Even though the yakshagana trip ended and the rainy season started, they were not allowed to return home and rest.
Kollyuru and Mankude Sanjeeva Shetty were sent to Uchchila Krishna Rao, who was in Kadri, to study Bharatanatyam. This was a prequel to the following tour, the ‘Dere Mela’.
Kuriya Venkatramana Shastri set up of the Yakshagana Drama Board, arranged in a dining room, enclosed cloth enclosure, a tent that prevents drops from falling, a chair, benches on which to sit and watch the play, the entrance to the bedside, and the audience to enter the tent. This was followed by Koraga Shetty for his play. This has resulted in a new culture of viewing the game, thus facilitating the convenience of the conductor. Like this, the new method of watching and playing the game was introduced in 1949.
This modernization also took place on stage. Balagopala Dance in ‘Sabhalakshana’ play was replaced by the doll play, the dance in the guise of a female was replaced by Bharatnatyam by Kollyuru and Mankude which they had learnt in the training, all of these became the new attractions.
However, In the name of the deity of the place of Koraga Shetty, the ‘Ira Sri Somanatheshwara Yakshagana Mandali’ was organized. The prestigious attire of the club, the background musicians were likewise invited to the new tent.
Music scholar Belinjee Maindappa Rai arrived as the Bhagavata, Nedi Narasimha Bhatta was the drummer. Alake Monappa Rai, Alake Ramayya Rai, Bolara Narayana Shetty, Adksthala Narayana Shetty, Moodabidri Kittu, Female role players Ramachandra Balyaya, Adooru Ramachandra Maniyani, Mankude Sanjeeva Shetty, Kollyuru, comedian Vitla Gopalakrishna and various other artists.
A notable impersonator, the orator who was also an economist, the Gandhianist, Haridasa Malpe Shankara Narayana Samaga, was called to the mela on the recommendation of the famous economist N.S.Kille for the occasion by Koraga Shetty.