Jayappa (Gaja-Sahini)
The 13th Century Kakatiya Commander Who Wrote the Nritta Ratnavali
In the 13th century, under the patronage of the great Kakatiya kings Ganapatideva and Rudrama Devi, the Deccan witnessed an extraordinary flowering of art, literature, and culture. Among the most remarkable figures of that era was Jayappa (also known as Jayapa Senani or Jayapa Nayaka), a warrior who rose to become the commander-in-chief of the elephant army (Gaja-Sahini). But Jayappa was not merely a soldier; he was a scholar, a poet, and a master of the fine arts. In 1253–1254 CE, he composed the Nritta Ratnavali (The Jewel-Necklace of Dance), a landmark treatise on dance that remains an invaluable source for understanding both classical and folk dance traditions of medieval India. This article traces the life, works, and enduring legacy of Jayappa – the warrior‑scholar who captured the rhythms of his age in ink and stone.
Jayappa was the son of Pinna Choda (or Pinna Chodudu), a chief who ruled the Chebrolu region. Pinna Choda was defeated by the Kakatiya king Ganapatideva, but the king, impressed by his valour, married his daughters Naramma and Peramma (Jayappa's sisters). Thus, Jayappa became the brother‑in‑law and protégé of Ganapatideva. He was trained and tutored under Ganapatideva’s able guidance and supervision. The king, smitten by the multifaceted talents of young Jayappa, made him learn all the intricacies of various art forms from one Gundannamatya of the Royal Court.
Jayappa earned the title Vairigodhuma Gharatta for his military prowess and participated in the Kalinga conquest of Ganapatideva. He was honoured as Gaja-Sahini – commander of the elephant corps – a position of great prestige in medieval armies. His rise from the son of a defeated chief to the king’s trusted brother‑in‑law and highest military officer is a testament to his exceptional abilities.
Jayappa was a prolific author. In 1253–1254 CE, on the instruction of King Ganapatideva, he began work on his magnum opus, Nritta Ratnavali. He also authored Geeta Ratnavali (on music) and Vadya Ratnavali (on musical instruments), but sadly these two texts have not survived – a reflection of the lack of seriousness in protecting and preserving our heritage.
Nritta Ratnavali runs into eight chapters and is a lakshana grantha (a treatise defining the theory and practice) of dance. It explains in detail:
- The science of body movements (anga, pratyanga, upanga)
- Hand gestures (hasta mudras)
- Facial expressions (abhinaya)
- The features and requirements of a dancer, singer, orchestra, the chief guest, and the audience
- Both marga (pan‑Indian classical) and desi (indigenous folk) dance forms
The text is of immense value to all those interested in the art of dance. It not only describes classical styles but also preserves the rich folk traditions of the Deccan, many of which continued to be performed for centuries.
The Nritta Ratnavali is unique for its detailed description of desi (folk) dance forms that were popular in the Kakatiya kingdom. These forms included dancing with sticks, hand knives, musical balls, acrobatic feats, and even balancing on a rope. Many of them are still prevalent today, though in different presentational formats. The following is a list of the desi forms mentioned by Jayappa:
Among these, Perini was the most popular and significant. It was a vibrant masculine art form witnessed both in temples and on battlefields. Perini performers, with their vigorous movements, inspired and energised soldiers before going to battle, both physically and mentally, into giving their best. The dance was dedicated to Lord Shiva and was performed by male dancers (Perini Natyacharyas).
Perini, also known as Perini Thandavam, is said to have been performed by warriors just before they left for the battlefield. The dance is characterised by energetic footwork, powerful leaps, and rhythmic body movements that evoke the fury of Lord Shiva’s cosmic dance. It was believed to invoke the blessings of the gods and to prepare the soldiers mentally for combat.
