Doli Koya Music

Koya, one of the major tribes found in southern Indian states like Telangana, Chhattisgarh, Andhra Pradesh and Odisha, mainly reside in the Godavari valley in the forests. In Telangana, they primarily live in the then districts of Khammam and Warangal. The Koya are historically semi-nomadic agriculturists, living on settled cultivation and the collection of forest produce for food.The Koyas live in the hinterland, especially in the Eastern Ghats and the workd they do is dectated by the hilly and forested nature of these places. Their villages, or gudems (singular: guddom), are usually small communities made up of bamboo and mud homes with thatch roofs. These villages are mostly remote, self-sustaining communities relying heavily on forest resources and agriculture. They live in the vicinity of the Godavari River & therefore, like many others, have proximity to fertile lands for cultivation as well as the issue of displacement, given the modern day Polavaram dam​Over the years, the Koyas have proved their mettle in protecting their lands. The tribe has a legacy of fighting against colonial resistance during the Nizam-British rule and in more recent struggles against deforestation and development projects in their territories. The Koya have notably resisted land acquisitions for infrastructure projects that would displace their villages. Polavaram Dam is the perfect specimen of such a project with lakhs of Koyas settled in these areas​, for​ generations​.The Koyas are very integral to nature and land. They believe in upholding ancestor worship and pay special homage to the earth, from whom they derive the means of life. Social organization The tribe is divided into a number of subgroups or clans, linked to specific deities and customs. These gattssowe, function as the rules for marriage, rituals and festivals.They observe both Hindu and tribal festivals such as Dussehra, Makar Sankranti and also unique tribal customs like Bhumatha worship or Bhumi Panduga – a festival held for the worship of Mother Earth goddess. The festivals of these people generally pertain to propitiating/seeking blessings for a good harvest as well as averting natural calamities. The community's deep agricultural roots emphasize its commitment to sustainable practices and maintaining a delicate balance with the surrounding environment​

Introduction to Doli Koya Music 

Doli Koya music is an integral part of the Koya culture, which was mostly present in the present Khammam district and Warangal district of the erstwhile state of Andra Pradesh. The Doli, a drum with which it is closely associated, is made from the Vegisa wood (Pterocarpus marsupium) and is around 16-18 inches long and 12 inches wide. It has two heads, both of which are tied securely with bamboo rings, and is made of goat skin; the right side is usually male goat skin, while the left side is usually female goat skin. The bodhran is larger on the right than it is on the left, giving it an extreme characteristic sound. The Doli is fastened with Janumu, which is made up of a string of Sunn Hemp. Vegisa Tress are felled by the Doli Koya both sitting in pujas before cutting them for making drum. The drum is tuned by means of a Tada (10 to 12-inch-long wooden stick) and is also played while participating in the traditional jataras or clan deity pujas, the Velupla Kolupulu.

