TELANGANA SOCIETY, CULTURE, HERITAGE, ARTS & LITERATURE

తెలంగాణ సమాజం - శాతవాహనుల కాలం

తెలంగాణ సమాజం - శాతవాహనానంతర కాలం

తెలంగాణ సమాజం - కాకతీయుల కాలం

తెలంగాణ సమాజం - కుతుబ్ షాహీల కాలం

తెలంగాణలో మత వైవిధ్య ం - 1

తెలంగాణలో మత వైవిధ్య ం - 2

తెలంగాణ సంసక ృతి

తెలంగాణ పండగలు- బోనాలు

తెలంగాణ పండగలు- బొడ్డమ

ె మ , బతుకమమ , పొలాల అమావాసయ

తెలంగాణ సాహితయ ం - ప్రాచీన సాహితయ చరిప్రత

తెలంగాణ ఆధునిక సాహితయ ం

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తెలంగాణ జాతరలు

తెలంగాణ జానపద కళలు - కళాకారులు

Telangana society

To know about the society of Telangana first it is necessary to know about the social
conditions during the periods of different dynasties that ruled Telangana. The first rulers
of Telangana were Satavahanas. Culture, arts, architecture, literature etc. were at their
peak during their time. The rulers of that time also acted as cultural custodians. The
culture and heritage of Telangana were also preserved during the rule of the Ikshwakus,
Vishnukundins, Vemulawada / Mudigonda Chalukyas, Kakatiyas, Racharla
Padmanayakulas, Qutub Shahis, Asahhi etc. who ruled Telangana after the Satavahana
rulers. In the history of culture, the major sections like social status and social
evolution have been taking place.

Cultural heritage

Strictly speaking, cultural heritage refers to the ways of life of people developed or formed
in a particular society that is passed on from one generation to another. There are three
main categories of cultural heritage.

First, buildings, materials, architecture, monuments, etc. belong to material

culture. Secondly, customs, traditions etc. belong to social customs. Third are natural river
valleys, mountain ranges, forests, lakes etc

Society during the period of Satavahanas

Varna system is very evident in the society. Professional division is visible in the
society. Castes were formed based on profession but caste system was not formed. Society
is divided into four classes. In the first class there were central, state and district level
rulers, officials etc. The second class consisted of Amatyas, Mahapatras, Shreshtis or
traders. The third class consisted of doctors, artisans, farmers, jewellers, and the fourth
class consisted of labourers, weavers, potters, etc.

Patriarchal system

A 'patriarchal system' was seen in the society during the time of the Satavahanas. The
father was the main role in all matters related to the family . The father is the owner of
the house. He was called Grihapati. It is known on the basis of literature and legislation
that there were social measures to give proper place to women and make them enjoy a
dignified life in spite of male dominance in that period. This is evidenced by the fact that
the main Satavahana emperors like Gautamiputra Satakarni, Vashishtiputra Satakarni,
Yajnashri Satakarni etc. wore 'matri signs' before their names. Women were also involved
in administrative affairs .

family system

Joint families were common during this period. All the family members united and
collectively announced donations to Buddhist communities and monasteries . If we
examine these matters in the inscriptions of Amaravati and Nasik, this matter is
evident. Inter-caste and inter-caste marriages took place in the society. Halu is married to
Sri Lankan Princess Lilavati. The Satavahanas formed marriage relations with the
Marathas and Shakas. Widows were treated with respect in the society. Shakulas and
Kardhamaks used to have matrimonial relations with the natives. Although there was a
caste system in society based on the Kshatriyas - trade, Brahmins, Vaishyas - doing jobs,
it was not absolute. The Satavahana emperors considered it their duty to preserve
Varnashrama Dharma.

way of life

Haludi's 'Gathasaptasati' describes the living conditions of the people during the time of
the Satavahanas. Telugu words like 'Atta', 'Padi', 'Stomach' are found in
'Gathasaptasathi'. The mention of songs sung by Telugu people on various occasions is
also seen in this. During the time of the Satavahanas, the language of the common people
was Prakrit and the royal language was Sanskrit. The first Telugu word found on the
Amaravati Stupa is 'Nagabu'.

The patterns of dress of the period are known from the figures of women and men carved
on the stupas of Amaravati and Karle. Men wear dhoti and turban along with
Uttariya. Women wore very little clothing. A single garment was used to cover the whole
body. Women of those days were fond of ornaments and jewellery. People in rural areas
lead a simple life while people in urban areas lead a luxurious life.

People were music lovers. Chess, dance etc. were leisure activities. They used musical
instruments like veena, mridangam and flute.
Telangana Society - Post Satavahana Period

After the Satavahanas, the Ikshvakas, Vishnukundins, Vemulawada/Mudigonda

Chalukyas who ruled Telangana did not rule as Suvishala kingdom as the Satavahana
emperors but a diverse and integrated culture was created by different rulers. By the post-
Satavahana period, the varna system was strengthened in the society. Brahmins occupy a
high position in the society. They used to receive honorariums and tax-free gifts from the
rulers. Even the Sakulas, who were foreigners, became a part of the society with the Vedic
tradition. Apart from the occupational division of the Satavahanas in society, caste
predominance began to rise. The Vishnukundins and Chalukyas, though not Kshatriyas,
tried to maintain their glory by Brahminical intercourse. The lower castes were united due
to the influence of Buddhism on the society of that time. Brahmins, Vedas, Having
mastered the sciences, they held important positions not only as priests but also in the
administration department. Chandrashreshthas – as trade guilds, Carpenters – as artisans
were recognized in the society.

Society during the Ikshvaka period

Position of women

In the post-Satavahana period, women had a proper place in the society. As during the
time of the Satavahanas women enjoyed full freedom and independence. Even the rulers
of the Ikshvaka dynasty wore matrilineal symbols indicating that women had a special
place. The women of the harem also used to make large donations to Buddhist and Jain
religious teachers. In the society of that time, marriages were customary. There was also
polygamy in the society. Prostitutes became a symbol of prestige and status. There were
caste and inter-caste marriages.

Color system

AD By the beginning of the 13th century, the dominance and influence of the Brahmins
and Kshatriyas gradually declined. Agrarian castes like Kamma, Velama and
Reddy emerged. The non-Vaish castes who were engaged in trade and business also
added the words 'Setti' and 'Komati' at the end of their names. Shudras, who were the most
numerous in the society of that time, mostly joined the army. The Shudras are not a single
sect but are divided into different sects depending on their profession. Some Shudras tried
to be equal to Brahmins. Despite the caste system and class division in the society, the
people living harmoniously can be said to be a characteristic of this post-Satavahana era.
 Society during the Chalukya period

As the caste system took a fixed form during the Chalukya period, the commitments in
the community did not relax. Brahmins were in important jobs with the kings along with
the study of Vedas. Kshatriyas were the rulers of Rajdharma. Vaishyas were traders. The
Vaishyas favored Jain. Shudras were engaged in agricultural occupations. Vishwakarma
castes were highly respected in the society as artisans and engravers of royal decrees. They
were originally Jains. They had superstitions like child marriage and anjanam.

Telangana Society - Kakatiya period

There was a caste system in the society of the Kakatiya period. There were many castes
and sub-castes in the society depending on the profession and the area of residence. Based
on the inscriptions and literary sources of this period, we know about the castes in the
society.

The professional associations of each caste and sub-caste were called

'Samayams'. Brahmins, Kshatriyas, Komats, Salels, Teliks (oil merchants), Tammads
(agriculture), Gollavas (animal husbandry), Eedulas (line workers), Barbers, Potters,
Medaris, Velamas, Karanams (land reckoners), Reds (agriculture), Upparis. (earthen
work), Macharasi (besta, fishing), Mera, Perika (agriculture, trade), Erukali (basket
weaving), Kase (stone hammering) etc. were the predominant castes and subcastes.

In 'Pratapa Charitra' there is a special mention about the life of Orugallu, the capital city
of the Kakatiyas, and about various occupations. Brahmins, Ministers, Warriors,
Vaishyas, Padmanayakas (Velama), Vishvakarmas, Kapus, Edigas (Potters), Kumbhakars
(Potters), Pattusale (Silk Weavers), Padmasale (Weavers), Medars, Bestals, Rajakas,
Prostitutes, Putakullas are Orugallu Nagara. They were a part of living culture.

Among the Brahmin castes, Vedics (study of Vedas, priesthood) and Niogs (jobs and
positions in the kingdom) were formed. Among Vedics too, according to the branch of
Vedas studied by them, the divisions of Rugveda, Shukla Yajurveda and Krishna
Yajurveda were formed. Sub-castes are also formed in the castes they follow depending
on the region. Venginati, Pakanati, Velanati and Telangana came into the business as
Brahmins.
Donation of tax-exempt lands to Brahmins and temples became widespread during this
period. This has created the need for employees to record, store and monitor these details
in writing. By assigning these responsibilities to employees like Kayastha, Karanam,
Karanika, Lekhika, Dharmalekhika etc., they emerged as a sub-caste called
'Kayastha'. This seems to have put an end to the supremacy of the Brahmins in the
kingdoms. 'Kayasths' also served as ministers to the Kakatiya lords. The main social
development of this period was the improvement of the condition of the Shudras who were
at the bottom of the caste system. They were considered as agriculturists. The Reds,
Velamas and Kammas were appointed to jobs in the kingdoms. As these Vaishyas fell in
rank, they were treated as equals to the Shudras.

