Hindu Culture (Folk Dance) -3

Hindu  Culture – Folk Dance

Folk Dance:

Dandiya Raas

Raas or Dandiya Raas is the traditional folk dance form of Vrindavan, India, where it is performed depicting scenes of Holi, and lila of Krishna and Radha. Along with Garba, it is the featured dance of Navratri evenings in Western India.

Etymology

The word "Raas" comes from Sanskrit word "Ras". The origins of Raas can be traced to ancient times. Lord Krishna performed Rasa lila" (Lila means Lord Krishna's playful dance. The word "Lila" also refers to things that God does that we do not fully understand).

Forms of Raas

There are several forms of Raas, but "Dandiya Raas", performed during Navaratri in Gujarat is the most popular form. Other forms of Raas include Dang Lila from Rajasthan where only one large stick is used, and "Rasa lila" from North India. Raas Lila and Dandiya Raas are similar. Some even consider "Garba" as a form of Raas, namely "Raas Garba".
In Dandiya Raas men and women dance in two circles, with sticks in their hands. In the old times Raas did not involve much singing, just the beat of Dhol was enough. "Dandiya" or sticks, are about 18" long. Each dancer holds two, although some times when they are short on Dandiya they will use just one in right hand. Generally, in a four beat rhythm, opposite sides hit the sticks at the same time, creating a nice sound. One circle goes clockwise and another counter clockwise. In the west, people don't form full circles, but instead often form rows.

Origin of Dandiya Raas

Originating as devotional Garba dances, which were always performed in Durga's honour, this dance form is actually the staging of a mock-fight between the Goddess and Mahishasura, the mighty demon-king, and is nicknamed "The Sword Dance". During the dance, dancers energetically whirl and move their feet and arms in a complicated, choreographed manner to the tune of the music with various rhythms. The dhol is used as well as complementary percussion instruments such as the dholak, tabla and others.
The sticks (dandiyas) of the dance represent the swords of Durga. The women wear traditional dresses such as colorful embroidered choli, ghagra and bandhani dupattas (traditional attire) dazzling with mirror work and heavy jewellery. The men wear special turbans and kedias, but this varies regionally.
Garba is performed before Aarti (worshipping ritual) as devotional performances in the honor of the Goddess, while Dandiya is performed after it, as a part of merriment. Men and women join in for Dandiya Raas, and also for the Garba. The circular movements of Dandiya Raas are much more complex than those of Garba. The origin of these dance performances or Raas is Krishna. Today, Raas is not only an important part of Navratri in Gujarat, but extends itself to other festivals related to harvest and crops as well. The Mers of Saurastra are noted to perform Raas with extreme energy and vigor.

History

The Dandiya Raas dance originated as devotional Garba dances, which were performed in Goddess Durga’s honor. This dance form is actually the staging of a mock-fight between Goddess Durga and Mahishasura, the mighty demon-king. This dance is also nicknamed ‘The Sword Dance’. The sticks of the dance represent the sword of Goddess Durga.
The origin of these dances can be traced back to the life of Lord Krishna. Today, Raas is not only an important part of Navaratri in Gujarat but extends itself to other festivals related to harvest and crops as well.