Significance

The Doli is of great cultural significance in Koya society, especially when sacred rites are performed to propitiate clan deities. The Doli Koyas have tribal warriors and deities, such as: Pugididdaraju, Ramaraju, Gadiraju, Bapanamma, Musalamma, Nagulamma, Sadalamma and the famous tribal deities Sammakka and Saralamma. The Doli Koya musicians practice their art at sacrifices, death and sacred rituals, fairs, religious events, the Adivasi festivals, and the Koya weddings. They are adept at singing the songs and tales of the tribe, in both the Telugu and Koya languages, and retain the history and traditions of their people through their song. Through stories of the origin of Adivasi tribes and achievements of clan members, the Doli Koyas ensure that unbroken cultural traditions are passed down. It is mainly hereditary, handed down through the generations. A landmark was the award of the four Padma Shri award by the Indian government to the internationally knownDoli Koya artsit Sakinam Ramachandraiah for his outstanding contribution for the art. He was from Kunavaram village in Manuguru mandal of Bhadradri Kothagudem district inTelangana.Music Doli Koya music is an essential element in the social and cultural life of the Koyas. It is not only an art form but even extends to a genre that solidifies the community – such as local fests, rituals and social events. The music is rooted in Koya traditions and acts as a link between their spiritual convictions and daily existence.Music is intrinsic to Koya culture where traditional songs and instruments accompany important events in their life. The [Doli Koya]] music in particular, takes its name from the Doli, the drum that is the keystone of Doli Koya ensembles. It is social music, playing an integral role in collective events such as weddings, harvest fests or village fêtes, where it creates the feeling of community and contributes to identity formation. It also gives the Koyas a means to hand down stories, legends and values from one generation to the next.The festivals of the Koyas are the same as those of every sect in India including Dussera, Sankranti, and their own Bhumatha celebration, which centers on peace and love for mother earth. These are occasions of joy and revelry, with exuberant crowds dancing to the beat of drums to the tunes of music played on Doli Koya. The rhythms of the Doli are believed to link the Koyas to their forefathers and mother nature, generating a divine like experience.Ritual music is played to communicate with spirits and implore deities during Koya ceremonies. One among such events in which the Doli Koya music plays an important role is Bhumatha festival which is prayed for a good yield of crops. At the time of jathras (religious processions), the movement of the Doli and beats of other traditional instruments keep away evil spirits and ensure the success of the ritual. The steady, rhythmic beats are believed to have protective powers, which means they are a vital part of spiritual defence in the community.

Traditional Instruments of Koya Music

The Koya tribal music is performed by a variety of traditional instruments, each with a specific purpose in adding to the culture and ritual performances of the tribe. Extensions of credit and information services to women. Among the various, are the drums or percussion instruments such as Doli, wind instruments & string instruments that combine to produce the distinctive sound-spreads of the Koya musicology.

The Doli (Drum)

The Doli is the chief percussive instrument of the Koya people in their festivals, folklore, and social dances. It is a double headed drum used with two sticks and its deep beats help keep time for group dances and ceremonies. The beats from the Doli are considered spiritual, and the device is used to stimulate the presence of ancestors and supernatural beings like deity while performing rituals. The drum is typically the primary instrument in a group and the tempo setter for all other instruments.On Koya festivals like the Bhumatha festival and Dussehra, it is played along with dance, and people dance to its rhythm. The loud sound can be heard on the jathras (processions) to keep people in the community in rhythm in large gatherings”

Wind Instruments

Another important tribe to the music of Koya are the Windinstruments. Among the popular instruments used are Thoothakommu (bison horns) and Akkum, a brass windinstrument. The sound of the drum is offset by the melodic notes of the musical instrument, with the balanced quality between the two producing a balanced musical ensemble. The sound of all these windinstruments is soft and ethereal (it is often used to imitatethe sounds of the wind or of running water) and reinforces the Koyas’deep rootedness in their natural environment.

Koya Festivals and Celebrations

Festivals The Koya tribe observe a number of traditional festivals and religious festivals in accordance with their social life, agricultural life and spirituality. Music, supported by traditional instruments such as the Doli (drum), is an important component in these festivals and is not limited to just entertainment but used also as a part to call upon spiritual forces and to encourage a sense of community.

Sammakka-Saralamma Jatara

The Sammakka-Saralamma Jatara, a biennial festival of the Koya tribe, held in Medaram village, Telangana, is one of the largest festivals in India. Dedicated to the goddesses Sammakka and Saralamma, the gathering is one of the biggest in Asia and draws millions of worshipers. The festival originated in Koya pagan worship celebrating the courage and martyrdom of the two goddesses who resisted oppression and fought for the welfare of the Koya tribe.In the Jatara, Doli Koya music is performed in the religious rituals and the processions. The Doli dappu beats are said to create the rhythm that connects the goddesses and the chants, uttering the songs, narrate the epics of Sammakka and Saralamma. Worshippers and many from the Koya tribe dance to traditional drumbeats and are joined by windinstruments in the performances. The tunes are a platform on which the devotees express their love, seek benediction and especially rejoice in the vigour of their tribal ancestry”.

