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One of the ways to experience the diversity of India's culture and
tradition is through its folk art. Folk dances have different faces in
different regions. These dances are more popular than classical forms
of dance in India as they are easier to understand and perform. The
Indian folk dance can be described as simple, but behind its
simplicity lies both profundity of conception and a directness of
expression that are of great artistic value. In folk dances, the
effect of the overwhelming buoyancy of the spirit and the eloquent
effortless ease with which the dance is expressed, is what stands out.
Almost every village has its own folk dances performed on every
possible occasion such as the birth of a child, to celebrate the
arrival of seasons, weddings and festivals. On most occasions, the
dancers sing while being accompanied by artists on instruments. Each
form of dance has a specific costume. Most of these costumes are
flamboyant with elaborate jewellery. All-night dance dramas are
popular throughout India and mark major festivals. The journey into
various regions brings one closer to the life and spirit of the common
people.
NORTH
Dumhal :
The Dumhal is a dance performed by men in the Wattal tribe
of Kashmir. The performers wear long colourful robes and tall conical
caps, which are studded with beads and shells. These performers move
in a procession, carrying a banner in a ceremonial fashion. This
banner is then dug into the ground and the men begin to dance, forming
a circle. The musical accompaniment comprises of a drum and the
singing of the participants.
Rouf :
The Rouf is a dance which is performed to mystical poetry
during springtime in Kashmir. The performers divide themselves into
two rows facing each other. The dancers put their arms around the
shoulders of the dancers next to them and the resulting formation
glides forwards and backwards. Rouf is also related to chorus singing
called Chakri
Lama Dances :
Lama dances are festival mask dances of the monasteries of
Jammu & Kashmir, Sikkim, Himachal Pradesh and other regions along the
Himalayan belt. The dances are characterized by slow movements, open
positions and large circular whirls. The mask dancers represent
divine, human and animal life as well as martial art techniques. Each
Lama dance is distinct and yet amazingly similar in respect of
movement patterns.
Pangi Dances :
These dances in the state of Himachal Pradesh usually begin
with a single file entry of men and women separately. The two rows
then form half concentric circles and move clockwise. This is then
followed by the two rows forming one large circle and moving
clockwise. Later, two concentric circles are formed with the men
moving clock-wise and the women moving anti-clockwise. The initial
holding of hands becomes a pattern with interlocking arms at the waist
level, forming attractive designs.
Losar Shona Chuksam
: This dance of the Kinnaur district in Himachal
Pradesh is a functional dance with passages of mime and other
sequences, which are purely abstract. Slow movements with soft knee
dips are the key characteristics of this dance. The dance is held
during the months of April-May in which the dancers recreate movements
of sowing and reaping ogla (barley) and phaphar (a local grain).
Bhangra :
Bhangra is the most important dance of Punjab, performed by
men. It is a robust dance performed during the Baisakhi festival. The
dance is accompanied by the dholak (drums). The drummer usually takes
his place in the centre of a circle of people dancing.
Raas :
The dance is performed during the Dussehra festival in the Kulu
district of Himachal Pradesh. Based on human love stories unlike the
traditional Raas, the dance is characterized by chain formations and
concentric circles.
Gidda :
The Gidda is an ancient dance from the state of Punjab and has
simple graceful movement. It is performed in open courtyards by women.
The dance begins in a circle, which then breaks into two semi circles
and groups of four or six.
Dhamyal :
The leading dance of Haryana, Dhamyal is also known as the
Duph. The Duph is a circular drum, played nimbly by the men dancers.
The dance can be performed by men alone or along with women.
Duph :
In this dance from Haryana the dancer enters the dancing arena
with a duph in hand and begins dancing slowly, with percussion
instruments playing softly. Rows of people then form a circle and the
tempo of the dance increases. The steps are limited and the torso is
held erect, as the dancer is continuously required to play on the
large duph.
