Beats from the coast
Jagajyothi Basaveshwara Charitre, a play in Yakshagana (Badagathittu) was packed with details relating to the life of the committed and indefatigable reformer.
These details crucial even from a historical perspective and therefore served as artistic documentation too.
Natyashri Kalathanda from Sagara enacted a subject of all-time relevance at Vanaranga under the joint patronage of Rangayana and the Department of Tourism as part of Nadasiri Janapada Karyakrama. The team of artistes transfixed the audience by their gripping theatrical elements and expressions built on a substantial theme.
After completing his study with Eshanya Guru and only after being convinced by his teacher that samsara can be a means to reach higher goals, Basavanna marries his maternal uncle Baladeva Mantri’s daughter Gangambike. He secur
es a job as a writer (karanika) in the court of Bijjala. As an ideal husband he takes Gangambika into confidence, encourages her to participate in serious discussions and inspires to express herself without hesitation. With his unswerving honesty, sound reasoning and high acumen, Basavanna rises to higher ranks. Manchanna, an aspirant for the ministerial post, envious of the prospering personality, resorts to treacherous means to malign the reputation of Basavanna – the slanders falling on the King’s deaf ears. He conspires with another traitor Jayadeva Mantri who eventually assassinates the King.
Colluding conspirators failing to arrive at a consensus in matters of arrogating the throne desperately kill each other in the melee. Disgusted with these vile and dismal developments, Basavanna returns to Anubhava Mantapa seeking spiritual attainment.
Yakshagana said to thrive mainly on mythological stories is given a new dimension but not diluting its intrinsic features of awe and fantasy. The above observations gain ample testimony in make-up, costumes, various types of gears and ornaments conforming to the traditional requirements. Inclusion of a kaalaga scene added thrill.
Choreographer Dutta Murthy (Directed by M.M. Kalburgi) has exercised caution and discretion while including the dance (kunitha) sequences and in designing the costumes so that gravity of the characters like Basavanna, Akkamahadevi, Allamaprabhu was in no way diluted.
As the ideologies of the visionary percolate into various fields, the course of narration aptly discusses spiritual significance, domestic ideologies, political vicissitudes and social evil practices.
Over zealous remarks on Manu appear winning from a flashy western perspective, but they need to be reconsidered with a reference to the context.
That probably makes it more imperative why one should not hastily ascribe it as Basavanna utterances.
Play writer Hosthota Manjunatha Bhagavathar has penned the script fulfilling the standard parameters - syntactic construction, orderly narration, clear expressions and scope for wide interpretations.
Liberal usage of appropriate vachanas provided the necessary matrix moulding the script into concrete expressions. Bhagavathar Kolagi Keshava Hegade’s singing was good.
V. NAGARAJ
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