Bhumatha Festival

Another important festival in Koya culture is the Bhumatha Festival which centre around the adoration of the mother earth, the festival is interconnected with the agricultural cycle. It is a festival in which the planting and harvesting cycles are observed and prayers made for an abundant harvest. Music, including percussion-based music, is integral to the ceremonies, the Doli being played to start the agricultural season. Certain songs are pertinent to fertility, prosperity, and natural disaster protection, and are sung to do just that - bless, by way of song​

Dussehra and Other Harvest Festivals

Dussehra is also celebrated by the ethnic Koya people, but has distinct tribal aspects rather than engaging in mainstream Hindu practice. For the Koyas, most important components of Dussehra are harvest rites and the recognition of natural forces driving the agriculture. Doli Koya music is sung while ritualistic dances are performed to invoke benevolence from the village deities for the wellbeing of the community. They are accompanied by string instruments providing the rhythms with a melodic aspect.Other harvest festivals are held elsewhere in India, including Monsoon Festival that comes in during the arrival of the monsoon while dance and music are mainly essential components. The whole village joins in, swinging through the dance and musicians accompanying the participants as they celebrate the fruits of their labour and mother nature.Throughout every Koya festival, music is more than background music — it is ceremonial and symbolic. The beats of the Doli, alongside the old songs and dances, serve to strengthen the tribes bonding with their forefathers and Gods. Great rejoicing or communal celebration takes place during when music serves to demonstrate their cultural identity and religious beliefs. From the colossal Sammakka-Saralamma Jatara to smaller local festivals held to honour one’s clan deity called Ilavelpulu, Duggodi music is hard to miss, thereby reflecting this community’s age-old tradition and spiritual devotion.

Costumes in Doli Koya Music

The culture of the Koya tribe is well exhibited in Doli Koya music through its costumes. The costumes worn during performance are functional as well as representing the tribe’s past history and relation to their cultural heritage. Below is the description of the dress up for Doli Koya music.

Traditional Attire

Men’s Costumes:

• Dhoti: The traditional dress of Koya men is a dhoti, a long piece of fabric tied around the waist and often accompanied by a kurta or sometimes just a plain shirt. The dhoti is usually a cotton fabric with a pattern, or adorned with bright colors.
• Turbans: Male participants wear a turban or a headscarf on their head. This is usually done to their tribe identification (up).
• Ornaments: Men may also wear adronment in the form of beaded necklaces and bracelets that are often made out of local materials.

Performance Attire

Special costumes other articles on these include Special costumes worn during ritual and festivals, during the festivals like the Sammakka-Saralamma Jathara in which the costumes are even more elaborate. The performers will wear particular clothing, which is associated with their place in the rituals and commonly contains motifs representing their deities and tribal narratives. The male performers are seen with white shirt, white lungi and towel over shoulder.In this module, we studied about the Koya tribe, their origin, geographical distribution and cultural antiquity. Realized the significance of Doli Koya music in social life, festivals and folk instruments. We have also investigated the role music plays in Koya festivals and celebrations and adornments of Doli Koya music.

Next Topic: Instruments of Doli Koya music. This will be covered as a discussion on Doli drum, the windinstrument of Koya tribe, the melodic and rhythmic elements of music and traditional playing techniques of the wind instrument.

Instruments of Doli Koya Music

The Doli Drum

There are a number of traditional songs, dances and ceremonies in which doli drum is used.It is the Koya music, doli drum is a primary instrument having a deep sound that is used for rhythm. While this drum is rudimentary, its construction is strong and it is made from materials that are easily acquired in the tribal areas in which the Koyas live-bamboo, wood, and goat skin.