Format

Raas is also performed at social functions and on stage. Staged Raas can be very complex with intricate steps and music. Raas is a folk art and it will change with the times. When African slaves and ship workers (who were Muslims) arrived on the coast of Saurashtra, they adopted Raas as their own and used African drums. While it originated from Hindu tradition, it was adopted by the Muslim community as Saurashtra. Singing entered the Raas scene later on. Initially, most songs were about Lord Krishna, but songs about love, praise of warriors who fought gallant wars, and the Goddess Durga, and even Muslim Raas songs were born.
The motif is also found represented in trade textiles as early as the 15th century in the prestigious double ikats woven with silk threads (known as patolas) that were traded by Indian (and later European traders) for Southeast Asia's spices. Most originated in Gujarat, the most famous of all of India's patola centres. Because of their rarity and perceived value, we are lucky to have some still in existence today emerging from Indonesian collections.
It is common to think that Raas has to be fast, but that is not the case. Grace and slow movements are just as important. With the advent of C-60 cassettes came the pre-recorded "non stop" Raas music. Soon it overtook the individual Raas items which are rarely recorded nowadays. The disco beat and use of western drum became popular, but you can still visit fine arts college in Vadodara during Navaratri where the musicians sit in the centre and play while people dance around them. Gujarati movies entered the scene in late 50's and 60's. Raas took on a different form as it borrowed heavily from the film industry.
There are other unique forms of Raas such as one in the town of Mahuva where men would tie one hand to a rope extending from above and hold a stick in the other hand. This was strictly in praise of Goddess Durga. If you use broader definition, even "Manjira" can be used to do Raas. There are communities that specialize in Raas with "Manjira". Just like the British police, some men dancing at "Tarnetar" used to wear colourful bands of cloth around their legs, resembling socks. The city of Mumbai developed its own style of Dandiya Raas. Now, during Navratri people use Dandiya, but make it more like a free style dance. "Head bobbing" during Raas is popular in USA among youngsters, but that arrived from the Gujarati movies. Head bobbing was for the singers, not for the dancers.

Costumes and music

The women wear traditional dresses such as colorful embroidered choli, ghagra and bandahni dupattas, which is the traditional attire, dazzling with mirror work and heavy jewellery. The men wear special turbans and kedias, but can range from area to area. The dancers whirl and move their feet and arms in a choreographed manner to the tune of the music with a lot of drum beats. The dhol is used as well as complementary percussion instruments such as the dholak, tabla, et cectra. the true dance gets extremely complicated and energetic. Both of these dances are associated with the time of harvest.

Difference between Dandiya and Garba

The main difference between Garba and Raas is that Raas is played with Dandiyas (pair of colorfully decorated sticks), while Garba consists of various hand and feet movements.
Sometimes instead of sticks, people also use "Swords". The circular movements of Dandiya Raas are much more complex than that of Garba.

Amongst Indian diaspora

In the United States and elsewhere, raas has evolved to incorporate other forms of music. This is mostly a show item where college students of Indian origin mix non-stop Raas music with strong drum beats and stunts, coordinated with various themes. Collegiate teams compete at various national competitions, where they are judged on various factors including traditionality, creativity, choreography, and production elements. Often, teams freely mix traditional steps with other dance forms such as hip-hop. Some attest that this is because the dynamic nature of raas represents the circle of life and the beating heart, and is a live folk form that has changed with time and will keep changing

Folk Dance:

Ghoomar

Ghoomar is a traditional folk dance of Rajasthan, India and southern Asia. Ghoomar was developed by the Bhil tribe and was then adopted by other Rajasthani communities. It is performed by women in swirling robes, and accompanied by men and women singing together.
This folk dance gets its name from ‘ghoomna’, the pirouetting which displays the spectacular colors of the flowing ‘ghaghara’, the long skirt of the Rajasthani women. There is an amazing grace as the skirt flair slowly while the women folk twirl in circles, their faces covered with the help of the veil. Their measured steps and various graceful inclinations of the body, beating palms or snapping fingers at particular cadences while singing some lilting songs.Mostly Goddess Saraswati is worshipped during this dance.

Dance is an expression of human emotion as much as music and it is found in almost limitless.
The desert region of Rajasthan is famous for the color and vibrancy of its folk forms. Each region in Rajasthan has its own form of folk dance. Tribal areas have maintained these folk dances which are often performed for special occasions.

The famous Ghoomar,  Rajasthan’s popular folk dance gets its name from ‘ghoomna’, the pirouetting which displays the spectacular colors of the flowing ‘ghaghara’, the long skirt of the Rajasthani women.

There is an amazing grace as the skirt flair slowly while the women folk twirl in circles, their faces covered with the help of the veil. Their measured steps and various graceful inclinations of body, beating palms or snapping fingers at particular cadences while singing some lilting songs.

