Yakshagana:
(Kannada/Tulu:ಯಕ್ಷಗಾನ, pronounced as yaksha-gaana) is a dance drama popular in the state of Karnataka. It is believed to have evolved from pre classical music form and theatrical arts [1]. Yakshagana is popular in the districts of Uttara Kannada, Shivamogga, Udupi, Dakshina Kannada and Kasaragod district of Kerala.[2] This would be considered to be a form of opera in western eyes. Actors wear costumes and enact the various roles. Traditionally, Yakshaganas would go on all night. It is sometimes simply called as Aataā in both Kannada and Tulu (meaning play).[2] Yaksha-gana literally means the song (gana) of a Yaksha. Yakshas were an exotic tribe mentioned in the Sanskrit literature of ancient India.[3] Yakshagana consists of a Himmela (background musicians) and a Mummela (dance and dialog group) which together perform a Yakshaga Prasanga. Himmela consisting of Bhagawata who is also the facilitator (singer), Maddale, Hormonium for drone and Chande (loud drums). The music is based on pre-Karnataka Sangeetha Ragas characterised by melodic patterns called Mattu and Yakshagana Talas. Yakshagana Talas are believed to be based on the groves which later have evolved in to Karnataka Sangeetha Talas. The both Yakshagana Raga and Yakshagana Tala have some folk influence. A Yakshagana performance begins at the twilight hours with the beating of several fixed compositions on drums called Abbara or Peetike, for up to an hour before the 'actors' get on the stage. The actors wear resplendent costumes, head-dresses, and painted faces which they paint themselves. A performance usually depicts a story from the Hindu epics and puranas. It consists of a narrator(Baghawatha) who either narrates the story by singing or sings precomposed dialogs of a character, backed by musicians playing on traditional musical instruments as the actors dance to the music, with actions that portray the story as it is being narrated. All the components of Yakshagana, music, dance and dialog are improvised. Depending on the ability and scholarship of the actors variation in dance and amount of dialog may change. It is not uncommon for actors to get into philosophical debates or arguments without going out of the framework of the character being enacted.
The Origin
Basically Yakshagana is the product of the Vaishnava Bhakthi movement. Vaishnavism as a school of thought and religion is quite old. The Bhakthi movement proper, spread with vigor after the 10th Century. It took religion to the common man, to the lower strata of society, those classes to whom the highly formalized and Vedic religion was beyond reach. Hence Bhakthi movement was a social movement also.
Stree Vesha or Female Role is also performed by male actors in Yakshagana 
Rakshasa or the demon as depicted in Yakshagana In order to propagate and spread the message of devotion, it adopted and adapted the existing folk as well as classical literary forms and performances. It created its own forms. Most of the traditional theater forms are the result of this phenomenon. Hence there are clear resemblance among the members of the 'Traditional Theater Family' like Ankhia Nata (Assam), Jathra (Bengal), Chau (Bihar, Bengal), Prahlada Nata (Orissa), Veedhinatakam & Chindu (Andhra), Terukoothu Bhagawathamela (Tamil Nadu), Kathakkali (Kerala). Yet there are major differences also. Yakshagana is a member of this group and so its origin is connected with a wider historical situation.
Experts have placed the origin of Yakshagana from the 11th Century to the 16th Century. Earliest limit is fixed by a finding by Vidwan Bannanje Gvindacharya who says a legend goes to show that Sage Narahari Thirtha (c, 1300) started a Dasavathara Ata performance and a troupe in Udupi and later this spread to other places and grew into what we call Yakshagana today.
Anyway, Yakshagana must have been an established form by the time of famous Yakshagana poet Parthisubba (1600) who wrote the Ramayana in Yakshagana. Because he is said to be a Bhagawatha (singer) himself and is believed to have founded a troupe, and probably he is the formulator of the Tenkuthittu (Southern style) of the art. Troupe centers like Koodlu and Kumble in Kasaragodu district, and Amritheshwari, Kota near Kundapur claim having a troupe three to four centuries ago. So we can safely assume that this art form had taken shape by about 1500. However, what we see today as Yakshagana, must have been the result of a slow evolution, drawing its elements from ritual theater, temple arts, secular arts like Bahurupi, royal courts of the time and artists imaginations - all interwoven over period.
NAGARADANE:
Origin of Nagaradhane
Snakes, especially the cobra have been revered from ancient times all over India. Due to their mysterious appearances, slithering movements, snakes had always been held in awe in India. Snakes find mention in famous religious epics like Mahabharata, Vishnu Purana etc. Hindu Gods like Vishnu and Shiva have been associated with snakes. According to Hindu mythology, Lord Vishnu takes rest under the shade of the giant snake, Adisesha. Lord Shiva wears a snake around his neck.
It is difficult to trace the origin of Nagaradhane. Mostly, snakes were seen as a symbol of fertility. Elsewhere in India, snakes are worshiped during the Nagarapanchami Day. They are offered milk (research has shown that snakes are allergic to milk) and thilak is applied on their forehead.
