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Andhra culture is one of India’s most ancient and vibrant. From its sophisticated literature to its beautiful music and dance to its ornate fashions, Andhra’s high culture and folk culture are second to none. High Culture encompasses the following Sections:
At the heart of all of it however is the Telugu language.
To properly understand what makes the Telugu heart beat, one must recognize the love for the Mother Tongue.
Telugu Language
Maa Telugu Thalli ki malle puvvu danda
The Telugu language is one of India’s most ancient with an outstanding classical tradition. Though it is related most closely to Kannada and owes much to Tamil, Telugu is the most sanskritized in India (85%). There are approximately 80 million telugu speakers in the world, making it the 14th most commonly spoken tongue. There are large Telugu diasporas in Mauritius, South Africa, Malaysia, and the United States.
The Telugu language is written in Grantha Lipi (which is a descendant of Maurya Era Brahmi Script). Grantha is an abugida, and thus, has a syllabic alphabet. Great poets and writers of the language include Vemana, Nannaya, and Tikkana. Thygaraja is famous for his Telugu kirtanas and Annamacharya its greatest musical exponent.
It is with great reason that Krishna Deva Raya wrote “Desha bhasalandu Telugu lessa!” (“Of all the languages of India, Telugu is the best!”)
References
- Rao, P. Ragunadha. History and Culture of Andhra Pradesh: From the Earliest Times to 1991. New Delhi: Sterling Publishers, 2012
Literature
Litterateurs
- Hala Satavahanas
- Mallinatha
- Baddena
- nanna
- Tikkana
- Yerrapragada
- Srinatha
- deal
- Krishna Deva were Opinion & Ashtdiggajs
- D
- Dr. C. Narayana Reddy
- Pingali Nagendra Rao
- Dharmavaram Ramkrishnamachary
- Appa Gurjdaa cry
- Viswanatha Satyanarayana
- Gurram, Jashuva
Litterateuses (female writers)
- Princess Gangadevi
- Timmakka
- Spring
- Mdhurwani
- Rangajamma
- In ddu palani
- Venkamamba
- Seetamma
- Others
Andhra literature has the dual distinction of not only producing scholars of great merit in Telugu, but in Sanskrit as well. What’s more, some our greatest composers of literature were women. This tradition that began in the early medieval period, remains one of the defining characteristics of our culture and the honored place of women within it.
Poetry
Andhra has produced some outstanding works in epic and romantic poetry, Telugu and Sanskrit. Indeed, it is as though the speakers of this honey-sweet language have an innate vocabulary pour la mot juste.
Seminal works of Telugu poetry include Vemana padhyalu, Palnati Veera Charitra, Veerabhadra Vijayamu, Mutyala Saralu, and Amuktamalyada.
Notable Andhra contributions to Sanskrit poetry are Raghuvira Caritra, Maduravijayam, and Radhika Santhvanam.
Drama
Notable Telugu Include Citrnlliam Place, saarangadhar, Gyopakyanm, Prasanna Yadvm, and Ptnmu Vijayanagara Empire. More Recent Works Include Pandwa Udyoga Vijayalu, Prataprudraiym, Satya Harishchandra, and Padukapattabhisekm, and Same All, Knyasulkam
Dharmavaram, Andhra Nataka Pitm Ramkrishnamachary were the Regarded Us.
Novels
A comparatively new medium in Telugu literature is the novel. The Neetichandrika of Paravasty Chinnaya Suri is the first work of note and emerges from the early 19th century. It translated the first two books of the Panchatantra. The first true novel was the Rajasekhara Charitram by Chilakamarti Lakshmi Narasimham. This was followed up with Ramachandra Vijayam and Hemalatha.
Other great novels include those by Viswanatha Sathyanarayana (Veyipadagalu, Jebudongalu, and Ekavira), Gurujada Appa Rao (Malapalli), and Buchibabu (Chivaraku Migiledi). Female novelists are particularly prolific in Andhra and include such writers as Malathi Chandur, Dr. Sri Devi, Yeddanapudi Sulochanarani, Madireddi Sulochana, Bina Devi and many many more.
