Annotated Bibliography on Kuchipudi Dance Sources
10.6092/issn.2036-1599/6625
Questo saggio (un estratto dello studio sottoposto alla Asiatic Society di Mumbai per la K.T. Telang Fellowship in Indologia, nel 1996) include 44 fonti, tra libri, articoli, tesi, scritte da danzatori, studiosi e storici sulla tradizione della danza Kuchipudi, in lingua inglese e telogu. Il maggiore contributo di questo lavoro è la traduzione in inglese di testi scritti in telegu, per permettere a chi non conosce questa lingua di avvicinarsi a questa letteratura specializzata. Il saggio offre inoltre un panorama sul passato della tradizione di danza Kuchipudi e sul suo sviluppo. Le fonti citate, benché non esaustive, coprono i più significativi studi scritti sulla danza Kuchipudi in India nel XX secolo, fino alla metà degli anni Novanta. I commenti offrono la prospettiva di ogni autore sul processo di sviluppo del Kuchipudi da originaria forma di teatro-danza alla forma solistica, al presente status di danza “classica”.
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Annotated Bibliography on Kuchipudi Dance Sources
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Annotated Bibliography on Kuchipudi Dance Sources
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                                        Rajyalakshmi Seth



      Annotated Bibliography on Kuchipudi Dance Sources*


    The initial study of the topic for my Ph.D thesis 1 indicated a need to
compile the various sources that have information on Kuchipudi, especially
those in Telugu language, which are not easily accessible to English speaking
researchers and readers. A critical survey of the literature has been done in
order to prepare a database to study the development of Kuchipudi dance
tradition in a historical and analytical perspective. This database that provides
an overall view of Kuchipudi dance tradition as it was practiced in the past as
well as in contemporary times was presented in the format of annotated
bibliography was submitted as a part of the project report to The Asiatic
Society of Bombay, Mumbai for the Justice K.T. Telang Fellowship in Indology
(1996). The content presents the review of literature on Kuchipudi sources in
Telugu and English.
    The contributing factor in the annotated bibliography is that the gist of all
the documented sources in Telugu have been first translated into English and
then analyzed. Though the annotated bibliography is not to be considered as
exhaustive, but most of the major and significant writings available in India
have been included. The translation, compilation and analysis can claim to be
one of the rare and few research works not only in regard to Kuchipudi
literature but even in dance literature on performing arts and also in other
subjects.


    Considering the transformation that took place in the Kuchipudi dance
tradition in the course of the Twentieth Century, the content analysis for the
annotations focuses on the following changes:
    • evolution of a solo format from the Seth original dance drama tradition;

*
  The bibliographical references are given in the format proposed by the author. The references
of the online documents were all verified on December 29, 2016 [editor’s note].
1
  Seth, Rajyalakshmi, PhD thesis titled The Changing contours of Kuchipudi dance: A Sociological study,
Department of Sociology, University of Mumbai, Mumbai, 2005.

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                                                                                     DOI: 10.6092/issn.2036-1599/6625
208                                                                  Rajyalakshmi Seth




      • the shift from the rural stage and ritual performances in temple premises
to public in urban areas;
      • the entry of women dancers into the tradition which had for centuries
allowed only males;
      • the emergence and growth of performers from non-hereditary families,
and also from outside Andhra region as well as non-Telugu audience;
      • subsequent changes in the lyrical content and music used in both the
Kuchipudi dance-drama tradition and the solo dance format.


      The compilation is the outcome of a critical survey of dance literature and
the content of various sources is included in this format of an annotated
bibliography with an objective to describe the development of Kuchipudi
dance tradition in both historical and analytical perspective. The focus is on the
development and changes in the Kuchipudi dance tradition taking into
consideration the linkages Kuchipudi dance had with the two aspects of social
life: religious milieu and royal patronage in the context of changing cultural,
social and political conditions. The examination is done in comparison with the
other dance traditions like ritual dances at temples called Aradhana or Devalaya
nrityamulu and folk theater forms like Veedhinatakam and Pagativesham that
continued to be practiced in Andhra.
      The annotations present an overall view of Kuchipudi dance tradition as it
was practiced in the past as well as in contemporary times. The compiled
information and the references to various published works can be useful as a
reference manual to the researchers and dancers for locating information on
any concepts, interpretations and technical terms used in Kuchipudi dance
performance as well as in the learning process. In addition, the annotations,
especially those works in Telugu, will familiarize the non-Telugu speaking
reader with the many aspects and elements that Kuchipudi contains.
      Kuchipudi dance seems to have not received its share of recognition as a
classical dance style in the so far documented and published material as
compared to other classical dance styles i.e., Bharatanatyam, Kathak, Kathakali,
Manipuri, Odissi, and Mohini Attam. Many books on Indian classical dances
published till as late as 1980s did not feature Kuchipudi. One needs to explore
Annotated Bibliography on Kuchipudi sources                                                                               209




whether this is due to the fact that the best documentation of sources on
Kuchipudi is in Telugu, and hence not enough material has been available to
non Telugu writers on dance traditions in general, to help them come to
conclusions on the nature of Kuchipudi dance tradition.
    The annotated bibliography, besides providing a list of source books on
Kuchipudi which are otherwise scattered, most of which are in Telugu, gives
an overview of various aspects, issues, facts that are discussed and highlighted
by various scholars, artistes, dancers and art connoisseurs in order to establish
the events that facilitated the evolution and development of Kuchipudi dance
tradition from the medieval period to the last decade of the Twentieth Century.
    This annotation is intended to focus on Kuchipudi dance tradition in a
historical perspective and the period chosen for this purpose was till mid 1990s
when the sources on dance literature on Kuchipudi dance was scanty and
scattered. Later from early 2000 the dance literature increased multi-fold with
the development of modern technology and computer network and so on
which became accessible. But the sources covered here comprise rare reference
material so inclusion in this paper will throw light on the perspectives and
opinions, arguments of scholars, art historians and dance practitioners of the
last Century.




1. Acharya, C.R.

Andhrula natyakala ounnatyamu [Prosperity of dance traditions of
Andhra people], Natyakala, Andhra Pradesh Sangeet Natak Akademi
[henceforth referred as APSNA], Hyderabad, December 1964, pp. 2-4.


    Out of the three main dance traditions classified as Kuchipudi Nrutyam (Kuchipudi
Dance), Aradhana Nrutyamulu (Temple-ritual dances) and Janapada Nrutyamulu (folk or
regional dance forms) in Andhra region, Kuchipudi developed with a distinct identity having
a dance technique that is based on the dance treatises like Natyasastra (henceforth to be
referred as NS) and Abhinaya Darpanam (henceforth to be referred as Ab.D).


    In this article Acharya discusses the nature of Kuchipudi dance repertoire,


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the differences in the lyrical compositions and the changes that have been
brought into these by the artistes belonging to different regions in Andhra in
due course of time. Mentioning about the continuity of the dance traditions,
Acharya writes that though some common compositions were performed by
different bhagavatulu, not all the dance traditions could be continued as
performances. For many an artiste it became difficult to adhere to one tradition
and still retain the interest of people. However despite many odds Kuchipudi
artistes managed to continue the tradition till today with the contribution, able
guidance and leadership of various Kuchipudi exponents and learned scholars.
      Referring to the two main types of art forms, that is, dance-drama and solo
performances in Andhra region, he uses two terms Bharata-natakam for dance-
dramas and Bharata-nrutyam for solo-dance performances.
      Another observation made by Acharya is about the differences in the
performances and lyrical compositions in the dance-drama presentations. The
artistes, popularly known as bhagavatulu, who performed on themes based on
Hindu epics like Bhagavatam, Ramayana and Mahabharata etc. were referred
with prefix indicating the place to which they belonged, like, Palagudem
bhagavatulu, Sriramavaram Jangam bhagavatulu, Mylavaram Yenadi, Tummalapalli Golla
bhagavatulu. Though they all performed same themes and dance-dramas like
Mohini rukmangada, Prahalada natakam etc. the language used in the lyrical
content was different from another. In the case of Kuchipudi, a dance-drama
tradition practiced for more than three centuries exclusively by Brahmins only,
the lyrics contained words having high literary value. Whereas in the other
traditions the lyrical content was written in a simple Telugu language. Also the
dance syllables and the presentation style differed. Some changes can be also
noted in respect to the repertoire, lyrical content incorporated in the
performances. But at the same time there existed a give and take relationship
between the various dance traditions.

2. Acharya, C.R.

Kuchipudi natyamu: Chari bhedamulu [Charis-Different body
movements in Kuchipudi dance], Natyakala, APSNA, Hyderabad, June
1966, pp. 26-30.
Annotated Bibliography on Kuchipudi sources                                                                               211




    Chari is the technical term used for the movement of hands and feet of the body in
Indian dance technique. In this article the author focuses on the significance of chari-s in
Kuchipudi dance, especially in the dance composition called tarangam.


    Both the ancient treatises, Natyasastra and Abhinaya Darpanam define and
describe various chari-s in their texts. While the former mentions that these
chari-s can be performed incorporating the regional customs and mannerism,
the latter defines as to how these movements can be performed. These chari-s
are divided into two main groups Akasha (with feet above the ground level)
and Bhoomi (feet on the ground), the use of different varieties of these chari-s
contribute to the dance technique of a dance form.
    Mentioning the significance of chari-s in Kuchipudi dance, Acharya explains
that a variety of chari-s are exhibited while performing various lyrical
compositions like tarangam, jatiswaram and kautvam included in the Kuchipudi
repertoire.

3. Acharya, C.R.

Kuchipudi Aradhana Nrutyamulu [Kuchipudi & Temple Ritual dances],
Sangeeta Natak Academy, New Delhi, 1969.


    This book, divided into two sections, gives details about the two main dance traditions
practiced in Andhra region; Kuchipudi and Aradhana Nrutyamulu, the latter meaning
temple ritual dances. Acharya provides details about the historical background, the
technique, musical aspects of the two dance traditions and refers to the interaction between
them.


    Acharya provides details about the historical background, the technique,
musical aspects in the two dance tradition and refers to the interaction that
took place between Kuchipudi and the temple ritual dance traditions. Acharya
attributes the status and popularity of Kuchipudi dance as an established
classical dance form at national and international levels to the contribution of
various dedicated artistes, music composers, scholars, poets and other art-
lovers.