Women from all age group participate in Ghoomer dance. At times this dance may continue for hours or the whole night. While dancing, the dancers move in a circular direction with clockwise and anti-clockwise steps. The performers sometimes unite their hands and even clap their hand in-between.

The performers move gracefully on the beat of the songs in synchronizing steps. As the tempo of the dance increases, the dancers swirl fleetly.

Traditional Ritual in Rajasthani People

The Ghoomar dance is the characteristic dance of the Bhils and a community dance of the Rajputs, also which only the women traditionally perform. It is considered as one of the traditional rituals among this community. So, on the occasion of marriage, a bride is expected to dance Ghoomar after being welcomed at her husband’s home.

Folk Dance:

Ghumura Dance

Ghumura Folk Dance[ Oriya: ଘୁମୁରା ନାଟ, Kalahandia : ଘୁମ୍ରା ନାଚ୍ ] is a folk dance of Kalahandi district of the Indian state Orissa.  It is classified as folk dance as the dress code of Ghumura resembles more like a tribal dance, but there are arguments about  different mudra and dance forms of Ghumura bearing more resemblance with other classical dance forms of India.

Origin and History of Ghumura

Mythology

Beside historical evidence, the origin of Ghumura dance has taken into consideration of public views and myths. Based on myth poet Kandarpa Panda has written Ghumura Janma Bidhan in 1954. Nakpal and Gaganeswar have also described a myth regarding origin of Ghumura, in which they described that Chandra Dhwoja has originally established the dance and later it was taken over a demon-Karttabirya Asura.
As per Chandi Puran when Durga, the eternal deity of Shakti, asked all the Gods and Goddesses of heaven to lend their weapons, was instrument and conveyances to kill a demon king Mahisasur, one of the war-musical instruments collected was the Ghumura instrument that was formed by combination of a portion of Dambaru, a musical instrument of Lord Siva, and Veena of goddess Saraswati.
As per Mahabharata, Ghumura was being used by both Gods and Goddesses as a musical instrument during war. According to Sarala Mahabharata, during Satya Juga-Jenabali-Patana was the capital of the king Gogingh Daitya-grandson of Mahisasura. Many people accept that Mahisasura Jenabali-Patana of that age is the Junagarh of today. However, in the Madhya Parba of Mahabharat, Ghumura has been mentioned with description about killing of Gosingh Daitya. Sarala Dasa has also described it as the Rana-Badya (was music) of Mahisasura.
Few expert believed Ghumura was a war music (Rana-Badya) of Ravana, demon king of Lanka, and Lanka-garh, since Goddess Lankeswari, most favorite goddess of Ravana, is worshipped in the region. According to them after Lanka was destroyed by Hanuman and after Ravana was killed, Goddess Lankeswari had left Lanka and came to settle in Jenabali-Patana (now it is Junagarh, Kalahandi) where she is presently being worshiped.
There are also myths about origin of Nishan and Tala. After building Chandrachuda Bindhani out of iron found from Bindhya Giri and covering its top with a skin of dead Bouta cow, it was inaugurated with Panchakshar-Mantra. Its parents Gaurab Gandharb and Urbasi called it Nishan. Likewise the Tala was created by a Saint-Kasyapa Risi. Both Nishan and Tala are considered as a symbol of Radha-Krishna.

