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Kuchipudi (/kuːtʃiˈpuːdi/) (Telugu: కచిపడి నత్య) is one of the eight major Indian classical dances.[2] It originates from a village named Kuchipudi in the Indian state of Andhra Pradesh.[3] Kuchipudi is a dance-drama performance, with its roots in the ancient Hindu Sanskrit text of Natya Shastra.[4][5][6] It developed as a religious art linked to traveling bards, temples and spiritual beliefs, like all major classical dances of India.[7]
The traditional Kuchipudi was performed by all males troupe. A dancer in a male role would be in Agnivastra, also known as Bagalbandi, wear a dhoti (a single pleated piece of cloth hanging down from the waist).[15][16] A dancer in a female role would wear a Sari with light makeup.[16] The Kuchipudi performance usually begins with an invocation. Then, each costumed actor is introduced, their role stated, and they then perform a short preliminary dance set to music (dharavu). Next, the performance presents pure dance (nritta).[17] This is followed with by the expressive part of the performance (nritya), where rhythmic hand gestures help convey the story.[17][18] Vocal and instrumental Carnatic music in the Telugu language accompanies the performance.[19] The typical musical instruments in Kuchipudi are mridangam, cymbals, veena, flute and the tambura.[20] The popularity of Kuchipudi has grown within India and it is performed worldwide.[21][22]
The dance-drama tradition in Andhra Pradesh is of ancient origins, and the region is mentioned in the Natya Shastra. Bharata Muni credits a graceful movement to Andhra region and discusses it as Kaishiki vritti. The pre-2nd century CE text calls one raga as Andhri, that is from Andhra.[34] The Andhri, is related to Gandhari and Arsabhi, and is discussed in many other 1st millennium Sanskrit texts.[35] Some, state Bruno Nettle and others, place the origins of Kuchipudi to 3rd century BCE.[15]
Dance-drama performance arts related to Shaivism, in Telugu-speaking parts of South India, are evidenced in 10th-century copper inscriptions, and these were called Brahmana Melas or Brahma Melas.[8][36] The medieval era dance-drama performance artists were Brahmins.[37][38] This art was likely adopted by the musical and dancing Bhakti traditions of Vaishnavism which grew in the 2nd millennium, whose devotees were called Bhagavatulu in Andhra region and Bhagavatars in Tamil region of south India.[8] In Andhra, this performance art evolved into Kuchipudi, while in Tamil Nadu it became known as Bhagavata Mela Nataka.[8] According to Saskia Kersenboom, both the Telugu Kuchipudi and Tamil Bhagavata Mela are strongly related to the classical Hindu dance tradition of Yakshagana found in Karnataka, all three involve Carnatic music, but these dance-drama traditions have differences such as in costumes, structure, interpretation and creative innovations.[15]
Kuchipudi traces its origins to its founder _Tirtha, the disciple of Sri Anandatirtha a.k.a - , when he was the high priest at his matha at Srikurmam and Simhachalam.[39]To instill bhakti in layman he is credited to organizing Bhagavata Mela's throughout the nights and adapted many dance forms from the Srimad Bhagavatha Puranas.[40] Vaishnavism received a big boost in the Kalinga regions of Andhra and Orissa due to the efforts of _Tirtha, Sri Jagannatha Tirtha and his disciples, the message of Bhakti was percolated through the masses via Kuchpudi and The Bhagavata Melas of Sri Narahari Tirtha and his disciples.[41]
According to Manohar Varadpande, the Kuchipudi dance emerged in the late 13th century, when Ganga rulers from Kalinga were patrons of performance arts based on the 12th-century Sanskrit scholar Jayadeva, particularly the Gita Govinda.[4] This royal sponsorship, states Varadpande, encouraged many poets and dance-drama troupes to adopt Radha-Krishna themes into the then prevailing versions of classical Kuchipudi.[4] These were regionally called Vaishnava Bhagavatulu.[4]
The modern version of Kuchipudi is attributed to Tirtha Narayanayati, a 17th-century Telugu sanyasin of Advaita Vedanta persuasion and particularly his disciple, a Telugu Brahmin[15] orphan named Sidhyendra Yogi.[43][42][44][note 1] Tirtha Narayanayati authored Sri Krishna Leela Tarangini and introduced sequences of rhythmic dance syllables at the end of the cantos, he wrote this work as a libretto for a dance-drama.[10] Narayanayati lived for a while in the Tanjore district and presented the dance-drama in the Tanjore temple.[10]
Narayanayati's disciple, Sidhyendra Yogi, followed up with another play, the Parijatapaharana,[note 2] more commonly known as the Bhama Kalapam.[45][note 3] When Sidhyendra Yogi finished the play, he had trouble finding suitable performers.[43][46] So he went to Kuchelapuram, the village of his wife's family and present-day Kuchipudi, where he enlisted a group of young Brahmin boys to perform the play.[43][46][49] According to the tradition, Sidhyendra requested and the villagers agreed to perform the play once a year, and this came to be known as Kuchipudi.[43][46][49]