Religious movements in society

The influence of Veerashaivam and Srivaishnava movements also brought significant

changes in Telangana society during the Kakatiya period. Veerashaivism rose to the point
of questioning the supremacy of the Brahmin class in society. Veerashaivism protested the
caste system. Opposes orthodox traditions. Veerashaivam also protested social evils like
child marriages and widowhood. Mainly castes like blacksmiths, tanners, Salevars etc.
joined Veerashaivam and caused the reforms. Sri Vaishnavism propagated by
Ramanujacharya believed that all human beings are one and strived to eradicate
untouchability and allowed them temple entry. In Palnadu, Brahmanaidu established
Sahapakti meals called 'Chapakoodu'.

In the Telangana region, non-Brahmin followers of Ramanujacharya are called Satans and
slaves. The society of that time was plagued by social evils like child marriage,
satisahgamana, devadasi, polygamy, virginity and prostitution. Devadasis used to live in
temples and entertain with their games and songs. Polygamy was prevalent among upper
and middle class people.

Position of women

During the period of Kakatiyas, proper respect and manners were given to women in the
monarchy. The Kakatiyas have the honor of being the first woman rulers in the history of
South India. It is evident from the inscriptions that Muppamamba, Mailamba,
Kundamamba and other women made large donations of land and dug ponds.

Social conditions
'Kreedabhiramam' written by Vinukonda Vallabharayu is the basis for knowing the social
conditions of the people of the Kakatiya period. Sports passion reflects the holistic way of
life of the people of Orugallu city. Orugallu mentions Velipalem, Medariwada, Angadi
Veedhi, Mattiyawada (Mataiwada) and other streets in the city. On the wall of the fort are
painted clocks, temples, feasts, puppet shows, courtesans, poets, singers, cockfights, ball
games, dommaratas, etc. The atmosphere of harmony in the society gradually decreased
and caste disputes and laxity increased. The competition for power between the Reds and
the Reds led to extreme consequences.

Social life

The caste system was very prevalent during the Kakatiya period. There is no clarity about
the caste of the Kakatiyas. But there is a feeling that they are Shudras. Inter-caste
marriages were only among the upper classes. There was harmony between different
communities and rural life went on peacefully. There was a struggle for dominance
between the Reddy and Velama castes. The political influence of Brahmins in the society
has decreased. As the power came into the hands of the Shudras, they became kings. The
Kshatriyas formed relations with the Shudras .

Misdemeanors

In the society of the Kakatiyas, there were evil practices like forced widowhood, child
marriages, virginity, satisagamana. Among the common people there were addictions like
drinking, gambling, cock-fighting and ram-fighting. Devadasis, Basivirandra and
prostitutes had great respect in the society. Lords and elites used to present Devadasis and
Natyagattes to the temples.

After the battle of Palnati in 1182 AD, it was customary to hold a fair for the heroes of
Palnati in Orugallu. Palnati Brahmanaidu condemned the caste system and encouraged
communal meals and chapakools. He followed Veera Vaishnava and included
many lower castes in it. He allowed Dalits to enter the temple. Kridabhirama is said to
have worshiped Bhairava and Mylaru, the fierce forms of Lord Shiva. Mylaru was
worshiped by heroes as the god of war . Kakatiyas followed the practice of reverse and
reverse marriage. During their time, new castes like Balija, Satani and
Velama emerged. Reddy, Velama, Kamma and Telaga castes were strengthened during
this period. Komats, Eduravas, The names of castes such as Gollavaru, Akkalavaru
(Kansali), Salevaru, Mangali, Kummari, Kammari, Boya, Runjalu, Pichakuntlavaru,
Bavani, Medara, Gandla etc. are mentioned in Kakatiya inscriptions.

The Kakatiya kings fostered the Veerashaiva and Veeravaishnava religions and sought to
achieve social equality through them. But it was not possible. Moreover, due to Shaivism,
new castes such as Lingayats, Balijas, Perika Jangas and Tambals emerged in the
society. The Basava Purana says that in Vaishnavism there are satans, nambus, dasaras,
Chakali, Mangali, Mala and Madiga races in Shaivism. According to the Malkapuram
Edict, all the castes, and eventually even the Chendaluras, had equal food, rice and cloth
donations. The Vishwa Brahmins first joined the Jains and then the Virasaivas. It seems
that Ganapati Devachakravarti made Niyoga Brahmins settle in the clerical profession and
Goparaju appointed them as karanas on the advice of a minister named Ramapradhani.

According to the writings of Marcopolo, it has been known that there were houses of
children in Orugallu since the time of the Kakatiyas . Mahajanas (Brahmana), Nakara
(Vaisya) etc. In the villages there were people of Ashtadasha castes and people of Dwadasa
professions. They are Karana, Kapu, Talari, Kummari, Kammari, Kansali, Shetti, Priest,
Carpenter, Washer, Barber, Tanner etc. Many fairs were held during the rule of the
Kakatiyas. Dramas, Harikathas, Kolatas, Yakshaganas of Jakku, puppet shows and
carousels entered the society from this time. It was a ritual for Veerashaiva devotees to
walk in fire pits, mutilate their bodies, chop off their heads, walk in old paths with swords
and spears.

Women's make-up - Attire

Turmeric ointment for legs, parani, yam juice for lips, chikka powder for fruits, use of
susura khet to remove unwanted hair, tali around the neck of married women, garland of
black beads, stairs for legs, andes, nose rings, pipes for forearms, garlands for elbows,
necklaces for waist, necklaces for wealthy women. in Necklaces of pearls, shards of beads,
Roman coins with coin names around the neck, necklaces known as Tatankas, and
Chinese mirrors were used. Marco Polo's writings show that women wore necklaces that
resembled piles of fine, web-like threads. Basava Purana Karta Somanatha wrote about
20 types of attire. Venvaliu, Jayaranjiu, Manchupunjambulu, Manipattu, Bhutilakam,
Shivanniyam, Mahachini, Bhava tilakam, Pachani silk, Rayasekaram, Rayavallabhadu,
Vayu Megha Gajavalamu, Gandavada, Gaus, Saripattu, Muslin cloths, dyes etc.

marriage system
During the Kakatiya era, marriages were held for four days. There is a custom of marrying
one's uncle's daughter. When a royal family gets married, there are celebrations all over
the kingdom. There is ritual of pouring talambras and procession. Marriages of common
people and marriages arranged by elders are known as mudrarohana (placing flowers on
the maiden's head). After the wedding, there were spring festivals.

Superstitions

There are things like fortune-telling, observing omens, belief in ghosts, fear of sins, casting
of votes. There is also a ritual of offering sacrifices to the village deities. According to
Muslim writings, the women of southern countries believed that it is customary to cover
the house with cow dung and it will ward off evil spirits, ghosts and ghosts. They used to
dance in the royal palace and temples. In Orugallu Jara Dharmasana, prostitutes had a
place of honor in the society. Prataparudra's concubine Machaldevi was respected and
reputed in the society of that time. Devadasis were introduced by the Vaishnavas and
Basavanirandri by the Shaivites.

Telangana Society - Period of Qutb Shahis

caste system

A unique community formation took place in Telangana in the society of Qutub Shahis
period. In place of the predominance of the caste system, two main groups, Hindus and
Muslims, became important in the society. Among the Hindus, Rajyogis, traders and
farmers are the main castes. Government employees and traders are the main groups
among Muslims. The number of Brahmins in the Hindu population has greatly
decreased. Many sub-castes and sects formed in the Hindu population. Kapus, Reds,
Balijas, Velamas, Carpenters, Blacksmiths, Weavers, Boyas, Tailors, Fishermen, Rajakas,
Nayi Brahmins etc. have a large population. Hindus were also appointed to the highest
jobs in the governance system.

Distinct culture incarnation

The capital Golconda was visited by poets, artists, various types of professionals from
Central Asia and Afakis from Iran . As a result of their migration, a unique composite
culture took shape in Bhagyanagaram, Telangana. The rulers respected the customs of the
Hindus who constituted the majority of the population of the kingdom. Special prizes were
given to Hindu temples and scholars. Agraharas were donated to Brahmins. Social evils
such as polygamy, virginity, satisagamana, prostitution system continued in the
society. Prostitutes were given respect and courtesy in the society along with the support
of the government. Qutb Shahi rulers tried to eradicate satisahagamana. North Indian and
Hindustani influence can be seen in the customs of the people of the society .

attire

Men wear a long cap on their head, kurta - pajama, while women usually wear sarees and
blouses, but poor women rarely wear blouses. Muslim women used to wear pajama and
dupattas extensively. Both men and women used to wear gold ornaments. Reddy and
Brahmin castes used to live in Midde houses. Some space was reserved for cattle and their
grazing in their houses. There were thousands of prostitutes' houses in Golconda. 'Dance'
has become a norm in temples, kingdoms, Muslim festivals and auspicious events. Even
today this custom continues in the feasts of the wealthy.

Religious Diversity in Telangana - 1

During the period of Satavahanas

A peculiarity can be seen in the religious situation of that period. The emperors followed
the Vedic religion and worked towards this reconciliation. From the titles of Gautamiputra
Satakarni like 'Eka Brahmin' and 'Agama Nilaya', it seems that he protected Varnashrama
dharma. Based on the Nasik inscription written by Gautami Balashri, it is known that
Gautamiputra Satakarni forbade interbreeding. There is evidence that Satavahana kings
performed Vedic rituals of Yajna Yaga, Aswamedha and Rajasuya Yagas.