Structure of the Doli Drum

The Doli is a large cylindrical drum, usually played with two sticks, though the Doli has a hollow wooden body so when it is struck, the sound is increased. It is typically fashioned from bamboo into a tube shape. The stretched membrane is of animal hide and the drumhead is attached into the wooden body with a rope or leather strip. These heads may have varying tones based on the tightness of the hide over the playing surface and how the drum is played.The Doli drum typically includes one side with a lower bass sound and the other side higher pitched to facilitate a range of rhythm and tempo contributions during performances. This two-toned characteristic has as one of its functions that this drum can be utilized as the solo drum in Koya music, because it will convey intricate beats and rhythms that cue the ensemble.

Materials Used

The Doli is made up of the following components:

• Wood: The drum body is sculpted out of tree wood or bamboo, depending on such factors as strength and resonance. The variety of wood affects the sound emitted, according to density and thickness.
• Goat skin: Goat skin is the product used for making dhol heads as it serves as a strong and durable material which makes a surfaced area against which the stick can strike. The one side of the dhol is covered with goatskin and the other side with goatskin. This skin is very important in the production of the deep rich tones of which the dolly is its signature.
• Straps: Leather straps or cords, which keep the drumheads on the wooden frame, providing enough tension for the drum to sound. They're pretty forgiving, however, and do allow a small amount of tuning by tightening/loosening the skin.

Wind Instruments in Koya Music
Doli drum in Koya Tribal music is accompanied by melodious tunes on wind instruments. The commonest type of wind instruments includes thoothakommu (or) akm, and other ritual instruments.

Other Wind Instruments

The Koya also play with wind instruments like thoothakommu or akkum, which is much louder and resonant, evidently these are played during when they take out their dead body or marriage procession, and also it is played during the startup of any festivity or function. These tools together constitute the soundscape of Koya music.Alongside each other, these wind instruments are there to build the atmospheric and melodic basis of Koya music, which are linked to the nature, the spirituality and to the tribal identity. In festivals, social events, and sacred performances, wind instruments continue to be an important element of the Koyas' vibrant musical tradition.

Rhythm and Melodic Elements

The interaction between rhythm and melody is essential to the sound of Koya music. The Doli drum is the cornerstone of Koya percussion; other wind instruments serve to play the melody, and all are interplayed to accompany the cultural expressions of the tribe’s festivals, rituals, and convocations.

Rhythmic Elements of the Doli

At the center of Koya rhythms is the Doli drum. It has a double head so that one produces bass sounds and the other sounds at a higher pitch. This permits a variety of percussive effects and their intensity and practice and ceremony. The fundamental sound profiles from the Doli arise from a mixture of low-frequency beats for gravitas or ritual, and high frequency strikes for invigoration and celebration.

• Rhythmic cycles: The Koye (koya) musicians usually have very basic but strong rhythm patterns. These patterns typically are in 4-beat or 6-beat time, and different strokes of the Doli fall in the different parts of the beat. These rhythms are tutelary rhythms, dancintrums guides, which are accelerated or accentuated especially in periods of high decibels of the fiestas.
• Syncopation and Call-and-Response: Syncopation (emphasized off-beats) and call-and-response (the latter being a classic feature of Doli playing) are common in Doli. The lead drummer can establish a straightforward rhythm, to which other drummers can add syncopated figures and rhythmic devices, each player's contributions piped around by different pitch/dynamic level combinations.

Melodic Elements

The lead role in Koya music is played by wind instruments like thoothakommu or akkum for the melodic part. These are instruments that create soft and mellow notes, which go well with the steady beat of the Doli, and make the music sound full and emotional.

• Mode Scales: Koya melodies are generally based on simple mode scales affected as they are by the sounds of nature. These melodies are similar to those employed in other Indian folk styles - some may be used more universally with Indian folk media - but also reflect the unique tribal aesthetic represented in the Koya's affinity for nature and seasons.
• Drone Tones: Drone tones are also a significant melody element (sustained note which is played in the background). The wind instruments might sustain a single note or a brief melody while the rhythm proceeds, leading to a calming effect characteristic of Koya ceremonial music.

