dance
The Dance forms of Andhra Pradesh take on a wide variety of colors, costumes, and types; and involve different settings and musical instruments. Andhra Pradesh is a state in southern India.
§ and gurus were Kuchipudi Brahmins like Lakshmi Narayan Shastri and Chinta Krishna
Murti who excelled in roles like Satyabhama in Bhamakalapam; later gurus include
Vedantam Chinna Satyam. Today both group performances and solo performances are
popular but experimentation are always being done with the choreography
Burrakatha
is the new name (twentieth century) for the theatre known as Jangam Katha. The
jangams were wandering siav worshippers.
Burra
refers to the tambura, a musical instrument played by the main storyteller. The
main performer narrates a story, plays music and dances to it. The
co-performers plays drums and addresses him constantly and enrich certain
events in the story with their short sentences.
A
very old form of dance in the state of Andhra Pradesh that has a lot of
religious significance attached to it; that is Veeranatyam. This fascinating
kind of dance form is also known as Veerangam and Veerabhadra Nrityam. The term
‘Veera’ literally means brave. Thus as the name of the dance form suggests it
is the dance of the brave.
The
illustration of Veeranatyam is found in the Hindu Mythology. Once Lord Shiva’s
wife, Sati Devi was humiliated at a function. This made the Shiva-the God of
destruction, furious. Lord Shiva, outraged at the humiliation met by his
consort, Lord Shiva picked out a relic out of His hair or ‘Jatajuta’, which
created Veerabhadra. He is believed to have portrayed out His extreme anger by
performing a vigorous dance; thus justifying the name Veeranatyam. It was the
dance of ‘Pralayam’ or Destruction.
The
angry destructive Shiva or the ‘Pralayankar’ in the fiercity of rage tarnished
the ‘Dakshayagna Vatika’ the place where the function was held.
The
Veerabhadriya (Veeramusti community, changed its name recently from veeramusti
to veerabhadriya) which claims to be the descendant of Veerabhadra, performs
this vigorous dance with instruments like Tambura, Soolam, Dolu, Tasha and
Veeranam usually at Draksharamam in East Godavari District of Andhra Pradesh,
which is believed to be Dakshavatika, the birth place of Veerabhadra
Natyam
or Veerabhadra Natyam is performed by men in Hyderabad, East and West Godavari,
Kurnool, Anantapur, Warangal and Khammam.
The
first stage is the holding of "Veerabhadra Pallem" a huge plate
carried from the palms to the elbows bearing a camphor fire. The dance goes on
vigorously to the tempo of several percussion instruments until the fire is
extinguished. Part of this ceremony consists of the ‘Khadgalu’ recital, where a
pujari brandishes a long sword representing that of Veerabhadra.
The
second stage lies in holding a long consecrated pole, marked with Vibhuti
(sacred ash) representing the ‘Dhwaja Sthamba’ of the Lord with bells tied to
the top.
In
the third stage the performers dance with spears and tridents pierced into
their ankles, hands and tongue. This is called ‘Narasam’. The dancers are
dressed in colorful knee-length dhotis secured by waist-sashes smeared with
vibhuti all over their body. The main percussion instrument is the ‘Veeranam’
or ‘war-drum’.
Veeranatyam
initially started as a ritual that was performed in all the Shiva or the
shaivite temples in honour of Lord Shiva. At present, the followers of Veerabhadra
mostly perform this form of performing arts. The community is known as
Veeramusti community in the state of Andhra Pradesh.
Dressed
in colorful ‘Dhotis’ and ‘Dattis’ the dancers perform Veerabhadra. Musical and
rhythmic instruments like Dolu, Thasha, Veernam, Thambura and Soolam are used
while the dance is being performed. To the rhythm of drumbeats, the dancers
perform the dance of destruction. Long steps and dexterous hand movements are
required for performing Veeranatyam. Draksharama in East Godavari district
specially witnesses this dance form.
veerabhadra
dancer holds veera khadgam (sword) dances in synchonisation to words called
'Dhandakas' chanted by the other dancers beating simultaneously veerabhadra
pallem ,which is similar to war cry to challenge enemy,veerabhadra dance is
very furious and expresses high degree of emotions.
are
the main online communities for Veerabhadriya people of Andhra pradesh
A
typical folk dance form, popular in Tanuku of West Godavari District of Andhra Pradesh, Butta Bommalu which literally means basket toys
are made of woodhusk, dry grass and cow dung. Each dancer wears a different mask
over the head and shoulders enlarging the scope of the performer and dances to
a nonverbal rhythm which adds colour to the movements.
