Jayapa Nayudu

Jayapa Nayudu or Jayapa Senani was a military commander under Ganapatideva, the Kakatiya king had give some districts to jayapa nayudu to rule present [Andhra and telagana] during the medieval period from his seat in Warangal, He was major Key-roller in Kakatiya Empire.
The defeat of Velanati Chodas at the hands of Kakatiya emperor Ganapatideva (1241 CE) led to many Nayaka warriors migrating to Warangal and joining the Kakatiya army. Jayapa Nayudu, a valiant commander from Kammanadu, was made the chief of the elephant wing in the army. He was uncle of Ranirudrama Devi, Emperor Ganapatideva married Naramma and Peramma, sisters of Jayapa nayudu(Ganapatidevas Brother-in-law).

Jayapa was the son of Pinna Choda whose father Narappa was the governor of the estuary region of river Krishna, also known as Diviseema. Narappa had four sons Choda, Pina Choda, Bhima and Brahma. All the brothers served as commanders in the army of Velanati Choda kings.

Jayapa participated in the Kalinga conquest of Ganapatideva and was honoured with the title “Vairigodhuma Gharatta”. He built a temple (Ganapeswara) in the honour of Ganapatideva and made a grant of many villages to the temple (1231 CE). He built another temple (Chodeswara) in the name of his father Pinna Choda in Chebrolu (Guntur district) and made a grant of Modukuru village to meet the temple expenses. According to the Chebrolu inscription (1235 CE, April 21) he also built two-storied quarters in two rows for Devadasis (Temple dancers) in front of the temple. Jayapa must have been an accomplished master of dance because his Sanskrit treatise “Nritya Ratnavali” is an authoritative text on Indian dance.

Jayapa is the first person who wrote about the dances prevalent in Andhra Pradesh. Both Desi and Margi forms of dances have been included in Nritya Ratnavali. It contains eight chapters. Folk dance forms like Perani, Prenkhana, Suddha Nartana, Carcari, Rasaka, Danda Rasaka, Shiva Priya, Kanduka Nartana, Bhandika Nrityam, Carana Nrityam, Chindu, Gondali and Kolatam are described. In the first chapter the author deals with discussion of the differences between Marga and desi, tandava and lasya, Natya and nritta. In the 2nd and 3rd chapters he deals with angikabhinaya, caris, Sthanakas and mandalas. In the 4th Chapter Karnas, angaharas and recakas are described. In following chapters he described the local dance forms i.e. desi nritya. In the last chapter he deals with art and practice of dance.