Hala Satavahanas
The 17th Satavahana dynast in the pauranic king lists, Hala himself is called Kavi-vatsala (‘he who has parental affection for poets’). Considered to be religious, he is famous for his patronage of Prakrit over the more popular and elite Sanskrit of the time.
He was the compiler of and contributor to the Poetic Anthology Gathasaptasati (known as Gaha Sattasai in the Maharashtri Prakrit in which it is composed)
Mallinatha Suri
Mallinatha stands alone as the Andhra who most made an impact outside his native region. Hailing from Telangana, he wrote commentaries on the great Sanskrit poems of Ancient India (Panchamahakavyas) analyzing the works of Kalidasa and many others. He also wrote the Sastric commentaries Tarala and Niskantaka.
Nastiness to his own original works Prodused ALSO: Raghuvirkarita, Vasyvansa Sudhakar, and Udra poetry.
nanna
The court poet of King Narendra of the Vengi Chalukyas, Nannaya is regarded of as the first of the great Telugu poets. He began the magnum opus Andhra Mahabharatamu, which necessitated translation from Sanskrit to Telugu. This was accomplished in the early 11th century.
Tikkana
Two centuries after Nannaya, Tikka of Vikrama-Simhapuri (Nellore) completed the 15 remaining parvas of the Andhra Mahabharatamu.
Yerrapragada
The final Aranyaparva of the Andhra Mahabharatamu was rendered into Telugu by the poet Yerrapragada. The third of the Telugu Kavitrayam (poet trio) are highly regarded by all Andras alike.
Yerrapragada represented the culmination of the movement to reach the common men with the great poetry of Bharat. Other authors who followed include Palakuriki Somanatha, who composed Basava Puranam and Panditharadhya Charitra, which relied on a less Sanskritised and more common parlance Telugu to connect with the masses.
Gona Buddha Reddy followed suit and produced the first Telugu translation of the Ramayana into Telugu (Ranganatha Ramayanamu) under the auspices of Prataparudra I of Warangal. Shortly after came Mantri Bhaskara’s Bhaskara Ramayanamu.
Srinatha
One of the master poets of Andhra, Srinatha’s works include Sringara Naisadam (translation of Sri Harsa’s sanskrit poem), Kasi Kandam, Bhimeswara Puranam, Harivilasamu, and Palnati Veera Charitra. The latter celebrated the famous battle on the Andhra Kuruskhetra, Palnadu.
4. Madayagiri, Mallana-Wrote the Rajasekhara Charitramu
5. Ramaraju, Bhushana-Author of the Vasucharitra
6. Dhurjati-Penned the Kalahasteeswara Mahatmyam
7. Pingali, Surana-bread were Klapuarnodayamu
8. Tenali Ramakrishna-The most famous of KDR’s 8 court gems, TRK was more than just the court wit, but also an author in his own right having composed the Panduranga Mahatmyam.
D
After the prabandha, the most stylised Telugu literary form is the Satakam (collection of 100 poems), which was inherited from Sanskrit literature. Vemana’s satakams are the most famous, and he is considered the greatest poet of the post-Vijayanagara period. Originating from Rayalaseema, he is celebrated for his lyrical simplicity and pleasing style. His works are collectively known among Andhras as Vemana padhyalu.
One of the most eminent works of the Medieval period was Maduravijayam. This Sanskrit epic poem celebrated the liberation of Madurai from the Sultans by Prince Kampana (son of Bukka Raya), and was produced by none other than his own wife, the Andhra princess Gangadevi.
Mohanangi
It is only natural that a poet would produce a poetess. Krishna Deva Raya’s own daughter became a poetess in her own right and composed the Maricha Parinayamu. She was the wife of Aliya Rama Raya.
Spring
One of the earliest poetesses in Telugu was not a princess, but in fact a potter by trade. Her name was Kummari Molla, and she is known for her popular work Molla Ramayanamu.
Tallapaka, Timmakka
The wife of Annamacharya, Timmakka was the composer of the poetical work Subhadrarjuniyam.