The snake worship rituals practiced in Tulu Nadu are quite unique and different from the other rituals. Snakes have their own snake shrines in a corner of the garden, often under a neem tree known as Nagabana. This is usually a stone with snakes carved on it. Accordingly, nobody is allowed to chop the tree near the Nagabana. It is also believed that, snakes, specifically the cobras are not be harmed or killed by anyone. If harmed, the individual has to perform a ritual to cleanse the sin of killing/harming the snake. The belief is that the individual who refuses to perform the ritual will be cursed by the snake for eternity. It can also be noted that in Tulu Nadu or the South Canara region in Karnataka, agriculture is predominant that too paddy is the main crop. In these fields snakes help in saving the crop from rodents. This can be a plausible reason for worship of snakes in line with other nature worships such as cow and the banyan tree.
The Ritual
There are two distinct rituals performed in reverence to the snake. They are, Aashleshabali and Nagamandala. Of these, Nagamandala is longer and colourful than Aashleshabali. Nagamandala depicts the divine union of male and female snakes. It is generally performed by two priests. The first priest, called as patri inhales the areca flower and becomes the male snake. The second priest, called as Nagakannika or the female snake dances and sings around an elaborate serpent design drawn with natural colours on the sacred ground. The ritual is supplemented by playing an hour glass shaped instrument called as Dakke. The drawings in five different colours on the sacred ground are white (white mud), red (mix of lime powder and turmeric powder), green (green leaves powder), yellow (turmeric powder) and black (roasted and powdered paddy husk). Aashleshabali is similar nature to the after death rituals performed for the humans as per the Hindu tradition.
The ritual, centered around the serpent design, continues till early in the morning. A similar kind of ritual is found in Kerala and is known as Sarpam Tullal and Sarpam Kali.
Significance of Nagabanas
Nagabanas or the sacred grooves are deemed to be the resting place of the Snake God. Cutting of trees or defacing the groove is considered as sacrilege. People are wary of the wrath unleashed by the deity. Nagabanas have largely remained unspoilt and have contributed immensely to the preservation of valuable trees and medicinal plants in Dakshina Kannada.
Bhuta kola
The Origin
The coastal districts of Karnataka, Udupi and Dakshina Kannada, collectively known as Tulu Nadu have always been unique from the rest of Karnataka. Rituals like Bhuta Kola, Nagaradhane (snake worship) have given it an identity, distinct from other parts of Karnataka.
Among the religious beliefs of South India, spirit worship appears to be one of the most ancient ones. This complex system of rituals and beliefs can be traced back to the tribal era. The music and narratives, dances and dialogues, trances and oracles reflects the socio-economic orders, thought patterns, artistic achievements and socio-cultural values enshrined in the rustic societies of different regions.
The origin of Bhuta Kola is difficult to trace. It can be considered as a complex mixture of beliefs, rituals, literature, music and theatrical elements. European colonialists have wrongly described Bhuta Kola as "devil worship" because it is a spiritual belief of indigenous non-christians. The term "devil" has negative connotation and is a reflection of religious bigotry, and as such should not be applied to Bhuta Kola. In essence, the spirits or the bhutas worshipped are considered to be the guardians of the villages, blessing and protecting the villagers and their livestock. Many of these spirits are said to be attendants of Lord Shiva or ganas.
Important aspects of Bhuta Kola are possession, trance and the dialogue of the possessed impersonator with the devotees. The Bhuta impersonator behaves like an incarnation of a concerned spirit, listening, solving problems, warning, comforting the devotees. He acts as a healer and solves the legal and judicial problems of the village.
The people of Tulu Nadu follow a tradition of dual worship that includes worshipping the puranic Gods as well as the local spirits. The puranic Gods are worshipped in temple under the leadership of Brahmin priests and the devotees are mere spectators receiving offerings and as such cannot be approached directly. On the other hand, the spirits are the localized and personalized deities who share a more intimate relationship with the devotees. The spirits have fixed spheres of influence and are generally associated with a family or village or region and the devotees offer them periodic oblation. In turn, the spirits protect the villagers and their livestock from danger and warn them as and when necessary.
Variations
The spirits and folk deities worshipped and the dances performed in Tulu Nadu can be classified into the following categories:
Pilichamundi Bhuta during a Kola at Nellitheertha.
1) The spirits of totemic origin: Panjurli (boar), Nandigoone(bull), Puli Chamundi (tiger).
2) Mother Goddesses :Rakteshwari, Varte, Jumaadi, Lakkesiri, Ullaalti, Maariamma, Arasu Kuriyadithai .
3) Attendants or Ganas of Lord Shiva : Virabhadra, Guliga.
4) Incarnations of puranic Gods :Vishnumurti, Ermeru, Jataadhari.
5) Spirits of cultural heroes who met with tragic death : Koti and Chennayya, Kalkuda-Kallurti, Siri, Daiva Raja Koteda Babbu, Koraga-Taniya, Bobbarya, Wayandu Daiva etc.
