The most interesting and equally popular folk drama of Himachal Pradesh is Karayila. Karayila performance is not one single play having a start, middle and ends - in fact, it`s an entertaining series of small playlets, skits, variety shows and parodies. Being entertaining in nature they are based mostly on showing social satire. It mainly reflects all shades of humor. This form of shows present sharp and pungent satires about the bureaucracy and social issues very boldly.

The word Karayila is derived from the word `Karal` means ferocious. Since, the masks bring an element of ferocity in the play, it might have been named so. However, some scholars believe that the word is used to show its relation with the term Karal, which means an offering, made by the devotee to his respected deity for fulfilling his wish or desire. As a token of gratitude the devotee makes the offering promised by him for the wish, if it is fulfilled.

Karyila stage is very simple. It is performed on ground with four poles, raised each at Four Corners. To make clear demarcation in the performing arena, a rope is tied to the poles. In the center a bonfire is lit, which is the source of light and heat. This bonfire is considered so sacred and all performances are held around this bonfire-in all seasons. The Karayila folk artists usually belong to the lower middle classes and castes like Sanhai, Sehsi, Cobblers, Weavers and Jheers. For the purpose of make-up, the artists use wigs, Kohl powder and costume jewelry. A face powder is made of fine lime or common flour and kohl is prepared out of carbonated lamp soot. For wigs, barks of trees are used.

The performance usually starts with Mangalacharan, a musical ensemble invoking the three gods - Brahma, Vishnu and Mahesh, the forest gods and goddesses and Saraswati the goddess of learning. After this, Manasukha or Dandoo comes on the stage and makes an announcement of the theme of the play to the people. The themes of the play range from historical to mythological and are presented with contemporary references. Ramleela, Ras-leela, Krishnaleela, mythological tales from Puranas and history are also similarly presented. After some time, a male actor in the guise of Chandravali enters the arena with a plate or thali, containing a well-lit lamp in her hand and performs a dance around the bonfire. This is the auspicious start of the performance. Chandravali represents goddess Lakshmi, the deity of wealth and prosperity.

After the dance the stage is hand over to the sadhu ka swang. Several actors in the guise of Sadhus emerge on the scene and passing through the audience reach the performing arena. They invoke in a conversation with each other or with the one present in the arena. The Sadhus discuss many serious spiritual and metaphysical issues as per their respective sects and traditions. The dialogues are mostly converse in nature are short and sarcastic or sedate depending upon the occasion. All these folk art forms reflect the simple thought patterns of the rural folk. The plays are full of dances that are set with songs. Some of the folk dance forms presented in these plays are Nati, Gidda, Luddi, Dangi and Dandaras and the musical types are Jhanjhoti, Mohana, Gangi, Jhooriyan and Laman.

After the swang is over other swangs are presented in succession. Between the swang, folk dances and songs are presented to entertain the audience. In some of the tribal areas the custom of community dancing is prevalent, in which all the men and women stand in lines or in a semi circle and sing and dance throughout night. The entire valley reverberates with the sound of music on such occasions.