- Burrakatha
- Yenki kathalu
References
- Rao, P.Ragunadha. History and Culture of Andhra Pradesh: From the Earliest Times to 1991. New Delhi: Sterling Publishers, 2012 (Appendix I) Lalye, P. G. Mallinatha. Sahitya Akademi, 2002 Jain, Simmi, Encyclopedia of Indian Women through the Ages: The Middle Ages. Kalpaz Productions, 2003, p. 231 Rao, N. Venkata (1978). The southern school in Telugu literature. . p. 10. Vriddhagirisan, V. Nayaks of Tanjore. New Delhi: Asian Educational Services. 1995. p.160
Arts and Crafts
Ancient and Medieval
Andhra’s contributions to Art cannot be gainsayed. The region played host to innumerable native style of painting, sculpture, and handicrafts that are truly world class. In fact, the region is famous for evolving the internationally recognized Amaravati School of Art and Architecture.
Thus, regional art truly came into its own in the Satavahana period and reached its apogee during the Vijayanagara empire. The Kakatiya era saw a large degree of patronage to Andhra artists, which gave rise to many artforms and crafts still en vogue today.
The medieval period saw incorporation of new influences from foreign arrivals that led to new aesthetic palates and styles. Native born styles such as Kalamkari changed in response to new patronage (were even given new names), yet remained 100% Andhra in their origin and structure.
Sculpture
Lepakshi Bull
This native craft of Andhra originates in a small village called Budithi in Central Srikakulam, a district in Andhra Pradesh. Beautiful figures are created out of metal alloys. They are crafted in both traditional and modern styles.
Pembarthi Metalwork
Pembarthi village in Warangal District of Telangana is the home of a particular style of sheet-metal workmanship. This craft adorns the vigrahas (statues) and vahanas (chariots) in temples.
Durries
The Warangal region is famous for producing artisans specializing a in a woven form of Art known as Durries. These come in many styles such as Tie and Dye, interlocking , andJacquard, Lahari, Sitammajada, Mogga, and Diamond Fish.
Kalamkari
Kalamkari art is unique in its use of colour as a medium to portray mythological characters. As the name suggests, Kalamkari is the art of painting cotton fabrics with a kalam i.e. pen, or sharpened bamboo that regulates flow of color on the fabric. Kalamkari has a long history in Kalahasti and Machilipatnam in Andhra Pradesh, the nerve centres of this art continue to be beehives of Kalamkari activity. A native and ancient art of Andhra, the name itself dates back only to the Golconda period.
Kalamkari colours are made from vegetable dyes. In addition to themes from the epics, Kalamkari leitmotifs comprise different forms of the lotus flower, the carwheel, parrots, an interlacing pattern of leaves and flowers.
Kondapalli Bommalu
Kondapalli Toys have carved a niche of their own in the world of handicrafts and are made from light soft wood. The wooden piece is heated to make it moisture free. Different parts of the image are carved separately. They are then glued together with an adhesive made of crushed tamarind seeds. Both water and oil colours are used to paint the toy or figurine. Painting is done with soft and thin paintbrushes made of goat’s hair. The toys depict scenes from actual life, animals, rural folks. Deities and characters from the epics.
Cherial
Modern Andhra art cannot be mentioned without the matchless contributions of the artist, Bapu.
Born Sattiraju Lakshminarayana, Bapu is widely considered the most famous modern artist from Andhra. His aesthetic has touched such varied mediums as painting, illustrations, caricature, film, serials, graphics, and calligraphy. He is best known for his uniquely Andhra style of life art that is steeped in tradition and, as even his website notes, depicts ” the true Indian and Telugu culture”.
Bali
Following in Bapu’s footsteps, Bali has carved out an impression of his own on the Andhra people. He too has made his mark in the realm of painting and sketching, but above all, as an illustrator and cartoonist.
References
Architecture
Ancient
Ancient Architecture in Andhra was truly grand in conceptions and execution. So distinguished are the traditions that art historians recognize the native style of the Amaravati School of Art that characterized the Satavahana period.