Indra, Vasudeva, Varuna and other Hindu gods were worshipped. But there are no records
of Hindu temples anywhere during their time. The rulers gave complete freedom to the
people in matters of religion. Nobles followed Vedic religion while queens, court ladies
and common people worshiped Buddhism. Buddhist chaityas (prayer Mandirs), viharas
(resting shrines), stupas (tombs - memorial shrines) were built. These structures are located
in Kondapur, Phanigari and Nagarjuna hills of Nalgonda district and Pedda Bankur and
Dhulikatta in Karimnagar district. Prajnaparamita written by Acharya Nagarjuna is
considered to be the cornerstone of Mahayana Buddhism. During this period, Acharya
Nagarjuna wrote 'Suhrillekha' and dedicated it to Yagnashri Satakarni. During the period
of Yagnashri Satakarni, Mahayana Buddhism gained significant influence on the Telugu
soil under the leadership of Acharya Nagarjuna. The first Satavahana emperor
Srimukhu was originally a Jain devotee, as evidenced by the archaeological evidence of
coins found at Munulagutta in Karinganar district.

During the time of the Ikshvakas

Vasishtiputra Srisanthamulu, the ruler of the Ikshvaku dynasty, also followed the Vedic
religion by performing Ashwamedha and Rajasuyadi yagas, but also supported
Buddhism. Although Vira Purushadat initially did not follow the Vedic religion, he later
donated land to Buddhist Viharas and Maha Chaityas and gave charity to promote
Buddhism. According to the inscriptions available in Nagarjuna Konda, it seems that
women belonging to royal families also donated to Buddhist monasteries
(Vijayapuri). During the time of Ikshvaku, Vijayapuri became known as the largest
Mahayana Buddhist center in the world. But Ehuvala Chantamula followed the Vedic
religion. He tied the stones to Hindu-Vedic mythological deities. He also promoted
Buddhism .

During the time of Vishnu Kundinula

Vishnu is the ruler of the Kundins Govindavarma initially followed Buddhism but later
converted to Shaivism. He especially gave charity to Buddhist monks, Brahmins and the
poor. It seems that his wife and daughter (Pritweemula) built a vihara for the Buddhist
community in Indrapuri. The second Madhava Varma with the title of Jayasrayu
performed 11 Aswamedha Yagas and many Agni Stoma Yagas like Rajasuya Yaga. He
also performed Hiranyagarbha and Paundarika yagas. Vikramendravarma II, though a
Saivite, gave his share of patronage to the Buddhist Vihara at Indrapuri. The fourth
Madhavvarma, the last of the Vishnukundins, practiced Hinduism with the intention of
doubling his royal and clan glory. He performed Vedic Yajna sacrifices like
Aswamedham. The tradition of building temples in the south started during their
time. Yagasala in Vijayapuri, prominent deities like Pushpabhadra (Shiva), Mahasena,
Ashtabhuja (Vishnu), Hariti (Shakti) temples were built. In the same way that
Sriparvataloya in Vijayapuri became the central point of Buddhism. Nearby Manchikallu
is famous as Shiva, Vishnu and Shakti Kshetra.

Shaivism

The Shaiva Chalukya rulers were a sign of the predominance of Buddhism and Jainism
which flourished during the reign of the Satavahanas, Ikshwakas and Vishnu Kundins. An
attempt was made to popularize the religion. The rulers of the Chalukya dynasty regularly
performed many yajnas and yagadi rituals on various occasions. During the period of
Mudigonda Chalukyas, Kalyani Chalukyas and Polavasa leaders in Telangana, Shaivism
got special support and encouragement. Tripuraantakam - East, Alampur - West,
Siddhavatam - South, Umamaheswaram - North are famous Saiva Kshetras of Srisaila
Kshetra. Sculptures in Alampur depict Buddha in yoga posture. The rest of Vishnu's
incarnations are carved around the Buddha. Vemulawada Rajarajeswara Swamy Temple
emerged as the main Shaivite temple during their time. During the period of the Ikshvakus
and Vishnukundins, the popularity of Buddhism gradually declined. A Jain residence
called 'Tribhuvana Tilaka' was built during the reign of Vemulawada Chalukya Raja II
Arikesari. Jina Vallabhu, brother of the famous Kannada poet Pampakavi, installed the
idols of 24 Jain Tirthankaras including Chakrashwari. King Baddega of this period built
the Subhadhama Jinalaya and appointed the famous Jain poet Somadeva as his teacher. It
was during their time that Patan Cheruvu, Bodhan, Ujjali, Kolanupaka, Peda Kodumuru
and Togarakunta emerged as prominent Jain centers.

Vaishnavism

AD By the 10th century, the main developments in Telangana.. Increasing prevalence of

Shaivism.. Infighting between Shaivism and Jainism .. Gradually this paved the way for
mythological Shaivism. During this period Vaishnavism also gained prominence in the
Telangana region along with Shaivism. Boorugadga, Maktal and Lingagiri regions are
known as prominent Vaishnava religious regions. Madhavavarma, the ruler of the
Vishnukundins, worshiped Sri Parvataswamy and imagined himself equal to that Lord. A
common feature of Vaishnavism is the belief that the devotee and God are not
separate. Vaishnavas firmly believe that God is an incarnate male. Buddha is also thought
to be one of Vishnu's Dasavatars in that series of incarnations. Vedic Brahmanical religion
was replaced by Puranic religion and the system of worship in temples began. The sense
of piety increased and Poojadi spiritual programs were widely performed.
Religious Diversity in Telangana - 2

During the Kakatiya period

The major religious development of the period was the decline of Jainism and
Buddhism. Considering Buddha as the ninth incarnation of Vishnumurthy
Dasavatars...Buddhism is seen to merge into mythological Hinduism. AD Up to 12th
century..that is, till the time of the first Kakatiyas, the rulers adopted Jainism. The
popularity of Shaivism in Telangana started from Prola Raja II who was a Mali
Kakatiya. Under the influence of Veerashaiva religious movement which started in
Karnataka, Palkuriki Somanatha started the propagation of Veerashaiva religion in Telugu
country. Patan Lake in Telangana in the heyday of Veerasaiva movement Palkuriki
Somana mentions in his 'Panditaradhya Charita' that Jain settlements in the area were
destroyed. The stone idols of Jain Tirthankaras in Telangana in Vardhamanapuram,
Hanmakonda, Warangal, Patan Cheruvu, Puduru, Alampur, Kolanupaka, Vemulawada
and Potlapalli are proof of this. Today's Padmakshamma Gutta in Hanmakonda was
originally a Jain shrine. Gradually Jainism disappeared as many Jain temples in
Telangana were converted into Shaivalayas. Shaivism spread. In Shaivism, branches like
Kalamukha, Kapalika, Pasupata, Veerashaivam and Aradhyashaivam emerged.

Kakatiya rulers-Kalamukha and Pasupata practiced Shaivism and made land grants to
Shaivacharyas. Betaraja II built Sivapuram at Hanmakonda and gave it as a tribute to
Rameswara Pandit who was a Shaivacharya of Kalamukha. Kakatiya Mahadeva's Shiva
Guru was Dhruveshwara Pandita. Among the Shivacharyas of that time, Vishveshwara
Shivacharya was well known. Ganapati, Rudramadevi and Prataparudra were also
initiated by Visvesvara Shivaguru himself. It appears from the Malkapuram inscription
that Rudramadevi donated Mandada village along with Velagapudi to her guru Visvesvara
Sivacharya to establish Golaki Math. Sripati, Mallikarjuna and Manchana pandits
together propagated the Aradhya Saiva tradition.

Temples as economic resources

Kakatiyas considered the construction of temples as a pious work and built many
temples. Inscriptions were written in temples. They also started the tradition of building
ponds near them. They used to provide financial support to the temples by providing
irrigation water from the ponds to the agriculture. Due to this, it seems that the temples of
that time were not only social and cultural centers but continued to be economic
resources. Various professions and artists were directly and indirectly dependent on
temples. Among the major and famous temples of the Kakatiya period are Hanmakonda
Vei Stambhala Gudi, Ramappagudi in Palampet, Bhadrakali Temple in Warangal,
Nagulapadu, Palasamarri and Ainavolu Temples. Durgashtami, Dussehra, Diwali,
Sankranti, Maha Shivratri, Ugadi, Eruvaka are important Hindu festivals of those
days. During the Kakatiya period, Maha Shivratri was celebrated with grandeur. Every
year 'Eeruvaka' festival was held before the start of new farming and cultivation
works. Ellamma, Kakatamma, Ekaveera, Poleramma, Maramma, Mallaramma were the
village deities as well as Durga, Parvati, Shiva and Vishnu avatars. It was during their time
that Brahmanaidu built Chenna Keshavalaya in Machar. Rudradev's minister Gangadhar
built Prasanna Keshavalaya at Hanmakonda. During the period of Kakatiyas, Tikkana
propagated Hariharanatha philosophy to achieve harmony between Shaivism and
Vaishnavism. The worship of caste deities, village deities and heroes also continued during
the Kakatiya period. It is evident from 'Kreedabhiramam' that the village deities were
worshiped in Orugallu and the heroes of ancient times were worshiped. During the period
of Kakatiyas, Tikkana propagated Hariharanatha philosophy to achieve harmony between
Shaivism and Vaishnavism. The worship of caste deities, village deities and heroes also
continued during the Kakatiya period. It is evident from 'Kreedabhiramam' that the village
deities were worshiped in Orugallu and the heroes of ancient times were
worshiped. During the period of Kakatiyas, Tikkana propagated Hariharanatha
philosophy to achieve harmony between Shaivism and Vaishnavism. The worship of caste
deities, village deities and heroes also continued during the Kakatiya period. It is evident
from 'Kreedabhiramam' that the village deities were worshiped in Orugallu and the heroes
of ancient times were worshiped.