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4. Acharya, C.R. and Sarabhai, Mallika

Understanding Kuchipudi, Indira Gandhi National Centre for the Arts,
New Delhi and Darpana Academy of Performing Arts, Ahmedabad,
1992.


      Contains a brief sketch of the origin and history of Kuchipudi, and also includes an
illustrated manual on the dance technique and the repertoire with their themes.


      Written for the first time in English this serves as a text book for students
of Kuchipudi, and contains a brief sketch of the origin and history of this
dance form, and its links with Bhagavata mela nataka, a dance-drama tradition.
Then different sections follow describing the components of dance technique
like hand gestures (hasta mudra-s) or the postures (sthanaka-s), movements (chari-
s) and rechaka-s (movements of the limbs) which comprise the movements of the
limbs, the karanas or dance poses and angaharas or sequences of such poses the
navarasas, tala and footwork, the seven kinds of ritual dances, the role of music
in Kuchipudi dance and the repertoire with a summary of the themes of
popular items like Bhamakalapam, Ushaparinayam, Manduka shabdam, tarangam,
samkirtananam, etc. the chapter on the Bhagavata mela natakams contains a
section on make-up, costumes and ornaments, and stage decorations.
      The historical sketch is not supported by references to the sources, hence it
is not possible to evaluate the historical accuracy of several statements.
Though brief, and meant for the interested layperson and young student, the
book’s clarity and systematic presentation make it a good introduction to the
subject.

5. Appa Rao P.S.R.

Siddhendra Yogi, Bhamakalapam (Compilation of text), APSNA,
Hyderabad, 1967, pp. I-XV [Reproduced from original article courtesy
«Bharati» (January 1960)].


      In this article, a preface to the lyrical text of Bhamakalapam, the author analyses the
various view points expressed in the dance literature in placing Siddhendra Yogi in the
medieval period.
Annotated Bibliography on Kuchipudi sources                                                                               213




    Bhamakalapam is a popular dance-drama performed by Kuchipudi artistes.
The authorship of this dance-drama is attributed to a saint called Siddhendra
Yogi. Siddhendra Yogi’s goal was to propagate madhura-Bhakti which was one
of the ways of spreading the vaishnavism in medieval period (probably
influenced by Jayadeva’s Gita Govinda which was the case with one many
medieval poets). Till today the exact period to which Siddhendra Yogi
belonged to is an issue revealing controversial opinions by various scholars
concerned with the dance form, where they place him in a range of six
centuries, that is between 13th and 17th Century A.D. Siddhendra Yogi was also
considered the founder-father of Kuchipudi dance tradition.

6. Appa Rao, P.S.R.

Kuchipudi Natyam, Kuchipudi Dance Festival ’91, Telugu University,
Hyderabad, September 1991, pp. 29-36.


    The author after describing the regional differences, continuity, influence of religious
movements on various dance forms and their classification in India during the medieval
period goes on to examine the origin and nature of Kuchipudi dance with respect to its
technique.


    After briefly examining the other dance styles, considered as classical dances
of India like Bharatanatyam and Kathakali, the author examines the origin and
nature of Kuchipudi dance with respect to its technique.
    According to PSR, through the process of transmitting the dance art and
the technique were taken from the same source as NS, regional changes took
place in the nritya (expressive dance) with the innovative ideas of nritya acharya-s
(dance teachers). These variations were identified with respective regions and
acquired various names. Bharatamuni in NS divided the country into different
regions namely: Dakshinatya, Avanti, Odhra, Magadha and Panchala
madhyama, based on their pravritti-s (pravritti-s are defined as that of regional
identity of character in a regular play that is recognized through costumes,
dialect, habit, tradition, customs and occupation). There are half a dozen styles
of Indian dance recognized as classical with each one belonging to a particular

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pravritti. For instance, Bharatanatyam of Tamilnadu, Kuchipudi of Andhra
Pradesh, Kathakali of Kerala belong to Dakshininatya, Odissi and Manipuri to
Odhra-magadhi and Kathak belongs to Panchala madyama. There might be tall
claims from the respective regions about the antiquity of each style.
      PSR opines that no contemporary classical style in India could claim to be
of direct descendant to Bharata’s tradition or that it has an uninterrupted
continuity from ancient times. The author attempts to trace and examine the
beginnings of the contemporary classical dance styles of India with an
unbiased objective.

7. Appa Rao, P.S.R.

Natya Sastra and Andhra desa, Kuchipudi Mahotsav ’93, Andhra
Mahasabha & Nehru Centre, Mumbai, December 1993, pp. 47-52.


      PSR gives several literary and some sculptural references to show that there was a rich
tradition of performing arts in Andhra region, continuing from the time of the ancient
treatise, Natyasastra.


      In this article, PSR gives several literary and some sculptural references to
show that there was a rich tradition of performing arts in Andhra region from
the time of the NS. These do not tell us what exactly was the style and
technique or whether they were related to the Kuchipudi dance style. However
it seems quite certain that the classical texts on dance must have influenced the
existing dance styles in the Andhra region.
      The earliest reference to Kuchipudi as a specific and distinct dance style is
in the Machupalli Kaifiyat records which note the visit of Kuchipudi brahmana
bhagavatulu (brahmins performing as Kuchipudi bhagavatulu) who visited Hampi
in the early 16th Century and performed before the king. PSR confers from this
the bhagavatulu tradition must have been a mature and well-established one by
that time and hence it must date at least to the 14th Century AD.
      This article raises some interesting issues. PSR points that the 13 th Century
marks a turning point for desi styles needs to be probed further; since it was
around this time that Kuchipudi dance started crystallizing out its distinct
identity. It would seem from Nritta Ratnavali that there was a spurt in growth
Annotated Bibliography on Kuchipudi sources                                                                               215




in desi styles. Reading other text and commentary of Nritta Ratnavali may give
us a better picture of what were included in desi and what were the reasons for
its growth. And this growth caused a reaction in terms of a move towards
revival of marga tradition. But, in the climate of bhakti which was then
prevailing, the marga tradition associated with devadasis may have been
discredited. Thus it could be that Siddhendra Yogi drew out of the existing
rich desi traditions as well as marga traditions, but tried to keep away from the
association with devadasis and integrated his dance style into the bhakti ethos.
    The author describes the nature of dance that was practiced in Andhra
region between the time Bharata’s NS (believed to be written in 2nd Century
B.C.) and 17th Century AD. The chronological development of dance art is
established with the help of evidences provided in literary and epigraphy
sources.

8. Appa Rao, P.S.R. and Uma Rama Rao, K.

Kuchipudi Nrityam-B.A. Ist & IInd year Text Book , P.S. Telugu
University, Hyderabad, 1994.


    The content, based on the compilation of various dance treatises, provides the text on the
characteristic features of Kuchipudi dance besides the technical terms and terminology that
are used in teaching the dance form, specially in the academic courses at graduation level.


    In Kuchipudi the learning process which was done in oral tradition till
recent years soon attained academic values with the involvement of senior and
traditional teachers like Vedantam Prahlada Sarma, Nataraja Ramakrishna
(henceforth to be referred as NR), Korada Narasimha Rao who formed a
syllabus for the courses in dance. Bachelor of Arts (B.A.) and the Master of
Arts (M.A.) courses were offered in Kuchipudi from December 1987 and 1989
respectively. However there was a need for bringing out a text book, for both
theory and practical learning.
    The content is based on the relevant details compiled from various dance
treatises and provides the text on the characteristic features of Kuchipudi
dance, the technical terms and terminology that are used in the dance style, the
biographical sketches of music composers etc. The contribution of this book

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as a text for the academic courses lies in the combined effort of the two
authors who are acquainted with the dance form in their individual capacities.
The book forms a reference text having subject matter as per the set syllabus.
It includes both theoretical and practical aspects, prescribed particularly for
undergraduate students. This can be also useful for dancers, researchers and
art-lovers.

9. Banda, Kanakalingeswara Rao (a)

Kuchippudi Nrutyam – Natakam [Kuchipudi dance and dance-drama],
Natyakala, Nrityankam (a special issue on dance), APSNA, Hyderabad,
April 1964, pp. 93-102.


      The gist of the article explains the classical nature of Kuchipudi, and the origin of the
dance tradition and the contribution of Siddhendra Yogi.


      Discussing the classical nature of Kuchipudi Natyam and Natakam,
meaning Kuchipudi dance and drama, Banda mentions that they are based on
the principles of technique given in Bharata’s NS. There is rangapuja (worship
of the stage), Indradhwaja avishkarana (hoisting the flag of celestial God, Indra)
as a prelude to a performance with sutradhara singing preliminaries of
invocation with the curved stick in his hand. These aspects of performances
are followed as given in the first chapters of NS. So Kuchipudi dance tradition
is classical in nature.

10. Banda, Kanakalingeswara Rao (b)

Kuchipudi Natya Kala [Kuchipudi dance art], Natyakala, APSNA,
Hyderabad, October 1966, pp. 55-60.


      Kuchipudi dance tradition before and after contribution of Siddhendra Yogi, and later
propagation facilitated by the State and Central Government cultural bodies.


      Prior to Siddhenda Yogi, various dance traditions in Andhra region existed,
some of which were practiced by devadasi-s who performed in temples and
royal courts. This continued till Kalinga kingdom came into rule. Narahari
Tirtha, a chief minister of the kingdom and originally belonging to Orissa
Annotated Bibliography on Kuchipudi sources                                                                               217




region, started popularizing the Gitagoivindam by singing the compositions from
the work, amongst people living in around Srikakulam village which he made
his head-quarters. The “Krishna-bhakti” (devotion to Lord Krishna) was
propagated through various other compositions written by poets inspired by
Gitagovindam. Srikrishna Karnamrutam was one of them.
    Banda summarizes saying that the encouragement of State and Central
Government is necessary to develop this dance tradition and people of Andhra
should value the art treasure they have in the form of Kuchipudi. He points
out that there is a need for providing facilities to learn, perform and teach this
art form and opines that it is the responsibility the State to patronize this art
form. The people of Andhra should be proud to have a dance form like
Kuchipudi and should contribute to its development in order to receive
recognition for Kuchipudi and appreciation at national level. To implement his
thoughts, Banda, soon after Kuchipudi getting the status of a classical dance
form, made attempts to popularize the dance form by arranging the
programmes of Kuchipudi artistes and encouraging the establishment of
dance schools to impart training in Kuchipudi dance.
    Soon after India’s independence, various regions in the country concerned
themselves to revive the art forms that were practiced in their respective areas.
Similar attempts were made in Andhra. Form this article, it appears that Banda
acted as a strong force not only to activate the practicing artistes but also
provided the avenues and guidelines to propagate and practice various art
forms. Kuchipudi dance received the timely attention and started gaining
popularity from 1960s.
    Banda emphasizes that the content of dance technique applied in
Kuchipudi performances is classical meaning the style, theme, music, lyrics and
costume are all complete befitting the definitions given in the dance treatises
like NS. Bhamakalapam belongs to one of the kinds of “Dasavidha rupaka”.
According to the author, each dance style acquired a performance standard an
identity with the contribution of some personality or the other. In the case of
Kuchipudi, it was Siddhenda Yogi who gave Kuchipudi artistes one of the
most popular dance-drama, the Bhamakalapam.



