paragraph on dances of telangana please help
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Situated in the central section of the Indian peninsula, Telangana is India's youngest state and was born on June 2, 2014, as the 29th state of India. It is known as the region where the fusion of two cultures takes place namely North and South. The word Telangana is derived from the 'Trilinga'. According to the legend, Lord Shiva's lingams are found on three mountains - Srisailam, Kaleshwaram and Draksharama which line the boundaries of Telangana.
Art and Culture of Telangana
Telangana is a storehouse of creativity which is prevalent in its collection of art and craft. Developed in the 16th century, the Golconda style is an old method of blending foreign techniques. A dash of bright gold and white colour is used in the Golconda style. The Hyderabad style emerged in the 17th century under the influence of Nizams.
Dhokra or Dokra is a famous craft which is also known as Bell Metalcraft. Here artisans produce figurines, peacocks, elephants, horses, tribal gods and other variety of birds and animals which are made of brass. It originated in West Bengal, Chhatisgarh and Jharkhand.
Bidri craft is said to have brought in by migrants. It is an art where silver is engraved on metal. The name is derived from a town called Bidar (now in Karnataka). Beautiful jewellery boxes, hukka, buttons and other things are made using this art.
Hey !
This is a some information about 3 folk dance of Telangana
1. Perini Sivatandavam Folk Dances of Telangana:-
Perini Sivatandavam or Perini Thandavam is a typical form of dance that belongs to the warrior clan of 11th century AD. This is actually a male dance form performed in the Shiva Temple as an invocation to the Lord Rudra. The 11th century rulers of Kakatiya, Ganapathi Deva, Pratapa Rudra Deva of Warangal and Rani Rudrama Devi were all worshippers of Lord Shiva and tremendously helped the warrior dance form. This art, after the fall of Kakatiyas, disappeared from the scene due to lack of patronage.
Perini Sivatandavam is believed to be the most invigorating male dance form. This pure form of dance incorporates Vira, Raudra rasas of Lord Shiva whose spirits are invoked by dancers. This dance form mainly involves five elements including Water, Air, Wind, Earth and Fire and celebrating the mystic “Om”. One of the interesting parts about this form is the music that is used. The use of Bells, Drums, Conch and Rhythmic Syllabus change the entire atmosphere helping the dancers to reach a point of frenzy. Perini Sivatandavam is mainly the dance of warriors and derives its name from “prerana”, which means inspiration. The warriors performed this dance before the idol of Lord Nataraja, as a mode of worship, before leaving for the battlefield with the motto of invoking Shiva to dance through them. The dance begins with Gargara and ends with Shiva Panchamukha Shabda Nartanam in praise of Lord Shiva. The dancers perform energetically to the rhythm of drums. This continues till they feel the power of Shiva in their bodies. This dance can be said as both of spiritual and artistic significance. This particular dance form is in vogue and was promoted in the reign of kings of Kakatiya Dynasty in Warangal. This is well evident from the fine and detailed sculptures of this dance at Ramappa temple in Palampet.
2. Oggu Katha Folk Dances of Telangana:-
Oggu Katha or Oggukatha is a traditional folklore singing praising and narrating the stories of Hindu gods Mallana, Beerappa and Yellamma. It originated among the Yadav and Kuruma Golla communities, who devoted themselves to the singing of ballads in praise of Lord Shiva (also called Mallikarjuna).These tradition-loving and ritual-performing community moves from place to place, narrating the stories of their caste gods. Oggus are the traditional priests of the Yadavas and perform the marriage of Mallanna with Bhramaramba. The narrator and his chorus i.e. two narrators-help in dramatizing the narration as very often, they transform themselves into two characters. The dramatization of the narrative is what gives the Oggu Katha its predominant place in the ballad tradition in Telangana, where Oggu Katha prevalent. The singers visit the shrine of Komrelly Mallanna Temple every year.
3. Chindu Bhagavatam:-
Chindu Yakshaganam, flourished across villages of Telangana. The performers, called ‘Yakshulu’ also has varied names like Nagasulu, Kurmapulu, Sanulu and Bhogalu. They later earned the name of ‘Jakkulu’. Poet Srinatha referred to a character in one of his works, as ‘Jakkula Purandhrini’. Pendela Nagamma and Pendela Gangamma were two historical names. The court dancer of Kakatiya Pratapa Rudra was Machaladevi. It is said she got her family history penned in the format of ‘Yakshagana’ and got it staged in the fort of Orugallu (present day Warangal) in the presence of court scholars. As of now this tradition can be found only in Telangana. These groups were named as ‘Bharatulu’, ‘Bahuroopulu’, ‘Saindhavulu’, ‘Dasarulu’ and ‘Chindu Madigalu’. The texts they got written by scholars were presented in simple poetic meter. Though at one time this was for solo presentation by women, slowly male characters too were added. But the style of rendition by ‘Gante Bhagavatulu’ and ‘Chilukala Bhagavathulu’ became popular and became yardstick for this art. ‘Chindu-Jogitalu’ is one sect whose exclusive audience were Madigas. A Jogita is supposed to have exclusive right to dance in praise of God. Since then the word ‘Jogu’ has become a prefix to their names like ‘Jogu Chindula Ramavva’, ‘Jogu Ellavva’, ‘Jogu Chinnabai’, ‘Jogu Pooboni’ and so on. Subsequent artistes carried the legacy of art of their ancestors. ‘Jogu’ is now a signature word for artistes who are pursuing this art. Over a period it has become a sub-caste of Madigas. This art ‘Chindu Bhgavatam’ was being mainly catered by Madiga community of those areas. They never moved beyond this circle, for, the so called higher castes never allowed them to present Bhagavatam shows in their areas. The character ‘Yellamma’, considered as avatara of Goddess Parvati was always highlighted and only women played this role unlike men who played female roles in the Bhagavatams. They cover all the major epics like Mahabharata, Ramayana or Bhagavata. They have stories that surround local Goddesses too especially ‘Yellamma’.
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