During the time of Padmanayaka

After the Kakatiyas, the Padmanayakas of the Rachers followed Vaishnavism. Sarvajna
Singabhupala was a great Vaishnava devotee. Madanayaka also adopted Vaishnavism as
a disciple of Ramanujacharya's son Venkatacharya. It seems that while the rulers practiced
Vaishnavism, the common people showed favoritism towards extremist Shaivism. Mainly
it was during their time that the custom of 'Ranamu Kudupu' started. 'Ranamu Kudupu'
means food cooked with the blood and flesh of the dead and rice to the gods of the dead
and ghosts. Despite the rivalry between Shaiva and Vaishnavas, the people lived
harmoniously and practiced religious tolerance.
 During the time of Qutb Shahis

The Qutb Shahi rulers ruled the kingdom with utmost patience. The rulers of the time
were Muslims while the majority of the people of the kingdom were Hindus. Golconda
rulers stood as a symbol of religious harmony. A total of 14 festivals have been declared
as national holidays regardless of caste and religion. Muhammad Quli Qutb Shah started
the 'Spring Festival'. Golconda Bonala Festival was held from the time. Even today in
Telangana, it is customary to start the Bonala Utsavam in the month of Ashada from
Golkoda Fort. Pirla festival is a symbol of Hindu Muslim harmony. Hindu-Muslim unity
and recruitment of Hindus led to Mughal invasion of Golconda. Hindu Muslim unity and
harmony reached its peak during the Qutb Shahis period. Potuluri
Veerabrahmendraswamy, who identified the evils plaguing the society and worked for
religious harmony through the philosophies of time, belongs to this era. Golconda lords
also proved their superiority by building a church in Machilipatnam for Christians.

Telangana culture

The culture of Telangana can be seen in all the regions ruled by different dynasties with
Telangana as the center. The Telangana culture is composed of the surrounding areas of
the Deccan Plateau. .Telangana cultural forms are seen in other regions as well. After 1956
the culture of other regions came to Telangana. Sarees, words and linguistic similarity of
Maharashtra region are seen in Telangana. Also, most of the folk artists who migrated to
Kannada region and Tamil Nadu are from Telangana. They have copper sheets. Fine arts
alone are not culture. Telangana culture can be known by looking at the food habits. Some
ingredients are specially cooked in Telangana. There are food habits according to the
geographical and natural features of Telangana. The use of sorghum and other small
grains is high. Food items made of chirudhayas are mostly present in Bathukamma
festival. Respecting, worshiping, Identifying them is also more. These are used in the
respective festivals and occasions. The decoration and attire of this place are designed
according to the geographical requirements, climate and weather. Gochikattu culture is
important in clothing in Telangana itself and includes dance, labor and labor
practices. This attire is also found in Gonds, an aboriginal culture. During the period of
Muslim rule, the kingdom had similar attire. A turban is a must to protect yourself from
the sun while working in this climate. The use of silver is more in Telangana. A turban is
a must to protect yourself from the sun while working in this climate. The use of silver is
more in Telangana. A turban is a must to protect yourself from the sun while working in
this climate. The use of silver is more in Telangana.

Distinctive culture Great dynasties and metropolitan culture flourished here. In the post-
Buddhist period, metropolitan culture is seen in Kondapur and Pedabankur. There are
mints. Beautiful glass can still be seen in any Buddhist temple. Andhra states existed even
before Satavahanas. In such states Kotilingala is predominant. Coins and buildings are
special here. There is a mint. There are agricultural fields. There are archetypes of
centralized monarchy. It was famous for its Buddhist shrines even during the Satavahana
period. Buddhism has a Buddhist stupa-like structure in the Dahegam at the
Kotilingas. Jainism also entered from here and spread to other areas. The Deccan Plateau
is the gateway to the northern and southern Indian territories. This is the gateway for the
flow of culture, kingdom and business. Most of the languages are found in Telangana as
the amalgamation of all cultures took place here. Prakrit, Arabic, Persian, Urdu (born
here) and Sanskrit are found. Telangana Telugu is a collection of so many languages. It is
the greatness of Telangana people to be able to withstand so many cultures.

Telangana Festivals- Bonal

People who work throughout the year have established some festivals, fairs and holidays
as part of their culture. There are many festivals in Telangana which focus on the welfare
of the village and not on individuals and families. The main festivals are from monsoon
to Sankranti. Diseases also come along with worship rains. Infectious diseases
prevail. People of that time used to worship some deities to reduce them. There were more
skin diseases that appeared like pearls on the body. It is attributed to Goddess
Mutyalamma. It is thought that if she is pacified, these diseases will also be pacified. At
that time, the whole village used to be sick. People were afraid of it. To reduce it, the deity
was worshiped according to Adima Bhavana. It is in that order that health principles are
involved.

Bona

Bonam means meal. Bonala festival comes in July itself. This festival is celebrated on rainy
days. Bonala festival tantu is called uradi. The whole village is a festival will do The
festival of this village is unique among the festivals related to gods and goddesses. Health
is its essence. In fact, health is an underlying factor in many festivals. Purity of the Festival
Paramargam! Establishing cleanliness in person, in the neighborhood of the house, in the
village, in the village.. This festival is organized to keep everything clean. Every festival
consists of games, songs, conversation and food. Because of this, a special food culture is
seen in the festivals of Telangana. Apart from this, the diet is also different! Method of
performing Bonala During the Bonala festival, the statue of Amma is brought to all the
houses in the village. Then everyone pours water in front of the shrine with devotion. It
means that if every house is clean, then the house is clean.. If all the houses are clean, the
whole town is clean. Keeping the matter of godliness like that - protection from diseases
caused by impurity seems to be the basic principle. Collective harvesting of grain is also a
part of this. The whole village faces sickness together. It is a festival celebrated by both
men and women.

This festival is held under the leadership of Potaraju, the younger brother of
Mutyalamma. Potaraju culture is also present in Marathi and Chhattisgarh. Potaraja is the
bodyguard of the female deity. Potaraja is not divine. It is believed that along with women,
potarajus dressed as tigers also wear turmeric all over their skin to prevent skin
diseases. The potter is the chief priest in this festival. A potter is the priest here when there
are no binds. Our society would not exist without pot. A pot is also a sign of
pregnancy. Purification of the village through the pot! Kunde is the basis for the water in
the well and for the needs of the village. In the ethereal concept of putting bonam -
appeasing the goddess lies the camaraderie of facing diseases together. The ingredients put
in the palaha ratha on the third day also increase health! Same with snacks. There are
prasads to make you more healthy, nutritious and boost immunity.

sector

'Rangam' is an important event that takes place on the day after the celebration of Bona. A
woman who has come to her full potential will hear prophecies in this 'Rangam'. 'Rangam'
is done to know the future hardships, pleasures, agriculture and rains. Bona Although it is
mainly seen in Hyderabad, it is performed in some form all over Telangana. People's
words, songs and affairs show a high level of feeling and aspiration for good things to
happen in this festival. There is a collective desire for everyone to live happily and
happily. There is water and food in the kundas (pots) that are placed in the basket. Making
offerings to Amma is also known as Ratipoa, Kumbham, Pongal, etc. There were a lot of
snacks in it. Woman is the focal point of the whole cycle. A man is helpful. A mother
wants the health of her children and family. The deity is also measured to have
children. For that, Prabhas are washed in the form of tubs. This is an invocation for
progeny. The deity at Mahor, Maharashtra, on the borders of Adilabad is known as
Mavuri Ellamma, Mavurala Ellamma. There is only the head. The lower part is in
Karnataka.

Telangana Festivals- Boddemma, Bathukamma, Polala Amavasya

the belly

It is a festival celebrated for nine days in the month of Bhadrapada from Panna Panchami
to Mahalaya Amavasya. Bodi means a child. It is a festival celebrated only by children. In
Vadawada, this boddemma is prepared in three piles. The yellow form of the deity is called
Boddemma. Betel nut is planted there. Around it in the evening flowers are piled in tapuku
(small 'plate') or sibbil made by Tadikal weavers and come and play. They also have
songs.

Bathukamma

After the Boddemma festival, Bathukamma is held for nine days from Mahalaya
Amavasya. It is a festival of nature with flowers. Bathukamma is artistically named in the
shape of a pyramid by picking all kinds of flowers that come during that period. It is
completely a village festival. Bathukamma is also seen in Pradavadaktu. Flowers, water
and nature are the main elements in it. A woman is surrounded by these three and a
woman is surrounded by these three. The power of nourishing the crops comes from these
flowers. Bathukamma can also be recognized as the act of purifying water. A festival
recognizing nature's environment. A festival where everything is done collectively. It
includes play, speech and song. There is both music and literature. There are songs that
promote harmony. Along with stacking of flowers, games and songs are the specialty of
Telangana. All the flowers outside the village and inside the village are part of it. The
properties of each flower purify the water and energize the water. The idea is that this
powerful water will run into the fields and the crops will be green. It is an arrangement to
give power to water in the absence of fertilizers etc. Medicinal properties of marigolds and
madders protect the field from pests. Gunugu flower, Tangedu and Gummadi flowers are
the main ones. Rudraksha and Chandrakanta flowers are also present. Gourd flowers and
beera flowers are also planted. Elders say that things like Gunugu poo have medicinal
properties. That's why they reach it. It is used in large quantities after
dyeing. Bathukamma festival cannot happen without Tangedu flower. All this is collected
by the men who come back along the forests and raids. That will help. Bathukamma has
a lot of literature. Singing with clapping is another specialty. The whole program goes on
to reflect the flower in the shape of a circle. These Batukammas are placed in the middle
and are bent and raised and auspicious sounds are made. These claps are like jhamkaras
that make illusions come and jingle. Flowers folded They bend down as if they were
released. The pollen in the flower symbolizes fertility. Bathukamma again contains
turmeric. All types of small grains are used in this festival. Daily prasadam is done with
sweet food. All the saddhas performed on the last day will be made with these snacks. It
is a nutritious food. Tangedu flower is the main ingredient of Batakamma. The best among
flowers is known as pumpkin flower. Because the stamens in the gourd are symbolic of
Gouramma. Pumpkin seed and flower are seen as a symbol of fertility. In Bathukamma
songs, the concepts of parenting and protection of children are also found. In spite of
theological concern, many of the songs have social themes. Closer to human hopes and
aspirations.