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11. Bikshu, Aruna

The role of psyche and soma in Kuchipudi , Kuchipudi Mahotsav ’96,
Nehru Centre and The Kuchipudi Art Academy, Mumbai, October 1996,
p. 177.


      The article deals with the relationship between the psyche (mind) and the soma (body)
which the author feels is well exploited in the Indian classical dance forms.


      The article deals with the concept that there is a relationship between the
psyche (mind) and the soma (body) which the author feels is well exploited in
the Indian classical dance forms. In these the four kinds of abhinaya: angikam,
vachikam, aharyam, and satvikam, facilitate the required effect. The psychological
motives of each character are symbolized in the medium of dance through
various body gestures called angikabhinayam. While angikabhinayam gives
movement, vachikabhinayam provides the meaning to the movement, aharya
gives appeal and satvikabhinayam provides the touching essence of the feeling.
Thus the usage of chaturvidhaabhinaya-s constitutes the mode of fundamental
dance expression for all the classical dance forms in India.
      The article reveals the fact that for a dancer performing in Kuchipudi style
whether in dance-drama or in a solo format, it is essential to master the mood
and emotional levels of the character they are performing on the stage in order
to justify the nature of the character.

12. Chennamaneni, Padmaja

Veyipadagalu-British Sanskriti-ka Samrajya Vadana pai pratighatana ,
[Thousand hoods], M.Phil dissertation, Department of Telugnd,
University of Hyderabad, Hyderabad, 1990.


      In this dissertation, Chennamaneni presents the condemning views of the author of the
novel titled “Veyipadagalu” in Telugu (the thousand hoods) on the impact of British culture
on Indian society and culture. Written by a noted novelist Viswanatha Satyanarayana the
various chapters reveal the cultural conditions that prevailed in Andhra region during the
British rule in India. In some parts he refers how Kuchipudi dance started loosing its
popularity when the education system and cultural activities of British affected various art
Annotated Bibliography on Kuchipudi sources                                                                               219




forms. The novel, considered a classic work in Telugu literature, incorporated many issues
relating to the economical, religious, educational and cultural aspects of Indian society.


    Viswanatha showcases, through his characters, dialogue, events, situations in
the novel, the struggle of many art forms that otherwise represented the
identity of the culture of Telugu people in a significant manner. During this
period a section of the society rebelled against British administration. On the
other hand some art forms underwent some changes during this time. The
novel, considered first of its kind and a pioneering attempt in the Telugu
literary world became popular and later even got translated into Hindi titled,
“sahasra phani” by the former Prime Minister of India, P.V. Narasimha Rao.
    This analysis indicates that the dance-drama forms, besides propagating the
art, became a a strong medium to project the social, economic and political
events. However the new education system during the British rule disturbed
the learning process of various dance traditions. Kuchipudi too experienced a
similar situation, but the dance tradition withstood the impact of changes in
the society and continued the tradition uninterrupted for many years that
followed. One may attribute this condition to the fact that the spiritual and
mythological themes made it possible for the continuity of the performances.

13. Chinta, Ramanadham

Kuchipudi Natya Bharati [Kuchipudi-The Indian Dance], Akhila
Bharata Kuchipudi Natya kala Mandali, Kuchipudi village, Krishna
District, Andhra Pradesh, June 1998.


    The book discusses in detail about the origin, development, technique of Kuchipudi dance
tradition and the contribution of various traditional artistes to the propagation of Kuchipudi
both in and outside Kuchipudi village.


    Chinta is the first scholar to probe into various aspects and work on a
doctoral thesis with the topic, “Kuchipudi yakshaganamulu” (yakshagana-s of
Kuchipudi). The book is based on his thesis focusing on the tradition, artistes
and the significant features of Kuchipudi and the changes the tradition has
gone through from the beginning of the Twentieth Century till 1980s.


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      The author places Kuchipudi dance as an ancient, traditional and classical
dance form. Today the dance style acquired popularity both in India and
abroad. But in the past the artistes of this dance form lived in a village called
Kuchipudi (the recorded documents refer to the village by this name, though
there     are   different   versions     referring    to    it   as   Kuchelapuram          or
Kuseelavapuram). Chinta gives Kuchipudi a prominent place on the cultural
evolution of Andhra region.
      The intention of this book is to present a brief description of various
aspects of the dance form to suit the required syllabus prescribed by colleges
and universities in Andhra Pradesh and also for the research studies.
      Kuchipudi dance seems to have undergone a process of evolution where
Kuchipudi artistes adapted to various theater forms and literary compositions.
Their performances also helped in propagating the rt. According to Chinta
these artistes performed Sanskrit dramas initially and in later years their
performances helped in popularizing the dance forms as in veedhinatakam (a
street theater form), in propagating the bhakti tradition through dance-drams
like Bhamakalapam, to educate or carry a philosophical message as in
Gollakalapam, an another popular dance-drama in Kuchipudi or through
kelika, the term used to refer solo-dance form besides through innovative
dance-dramas.

14. Chinta, Ramanadham

Kuchipudi Natyacharyula Charitra putalu [The biographical sketches of
Kuchipudi dance teachers], Akhila Bharata Kuchipudi Natya Mandali,
Kuchipudi, Andhra Pradesh, 1988.


      Chinta presents the biographical sketches of about one hundred and odd hereditary
Kuchipudi who lived in the Kuchipudi village and carried the torch of the dance tradition for
over four centuries. The content highlights the contribution of artistes who were performers,
teachers, scholars, accompanying musicians, costume makers and others from the Nineteenth
Century onwards.


      The practice of Kuchipudi dance tradition received patronage from various
rulers and elite of the society. Later the gift (Inam) of 6oo acres of agricultural
Annotated Bibliography on Kuchipudi sources                                                                               221




land in Kuchipudi village last Nawab of Golconda, Abul Hasan Tanisha was
significant in providing them the right to enjoy, sell, and inherit the land
generation after generation. It provided a base for many a families to stay in
the village and continue the dance tradition for many centuries that followed.
The firman (an order of the ruler) mentions three artistes namely Yajnanna,
suranna and Narasanna. After the initial dispute about the inheritance of this
property, artistes bearing nine family surnames acquired the rights to this
property. They are Vedantam, bhagavatula, Chinta, Vempati, Yeleswarapu,
Mahankali, Pasumarti, Hari and Josyula. Today the dance is recognized as one
of the Indian classical dance styles and is pursued by many dancers belonging
to different communities and nationalities. But from the 17 th Century till
almost second half of Twentieth Century, the tradition was passed on from
one generation to another by only those artistes who belonged to the families
bearing about twenty-five surnames as inheritors of the land in Kuchipudi
village. These artistes lived in Kuchipudi village and dedicated their lives to the
propagation of this dance tradition in many ways.

15. Chigicharla, Krishna Reddy

Janapada nritya kala [Folk dance art form], Janapada yuva kalakarula
sangam and Visalandra Publishing House, Anantapur District, Andhra
Pradesh, 1989.


    Based on his doctoral thesis that analyzes the folk dance forms of Andhra, the author of
the book “Janapada Nritya Kala” deals with the theoretical aspects that can be applied to
classification of dance forms as tribal, folk, sophisticated and classical practiced in Andhra
region.


    Chigicharla broadly classifies the dance forms as girijana (tribal), janapada
(folk) and shista (classical or refined) as per the usage of technical aspects of
dance. The categorization relates nritta (pure dance) to tribal, nrityam (expressive
dance) to folk, and natyam to classical or refined dance forms. Chigicharla
opines that the folk and tribal dance forms not only entertained but also
educated the audience by creating awareness about the society in which they
lived.


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      Chigicharla finds five types of sources important to consider in order to
classify the dance art forms. They are physical (angika, the body movements),
sociological, historical, mythological and textual. Movements were evolved to
interpret certain objects,human form etc. According to the author the oldest
movement is nrittam followed by nrityam and then natyam. The social conditions
brought some changes in the movements. The historical evidences can be
found in ancient paintings, sculptures, epigraphic sources. The literary sources
reveal the kinds of dances that were practiced during that time. They also
described various situations (how ritual dances were performed, types of
dances, the teacher’s status, use of curtains, desi dance forms, dancing groups,
patronage of kings, the dancers, actors, performers, devadasis, temple dancers,
etc.) related to the practice of these dance forms.
      The author emphasized that Kuchipudi that is practiced today is considered
classical and traditional, but not as folk.

16. Chintalapati, Lakshminarasimha Sastry

Kuchipudi-Bhagavatulu , Tirumala Tirupati devasthanam, Andhra
Pradesh, May 1983.


      The book gives an overview of origin, history, evolution of Kuchipudi dance and the
contribution of artistes known as “Kuchipudi bhagavatulu”, practicing this dance form as a
tradition. The author authenticates the details with relevant facts, references and reference
sources like documents, literary works, speeches, seminar papers and so on.