Amaravati Stupa
Frieze of the Amaravati Stupa
Medieval
Thousand Pillar Temple of Hanamakonda (interior)
Thousand Pillar Temple of Hanamakonda (exterior)
Lepakshi Temple dating to the Vijayanagara Period
There ere three varieties Excluded Venktgiri I Sris: Venktgiri 100, Venktgiri plaids, silk & Venktgiri. CHARACTERISTICS Damn it this cadre, soft, Durble, light-weight, and crisp, with Opulent, golden zari borders
Iddhi padaharu Annalu Andhrula aada bhadachu kattey cheera
“This the marquee saree of the dignified Andhra lady”
“The Saree of Queens”
Kotha city
Saree of the Stylish lady
Dharmavaram
Mdvram
Madhavaram is a village in Kadapa District that is etched in the popular imagination. While the Jilla in general is known for its temples, forts, poets, and artisans, the Saree of one of its most famous villages is no less significant.
Madavaram pattu cheera is the all-purpose saree.
It is called this because it is easy to maintain. The colors are usually in the range of red and black. The patterns are usually alternating squares, but floral designs were later introduced as seen below. Pink and pale blue are also used.
Photo: OnlyTravelGuide
Gadwal Sarees are from the town of same name in Palamooru district (Mahbubnagar), Telangana state. If Venkatagiri is luxurious and dignified, then Gadwal is the most impressive saree from Gulti-land. It’s considered a mark of high status.
The brocade weaving skills have been traced by some to Varanasi, though they are said to show no signs of the Banarasi style, and is considered authentically undivided Andhra. While the cotton typically comes from Bangalore and the gold jari from Surat, it is pure Telangana and Telugu.
The colors are very unique (gacchakayyi rangu you don’t see anywhere–”neither green nor grey” color as shown by model above).
As soon as you see, You can tell it’s Gadwal!
Narayanapeta
Uppada
Uppada is small Village in Kothapalli Mandal of East Godavari District in Andhra Pradesh. It is near the port City of Kakinada and is famous for its prawn curry.
Currently all the rage in fashionable and filmi circles, the Uppada saree is truly the trendiest variety on the market.
“This is the trendy saree for the Telugu lady of Today”
Men’s Fashion
Peer-Turban
The transmission-Shoulder Shawl
Chokka-A uniquely Indian style of shirt, the Chokka is common in Andhra Pradesh.
Dhoti/Pancha-Known more commonly as dhoti, this All India form of traditional men’s wear is called “Pancha” in Andhra. Though more common in earlier eras, it is still commonly seen, especially during festival time or special occasions.
Lungi-Virtually synonymous with the men of the South, the Lungi is a staple for traditional casual wear in Andhra.
Ponduru-The finest khadi in all of India. It was reputedly Mahatma Gandhi’s favorite variety. It is made only in a small village in Srikakulam district.
References
Festivals
1. Sankranti in January.
Makara Sankaranthi is the Hindu Festival marking the Winter Solstice. This is the beginning of the period known as Uttarayanam where the Sun will rise in the Zodiac until the Summer Solstice. As per Hindu astrology/astronomy, the Sun enters Capricorn, or “Makara” rasee.
The region is famous for its use of pickles (uragaayya) especially Gongura (Roselle Leaves) and Avakayya (Mango)
Garelu (Vadas)-This fried batter dumpling is an essential during Andhra festivals. Frequently mixed with onions and coriander, it is garnished with chutney or served with sambar.
Chekkalu-Crispy flour chips
Dance
Natya Sastra
As with all Indian classical dance, Natya Sastra is the origin for Andhra’s classical dance tradition. Though our own pauranic tradition dates Bharata muni’s classic to many millennia ago, the current historical paradigm dates it to at least as far back as 200 BCE. Thus, all classic traditions, northern (i.e. Odissi, Kathak, Manipuri) or Southern (i.e. Bharatanatyam, Kathakali, Mohiniyattam, and Kuchipudi) descend from the Natya Sastra.
Indeed, prior to the birth of Kuchipudi, Dakshinatya was the southern school of dance practiced in Andhra. It was known to be patronized by the Satavahana kings. Over the centuries, a specific form of dance dedicated to Lord Vishnu came into existence, known as Bhagavata Mela Natakam. By the 14th century, however, Kuchipudi proper emerged.
Kuchipudi
The name Kuchipudi comes from the eponymous village in Andhra Pradesh. The tradition dates back to the 1300s and is credited to Siddhendra Yogi. He combined the dance drama formats of the Yakshagana art with Bhagavata Mela Natakam. Thus, the father of kuchipudi evolved a unique dance that is known for its rhythmic virtuosity and stateliness.
