Yakshagana (‘Yaksha songs’) is a generic term referring mainly to a traditional form of Kannada theatre predominant in coastal Karnataka, variants of which are found in other parts of the state as well, under names such as Bayalata, Dasavatar, and Bhagavatara Ata. Its early history is not well established. Yakshas form a class of demigods in Hindu mythology, but their connection to this genre remains unclear.

During the halcyon days of the Vijayanagar Empire (fifteenth to sixteenth centuries), Yakshagana seems to have developed a distinct identity under two major influences. One was the Bhakti movement that provided an ideological framework and from which common cultural matrix emerged the Kuchipudi, Kalapam, and Bhagavata Mela as well. The Bhakti trait still remains conspicuous in Yakshagana as, regardless of diverse themes and plots, each performance is basically structured as a Lila (divine play) of Krishna. The other major influence was Bhutaradhane – ritual forms of the Dakshina Kannad region from which Yakshagana borrowed elements of dance, costume, make-up, and conventions like oddolaga, the preliminary entry of main characters. But once Yakshagana absorbed these variegated influences, it began to evolve its unique style, growing into a lively medieval entertainment. From the eighteenth century onwards, it changed rapidly. Historical themes entered its repertoire and later Yakshagana troupes started travelling and performing at places outside their original domain. One such mela (troupe) journeyed as far north as Pune and, incidentally, formed an impetus for the beginning of modern Marathi theatre.

Although almost every Yakshagana troupe is named after a particular deity, its performance is not exclusively attached to a temple. It can take place virtually in any open space and is financed by patrons or the village community. The theatre is erected the day before the scheduled show and, after the performance that lasts from 9 p.m. to 6 a.m. the next morning, it is dismantled. Usually a troupe consists of one or two singers (Bhagavatas), at least three instrumentalists – a maddale drummer, one for chende, and one to provide the drone on a harmonium – and ten to fifteen actors playing both male and female roles.

Yakshagana has developed an elaborate system of metrical compositions, postures, and choreographic patterns. It lays emphasis on the entire body rather than just the hands and face. The characters range from gods and kings to Brahmans and servants, from supernatural rakshasas (demons) to common people. Likewise, the speech ranges from the musical-rhetorical to normal conversational, the make-up from mask-like ornamentation to the bare minimum, and the costumes from large headdresses and decorations to ordinary dhotis and turbans.
Yakshagana performance is by Keremane Shivananda Hedge and group of Sri Idagunji Mahaganapati Yakshagana Mandali, Karnataka.