Kalinga Navada was born in 1958 at Gundmi (Kundapur Taluk) to Padmavathi and Ramachandra Navada . He was the Bhagavatha in Uppoor's troupe from 1971 to 1976 and worked for the Vijayashri Mela of Perdoor in 1977. He spent majority of his career with Amriteshwari Mela and the Saligrama Mela.In 1990 he lost his life in a tragic road mishap.
Known for his melodious voice, modularity, and the depth, late G R Kalinga Navada continues to live in the people's mind for his contribution towards Yakshagana.He had an attractive voice with good depth and melody, Navada brought new life to yakshagana singing. With a proper hold on theatre, Navada innovated new ragas to reduce the monotony and increase the attraction thus bringing a special effect in Yakshagana. With a fusion of new ragas like Revathi, Kalavathi, Chaand, and Bihag with old ones, Navada carved a special place for himself in this field.
In terms of his contributions and innovations he can be rated as one of the best in his field. He brought in the lost audiences back to Yakshagana.
Sunday, January 17, 2010
Yakshagana...true people's theatre..!
One of the theatre forms generally described as folk but possessing a strong classical connection is the Yakshagana. It is a typical folk form of drama in this region, just as Kathakali is in neighbouring Kerala. Unlike the stylised costumes and masks of Kathakali, Yakshagana is a true people's theatre, commonly staged in the paddy fields at night and the themes are the same as all over India, the Ramayana, the Mahabharata and mythological tales from the Puranas. In predominantly rural areas with little or no transportation, Yakshagana enjoys immense popularity and its exponents are honoured just as great stage artistes are.
Although the name signifies the music of celestial beings, Yakshagana is an amalgam of the sky with the earth. here is both mystery and robustness about this form in which singing and drumming merge with dancing, and words with gestural interpretation, and players clad in costumes of striking colour and contours. It is the cherished cultural possession of the coastal districts of Karnataka.
Dr. K.S. Karanth is the foremost authority on Yakshagana and has been working on all its aspects, amely--dance, music, and literature, since 1930. He has led the way to a deep and systematic study of this art form. He has spent decades travelling to remote villages within Karnataka to inspect and study every Yakshagana manuscript, the earliest going back to A.D. 1651. With his fine literary judgement and aesthetic sensibility, he has traced the changing trends in the performance of Yakshagana. He has interacted with hundreds of Yakshagana artistes to find out what customs in training and interpretation had prevailed earlier and had fallen into disuse and deserved to be resuscitated. He has put together his findings in the shape of two standard books Yakshagana-Bayalata (1958) in Kannada, and Yakshagana in Kannada and English (1975).
Although the name signifies the music of celestial beings, Yakshagana is an amalgam of the sky with the earth. here is both mystery and robustness about this form in which singing and drumming merge with dancing, and words with gestural interpretation, and players clad in costumes of striking colour and contours. It is the cherished cultural possession of the coastal districts of Karnataka.
Dr. K.S. Karanth is the foremost authority on Yakshagana and has been working on all its aspects, amely--dance, music, and literature, since 1930. He has led the way to a deep and systematic study of this art form. He has spent decades travelling to remote villages within Karnataka to inspect and study every Yakshagana manuscript, the earliest going back to A.D. 1651. With his fine literary judgement and aesthetic sensibility, he has traced the changing trends in the performance of Yakshagana. He has interacted with hundreds of Yakshagana artistes to find out what customs in training and interpretation had prevailed earlier and had fallen into disuse and deserved to be resuscitated. He has put together his findings in the shape of two standard books Yakshagana-Bayalata (1958) in Kannada, and Yakshagana in Kannada and English (1975).
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