reports a 0% acceptance rate for 2023 since none of the papers submitted in 2023 have yet been accepted, although some are still under review.  Table 6 shows the acceptance rates at different journals as reported by these journals. Of course the number and quality of submissions varies across journals, and so comparing acceptance rates across journals does not tell you what the chances are of your particular paper getting accepted is at these different journals.  

How long does it take papers to get refereed?

In addition to wanting to publish in a high quality outlet, and having a decent chance of publication, authors also care a lot about how efficient the process is. Table 7 provides data on the review process (see the previous years’ posts for historic data). The first column shows the desk rejection rate, which averages 73%. Column 2 uses the desk rejection rates and acceptance rates to estimate the acceptance rate conditional on you making it past the desk rejection stage. On average, about one in three papers that gets sent to referees gets accepted, with this varying from 12% to 63% across journals.

The remaining columns give some numbers on how long it takes to get a first-round decision. The statistics “Unconditional on going to referees” includes all the desk rejections, which typically don’t take that many days. The average conditional on going to referees is in the 3-5 month range. The last two columns then show that at most journals, almost all papers have a decision within 6 months – so in my opinion, you should feel free to send an enquiry if your paper takes longer than that. 

Do revisions typically get sent back to the referees or handled by the editor?

Another factor that can make a big difference in how long it takes to publish a paper is whether editors send revised papers back to referees, or instead reads the response letter and revision themselves and just makes a decision on this basis. This is something that the AER and AEJ Applied have been trying to do more and more, with only 25% of revisions at the AEJ Applied going back to referees. In my own editing at WBE, I send fewer than 5% of revisions back to referees. This year I asked the different journals what their approaches were. Many do not systematically track this, but offered some approximations:

·       Journal of Development Economics: approximately 60% of revisions go back to referees, although 0% for the short papers (see below)

·       Development Policy Review: only 10% of revisions go back to referees.

·       Journal of Development Effectiveness: 7.7% were sent back to referees

·       Journal of Development Studies: not tracked, but less than 20% go back to referees

·       Journal of African Economies: 52% are sent back to referees

·       Economia: 70% go back to referees.

·       EDCC: does not track this, but first revisions are usually sent back to referees.

·       World Development, World Development Perspectives, WBRO, and WBER do not track this, and results may vary a lot by editor.

Updates on the JDE Short Paper and Registered Report Tracks

The Journal of Development Economics has two other categories of papers that differ from other development journals:

·       The short paper format has proved popular. There were 148 submissions in 2023 (about 8% of total submissions), and 21 short papers were accepted. These papers follow the model of AER Insights, ReStat, etc in which papers are either conditionally accepted or rejected, and so any revisions are minor and are not sent back to referees.

·       The JDE registered reports had 19 stage 1 acceptances in 2023, and 1 stage 2 acceptance, reflecting a lag from COVID when there were not many new submissions. They have a website jdepreresults.org which tracks the stage 1 and stage 2 registered reports, but some of the data was lost when transitioning the website, so if you have a registered report accepted that is not listed there, please let the journal know.

Other Development Journal News

Finally, I asked the journals if they had any other major news or changes to report. Here are what they wanted to share:

·       At EDCC, Prashant Bharadwaj has replaced Marcel Fafchamps as editor. Thanks to Marcel for 10 years at the helm. The journal is one of the few development journals with a submission fee ($50), but offers a fee waiver to referees who have submitted a timely report in the year prior to submission.

·       Other editorial changes are Ganeshan Wignaraja replacing Colin Kirkpatrick as co-editor at Development Policy Review, and Marie Gardner and Ashu Handa taking over from Manny Jimenez at the Journal of Development Effectiveness.

·       The Journal of Development Effectiveness notes they are implementing a set of actions to raise awareness about transparency, ethics and equity in research, and to address power imbalances among HIC-L&MIC research teams. The editors note they are particularly concerned with research involving primary data collection in an L&MIC where there is no author from an institution in that country. For articles submitted to JDEff that fall into this category, they will require the authors to complete a short author reflexivity statement that will be published along with the article. The statement will explain the contribution of each author per Taylor & Francis authorship criteria, which are consistent with the criteria established by the International Committee of Medical Journal Editors. Authors will be asked to explain why there is no contributing author from the study location, specifically, whether any team member based in the study location made a ’significant contribution to conception, study design, execution or acquisition of data,’ and if so, why they were not subsequently invited to review the manuscript and take responsibility for its contents. And for work involving randomized controlled trials or interviews with vulnerable groups, authors will also be asked to answer a set of questions about research ethics. Final manuscript acceptance and publication in JDEff will be based on the scientific quality of the work as well as an assessment of whether the work was conducted in an equitable, inclusive and ethical manner.

Finally, thanks again to all the editors for all the time and effort they devote to improving the quality and visibility of development research. As you can see, they have a lot to deal with!

Lead Economist, Development Research Group, World Bank

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