Method of performing Batukamma for nine days

• First Day Angilipula Bathukamma (Offering: Flowers, Nooks)

• Second day Atukula Bathukamma (offering: boiled dal, jaggery, atukulu)
• 3rd Day Muddappu Bathukamma (Offering: Muddappu, milk jaggery)
• Fourth day Nanabiyyam Bathukamma (offering: wet rice, milk, jaggery)
• Fifth Day Atla Bathukamma (Offering: Atlu, Dose) Sixth Day Sold Bathukamma
(Offering: Atu/Dose)
• Seventh Day Neem Bathukamma (Offering: Rice flour in the shape of neem
fruit)
• Eighth day Vennarumdala Bathukamma (offering: butter, sesame seeds, jaggery)
• Ninth Day Saddula Bathukamma (Offering: Guava, Tamarind, Chitranna,
Lemon Chitranna, Coconut Rice, Sesame Rice)

Amavasya of fields

It is a cattle breeding festival. It is a festival to honor the wealth of cattle and show the
connection between cattle and humans. It is celebrated at the end of the month of
Shravana and the beginning of the month of Bhadrapada. Cattle are decorated and
respected. Children make all kinds of animals out of clay and decorate them by sticking
sweetcorn seeds. Cattle are decorated artistically on this festival day in North
Telangana. Colors and decorations are specially made for the horns. All year long hard
work, sewing clothes especially for cattle and hand knitting, all this shows our respect and
attachment towards livestock.
Telangana Literature - History of Ancient Literature

Pre-Somana period- (2nd century AD to 940 AD)

It is easy to study Telangana literature with Palkuri Somanatha as the center of Telangana
literary history. The literary work done in Telangana before Somana should be examined
first. This is the first step. During the period of Satavahanas AD. Brihatkatha written by
Gunadhya in 2nd century Paisachi language and Gathasaptasathi written in Prakrit by
Halu are the mainstays of Telangana even though they are not in Telugu. Jina Vallabhu
was born in AD. The Kurkala inscription dated 940 is the first Telangana verse
inscription. 'Kavi Janasrayam' written by Malliya Rechana is the first feature book in
Telugu.

Somana Age - (1100 to 1300 AD)

Palkuriki Somana is primarily a Shiva poet. He created Desikavita in Desichhandas. Janu

wrote stories of local Shiva devotees in Telugu. 'Vrishadhipa Shatakam' by Somana is the
first Shatakam in Telugu, first verse in Telugu - Simhagiri verses. It was written by
Krishnamacharyu, Gonabuddha Reddy who wrote Ranganatha Ramayana and Marana
who wrote Markandeya Purana can be mentioned.

Potana Era-(AD 1300-1500)

During this period called Potana Yuga, poets such as Madiki Singana (Sakala Niti
Sammatham), Mallinatha Suri (Commentaries on Kalidasa Kavyas), Gaurana
(Harishchandropakhyanam) etc. can be examined. Bammera Potana, who defied the
monarchy and wrote Srimat Bhagavata, is a proud poet of Telangana. Gaurana, another
well-known poet of this period, wrote 'Harishchandropakhyanam' and 'Navanatha history'
in desi chandama dwipada. Haribhattu, the poet who wrote Matsya Purana and
Narasimha Purana, belonged to this period. Mallinatha Suri's commentaries on Kalidasa's
Raghuvamsam, Kumarasambhavam and Meghasandesham kavyas gained great
recognition in Sanskrit literature and revived Kalidasa. Anapothanaidu who ruled
Rachakonda and Singabhupala II were poets themselves. Pashupatanaganatha was a
famous poet in the court of Anapotanayu.

Goparaju Age (AD 1500 - 1600)

In this period which is said to be the age of Goparaju or the age of Qutb Shahis, one should
look at Adnaki Gangadharu (Tapati Samvaranopakhyanam), Ponnaganti Telagana
(Yayati History) and Charigonda Dharmana (Chitrabharata) centered on Koravi
Goparaju authored by Simhasana Dwatrimshika. The first Chaturarthi poem in Telugu
came out from Telangana. 'Nalaraghava Yadava Pandavyam' by several Singaracharyas
teaches four stories simultaneously. Such wonderful processes are not very
popular. Elakuchi Balasaraswati used Telangana as a great avadhani. He wrote the poem
Yadavaraghava Pandavyam Tryarti (which tells the essence of three stories
simultaneously). 'Sugriva Vijahan' was the first yaksha song in Telugu written by
Kandukuri Rudrakavi during this period. He wrote thousands of yaksha songs from
Telangana. Hundreds of centuries have emerged from Telangana. The centenary process
has broken out in Telangana itself. Narasimha Shatakam, Narasimhadasa's Shrikrishna
Shatakam written by Sesappakavi, published in Dharmapuri, Kummari Siddappa
Siddappa Shatakam is a classic that is still playing on people's tongues. Padasankirtana
literature has appeared in abundance in Telangana. I didn't see much
recognition. Ramadasa, Hanumadasa, Kankatadasa and Iddasa wrote thousands of
hymns and made them popular.

Telangana modern literature

Broadly speaking, since the early 20th century, Telangana should be recognized and
studied as the era of modern poetry. The stages of social evolution in Telangana are
different. People faced many difficulties during the Nizam's royal administration. Taxes,
usury, illiteracy and footwork caused many social upheavals. Library struggle, peasant
liberation movement and armed struggle took place. All these social revolutions and
movements are reflected in literature. A unique literature has flourished in
Telangana. Concepts of social revolution are embedded in traditional poetry. People's
emotions flared up in the songs . 'Golakonda Kavula Sanchika' created by Suravaram
Prathapareddy with the works of 354 poets and scholars for the self-esteem of
Telangana. It became a symbol. Kaloji, Dasharathi, Suddala Hanmanthu, Yadagiri,
Potlapalli Rama Rao, Gangula Sai Reddy, Vanamamalai brothers and many others
contributed exciting works. All the processes of writing in modern literature such as story,
novel, essay, autobiography, etc. have emerged especially in Telangana. These can be
studied in four stages. The understanding can be increased by studying the literature that
came with the background of peasant liberation movement and the background of
separate state movements as the role of revolutionary movement and the influence of
fiction .

The first story in Telangana was Ebadi Vela Beramu written by Komarraju Lakshmana
Rao in 1910. Some consider Madapati Hanumantha Rao to be the first story written in
1912. The stories of Suravaram Prathapareddy Sanghala Pantulu', Kaloji Telika Prema
Telisi Divasu', Nelluri Kesavaswamy's 'Yugantham', and 'Itaginja Ichi Tatiginja
Zamindaru, Vettichakali Dinacharya' written by Avula Picchayya are well
known. Vattikota Alvaraswamy's jail stories were the first to portray prison life in Telugu
literature. 'Gollaramavva' written by PV Narasimha Rao is a good story. Dalit poet
Bhagya Reddy Varma founded the Adihindu Sanstha and became an inspiration for Dalit
consciousness. 'Vykti Madiga Katha' written by him depicts the Dalit life. Kambukandara
Charitra written by Tadakamala Krishna Rao, the first novel in Telangana,
Lokamalahari's novel 'Jagganiidde' mirrored Dalit life in Telangana literature .

The first historical novel was Rudramadevi written by Oddiraju Ramachandra

Rao. Novels depicting the Telangana Liberation Movement - Vattikota Alvaraswamy's
'Prajalamanishi', 'Gangu', Dasarathi Rangacharya's novels - Janapadam, Modugupulu,
Chillaradevulu reflect Telangana life. Many novels were published in Telangana with the
theme of revolutionary movement. Allam Rajaiah's works - Kolimantukunadu,
Komarambhim. The famous novelist Naveen became a household name after becoming
famous for his novel 'Ampasaiah'.