Archaeological aspects

Archaeological evidence proves   that there are some cave painting from per-historic period discovered from Gudahandi of Kalahandi and Yogi Matha of Nuapada district that looks like Ghumura, Damru and other attractive things. These rock art sites belongs to more than 8000 B.C. and from such painiting the antiquity of musical instrument Ghumura and Damru can be imagined. It is also proved that during mythological age, Kalahandi had prosperous and developed civilization. The origin of Ghumura goes back to ancient times. There is a beautiful waterfall in the river valley of Indravati, which was initially recognized by Chindak Nagas of Chakrakot.  Many believe that Ghumura dance originated from this river valley and gradually spread into the areas between Indravati and Mahanadi, indicating this dance form belongs to 10th century A.D. On the other hand analyst opine that 'Banka-Paika' of Kalampur had carried Lankeswari deity with a grand procession of Ghumura music to Junagarh in 1008 A.D. when the Naga dynasty shifted their old capital from Jugasaipatna to Junagarh. The terracotta and stone objects found from medieval site in Nehena, 3 km from Khariar, resembles Ghumura objecr dated back to 9th and 10th century. In 12th century A.D. Ghumura dance was already popular, which is evident from a scenery of one person playing the musical instrument Ghumura in a stone-hole of Nritya Mandir of Konark Sun Temple. Bhimeswar temple in Bhubaneswar also shows another scenery of Ghumura dance reconfirming that origin of Ghumura dance was in 10th century A.D.
Dr Mahendra Kumar Mishra, a noted folklorist and ethnomusicologist of kalahandi, has researched extensively on ethnography of Ghumra dance of kalahandi, which can be accessed in the website www.scribd.com. besides Dr Mishra has widely discussed on structure, function and socio-cultural context of Ghumra dance of kalahandi adjoining bastar and Chhatishgarh also some part of Orissa in his well researched book kalahandira Lokasanskruti (1996) published by Freidns Publishers, Cuttack.

Transformation of war music into folk music and dance

In mythological ages Ghumura was a favorite music instrument of both Gods and demons during war, which was followed in subsequent time as the heroic war music by successive kings and soldiers of Orissa, especially in Kalahandi. Many kings in the region such as Eastern Ganga dynasty had well organized soldiers with Ghumura as their primary war music. During that period, the Ghumura song had neither been composed not been sung. Only its music and dance were being used during war time just to make the fighter (soldiers) excited with the spirit of fighting. Later on the song was integrated with the music and dance of Ghumura, since it was regarded as the only medium of exercise both for the purpose of body building and entertainment during leisure time of Paikas or soldiers. During British rule, the Paikas were often inactive and used to get sufficient leisure time, for which the Ghumura was developed by them as a primary means of entertainment. Afterwards poets and writers in general of Orissa and in particular of Kalahandi took initiatives to compose various songs of Ghumura while writing about Devi bandana (hymns or prayer to deities), glory of dynasties and mythological studies. In this way Chanda-Chaupadis of poet Upendra Bhanja, Dinakrushna, Abhimanyu Samanta Singar, etc. gradually entered into Ghumura, which made it much more enchanting. As a result, common people living in the rural areas of Kalahandi became very much attracted by this music, song and dance of Ghumura and formed many Ghumura groups to develop and spread. In this respect, the royal families of Bhawanipatna, Jayapatna, Madanpur Rampur, Khariar etc. also highly encouraged and helped these groups of village folk. During religious and cultural festivals like 'Dasahara' many of these groups used to gather together on the altars of different deities i.e. Manikeswari of Bhawanipatna, Lankeswari of Jungarh, Raktambari of Khariar, Dakeshwari of Madanpur Rampur, Budha Raja of Ampani etc. However, for the distinctive recognition of the Ghumura group reform and development was made in the manner and nature of dress, painting, dance, music and song. While performing, the Ghumura dancers and singers of each group used to ask very complicated question related to socio-economic and political problems to their competent opposite group through the medium of the songs. This gave birth to the contemporary form of Ghumura-Ladhei or Badi-Ghumura in Kalahandi, which is very meaningful, attractive and enchanting too.

Etymological meaning of Ghumura

Ghumura is an earthen pitcher and the imagination of the preparation of such pitcher into a musical instrument is a polygenetic development. 'Ghumura' is derived from 'Ghum+u+Ra'. 'Ghum' means bowl like pitcher made of soil or clay and having a thin face with big belly. 'U' means 'Lord Siva' and 'Ra' mean 'Raba' or 'Dhowni' (vibrating sound). Earthen clay pot is locally known as 'Ghumuri', which was largely used by females to reserve water for homely use. Male version of 'Ghumuri' is 'Ghumura'. Since Ghumura is a male dance form and it is found in almost all parts of the human culture that equipments and appliances invented for human use have been the foundation to the invention of musical instruments, the derivation of name of Ghumura from 'Ghumuri' signifies such claim.

