Dance
In the historic times, dance in Andhra was a dedicated form practised invariably in the presence of deity in the temples. Devadasi System was in vogue during Vishnukundin and Eastern Chalukyan times. These devadasis were specially employed to practice dance according rigid systems of classical Natyasastra.They had to perform duties of ‘aarati’ and ‘Pavalimpu seva’ to the presiding deity. Manikyamba the builder of Draksharama temple was a typical devadasi. Kakatiyas, who were ardent followers of Saivism, encouraged Sivatandava dance throughout their kingdom. According to authoritative sources, there existed four dance institutions at Srisailam – the seat of Mallikharjuna, a Siva shrine.
Kelika style of dance was in vogue when the deity was taken in procession (utsava) in the streets. Devadasis used to dance in the procession. For some time, court dancer or rajanartaki system was in vogue. Yakshaganas were invariably practiced later by these devadasi – turned raja nartakis when their former systems fell into disuse by the efflux of time.
Kuchipudi Dance: Sidhendrayogi of Muvva, Krishna District around 15th century created Kuchipudi form of Bharatanatyam. Kuchipudi style is a watermark in Indian classical choreography. The near ballet type dance-drama ‘Bhama kalapam’ was his composition. In essence, Kuchipudi dance consists of Nritya and Natya. In Kuchipudi dance performance, every character of ballet is introduced to the audience through the words of a song interspersed with several jatis. It is said that the Kuchipudi dance form is a comprehensive one as conceived by the great sage, Bharata, the exponent of Indian classical dance. Lasya, tandava,and abhinaya are liberally employed by the artists in rendering slokas.
While rendering ballet, Kuchipudi form presses into service all the moving limbs. Wide range of abhinaya-aharya, angika, satvika, and vachika of classical Bharatanatyam are covered. Though Kuchipudi form is classical by nature the rendering appealed to masses. Gita Govinda of Jayadeva, padmas of Kshetrayya tarangams of Narayana Tirtha formed the repertoire of Kuchipudi dance. Bhama Kalapam, Golla Kalapam, Harischandra, Prahlada, and Usha Parinayam are popular in this system of Dance. Kuchipudi lays stress on jada among other costumes and ornaments. Jada or plaited hai, is delicately and tastefully rendered with 27 different pieces symbolizing 27 stars. 4 pieces on the head represent Chuturveda, a sun ornament and a moon ornament also form part of it. At the tail of the jada there are three round balls representing tribhuvanas (three worlds). Again another set of three smaller balls are hung under each big ball. Satyabhama symbolosing prakriti is a typical character in Kuchipudi style, while Sri Krishna represents purush. Satyabhama in Bhama Kalapam renders all the eight types of Nayaikas of Indian aesthetics (alankara sastra).
While rendering ballet, Kuchipudi form presses into service all the moving limbs. Wide range of abhinaya-aharya, angika, satvika, and vachika of classical Bharatanatyam are covered. Though Kuchipudi form is classical by nature the rendering appealed to masses. Gita Govinda of Jayadeva, padmas of Kshetrayya tarangams of Narayana Tirtha formed the repertoire of Kuchipudi dance. Bhama Kalapam, Golla Kalapam, Harischandra, Prahlada, and Usha Parinayam are popular in this system of Dance. Kuchipudi lays stress on jada among other costumes and ornaments. Jada or plaited hai, is delicately and tastefully rendered with 27 different pieces symbolizing 27 stars. 4 pieces on the head represent Chuturveda, a sun ornament and a moon ornament also form part of it. At the tail of the jada there are three round balls representing tribhuvanas (three worlds). Again another set of three smaller balls are hung under each big ball. Satyabhama symbolosing prakriti is a typical character in Kuchipudi style, while Sri Krishna represents purush. Satyabhama in Bhama Kalapam renders all the eight types of Nayaikas of Indian aesthetics (alankara sastra).
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