Culture of Andhra Pradesh | APPSC State Specific Preparation Course - APPSC (Andhra Pradesh) PDF Download

Religion, Feasts and Festival

• In Andhra Pradesh, various Hindu faiths such as Dwaita, Visishtadwaita, Advaita, and Saivite coexist harmoniously, along with Muslims and Christians who live alongside each other with tolerance. The worship of the goddess Sakti is observed in both refined and more primal forms. In villages of better economic standing, temples dedicated to deities like Vishnu, Siva, and Sakti are prevalent, often featuring Vighneswara, Srirama, and Hanuman as well. Overall, religious or sectarian extremism is not prevalent in Andhra Pradesh.
• The state boasts several renowned temples, including Simahachalam, the Sun temple in Arasavalli, Draksharama, Bhadrachalam, Annavaram, and Antarvedi. Other notable temples include those in Mangalagiri, Achanta, Palakol, Dwaraka Tirumala, Tirupati, Kalahasti, Kanaka Durga at Vijayawada, Ahobilam, Srikakulam, Mukhalingam, Kotappakonda, Srisailam, and Mahanandi. These temples are characterized by their ancient origins and remarkable architectural designs. Additionally, noteworthy Christian churches in places like Medak and mosques in Hyderabad contribute to the religious diversity.
• Moreover, local deities known as Gramadevatas are highly revered in rural areas, where Jataras are celebrated without affiliation to any specific denomination. These deities, often worshipped at shrines located on the outskirts of villages, are believed to have the power to cause diseases and disasters if neglected. Animal or fowl sacrifices are sometimes performed to appease them. However, such practices are gradually diminishing with the spread of modern education.
• Among hill tribes, superstition and animism play a significant role in their religious beliefs. Witchcraft and animal sacrifices were once common but are now fading due to modernization. For instance, the Koya tribe in the Godavari Valley considers eclipses as ominous events, believing that a devil in the form of a serpent or tiger attempts to swallow the earth during such occurrences. To ward off this perceived threat, they beat drums throughout the duration of the eclipse.

Feasts and Festivals

Andhras commemorate numerous feasts and festivals, many of which hold religious significance but are primarily known for the joyous atmosphere they create. During these occasions, households are adorned with floral decorations and green leaf toranas, while intricate designs made of muggu powder (rangoli) embellish the courtyards. Doorsteps are adorned with turmeric and kumkum pastes, and the air is filled with the aroma of dhoop sticks and sambrani. People dress in new attire, special dishes are prepared by the women of the household, and communal gatherings often take place near village temples or common areas.
Among the nine major festivals observed by Andhras, seven are religious and two are agricultural in nature.

• Ugadi: Celebrated as the Telugu New Year, usually in March/April, Ugadi is considered auspicious for bringing peace, prosperity, and happiness to the family in the upcoming year. The day involves wearing new clothes and feasting, along with the tradition of forecasting the year ahead through a ceremony called 'Panchanga Shravanam'.
  
• Srirama Navami: This festival celebrates the birth of Sri Rama, typically observed in April. It is marked by devotion, prayers, and the reading of the Ramayana before large gatherings, followed by the distribution of panakam (jaggery drink) and vadapappu (green gram preparation).
• Vinayaka Chaturthi: Celebrated in August/September, this festival is dedicated to Lord Vinayaka, the god of success. Devotees observe it with fervent devotion to ensure success in their family's endeavors for the coming year.
• Dasara: Falling around September/October, Dasara is celebrated over ten days as 'Dasara Navaratri', with the ninth day dedicated to the worship of tools by craftsmen and artisans. The tenth day, Vijayadashami, is celebrated joyously.
• Deepavali: Known as the Festival of Lights, Deepavali occurs a few weeks after Dasara and commemorates the victory of good over evil, symbolized by the slaying of the mythological tyrant Narakasura by Lord Krishna and Satyabhama. Children celebrate by lighting fireworks and wearing new clothes.
• Sankaranti: Falling on 13th/14th January each year, Sankaranti is a significant festival for Andhras, during which farmers express gratitude to nature after a successful harvest.
• Mahasivarathi: Celebrated in February/March, this festival honors Lord Shiva, one of the trinity of Brahma, Vishnu, and Shiva.

Additionally, Andhra farmers celebrate festivals like Panduga and Eruvaaka, while housewives observe vratams (religious observances) and nomus (traditional rituals). The hill tribes celebrate the Chaitra festival, marking the gathering of the harvest and a month of festivities.