Fight songs

Suddala Hanmanthu, Thirunagari Ramanjaneyulu, Dasharathi, Kaloji, Somasundar,

Sunkara Satyanarayana etc. wrote many struggle songs. Suddala Hanmantu 'Village
boy!' The song earned a permanent place in the hearts of Telugu people. In the song 'Vetti
chakiri vidhanamo raithanna.. no matter how hard you work, no matter how hard you
work..' Among the songs written on Suddala and Nizam Nawab, the song 'Nizam
Sarkaroda' written and sung by Yadagiri is still and forever in the mouths of the people of
Telangana. Dasarathi Krishnamacharya said, “O Nizamu Pisachama! Poems were
written on the walls of the prison with charcoal, saying, "Kanaradu is the king who told
you, you cut the strings and put them in the fire, my Telangana Koti ratanala
veena". Saisai Gopalareddy! He wrote songs of memory saying that you stood and gave
your life. Tirunagari, 'Mana Kompalarchina, Kaloji said the message of the movement
saying, "They have killed our women, killed our children and imprisoned us."
Public art forms

During the Telangana armed struggle, public art forms were more influential than leaders'
speeches and newspaper reports. Tirunagari Ramanjaneyu inspired people with his songs
along with harikathas and burrakathas. Suddala Hanmantu Gollasuddulu, Pittaladora
Vesham, Burrakatha and other processes moved the people. Sunkara-Vasireddy's play
'Mabhumi' became very popular. Sunkara Satyanarayana's 'Kashtajeevi' Burrakatha was
given thousands of performances. Tirunagari 'Veerabandagi' and 'Telangana Veerayodhu'
wrote and staged mockery of those who campaigned against the 'Andhra Mahasabha
Kafirla Sangam..' Chervirala Bagaiya 'Shoyabullah Khan', Chaudavarapu Vishwanatham
*Andhra Mahasabha etc. made the people aware during the struggle. The Nizam's
government, unable to tolerate the popularity of public art forms during the movement,
banned the stories 'Kashtajeevi', 'Telangana Veerayodhu' and the drama
'Mabhumi'. Tirunagari showcased 'Veera Telangu' Gollasuddu. The story of bubadukas
that goes by saying 'Amba Paluku Jagadamba Paluku', the art form of spoons singing
Nandana. Flames of consciousness were kindled in the oppressed communities.

Combat novels

Telangana peasant struggle has created a novel literature that Telugu literature can be
proud of. Among these , 'Mrityunjayulu' by Bollimuntha Sivaramakrishna in 1947 and
'Sinhagarjana' (1950) by Lakshmikanta Mohan came out while the struggle
continued .After the cessation of hostilities, Vattikota Alvaraswamy's novels 'Man of the
People' (1955) and 'Gangu' (1965) were published. Among these * Prajala Manish' is the
first novel written by a Telangana person about Telangana. It gives a glimpse into the lives
of Telangana between 1934-40. Vattikota Alvaraswamy wrote this novel during his long
imprisonment between 1946-53. It was published in January 1955. Gangu's novel, which
depicted the Telangana struggle between 1940-45, remained unfinished with Alwar
Swamy's Untimely Death (1961). It was published as an incomplete novel in January
1965. Mahidhara Rammohan Rao's 'Onamalu' about Telangana in 1947 was published in
March 1956. His other novel 'Mrityuvu Nidallo' was published in 1962. As a continuation
of Vattikota, Dasharathi Rangacharya started writing novels in his own style. Depicting
the lives of the people of Telangana before 1938.. Wrote 'Chillara Devullu (1969). He
wrote the novels 'Modugu Pulu (1971) with the conditions of 1942-48 and 'Janapatham'
(1976) with the Telangana conditions of 1948-68. Chilaradevullu novel with Telangana
journalistic language became a topic of discussion. In 1971, this novel was awarded the
State Sahitya Akademi Award.
It was during that period that Gollapudi Narayana Rao's novel 'Telugugadda' brought to
light the miserable lives of the people of Telangana. Recently, 'Sangam' (Thirunagari
Ramanjaneyulu), 'Bandook' (Kandimalla Prathapareddy), 'Malupu Dulina
Rathachakralu' (Mudiganti Sujatha Reddy), 'Kaalrekhalu' (Ampasaiah Naveen) ... are
novels with Telanga themes.

Stories of struggle

Vattikota Alvaruswamy, who was detained by the Nizam government and spent his life
in prison, wrote stories titled 'Inside Jail'. Potlapalli Rama Rao published 'Jail'
stories. Nelluri Keshavaswamy wrote the stories 'Charminar' describing the lives of the
Nawabs and Hindu-Muslim relations in the last days of the dissolution of the Hyderabad
State . Venkata Rama Rao of Kanchinepalli, depicting the lives of people in the period
after the Telangana struggle, wrote 'Even in our village?' A volume of stories was
published.

Telangana Modern Literature - Forms of Poetry

Humanist Poetry:

Dasarathi, who fought against the Nizam, 'Timirantho Samaram', digested the
consciousness of the contemporary movement and voiced the humanity of Dr.
C. Narayana Reddy 'Vishwagiti', 'Viswambhara' 'Samadarshanam', 'Matti Manishi
Aksama' etc. are his major works. 'Na Godava' is written by Kaloji. Home of ancient and
modern literary traditions, Bapureddy's poem, song, verse poems, 'Thangedupulu',
'Jalgeetham', works like Dr. S. Gopi's poetic predominance, humanistic perspective seems
to be the ultimate principle.

Digambara Poetry:

During the Telangana armed struggle, progressive literature appeared widely. In the
following days there was a stalemate. Digambara poets entered the field of poetry with the
intention of eradicating it and awakening consciousness in the nation. He published three
volumes of poetry between 1966-68. They named the poems “dik's”. Among the six
Digambara poets, Cherabandaraju (Baddam Bhaskar Reddy), Jwalamukhi (AV
Raghavacharyulu), Nikhileshwar (Yadavar Reddy) are Telangana regionals.
Revolutionary Poetry:

Inspired by the Naxal Bari, Srikakulam movement, the Revolutionary Writers Association
(Virasam) emerged in 1970. Between 1969-70 poetry collections like 'Tiragabadu', 'Le',
'March' and 'Viplavam Vardhillali' were published and broadened the perspective of
revolutionary poetry. Some of the Digambara poets joined Virasam. The song has been
given a lot of importance in revolutionary poetry. Naruda Bhaskaruda by Sivasagar!,
Chelli Chandramma!.. 'Uru Manadira' by Guda Anjaya! Is this man ours!' Such songs
have penetrated the people . Their songs like Gaddar and Vangapandu Prasada Rao
became widely popular.

Mini poetry

Mini poetry emerged in modern times with the intention of solving the ambiguity and
length of text poetry. Brevity is the lifeblood of a mini poem. Alishetty Prabhakar's
cartoon poems and political commentary poems by the likes of Devipriya mirror the
current situation. Alishetty Prabhakar, who popularized mini poetry, published mini
poetry collections like 'Err Pauraula', 'Mantala Jendalu', 'Churakalu',
'Sankshobhageetham', 'Raktalekha' and 'Citylife'. Haikus and nannies are also forms of
miniature poetry. Penna Sivaramakrishna published volumes of poetry in the form of
haiku. Launched by Dr. S. Gopi, 'Nani' portrays the emotions of life.

Feminist Poetry:

Published in 1981, Revathi Devi's 34 Kavitala Silalolitha' marked the beginning of feminist
volumes. Feminists believe that only women can powerfully present women's issues . In
1990 Tripuraneni published a collection of feminist poems titled 'Gurichusi
Padepata'. Since then feminist poetry has been widely published. In 1998, Asmatavaru
collected and published poems titled 'Neeli Meghalu'. Shahjahana, Anishetti Rajitha,
Shilalolitha' (P. Lakshmi), Jajula Gauri, Jupaka Subhadra and others are feminist poets
of Telangana.

Dalit Poetry:

The strongest voice heard in the 90s was Dalitism. 'Dalit Geetalu' edited by Jayadhir
Tirumala Rao in 1993, 'Chikkanavaunjana Pata' and 'Padunekkina Pata' published in
1995 edited by Tripuraneni Srinivas and G. Lakshmi Narasiah. Andhra Pradesh Dalit
Geetalu' is published by BS Ramulu on behalf of Dalit United Church. Compilations like
'Bahuvachanam', 'Dandora', 'Meme', 'Nishani', 'Gundedappu', 'Moolavasula Patalu'... are
popular. Juluri Gowrishankar, Banna Ilaiah, Kalekuri Prasad and others published special
poems.

Minority poetry

Minorityism and Muslimism came into the limelight with the view that Muslims too were
being subjected to injustices like other backward communities. The Bahujan poetry like
'Bahuvachanam', 'Meme Sankalana' and 'Special Edition of BC Kavula' which came out
from Nalgonda region. People like Mastarti have written songs warning that the splitting
of Dalits into two groups in the name of classification is not a good development. Yakub,
Skybaba, Dilawar, Afsar, Qadir, Khaza, Shahjahana wrote poems about the poverty,
insecurity and fundamentalism of Muslims. 'Jal Aila' is a volume of poetry that is a tribute
to minority poetry.

Poetry of existential struggle

The poets of Telangana have produced poetry with regional consciousness reflecting the
dire conditions of Telangana. Poetry collections like 'Pokkili' (edited by Juluri
Gowrishankar) 'Mattadi' (Sunkireddy Surendraraju), 'Karuvu' (Mallesham Lakshmaiya)
and 'Parichaika' (Sirisilla Sahithi Samiti) emerged in the regional existential trend. Long
poems like Kashim's 'Polamarina Palamuru' and Vaddeboina Srinivas' 'Padau' paint the
reality of Telangana.