The melodic and rhythmic aspects of Koya music are interwoven. For example, the beats of the Doli dictate the pace of the ceremonial dances, while the other wind instruments, primarily flutes and clarnet-like hollow sticks played through the nose, create an atmosphere filled with spiritual homage and storytelling. The polyrhythmic structures frequently are based on repeating cycles that gain in complexity as the performance develops, and the melodies shift in pitch and intensity in relation to the emotional content of the event, in general and, in particular, the emotion expressed by the speaker.

Techniques of Playing the Instruments

Most of the traditional instruments work smoothly keeping the Koya tribe in mind, the Doli drum, traditional instrument of the Koya tribe is being used with in-depth archaic techniques. Methods explained above form the core of generating complex rhythms and melodies essential for Koya music in rituals, celebrations, and community events.

Playing Techniques for the Doli Drum

• Doli: A double-headed barrel drum, played with either hands or sticks as appropriate to the performance. The Doli is played using a few distinct methods; the most popular of which are as follows:
• Hand Techniques: In a traditional context, the player usually plays the Doli either with fingers or palms, which offers the opportunity to control the rhythm and dynamics. One hand normally plays the low-pitched head (bass) and the other the high-pitched side (treble), producing a variety of sounds. This approach leads to polyrhythms where beats played on both heads on the same drum produce different timings.
• Stick Playing: In order to have heavier beats during rhythmic play, like it can be found in dances or at fairs, the accompanying sticks (slender wooden rods) are intended to hammer the Doli drumheads. The sticks produce louder and more forceful beats which is a common voice during the Sammakka-Saralamma Jatara and other big festivals.
• Alternating Beats: The most characteristic of these is alternating the beats in the two skins. It forms a syncopated rhythm, the player accenting the emphasis off beat, making the composition more complex.

Rhythm Patterns

The rhythm progresses cyclically through repetitions in Koya music with the Doli as the basis for it and the rest rests on it. Common patterns include:

• Simple 4-beat rhythms- The most basic beat that is played while moving slowly, during times when the procession is slow and ceremonial.
• Fast 6-beat cycles: They are generally employed when one solace dances and when there is a festive atmosphere where music and rhythm are picking up.
• Polyrhythms: Several independent rhythmic cycles are played simultaneously by different musicians or even within the technique of a single Doli player. Such patterns are usually improvised to fit the needs of a given performance, but are based in traditional formations.

Tuning the Doli Drum

Click here to learn more about the tuning to the Doli – an important step in preparing the instrument to be played in performance. The pitch of the sound is determined by the tension of the animal hide on the drumheads and the musicians adjust this tension by tightening or loosening the leather cords that connect the hide with the wooden frame.

• Higher Tension: If the drumheads are tightened the sound becomes higher and this is used for happy rhythms or when people are celebrating something.
• Lower Tension: A looser drumhead creates a thicker, more bass-heavy sound, which is perfect for ritualistic or spiritual moments in Koya music.

During this module, we studied about the instruments of Doli Koya music..The structure and material of construction of the Doli drum and other types of wind instruments of the Koya tribe and the principle of sound production of the Doli and the conventional method of playing the instrument.In the succeeding module, we will continue to learn about Doli Koya music and its religious and spiritual significance, connection with tribal rites, relations with Koya dance forms, and the relation between music and social functions. It is this music that is crucial in rituals and festivals.

Doli Koya Music in Rituals and Festivals

Religious and Spiritual Significance

 Music of Doli Koya has a very deep religious and spiritual energy among the Koya tribe, and is very much an essential part of their rituals, spiritual life and seasonal festivals. For the Koya music is not just an art but a mode to connect to their gods, ancestors and nature. Its use in religious and spiritual contexts is further elaborated below.