Lahoor :
The Lahoor is a dance performed by women in Haryana. It is
mainly performed during springtime, after the work in the fields is
over. The dance is often accompanied by witty questions and retorts
rendered in a sing-song manner.
Dhurang :
This dance from Uttar Pradesh is connected with the death
ceremony. Its objective is to liberate the soul of the dead from evil
spirits. Dancers in the Dhurang hold swords and dance in a circle. The
movements are virile and reminiscent of the hunting dances of the
Nagas on the eastern borders of India.
Mali Dance :
A dance performed by women to receive the bridegroom's
party on the occasion of a marriage. The dancers are veiled and have
flaming brass pots on their head. They squat, recline and jump
dexterously with these pots on their heads. The dance ends when the
flames of the pots die out. This dance is from the state of Rajasthan.
Tera Tali :
This dance trom Rajasthan is performed by two or three
women, their faces covered with a veil. They have a naked sword
between their teeth and balance decorated pots on their heads. The
women produce a variety of sounds with the manjira (small cymbals) in
their hands as they shift or slide on the ground.
EAST
Naga Dance
: Each tribe of the Nagas has its distinct style of performing
this dance. The Nagas live in Manipur, Tripura, Nagaland, Mizoram,
Arunachal Pradesh, Meghalaya and Assam. In this dance, the erect torso
and the unbent knees always maintain a balance of deportment, which is
marked by an austerity and dignity in the earlier phases. The later
phase of the dance exhibits an ecstatic vigour. The floor patterns of
the Naga dances are one of the most complex and intricate amongst the
tribes in India. The Formations are determined by the social
organisation of the tribe. For example, a single dancer leads the
dance of those who subscribe to the institution of headman and
similarly group formations are common to those where a council
governs.
Hazagiri :
This is a dance by the Riangs of Tnpura, held to invoke the
blessings of the Goddess Hazagiri, for a good harvest. Goddess
Hazagiri is a form of Lakshmi (the Hindu Goddess of wealth). The
ceremonies begin with the worship of nine gods and culminate in the
worship of the Goddess Hazagiri. The dance begins with women dancing
slowly (often with pots on their heads), joined later by men. The
dance concludes on an ecstatic note in a fast tempo.
Bamboo Dance
The most colourful and distinctive dance of the people of Mizoram
is called the Cheraw. Long bamboo staves are used for this dance,
which is why it is called the Bamboo Dance. This is a dance that
requires skill and an alert mind.
Nongkrem :
The Nongkrem dance of Meghalaya is performed in autumn at
Smit, the cultural center of the Khasi Hills. It is performed to
commemorate the evolution of the Khasi tribe.
Bihu :
Bihu is the most popular folk dance of Assam. It is part of the
Bihu festival that occurs in mid-April after harvesting is completed
and continues for about a month. The participants are young men and
girls who gather in the open and dance together in separate groups of
men and women. The dance is accompanied by drums and pipes.
Thang-ta :
The kings of Manipur used to encourage the martial arts,
through which evolved a variety of combat exercises which later
evolved into dances. One of the most thrilling of the dances is the
Thang-ta, performed by young men with swords and shields. The drum is
the chief musical accompaniment in this dance.
Karma (Munda) :
The traditional dance of Bihar gets its name fromthe Karma
tree, that is supposed to embody fortune and good luck. The ceremony
starts with the planting of trees. Dancers, both men and women, form
circles around the tree and dance with their arms around each other's
waists.
Ponung :
Among the Adis in Arunachal Pradesh, dance had evolved almost
into an art form mainly for entertainment and recreation. The 'Ponung'
dance of the Adis is performed by teams of young girls in perfect
rhythmic unison. Similar group dances in colourful costumes are
performed by the Nishis and the Tagins of Upper and Lower Subansin
Districts.
Brita or Vrita :
One of the most important folk dances of Bengal, it is an
invocational dance performed by the barren -women of Bengal who
worship in gratitude for their wish being fulfilled. Quite often,
this dance is performed after a recovery from a contagious disease.
