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.
The late ‘Chindu Yellamma’ was a prominent artiste whose troupe was invited by Nataraja Ramakrishna, when he was the Chairman of former Dance academy of the state. When this writer had asked why they restricted their art only to the realm of Madigas, why not to other community gatherings, she had mentioned that those who present this art are considered as ‘Chinna Madigas’, a bit lesser than Madigas in general. Therefore our access is restricted only to the Pedda Madigas not to others”. But she had expressed her gratitude to Nataraja Ramakrishna who brought them into limelight at Ravindra Bharati. “For the first time our show was opened to general public,” she said. From then on more and more opportunities poured in to the extent, it has now become an annual event under the aegis of Department of Culture.
Their repertoire is quite large. They cover all the major epics like Mahabharata, Ramayana or Bhagavata. They have stories that surround local Goddesses too especially ‘Yellamma’. About 50 plays are there in their kit. This self help group make their own ornaments for characters, do make up in the corners of a street or under a tree, sing and play instruments and use harmonium as Shruthi instrument. While staging their plays, all the artistes would be visible, either playing a role or providing background music score. Generally these artiste groups belong to a single family.
“People who cannot see God Madhava in humans, branded us untouchables,” lamented Chindu Yellamma. ‘We will not for ever be called untouchables’. Indeed those good days are here and now at Ravindra Bharathi’s open air auditorium in the facade of main theatre, Chindu Yakshaganam is surviving.
An impressive performance
Bhasha Samskritika Sakha and Chindu Yakshagana association presented ‘Chindu Yakshaganam’ last week at Ghantasala Pranganam in the premises of Ravindra Bharati. Gaddam Swamy and party presented the story of ‘Batukamma’.
All the artistes belonged to Gaddam family, the head played the king of Orugallu. Srinivas took on him the role of Chinnamma (Batukamma). Chakrapani as Padmvathi, Narendra as rain God Varuna, Venkatadri, Naresh, Praveen Kumar and Amarendra Kumar in other roles also aquitted themselves well.
On the following days Chintala Cheruvu Lakshmayya and family of Nalgonda presented ‘Banasura Vadha’ and Pillitla Yadagiri and party presented ‘Sati Tulasi’.
Both the troupes presented the stories vividly in Yakshagana style with song, dance and drama. As part of this Chindu Yakshagana festival ‘Kantamati Charitra’ by Gaddam Sambayya and party of Warangal and ‘Alli Arjun Charitra’ by Gaddam Kanakayya and party, ‘Nartanasala’ and some other plays were also staged.
