Miniature Yakshagana, a monsoon delight
As the sound of clinking anklets approaches houses in Tulunadu during the monsoon, people extend a warm welcome to ‘Chikka mela’. The traditional belief is that the sound of the percussion instruments and the anklets worn by the artistes ward off evil spirits in and around the house.
On pathanaje, the tenth day of the Tulu solar calendar month of besha, several rituals come to a halt — kambala, Yakshagana mela tours, temple fairs and nema (demi-god offerings). After pathanaje, which falls on May 24 or 25 every year, activities start again from the month of jarde, which falls in November or December, after Tulasi Pooja.
However, the creativity of professional Yakshagana artistes perseveres, as they carry on their performances through the Chikka mela or Radhakrishna mela from early June. During the off season, Chikka mela helps artistes sustain their livelihoods.
As the name suggests, Chikka mela is a small ensemble of Yakshagana artistes, which moves from house to house within a region. The troupe puts up Yakshagana performances of short durations, featuring a mythological story.
An ideal Chikka mela troupe is also known as ‘pancha koota’ as it comprises five persons — two artistes playing a male (purusha vesha) and a female (stree vesha) character, a Bhagavatha (singer), a maddale player and a chende player (percussionists).
Pioneer of change
M N Chambalthimar, writer and Yakshagana critic, says that the concept of Chikka mela was introduced first in Paivalike in Kasargod under the leadership of veteran stree vesha artiste Paivalike Aithappa Shetty, in the 1920s.
Chikka mela was called ‘siri vesha’ in those days. “Artistes would travel to houses holding a fire torch and after a performance, would accept rice, coconuts and bananas given by the residents. Patronage in the form of money was not common then,” he says.
Within a decade, Chikka mela started thriving in the undivided Dakshina Kannada region as well. However, in Kasargod, there are only two Chikka mela troupes today, while in Dakshina Kannada and Udupi, there are more than 150 Chikka mela troupes, he adds.
He also expresses his concern over Chikka mela being run as a commercial-like venture by some troupe managers now.
Artistes perform at a house in Mangaluru.
DH Photo by Fakruddin H
Expression of devotion
Ahead of the performances, representatives of the troupe visit the houses and hand over a pamphlet informing people about the time of their visit. After the family agrees, the Chikka mela arrives at the house in the evening, and a ‘swastika’ is placed.
The swastika is made up of one ‘seru’ of rice which is almost equal to a kilo, a coconut, an oil lamp, flowers, a banana leaf to place the rice, areca nuts and one ‘kavale’ of betel leaves (one kavale is made up of 14 betel leaves).
Dance and dialogues by the two foreground artistes are complemented by the Bhagavatha’s songs, just like regular Yakshagana, except that the duration of Chikka mela is about 15 minutes.
Balakrishna Seethangoli, an artiste who dons female roles in the troupe, says that Chikka mela has supported him during the six-month off season.
“Before going to the houses every day, we discuss the narration and songs of the prasangas. The themes for the day are also selected. The manager will arrange for vehicles, food, accommodation and costumes,” he says.
Dr Arati P Rao, a physician from Mulki, feels that Chikka mela provides a good opportunity for people, especially children, to be culturally informed. “The Chikka mela’s performance brings a lot of positivity and a feeling of devotion,” she says.
Chikka mela artistes on their way to perform at houses in Mangaluru.
Community support
Krishna Rai Neerchalu, the convener of the Chikka mela of a temple in Kalathur in Kasargod district, has been running these performances for the past five years. Rai is also a mela artiste.
Every year, the troupe hands over the lion’s share from the collection to the temple. Last year, the troupe offered 35 quintals of rice, 2,100 coconuts and Rs 90,000 in cash. “It is our service to God,” Rai says.
Normally, Chikka mela artistes are paid on a daily basis by the troupe manager, out of the contributions. The manager also keeps a share for himself.
“Our Chikka mela troupe was started during the pandemic, as there were no Yakshagana performances happening. Many people supported our initiative to help the artistes by giving the Chikka mela troupe a chance to perform at their houses,” says Rai.
Many new troupes have been active over the years, says veteran Yakshagana artiste, Sarapadi Ashok Shetty. Chikka mela troupes are getting more encouragement in urban areas these days, he adds. He cites examples of Christian families hosting Chikka mela at their houses, due to their appreciation towards the art form.