Theatre and Dance Traditions in the Andhra Region: A Comprehensive Study Guide - Week 3

Early References and Cultural Heritage of Andhra

• Sage Bharata’s Nāṭyaśāstra:

  • Mentions the performing arts traditions of southern India, specifically the Andhra region.

  • Defines a vast cultural landscape including Andhra, Drāviḍa, and Mahārāṣṭra.

  • Geographical Boundaries: Bounded by the Vindhya mountains to the north and the ocean to the south.

  • Kaiśikī Vṛtti: Bharata notes that artistes of this southern region predominantly follow this style, which is characterized as graceful and expressive, involving dance, music, and various musical instruments.

  • Dākṣiṇātya Pravṛtti: According to the text, Andhra falls under this specific "Southern Performance Tradition."

• Abhinavagupta’s Commentary:

  • While commenting on the term "Vainna," the scholar explains it refers to people living along the banks of the Krishna and Penna rivers.

  • This area corresponds geographically to present-day Andhra Pradesh.

• Bṛhaddēśī by Matanga:

  • Mentions a specific raga named "Andhrī."

  • The "Andhrī" raga is cited as one of the six rāgiṇīs associated with the Mālava raga.

• Literary and Archaeological Evidence:

  • Gāthāsaptaśatī: Authored by King Hāla, this work provides evidence of flourishing dance and performance arts in Andhra well before the Common Era.

  • Buddhist Period: Sculptural and textual evidence from monastic sites reflects the development of performing arts.

  • Japanese Connection: Traditional dances preserved in Japanese monasteries today are believed to share a lineage with ancient Andhra dance forms.

• Nāndikeśvara:

  • The revered author of the foundational texts Abhinaya Darpaṇa and Bhāratārṇava.

  • He is believed to have hailed from the Andhra region.

• Historical Timeline and Janapadas:

  • Aitareya Brāhmaṇa: The earliest known mention of the word "Āndhra" appears here, dating to approximately $800\text{ BCE}$.

  • 6th Century BCE: The Andhra Janapada was represented by the region of Assaka.

  • Geography of Assaka: Situated between the Godavari and Krishna rivers.

  • Capital: Dhanakataka, identified as modern-day Bezwada (Vijayawada).

  • Mauryan Connection: Inscriptions of Emperor Ashoka refer to Andhra as one of the territories under Mauryan rule.

Dynastic Patronage and Cultural Evolution

• The Śātavāhana Dynasty ($1^{st}\text{ Century BCE}$ to $3^{rd}\text{ Century CE}$):

  • Key figure: Gautamīputra Śātakarṇi and his successor Vaśiṣṭhīputra Pulumāvī.

  • The empire spanned modern Andhra Pradesh, Telangana, Maharashtra, northern Karnataka, eastern/southern Madhya Pradesh, Chhattisgarh, and parts of Saurashtra (Gujarat).

  • Capitals: Amarāvati, Dharanikota, Pratiṣṭhāna (modern Paithan, Maharashtra), and Junnar.

  • Cultural Legacy: King Śātakarṇi is said to have authored a treatise on dramatics (now lost). They favored the use of Prakrit over Sanskrit.

• Sculptural Evidence of Performance:

  • Artistic excellence is found in Buddhist cave sculptures at Karle, Bhaja, and Amaravati, and Ajanta paintings.

  • Nāgārjunakoṇḍa: Sculptural panels depict the grace and expressiveness of dancers and singers.

• Successor Dynasties:

  • Pallavas: Ardent patrons of dance. Queen Rangapatāka (queen of Rajasimha, r. $690\text{--}729\text{ CE}$) was an accomplished dancer.

  • Eastern Cālukyas ($7^{th}$ to $11^{th}\text{ Century CE}$): Inscriptions mention donations to Devadāsīs for Aṅgaraṅgabhōga (ritual dance and music in front of a deity). Gāndharva Vidyā (music and dance) was a formal part of education.