Dance

• In ancient times, dance in Andhra Pradesh was predominantly practiced as a sacred art form performed in the presence of deities in temples. The Devadasi System was prevalent during the Vishnukundin and Eastern Chalukyan periods, where devadasis were dedicated to practicing dance according to the strict principles outlined in classical Natyasastra. They were responsible for performing rituals like 'aarati' and 'Pavalimpu seva' to the presiding deity. Manikyamba, who built the Draksharama temple, was a notable devadasi from this era. The Kakatiyas, followers of Saivism, encouraged Sivatandava dance throughout their kingdom, with four dance institutions existing at Srisailam, a prominent Siva shrine.
• The Kelika style of dance was performed during processions (utsava) when the deity was taken through the streets, with devadasis participating in these performances. Subsequently, the court dancer or rajanartaki system emerged. When the traditional systems of devadasis declined over time, they transitioned to practicing Yakshaganas.
• The Kuchipudi Dance form was pioneered by Sidhendrayogi of Muvva, Krishna District, around the 15th century. Kuchipudi style is renowned for its fusion of Bharatanatyam elements and is considered a landmark in Indian classical choreography. One of its prominent compositions is the near-ballet type dance-drama, 'Bhama kalapam'. Kuchipudi performances encompass Nritya and Natya elements, with each character introduced to the audience through song and jatis. This dance form is believed to be comprehensive, drawing from the principles outlined by the sage Bharata, incorporating elements of Lasya, tandava, and abhinaya in sloka renditions.
• During ballet performances, the Kuchipudi form employs all the moving limbs, encompassing a wide range of abhinaya expressions including aharya (costumes and ornaments), angika (body movements), satvika (emotional expressions), and vachika (verbal expressions), akin to classical Bharatanatyam. Despite its classical nature, Kuchipudi's rendition resonated with the masses.
• The repertoire of Kuchipudi dance includes celebrated works such as Gita Govinda by Jayadeva, padmas by Kshetrayya, and tarangams by Narayana Tirtha. Popular compositions within this dance style include Bhama Kalapam, Golla Kalapam, Harischandra, Prahlada, and Usha Parinayam. Kuchipudi places emphasis on jada, or plaited hair, among other costumes and ornaments. The jada is intricately crafted with 27 different pieces symbolizing the 27 stars, with additional elements such as sun and moon ornaments. At the tail of the jada, three round balls represent the three worlds (tribhuvanas), with smaller balls hung beneath each large ball.
• In Kuchipudi, Satyabhama symbolizes prakriti (nature), while Sri Krishna represents purusha (the cosmic being). Satyabhama's portrayal in Bhama Kalapam showcases all eight types of Nayikas (heroines) according to Indian aesthetics (alankara sastra).

Modern Drama

• Sarasa Vinodini Nataka Sabha, founded by playwright and actor Dharmavaram Krishnamachari in the late 19th century, played a pivotal role in modernizing Telugu theater. This era also saw the rise of commercialized dramatic companies such as Dharwar, Parsi, Sangli, and Surabhi. Productions like Chitranaleeyam, a dramatic adaptation from the Mahabharata, and Sarangadhara, a romantic drama based on Chalukyan history, drew large audiences. Gayopakhyanam by Chilakamurti Lakshmi Narasimham was another popular play, while Vasantasena, based on Sudraka's work, staged by the Surabhi company, enjoyed considerable success. Balijepalli’s Harichandra and adaptations from Veni Samharam and Sakuntalam were among the main offerings of his repertoire.
• Gurazada Apparao's Kanyasulkam (1918) presented a social satire on widow remarriage and the emancipation of women, while Prataparudriyam by Vedam Venkataraya Sastri was a historical drama that found success on stage. Both plays made liberal use of spoken dialect, avoiding obsolete grammatical structures, and were celebrated as masterpieces of their time, continuing to be popular today. Sthanam Narasimharao's portrayal of Maduravani in Kanyasulkam and Manjuluri Krishna Rao's performance as Mantra Yugandhara in Prataparudriyam gained widespread acclaim.
• Subsequently, the Mylavaram Drama Company and the Bala Bharati Nataka Samajam emerged as prominent theater groups, with their base in Vijayawada. Their repertoire included productions like Sakuntalam and Savitri. Performers like Sanjiva Rao, Yadavalli Suryanarayana, and Addanki Sriramamurti made significant contributions to these companies, showcasing their talent in plays like Harischandra and Pandavodyogavijayamulu by Tirupati Venkata Kavulu.
• The Sri Rama Vilasa Sabha (1920-1935), led by top performers such as Govindarajula Venkata Subbarao, Sthanam Narasimha Rao, and Pulipati Venkateswarlu, showcased plays like Prataparudriyam and Kanya Sulkam alongside Saranghadhara and Tulabhara. Banda Kanakalingeswara Rao also made significant contributions to the Andhra stage. Later, T. Raghavachari (popularly known as Bellary Raghava) brought a fresh approach to Telugu theater with memorable roles like Rajaraja in Saranghadhara, Chanakya in Chandragupta, Hiranya Kasipa in Prahlada, and Ramadas. Raghava also produced several social-themed plays penned by P. V. Rajamannar.
• The rise of cinema led to the decline of professional drama companies by 1940, but it sparked an interest in amateur drama among Andhra youth. By 1966, there were over 700 such amateur groups in Andhra Pradesh, according to a survey conducted by the state-sponsored Sangita Natak Akademi. Notable productions included Raja Rao’s Mahabhoomi, sponsored by Praja Natya Mandali, which focused on peasant uprisings. Kurma Venu Gopalaswami of Andhra University made significant contributions to experimental theater. In recent years, the theater movement has seen a revival through initiatives like the Andhra Nataka Kala Parishat, which organizes drama competitions and awards prizes for successful entries. Radio plays and one-act plays are also prevalent in contemporary theater.
• The Andhra Pradesh Sangita Nata Akademi provides technical advice and assistance to amateur drama groups, offering financial support and organizing seminars on drama and related topics. It oversees various activities in music, dance, and drama, and operates the Ravindra Bharati, an air-conditioned auditorium with a mini-theater located centrally in Hyderabad, equipped with modern theatrical equipment and acoustics.

