Chindu (Cindu) Nṛtta
The Folk Song‑Dance of the Deccan – Rhythm of the People, Voice of the Village
Among the many deśī (regional) dance forms catalogued by the 13th‑century scholar‑warrior Jaya Senāpati in his Nṛttaratnāvalī, none is as intimately tied to the everyday life of the Telugu‑speaking commoner as Chindu (also spelled Cindu, Chindu Nṛtya). Unlike the martial grandeur of Perini or the jaw‑dropping acrobatics of Kollāṭa, Chindu was a vibrant, earthy, and often provocative folk performance that combined simple two‑line songs (dvipadas) in Dravidian languages with graceful swaying movements and the throbbing beat of the paṭaha (tambaṭṭa) drum. It was performed at village festivals (jātrā), temple car processions, and even as a form of social satire or protest. This article gathers every detail about Chindu from the Nṛttaratnāvalī and traces its enduring – and sometimes controversial – legacy in rural South India.
The term Chindu (or Cindu) is of Dravidian origin, probably derived from a root meaning “to dance” or “to move rhythmically”. In the Telugu literary tradition, Cindu refers to a specific folk song form – usually consisting of two lines (dvipada) set to a lively, repetitive tune, often with satirical, devotional, or erotic content. By Jaya’s time (mid‑13th century), Chindu had become a recognised genre, performed by both men and women, in villages and at temple precincts.
Jaya classifies Chindu as a deśī nṛtta (regional dance) and places it in the seventh chapter of his work, alongside other folk forms like Perani, Rāsaka, Carcarī, Kanduka, Bhāṇḍika, Ghaṭisani, Cāraṇa, Bahurūpa, Kollāṭa and Goṇḍalī. Its inclusion in a Sanskrit treatise written by a high‑ranking general underscores the importance of folk arts in the Kākatīya court – a striking example of how classical and popular cultures intermingled in medieval India.
Jaya’s description of Chindu appears in Chapter VII of the Nṛttaratnāvalī, immediately after the sections on Śivapriya and before Kanduka Nṛtta (verses 114–116 in the critical edition). Although brief, it captures the essence of the form with remarkable clarity. Below is a systematic compilation of everything Jaya tells us about Chindu.
🎶 A. The Song – Dvipada in Dravidian Languages
- Language: Chindu songs are explicitly said to be in “Dravidian” languages – most likely early Telugu, Tamil, or Kannada. This distinguishes Chindu from the Sanskrit‑based mārga compositions.
- Form: The songs are dvipadas – two‑line verses with a simple, repetitive structure, making them easy to remember and sing in a group. The lyrics often tell stories of local deities, heroic deeds, or love affairs, and sometimes carry social satire.
- Desī Rāgas: Jaya notes that Chindu songs are set to deśī rāgas (regional melodic modes), not the classical grāma‑rāgas. Specific rāgas mentioned in later texts include Sāmanta, Varāli, Gaula and Kannaḍa.
- Abhinaya (gestural interpretation): The dancer performs expressive gestures (abhinaya) that illustrate the meaning of the words – a key feature distinguishing Chindu from mere folk song.
“श्रव्यदेविदेवैशीयःकलसंस्तकाकुरीतिभिः।
गौताथांभिनयोपेतंः द्विपदैश्चिन्तुसंबद्धैः॥”
(“Accompanied by the captivating deśī rāgas, with abhinaya, and with dvipada songs called Chindu.”)
💃 B. Dance Movements – The ‘Kītu’ Sway
The most distinctive feature of Chindu dance, according to Jaya, is the rhythmic swaying of the breasts, arms and hips in perfect synchrony with the drum beat. This graceful yet sensuous oscillation is known as Kītu (also spelled Kīttu) – one of the 46 Deśī Lāsyāṅgas described in Chapter VI of the Nṛttaratnāvalī. Jaya states:
(“In practice, the Kītu movement is performed with graceful swaying of the breasts, arms and hips.”)
This emphasis on torso and hip movements makes Chindu distinct from the more upright, jump‑based forms like Kollāṭa or the leg‑dominated Perini. The footwork is relatively simple, consisting of gentle steps (cārīs) that allow the upper body to undulate freely.
🥁 C. Instruments & Orchestra
Jaya does not detail the instruments for Chindu, but later texts and folk traditions fill the gap:
- Paṭaha / Tambaṭṭa: A large, two‑faced drum played with sticks, producing a deep, resonant beat. This was the core instrument of Chindu.
- Tālam (cymbals): Small hand cymbals kept the time (tāla), often played by a second performer.
- Huḍukkā: A small hourglass drum, used for faster sections.
- Mukha‑vīṇā (mouth‑harp) or flute: Sometimes added for melodic fills.
- No mṛdaṅgam: Unlike classical dance, Chindu did not use the barrel drum; the paṭaha was its signature sound.
The ensemble was small – usually two or three musicians – making Chindu highly portable, ideal for processions and outdoor festivals.
🧣 D. Costume & Props
Based on later literary and visual evidence, the Chindu dancer’s attire was simple and functional:
- Women dancers: Wore a tucked sari (ardhoruka) or a long skirt with a tight blouse, leaving the midriff bare to allow hip movements. Ornaments included glass bangles, necklaces, and flower garlands.
- Men dancers (rare): Sometimes performed in a loincloth or a short dhoti, with a turban.
- Ankle bells (ghuṅgurū): Worn by both sexes, though less elaborate than in classical dance.