• Temples and Courtesans:

  • Dance was historically performed in temples and royal courts.

  • Training was provided to royal women, elite courtesans, and Devadāsīs.

  • Srikakulam Mahāviṣṇu Temple Inscription: Records Devadāsīs being granted land, property, and hereditary rights.

• Vijayanagara Empire and the Nayakas:

  • The arts scene ended with the Battle of Tāllikōṭa in $1565$.

  • Andhra artists migrated south to Tanjore and Madurai.

  • Tanjore Nāyaka Kings ($1633\text{--}1673$): Specifically Vijayanagara Nāyaka rule. They were artist-scholars who revived Vīdhināṭaka and integrated Yakṣagāna.

  • Maratha Rulers of Tanjore ($1675\text{--}1850$): Successors who incorporated Sanskrit drama elements into Vīdhināṭaka.

Principal Traditions and the Concept of Meḷaṁ

• Three Principal Dance Traditions of Andhra:

  1. Kakkarapāḍu Tradition: Brought to coastal Andhra by the Arava Dravida community from Tamil Nadu in the $11^{th}\text{ Century CE}$.

  2. Minampāṭi Tradition: Once prevalent in Rayalaseema and Nellore; now extinct.

  3. Kūcipūḍi Tradition: The most prominent, characterized by its male-dominated Bhāgavata heritage.

• Definition of Meḷaṁ:

  • Derives from Telugu, meaning group or ensemble.

  • Meḷaviṁpu: Refers to harmony or coordination within the group.

  • Mythological Origin: Lord Brahma entrusted vocal music to Sage Nārada and Gandharvas, and instrumental music to Sage Swāti and disciples, forming the first Nāṭya Bṛndaṁ.

• Classification of Bṛndaṁ (Ensemble) by Śāradātanaya:

  • Abhyantara: Exclusively female performers.

  • Bāhya: Mixed ensemble of male and female artists.

• Traditional Performance Systems:

  • Nāṭyameḷaṁ: A dramatic troupe performing multi-role narrative dance-dramas, usually open-air and outside temple premises. Leader: Meḷa Nāyakuḍu.

  • Naṭṭuvameḷaṁ (Cinnameḷaṁ): A solo performance by a female dancer within the temple sanctum as a ritual offering. Leader: Naṭṭuvanār.

• The Ritual Cycle of Temple Dancers (Devanārthakīs):

  • Melukolupu Seva: Morning wake-up ritual.

  • Pāvalimpu Seva: Nightly ritual putting the deity to rest.

  • Abolition: These traditions declined after the $1948$ formal ban on Guḍi-Sevas.

Worship Dances and Literary Traditions

• Mārgi Tradition: Classical and sacred expressions following technical guidelines (Karaṇas, Aṅgahāras, Hastas) from the Nāṭyaśāstra.

  • Śaiva Tradition: Vigorous, energetic; incorporates multiple Karaṇas and Aṅgahāras.

  • Vaishnava Tradition: Graceful hand gestures, delicate expressions; focuses on Abhinaya and Lāsya.

• The Role of Telugu Language:

  • Telugu became the dominant medium for sacred artistic texts (Padams, Padavarnams, Gītams, Śabdams, Yakṣagānas).

  • Telugu texts attained pan-regional authority compared to other regional vernaculars.

• Evolution of Devotional Theatre:

  • Early Impetus: The Vīra Śaiva cult.

  • Śivalīlā Nāṭyaṁ: Performances focused on Lord Śiva (under Nāṭyameḷaṁ).

  • Viṣṇulīlā Nāṭyaṁ: Narrative focused on Lord Viṣṇu, later known as Bhāgavata Meḷaṁ.

  • Paṇḍitārādhya Caritra ($12^{th}\text{ Century}$): Written by Pālkūri Sōmanātha, describing ornate costumes, makeup, orchestras, and stage curtains.