After the fall of the Kakatiyas in the 14th century, Perini slowly disappeared. The dance form was almost forgotten for over six centuries. However, in the 20th century, the renowned dance guru, late Padmasree Dr Nataraja Ramakrishna, became deeply inspired by the enchanting dance sculptures found in the famous Ramappa Temple in Warangal. He researched ancient texts – including the Nritta Ratnavali – and painstakingly revived Perini, presenting it to the modern world. Today, Perini is recognised as a unique classical dance form of Telangana, performed at cultural festivals and even in the opening ceremonies of international events.
The Chebrolu inscription (1235 CE, April 21) found in Chebrolu, Guntur district, is a crucial epigraphical source for Jayappa’s life and his patronage of dance. The inscription records:
- Jayapa’s construction of the Ganapeswara temple in honour of King Ganapatideva and the Chodeswara temple in the name of his father Pinna Choda.
- The grant of villages (Modukuru and others) to meet temple expenses.
- The construction of two‑storied quarters in two rows for Devadasis (temple dancers) in front of the temple.
- The gift of land, house‑sites, and gardens for the maintenance and upkeep of the temple and its dancers.
This inscription clearly demonstrates that Jayappa was not only a theorist of dance but also a practical patron. He provided housing, land, and financial support to temple dancers, ensuring that the performing arts could flourish in a dignified manner. The inscription also mentions the gift of sixteen dancers to the temple, indicating the scale of his patronage.
“Jayapa Senani, the commander of the elephant forces, built the temple of Chodeswara. He also constructed two rows of chambers for the residence of devadasis, granted them land and gardens, and made provision for their maintenance forever.”
The Nritta Ratnavali occupies a unique place in the history of Indian dance. Unlike the earlier Sanskrit texts such as Bharata’s Natya Shastra (which focuses on the classical, pan‑Indian marga tradition), Jayappa’s work gives equal weight to desi or regional folk forms. This makes it an invaluable document for understanding the diversity of Indian dance in the medieval period.
The text also provides detailed information on:
- The qualifications and training of dancers
- The composition of the orchestra and the roles of singers and instrumentalists
- The etiquette of dance performances and the conduct of the audience
- The relationship between dance, music, and rhythm (tala)
For modern researchers, Nritta Ratnavali is a primary source for the reconstruction of lost dance forms, especially Perini. It also sheds light on the social status of temple dancers (devadasis) in the 13th century – a status far more respectful and dignified than what later centuries would witness.
Jayappa passed away sometime after 1254 CE. His legacy, however, lives on through his treatise. The Nritta Ratnavali has been published in modern editions (with translations in English and Telugu) and is studied by dance scholars, choreographers, and historians. The revival of Perini by Dr Nataraja Ramakrishna has brought Jayappa’s work to the attention of a global audience.
Every year, during cultural festivals in Telangana, especially at the Ramappa Temple (a UNESCO World Heritage Site), Perini dancers perform, unknowingly echoing the very movements described by Jayappa seven centuries ago. The Chebrolu inscription is now protected by the Archaeological Survey of India, a silent witness to the vision of a commander who loved art as much as war.
In the final analysis, Jayappa exemplifies the ideal of the Renaissance man – a warrior, a scholar, a patron, and a poet. His Nritta Ratnavali reminds us that even in times of battle, the human spirit yearns for beauty, rhythm, and expression.
“Dance is the visible form of sound. Through rhythm, it conquers time. Through expression, it conquers space. Through devotion, it conquers the heart of the divine.”
📚 References & Further Reading
- Jayappa (Jayapa Senani), Nritta Ratnavali – Sanskrit text with Telugu/English translations (various editions).
- Chebrolu inscription (1235 CE, April 21) – published in Annual Report on Epigraphy, Southern Circle, and Epigraphia Indica.
- Dr. Nataraja Ramakrishna, Perini – The Warrior Dance of Telangana (1998).
- P. V. Parabrahma Sastry, Kakatiya Sculpture and Dance (1970).
- N. Venkataramanayya, The Kakatiyas of Warangal (1953) – for historical context.
- Wikipedia: Jayapa Senani and Perini Shivatandavam.
- Telangana Today: “Perini dance – A revival story” (2022).
© For scholarly and educational purposes only. All rights belong to respective sources.
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