Hurka Baul :
The Hurka Baul from West Bengal is performed during the
cultivation of paddy and maize. After preliminary rituals, the dance
is performed in different fields. The dance derives its name from
Hurka, the drum which constitutes the only musical accompaniment, and
Baul, the sons. The singer narrates a story of battle and heroic deeds
and the performers enter from two opposite sides and enact the stories
in a series of crisp movements.
Kali Nach :
This dance is performed in honour of the Goddess Kali.
Here, the performer wears a mask, purified by mantras, dances with a
sword and when worked up can give prophetic answers.
Ghanta Patua :
For the month of Chaitra, the village streets in Orissa
reverberate with the sound of Ghanta (brass song). The Ghanta is
played by Ghanta Patuas in accompaniment to their dance on stilts.
Ghanta Patuas are non-Brahmin servants of the deities. The dance is
closely associated with the worship of the Mother Goddess who has
numerous names including Sarala, Hingula. Charchika, Bhagavati,
Mangala and Chandi.
One of the Ghanta Patuas dresses himself as a female with a black
cloth tied on the head. He places the Ghata (sacred pitcher) decorated
with flowers and coloured threads on his head and then performs with
the Ghata on his head. He also displays a variety of Yogic postures.
The Dhol and Ghanta are the accompanying instruments.
Paik :
This martial art dance from Orissa is masculine, vigorous,
highly structured and full of dignity. The dancers stand facing each
other on rows wearing tight dhotis, colourful turbans and holding
large shields and swords. In the first phase of the performance, the
dancers approach each other slowly, their stance and movements
recalling fencing positions. Gradually, the tempo increases and the
mock battle begins with mighty jumps and swords being struck.
Dalkhai :
The Dalkhai dance is performed in some of the tribes in the
Sambalpur district of Orissa. The dance is vigorous and is accompanied
by a set of particular musical instruments, played by men, of which
the drummers often join the dance. Another version of this dance is
the Chain Ghorha, performed by a community of fisher-folk.
WEST
Gendi (Stilt)
: This dance from Madhya Pradesh is usually performed during
the rainy season from June to August. The dancer, who has learnt to
balance himself on the Gendi, can perform the dance even in water or
on marshy surfaces. Children generally perform the dance as intense
balance is required. The performers are colourfully attired with belts
studded with cowrie shells around their necks. The Gendis are dyed in
bright colours.
Bhagoriya
This dance is performed by the Bhils, a large tribe in Madhya
Pradesh. It is performed by men and women wearing colourful costumes
during Holi. This is a lyrical dance and is an occasion when many
young men and women get to find their partners.
Jawar :
Jawar is performed in the Bundelkhand area of Madhya Pradesh.
It is a harvest dance reflecting the gaiety and joy of the farmers who
have reaped a good harvest. The women carry baskets full of jawara
(millet) on their heads and are able to balance these baskets while
dancing. The accompaniments include a rich variety of percussion,
stringed and wind instruments.
Garba :
Garba, the leading dance of women in Gujarat, is performed in
honour of the Goddess Amba. This fertility dance involves perforated
earthen pots in which an oil lamp is placed symbolizing embryonic
life. The pots are balanced on women's heads as they move around a
circle, snapping their fingers and clapping their hands to produce a
fast beat. When men dance, by singing and clapping, the dance is known
as Garbi. Traditionally, the Garba was performed only at night and as
a votive offering. In an evolved version, the dance can be performed
for its own sake and at any time.
Dandiya :
This dance is a counterpart of the Garba. The dancers use
sticks at the end of which tiny bells are tied. The movement is
manipulated in circles and sticks beaten in standing, sitting or lying
down postures. The dance develops in a manner that each person not
only performs a solo with his/her own sticks, but also has complex
multiple relationships with partners on either or opposite sides.