Made
of goatskin, a tambourine-like drum
is beaten with sticks creating a rhythm that is softened only by the ankle
bells that the 16 to 20 dancers wear. Part of a Telangana custom which sees the Dappu dancers at the front
of any procession, whether it be for jataras, festivals or marriages, this is
truly a celebration of the percussive powers of dance. This lively art form
hails from Nizamabad
District. The performers in colorful make-up and even more colorful costumes dance to the
musical patterns set by cymbals, tabla and a harmonium.Mythological themes are usually enacted and the audience are
the rurals.
Popular
in Srikakulam and Vizianagaram Districts, this is a devotional dance which
invokes the Rain God with its vigour, rhythm and tempo. Also
performed during festivals, the dance sees 15 to 20 vibrant artists with drums
around their necks creating mesmerising beats and heartstopping acrobatics
Associated
with daily tasks harvesting, planting, sowing etc., the Lambadi is performed by the Ganjaras, a seminomadic tribe seen all over Andhra
Pradesh. Costumes embroidered with glass beads and mirrors, ornate jewellery,
ivory bangles, brass anklets and a natural rhythm make this dance a colourful
exposition of joy which is the highlight of many a festive occasion
The folk festival of Bonalu in the Telangana region brings with it celebrations which see the
colourfully dressed female dancers balancing pots (Bonalu), step to the
rhythmic beats and tunes in praise of the village deity Mahankali. Male dancers
called Potharajus precede the female dancers to the temple lashing whips and
neem leaves adding colour to the festivity.
Dhimsa
dance is a dance of young and old, men and women of Valmiki, Bagata, Khond and
Kotia tribes living in the enchanting Araku Valley in the hilly tracts of
Vishakhapatam district. A monthly magazine is published by the name of Dhimsa . Tribals dance during the months of Chaitra i.e. March/April, on weddings and other festivities. During the festivals
dancers of one village visit the other to participate in the dance and join the
community feast. Such dances are known as “Sankidi Kelbar”. The unique feature
of Dhimsa dance is that it chanalises friendship and fraternity between the
people of different villages. This being traditionally a tribal dance, the
women folk attired in typical tribal dress and ornaments dance in group to the
tune of Mori, Kiridi, Tudumu, Dappu and Jodukommulu.
Dhimsa
had branched off to eight different categories of dances. Boda Dimsa is a
worship dance in honour of village goddess. Men on the right and women on the
left form two rows and hold one another firmly in their hands the backs. The
first man in the right row with a bunch of peacock feathers in hand in
rhythmical steps takes the lead while the last person in the left row joins
him. Then all dancers to the sounds of anklets move zigzag in a serpent dance
in a circle crying “Hari” and “Hui” return to the rows. In Gunderi dimsa or
Usku Dimsa a male dancer while singing sends invitation to the females to dance
with him. Thereafter, the male and female with firm steps move forward and
backward stride in a circle. In Goddi Beta Dimsa the dancers bending forward
and rising up with a swing go about twenty-five steps and return in the same
manner four to five times. Potar-Tola Dimsa dance symbolizes the picking up
leaves. Half of the dancers stand side by side in a row, while the rest stand
behind the first row in same manner and keep their hands on shoulders of
dancers standing before. Turning their heads to right and left the two rows
march forward and backward. Bhag Dimsa is a dance of art as to how to escape
from a tigers attack. Half of the dancers form a circle holding hand in hand.
They stand on their toes, bowing and raising their heads. Moving round swiftly,
the rest enter the circle and form a “serpent Coil”. This is repeated several
times. Natikari Dimsa is a solo dance danced by the Valmikis on Dewali festival
in particular. Kunda Dimsa is dance where the dancers push each other with
their shoulders while swinging rhythmically. Baya Dimsa dance is the dance of
tribal masician when he is possessed by the village goddess. All the villagers
with their hands bowed down imitate the “Ganachari”. This continues till the
magician returns to normalcy Dimsa dances exhibit community unity without
discremination. These dance forms essentially amplifying their ways of life
belong to their cultural heritage. Even though things have changed much, yet
the hillmen had retained their traditions unspoilt. Though their dances cannot
be included into any classical forms, yet they conform to the rhythm of either
“Aditala” or “Rupakatala”.
'Kollattam',
or the stick dance, is one of the most popular dance narratives in Andhra
Pradesh. It is also called as Kolannalu or Kolkolannalu. A rural art usually
performed during village festivals, kolattam is a combination of rhythmic
movements, songs and music. It is known as Dandia ras in Gujrat, Garbha in Rajasthan, etc.The Kolatam group comprises
dancers in the range of 8 to 40. In kolattam, performed by 8 to 40 artists
grouped in pairs, The stick provides the main rhythm. The artists led by the
leader move into two circles, the inner circle receiving the strikes while the
outer circle delivering them. Kolatam offers a great variety of entertainment
to the spectators as well as the participants.
Kolattam
is also called Kolanna in the Prakasam district of Andhra Pradesh state.
