​​Three-day Yakshakathi festival concludes at Tribal Museum.- CITY LINE- 2018

The last three day festival organized at the tribal Museum on the folk idols of South India from June 18 was done in collaboration with the Directorate of Culture. Presentation in the Yakshagana style in, Vali Moksha incident gave the audience, art lovers enthrall the audience and it also witnessed a great deal of enjoyment, including their dedication, commitment to art and loyalty towards traditions.

Yakshas trim ganas, for hurried listeners – INDIAN EXPRESS- 2017

Generational artist Keremane Shivanand Hegde says that practice of folk art is changing, even adopting bits from other forms. He comes from a long line of Yakshagana artists who have made this traditional folk-dance theatre from the state popular all over the world.

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Mela to Dubai 

Mandali has performed in Dubai (UAE) for the first time with the popular show 'Seetapaharana' in  'Indradhanush'-Celebrating Colors of Indian Art at Consulate Auditorium, Dubai on 07/01/2017 and also performed at Global Village, Dubai on 05/01/2017. 

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Mela to USA

Our troupe was performed at various venues in the USA including the prestigious Cleveland Thyagaraja Festival from 16/03/2016 to 08/05/2016. 

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Yakshagana School Re-opened

Shrimaya Yakshagna Kalakendra was re-opened for Academic Year of 2018-19. The ceremony was held on 16th July 2018 at Gunavante, Honnavar Taluk. A batch of 10 students from all over Karnataka enrolled for 1-year residential training of Yakshagana Tradition.

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V T Shigehalli Memorial  Function

In memory of legendary artiste and writer V T Shigehalli Manadali conducted a seminar on his artistic work and Yakshagana performance at Bhairumbhe High School, Sirsi Taluk, North Canara, Karnataka on 22/12/2015.

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      Magic created all over again- The Hindu- 2015

A vibrant retelling of the ‘Sitaapaharan’ episode kept the audience spellbound

The actors, in colorful costumes, elaborate make-up and dress, enacted the story with interplay of dance, dialogue and music. This show of Yakshagana reaffirms the faith that the traditional art forms of our country continue to play an important role in keeping alive our rich legacy to storytelling of epics, of maintaining the traditional form even as they are adapted to new ideas more suited to the contemporary milieu. That these folk forms can reach out to urban audiences speaks volumes of the communicative skill of the art.

Indian Express- 2014

Retelling a Story

Yakshagana is an art form with its origins in coastal areas of Karnataka. About 400 years old and is usually based on the epic’s Mahabharata and Ramayana, this troupe which performed are called the Sri Idagunji Mahaganapati Yakshagana Mandali, headed by Shivananda Hegde.

  They delivered with grace even while they decked in heavy impressive costumes. The actors are all men who dress up even as women if need be with variations in face make up which distinguishes the humans from monkeys and male from female. The most interesting thing of the Yakshagana costumes is that they have an elaborate headgear which is common in all the prominent men’s costumes. The performance is a combination of a song, dialogue and dance. The dialogues were in Kannada but the dancers expressions and hand movements were enough to overcome the language barrier.

The artists were so into the act that, one instance came as a shock to the audience when they jumped off the stage and made that their battlefield.

Narthaki- February 12, 2014

The hallowed turf of Yakshagana, Gunavante sent clear signals to the art world that art for heart for art is all that is required to ensure that the traditional as well as contemporary art forms survive and is passed on to posterity. That a village the size of Gunavante, calm, serene, peaceful could string together a festival of such grand scale speaks volumes about how much one can do when working with a clear purpose.

The well organized festival packed with music, dance and art had something for everyone, never had a dull moment and kept one asking for more at the end of it. The full credit for the success goes as rightly acknowledged by Keremane Shivananda Hegde during the course of the festival, to all those who made it possible, right from the hospitality of the ever enthusiastic totally involved organizers to the sponsors, dedicated performance of the artists and of course the appreciative audience who savored the wonderful medley of art that was offered during the festival.

THE HINDU FRIDAY REVIEW –2014

Trust with tradition

The artistes who enacted the Pandavas impressed the spectators with their amazing footwork. Shivananda Hegde stood out as Dhuryodhana, with his body language and facial expressions. He skillfully used the entire face to portray the various emotions of the character. His voice modulations during dialogue delivery were exemplary.