      The book gives an overview of origin, history, evolution of Kuchipudi
dance and the contribution of artistes known as Kuchipudi bhagaatulu, practicing
this dance form as a tradition. Though the book contains much of the
information that is included in other books and articles on Kuchipudi dance,
the contribution of this book lies in presenting these facts and other valuable
facts along with relevant reference sources like literary works, documents,
speeches and papers presented by artistes and scholars and other published
works. Some of the texts of the documents giving evidence of various
historical facts are included to focus on the nature of the argument. For
instance, Machupalli Kaifiat, the firman given by Nawab of Golconda (the
Annotated Bibliography on Kuchipudi sources                                                                               223




order form Abul Hasan Tanisha gifting the land in Kuchipudi village to artistes
in 17th Century), the text of the speech delivered by Banda Kanakalingeswara
Rao, Vedantam Raghavayya (who represented an artiste goup claiming the
recognition of Kuchipudi dance as a classical dance at a dance festival and
seminar organized in March 14-17, 1960 in Hyderabad). (See Appendix-) The
author further sketches the family tradition that was carried on for about four
hundred years from generation to generation by the artistes bearing twenty odd
surnames and living in Kuchiupdi village. Along with the genealogy charts
describing the family trees of these families, he also mentions briefly about the
significant contribution made by some of the artistes representing various
generations.

17. Chintalapati, Lakshminarasimha Sastry

Atma yajnam, Triveni Publishers Private Limited, Machilipatnam,
Andhra Pradesh, 1987, pp. I-X [original text authored by Bhagavatula
Ramayya].


    Atma Yajnam, also popularly known as Gollakalapam, is a poetic text with a
philosophical theme about the birth of a child from conception. A Century ago
Gollakalapam was equally popular like Bhamakalapam for the performances by Kuchipudi
artistes. The book provides the compiled lyrical and prose text of Gollakalapam by
Chintalapati Lakshminarasimha Sastry from the original text written by Bhagavatula
Ramayya.


    Atma Yajnam, also known as Gollakalapam, is a poetic text with a
philosophical theme about the birth of a child from conception. A Century
ago Gollakalapam was equally popular like Bhamakalapam for the
performances by Kuchipudi artistes. However there were a very few artistes
who were capable of presenting this in the dance-drama form like
Bhamakalapam. For Gollakalapam performances the artiste needed to
understand the philosophical content and interpret the Sanskrit verses to the
audience. The content is a literary piece classified as a drishya kavyam (a literary
text for visual performance). The story revolves around a dialogue between a
gopika (milk-maid) and a vipra (Brahmin).


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18. Diwakarla, Venkatavadhani

Andhrulu-Natyakala [The Dance traditions in Andhra], Natyakala,
APSNA, Hyderabad. February 1964, pp. 11-14.


      The author talks about the interaction between the different genres in both Sanskrit and
Telugu literature and how different dance traditions used them in Andhra region.


      The author mentions that dance traditions and the literary works written in
a particular region in India had interaction with each other. Similarly in
Andhra, the literary works written in both Sanskrit and Telugu were used by
different dance traditions. Till Eleventh Century AD only Sanskrit works were
enacted and slowly translations of the texts into Telugu along with other new
compositions in the same language appeared and were used as dance texts.
Kuchipudi dance tradition has been based on the principles of Bharata’s NS,
Nandikeswara’s Ab.D and other literary texts on music and dance.
      Diwakarla points out that the technique followed in other dance and drama
forms such as Kathak. Kathakali and Manipuri does not concentrate so much
on the dramatic element as in Kuchipudi, so they cannot be referred to as
natyam because more than drama they have more of nritta (pure dance) and
nritya (expressive dance) aspects. Diwakarla describes the dance-dramas like
Bhamakalapam etc. of Kuchipudi artistes as classical in nature that impart
knowledge. The classical nature of dance form can be noted in performances
which adhere to the principles propounded in dance treatises like NS Ab.D and
using all three aspects of dance technique while presenting the dance-drama
like Bhamakalapam.

19. Gangappa, S.

Telugu vaitalikulu-Siddhendra Yogi [Siddhendra Yogi - A Bard from
Andhra], Telugu University, Hyderabad, 1990.


      The book is a biography of Siddhendra Yogi, considered the legendary founder of
Kuchipudi dance-drama tradition who propagated madhura bhakti through his composition,
Bhamakalapam, dance-drama. The dance-drama is still popular and finds a significant
place in Kuchipudi repertoire.
Annotated Bibliography on Kuchipudi sources                                                                               225




    This booklet is one of the series that focused on the biographies of some
of the important and popular saints who contributed to the culture, and
history of Andhra region. Siddhendra Yogi, believed to be the legendary figure,
was instrumental for propagating madhura bhakti through his dance-drama;
Bhamakalapam. He started a dance tradition by training Kuchipudi artistes to
perform Bhamakalapam which also gained a significant place in the repertoire
of Kuchipudi artistes.
    Out of the two dance traditions, nattuvamelam and natya melam, that were
practiced in Andhra region, the latter had more number of actors and the
performances included dance-dramas called kalapams. Bhamakalapam and
Gollakalapam were two dance-dramas performed by artistes in natyamelam type.
Out of these two, Bhamakalapam became a more popular dance-drama. Many
scholars attribute the credit and authorship of Bhamakalapam to Siddhendra
Yogi. However there are different opinions and views about the period to
which this saint belonged. In this book, the author not only deals with this
aspect but also presents various versions regarding the childhood life of this
saint and under what circumstances Siddhendra (known as Siddappa in
childhood) renounced the worldly luxuries to become a yogi (ascetic) and
attained the scholarship to write the literary work, Bhamakalapam.
    According to Gangappa, Kuchipudi dance became popular after the
Sixteenth Century. Earlier to Kuchipudi, dance traditions like jakkula
purandarulu, ekapatra abhinaya, koravanji and other theater forms entertained and
educated the rural people. However these dance traditions did not receive the
royal patronage nor the scholarly acceptance and did not become popular.
Siddhendra Yogi born around this time, created Kuchipudi dance tradition
which became the prime dance tradition of Andhra.

20. Gargi, Balwant

Folk Theatre of India, Rupa & Co., New Delhi, 1991.


    Describes the salient features, performance style and traditions of a select nine theater
forms categorized as folk theater, practiced both in North and Southern regions of India.


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He defines folk theater and highlights the aspects that differentiate folk theater from the
classical theater.


      In this book, the author deals with the tradition and performance style of
nine folk theater forms like Jatra, Nautanki, Bhavai, Tamasha, Ramlila, Raslila,
Therukoothu, Yakshagana and Chau which according to Gargi are well
developed theater forms. On the other hand Gargi categolrizes (without
specifying any criterion) a few other forms as not have interesting geographical
differences. They are: Hagavata Mela and Kuchipudi of South India, the Ankia
Nat (the Sixteenth Century one-act play) of Assam, the farcical Naqual of
Punjab, the Bhand Jashna of Kashmir, the Bheel Gauari of Rajasthan, the
Veedhi-natakam of Andhra, and the Pala singers of Orissa.
      Here the author features Kuchipudi dance in the section representing
glimpses of other forms. Gargi does not provide a basis for including
Kuchipudi in folk theater while the latter dance form had already gained a
status as a classical dance style of India (1958), i.e., much before the
publication of this book.
      Gargi also points out to the type of relationship the classical and the folk
theater dance forms have in North and South India. He describes that in South
India the relationship is close knit and the folk artiste is equipped with the
knowledge of the Shastras, the Puranas, the epics, and the scriptures on classical
dance and music. On the other hand in the North the folk actor is ignorant of
the classical dance and music traditions. He opines that the South has a
religious and mythological background and the north a secular temperament.
For instance in Naqual of Punjab, the typical themes are the newly-wed bride
and the father-in-law; the king and his courtier; the thief and the police
inspector; and so on. Bhand Pather of the Kashmir Valley deals with the social
realities. In the south-Indian theater forms one finds mostly the thematic
content is based on mythological stories and hardly any social themes till
recently.
      Gargi summarizes the status of the folk theater forms in modern scenario.
He mentions that in spite of representing in various cultural programs and
national celebrations, folk theater is still a neglected art he also points out that
Annotated Bibliography on Kuchipudi sources                                                                               227




while the writers and directors are drawing inspiration from the repertoire of
stylization (song, dance, mime, rituals, masks and the narrator etc.) belonging
traditional Asian theater, Indian directors are yet to explore the raw material of
their own traditional theater.

21. Gudimetla, Krishna

Andhrula Natyakala [The dance art of Andhras], Natyakala, APSNA,
Hyderabad, June 1966, pp. 14-16.


    The author lists various dance forms in Andhra region and describes about their
evolution and development based on the references made of them in the ancient literary texts,
treatises and epigraphs of different periods. The author opines that Kuchipudi dance
tradition is centuries old but gained popularity from the Sixteenth Century onward.


    Their performance in the royal presence of King Veeranarasimharaya in
1506 AD, provides the evidence that they were popular by that time. They also
received royal patronage from the ruler of Tanjavur Achutappa Nayaka in the
form of a village called Achutapuram (the present Melattur in Tanjavur district
of Tamilnadu) where they lived and performed various yakshaganam-s regularly.
These artistes later got established as Melattur artistes.
    Kuchipudi village was the center for the dance performances of various
dance-dramas and yakshaganams for more than five centuries. In the last few
decades Kuchipudi dance tradition continued to be practiced in spite of draw
backs caused by lack of patronage and changing social and political conditions.
The groups of artistes, referred as melams got disintegrated and some of the
artistes entered film industry and a few others pursued other professions
individually. In the efforts to revive the dance tradition, the artistes had to
make changes and innovations to it. In this regard, the efforts of legendary
guru and considered pioneer in evolving a solo format, Vedantam
Lakshminarayana Sastry was significant. He taught many a dancers and
teachers who gained name and fame in the later years. C.R. Acharya was
amongst such teachers who took the dance form to regions other than Andhra
and even overseas when he presented the renowned senior-most dancers of
today like Mrinalini Sarabhai in Paris International dance festival and helped in

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propagating the dance form to wider horizons by teaching non-Telugu
speaking people.

22. Gudipoodi, Srihari

Kuchipudi dance at croos roads, Kuchipudi Dance Festival ’91, Telugu
University, Hyderabad, 1991, pp. 46-49.


      The article deals with the contemporary problems in practicing and propagating, teaching
Kuchipudi, especially in the solo format that evolved in the second half of the Twentieth
Century. He refers to the issues that caused an identity crisis for Kuchipudi to be established
as a classical dance form. and the consequent identity crisis that is caused.


