| Arts
& Dances |
 |
Andhra
Natyam
|
Andhra Natyam is as old
as the people of Andhra and dates back to nearly 2000 years. Originally it was a temple dance performed by devadasis as a form of worship. |
|
These dance forms were categorised into three kinds - Agama
Nartanam, Carnatakam and Darbari Aatam.
Those performed inside the sanctum of the temple according to the rituals, were called
Agama Nartanam. This was a spiritual dance form.
The dances performed in royal courts to the accompaniment of classical music were called
Carnatakam. This was an intellectual art form.
The other kind of dance form Darbari Aatam, appealed more to the commoners and
educated them about their religion, culture and social life. These dances were performed
outside the temple precincts in the courtyards.
The dance form of Andhra Natyam was initially known by different names - Kacheri
Aatam, Kelika, Daasi Aatam, Chinna Melam, Nattuva Melam, Carnatakam and so on. It was Anna
Bathula Bule Venkata Ratnamma and the dancing ladies (devagnikas) who decided to give
all the dance forms one common name after the people of the region. Hence, it came to be
called as Andhra Natyam.
The evidence of Andhra Natyam can also be traced to the Buddhist era. Sculptures on the
stupa at Amaravathi also depict ladies dedicated to this art saluting the feet of Buddha
as Atmarpana. During the period of Hinayana (Lesser vehicle) Buddhism, this art form was
practised as Nruthyam - a form of worship to God.
Today, Andhra Natyam has been formally included as a five-year diploma course at the
Telugu University, Hyderabad. Several aspiring artists have successfully learned the dance
form of Andhra Natyam and are performing artists today.
Nagalakshmi, disciple of Dr Nataraja Ramakrishna is one such young dancer dedicated to this art form.
Top
Burra
Katha
Of all the
narrative folk forms in Andhra, the Burra Katha is perhaps the
most popular and the most extensively used creative medium. It
combines in itself all the significant aspects of many of the
ballad types of Andhra Pradesh and presents itself as a
recreated model. Burra Katha gets its name from
"burra", the percussion instrument used in the
narrative. It is said that the narrative or ballad folk form
has reached its perfection both in content and presentation
only in Burra Katha. Burra Katha was actually developed to create social
awareness by conveying contemporary messages. The Government
used it as a medium to carry the message of family planning to
the rural masses. Over the years, this form has been exploited
to serve political purposes.
The Burra Katha
team consists of three narrators. The chief narrator
coordinates the narration, description, explanation, humorous
comments and anecdotes. He recites the ballad to dramatize it
by exploiting the nuances of story telling. The greatest contribution of the
chief narrator to the success of the performance lies in his
presentation combining in him a dancer, an actor, a narrator
and above all, an able singer.
The other two
assistants or narrators hold a small drum and provide the
rhythm during the narration besides giving their chorus voice.
Both the "vanthas" or assistants are assigned
certain specific roles. One is the "hasyagadu" or
humor man who is dressed in a multi-colored garb with ash
spread on his forehead. He creates humor out of the situation
and connects.
The Burra Katha
team also recites traditional stories of "Bobbilli
Katha" and "Palnati Yuddham". Though Burra
Katha has been used by political forces and government
organizations for developmental and other purposes, it still
retains its intrinsic freshness and rich presentation through
direct comment, forceful appeal, irony, ridicule and the
entire satiric spectrum that makes it the most popular ballad
form in Andhra Pradesh.
Top
|