The region saw wars and political turmoil with Islamic invasions and the formation of Deccan Sultanates in the 16th century.[52] With the fall of Vijayanagara Empire and the destruction of temples and Deccan cities by the Muslim army around 1565, musicians and dance-drama artists migrated south, and Tanjore kingdom records suggest some 500 such Kuchipudi artist families arrived from Andhra, were welcomed and granted land by the Hindu king Achyutappa Nayak, a settlement that grew to become modern Melattur near Tanjore (also called Thanjavur).[9] Not everyone left the old Andhra village of Kuchipudi, and those remaining became the sole custodians of its tradition in Andhra.[9]
Kuchipudi declined and was a dying art in 17th-century Andhra,[52] but in 1678, the last Shia Muslim Sultan of Golkonda, Abul Hasan Tana Shah, saw a Kuchipudi performance and was so pleased that he granted the dancers lands around the Kuchipudi village, with the stipulation that they continue the dance-drama.[46][49] The Shia Sultanate was overthrown in 1687 by the Sunni Mughal Emperor Aurangzeb.[52] In order to regulate public and private morals, as well as end un-Islamic practices,[53] Aurangzeb banned public performances of all music and dance arts, along with ordering the confiscation and destruction of musical instruments in Indian subcontinent under control of his Mughal Empire.[54][55]
After the death of Aurangzeb in 1707, the Mughal Empire collapsed, Hindu rebellion sprouted in many parts of India, including the Deccan region.[56] In the second half of the 18th century, during this period of political turmoil, the colonial Europeans arrived, the Madras Presidency was formed by the East India Company officials and became a part of the British Empire.[57] Andhra was a part of the Madras Presidency. During the colonial era, Hindu arts and traditions such as dance-drama were ridiculed. Christian missionaries and British officials stereotyped and denigrated dancers, calling Indian classical dances as evidence of a tradition of "harlots, debased erotic culture, slavery to idols and priests".[citation needed] Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms.[58][59][60] The anti-dance camp accused the various classical Indian dance forms as a front for prostitution, while revivalists questioned the constructed histories by the colonial writers.[61][62]
In 1910, the Madras Presidency of the British Empire altogether banned temple dancing.[63] Kuchipudi, which was traditionally staged at night on a stage attached to a Hindu temple,[9] was impacted and like all classical Indian dances declined during the colonial rule period.[64]
Some Western dancers joined the Indians in preserving dance. The American dancer Esther Sherman, for example, moved to India in 1930, learnt Indian classical dances, changed her name to Ragini Devi, and joined the movement to save and revive classical Indian dances.[71] Her daughter Indrani Bajpai (Indrani Rahman) learnt and became a celebrated Kuchipudi dancer.[72] The public performances of Kuchipudi by Indrani Rahman and Yamini Krishnamurti outside of Andhra region, created wider enthusiasm and more interest through new students and the expansion of Kuchipudi as a creative performance art both within India and internationally.[70] The latter half of the twentieth century was dominated by the Kuchipudi school of Vempati Chinna Satyam, whose efforts to further codify the modern repertoire earned him multiple accolades, including the Padma Bhushan.
Kuchipudi is a team performance, with roots in Hindu religious festivals.[7] The drama-dance involves extensive stage movements and exacting footwork, wherein the underlying drama is mimed by expressive gestures of hand (mudras), eye and face movements.[75][14] The expressive style is through a sign language that follows the classical pan-Indian Sanskrit texts such as Natya Shastra, Abhinaya Darpana and Nrityararnavali.[7][18][76] The dance is accompanied with Carnatic music, while the recital is in Telugu language.[7][77] Just like the Carnatic music style, Kuchipudi shares many postures and expressive gestures with Bharatanatyam, such as the Ardhamandali or Aramadi"(half seating position or a partial squat, legs bent or knees flexed out).[76] However, there are important differences, such as Bharatanatyam as a Hindu temple tradition trending towards geometric perfection and the spiritual, while Kuchipudi as a Hindu festival tradition trending towards more sensual supple and the folksy.[75][78]
Traditionally the traveling dance troupe consisted entirely of men (often Brahmins[15]), who moved from village to village, and performed on a stage set next to a Hindu temple.[9] The male artists would dress up and act out the female role in a drama performed by these traveling troupes.[79] In modern times, Kuchipudi has diversified, women have joined Kuchipudi dance, outnumber male artists, and are among its most celebrated artists.[7][15][80] In some cases now, it is the Kuchipudi girl artists who dress up and act out the role of boys.[15]
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