Classical form in Ghumura

• Nrutta, Nrutya and Natya
• Nrutya
• Sangita (Song)
• Tala and Laya

Dance Form of Ghumura

• Circular Dance
• Circular or Semi-Circular Dance
• Triangular Dance
• Rectangular Dance
• Go Spada Dance: Cow Foot Dance
• Sheep Fighting Dance (Mesha Yudha Dance)
• Cross (Chaki) Dance
• Square Dance
• Go Chanda Dance
• Hen Fighting (Kakuta Yudha) Dance

Ghumura in folk tradition

Though Ghumura has been included in folk culture, it is a widespread dance in Kalahandi region. It is in delusion that in its early period whether it was a caste-based dance or not. By the time when Ghumura entered into the sphere of folk dance, above from the level of tribal dance, it was extensively performed by almost all castes and communities. Perhaps, Ghumura was a caste-based dance of a particular caste in its beginning and later on extended to different castes and community. It was then widely accepted as a mass dance come from folk dance.

Development and Spread of Ghumura

Ghumura dance has had the opportunity to represent the nation in various international events Delhi, Moscow, and various other places.

Folk Dance

Karma Naach

Karma dance or Karma Naach is a tribal dance. The Karma dance is a tribal community dance performed by the Binjahal, Kharia, Oraon, Kisan and Kol and other tribal annually during the karma festival. Karma is a famous autumnal festival, it starts from the 11th day of the bright fortnight of the month of Bhadrab. It is performed in the tribal dominant areas of Western Orissa, Chhattisgarh and Madhya Pradesh. Karma meanes 'fate'.
This folk dance is performed during the worship of the god of fate which is known as Karam Devta. People consider the god of fate as the cause of good and bad fortune

Folk Dance

Lavani

Lavani (Marathi: लावणी) is a genre of music popular in Maharashtra and southern Madhya Pradesh, Karnataka and Tamil Nadu.  Lavani is a combination of traditional song and dance, which particularly performed to the beats of Dholki, a percussion instrument. Lavani is noted for its powerful rhythm. Lavani has contributed substantially to the development of Marathi folk theatre.  In Maharashtra and southern Madhya Pradesh, it is performed by the female performers wearing nine-yard long saris. The songs are sung in a quick tempo.

Etymology

According to a tradition, the word Lavani is derived from the word lavanya which means beauty. According to another tradition, it is derived from Marathi lavane.

History and genres

Traditionally, this genre of folk dance deals with different and varied subject matters such as society, religion, politics and romance. The songs in 'Lavani' are mostly erotic in sentiment and the dialogues tend to be pungent in socio-political satire.  Originally, it was used as a form of entertainment and morale booster to the tired soldiers. Lavani Songs, which are sung along with dance, are usually naughty and erotic in nature. It is believed their origin is in the Prakrit Gathas collected by Hala. The Nirguni Lavani (philosophical) and the Shringari Lavani (sensual) are the two types. The devotional music of the Nirguni cult is popular all over Malwa.

Dress-up

The ladies that perform lavni wear a long sari length around 9 metres. the form a bun (juda in Hindi or ambada in marathi) with their hair. They wear heavy jewellery that includes necklace, earings, payal, kamarpatta(a belt at waist),bangles etc. They usually put a large bindi of dark red colour on their forehead. The sari they wear is called navvari. The sari is Wrapped beautifully and is much more comfortable as compared to other sari types.

"The main subject matter of the Lavani is the love between man and woman in various forms. Married wife's menstruation, sexual union between husband and Wife, their love, soldier's amorous exploits, the wife's bidding farewell to the husband who is going to join the war, pangs of separation, adulterous love - the intensity of adulterous passion, childbirth: these are all the different themes of the Lavani. The Lavani poet out-steps the limits of social decency and control when it comes to the depiction of sexual passion." K. Ayyappapanicker, Sahitya Akademi.

