Performative Intercessions beyond Religion-A Glimpse into Telugu Dance Traditions
Abstract:
The classical dance traditions of the Telugu speaking regions of Southern India mainly existed in two parallel streams, Kuchipudi dance and the dance of Kalavantulu. Kuchipudi was the domain of the Vaidiki Brahmin men. Both the practice of gender reversal and caste were adhered to, strictly till the 20th century. The socio political period of the developmental era of Kuchipudi dance witnessed an interesting interface of various cultures and religions. This was mainly because of the then rulers being the Muslims. In fact the name of the dance form is taken from the village that was gifted to them in appreciation of their art by the Golconda ruler Abul Hassan Tanasha of 17thcentury.On the other hand the community of dancing women who were dedicated in the service of the God in the temples was called Kalavantulu. A section of them were court dancers as well. The content of the dance of both Kuchipudi performers and the Kalavantulu was like that of any other traditional dance of India, based on the Indian mythology. These two forms had experienced a mutual inflow of give and take and have also seen many a transpositions simultaneously. A critical study of the content, compositions and of these forms will bring out quite a few striking issues like the frequent use of Urdu words and gestures to suit such instances etc. This paper focuses on the socio political reasons behind such a culmination of cultures, thus making an effort to understand the accommodations made by the performers both for the survival of the self and the art form itself. The classical dance traditions of the Telugu speaking regions of Southern India mainly existed in two parallel streams, Kuchipudi dance and the dance of Kalavantulu. Kuchipudi was the domain of the Vaidiki Brahmin men. Both the practice of gender reversal and caste were adhered to, strictly till the 20th century. The socio political period of the developmental era of Kuchipudi dance witnessed an interesting interface of various cultures and religions. This was mainly because of the then rulers being the Muslims. In fact the name of the dance form is taken from the village that was gifted to them in appreciation of their art by the Golconda ruler Abul Hassan Tanasha of 17thcentury.On the other hand the community of dancing women who were dedicated in the service of the God in the temples was called Kalavantulu. A section of them were court dancers as well. The content of the dance of both Kuchipudi performers and the Kalavantulu was like that of any other traditional dance of India, based on the Indian mythology. These two forms had experienced a mutual inflow of give and take and have also seen many a transpositions simultaneously. A critical study of the content, compositions and of these forms will bring out quite a few striking issues like the frequent use of Urdu words and gestures to suit such instances etc. This paper focuses on the socio political reasons behind such a culmination of cultures, thus making an effort to understand the accommodations made by the performers both for the survival of the self and the art form itself
