It’s high time we spotlight coastal Karnataka’s unique tiger dance: Rishith Shetty

A filmmaker can seek inspiration from countless sources, but for Rishith Shetty, it was instinctive to root his debut film in the land he knows best — a culture that has shaped his very identity. Making his directorial debut with Marnami, a tribute to the region he hails from, the film will explore the tiger dance in its full glory on celluloid. Excerpts from a chat:



‘The many layers of the tiger dance has remained unexplored in cinema’
“I’ve seen tiger dance up close, but its many layers have remained unexplored in cinema. That’s why I chose it as my debut,” shares Rishith, adding, “In the early ’80s and ’90s, tiger dance was a way of fulfilling a religious vow (harake) by the locals. “But with time, it became a mark of prestige, and later, a form of entertainment. By the late 2000s, the idea of ‘star tiger dancers’ came into play. Teams began fighting to have such individuals in their troupe. My story traces this evolution, spanning from the early ‘90s to the present day,” he explains. The title Marnami is a colloquial term for Mahanavami, and much of the film is set during Dasara, capturing the grandeur and spirit of the festivities in Karavali.”

‘The coast is finally being recognised for its richness’
“Today, there is an increased interest in stories from the coast. It began with Ulidavaru Kandante, followed by Ondu Motteya Kathe and, most recently, Kantara,” says Rishith. “Post-Kantara, people want to know more of Karavali’s stories and culture. But I want to remind people that our culture is not just about Daiva, Kola, tiger dance, or Kambala — there’s so much more,” he says. On how the coastal dialect was once used for comic relief in Kannada cinema, he adds, “I’m glad that stereotype has been broken. Today, the coast is being recognised for its richness — in language, art, and lived experience.”



‘Authenticity is the key to connect with audiences’
“Today’s audiences are extremely well-informed. If you’re making a film about Uttara Karnataka, you must ensure that the representation — especially the dialect — is 100% authentic. Nobody will relate to a character speaking Bengaluru Kannada in Bijapur. It’s the same with Mandya or Mangaluru,” he observes. That’s why he cast local artistes, including real tiger dancers, for authenticity. Lead actors Ritwik, Sonu Gowda, and Chaithra Achar underwent rigorous workshops with a Mangaluru-based trainer. “We even took them to fish markets to observe the body language and absorb the dialect,” he shares, adding, “In today’s cinema, strong writing, rootedness, authenticity, and good promotion — all four are essential for a film to truly connect and succeed.”