Bayalata

The folk theatre of India has always been enchanting in its execution to its concept. This is a story about the popular form of Indian folk theatre- bayalata

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Karnataka is a land of vivid cultural practices that are not often talked about, despite their rich content. Folk art is probably the last thing that comes to mind when one thinks of the state. But in reality, the state has inspired not just wonderful performances within its own boundaries, but also rich traditions that have been evolved and adapted in other places as well. One such form of folk performances is bayalata.

Bayalata is a form of open-air theatre. Its origins lie in the Indian state of Karnataka, specifically the northern region, where it was initially conceived as a popular form of folk theatre. The term was coined using a combination of the words 'bayalu' which means open-air field and 'ata' which means theatre. Thus the term literally indicates the art form that it represents. Cennaya and Koti were the primary characters in the early renditions of this art form.

Popular belief says that the custom originated during the 19th century, from the vicinity of a temple. Initially, the theatre form was intended only for spiritual purposes. It then evolved into a form that was accessible for everyone. Today, the performances can take place in a temple or even on the shore of a beach.

The most important purpose served by bayalata is the imitation of the divine. The plots are taken from epic poetry, the Puranas or Hindu mythological epics i.e. the Mahabharat or the Ramayana. The theme is something that is easily recognizable for the local people and the manner of acting it out is straight-forward. It is performed especially to mark the end of the harvest season in the state.

Sannatas, Yakshagana, Doddatas, Krishnaparijata and Dasarata are the five forms of bayalata that are famously performed in the state.

Different types within this larger group have a distinct set of characteristics. While they are all open-theatre performances, they differ in theme, style of narration, costume, performers, etc. Like Parijatas and Yakshaganas rely on one narrator, the sutradhar, to relay the events to the audience. The other three forms have a chorus of four to five narrators instead. The Dasarata form involves ten (das) actors traditionally, who act out tales related to Radha and Krishna. This form has also been adapted into the Marathi folk art of Tamasha. The Sannata is closer to a form of opera.

To depict the end of harvest, matted palm leaves, mango leaves, flowers and bamboo poles are used creatively used within the scenario. The men and women are usually clad in colorful traditional attire. The theatre is played out on a grand scale with grand decorations and eye-catching costumes.

This form of folk art is a mesmerising blend of song, dance and dialogue, tied together with a traditional plot. It started out as a way to honor deities but has today become well-integrated into the culture of Karnataka. It is an amazing art form that needs to be preserved for it is nothing sort of the most pleasant ways to narrate stories. It is a representation of ancient India, where tales were told in an enthralling manner that infused physical narration with thematic plots, and a perfect example of the ingenuity of the people of the land.