Karanth made Yakshagana more popular through the ballet adaptation of the art.
Karanth’s creation can certainly place Yakshagana in a still more elevated position in world theatre.
...the vivacity of Yakshagana, including its costume, dance and music, deserved it to become the representative exhibition art of the State.
Yakshagana Badagtitu Baylata with its vigorous, and fast moving and yet intricate steps, sometimes rough, at other times gentle and delicate in their varied patterns, captivates the spectator and engrosses him in their essential rhythm and movement. It is in the sensual response of the audience to this movement, the beat of the drums and the pervading and persistent rhythm of the dancers’ ankle bells wherein lies the essence of this dance.
...that Yakshagana is not considered a classical style of music frees it from the bondage of rules and allows it the freedom necessary for a living art-form. In Yakshagana style when the voice oscillates, that is, quivers back and forth from one note to another, the transition is smooth and the breath flows without a break.
...the fillip given to such ancient traditional forms as the Sadir, Bhagavata Mela, Kuchipudi , Kathakali , and Yakshagana by the revival movements in the country, has not been wholly to their advantage. Often, indeed we find corrupt tendencies and outlandish tastes...insinuating themselves ... ostensibly in order to make the art fashionable.
Yakshagana is traditional dance drama.