      The article concerns about some of the contemporary problems that have
been causing identity crisis for Kuchipudi dance of today, more so of the solo
form. One of them seems to be about the ways of training and transmitting
the dance tradition. In the last few decades, Kuchipudi, after its recognition as
a classical dance style of India, received the State and Central Government
support for it propagation in and around Andhra. However the problem
cropped up in the process of establishing its identity and distinctiveness from
the other South Indian dance styles like Bharatanatyam from Tamilnadu and
Odissi from Orissa. The proximity of the regions where these three styles are
practiced is reflected in the similarities of costume and music that is used in
these forms.
      Gudipoodi explains that as Kuchipudi started evolving as a classical dance
style by getting stylized in the presentation of performances and the usage of
dance technique. However, a section of practicing artistes (also referred as
Brahmin mela) in the dance tradition revealed an orthodox thinking saying that
the original flavor of the dance-dramas (in the earlier tradition of natyamelam
style) be retained to have a distinct identity like Kathakali. On the other hand,
there are other artistes who favored solo-dance format. The latter demanded a
refinement in the presentation of the dance performance in order to suit the
times and the changes be made carefully so that the identity of the dance style
is not disturbed.
      From the state of affairs presented in this article, it can be assumed that for
Annotated Bibliography on Kuchipudi sources                                                                               229




the wide-spread propagation of a dance form it is necessary that a proper
teaching method should be followed to represent the dance technique in its
purest form irrespective of who is teaching.

23. Gupta, Chandraban

The Indian Theatre, Munshiram Manoharlal Publishers Pvt. Ltd., New
Delhi, 1991.


    The book presents a detailed analysis of the theory and practice of Indian theater,
mainly the classical.


    It describes about theatrical performances with respect to its form, the
actors in it, the rules and conventions that have to be followed, the types of
play and their respective characteristics etc. Various concepts are defined to
explain their nature. The author’s main concern is to ascertain the need for
national theater form to represent India in the post-Independent period.
    The author refers to the unique characteristic features and the purpose of
performances of some of these theater forms such as Raslila (Mathura),
Navatanki (Uttar Pradesh), Svanga (Haryana), Tamasha (Maharashtra), Chhau
(Bihar), Jatra (Bengal0, Ankia Nata (Assam), Prahlada nataka and Pala singers
(Orissa), Naquala (Punjab), Bhanda Pathera or Jasna (Kashmir), Khyala, Bhila
Gauri (Rajasthan), Bhavai (Gujarat), Yakshagana (Karnataka), Bhagavat Mela,
Kuchipudi art, Therukoothu art, Kuravanji of Tamilnadu, Burrakatha and four
varieties of Vidhi Natakam (Andhra).
    Gupta visualizing the ideal conditions for Indian National theater and
dramas suggest that theater should present Indian dramas whose object is to
produce a rasa in the minds of the spectators, employing a highly developed
color scheme, costume and make-up following the pattern of India life,
encouraging classical music, dance and histrionics, and above all it should
maintain the ideals of Indian society. Gupta mentions that an ideal situation
for establishing a National Theatre is to combine ancient techniques and
modern requirements.




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24. Hemadri, Chidambar Deekshitulu

Kuchipudi Kalasagaram-nritya sastramu [Science of dance and
Kuchipudi dance art form], Sri Kondapalli Book House, Rajahmundry,
Andhra Pradesh, October 1989.


      With an objective to define and describe various elements of the technique used in
Kuchipudi dance form, the author provides a well-compiled information to cover the syllabai
prescribed for academic courses. The content, after giving a brief account of the historical
background of Kuchipudi dance tradition proceeds to deal with the required aspects like tala
adhyayam (chapter on variations in rhythmic and time-measure patterns), angika abhinayam
or body language that includes hand gestures, the structural format of the lyrical compositions
in the repertoire, the training process, body movements, technical terms used and so on. The
significant contribution of the book lies in providing the know-how to execute the
fundamental steps referred as “adavu” and rendering of the corresponding dance syllables.


      The author further explains, interestingly, an aspect of the tala-system used
in Carnatic music that each type of talam or the time cycle is associated with a
day of the week, color, star, ornament, mood and deity, a place of its origin.
This concept can be observed in the lyrical composition of Bhamakalapam.
      Though some similarities seem to be existing between Kuchipudi dance and
other dance styles like Bharatanatyam and Odissi belonging to neighboring
regions of Andhra Pradesh, the dance technique followed in Kuchipudi dance
has some distinct qualities. It is necessary for a student of this dance from to
learn the dance technique and the angikabhinayam that is applied in the
execution of dance movements and also the structure of various dance items
included in Kuchipudi repertoire. The major shift being from dance-drama to
solo dance format, there was a necessity to define and explain the practical
aspects describing the different terms used and their execution. Also the
transmitting process continued to be in oral tradition for many centuries, the
documentation of the teaching process was negligible. In this situation of
vagueness about various technical terms and their definitions, the need for
documenting such information was felt in the recent years. This book aims to
cater to such need and in particular to the student of various academic courses.
The content, thus, mainly pertains to the syllabus followed in the academic
Annotated Bibliography on Kuchipudi sources                                                                               231




courses offered at dance institutes in Andhra Pradesh based on the compiled
work of both textual and oral sources.

25. Indira, Hema P.

A Comparitive study of Satyabhama kalapamu in Toorpu Bhagavatam ,
M. Phil. dissertation, Department of Comparative Studies, Telugu
University, Hyderabad, 1995.


    There are many dance groups belonging to natyamelam category which perform the dance-
drama, Bhamakalapam, in various parts of Andhra region. One of the main groups is
Toorpu Bhagavatam, the others being Navajanardana Parijatam, Chindu bhagavatam and
Chenchu bhagavatam. In this monograph, the scholar compares the Bhamakalapam
performed by the artistes of Toorpu bhagavatam with reference to the protagonist,
Satyabhama in popular dance-drama format known as kalapam.


    In her research, Hema Indira, defines kalapam as a creative story. The
artistes in Telugu speaking region performed the popular dance-drama
Bhamakalapam but with a difference in the dance technique, costume, themes
used and the artistes belonged to communities other than Brahmins which was
the case with Kuchipudi. Toorpu Bhagavatam (Toorpu meaning eastern), is
one of the many types of Bhagavata dance traditions. In both Toorpu
Bhagavatam and Kuchipudi dance-drama traditions Satya Bhamakalapam is the
most performed dance-drama theme but they are different in their
presentation style, costume used and the language in the lyrical text and the
style of singing.
    Another notable feature is that while Kuchipudi tradition gradually
transformed and developed into a classical style, Toorpu bhagavatam tradition
is getting slowly extinct. The tradition does not have any printed texts.
    This, the scholar opines, can be due to the unnecessary humor in Toorpu
bhavatam. The way of singing follows drupada style and gives prominence to
the accompaniment of instrument, mridangam. The scholar suggest that there is
need to focus on these aspect to improve the presentation style.




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26. Jain, Nemichandra

Indian Theatre. Tradition, continuity and change , Vikas Publishing
House Pvt. Ltd., New Delhi, 1992.


      The book provides an overview of Indian theater, its transformation from pre-Christian
era to modern period. This process of transformation from theater in Vedic period to
classical Sanskrit theater, traditional (folk) and present modern theater forms the exhibited
both continuity and changes.


      Disagreeing with some of the scholars who opine that Indian theater was
discovered by colonial rulers the author provides facts that establish origin of
Indian theater, its achievements in different phases, process of changes and
continuity.
      Jain relates the evolution of dance-drama forms like Kuchipudi, Kutiyattam,
Yakshagana, Swang and Nautanki to the medieval period. Many of these
theater forms in regional languages are not spontaneous or simple in content
as of any tribal, agricultural or rural community. Even the structures and
techniques of many of these theatrical expressions are complex. The
performers need a prolonged training and practice to gain any proficiency in
them. The training includes achieving some proficiency in music and dance and
knowledge of the puranas, epics and poetry.
      According to the author the miming and acting in Kutiyattam or Kuchipudi,
dancing in the Yakshagana, or singing and drumming in Swang or the
Nautanki, cannot be acquired without considerable training, for any excellence
in them.
      Gradually these theatrical expressions became part of the cultural aspect of
the people as the political, social and individual life stabilized. They no longer
remained strictly religious. The good examples are: Jatra of Bengal, Terukuttu
of Tamilnadu, Veethinatakam of Andhra Pradesh, or, to some extent the
Yakshagana of Karnataka. They started presenting, besides the religious
stories, some historical, social and political themes, or the mythological
episodes were presented in a manner that their religious aspect was no more
predominant. (hence the connection Kuchipudi artistes had with the
Annotated Bibliography on Kuchipudi sources                                                                               233




Veethinatakam in Andhra region justifies the transformation of religious
purpose of the dance-dramas of Kuchdipudi to the cultural aspect of the
people of Andhra.
    According to Jain, similar to the mutual exchange that took place in other
aspects of drama and performance, there was also a blend of the classical and
the folk music (marga and desi) in the traditional theater.
    Another aspect to which the author points out is how the music is used. For
instance, in the natyas of South India such as Yakshagana, Bhagavatamela,
Kuchipudi, Veethinatakam, Terukuttu and others, the sutradhara or bhagavata
sings and not the characters themselves. The reason for this could be due to
the importance of dance in these natya-s. Compared to the other forms, the
natyas of South India use dance more predominantly than in theater forms like
Tamasha, Bhavai, Ankia Nat.
    It can be observed from the above analysis that a number of regional
theatrical form erupted in the medieval period. These incorporated aspects like
music and dance and aspects from both classical and folk theater. There was
no definite demarcation to divide the classical from the regional theater forms,
referred to as natyas by author. However these theater forms suffered some
setbacks in their turn in the beginning of this Century with the advent of
colonial rule.

27. Jonnalagadda, Anuradha

Kuchipudi dance who is who, Kuchipudi Mahotsava Committee, Nehru
Center, Bombay, 1993.


    The author presents a collection of biographies of Kuchipudi artistes comprising dancers,
teachers, performers. The main criterion for inclusion of these artistes, as the author
mentions, is that they should have been practicing Kuchiudi dance for more than a decade by
now. Each biography is presented along with a photograph of the artiste, date of birth,
qualification, professional achievements and individual contribution in the dance style. The
introduction explains briefly the changes and development of Kuchipudi dance tradition in
the Twentieth Century.