Kuravanji: Folk Dance Drama Tradition

• Etymology and Origins:

  • "Kurava + Anji" refers to movements or chindu (steps) of the Kurava tribe.

  • Practiced in Shaiva centers (Srisailam, Pithapuram, Daksharamam) and Vaishnava centers (Simhachalam, Srikakulam).

  • Famous play: Chenchu Lakshmi (Garudachala Yakshagana).

• Structure and Features:

  • Dance-driven format using rhythmic nṛtta segments.

  • Focus on naturalistic and rural themes rather than stylized conventions.

  • Minimal use of tāla.

• Characters:

  • Singi and Singadu: Parallels to Nati and Sūtradhāra.

  • Konanki or Chodigadu: Comic characters who inspired puppet types like Juttupoligadu and Bangarakka.

• Preservation of Rare Rāgas:

  • Ahiri, Gumma Kambhoji, Janala Kambhoji, Hejjoji.

Bhāgavata Mēḷa Nāṭaka

• Origins: Influenced by Jayadeva’s Gīta Govindam (Citrakāvya) and earlier Brahmana Mela ($8^{th}\text{--}10^{th}\text{ Century CE}$).

• Bhāgavatams Varieties:

  • Yerra Golla, Cindu, Jangam, Dasari, Yānādi, Devadasi/Kalāvantula, Tūrpu Bāṇi vāri, Cencu, and Kūcipūḍi Bhāgavatams.

• Vipra Vinodulu: Brahmin scholar-artists active before the $16^{th}\text{ Century}$.

• Classical Elements:

  • Incorporates Nṛtta and Nṛtya.

  • Four types of Abhinaya: Āṅgika, Vācika, Āhārya, and Sāttvika.

  • Daruvu: A character's introductory song expressing mood and rhythm.

  • Performance Sequence: Daruvu starts with a Jati (rhythmic syllable) and ends with a Śabdam (expressive piece).

Vīdhi Nāṭaka and Pagaṭivēṣaṁ

• Vīdhi Nāṭaka (Street Play):

  • Performed on elevated platforms facing temple images.

  • Also known as Vīdhi Bhāgavataṁ or Bayalāṭa.

  • Three forms: Classical (Dasa Rūpaka), Modern satirical/propagandistic, and the evolved theatrical Yakṣagāna.

  • Bharatamvāru: Pundits who migrated from Kuchipudi to Piṭhāpuram, Maṇḍapeṭa, etc., training female dancers.

• Pagaṭivēṣaṁ (Impersonation Theatre):

  • Performed in daylight by artists known as Bahurūpulu.

  • Used historically in espionage (e.g., Shivaji, Pratāparudra, Raja Kalinga Gangu).

  • Gaḍḍipāḍu Bhāgavatulu: Founded by Pallāvajhula Venkata Ramaiah.

• Types of Veṣas (Total: $33$ widely recognized):

  • Folk/Comic: Buḍabukkala (wandering minstrel), Piṭṭa Dora, Singi-Singadu.

  • Mythological: Śārada, Ardhanārīśvara (the only one surviving sporadically).

  • Cultural Inclusiveness: Performing Quranic passages in Fakir Veṣaṁ or Nirguṇi bhajans in Bairagi Veṣaṁ.

• Concluding Ritual:

  • Pogaḍtala Hāraṁ (Chain of praises) recited on the final day while seeking alms.

  • Transcription of verse: "Hāraṁ tripurāsura saṁhāraṁ… Mādi Kūcipūḍi agrahāraṁ mēmu kulamuna brāḥmaṇavāraṁ…"

• Notable Artists:

  • Pasumarthi Sheshayya Garu (Bairagi, Fakir).

  • Chinta Prakasa Sarma & Chinta Balakrishna (Vaishnava, Cencu).

  • Mahankali Satyanarayana (Jangama).

  • Vedantam Mallikarjuna Sarma (Śārada, Ardhanārīśvara).

  • Vedantam Ghatayya & Vedantam Satyanarayana.