The art form initially developed primarily under male brahmin dancers. The founder of the dance wanted to imbue it with a spiritual quality. Thus, the tradition has historically been characterized by male virtuosos, the most famous being Sri Vempathi Chinna Satyam. However, the fairer sex eventually took their rightful place and has since carried the dance form to new heights, with leading danseuses such as Shobha Naidu. Guru Sri. Vedantam Lakshmi Narayana Sastry is credited with introducing women to Kuchipudi. He utilized Kirtanas, Ashtapadis, Padams, Sabdams, and Tarangams for solo performance.
Kuchipudi is classical in form and repertoire and employs lasya (rhythm), thandava (footsteps), and abhinaya (facial expression) in the actuation of slokas. It utilizes other elements of the natya sastra such as samyutha and asamyutha, hasthas, karana, chari, angahara, mandala, and nrutha hasthas. It employs Nritta, Nritya, and Natya in equal measure. The first involves rhythmic movement set to a song or verse, the second involves interpretations follow rhythmic passages, and the third is a traditional comprehensive dance-drama.
If Bharatanatyam is best known for Nritta, Kuchipudi is best known for its expressive Abhinaya, giving it a sensual quality. Abhinaya is very important in kuchipudi and it is the only classical dance where all four abhinayas are equally emphasized. A specialty of the dance is vachikabhinayam since dance, gesture and words are all combined.
There are two main schools of classical dance, Nattuva Mela and Natya Mela. The former is performed exclusively by women and is embodied by Bharatanatyam. The latter evolved into kuchipudi and is performed by both men and women. Natya mela is a dance in dance drama style that characterizes kuchipudi. The themes are not exclusively religious and frequently feature the king as the hero.
Kuchipudi’s specialty however is Tarangam and is traced to Narayana Teertha’s Srikrishna Leela Tarangini. This feature of kuchipudi involves dancing with one’s feet placed on the rims of a brass plate. Tarangam presents the danseuse’s mastery of rhythm and is choreographed and set to compositions by respected poets.
Perini Tandava
Andhra Natyam
Notable Artists:
Vempati Chinna Satyam
Vempati gaaru was instrumental in not only popularizing the dance style internationally, but universalizing it as well. Famous students of his include actresses such as Vyjayanthimala, Hema Malini & Rekha. Thus, the regeneration of classical dance in Andhra, and Andhra’s style nationally and internationally is due, in no small measure, to him.
Poetically born in the village of Kuchipudi itself to Vempati Chalammaiah and Varalakshamma, Sri Chinna Satyam (1929-2012) came from a family honored for producing nine generations of professional dancers. He initially studied under Vedantam Lakshminarayana Sastri. Indeed, it was Vedantam gaaru who first opened up the tradition to women–a policy that his most famous sishya would apply to its fullest. It was Vempati gaaru who truly aligned it with the principles of the Natya Sastra–Bharata Muni’s ancient classical work on Dance and Song.
- He received the Guinness World Book of Records title for most number of dance recitals (3000)
Shobha Naidu
Arunima Kumar
Music
As with classical dance, classical music in Andhra also finds its origin in Natya Sastra. While there was a rich tradition of music in Ancient and early medieval Andhra, little survives. The historical record of Music truly begins with Annamayya and the later Carnatic music figures.
Annamayya the most prolific of all our composers. His most famous works being Kondellalo nellakonna and Adivo. Annamayya’s true greatness however was his message of universality and God’s love for all. Not only did he open up Vedic education to women, he actively pushed to throw open Temples to even the lowest classes–because God himself would not go to the Temple where is devotees were denied.
The greatest of all our composers however is Thygarajaya–who is a celebrated figure throughout South India. His kirtanas mesmerize Andhras and other aficionados of carnatic music to this day.
Notable Composers:
Annamayya
Born to Lakkamba and Narayana Suri of , in Kadapa district, Annama grew up in the shade of the majestic 7 hills of Tirumala. Thus, from the beginning, the life of this saint-composer was synonymous with Lord Venkateshwara. Indeed, according to popular legend, his parents had a vision of him as the incarnation of Nandaka, the sword of Vishnu himself. Irrespective of one’s belief in the story, both the man and the musician (he also played the Tanpura) revitalized Bhakti for Balaji in the medieval period. The general view is that Annamayya lived from 1408 to 1503.
