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{{Short description|none}} | |||
{{Use dmy dates|date=June 2019}} | {{Use dmy dates|date=June 2019}} | ||
{{Use Indian English|date=June 2019}} | {{Use Indian English|date=June 2019}} | ||
{{ | {{More citations needed|date=September 2014}} | ||
The '''dance forms of Andhra Pradesh''' take on a wide variety of colors, costumes, and types; and involve different settings and musical instruments. | The '''dance forms of Andhra Pradesh''' take on a wide variety of colors, costumes, and types; and involve different settings and musical instruments. | ||
==Vilasini Natyam == | ==Vilasini Natyam == | ||
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==Andhra Natyam == | ==Andhra Natyam == | ||
'''Andhra Natyam''' is a classical dance form originating from the | '''Andhra Natyam''' is a classical dance form originating from the Indian states of [[Andhra Pradesh|Andhra Pradesh and Telangana]]. This traditional dance form, having a history of 2000 years was lost in the [[Mughal Empire|Mughal]] and British era, and was revived in the 20th century.<ref name=sinha>{{cite book|last=Sinha|first=Aakriti|title=Let's know dances of India|year=2006|publisher=Star Publications}}</ref> | ||
==Bhamakalpam== | |||
Bhama refers to [[Satyabhama]], Krishna's beautiful but jealous wife and kalapam means complaint or argument. Bhamakalpam is both a theatre form (like Gollakalpam) and a [[drama]]. The drama was created by Siddhendra Yogi in the 17th 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 Kathakali and Yakshagana. | |||
==Burrakatha== | ==Burrakatha== | ||
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A very old form of dance in the state of Andhra Pradesh that has a lot of religious significance attached to it; is Veeranatyam. This fascinating kind of dance form is also known as Veerangam and Veerabhadra Nrityam. The term ‘Veera’ literally means brave. Thus as the name of the dance form suggests it is the dance of the brave. | A very old form of dance in the state of Andhra Pradesh that has a lot of religious significance attached to it; is Veeranatyam. This fascinating kind of dance form is also known as Veerangam and Veerabhadra Nrityam. The term ‘Veera’ literally 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 Hindu Mythology. Once Lord | The illustration of Veeranatyam is found in Hindu Mythology. Once Lord Shiva's wife, Sati Devi was humiliated at a function. This made the Shiva-the God of destruction, furious. Lord Shiva, outraged at the humiliation met by his consort, Lord Shiva picked a relic out of His hair or ‘Jatajuta’, which created Veerabhadra. | ||
He is believed to have portrayed His extreme anger by performing a vigorous dance; thus justifying the name Veeranatynam. It was the dance of ‘Pranayam’ or Destruction. | He is believed to have portrayed His extreme anger by performing a vigorous dance; thus justifying the name Veeranatynam. It was the dance of ‘Pranayam’ or Destruction. | ||
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Popular in [[Srikakulam]] and [[Vizianagaram]] Districts, this is a devotional dance that invokes the Rain God with its vigor, rhythm, and [[tempo]]. | Popular in [[Srikakulam]] and [[Vizianagaram]] Districts, this is a devotional dance that invokes the Rain God with its vigor, rhythm, and [[tempo]]. | ||
Also performed during festivals, the dance sees 15 to 20 vibrant artists with drums around their necks creating mesmerizing beats and heart-stopping acrobatics | Also performed during festivals, the dance sees 15 to 20 vibrant artists with drums around their necks creating mesmerizing beats and heart-stopping acrobatics | ||
[[File:Lambadi Dance.jpg|thumb|Lambadi Dance]] | |||
==Lambaadi== | ==Lambaadi== | ||
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Costumes embroidered with glass beads and mirrors, ornate jewelry, ivory bangles, brass anklets, and a natural rhythm make this dance a colorful exposition of joy which is the highlight of many a festive occasion | Costumes embroidered with glass beads and mirrors, ornate jewelry, ivory bangles, brass anklets, and a natural rhythm make this dance a colorful exposition of joy which is the highlight of many a festive occasion | ||
== | ==Dhimsa== | ||
{{main|Dhimsa}} | {{main|Dhimsa}} | ||
Dhimsa dance is a dance of young and old, men and women of Valmiki, Bogata, Khond, and Kotia tribes living in the enchanting Araku Valley in the hilly tracts of Vishakhapatnam district. A monthly [[magazine]] is published by the name of ''Dhimsa'' in [Telugu language] Tribals dance during the months of [[Chaitra]] i.e. March and April, on [[wedding]]s 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 canalizes 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 the group to the tune of Mori, Kiridi, Tudumu, Dappu, and Jodukommulu. | |||
Ahimsa had branched off to eight different categories of dances. Boda Dimsa is a worship dance in honor of the 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 Gundert dims or Usku Dimsa a male dancer while singing sends an 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 God 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. Poster-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 the same manner and keep their hands on shoulders of dancers standing before. Turning their heads to the right and left the two rows march forward and backward. Bhag Dimsa is a dance of art as to how to escape from a tiger's attack. Half of the dancers form a circle holding hand in hand. They stand on their toes, bowing and raising their heads. Moving around 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 the Dewali festival in particular. Kunda Dimsa is a dance where the dancers push each other with their shoulders while swinging rhythmically. Baya Dimsa dance is the dance of a tribal magician when he is possessed by the village goddess. All the villagers with their hands bowed down to imitate the "Ganachari". This continues till the magician returns to normalcy Dimsa dances exhibit community unity without discrimination. 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 unspoiled. Through their dances cannot be included in any classical forms, yet they conform to the rhythm of either "Aditala" or "Rupakatala". | Ahimsa had branched off to eight different categories of dances. Boda Dimsa is a worship dance in honor of the 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 Gundert dims or Usku Dimsa a male dancer while singing sends an 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 God 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. Poster-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 the same manner and keep their hands on shoulders of dancers standing before. Turning their heads to the right and left the two rows march forward and backward. Bhag Dimsa is a dance of art as to how to escape from a tiger's attack. Half of the dancers form a circle holding hand in hand. They stand on their toes, bowing and raising their heads. Moving around 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 the Dewali festival in particular. Kunda Dimsa is a dance where the dancers push each other with their shoulders while swinging rhythmically. Baya Dimsa dance is the dance of a tribal magician when he is possessed by the village goddess. All the villagers with their hands bowed down to imitate the "Ganachari". This continues till the magician returns to normalcy Dimsa dances exhibit community unity without discrimination. 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 unspoiled. Through their dances cannot be included in any classical forms, yet they conform to the rhythm of either "Aditala" or "Rupakatala". | ||
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{{reflist}} | {{reflist}} | ||
{{Dance in India}} | {{Dance in India}} | ||
[[Category:Culture of Andhra Pradesh]] | [[Category:Culture of Andhra Pradesh]] | ||
[[Category:Dances of India| ]] | [[Category:Dances of India| ]] | ||
[[Category:Puppetry in India]] | [[Category:Puppetry in India]] | ||