Music

• The earliest known musical work from the Andhra region is believed to be Gatha Sapta Sati, a collection of seven hundred verses in Prakrit, completed during the reign of King Hala Satavahana around the first century A.D. This work provides evidence of the existence of music and musical instruments in ancient times. Sculptures from Amaravati and Nagarjuna Konda, dating back nearly 2000 years, also depict musical instruments. During the Kakatiya period in the 12th century, Jayapa was a renowned musicologist and choreographer, known for his works Geetaratnavali and Nritya Ratnavali. 
• From the 13th century onward, during the Vijayanagar period, there were distinct music traditions. Notable figures like Vidhyaranya and Ramamatya were leaders of the Southern School, while Sarangdeva in the kingdom of Yadava Singanna wrote the Sangita Ratnakara. This period also saw the appearance of commentaries on musical treatises, such as Sudhanidhi by Sarvajna Singhana and Kalanidhi. Vasanta rajeeyam, a treatise on music, was authored by Kumaragiri of Konaveedu. Patrons of music during this period included Proudhadevaraya, Krishnadevaraya, Achyuthadevaraya, and Nayaka rulers, known for their contributions to musical literature like Sangita Sudha, Chaturdandi Prakasa, and Sangita Saramrita. Music during this time was closely associated with related arts such as dance, drama, and other theatrical forms.
• Bharata, the author of Natya Sastra, mentions Jati, a precursor to raga, which was known as 'Andhri' along with other ragas like Gaudi, Karnati, Lati, and Varati, named after their respective linguistic regions. Music during this era was classified into two categories: 'marga' for the classical elite and 'desi' for the common folk. Matanga, in his Brihaddesi, provides descriptions of ragas, while musical forms like Charchari, Dwipada, Elaprabhanda, and Kanda Prabhandha are also mentioned in Brihaddesi.
• Palkuri Somanatha, a writer from the 13th century, penned works like Basavapurana and Panditaradhyacharitra in the popular Desi ballad style known as Dwipada. These compositions offer valuable insights into the musical forms of that era. Tallapaka Annamacharya, who lived from 1424 to 1503, composed a total of 32,000 verses, divided into two categories: Sringara padamulu (erotic lyrics) and Adhyatma kirtanalu (devotional lyrics). Kancharla Gopanna, also known as Ramadas of Bhadrachalam, composed kirtanalu praising Srirama. The musical trinity of Tyagaraja, Muthuswami Dikshitar, and Syama Sastri were prominent figures during this period. Their compositions focused on philosophical and literary themes. Tyagaraja, who lived from 1767 to 1847, primarily resided in the Tamil region and composed numerous kritis in Telugu and Sanskrit. Muthuswami Dikshitar's compositions were mostly in Sanskrit, while Syama Sastri's compositions were in Telugu, Tamil, and Sanskrit.
• Kshetrajna or Kshetrayya, a devotee of Muvva Gopalakrishna, introduced new musical structures called padams, numbering 350, which required intricate aesthetic expressions to convey subtle mental attitudes. Veedhi natakam and Yakshaganamu (opera) were popular musical plays in Rayalaseema and the southern regions, utilizing the Yakshagana style of musical rendering. The Tanjore quartet, consisting of Vadivelu, Ponnayya Pillai, Chinnayya, and Sivanandam, were renowned musicians from South India. Additionally, composers like Mysore Vasudevachari, Mysore Sadasiva Rao, and Swati Tirunal of Travancore, though not originally from Andhra, contributed significantly to Telugu music.
• Music received substantial patronage from the Andhra Gajapati of Vizianagaram, leading to the establishment of the College of Music in Vizianagaram. Dwaram Venkataswamy Naidu, known as a violin virtuoso, served as the head of the college for an extended period. Rallapalli Ananth Krishna Sarma, a noted musicologist from Tirupati, played a crucial role in uncovering and popularizing the renowned kirtanas of Tallapaka Annamacharya from Tirumala and Ahobilam, totaling 1200 in number.