Popularly known all over undivided Andhra as “Annamayya”, Annamacharya is undoubtedly one of our leading lights not only in the realm of music, for which he is best known, but in the realm of Dharma. Considered the Andhra Pada Kavita Pitamaha (the Grandsire of Telugu poem-songs), his classics such as Adivo Sri Hari Vaasamu and Kondalalo Nelakonna, strike a chord throughout South India today. For that he is called the Sankeerthanacharya (Acharya of devotional songs).
- Wrote 32, 000 compositions, 14,000 Sankeerthanas of which 2,178 were devotional and 11,526 romantic.
- Composed 12 Satakas (100 stanza poems), though only 1 has been traced.
Life
Born Kancherla Gopanna, Ramadas’ parents, Linganna and Kamaamba raised him in the village of Kompella in the Warangal district Andhra desa’s Telangana region. He married a woman named Kamalamma and later moved to the village of Nelakondapalli.
In a literal case of nepotism, Gopanna’s uncles. Akkanna and Madanna, introduced him at the court of the Golkonda Sultan, Tanashah, who was impressed by him. Ramadas was offered a position as Tehsildar at Bhadrachalam, where he performed his duties as a state official in an exemplary manner. So exquisite was his performance that the local treasury was soon flush with funds.
His intense bhakti for Sri Rama soon led him to be concerned about the decaying state of the temple of Bhadrachalam. He allocated some monies from the treasury to renovate it. He later supplemented this offering by sponsoring the Kumbhabhishekham. However, all this unauthorized expenditure soon depleted the local treasury, leading Tanashah to imprison Gopanna. He was jailed and tortured for 12 years–a fate that was to continue until the entire sum was paid back to the state. Ramadas’ famous Dasarathi Satakam, 108 stanzas to Rama, is considered a classic. His Telugu songs, which were enriched by Sanskrit, remain popular to this day.
His classic Kirthanas include: Paluke Bhangaramaina, Nannu Brovamanni Cheppave, & Ee teeruga nanu daya chuchedavo
Thyagaraja
Thyagaraja was born as Kakarla, Thyagabrahmam in a Telugu Brahmin family that migrated to Thiruvaiyaru from Prakasam district in 1767. He received his early music lessons from his guru Sonti, Venkata Ramanayya.
Thyagaraja is foremost among prominent Telugu vageyakaras whose compositions are popular not only among Telugu speaking people but across carnatic music lovers and devotees in south India. He is considered as one of the trinity of Carnatic music along with Syama Shastri and Muthuswamy Deekshitar. Of the 3 greatest composers of the Carnatic Tradition, Thyagaraja (pictured in center) is the most famous and celebrated.Among his greatest and most popular Krithis are“endaro mahanubavulu”, “sadhincene O manasa”, “kana kanar rucira”, “raga sudha rasa” and “jagadananda karaka”.
Narayana Teertha
One of the outstanding devotees of Sri Krishna, Narayana Teertha (1650- 1745 C.E.) made his name through compositions dedicated to his Ishta Devata. Appropriately, many consider him to be the reincarnation of Maharishi Veda Vyasa. But before he became the saint we know him as today, he was known by another name.
- “Sree Krishna Leela Tarangini, his magnum opus is an unparalleled musical treatise consisting many Slokas and Krutis in 12 chapters known as Tarangas. These compositions, famous for lyrical richness and beauty of rhythm, evoke the nine ‘Rasas’ and form an integral part of Indian classical dance.” [3]
Hailing from a well-to do family from Vizianagaram, Andhra Pradesh, Pulapaka Susheela was born in 1935 and began studying music from a young age. She credits her lawyer father for this interest as he was musically inclined.
She was trained in and passed first class from Vijayanagaram Music College. She was discovered by Pendyala Nageshwara Rao when she was on All India Radio, and he had her sing in her first movie: A Tamil film called Petra Thaai. Having made her entry into the music industry in 1952, there was no looking back. She went on to dominate playback singing in the South for Decades.
