Sharada Stories

The Veera Mushti and Jangam communities perform Sharada stories. Artists in these communities use an instrument called the Tambura to tell these stories. The instrument also has the same name as the stories. The storytelling tradition of Sharada is performed like this: A performer tells a historical, social, or mythological story. The kinds of tales told by Turumaras suggest the performers want to entertain and educate their audiences. Indeed, some of the “lessons” passed down in Sharada stories are quite repetitive—as if the performer wants to ensure the audience gets the hint. Hearing the same basic story told with different performers might make for a fun evening in some village.

Pichakuntla Stories

The Pichakuntla community, which practices the Shaiva religion, performs Pichakuntla stories. It earns a meager livelihood by begging near the Reddy and Yadava communities. The performance almost always involves three members. The lead narrator wears a head cloth, holds a sword with a small drum (Dolu), and wears ankle bells. The other two artists serve as a chorus.

Stories mainly revolve around the Gotras of different castes. This art was mentioned in the book “Panditharadya Charitra,” by Palkuriki Somanatha. Important stories include the “Palnati Veera Charitra,” written by Srinatha, and “Kunti Malla Reddy Charitra,” which is closely associated with the Reddy community. Each performance group lives in a specific village, called “Mirashi.” They are supported by strong, devoted patrons, and as long as those patrons live, the performance groups will live as well. No performance group is allowed in another group’s Mirashi village.

Dasarulu

The Dasarulu community adheres to Veera Vaishnavism. They sustain themselves by singing devotional songs to Lord Vishnu and by begging.

Vipra Vinodulu

The magical acts and illusions performed by the Vipra Vinodulu are not only enchanting but also reminiscent of the acts of the most famous magicians of our time. They have a very impressive act of producing sacred ash (vibhuthi) which is said to be a divine all-purpose remedy, as well as a very basic prop used in the making of idols. They are also skilled at making magical statues. The making of magical statues requires a steady hand, as well as good timing and good music. Like almost every magical act performed by magicians anywhere in the world, the making of a magical statue is an illusion.

Chakka Bhajana 

Chakka Bhajana is a slow-paced rural dance performed by artists who move from house to house. When artists perform chakkas, they use a musical instrument called the “Chakka.” They also wear ankle bells, which jingle with each step they take, as if they were doing a rural version of a jig. And if you can picture what I just described, you can kind of imagine those bells and the Chakka making up the half-time show to a mariachi band playing the 5, 6, 7, and 8 counts of an uptown jig.

Asadhulu

In Telangana, the widespread adoration of goddesses such as Yellamma, Maisamma, and Peddamma compels the establishment of many temples in their honor. Their worship is chiefly led by the diverse communities of Mala, Madiga, and Kummari (potter). These Asadhulu priests perform religious ceremonies with a specific set of instruments, the Javika and Chedika, that produce a sound signaling the start of their divine presence.

Yanadi Bhagavatam

Called Garudachala Bhagavatam, this folk art of the Yanadi community is a beautiful blend of storytelling, music, and dance. One of the most famous—and emotionally charged—narratives rendered in this art form is that of Chenchu Lakshmi. She was a poor girl who lived in a hamlet near Garudachala in the Nallamala hill range of Andhra Pradesh.

Mandechu Artists

Support from the Yadava (Golla) community provides a livelihood for Mandechu artists, as they traditionally count this group among their income sources. Mandechu artists tell the story of Katamaraju in their unique storytelling style. They use 100 to 200 small figures that relate to the story of Kamataraju to keep their audience engaged. These figures are kept in a “Jeevasthalam Pette,” a special way to hold what would be considered story props in a more standard storytelling format.

Runjala Varu

The Runjala tribe’s mainstay is the Vishwa Brahman community. Their members sing devotional songs accompanied by what is called a Runj. As devotees of Shaivism, they direct most of their songs to the Hindu deity known as Lord Shiva. For their intense devotion, they are also known as “Rudra Maheswaras” or “Rudrangas.”

Pagati Veshalu

Most forms of folk art are performed at night, but Pagati Veshalu (Daytime Disguises) is performed in the daytime. It serves not only to amuse but also to instruct the populace about societal problems and superstitions in a way that is both humorous and satirical and that uses the performer’s disguise to great advantage. The performers may also be referred to as “Bahurupalu” (Many forms).

The Budige Jangam Shaivas perform Pagati Veshalu in a traditional manner. One of the most iconic costumes from the performance is Ardhanarishwara. Several classical texts mention Pagati Veshalu, such as:

Gangireddulata

The performance is an ancient one and unites the longstanding folk traditions of Puja Golla, a community in the Khammam district. The individual who makes the bull dance is accompanied by the music of two others—Sannayi (an oboe) and Dolu (drum)—who provide necessary auditory support, signaling the transition from one dance step to another, for the performer.

Gante Bhagavatulu

A night exhibition where each participant has a bell (Ganta) in hand. The performers utilize a small lamp to shine onto their faces, ensuring that their expressions are visible to the audience.

Peddammalollu

Peddammalollu female folk artists belong to wandering tribes. When they perform, one woman holds a goddess statue aloft on her head and beats a Dolu (drum) while another does not-so-close-to-an-actual-stage dance. Whatever that art form is called, it likely has a rendering at least one step more graceful than what I’m assuming the dance figure that flanks the Dolu performer does. Hearing the Dolu in tandem with a not-so-close-to-perfect art figure might lend some dramatic flair to tales of gods and goddesses winning and losing.