K Ramu of Hampi’s Hagalu Vesha Hanumayana group learnt the art from his father and has been performing since 2000. “We may have changed the way we do it, the form and format may have changed — but what we inherited as art has stayed intact — he tales are intact,” says Ramu. His uncle and brother-in-law are the ones at the harmonium and tabla, which was earlier handled by his father.

This performance is staged at one of the many melas in the regions and each mela has its designated villages.

Most of these tribes in Karnataka are found in and around Bellary and neighbouring districts like Koppala. As the region borders Andhra Pradesh, the tribes are fluent in the local language Kannada as well as Telugu but perform predominantly in Kannada.

As a nomadic tribe, the Budaga Jangamas are traditionally known to move from village to village earning their living out of these performances.

While they now perform at events and for commissioned audiences, the tribe traditionally pitched its tent in a village where it stayed for around a fortnight during which it performed every morning in different streets of the village. They would then collect whatever was offered as appreciation — from grain to money — and move on to the next village.

The themes range from mythology to social awareness. It is said that during the time of Basavanna, in the 12th century, the tribe spread the thoughts of the poet-saint through their acts.

While their numbers have certainly dwindled, troupes like these still try and encourage their tribesmen to not give up their cultural heritage. A school drop-out himself, Ramu wishes the youngsters from his community sustain this folk art even as they take to education.

‘We have travelled the length and breadth of the country performing this tale of Hanumayana, and are doing what we can to keep our art alive,” says Ramu. ‘Kali beku adare kaleyu beku (Education is important but so is art). And one can be better off if one has education to back one's art,” he adds.

But those who take to formal education find it difficult to adapt to this way of life, confesses Ramu.

From their movements to their language, everything changes. And this art form needs a certain rawness, which goes missing once one is ‘educated’ and distant from one's traditional roots, he opines.