A singer and philanthropist who dominated playback singing in the 60s and 70s, she embodied sweetness of melody and range in modulation to Telugu, Tamil, Malayalam and Kannada music lovers alike.
- She Completed over 50 years in the Cine Music Industry
- Sang over 40,000 songs in 12 languages
- Sang over 5000 songs in Kannada alone–the most of any recorded singer
- Recipient of numerous awards at the state level in Karnataka, Kerala & T.N.
- 6 time Nandi Award winner
- 5 time National Award winner
- Finally received the Padma Bhushan in 2008
References:
Shoba Raju
Cinema & Drama
Photo: LyricsInTelugu.com
While Andhra’s Telugu language movies make up the largest regional Indian film industry, ACP focuses less on the pop culture “phillims” and more on culturally significant cinema. This includes genre defining works such as Mayabazaar and Missamma to recent classics such as Kshana Kshanam and Annamayya to current day groundbreaking oeuvres such as Leader and Magadheera.
List of Culturally Significant Andhra Films:
Golden Age
Maya Bazaar
Any mention of Telugu Cinema, indeed Indian Cinema itself, would be incomplete without reference to the inimitable 1957 epic Family Drama & Comedy Maya Bazaar.
Without a doubt the most beloved Telugu movie of all time, it is the quintessential Andhra approach to the Mahabharata. Much like our irreverent culture of wit, this classic was a light-hearted take on the otherwise serious subject matter from India’s eponymous National Epic (the initials of which it coincidentally shares). One of the unique feats of Maya Bazaar was to honestly treat what is likely the most analyzed and re-told work in classical Indic literature on the basis of the vibrant folk artforms of the Dakshinapatha. It is attributed to the Harikatha tradition of Andhra and the plays of Maharashtra/Karnataka.
While this episode regarding Abhimanyu’s marriage to Sasirekha is not strictly canon per the authoritative Vyasa original, it nevertheless manages to remain in harmony with the authentic edition, whatever the veracity of the content. What’s more, it takes this Civilizational masterpiece and presents it in a uniquely Telugu tradition of cheeky humor and sophistication, with a heart of gold (or culture without condescension).
A Telugu story that very much cuts across caste and creed, it is a tale of a Christian girl who falls in love with a Hindu boy, and the subsequent situational comedy that ensues. The fundamental centrality of Dharmic Indian culture is very clearly seen not only in story, but in the showcase of both classical Indian music and dance.
But the true standout aspect of this 1955 Romantic Comedy is that the protagonist and central character is a woman, masterfully played by the original Top Actress of Tollywood: Savitri. The object of her affection is none other than the legendary NT Rama Rao himself, clearly at the peak of his powers here. Both play unemployed young, unattached graduates on the make, seeking to make a life for themselves.
This movie is responsible for launching one of Telugu Cinema’s greatest artistes, the actress Savitri. It’s very much a modern story in a modern (vs post-modern) setting, all while remaining undeniably Indian in its inspiration and essence.
Gundamma Katha
Patala Bhairavi
Listed as one of the and one of India’s four entries in its first International Film festival, it has comedy, romance, action, and yes, even a tantrikudu (practitioner of black magic).
In many ways, this film was a trend-setter. It was among the first Telugu, and possibly even Indian movies, to have a high production value with impressive sets and what was, for the time, notable special effects
In that sense, what makes this cinema worthy of mention in our Andhra high culture was that even though it did not emerge directly from our religious epic tradition, it managed to weave various traditional themes or rasas like Sringara (the romantic) & Bhayaanika (the fearsome) in the context of our cultural and civilizational tradition and setting–as well as recount an engaging story.
Less known, however, are some of the quality Romantic couplets suavely delivered by a clever NTR
1960s and 1970s
Sri Krishnadeva Raya
Tenali Rama
Prema Nagar
Magadheera
Savitri
Jamuna
Waheeda Rehman
Vanisri
Leela Naidu
Sharda
Jaya Prada
Konidela, Sivasankar Varaprasad (Chiranjeevi)
Sridevi
DAGGUBATI, Venkatesh
Akkineni Nagarjuna
DAGGUBATI, Rama Naidu
Veturi, Sunderrama statue
Sirivennala, Seetharama Sastry
Hits
Trivikram, Srinivas
References:
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