According to the beliefs, Bhutas are believed to be residing in special places called Sthana. Kola is the unique form of worshipping the Bhuta.
The pandal where the Kola is performed.
The night long ceremonies begins in a well decorated arena or pandal that gives the appearance of a ritualistic stage with the image of the deity and other objects of worship well arranged on one side and the disciplined devotees on the other side. The musicians, accompanied with drums and wind instruments are seated on another side are ready to provide beats of varying tempo for different stages in the processions. The pandal is well decorated with various figures made from palm leaf, mango leaf and areca flower.
The person who invokes the bhuta or the spirit dresses up in a colourful costumes, complete with a sword, bells and other such accessories. He is slowly prepared for self-hypnotism and for imposing the spirit on him. He is ceremoniously given oil for a ritual bath to make his body physically purified and mentally calm. Pastes from plant extract are used as a makeup for the impersonator. Different colors are used to symbolically display the characteristic features of the spirit. His wife, sister or mother sings the ballad or paād-danāas which narrates the birth of that spirit, its descent into the land, heroic deeds, its travels and sphere of influence etc.
He now assumes the role of the spirit himself and starts calling the authorities to inquire the reason for his invocation. He addresses everyone according to his rank. The organizers propitiate the spirit and beg protection, prosperity, good crop and wealth for the entire community. If pleased, the spirit through the oracle conveys the pleasure and promises protection and prosperity. If the spirit is not satisfied, then he prescribes certain punitive rituals for acts of insult or impurity to the holy place or certain acts of commissions and omissions on part of the devotees. While settling the quarrels or disputes the impersonator assumes the role of a tribunal and conducts himself in a dignified manner as upholder of truth and righteousness. The decision of the impersonator is final without provision for appeal.
Holy Spirit Possession
There are dozens of words in Tulu which are used in the context of Bhuta Kola . The most usual are bhuta pattundumaytu battundu (came into the body). Several verbs describe the physical appearance of the possessed (e.g. kumbarunu= shaking) and the internal experience (e.g. ersuntu = rising) are also used. In a ceremonial context, possession of the spirit is more usually referred to as darsana or appearance/revelation. (the spirit caught) and
The spirit in question may be one of a number of different categories: bhuta, daiva, kule, preta, sirikulu, cikku, and others. They include spirits of cultural heroes, animal spirits, ghosts, and anthropomorphic divinities of various sorts. Many spirits and categories of spirits have only vague identities, but the character of some is elaborately described in long oral narratives or paād-danāas which describe their birth, "adventures", and death. Many other spirits are incorporated into these cults under specific conditions.
The affliction caused by a spirit is usually described as upadra, or trouble. This term may be applied to certain cases of unwarranted possession, but more frequently used to label violent diseases brought about by spiritual attack on humans, animals or crops. In many of these circumstances there is considerable ambiguity as to whether the spirit is an external agent of affliction or whether his internal presence is the cause of the trouble. Some afflictions are said to be caused by the spirit's "touch" or "scratch." Eg: Pilichandi.
Aati kalenja:
Aati Kalenja is a traditional dance form practiced in Tulunadu, India. It is a traditional dance ritual which is typically practiced during the monsoon months of July and August.
As part of the ritual, a person dresses up in the form of a Bhuta or spirit, known as Kalenja. Then, the Bhuta and his assistant, a drummer, go around the village and dance in front of homes. The householders reward them with rice, coconuts, etc.
It is believed that honoring the Kalenja in this manner will rid the village of all evil spirits. Kalenja is believed to be the protector of the village(s) from evil spirits. Hence the impersonator of Kalenja is welcomed by the villagers during the rainy season. The persons adorning the role of Kalenja are typically from a community called Nalike. The costume of Kalenja consists of coconut leaves, colorful dresses and a cap made of areca spate.
Aati Kalenja is a dying art form and is practiced only in certain pockets of Tulunadu these days.
Kambala
Kambala or Kamblā (Kannada, Tulu: ಕಂಬಳ ) is a rural sport, prominent in districts of Udupi and Mangalore in Karnataka and also Kasargod district in Kerala. Kambala is basically a traditional buffalo race in muddy waters, held from December till March.
The Format
Kambala is traditionally a simple sport. The 'track' used for Kambala is a paddy field filled with slush. The contest generally takes place between two pairs of buffaloes, controlled by a whip-lashing farmer. In olden days, the winning pair of buffaloes were rewarded with coconuts and a bunch of plantains. But, Kambala today has become an organised,professional sports. People place massive amounts of bets on the winning buffaloes and one can witness more than 20,000 spectators in a well organised Kambala, egging and cheering the buffaloes to complete the race. As of now, more than 45 races are held annually in Coastal Karnataka. Nearly 18 kambalas are held under the banner of Kambala Samithi and the rest are held under the auspices of temples and political patronage. Kambala still remains a hugely popular sport in Coastal Karnataka