- Props: Occasionally a dancer would hold a stick (daṇḍa) or a small hand towel to emphasise gestures, but Chindu was generally prop‑free.
🏮 E. Performance Context – Jātrā, Processions & Social Commentary
Chindu was not confined to temple stages or royal courts. Its natural home was the village festival (jātrā), the car procession (ratha yātrā), and even the street corner. Jaya notes that Chindu was performed “to the accompaniment of resounding drums” during public celebrations. From later sources, we learn that Chindu troupes often:
- Led temple processions, dancing and singing the praises of the deity.
- Performed at weddings and harvest festivals.
- Engaged in competitive and satirical duels – two rival troupes would exchange extemporised, often obscene verses, mocking each other or local authorities. This could sometimes lead to riots and legal action.
After Jaya, Chindu continued to be described in Sanskrit and Telugu works:
- Saṅgītadāmodara (c. 15th century, East India): Mentions two types of Cindu – Vidacindu and Kalucārī – and notes that dancers sometimes carried a trident (triśūla) in their hands, indicating a possible Śaivite devotional context.
- Saṅgītamuktāvalī of Devāna (c. 16th century, South India): Gives a detailed description of the Cindu song structure (Telugu or Tamil), the rhythmic crescendo (kalāsa), and the dance’s two main varieties: Khaṇḍa Cindu (short) and Akhaṇḍa Cindu (continuous).
- Pālkuriki Somanātha’s Basavapurāṇa (13th century, Telugu): Mentions Cindu as one of the dances performed at the Śravaṇa (Mahāśivarātri) festival, alongside Perani and Gondali.
- Krīḍābhirāma (Telugu, 14th‑15th century): Describes a courtesan named Mācaladevī who excelled in Cindu and other folk dances, indicating that even elite performers knew the form.
These texts confirm that Chindu remained popular for at least four centuries after Jaya, and that it had branched into regional sub‑varieties.
Remarkably, Chindu has survived to the present day, though in a much‑diminished and transformed state. The most authentic descendants are found in rural Telangana and coastal Andhra, where the Chindu (or Chendu) dance is still performed by the Mādiga and Dombar communities during village festivals. Key features of modern Chindu include:
- Tambit drum: A large, barrel‑shaped drum (similar to the paṭaha) played with two curved sticks.
- Praise songs: Lyrics glorify local deities (Pōchamma, Maisamma, Yellamma) or tell folk epics.
- Transvestite performers: In some regions, men dress as women and perform Chindu, continuing an ancient tradition of male‑to‑female impersonation.
- Community bonding: Chindu is often performed during communal labour (e.g., during harvest or house‑building), serving as work‑song and entertainment simultaneously.
However, the living Chindu faces severe threats: urban migration, loss of patronage, and the stigma attached to “folk” arts. Government efforts to preserve it have been sporadic. The Chindu Yakṣagānam (a related folk theatre form) has received some support from the Andhra Pradesh Sangeet Natak Akademi, but the pure dance form is rarely seen outside remote villages.
For the scholar and the curious viewer, Jaya’s 13th‑century verses remain the most authoritative window into Chindu’s original form. They remind us that folk art is not “inferior” to classical – it is simply a different mode of expression, equally disciplined and equally powerful.
“चिन्तुदत्तमिति प्रोक्तमिदं द्विविद्यल्लभम् ॥”
(“Thus is described the Chindu, which is of two kinds [probably Khaṇḍa and Akhaṇḍa].”)
🎤 Chindu
- Folk song‑dance, Dravidian lyrics
- Dvipada verses, deśī rāgas
- Kītu sway (breasts, arms, hips)
- Paṭaha drum (tambaṭṭa)
- Village processions, jātrās
- Social satire, devotional themes
💪 Perini
- Warrior dance, Śaivite devotion
- Powerful footwork, ash & cobra props
- Heroic & wrathful rasas
- Mṛdaṅgam, huḍukkā, kāhalā
- Pre‑battle ritual, temple stage
- Male only
🤸♂️ Kollāṭa
- Acrobatic / circus style
- Rope, pole, sword feats
- Utpluti jumps, bhramarīs
- Loud drums & trumpets
- Street performance, fairs
- Men, women & children
📚 References & Further Reading
- Jaya Senāpati, Nṛttaratnāvalī, ed. Dr. V. Raghavan, Madras Government Oriental Series, 1960 – Chapter VII (Deśī Nṛtta: Cindu, verses 114‑116) and Introduction (pp. 35, 148).
- Dr. V. Raghavan, “Later Saṅgīta Literature”, Journal of the Madras Music Academy, Vol. IV (1933) – includes discussion of Cindu as a deśī song‑type.
- Pālkuriki Somanātha, Basavapurāṇamu (Telugu), Andhra Patrika Edition – mentions Cindu among festival dances.
- Dāmodara, Saṅgītadāmodara, Calcutta Sanskrit College Edition – for Vidacindu and Kalucārī.
- Devāna, Saṅgītamuktāvalī, Tanjore Sarasvatī Mahal Library transcript – detailed description of Cindu song and kalāsa.
- Nataraja Ramakrishna, Perini – The Warrior Dance of Telangana (Hyderabad, 1998) – contains a chapter on Cindu and its revival.
- M. Rama Rao, The Kākatīyas of Warangal (1978) – for social context of folk dances.
- Telangana Today, “Cindu – The vanishing folk art of Telangana”, April 22, 2019.
- The Hindu, “The beat of Chindu continues”, March 10, 2018 – on contemporary performers.
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