Telangana fairs

Sammakka-Sarakka fair

Sammakka-Sarakka, the world's largest tribal fair and Asia's largest fair, is held every two
years. The place where Sammakka-Sarakka fair is held is in Tadwai mandal of Medaram
Mulugu district. This fair is held on Wednesday, Thursday and Friday before the full
moon of Maghasuddha. Almost lakhs of devotees attend this fair. Sarakka is brought to
Gadde from Kannepally on the first day of the fair. On the second day, Sammakka is
enshrined on the pad in Chilukalagutta. On the third day, Ammavars measure both of
them on the benches. On the fourth day, after the invocation, the two goddesses are taken
back to the battlefield in the evening.
The seven-footed fair

There is a temple of Amma Durgabhavani in Nagasanapally village of Medak

district. This temple is situated at the confluence of the Manjira river . Seven rivers which
are tributaries of Manjira confluence. Every year on Shivratri, Edupayala fair is held here
for three days. Lakhs of devotees from all over the state come to the fair held at this
Edupayala. This temple is considered to be the most important in Telangana
districts. Forest around the temple Surrounded by green trees, hills and rocks along with
the area, the Manjeerana River splits into seven streams and emerges as Swayambhu Mata
in the middle of the cave. This temple is situated at the confluence of the Manjira
river. Therefore, this fair is known as Edupayala Jatra. It is customary for the devotees
who participate in this fair to sleep in the temple for one night and then go to their own
villages. As part of social obligations, representatives of the 18 castes of the rural life
system, which are divided into 18 castes, participate in the pujas held here.

Gollagattu fair

Gollagattu fair is the biggest fair in Telangana after Sammakka-Sarakka. The place where
this fair is held is Durajpalli in Suryapet district and this fair is held every two years for
four days. Kulaidavam of the Yadavas is measured by Lord Lingamantula, an incarnation
of Lord Shiva. Lingamantula Swamy's sibling Chaudamma's mother. In this fair, a box
containing 30 idols is taken to Kesaram village near Suryapet and shown to the claimants
and worshiped. After that they worship the mother of Chaudamma, the sibling of
Lingamantulaswamy. In this fair, the Yadava caste people decorate the Bhasimpeta pot
on the gopuram. Yadava clansmen of Suryapet used to take the makara toran as a
procession to the lord. On the fourth day (the last day) the fair ends with the priests offering
kesara to the gods.

Nagoba fair

Nagoba Jatara is held at Keslapur near Mutnoor village of Indrawelli mandal in Adilabad
district. Nagoba is the tribal deity. This fair is celebrated on Amavasya day in Pushya
month every year. It is said that Nagoba was born as a serpent in the family of the Gonds,
displayed great powers, and appeared in a mound in the village of Keslai.

Nalgonda fair
This fair is held every year on Magha Purnami day near Nalgonda village of Kodimyala
mandal in Jagityala district. According to the local legend, Lord Vishnu killed
Hiranyakashipu and rested on this hill when he set foot on this hill in a rage .

Komuravelli fair

This fair is held in Komuravelli village of Cheryala mandal of Siddipet district. This fair is
held every year from Maghamasam to Ugadi (Chaitra month) .

Auction fair

This fair is held on Mahashivratri at Velala in Chennur taluka of Manchiryala

district. Devotees worship Lord Shankara with collective prayers and bhajans.

Kondagattu fair

The fair is held at Kondagattu Anjaneya Swamy Temple near Mutyampeta in Jagityala
district. The special feature here is that Hanuman has two faces with Narasimhaswamy's
face on one side and Anjaneyu's face on the other. It is special to have a conch and chakras
and to have Sitarams in the heart. Devotees believe that if they worship for 40 days in this
temple, they will be blessed with children. The temple of Bhethalaswamy, the ruler of the
region, is located on top of the hill.

Telangana Folk Arts - Artists

A story

Oggukatha is an art form performed by the Kuruma caste. 'Oggu' means praying to the
three-eyed Lord Shiva. Those who are priests among the Veera Shaiva worshipers take
Shaiva initiation. Those who have taken initiation will tell the stories of Mallanna and
Veeranna. A clan of Koyatega tells the story of Sammakka and sings songs. Budaga Jangas
Budaga Jangas are devotees of Shiva. They beg alms while ringing a bell in one hand and
chanting about Lord Shiva. They sing melodious folk songs. People are given
vibhuti. Hence they are called 'Jangamadevara'. There is a small statue of 'Nandi' on the
bell they play.

Saradakandru
Saradakandru folk artists are found only in Telangana. They are mostly from the
Warangal region and there is no big difference between Burrakatha instrumentalists and
Sharada narrators. Like Burrakathakas, they also use duckies. The tambura used by them
is called 'Sharada'. Hence they got the name Saradakandru.

Gangreddolata

It is a beautiful folk art of Telangana state. Gangireddus are usually played by those
belonging to Pujagolla caste. They decorate the bull well and play it around the
villages. They mainly live by begging. There are three people along with a ganger. One of
them plays the Gangireddu while the other plays the drum. A third person plays the
Sannai. It is good entertainment for the villagers. They are usually seen in the months of
December, January and February.

The tools

They perform performances for everyone and only beg for Padmasali. They start the show
by traveling from one village to another with the permission of the Padmashalis of each
village. Their performance takes place during the day. So it can be considered as day
wear. Their performance is magical. The duration of the show is about three hours. Their
stage is in a wide space in the village square. The practice of their art forms requires a lot
of dedication. In their performance, two people take two plates and spread some leaves on
them and stand at a distance. Due to the impact of the leaves in their hands, the teeth in
their hands suddenly rise and both of them strike and return to their original
position. Many miracles are performed like this.

Chodigani Kalapam

Soligadivesham is one of the strange costumes performed especially during Dussehra

festivals. This Soligadi is called Chodigada, Podigada and Singada by different names in
different regions. Soliga would enter with a crooked stick and make all the children
run. The costume was all comical. His face was full of white spots, black dots between the
spots, he had crow feathers stuck on one side of his head tied with a black cloth, a crooked
club in one hand and a crooked stick in the other hand, he would suddenly get up from
some corner and startle all the children. This Chodigadu also has such importance in the
Chodigani Kalapam that the hair likeness and Bangarakka are important in puppetry. The
characters in Bommalata are just comic characters. But Chodigani's character lives as a
protagonist and a comic character.

Pool participants

Kolanupaka Bhagavatis are known as Gante Bhagavatis. There is a difference between

them and the Gante Bhagavatis in Andhra region. In Telangana, Gante Bhagavats are
mostly in Kolanupaka of Karimnagar district. They perform at night. Their performances
have little literary significance. They mainly use ladles in performances. Therefore, they
are treated as Garite Bhagavatis and Gante Bhagavatis. Each character has a spatula in
hand. Oil is poured into it and wick is lit. Each character's gestures and body movements
are clearly revealed to the audience due to the light of this lamp. As a part of the show,
they are performing in between the wicks in the ladles. Plays are performed with great
importance.

mother frog

This is the oldest folk tale. This folk art is very charming with dance, song, dance and
rhythm. The drum is placed on the opposite breast and played. In Telangana this art is
known as 'Kappathalli'.

Magicians

They are known as 'Vipra Vinodula'. They perform many tricks by juggling and beg.

Mandechu artists

They belong to the Yadava caste. These folk artists beg by singing the story of
'Ollamadevi'. Among them, the main artist sings songs related to the story, holding a
sword in one hand and a cheetah in the other. Two others.. one holding a sword, the other
a stick sing Vanta to him.

Artists of Ranju

The performances given by Ranju, Pavana and Samayam depending on Vishwa Brahmans
are very charming. They play an instrument called 'Ranju'. The story of Veera
Brahmendra Swami and Vishwakarma Purana are told. They follow Shaivism.

Dolly artists
They belong to the Koya tribe and live in forests and mountainous areas. Doli artists tell
stories about the ancestors of their tribe. The story of 'Peramboyaraju', who belongs to the
third generation of Koyajati, is told. Bandaru artisans depend on Perika caste. Bandaru
artists tell legends about the greatness of the Perika race. They do not use any kind of
instruments. While the main storyteller is telling the story, the other two take turns
singing.

Presentation of Dathi

They go to Lambadi Thandas and perform together with the elders there. They are also
known as 'Bhattu'. They wander and beg, singing the stories of the ancestors of their
race. They form a group and sing songs. Each team consists of five to 15 members.

They are bubbly

They belong to the nomadic tribe of Telangana state. They roam around. Generally they
worship occult deities. In the early morning, they walk along the streets in the villages
playing drums in strange costumes. They beg by telling astrology and washing amulets.

Asads

The people of Telangana have the custom of worshiping many village deities. They also
worship nature deities. Deities are worshiped with the names Ellamma, Pochamma,
Nallapochamma and Peddamma. Such temples are found at every step of the state. All
types of Shudra castes are priests in these temples. These are called 'Asads'. These Asads
worship Ammavars in a 'Tantric' manner. They mainly splash while singing Ellamma's
story.

Fellow artists

The Koya, Gond and Nayakapodu castes belonging to the tribal and forest tribes are
dependent caste peers. All the tribal races belong to Lakshmi Devi race. Fellow artistes are
considered to belong to Kuruvamsa, their heirs. They tell the stories of the ancestors of the
Kuru family.

Peddamma artists

They are nomadic women artists, usually three or four performing together. An idol of
Peddamma Goddess is placed in one's hand. Another artist plays the drums. The artist
puts the statue in her hand on her head and dances rhythmically to the sound of the
drum. They will perform by singing the story of 'Panduga Sayanna', a revolutionary hero
who opposed the Nizam's government.

Yanadi Bhagavatam

The Bhagavata recited by the Yanadi caste is called 'Yanadi Bhagavatam'. They tell the
story of Chenchulakshmi very sweetly. This is known as 'Garudachala Bhagavatam'. They
narrate the story by dancing and singing.

