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Rayalaseema · Deccan Inland Plateau
नृत्य
Stick dance in two concentric rings turning against each other, so each dancer meets a new partner on each beat. In the Chittoor belt it is often performed to Tamil as well as Telugu songs.
कौन करता है: Mixed village troupes. मौका: Festivals, jataras, Sankranti
Daytime impersonation — a performer arrives in a village in full costume as a mendicant, a hunter, a policeman, a Bairagi or a woman, stays in character for hours and is paid at the end. The form's discipline is that it never announces itself as a performance.
कौन करता है: Hereditary impersonator families. मौका: Daytime, through the dry season
Devotional group singing with wooden clappers and a stepped circular movement, strongly established in the Chittoor and Kadapa belt and sharing repertoire with Tamil bhajana traditions across the line.
कौन करता है: Bhajana mandali groups. मौका: Temple festivals, Sankranti, Ramanavami
A decorated pot balanced on the head, sometimes with a lit lamp, danced through a procession without being steadied by hand.
कौन करता है: Male dancers of specific communities. मौका: Village goddess festivals
A circle dance in mirror-worked skirts, sung in Gor Boli rather than Telugu.
कौन करता है: Banjara women. मौका: Teej, Holi, weddings
Hunting and clan dances of a forest community whose mythology is embedded in the Nallamala temple narratives — the goddess Chenchu Lakshmi at Ahobilam and Srisailam is a Chenchu woman married to the deity, and the shrines acknowledge the connection ritually.
कौन करता है: Chenchu communities of the Nallamala. मौका: Forest festivals and the Ahobilam and Srisailam calendars
संगीत
Tallapaka Annamacharya composed devotional songs in Telugu on Venkateswara from the fifteenth century. Roughly 2,500 engraved copper plates carrying about 13,000 of them were recovered from a chamber at Tirumala in the early twentieth century; the tradition claims 32,000 compositions, so most are lost. The surviving texts had no notation, and the tunes now sung were set in the twentieth century.
Vemana's four-line verses in plain spoken Telugu, each closing with the refrain Viswadhabhirama Vinura Vema. They are recited as proverbs rather than performed, and they are the most widely known Telugu verse in the region.
The sung and spoken text of the leather-puppet performance — Ramayana and Mahabharata episodes delivered by a lead singer behind the screen with harmonium and mridangam, interspersed with comic dialogue between two stock puppet characters.
Solo and three-person narrative forms performed at temple festivals, the first with cymbals and a standing narrator, the second with a tambura and two interjecting side-men.
रंगमंच
India's surviving hereditary family theatre, begun in 1885 at Surabhi village in the Kadapa country by a family that had been leather puppeteers and moved to live actors. The company travels with its own curtains, trick scenery and mechanical stage effects, and roles pass down within the family.
Night-long verse drama on a raised earth platform, with musicians on stage, a hand-held curtain for entrances, and no scenery beyond it.
Shadow theatre performed all night behind a stretched white cotton screen lit from behind, with figures manipulated on bamboo rods from below. Whole villages once commissioned a season of it during drought as a propitiation.
शिल्प
Temple hangings and narrative panels — Ramayana, Mahabharata, Krishna Leela — made for shrines and processional cars. Registered as a geographical indication in 2004–05. The essential distinction is that Srikalahasti is drawn by hand for temples and Machilipatnam, on the coast, is block-printed and grew out of an export trade to Persia and Europe; they share a name and almost nothing else.
सामग्री: Cotton cloth, myrobalan, iron acetate, alum, madder, indigo. तकनीक: The cloth is treated with buffalo milk and myrobalan so the mordants bind, then drawn on freehand with a bamboo kalam wrapped in cloth that meters the flow. Black comes from a fermented iron solution, red from alum-mordanted madder brought up by boiling, yellow from myrobalan flower or pomegranate, blue from indigo. There are seventeen or more washing, drying and dyeing steps and the river is part of the process.
Nimmalakunta is the principal surviving cluster of a tradition that once travelled across the whole Telugu country. Its figures are among the largest in any shadow-puppet tradition anywhere, and the families have moved into lampshades and wall panels to stay in the trade.
सामग्री: Goat and deer hide, natural and later chemical dyes, bamboo rods. तकनीक: Hide is soaked, scraped and stretched until translucent, cut to shape, perforated for pattern and joint, and coloured on both faces so the shadow carries colour rather than reading as black. Figures reach five to six feet and are jointed at shoulder, elbow, waist and knee.
A working sculptors' town supplying temple images across south India and abroad. Registered as a geographical indication in 2017–18, and one of the few crafts on this list that is expanding rather than contracting.
सामग्री: Local granite, dolerite and soapstone. तकनीक: Temple images and architectural members carved to Agama proportional canons, by hand and chisel, with the block worked from all four faces simultaneously so the figure emerges in the round.
The Veerabhadra temple ceilings at Lepakshi hold the largest surviving body of sixteenth-century Vijayanagara mural painting, including a very large single figure of Veerabhadra on the mandapa ceiling. It is a school, not a living craft — nobody paints in this idiom now.
सामग्री: Lime plaster ground, mineral and vegetable pigment. तकनीक: Painted on a lime-and-sand ground with the outline laid in first in black and colour filled flat, without shading — a linear idiom in which the drawing carries everything.
Registered as a geographical indication in 2017–18. The same cultivar is grown across south India under the names Benishan and Safeda; the GI attaches to the Nandyal belt, which is the origin.
सामग्री: Mangifera indica, Benishan cultivar. तकनीक: Grafted orchards on shallow red soil, with harvest timed by the north-east monsoon rather than the south-west.
A large weaving town on the Tungabhadra that has kept a coarse-cotton trade alive on institutional orders. Not currently GI-protected.
सामग्री: Cotton, jute. तकनीक: Interlocked flat weave on a horizontal pit loom, reversible and pile-free.
Included only to correct a persistent confusion. Machilipatnam kalamkari is block-printed, was made for Persian and European export, and belongs to the delta coast. Its own GI, registered in 2008–09, is a separate registration from Srikalahasti's, and the two crafts should not be described as variants of one thing.
सामग्री: Cotton, carved teak blocks, natural dyes. तकनीक: Hand block printing with mordants, the design built in successive impressions rather than drawn.
Rayalaseema के नृत्य, संगीत, रंगमंच और शिल्प — शास्त्रीय शैलियों से लेकर गाँव की परंपराओं तक। (20)