Dance forms of Andhra Pradesh
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[edit] Kuchipudi
Classical Dance "Kuchipudi" from Andhra Pradesh" Kuchipudi a dance form given to the Indian dance platform by a small village in the Andhra Pradesh. Kuchipudi is not mere a dance form but is combination of dance, gestures, speech and song. A Kuchipudi dancer has to be well versed in dancing, acting, music, various languages and texts. Kuchipudi was born in a small village of Andhra Pradesh. There it developed as a tradition by the same name where it was born. Kuchipudi although now recognized as an independent dance form is related to Bharat Natyam. It was in the 17th century during the bhakti movement in the South India that Siddendra Yogi the formulator of the dance form selected some boys from the village to perform dance drama. Thus came the Kuchipudi in this world. In those days Kuchipudi was performed once in a year and the dance form was cautiously kept out of the reach of Devadasis. From the fist performers the technique and skills of this form got handed over the generations to acquire the present form. Some of the legendary performers 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
[edit] Bhamakalpam
Bhama refers to Satyabhama , Krishna's beautiful but jealous wife and kalpam means complaint or argument. Bhamakalpam is both a theatre form (like Gollakalpam) and a drama. The drama was created by Siddhendra Yogi in the seventeenth century for the devotional use of Kuchipudi performers. The theatre is performed by several troupes in Andhra Pradesh and is a fine example of the feminine movements in dance (lasya) as opposed to the masculine tandava movements of Kathakaliand Yakshagana.
[edit] Burrakatha
It the new name (twentieth century) for the theatre known as Jangam Katha. The jangams were wandering minstrels who worshipped and sang of Siva. Two performers participated in these plays: the storyteller and his wife. With societal and cultural changes, the secular aspect was incorporated into this form. Burra refers to the tambura, a musical instrument played by the storyteller (kathakudu). This main player beats music in another manner, too - he wears a metal ring on his right thumb, and holds another like ring in his hand. He also introduces the story, which is inevitably based on history or mythology. The co-artists are constantly addressed by him. These are the drummers who stand on either side of the kathakudu: on the right, the Rajkiya, who maintains a social and political commentary; to the left, the hasyam clown for comic relief. They play the dakki(earthen drums of two heads) which are an essential part of a Burrakatha show
[edit] Veeranatyam
Lord Siva, outraged at the humiliation met by his consort, picked up a strand out of his Jata-Jhuta (hair) and created Veerabhadra. The Veeramusti community 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
[edit] Butta bommalu
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.
[edit] Dappu
Made of goatskin, a tambourine like drum is beaten with sticks creating a rhythm that is softened only by the ankle bells that the 16-20 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 colourful make-up and even more colourful costumes dance to the musical patterns set by cymbals, tabla and a harmonium. Mythological themes are usually enacted and the audience are the rurals.
[edit] Tappeta Gullu
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 15-20 vibrant artists with drums around their necks creating mesmerising beats and heartstopping acrobatics
[edit] Lambadi
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
[edit] Bonalu
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
[edit] Dhimsa
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 publishing by Dhimsa name for last 5 years in Telugu (www.dhimsa.net) 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”.
[edit] Kolattam
'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 of 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 lead 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 Prakasam district of Andhra Pradesh state.