Vargan artists

It is a folk art related to the origins of the Gond race. Parnans, the aboriginal people,
perform by singing the legend of 'Dewal Pulak'. They use instruments called dakki
talas. Jamukulavaru tells the stories of village deities like Pochamma, Ellamma,
Akkamma, Sarangadhara etc. very interestingly. 'Jamidika' or 'Bavanika' is the most
important instrument used by them. Satan Vaishnavas These are Vaishnava
devotees. Vishnu is worshipped. They sing songs about Vishnu and beg.

A family of quails

Another important folk artist popular in Telangana is 'Pittala Dora'. This person is known
as 'Lathkor Saab', 'Budder Khan' and 'Tupaki Rama'. It is a type of day wear. They mainly
perform in villages. The cast of quail castes tell the faults and machinations of the society
in a humorous and satirical manner. Khaki pants or nets, a torn khaki shirt, a dora cap on
the head and stone shoes are worn. There is a white feather on one side of the cap, a gun
strapped to his hand, and a handkerchief around his neck. They entertain the crowd with
their restless banter, with their faces painted white and their French-cut moustaches.

Daytime activities

It is known that once upon a time in our country during the administration of independent
feudal lords, Chitravichitra veshas spread. As spies disguised as charus and conveying
news, as traders of gems and emeralds, as traders of expensive sarees worn by queens, they
used to sneak into the forts with strange disguises and deceive one king to deceive another
king, knowing the secrets and weaknesses of the fort and declaring war. Many art forms
created for public entertainment were performed only at night. Apart from that, as they
are performed during the day, they got the name of Pagativeshalu. What is particularly
noteworthy about the daily wears is that not only with their attire but also through their
characters, they explain the superstitions and vices of the community in a sarcastic and
humorous manner and sensitize them. Karanas, Munasabs, traders, How all the
employees etc. used to cheat through these pretenses would expose their hide in suitable
literature without hurting anyone. These day wears were once known as
bahurupas. During the day, they used to perform the costumes of Pantulu Vesham,
Pathanu Vesham, Reddy Vesham, Tagugubotu Vesham, Komati Vesham, Garadivesham,
Fakir etc. In the guise of a fakir, the role of a fakir recites the Qur'an and uses the language
appropriate to the roles by saying the sallagundali allakenam of the dairy crops. Popular
day wears include Bhairagula Vesha, Budabukkala Vesha, Fakir Vesha, Tahsildaru,
Bhogamvesha, Pamulavadu, Erukalvesha, Dommarvesha, Koyavesha, Paduchu Pellam,
Musalimogudu, Gayyali Pellam, Pittaladora, Gollabhama, Reddyvesham,
Bhatrajvesham, Singisinga. Do etc. They used to dress up as a drunkard, as a clown, as a
clown, as a fakir, etc. In the guise of a fakir, the role of a fakir recites the Qur'an and uses
the language appropriate to the roles by saying the sallagundali allakenam of the dairy
crops. Popular day wears include Bhairagula Vesha, Budabukkala Vesha, Fakir Vesha,
Tahsildaru, Bhogamvesha, Pamulavadu, Erukalvesha, Dommarvesha, Koyavesha,
Paduchu Pellam, Musalimogudu, Gayyali Pellam, Pittaladora, Gollabhama,
Reddyvesham, Bhatrajvesham, Singisinga. Do etc. They used to dress up as a drunkard,
as a clown, as a clown, as a fakir, etc. In the guise of a fakir, the role of a fakir recites the
Qur'an and uses the language appropriate to the roles by saying the sallagundali allakenam
of the dairy crops. Popular day wears include Bhairagula Vesha, Budabukkala Vesha,
Fakir Vesha, Tahsildaru, Bhogamvesha, Pamulavadu, Erukalvesha, Dommarvesha,
Koyavesha, Paduchu Pellam, Musalimogudu, Gayyali Pellam, Pittaladora, Gollabhama,
Reddyvesham, Bhatrajvesham, Singisinga. Do etc.

the scars

Runjalas are a tribe dependent on Vishwa Brahmins. Because their main instrument was
the drum, they came to be called runjalu. They go from village to village and beg Vishwa
Brahmins. They are highly respected by Vishwa Brahmins. They are rewarded by chanting
Vishwakarma Purana. The instrument of Runja is exciting. Each team consists of about
ten people. All play the runja instrument.

Basket toys
These puppets made of dung are displayed in wedding processions and fairs. These toys
are played by men. The upper part is shaped like a doll and the inside is hollow and there
are holes in the legs and mouth of the doll. If the player squeezes into this interior and
dances, it is as if the doll is dancing. One of these figures is a female figure and the other
is a male figure. Some toys are singy. It is one of the art forms that make people happy. It
has now completely disappeared.

Veeramushti

Songs related to Veerashaiva Vajnyaya, stories of devotees and stories of

Kanyakaparameswari are told. They mostly beg Jangas. Most of the songs sung by
Veeramushti are related to Kanyaka. Therefore, they are highly favored by the
Komats. Biruduraju Ramaraju garu in his Janapadageya literature said that Ayyalaraju
Narayanamatya exemplified Veeramushtu. There is a story that Viramushti was born from
the sweat of Virabhadra when he destroyed Daksha. They also say Veerabhadra
swords. They dance like Veerashaivas with swords thrusting.

Juggling lessons

It is called magic and jugglers are called magicians. This juggling has been propagated
since ancient times till the present time. In the past, this education was widely performed
in the courts of kings and received honors. Even today, this education is practiced in the
villages. Many performances are performed like hitting nepakus and making scorpions
come out, creating rupees in the palm of the hand, sometimes burying mango oil and
making a plant sprout, putting a man in a basket to digest him, slitting his throat and
showing blood, digesting the thing we have and taking it out of someone else's pocket,
etc. There are many examples from many texts that this education has been propagated
since before. Palkuriki Somanatha's Panditaradhya Chiritha mentions that Jugglers play
on their knees just as dommarasanas play on stilts. Throwing a long knee into the sky, it
stands up like a bamboo.

Tiger dance

In Telugu regions this tiger dance is performed in every village. Especially during the
festival of Dussehra, on the occasion of Peerla festival, on the occasion of Sankranti
festival, this tiger costume is worn. Tiger costume is an imitation of animal dances. It was
the rural people who popularized this art form. These tiger impersonators beg from house
to house in villages. The tiger disguises itself naturally enough to frighten children. It
seems like a festival for the children and adults in the villages when the tiger costume
came. The tiger costume was very difficult. It's not like wiping off the face with so much
color like normal makeup. All parts of the body are covered with colors. Black stripes are
painted here and there all over the body to give it the shape of a tiger. A cap sewn with
leather is attached to the scalp. After finishing the costume, they go into the bazaar and
fly in the middle and do somersaults. Masculinity is shown by stretching the thighs.

Children

They go around every house in the village singing Shaivite songs at five o'clock in the
morning and ringing the j bell. After singing the song, the Sambha is blown loudly to wake
up the householder from their sleep, and they move to another house and do the same. In
this way every day a few houses are visited and after the completion of visiting all the
houses in the village, one day is set aside for begging. After completing one village they go
to another village.

Gante Bhagavati

Their performance takes place at night. They use bells to perform. The protagonist in their
performance has a bell in his hand. Oil is poured into it, pressed and lit. Each character's
gestures and body movements are clearly visible to the audience due to this gante lighting,
which continues the acting between the gantes and increases the emphasis in the
gantes. Due to this intense lighting, more emphasis is placed on the expression reflected
in the face. Everyone has a bell in their hand. So they got the name Gante Bhagavatas as
they performed Bhagavatas with Gante importance.

woodworking

This bhajan is performed during leisure time in the villages. Holding the promise of God,
they go from house to house and perform bhajan. It has about 20 members. In this bhajan,
while singing the song, clapping the talam with the wooden hands and dancing with the
legs tied up, it is very sensual and exciting to watch. Each song has a different type of
dance.

Tales of Madmen
Pichakuntla stories are one of the art forms that have existed since ancient times in the
Telugu region. This art form is performed by the caste people. This story team consists of
three people. The most important of the stories told by them is the heroic history of Palnati
written by Srinath. If this story is started, it will be told for fifteen nights without stopping
in the middle. In the stories of Pichakuntla, romance, compassion and heroism are
preferred. Especially in their attire, the narrator has a turban, a sword in one hand, a shield
in the other, and gaiters for his legs. While he was singing, the other two joined the
narrator's voice while saying that..

Dommarata

Dommarata has been performed since ancient times along with other entertainment
programs in the villages. It also has the name of circus. Dommaris used to attract the
people of the village by laying a long bamboo stick at the junction of four streets and
playing a drum instrument. They used to collect money, grain and cloths from people by
doing circus acts with bizarre entertainments and surprising people with their skill. It
seems from Palkuriki Somanatha's Panditaradhaya Parvatarakan that these dommaratas
date back to the 13th century. Palkuriki Panditaradhya explains in his history that
Dommarasanas created an illusion similar to Apsaras playing in the sky on the
veduragas. They used to perform their vidyas with dommarasanas on the forehead by
placing the gada on their forehead and forehead.

Animal box

They attract the children by showing different types of toys through the jantar box. Jantaru
puts his hand in the box and shows all the toys one by one, one after the other and sings a
song saying "Kashipatnam Chudara Babu, Vishwanathunne Chudara Babu, Dukhi
Moksham Goshtara Babu" and plays the tambourine accordingly. Patriotic programs are
also organized.