Narthaki –2014

The popular and traditional yakshagana troupe Sri Idagunji Mahaganapati Yakshagana Mandali, Keremane, presented ‘Seethapaharanam’ with scenes from Ramayana. The Yakshagana is the most supported from in Karnataka among all its counterparts in India. This style is promoted, presented and worshipped in its original form even today. The artists headed by Keremane Shivananda Hegde, son of the legendary Shambhu Hegde, were proficient in their rendition. The drama unfolded the story with great emotional expertise and each character was well enacted by all the artists of the group.

Indian Express- 2013

Maintaining purity in tradition

Yakshagana as an art form was developed centuries ago to educate the rural population of India. Originating from Karnataka, the classical folk art merges drama, dance and music. It also makes use of natural expressions and dialogues along with spectacular musical backgrounds. To create an awareness about the art form, International Center For Performing Arts (ICPA), Bangalore held a workshop on Yakshagana on May 20. Shivanand Hegde, Director of Idugunji Mahaganapathi Yakshagana Mandali, and his team gave an enlightening lecture demonstration

Narthaki.com Reviews

Unity in diversity at sudha’s Nritya sangama –Lalitha venkat, Chennai, September 29, 2012

Vali Moksha: Keremane Shivananda Hegde and member of his Shri Idagunji Mahaganapati Yakshagana Mandali from Karnataka, clad in colorful, gorgeous costumes, head dress and elaborate makeup mesmerized the audience with a gripping depiction of Vali Moksha. The entry of Rama and Lakshmana, the abduction of Sita, search for sita, entry of Hanuman and the monkey (a big hit!), entry of Sugriva, Valisugriva fight where the latter is defeated, their fight again when Rama Shoots an arrow at Vali, moksha of vali were packed beautifully in a one hour presentation high on drama with commanding vocals (Anant Hegde) and percussion that lent such drama to every scene. Though lyrics and spoken dialogue was in kannada language, the ever green Ramayana is so ingrained in the india psyche that language was on barrier and had the rasikas eagerly relishing every scene. The majestic Rama was plated by Shivananda Hegde. The body language of sugriva was simple and effective especially when he asks Rama why he had not killed vali. There is a touch of humor when Rama tells sugriva clearly had a stellar role. The dying scene of Vali was so poignant that the audience watched in pin drop silence, breaking into thunderous applause as the scene ended.

Narthaki.com

Reviews, The Music Academy Dance Fest: Day 7, Chennai, February 2, 2012

Grand finale from the epics

For such a big festival of dance, the academy lined up a finale that was equally befitting and grand. For those who missed it, they certainly missed one of the finest visual treats they could have ever gotten to see in a Chennai margazhi. The country best Yakshagana troupe, the Idagunji Mahaganapati Yakshagana Mandali from Keremane, headed by the able Keremane Shivananda Hegde performed a fabulous show of ‘Dhuryodhana Vadhe’, a Yakshagana classic for Chennai’s dance lovers.

SRUTI  - 2012(Indian Premier Magazine for performing Arts)

Lasyotsavam showcased Yakshagana for the first time in Trissoor. Spearheaded by Keremane Shivananda Hegde, the director, guru, choreographer and performer, the troupe presented Kartaveeryarjuna Kalaga, a rare episode from the Ramayana featuring Ravana and Kartaveeryarjuna. The episode with dialogues, full of wit and sarcasm, between the two heroes kept the audience spellbound. The dialogues in Kannada did not stand in the way of the holistic appreciation of the art form, as it also consisted of percussionist and Bhagavatas.

·THE HINDU FRIDAY REVIEW 

Graceful feats of artistry

Event Lasyotsavam 2012, a three-day festival of dance in Thrissur, featured different dance forms of India that were performed by skilled exponents. Jaya Narayanan Pisharoty 

The fete concluded with the famous musical theatre of Karnataka, ‘Yakshagana,' by the mandali (troupe) of Keremane Shivananda Hegde's family which has an 80-year-old association with this traditional art form. Since it is more of a theatrical form, the dancers themselves deliver dialogues. There is also background music sung by a group consisting of a bhagwata (singer) and percussionists.