    Jonnalagadda opines the new innovations and changes have been taking

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place in most of the performing arts. Similarly Kuchipudi too underwent
multi-dimensional changes and modified the original tradition performed by
the hereditary artistes belonging to about twenty-five odd family surnames. A
new generation of artistes who belonged to non-hereditary families entered
and broadened the performing and teaching base of Kuchipudi dance.
      The author, noting the need to provide a data base on the contribution of
artistes, presents a collection of biographies of Kuchipudi artistes in various
capacities as dancers, teachers, performers, musicians and so on. The main
criterion for inclusion of these artistes in this book, as the author mentions, is
that they should have been practicing Kuchipudi dance for more than a decade.
Each biography, presented along with a photograph of the artiste, date of
birth, qualification, professional achievements and individual contribution in
the dance style introduces various artistes who have been propagating
Kuchipudi dance after its recognition as a classical dance form.
      The book thus, highlights the continuous efforts of the numerous artistes
and at the same time expects the reader to assess the underlying element
element of transformation.

28. Kaushal, Sumathy

Kuchipudi natya sampradayam [Kuchipudi Dance Tradition],
Natyakala, APSNA, Hyderabad, June 1966, pp. 5-8.


      The author concerns in this article about the identity crisis the Kuchipudi dance faced in
1960s when there was a lack of proper facilities for imparting training by expert and
traditional gurus, standard methods of teaching, misrepresentation of the style by a few
amateur artistes.


      Kuchipudi, soon after its recognition as one of Indian classical dance styles,
needed to be propagated and representation at national level in par with other
dance styles. Many young dancers including those who have been already
performing in other classical dance styles started learning and performing in
this dance style as the dance form was gaining popularity in its solo dance
format. The article written during the time when multi-dimensional changes
were taking place and Kuchipudi was gaining popularity within Andhra as well
Annotated Bibliography on Kuchipudi sources                                                                               235




as outside, concerns about the standards of performing and teaching.
    According to the author’s assessment of the situation in 1960s, lack of
proper facilities for imparting training by expert and traditional gurus, standard
methods of teaching, misrepresentation of the style by a few amateur artistes
were some of the conditions that possibly prevented the dance form from
gaining a distinct identity of its own. There were also very few performances in
this dance style were organized in cities outside Andhra Pradesh.
    Kaushal expresses the opinion that a syllabus in Kuchipudi dance should be
prepared, approved and authenticated by the senior artistes like Chinta
Krishnamurthy, Vedantam Raghavayya. This should be followed by the dance
students of Kuchipudi learning in any institute. Also institutes imparting
training in this dance should be recognized by the Government cultural bodies.

29. Kothari, Sunil

The Dance-Drama tradition of Kuchipud Bhagavata Mela nataka and
Kuravanji with special reference to Rasa-theory as expounded in
Bharata’s NS, Ph.D. in Dance, Department of Dance, M.S. University of
Baroda. 1977 (voll. I, II, III).


    The three volumes of the thesis deal with the dance-drama traditions of Kuchipudi,
Bhagavata Mela nataka and Kuravanji, their theoretical content and the technique of
dramaturgy as enunciated by Bharata in Natyasastra.


    The scholar sees two distinct streams in the dance tradition. They are dance-
drama traditions and solo-dance exposition. In this research work the scholar
deals extensively with rasa theory as expounded in Natyasastra and applies it to
the evolution of various dance-drama forms called uparupaka-s from the
medieval period onwards. The subject matter in the thesis is divided into three
volumes.
    The three volumes examine and elaborate the theory and technique of
dramaturgy as propounded by the ancient treatise Natyasastra that is applicable
to the practice of dance-drama traditions.
    According to Kothari, the recognition of regional styles contributed greatly
to the development of the individual distinctive classical styles of the various


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regions. He finds this kind of development when one observes the emerging
from of Kuchipudi dance technique for solo exposition. Kothari also points
out to a similar development in the contemporary form of Bharatanatyam
evolving as an individual classical style of Tamilnadu region. But a difference is
noticed that in the case of Kuchipudi dance-drama tradition the regional
distinct dance style now termed as Kuchipudi is seen, whereas in the Bhagavata
Mela Nataka and Kuravanji one observes the contemporary Bharata Natyam
technique employed as an integral part of it.
      Kothari analyzes the factors leading to the formulation of different classical
styles in India. The beginning or the origins of the contemporary classical
styles whether Bharata Natyam, Kathakali, Kathak, Manipuri, Odissi or
Kuchipudi can be traced back to developments in the medieval period (roughly
dating from 1300 AD to 1800 AD).
      He also discusses the technique used in Kuchipudi tradition. Different
features like purvaranga and entry of characters with song compositions called
darus, the list of different rhythmic meters used in Kuchipudi dramas, different
aspects of dramaturgy pertaining to Kuchipudi.

30. Krishna Iyer, E.

Tamilandu loni Bharatanatyam – Itara shastriya nrutya reetulu
[Bharatanatyam in Tamilnadu and other classical dance styles], tr. by
P.S.R. Anjaneya Sastry, Natyakala, APSNA, Hyderabad, April 1964, pp.
103-110.


      The author observes a common thread running through the southern dance styles which is
seen in dance forms like Bharatanatya, Melattur Bhagavata Melam, Kuchipudi dance-
drama tradition, Kuravanji and Navasandhi.


      The author, known for his pioneering efforts to revive the classical dance
forms in South India such as Bharatanatyam and Bhagavata Mela Natakams in
1930s, in this article, describes the dance forms that were practiced in southern
region in the early Twentieth Century. He opines that a common thread ran
through the southern dance styles. For instance the dance technique and
performing style of Bharatanatyam can be also seen in other dance forms
Annotated Bibliography on Kuchipudi sources                                                                               237




grouped as natuva mela (refers to nattuvamelam) type as well as in dance-drama
traditions such as Melattur Bhagavata Melam, Kuchipudi dance tradition,
Kuravanji and Navasandhi.

31. Mikkilineni, Radhakrishnamurthy

Telugu vari janapada kala roopalu [Folk Art forms of Telugu people],
Telugu University, Hyderabad 1992.


    A documentation of various folk art forms is presented in this book and Mikkilineni
explains that the roots of classical dance forms of today are in the folk art forms which were
referred in the past as desi in many literary texts like Nritta Ratnavali of Jayapasenani.
The author sees an affinity between the folk and classical forms.


    Each region in India has a variety of folk art forms. In Telugu they are
referred as janapada kalarupalu. These art forms on one hand depicting the
culture, customs of that region also exhibit certain common features in the
usage of some components like music, dance and drama in their presentation
style that give the region an identity of its own. However there are differences
that are observed in the art forms within a region. In Andhra these differences
are confined to three regions called Rayalaseema, Coastal Andhra and
Telangana.
    In this book, the author presents a documentation of research work done
by him on various folk art forms over a period of forty years during his
professional career as an actor on stage, films and television. The information
is gathered from many texts and print matter also. With the help of various
available texts and print matter, the author includes the information on the
origin and characteristic features of various folk forms (mainly dance and
theater) belonging to three regions, that is, Rayalaseema, coastal Andhra and
Telangana. Mikkilineni mentions about the performing groups, tribes, sects or
community that practiced a particular dance form, the purpose of their
performances, and the costume and make-up used in it.
    An adaptation of a folk art form by Kuchipudi artistes is observed in
playing the character called chodigadu. Chodigadu kalapam, a dance-drama form
resembled Bhamakalapam and Golla kalapam. The theme revolved around the

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character singadu. He goes in search of his wife singi who runs away from
singadu. He meets her and questions her about the reasons for going away. An
argument follows and finally both unite. It starts with the bed-room scene.
There are two side singers. One of them acts like a sutradhar. Many aspects of
dance are incorporated. Dashavatarara-s and Ramayana story are narrated in
between and used abhinaya aspect of dance. The performances took place
throughout the night. The emotion exhibited includes erotic love. There are
many entertaining aspects in it which the audience enjoyed. The crooked stick
in the hand of chodigadu is similar to the one used by vidushaka in Sanskrit plays.
This resembles the feture of classical theater which is described in Bharata’s
NS, the prominent composers of these kalapam-s are Chengalvaraya, Aravelli
Venkata Charyudu, Vankayala Balarama Bhiksha, Godavari Jagannadha.
      Mikkilineni further points out that due to the lack of response from public,
Kuchipudi artistes adapted to other folk art forms. They also introduced
innovations in their performances. Kuchipdi artistes were thus, became
popular for portraying various roles of pagativeshalu also in their veedhinatakams.
      Kuchipudi artistes and the development in the dance tradition, the
technique and performance style had interaction with both marga and desi dance
traditions. However the traditional Kuchipudi artistes who carried the dance
tradition from generation to generation since Eleventh Century AD,
systematized and maintained a structured pattern of music, dance and
performance style. The dance tradition enabled many Brahmin families to
survive and created opportunities practice and perform till 1930 when the
impact of films reduced the interest of public in dramas in general.

32. Naidu, M.A.

Kuchipudi classical dance, The World Telugu Conference, Andhra
Pradesh Sangeeta Nataka Akademi, Hyderabad, 1975.


      After briefly providing the dance traditions that belonged to Andhra region, the author
focuses on the classical dances of Andhra Pradesh (refers to the region before its division as
Andhra and Telegana States of India), specifically the Kuchipudi dance tradition which
practices four types of abhinaya as propounded in Bharata’s Natyasastra.
Annotated Bibliography on Kuchipudi sources                                                                               239




    After briefly describing the historical background and the literature that
provides the evidence for the existence of dance in Andhra, the author details
on the dance traditions that belonged to Andhra region. He mentions that the
classical dances of Andhra Pradesh owe at least as much as those of any other
part of the country to Bharata’s NS. Andhra classical dances also follow the
four kinds of abhinaya.

33. Ramakrishna, Nataraja

Andhrula Natyakala , Perini International, Hyderabad, April 1975.


    One felt a need for creating an awareness about the cultural heritage of Andhra among
the Telugu-speaking people who migrated to different parts of the country and outside
seeking better prospects in the post-independence era. This book, published during a world
Telugu conference held in Hyderabad, aims to present a brief account of the history of
evolution of dance forms in Andhra region, the land of Telugu speaking people from
Satavahana period to present time.