Religious Rituals and Ceremonies

Koya religious beliefs are rooted in nature-worship, ancestor-worship and worship of local deities (esp Sammakka and Saralamma goddesses, who are their main deities) etc. Dolikoya music, a part of the Sammakka-Saralamma Jatara, a popular tribal festival in Telangana, is a key tradition in worshipping the deities. The Doli drum as well as other instruments, are utilized to call the spirits of these divine figures. The rhythmic music of the Doli is said to be left over by the deities, and by making it the community invokes the blessings of the deities for itself. It’s not a listening for fun music, but an offering; the connection is made between the material and the divine.At religious days, the Doli leads the rhythm during the hymn and prayers other are chanted in call and response between the fathers and the people. The drum’s steady, forceful beats are believed to concentrate the minds of the participants in religious ceremonies, which could be seen as a means of drawing them into the present moment and the special sphere of holiness in which they find themselves.

Spiritual Practices

The music of the Koyas in a spiritual context goes beyond sacred rites and encompasses possessions, ceremonies and personal and communal rituals that attempt to bring the spirit in harmony with the world. He believes music helps communicate with spirit beings and keep the balance between humans and the environment. ners most relevant to spirits and earth and are often called upon for use of its deep basstones as in the embodiment of spirit and earth, especially in agricultural rituals during calling forth the earth and land spirits. For example, at planting and harvesting seasons, music is played to honor the earth goddess and wish for a good crop.The akkum are also used in other more intimate spiritual contexts—namely, prayer and meditation—where the gentle, melodic tones there are meant to symbolize the breath of life and the flow of the rivers that feed the tribe. These devices assist people in making connections with the spirit world, and frequently are featured in healing ceremonies where music serves as a means to purify the body and soul.

Seasonal Celebrations

Through the Doli, Koya music also heralds the seasons, and is part of festivals such as the Bhumi Panduga, the earth festival. This festival, which marks the start of the farming year, is also marked with drumming and dancing that praise the earth and the fertility of the soil.  At these festivities, Koya members congregate to participate in collective dances, where the Doli determines the pace by which the dancers mimic the movements of life – sowing in a field or harvesting it. Those rhythms played at harvest festivals supposedly replicate the heartbeat of A: The Earth.

The Role in Tribal Rituals

Doli Koya musians profoundly contributive to the greatest Koya tribal activities like marriage, harvest customs, and ancestor worship. Each of these rituals has a unique musical legacy that provides new layers of meaning to the ritual, its placing in culture, emphasizing the relationship between the community and its spiritual and social values.

Marriage Ceremonies

Music is an essential part of Koya tribal weddings, the pulsating rhythm of the Doli drum being the most prominent sound at a Koya wedding where the bride and groom bond. The marriage ceremonies are performed with music and drums while the songs are sung in the praise of two families coming together. The Doli maintains this joyous beat that coincides with the key moments of the ceremony, including the groom's arrival, the exchange of vows, and the bestowal of blessings upon the couple.They rhythm patterns usually begin slowly and increase in speed and intensity throughout the ceremony. The interplay between the musicians and the congregation in the call-and-response form illustrates the communal relations of the ceremony, in which music evokes the solidarity of the people and for which everyone is gathered to bless the couple.

Harvest Celebrations

It also plays a sacred and celebratory role in harvest festivals such as Bhumi Panduga, which is an expression of the earth's fecundity and abundance. Communal dances and celebrations, which represent sowing and reaping of crops, are accompanied by the beat of the Doli drum. The music for these rituals is considered to request blessings from the earth and prosperity to the people.The Doli’s beats symbolizes the cycles of life and crops and the drumming session is likened to planting seeds or reaping harvest. These song-structures promote a feeling of homogeneity, of all villagers participating collectively in a dance, here emphasizing the common task of developing and tending the land.