The episode is full of sarcasm and witty dialogues. There are also topical references that the audience can equate with. Witty rejoinders and subtle abhinaya effectively constitute the theatrical element, while the mudras and dexterous foot work bring in the nritta aspect. With bright make-up, glittering costumes and head gear, musical and dancing interludes, Yakshagana is a veritable treat to the senses. The festival was organized by Lasya Akademi of Mohiniyattom, Thrissur, in association with the Ministry of Culture, Government of India.

Sruti- Indian Premier Magazine for performing Arts

Keremane Shivananda Hegde, has not merely continued the tradition and work started by his father, but has also launched some new initiatives. He has presented shows in different parts of India and abroad, and also exposed the people of his village and surrounding areas to the best example of dance and music. He invites some the best music and dance troupes in the country to perform in the national festival. He and members of Sri Idagunji Mahaganapati Yakshagana Mandali, Keremane, take on the role of the gracious hosts, but do not perform in their own festival. A three- day affair till now, the third edition of the festival this year was extended to five days. The performing unit of the mandali established by Shivananda’s Grandfather Shivaram Hegde, has completed 75 years. Sri Idagunji Mahaganapati Yakshagana Mandali, Keremane, and its director, Artists, Choreographer and Guru Keremane Shivananda Hegde deserve praise for their effort. A band of dedicated art lovers worked wholeheartedly for the success of the festival.

Nartanam - A Quarterly journal of Indian Dance  -

Keremane Shivananda Hegde provided in interesting insight into Yakshagana Bayalata. The abhinaya demonstration  by Shivananda to the song “ Rangaiyya Odibaaro” Combined simplicity with artistry. The other song, where in Rama reminisces on his life which has had more than its share of sorrows “Novugalinda tudida Jeevanave” was very evocatively performed. It is amazing how on a plain stage  with no props of any type, these actor s are able  to create for the audience a situation of war, or fun or whatever the  situation from from  the epics or Puranas, providing the themes demand.

THE HINDU

Graceful feats of Artistry

The third edition of Lasyotsavam, a dance festival in Thrissur showcased different dance forms of India. The fete concluded with the famous musical theatre of Karnataka, ‘Yakshagana’ by the Mandali (troupe) of Keremane Shivananda Hegde’s family which has an 80 years- old association with this traditional art form. Since it is more of a theatrical form, the dancers themselves deliver dialogues. There is also background music sung by a group consisting of a bhagawata (singer) and percussionists. The episode is full of sarcasm and witty dialogues. There is also topical reference that the audience can equate with. Witty rejoinders and subtle abhinaya effectively constitute the theatrical element, while the mudras and dexterous foot work bring in the nritta aspect. With bright make-up glittering costumes and head gear, musical and dancing interludes, Yakshagana is a veritable treat to the senses.

THE HINDU- 2012

Lucid and informative

The lec-dem on Yakshagana, an interesting introduction to the tala system and the close links between Manipur Thang Ta Martial arts were dealt with in detail at the natya Kala Conference. How confusing the ‘classical’ and folk’ categorizing is in reference to the Indian situation , was reinforced ‘Abhyaasa Sampradaya” lecture/ demonstration on yakshagana by Keremane Shivananda Hegde  of Sri Idagunji Mahaganapati Yakshagana Mandali,  during Krishna GanaSabha’s 31 Natya Kala Conference. Shivananda’s interesting introduction to the tala system, in the demonstration showed how talas are association melodic modes (ragas)- the seven matrakoretala in Khambhodi, Ekatala associated with Madhyamavathi Mohanam and Triputa in Khambhodi. The enactment, the previous  evening of Karthaviryarjuna, treading the forest with the palace damsels to the Narmada for ‘jalakrida’ was so evocative thaton the empty stage one felt wetness of water during the making. Shivananda’s own presentation of moving abhinaya, portrayed Rama analyzing his own life with of sorrows and some joys, ‘Novugalinda Tudida Jeevanve Kandaaitu’ the grandeur of the aesthetic costal the elaborate headgear (munda’s) and the jewellery made of wood, with make-up special for each character much of its sophistication to the contributions of Hegde’s father , the genius Sri Keremane Shambhu Hegde injected new life into Yakshagana.