    Based on these concepts, the author, Nataraja Ramakrishna, classifies the
dance forms that evolved in Andhra region from approximately Eleventh
Century on wards into five types called Aradhana or Temple, Kacheri natyam,
Bhagavata tradition, janapada or folk and Atavika or tribal. Discussing the
development and changed in Kuchipudi dance the author points that the
Kuchipudi dance tradition belonged to a dance-drama form categorized as
natyamelam type till about 1930. it remained till then as an all-male group
performances if                dance-dramas like                  Bhamakalapam, Gollakalapam, and
Yakshaganams having different mythological stories as themes.
    Eventually the classification no longer applies to the present Kuchipudi
dance performances, considering both form and content. It has imbibed the
technique of nattuvamelam tradition, the content of dance-drama forms and
structural presentation of ritual dances.




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34. Rele, Kanak (ed.)

The handbook of Indian classical dance terminology , compiled by
Veena Londe and Malati Agneeshwaran, Nalanda Dance Research
Centre, Mumbai, 1992.


      Due to the extensive practice of oral tradition in the transmitting process of
many of the Indian dance forms, much of the technical terms and words used
for one expression or usage in the dance differed according to the region in
which the dance was practiced.


      The introduction mentions that is that over the centuries, two traditions
functioned with equal importance, as the two limbs of the common body of
dance. One is oral tradition (the teacher-taught tradition), also called as “guru-
shishya parampara” where the learning is on the basis of teacher-student
relationship. The other being the textual tradition based on the treatises like
Natyasastra, Abhinaya darpana, Sangeetha Ratnakara and so on.
      With growing interest in Indian classical dance at home and abroad, a need
arose for interpreting the various terms and terminology used in each Indian
classical dance for a better understanding of the technique and the regional
differences. This hand-book, based on the ancient Sanskrit codes, aims to make
both the textual and oral traditions of the recognized classical dance styles
easily understood.
      In each dance style of the seven classical dances included (in the order,
Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohini Attam, and
Odissi) the terms are categorized as general, technical, costume and make-up,
musical instruments with definitions, descriptions and explanations of the
terms used. The content and its presentation using a standard method and
uniformity makes the book a valuable reference source material for students,
scholars and art lovers.
      In the Kuchipudi section, the information, provided by two resource
persons (C. R. Acharya; Rajyalakshmi Seth), covers the terminology pertaining
to both dance-drama tradition and the solo dance format that is mostly
practiced today. The English translation of the terms and technical words
which are mostly in Telugu language in the previous dance literature is useful
Annotated Bibliography on Kuchipudi sources                                                                               241




for the readership of non-Telugu speaking dance practitioners. The content
refers to the commonly used words in the dance tradition as well as in the
transmitting process in Andhra region.
    The book also provides information that can be useful for a comparative
study of the terms used in different dance styles.

35. Richmond, Farley P.; Swann, Darius L.; Zarilli, Phillip B. (eds.)

Indian Theatre: Traditions of performances , Motilal Banarsidass
Publishers Private Ltd., Delhi, 1993.


    A survey of the Indian theater and its traditions with reference to their performances is
presented in various chapters. The authors attempt to define and categorize and classify the
various genres with their guidelines focused on the organizational motive of the performance.
They present basic features shared by genres within each sphere for introducing the broader
category to which they belong to.


    The authors have chosen to present their finding under five broad
categories which, according to them, may be thought of as interlocking
spheres: the classical, the ritual, the devotional, the folk-popular, and the
modern. They use “interlocking” as the key word because they find none of
the spheres is autonomous, and any one performance genre (with the
exception of certain aspects of modern theater) always combines features of
at least two or more spheres of influence. A particular genre may thus be both
devotional and folk, or classical and devotional, or ritual and folk-popular and
modern. With this degree of complexity, there is clearly room for disagreement
over where to locate, as a starting point, certain genres within these five
spheres which are shown in overlapping spheres.
    The authors restrict their study to a few theater forms selecting from the
vast number and complexity of rural theater. Description of traditions genres
are included in various sections. The details highlight the nature of aspects like
origin, performers, training context and support, performance space,
procedure, costumes and make-up, music, rituals and so on.
    Kuchipudi is referred in two sections of this book. One in the section on
devotional dance-dramas and dance-dramas authored by Richmond, and the

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other by Darius on dramtic dances. Explaining the links and influences that
Kuchipudi has with other forms, the authors say that it focuses on the exploits
of Krishna’s life as in the case of Ankia Nat of Assam. Many traditional
theater forms make use of the Sanskrit language and preserve remnants of the
Sanskrit theatrical tradition. In Kuchipudi too these aspects are to be found.
They trace the origin of Kuchipudi and Bhamakalapama (authors mention
them as two theater forms in the chronological chart of performance genre)
dance traditions to 1600 AD along with Raslila, Nautanki, Cavittu natakam,
Jatra, Yakshagana, Bhavai, Bhagaatamela, Veethinatakam.
      Exponents of Kuchipudi, like in Ankia Nat, trace many of the conventions
used in the form directly to the Sanskrit drama, and think of the form as a
descendant. While the verses, dialogues and stage direction of the main body
of the dance-dramas are in Telugu, Sanskrit verses are sung in the elaborate
preliminaries to the Kuchipudi dramas.
      In regard to Kuchipudi, the details covered by the authors pose some
questions like, since Kuchipudi artistes desired the response of both masses
and classes of society, one may wonder where does it fit? With folk-popular?
With devotional dance-dramas or with classical dance traditions? It may be
difficult to answer these questions without proper examination of the
development of Kuchipudi in the Twentieth Century. According to the
opinion of three authors, the folk-popular forms were largely ignored by
serious scholars and their links with the classical tradition was not sought.
However there are some recent attempts to recover the basis for a living
contemporary theater that is genuinely Indian.

36. Sherwani, K. Mustafa

Kuchipudi dance. Qutubshahi gift to India, INTACH, Hyderabad, p. 9.


      Highlights the significant contribution made by Abul Hasan Qutub Shah during his
rule (1672-1687 AD) by gifting a land to Kuchipudi artistes in 1678.


      Sherwani attempts to emphasize on the fact that the dance-drama
performed by Kuchipudi artistes received patronage of Tanisha who witnessed
Annotated Bibliography on Kuchipudi sources                                                                               243




the performance of the Brahman troupe. He gave them, in perpetual grant, a
small town known as “Kuchipuram” (which presently called as Kuchipudi
village) situated between Vijayawada and Masulipatnam. The grant, as
stipulated by Tanisha, explains author, that no trade or commerce should be
carried out in the land and the land be devoted to the development of dance-
drama tradition.
    According to the author, the Qutub Shahi dynasty has bestowed history
with the city of Hyderabad, but, perhaps the crowning glory was its patronage
to the dance-drama of Kuchipudi.

37. Tandava Krishna

Bhamakalapam-Dance-drama of Kuchipudi , Kalapeetham - The
Krishna Pushkaram Souvenir, Bezawada, Andhra Pradesh, 1945, pp. 246-
249.
    The articles deals with the two aspects of the dance-drama, Bhamakalapam, the theme
and its presentation on the stage like the entry of Satyabhama, the significance of the
costume, ornaments and other details.


    The article describes the theme of the dance-drama, the main characters in
it and their nature. In the second half he elaborates on the presentation of the
dance-drama on the stage, the entry of character Satyabhama, the significance
of the ornaments used by her and other details.
    The author gives a detailed description about the stage arrangements, music,
costume and jewelery worn by the protagonist, Satyabhama. He mentions that
a temporarily arranged multicolored curtain was used for the purpose of
performances. This is held according to the author by two servants, generally
washer-men. In their other hands they held the torches called as “kagadalu”,
the only lighting used to illuminate the stage. There was a musical prelude
which comprised the drum, the thithhi (harmonium) used as drone, the
cymbals. These accompanied the high-pitched voice of the singer. Filling the
air of the dark night, this also drew the attention and focus of the audience
towards the stage. The preliminaries behind the screen included the prayers
and the introduction of the character which took almost two-hours before the
figure behind it was witnessed by the audience.


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38. Tandava Krishna

The Dance systems of India, Kalapeetham - The Krishna Pushkaram
Souvenir, Bezawada, Andhra Pradesh, 1945, pp. 251.


      There are altogether sixteen varieties of dance systems called bharatam-s which are the
offshoots of the original type of Bharatam propounded by Bharata in Natyasastra.
Tandava Krishna opines that there is a relationship between the sixteen bharatam-s and the
different dance systems of India. According to him each different style followed a particular
bharatm. The author explains about the undercurrent of unity of principle and action
throughout in these various dances despite the different systems practiced in each dance.


      Unity in diversity is the law of Nature. This phenomenon applies aptly to
the dance art of India as in the case of other cultural aspects. The sixteen
varieties of dance systems called bharatam-s explained in treatises like Abhinaya
Darpanam, are the offshoots of the original type of Bharatam propounded by
the sage Bharata himself. They are the combination of Bhava, Raga and Tala.
The authors of these bharatams are said to be Shambu, Gouri, Bhama,
Madhava, Nandikeswara, Dattila, Kohala, yagnavalkya, Brihaspati, Arjuna,
Ravana and Usha.
      The canons of Bharata, as per the Sanskrit verses mention, that in dance,
the song is to be adopted by voice; the meaning is to be exhibited by hand; the
expression through the movement of the eyes; and then the timing to be done
by feet. The author, in this article refers to these four canons. He enunciates
the differences that exist in different styles of dances of India with reference
to the use or elimination of one or more of the canons.
      According to the author, these are to be found in strict accordance in the
two types of dancing prevalent in Tamilandu and Andhra. In other systems
that are practiced in other parts of India, one does not see all the canons
carried to the letter of them. The author explains further that for instance the
Kathakali actors of Malabar do not themselves sing while acting; thus violating
the canon the song is to be adopted through voice, is not observed. In the two
types of dances, Kathak and dances of Assam one does not find many mudra-s
or hand symbols and so they fail to express the meaning through hands. But
Annotated Bibliography on Kuchipudi sources                                                                               245




the second canon, that is the timing is to be observed by the feet finds amply
displayed in Kathak type of dance. The dance has more floor contact than in
any other type of dance in India and uses minimum facial expression and eye
movement. In Kathakali the eye movement is par excellence and the actors
appear as though they speak with their eyes. These actors do not themselves
sing while acting; thus violating the first canon. In Tanjore and Andhra types
of dances, eye movement is less and the facial expressions are well handled
especially when emotions are to be depicted using thirty three sanchari-bhava-s
or variations in expressing the theme. Thus the principles of Bharata, are
observed indifferent types of dances to the partial neglect of or to the partial
attention to the four canons mentioned above.