Ancestral Worship

Ancestor veneration is essential to Koya belief, and music is central to paying respects to the tribe's ancestors. It has the responsibility of provoking rituals that honor the dead or the celebration of the tribe’s ancestors; with the Doli’s sacrosanct beats setting the tone for more sober, stern, reverent worship of the spirits. Some of the rituals at the ancestral rites involve offerings to the spirits, with slow, rhythmical beating of the drum to facilitate the linkage between the living and the dead.

​Gender Roles in Koya Music

Singing in Koya Tribal Society Music-making Men and women’s roles in music production in Koya tribal society shine light on general cultural norms and structures, which are inhabited along sex-specific sets of activities in musical performance. The men and the women similarly take part in the music aspects of their distinguished rich culture, but they do so with separate tasks in performances, festivals and social gatherings.

Men's Role in Koya Music

Among the Koya, it is the men who play the drum, called the Doli, around which their music is historically based. It plays Dholi, a drum which is considered to represent strength and showing the rhythm has often by males during festivals and important ceremonies; In particular, Sammakka-Saralamma Jatara is one of such festivals. The Doli with its low, highly forceful beat was part of a tribal tradition where physical power was the core of masculinity.

• Ritual Drumming: Normally, the men take the leadership role in drumming that establishes the beat for community dances and ritualistic actions. As drummers they have considerable status in ceremonies, since the rhythms they produce on the Doli drum determine the movements of the community at festivals and religious ceremonies. “To lead” in “musical” and “ritual” are, here, masculine activities.
• Musical Leadership:  When it comes to major social gatherings, men are usually seen as being the musical leaders because they are the main drummers. Their capacity to keep a beat and dictate the tempo of the music does not represent simply a musical technique, it is an indication of their leadership of a community gathering and the orderly progression of rituals.

Women's Role in Koya Music

The Doli is primarily played by men, but in vocal and other musical performances, women are an important part. Women’s singing plays an important role for Koya music especially in rituals, narrated singing and social events. In their songs, women frequently recount tribal stories, epic myths, and folklore that support Koya tradition.

• Singing and Storytelling: Women’s songs are full of symbolism and are sung to tell the history of the tribe, spiritualism, and traditions. There’s all these traditional songs that are sung, and these are things that are passed on from generation to generation so it’s women who are seen as the carriers of oral culture. Lyrics frequently describe the experiences of the tribe such as life in nature, genealogy, or past or communal life.
• Participation in Dance and Social Music: In addition to singing, women also participate in group dances to the rhythms of the Doli drum. There is much to these dances, they are frequently performed communally, and the women dance in groups in time with the rhythms, while the drumming – a predominantly male affair - is what they are performing to. The participation of women in these dances mirrors their presence in building of community and social unity through music.In this unit, we came to know the religious and spiritual aspects of Doli Koya music, its use in tribal ceremonies, the synchronization of music with the Koya dances such as the Parini and its significance in social gatherings. This music is also significant in folklore and social gathering.In the upcoming unit, we will discuss the cultural and social aspects of Doli Koya music. We will explore: the Symbolism of Music, Music and Social Structure, Music and Koya Beliefs and the cultural significance of men and women's music.

Preservation and Contemporary Significance of Doli Koya Music

Notable Doli Koya Artist: Padma Shri Sri Sakinam Ramachandraiah

Late Sri Sakinam Ramachandraiah, a renowned personality in the field of Doli Koya music is known for the significant contributions made towards protecting and promoting this form of Koya tribal music. In the year 2022 the Indian Government conferred on him the Padma Shri, one of the country's highest civilian honours, in recognition of his services to the arts as well as for his stewardship of Koya cultural heritage.