THE HINDU

A present Shower of Music and folk arts in Coimbatore

Students from Shools across the city had a rare opportunity to delve into the traditional  theatre of the neighboring state of Karnataka . the artists from Sri Idagunji Mahaganapati Yakshagana Mandali, Keremane, performed Yakshagana before a delighted audience who clapped and cheered as the episode of Valivadham from Ramayana unfolded before  them. The performance of the actors in their glittery costumes, head –gear and face paintings was accompanied by singers and percussion artists. Director Keremane Shivananda Hegde who enacted the role of Rama, said the despite the dialogues and songs being in kannada, the response from audience showed that language was no barrier to enjoying arts.

‘It was a delight’…Nartanam A Quarterly Journal of Indian Dance. Vol.X No.4   

The traditional theatre Yakshagana was regal in its presentation and was a class apart and it definitely warranted a biiger stage and audience. The group from Sri Idagunji Mahaganapati Yakshagana Mandali, Keremane put up a fantastic performance of Karthaveeryarijuna choreographed by Keremane Shivanada Hegde. The excellent vocals by Anant Hegde added to the majestic portrayals by Shivanada Hegde as Karthaveeryarijuna and Shridhar Bhatt as Ravana with a fine technique pleasing to the aesthetic sensibilities of a connoisseur and the uninitiated alike. ‘It was a delight’ is the last word on the production.

Expression of Dance- PUNE NEW LINE (Indian Express)

Yakshagana performers- Sri Idagunji Mahaganapati Yakshagana Mandali-enthralling city audiences with their traditional Karnataka dance form. The language of their performance was Kannada but that did not stop them from striking a chord with the crowd. Lead performer and choreographer, Keremane Shivanand Hegde, Said, “outside Karnataka, we cut down on our dialogues and try to convey emotions through our gestures and facial expressions.

A Wealth so uncommon-THE HINDU- FRIDAY REVIEW-New Delhi-

Watching the very slick Yakshagana Presentation “Karthaveeryajuna” by Sri Idagunji Mhaganapati Yakshagana Mandali Keremane, one wondered about such elegantly stylized expressions coming under the category of flock art. Shivananda Hegde as Karthaveeryajuna in the grace and subtlety of his abinaya capturing the beauty of the forest near the Narmada river while interacting tenderly sakhis, and in the mocking “Sikkidya Daityaraya” gently poking fun at the humbled Ravan himself, in the aesthetic costumes and delightfully varied gaits or gati(s) in different situations, not to speak of the singing in Mohanam and Kamboji of the Bhagavata, left one amazed at the artistic detailing of this enactment. 

• The refreshing aspect of the show was that it portrayed vividly the craftsmanship of the art Yakshagana, combining tradition with aesthetics. The colorful costumes and elaborate makeup as well as the vigorous dancing, singing and stylized movement enthralled the audience. Samachar- Manila 2000, Phillipines

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• Only a great artist with fine sweep over the Mahabharatha, Indian psyche, puranas and Karnataka culture could choreograph such masterpieces offered by Idagunji troupe.  The diction is neat, enunciation of text clear, dance and expression meaningful and dialogues superb.- THE HINDU, 22nd August 1997, New Delhi, India

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• A captivating entry was Yakshagana danced by performer Choreographer Keremane Shivanand Hegde. India West,  Usa

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• Shivananda Hegde's Bheema was outstanding. The Telegraph, , Calcutta, India

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• Krishna undoubtedly held center stage in Mahabharat. So too did the 21st Century Krishna as depicted by Keremane Shivananda Hegde in the Yakshagana Jarasandha Vadhe, which enthralled the twin city audience during the weekend at Srajana auditorium of Dharwad.-Vijaya Times.

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• Yakshagana  performance by  Keremane Shivananda Hegde’s as MayaShoorpanaka  was  wonderful .Kutcheri Buzz ,Chennai

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•  ShivanandaHegde in the role of Bheema , was a treat- Nartanam-Journal Of Indian Dance.

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• The Gadhayudha presented by Idagunji troupe mesmerized the people. The extempore dialogue impressed every one. Shivananda Hegde as Bhima did very good job. -Udayavaani-

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• Shivananda Hegde as Bheema carried the might of the great warrior convincingly. -Tribune Chandighar

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• Shivananda Hegde (son of Shambhu Hegde) excelled as the playful Krishna.  He has attained refinement within a very short period and promises to attain further heights in the artistic Endeavour.-Sunday Free Press Journal.