Dance forms of Andhra Pradesh,INDIA

Kuchipudi

 Kuchipudi (తెలుగు : కూచిపూడి) (pronounced as 'Koochipoodi') is a Classical Indian dance form from AndhraPradesh, India. It is also popular all over South India. Kuchipudi is the name of a village in the Divi Taluka of Krishna district that borders the Bay of Bengal and with resident Brahmins practicing this traditional dance form, it acquired the present name.The performance usually begins with some stage rites, after which each of the character comes on to the stage and introduces him/herself with a daru (a small composition of both song and dance) to introduce the identity, set the mood, of the character in the drama. The drama then begins. The dance is accompanied by song which is typically Carnatic music. The singer is accompanied by mridangam (a classical South Indian percussion instrument), violin, flute and the tambura (a drone instrument with strings which are plucked). Ornaments worn by the artists are generally made of a light weight wood called Boorugu.

Burra katha

Burra katha, also spelled as Burrakatha, is a story-telling technique used in villages of Andhra Pradesh and Tamil Nadu in India. The troupe consists of one main performer and two co-performers. It is a narrative entertainment consists of prayers, solo drama, dance, songs, poems and jokes. The topic will be either a hindu mythological story or a contemporary social problem.

 

Burra is referred to Tambura, a musical instrument with a hallow shell and attached strings. Katha means story.

 

Burra means a skull in telugu. The shell resembles a human skull. It is made of baked clay or dried pumpkin, or of brass and copper. The instrument looks very similar to Veena and the performer can pull and press strings to get music.

The name "Burrakatha" refers to same art in entire Andhra Pradesh, but there are also local names to the art in each region.

• Coastal region - Jangam Katha
• Rayalaseema - Tandana katha or suddulu
• Telangana - Tamboora katha or sarada katha.                           

Burra katha was a pastime event in villages. It is seen even now during Dussehra or Sankranti festival seasons to describe events in epics like Ramayan and Mahabharat and also some of best and moral kingdom stories like kambojaraju katha,chinnamma katha,muggurumoratila katha etc.

It played effective role in conveying message to people and awakening them during Indian Independence Movement. Burrakatha was banned in Madras by the British government and in Hyderabad kingdom by Nizam government, because it was the medium to enlighten the people of the current political situation in various political meetings.

Burrakatha tellers are called as budagajangalu.Internet and movies play a major role in modern life. That's why the burrakathas are not being seen and no one is there to develop this and improve the art. In past these burrakatha tellers were important in the villages. But now there is no response for their art. So these burrakatha tellers left their traditional art and became beggars or day labourers. Even in these modern times,there are no educated people in this tribe. They dont even have caste certificates for developing their tribe.

Kolattam

Kolattam is an art form of Andhra Pradesh played with sticks. In Sanskrit, it is referred to as Hallisaka and Dandarasaka. In ancient days females dancers played Kolatam in temple halls as an offering to the Lord. But now it has evolved as a folk art form that is performed by male dancers. Kolattam is generally performed by a group of dancers comprising of twenty to forty performers or the minimum of eight members. The number of dancers are always in even numbers led by a leader.

The leader of the group controls the troupe and is known as Pennuddi or Kolanna Pantulu or Garuva. A couple of players is called Uddi, among the two one is called Rama and the next one is known as Lakshmana. Kolattam begins with the formation of a big circle consisting of all the members of the troupe, which later splits into two, one within the other. The leader of the troupe of Kolattam is accompanied by the Mridangam, flute, harmonium and cymbal players, who stand in the middle of the internal circle. Each performer holds up two sticks one in each hand that are decorated with colored strings or bells at its end.

The various steps that are included in Kolattam is called Kopulu. 50 types of kopulu are commonly used in this folk dance. When the leader signals, pairs of dancers in the circle start moving offering a prayer to Lord Ganesha. Then a song is begun by the leader by crying out the rhythm of Etlugada. Different verses and beats are used in the songs including prayers, duets, or tales expressing Bhakti, Sringara, Karuna and Virarasa. 

Butta Bommalu

Butta Bommalu, also known as the dance of masks, is a typical folk dance form, popular in Tanuku of West Godavari District of Andhra Pradesh.Butta Bommalu means basket puppets. It is a kind of dumb dance, which is performed by a team of not less than ten members consisting of dancers, musicians, an instructor and a troupe leader. The basket toys used in the dance are made of bamboo, tamarind seed paste, paper, wood husk, dry grass and cow dung. The outer structure is painted suitably and a person enters into the inner part and dances to the rhythms of dappu (a percussion instrument). The dolls of Lord Shiva and Parvati, Vishnu and Lakshmi, Garuda and Hanuman, Radha and Krishna are very common in the dance. The dance is performed in festive gatherings, marriage ceremonies and Navratri celebrations.