39. Tumati, Donappa

Janapada kala sampada [The rich heritage of folk art forms], Visalandra
Publishing House, Hyderabad, December 1987.


    The book talks about the three main dialects of Telugu language spoken in the three
different regions of Andhra and their role in the development of literary works. The author
focuses on the usage of these dialects in the lyrics that are used in the dance traditions of
Andhra Pradesh.


    Telugu language has three main dialects used in three different regions of
Andhra divided as Rayalaseema, Telangana and Coastal Andrha. According to
Tumati, out of these three, the third dialect, that is of Coastal Andhra, gained
prominence and got refined with more literary works written in this dialect. It
is also the most commonly used dialect by the writers. The author focuses on
the usage of these dialects in the lyrics that are used in the dance traditions of
Andhra Pradesh. Tumati explains that the Rayalaseema dialect received less
attention from the writers. As a consequence of this and with much of it being
lost, the available literature in this dialect is very little.
    The development of Telugu literature in the entire Andhra region had its
effect on the lyrical composition presented in the dance-dramas, specially in
yakshaganams, and Kuchipudi dance-dramas.
    According to Tumati, the dance-dramas like yakshaganams were originally

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performed by the lower strata of society. Later, groups from upper classes
began to perform in these styles. Kuchipudi Bhagavatulu were one such
prominent group belonging to Brahmin community, living in Kuchipdi village
of Krishna district in coastal Andhra. They contributed to the growth of
Yakshagana form in a significant manner. The author points to various factors
that facilitated the development of yakshagana forms.

40. Uma Rama Rao, K.

Kuchipudi Bharatam or Kuchipudi Dance: A South Indian Classical
Dance tradition, Sri Satguru Publications (Raga Nritya Series, n. 5),
Delhi, Indological and Oriental Publishers, Delhi, 1992.


      The book, one of the first published works in English, describes the salient features of
Kuchipudi and the process of its revival in 1950s, Analyses the “Classicism in Kuchipudi
Dance” and “Kuchipudi Dance: Today” referring to the trends and adaptations that were
incorporated in the process of the development of the dance form. The author opines that the
proportion of various aspects of dance technique such as nritta (pure dance), nritya (song
and pure dance), and natya (dramatic element) used in each dance item of the repertoire
contribute to the classicism of a dance form and illustrates her view with few examples from
the repertoire.


      The revival and recognition of Kuchipudi dance in 1950s created an interest
among the dancers to learn and in lay public for watching performances in this
style. Soon both Telugu and non-Telugu speaking dancers, mostly females
started learning and performing. A need for general acquaintance with the
dance form was felt. Apart from the live and Television programs that
followed in the late 1970s, there was not much literature available, particularly
in English to provide the basic theoretical concepts that explained the dance
technique. Much of it was expressed through various articles that appeared in
journals, newspapers, magazines and souvenirs with limited focus on the
subject. The compiled information that was available in the book for was in
Telugu.
      In the process of reaching higher levels of performances and teaching
Kuchipudi received favorable response from the audience and the financial aids
Annotated Bibliography on Kuchipudi sources                                                                               247




from the state and central government cultural bodies such as Sangeet Nritya
Nataka Akademi. Awards and scholarships were given to encourage young and
upcoming dancers. Acceptance of female performers in the dance style
established the solo-dance system known as kelika. However the traditional
yakshaganam-s and kalapam-s too were retained and presented along with the
other dance items.

41. Vedantam, Parvateesham

Kuchipudi Nritya Darpanam [Mirror of Kuchipudi dance], Tirumala
Tirupathi Devasthanam, Tirupathi, Andhra Pradesh, 1969.


    The book provides the details about the type of dance syllables used in Kuchipudi dance
both in the fundamental training level as well as in the various song structures of Kuchipudi
repertoire.


    The book contains the nature of dance syllables used in Kuchipudi dance.
The dance tradition was passed on from generation to another for the past few
centuries in oral tradition. Due to the practice of this transmitting process
there was no proper documentation of the lyrical compositions and the dance
syllables that accompanied each item in the repertoire. The author of this book
belongs to one of the senior most traditional artiste living in Kuchipudi village.
Realizing the need for documentation of the content of Kuchipudi repertoire,
the author brought out this book to serve as a guide to the dancers, performers
and teachers about various items; he included the material that was taught to
him by his senior teaches, the songs recovered from the old degenerating palm
leaves and also his own compositions. The book starts with a section focusing
on the syllables used for the basic units of the various meters in Kuchipudi.
The various items in the dance repertoire is presented providing the category
to which a particular item belongs to. The inclusion of one hundred and eight
talas (time-measures) along with a sloka (Sanskrit verse) defining each tala
provides the useful information to the choreographers and musicians.
    The book fills the void created by the lack of any text explaining the dance
syllables and their recitation for a number of years.



                                        «Danza e Ricerca. Laboratorio di studi, scritture, visioni», anno VIII, numero 8, 2016
248                                                                             Rajyalakshmi Seth




42. Vedantam, Prahlada Sarma

Natyaodayam, Natyakala, APSNA, Hyderabad, 1965, pp. 1-5.


      The author, belonging to one of the hereditary Kuchipudi families, describes the way
Kuchipudi performances are presented on the stage that relate to the presentation technique
described in the ancient treatise, Natyasastra.


      In Kuchipudi dance-dramas the poorva rangam (prelude to a performance)
preceding, the commencement of each performance is a feature that follows
the rules of classical theater based on Natyasastra. Here the purification of the
performing platform or stage is done by sprinkling water, decorating with
articles of auspicious value accompanied by vedic chanting (hymns). The dancer
prays and seeks blessings from guru and gods which is called naandi to the
playing of musical instruments. This is done in chitra poorva ranga, that is
performing rituals through hand gestures and body and feet movement. The
author points out that a Kuchipudi dancers need to exercise their bodies in
order to perform various body movements and postures called karana-s.

43. Vatsyayan, Kapila

Traditional Indian Theatre , Multiple Streams, National Book Trust of
India, New Delhi, 1980.


      The author emphasizes in this book that the Indian performing arts can not be separated
into clear cut categories like folk, classical, opera or symphony as is the case in Western
countries. This book deals particularly with the category of art forms which neither can be
called as folk or classical but exhibit certain distinguishing quality to bridge the gaps but
have an identity of their own. The author attempts to classify these forms depending on their
regional distribution, the class or caste of society to which the performers belong to and the
literary content of their repertoire, based on the contemporary manifestations, their linkages
with similar manifestations in other parts of India and with each other in a particular
region. Vatsyayan further summarizes the multi-layered pattern of art forms after analyzing
each of them within its social structure in the regional level and also in the broader
geographical distribution.
Annotated Bibliography on Kuchipudi sources                                                                               249




    Vatsyayan identifies in her classification of art forms, one level of art forms
that belong to community theater (professional or semi-professional) of the
village street or court. The author writes, the relationship of the word and
gesture has undergone a transformation becoming a rigorous one. The
theatrical spectacle depends on the spoken or sung word alone which is
interpreted through movement in many ways. The Ramalila, Rasalila, dance-
drama forms like Kutiyattam, Yakshagana and Bhamakalapam are cited to
represent this phenomenon. These forms, some of which have become
sophisticated or stylized forms continue to be deeply rooted in the village and
folk culture, but at the same time have a methodology of communication
which has two levels. One is at regional and the other at universal. Also the
theme or content may be concerned with eternity at one level but at the same
time exhibit a local color and contemporary validity with adaptations to local
situations. These two levels of meaning are evident in the dramatic structure as
well as with the local situations and temporarily. Also the reflections of
structures and conventions of Sanskrit theater is observed in some of the
contemporary forms.
    In her analysis Vatsyayan mentions that many dance-drama forms are
prevalent in southern regions like Bhamakaalam, Bhagavatamala, Kuttyattm ,
Krsnattam, Kathakali etc. which illustrate the hypothesis of the study by the
author in the book, that there were two parallel movements in the cultural
pattern (vertical and horizontal). If one describes the phenomenon in the
context of dance and dance-dramas in the geographical region of the southern
zone, the vertical movement involves interaction between the various dance
forms, that were practiced in one region but varied due to the difference in the
purpose of their performances. For instance, the performances in temples,
temple courtyards, temples in village milieu and those of street forms,
community dances, tribal dances and ritual dances in a particular region shared
some features either in the literary word or movement with a common literary
content among all forms or among those of the different regions. If we
consider the category belonging to temple courtyard, we find forms such as
Yaksagana, Bhamakalapam in Andhra, Yakshgana and Bhagavatamel in


                                        «Danza e Ricerca. Laboratorio di studi, scritture, visioni», anno VIII, numero 8, 2016
250                                                                           Rajyalakshmi Seth




Tamilnadu. Yaksagana in Karnatak,a, and Kutiyattam, Krsnattam and
Kathakali in Kerala.
      Brahmin families, both in Melattur and Kuchipudi, have been instrumental
and responsible for the continuance of this custom of passing on the dramatic
content from generation to generation through word of mouth without the aid
of any scripts till about 1930s when the changes started taking place.

44. Vatsyayan, Kapila

Traditions of India Folk Dance, Indian Book Company, New Delhi,
1976.


      Vatsyayan talks about the distinctive nature of folk dance forms as a category and the
spontaneity with which the performers participate and how the performances are linked to the
functions of daily life. The author also explains their nature of development the folk dance
forms have undergone without any dependence on the rigid aesthetic rules and regulations
unlike as in the other sophisticated art presentations.


      Vatsyayan summarizes and describes the origin of what is today called as
Kuchipudi, as follows: Kuchipudi was connected both with the literary writing
of the medieval period called the desi form and the pure dance forms that were
closely associated with temple rituals and had evidence of them in literary,
epigraphical and archaeological sources. The difference lies in that devadasi-s
performed in temples and their poses were captured in stone on the temple
walls whereas the Kuchipudi Brahmin boys formed itinerant troupes in village
courtyards. The themes of the repertoire, determined by the contemporary
religious cults and social movements, revolved initially around the shaiva puranas
and when vaishavism was popular they included Bhagavata puranas. The
performers themselves came to be called Bhagavatulu.