Kala :
This dance is performed in Maharashtra on the birthday of Lord
Krishna and is connected with the breaking of a dahi handi (pot of
curd). The dance recreates one of the Lilas (stories) of the early
life of Lord Krishna. A pot is tied to a rope and hung between two
storeys of houses. The dancers then form a pyramidal structure and
with arms stretched and holding each other's shoulders, tier upon tier
is formed, until the boy who plays the part of Krishna can reach the
handi. He then breaks the pot and lets the buttermilk and the kala
(rice mixed with curd and condiments flow out).
Dindi :
In the state of Maharashtra, religious devotional dances are
called Dindi. The musicians for this dance comprise a 'Mridangam'
player and a vocalist who give the dancers the necessary musical
background. This dance is usually performed on the Ekadashi day in the
month of Kartik.
Mando :
Mando is a semi urban folk form, evolved by the Goan
aristocracy. It begins on a slow and sad note but ends with a faster
beat called Dulpod. Latter day compositions cover a variety of themes
and moods distinct from the traditional compositions. Some of the
other folk dances of Goa are, Ghode Modni (dances with effigies of
horses), Dekhni, Dhangar, Tonyamel, Suvari and Jagar.
SOUTH
Dollu Kunitha
: The Dollu Kunitha is a popular drum dance of
Karnataka. Men carry large drums that are decorated with coloured
cloth slung from their necks. They beat the drums as they dance with
nimble movements of the feet and legs. The dance is at times
accompanied by songs which are either religious or praise victory.
Dandaria :
This dance is performed by some tribes of Andhra Pradesh
during festivals. The dancers, dressed in their best, exchange visits
with other villages and are received as honoured guests wherever they
go. The old and young men of the tribes dance together, holding
sticks, which they strike against one another to keep time.
Karagam :
It is the most common form of folk dance in Tamil Nadu,
dedicated to Mariamman, the Goddess of health and rain. The Karagam
dance is essentially performed by men balancing pots filled with
uncooked rice, surrounded by a tall conical bamboo frame covered with
flowers. The musical accompaniment comprises a drum and a long pipe.
Kummi :
The womenfolk of Tamil Nadu have three closely related dances,
which are seen at their best during festivities. The simplest of these
is the Kummi, in which the dancers gather in a circle and clap their
hands as they dance. An extension to this dance is the Kolattam, where
instead of clapping, the participants hold small wooden sticks in
their hands and strike them in rhythm as they dance.
Kuttiyattam :
Kuttiyattam, a dance from Kerala literally means 'acting
together' and the theme for this dance form is taken from mythology.
Evolved in the 9th century A.D., Kuttiyattam has two or more
characters on stage. The Chakkiars play the male cast and the Nangiars
play the female roles while also reciting Sanskrit verses. The
performance can last between 6 to 20 days.
Padavani :
Padayani is one of the most colourful and spectacular folk arts
associated with the festivals of some temples in southern Kerala (Aleppy,
Quilon, Pathanamthitta and Kottayam districts). The word Padayani
literally means military formations, but in this folk art it is mainly
a series of divine and semi-divine impersonations wearing huge masks
of different shapes, colours and designs. The most important of the
kolams usually presented in a Padayani performance are Bhairavi
(Kali), Kalan (God of death), Yakshi (fairy) and Pakshi (bird).
Kolam :
The Kolam consists of a huge headgear with many projections
with a mask for the face and a chest piece to cover the breast and
abdomen of the performer. The dancers wearing kolams perform, as
singers recite poems accompanied by the wild and loud rhythm of the
instrumentalists.
Lava :
This is the colourful dance of the Minicoy Island of
Lakshadweep. The dancers wear multi-hued costumes, a headgear and
carry special drums. The dance movements are prolific and profuse, and
are in rhythm with the drum beats and vocal accompaniment
Nicobarese :
This is the dance of the Nicobarese - a fascinating tribal
group residing in the island of Nicobar. The dance is performed during
the Ossuary Feast or the Pig Festival. Dedicated to the departed head
of the family, the occasion is observed with night long dancing in
moonlight under swaying palms. Feasting and good food followed by a
pig fight in the morning are highlights of the celebration.
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