Early Life and Musical Journey

Ramachandraiah was born in 1963, to parents who belonged to the Koya tribe and Mullalayya-Gangamma clan at Kunavaram village of Manuguru mandal, Bhadradri Kothagudem district of the Indian state of Telangana, who were steeped in a tradition of folk music. He started playing the Doli drum when he was just twelve; his grandparents could also play Koya music. Being illiterate, he couldn't read or write music and lyrics, but his passion for music and storytelling was so intense he could develop and memorize a vast collection of traditional Koya songs.Ramachandraiah wasn’t only a musician; he was a master narrator who employed his art form to document oral histories of the Koyas. He was a specialist artist in a dying art form called Kanchumelam-Kanchuthalam that forms the speaking drum and Doli drum based narrative. As part of this ancient ritual, he was able to narrate the stories of the tribal deities and the myths of warriors and clan deities like Sammakka-Saralamma, Pagididdaraju, and so on. The way he told was a mixture of two languages: Koya (his mother tongue) and Telugu, which opens it up for people and somehow still grounds it in his community’s cultural expressions.Amongst the backdrops for Ramachandraiah’s performances was the Sammakka-Saralamma Jathara, one of the biggest festivals of the Koya community. With his riveting drumming and storytelling, he captivated the images of his people, telling of rich traditions and histories proving the importance of the festival. His performances involved not just realism, but cultural preservation, with him telling the stories of the Koya tribe through generations.

Legacy and Impact

The legacy of Sri Sakinam Ramachandraiah goes far beyond just his performances – he is a symbol of Koya culture’s strength and living presence in the context of modernisation and complex shifts in society. Through his Padma Shri honour, he not only brought the Doli Koya music to the knowledge of people and its importance, but also triggered the youth to adopt and carry forward the tradition. In documenting the rich oral histories of the Koya tribe and singing their stories, Ramachandraiah himself made an invaluable contribution to preserving that vital part of India’s cultural tapestry, so that the melodies and stories of his ancestors do not vanish into the mists of time.

Efforts for Preservation

Conservation of Doli Koya music is important for the preservation of the cultural identity and tradition of the Koya tribe in the context of changing modern world and urban growth. There are several efforts by NGOs, non-profit organizations and also the local organizations to safeguard and promote this traditional music to protect the music for future youth.

1. Non-Governmental Organizations (NGOs)
There are a few NGOs that are working dedicatedly for the protection and preservation of the culture of indigenous societies such as the Koya tribe in India. These groups concentrate on advocacy, awareness and community.

• Cultural Workshops: They have music/dance classes at the NGO for the younger Nepali generation. "These workshops are very good as they are a hands-on experience that educate the children about their culture," he says. By supporting young people taking part, these projects also help pass on musical knowledge.
• Documentation/research: NGOs are actively documenting the traditional Doli Koya music i.e., to record performances, interviews with elders and also to gather the traditional songs. This archiving is important in preserving the essence of music and is resourceful for educational content.
• Promotion of cultural festivals: Some NGOs have helped in organizing cultural festivals where Doli Koya music has been presented and this has provided the space for the artists to shine. Such festivals could gain wider attention and bring Koya to public view, thus creating awareness about Koya culture and ‘the spirit of sharing’.

2. Local Groups and Community Campaigns
Grassroots conservation is also the key to the preservation efforts because local groups, predominantly those belonging to the Koya community, play the vital role in guarding the gene bank.

• Community Music Group: Community based music groups and bands usually perform Doli Koya at local community events or festivals. These are the types of ensembles that make the music live by getting out among the people and encouraging them to take part in these sorts of music traditions.
• Cultural Exchange Programs: Some of the local groups have facilitated cultural exchange programs with other tribes and community, which enables Koyas musicians to travel to share their music and to learn others. Such efforts contribute to indigenous solidarity and increase the visibility of Doli Koya music.
• Advocacy and Awareness Campaigns: The community agencies are struggle to promote identity of koya identity in other society cadre. Through campaigns and events, they hope to build support for the preservation of the culture and the importance of Doli Koya music in the area.

Sri Sakinam Ramachandraiah and preservation efforts” While this module we saw the role of a prominent artist Sri Kaknima Ramachandraiah. In contemporary Koya life, this music is significant, and some institutions are involved in its maintenance.