Dappu

Dappu is the traditional form of the percussion instruments. It is a very simple drumming instrument. Dappu is the most popularly used instrument in the state of Andhra Pradesh. There is also a kind of folk dance named as Dappu dance. The Dappu drum is still used for any kind of public announcement of any event. Dappu is an inseparable part of Andhra Pradesh rural life. It is equally important in any kind of celebrations, festivities and processions. It is also an integral part of many folk forms of performing arts and folk dances, especially the Dappu folk dance. 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.

Tappeta Gullu

Tappeta Gullu is a devotional dance of Andhra Pradesh popular in the districts of Srikakulam, Vizianagaram and Vishakhapatnam. Tappeta Gullu is performed in the districts of Srikakulam, Vizianagaram and Vishakhapatnam. During the ancient times it was performed by cowherds and shepherds to amuse the Rain Goddess, Gangamma. At presnt the dance is performed in all village festivals celebrated in honor of the deity. The vigor, rhythm and tempo of Tappeta Gullu is exceptional. The songs that are sung during the Tappeta Gullu dance are in mostly in praise of Lord Vishnu. In the dance stories from Indian mythologies like Ramayana, Mahabharata, Bhagavata and the lives of the ten incarnations of Vishnu.

The initial part of Tappeta Gullu is in the form of a ritual, where a man moves around the village with an ornamented pot of water, symbolizing Godesss Gangamma. The next part of the dance takes place at night. Tappeta Gullu is performed by a group of twelve to thirty men, who dance to the rhythm of the song. The dancers are dressed in a shirt, a turban and a loincloth, they also wear ankle-bells. The performers of the dance are accompanied by Tappeta or gundlu, hung on the chest. It is a musical instrument similar to a drum. The dance of Tappeta Gullu requires immense skill and muscle power. An important characteristic of the dance is that while dancing the artistes display rare skills in acrobatics. While performing the dancers stand one above the other on the thighs and shoulders of each other and form the the shape of a gopuram or a tree.

 

Lambadi

Lambadi is related to the Lambadi tribe, who lead a semi-nomadic life in Andhra Pradesh. The Lambadi tribe lives all over the state. They are popularly known as Banjaras or Sugalis. The dancers perform this dance to rejoice an abundant harvest or a good sowing season. They dress themselves in brass anklets, bangles, embellished jewelry and glass beads. The day to day tasks of a farmer, like reaping, harvesting, planting, sowing etc. are represented in the Lambadi Dance. During the festivals like Dussehra, Deepavali and Holi these tribal people move from one house to another dancing and receiving alms.

The Lambadi dancers dress up in gaudy dresses by wearing long colorful skirts decorated with mirrors and white broad bone bracelets covering their arms. An interesting fact about the dance form is that it is monopolized by women. It is permeated with fervent grace and lyricism. The subtle sensuality of the dancers make it more appealing. The rhythm and the coordination among the dancers is worth mentioning.

 

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 is published by the name of Dhimsa in Telugu Link to http://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”.

 

Bonalu

Bonalu is one of the folk festival popular in the Telangana region of Andhra Pradesh. The word "Bonalu" is the short form of "Bhojanalu", meaning "food", which is offered to the Goddess. The Godesses are worshipped by offering food, which is later shared among the family members.

Bonalu started as a harvest feast gradually progressing into a processional dance. Bonalu is celebrated in the month of Aashadha, according to Hindi calendar, which falls in the month of June or July. The festival is celebrated predominantly by Hindus.An interesting thing about Bonalu is that women folk participate in the procession carrying 'Ghatams' or ornamented pots filled with flowers on their heads. The women devotees also carry brass vessels or clay pots filled with cooked rice and decorated with neem leaves. In the procession men accompany the women devotees by playing drums and go to worship the local deity. Dressed in colorful dresses they balance the pots to the rhythmic songs and tunes, sung in glorifying the village deity Mahankali. The male dancers are known as Potharajus, who lead the procession by lashing whips and neem leaves.

 

Veeranatyam

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’ literaly 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. He is believed to have potrayed out His extreme anger by performing a vigorous dance; thus justifying the name Veeranatyam. It was the dance of ‘Pralay’ or Destruction. Lord Shiva picked out a relic out of His hair or ‘Jatajuta’, which created Veerabhadra. The angry destructive Shiva or the ‘Pralayankar’ in the fiercity of rage tarnished the ‘Dakshayagna Vatika’ the place where the function was held.

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.

Videos