There are also men that dance in lavni along with the ladies. They are the called nat(male dancer) usually the kinnars. These men dance in support with the lead dancer.
Although beginnings of Lavani can be traced back to 1560s, it came into prominence during the later days of the Peshwa rule. Several celebrated Marathi Shahir poet-singers, which include Ram Joshi (1762–1812), Anant Fandi (1744-1819), Honaji Bala (1754-1844), Prabhakar (1769-1843) and Lok Shahir Annabhau Sathe (1 August 1920 - 18 July 1969) contributed significantly for the development of this genre of music. Honaji Bala introduced tabla in place of the traditional dholki. He also developed the baithakichi Lavani, a sub-genre, which is presented by the singer in the seated position.
Satyabhamabai Pandharpurkar and Yamunabai Waikar are the popular present day exponents of Lavani.
Shringar Lavani is mostly sung and danced on the stage by a female and written by male. Lavani can also be termed as a romantic song sung by lady who is waiting for her lover to accept her, who longs for his love. Many Lavani dancers are from some castes of Maharashtra like Mahar Kolhati, Kumbhar, and Matang.
Marathi films played an important role in making Lavani genre accessible to masses. Movies such as Pinjara and Natarang not only attempted to blend traditional music with social messages but also helped portray Lavani world in positive light.
In Tamil Nadu, at the end of the Lavani performance, a replica of Manmatha's mount is burnt.

Folk Dance

Sword dance

Sword dances are recorded throughout world history. There are various traditions of solo and mock-battle (Pyrrhic) sword dances from China, England, Greece, India, Japan, Korea, the Middle East, Pakistan, and Scotland.
Sword-dance forms have remained quite popular in Kathiawar region in India since ancient times. The Rajput Sword Dance and the Mer Dandiya depict battle. The dances often are thrilling depictions of bravery in former battles.
In other regions such as the Himalayas, popular dances, such as the Choliya from the Kumaon region of India and the khukri dances from Nepal are also prominent, while all known linked ("hilt-and-point") sword dances are from Europe
Female sword dancing (Raks al sayf) was not widespread in the Middle East. Men in Egypt performed a dance called el ard, a martial dance involving upraised swords, but women were not widely known to use swords as props during their dancing in public. However, paintings and engravings by French artist Jean-Léon Gérôme (who visited Egypt in the 18th century) show sword dancers balancing sabers on their heads. Sword dancing (Raqs al Saïf) is widespread in Iran, Pakistan-India, and Turkey.
Raks al sayf evolved out of sword fighting between men, in both Egypt and Turkey. There was even a time when sword dancing was banned by the sultan during Ottoman rule, as it was believed that dancers, who took swords from soldiers and pretended to "kill" them at the end of the performances, collected the swords to begin a resistance against the army. These swords were never returned. A Word on Sword Dancing by Jheri St James
General sword dance forms include:

• solo dancers around swords – such as the traditional Scottish sword dances. This general form also encompasses non-sword dances such as the bacca pipes jig in Cotswold morris dance,

• mock-battle dances, including many stick dances from non-sword traditions, and such common continental dances as Bouffons or Mattachins as described by Thoinot Arbeau in 1588.
• hilt-and-point sword dances – where the dancers are linked together by their swords in a chain. These form the basis for rapper sword and long sword forms,
• the Choliya sword dance of the Kumaon region of the hills of the Indian state of Uttarakhand, which started partly due to their long martial tradition and also to give protection to marriage processions. It was also held to be auspicious and, according to Hindu tradition, helpful in warding off evil spirits. It has a very beautiful and graceful form and has techniques which give it the status of a martial art.

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Mock battle

Mock battle sword dances are found worldwide, varying from the Greek Xiphism, the Saltatio Armatum of the ancient Romans, through Turkish, Persian and Middle Eastern traditions to Japanese mock battle dances. Some European sword dances, such as Moreshka from the island of Korčula in Croatia, include both hilt-and-point and mock battle sequences.

 

Folk Dance

Dollu Kunitha

 

Dollu Kunitha (dance), is a major form of art, occupies the pride of place among folk dances. Dollu Kunitha is a popular drum dance of Karnataka accompanied by singing. It provides both spectacular variety and complexity of skills in the process of demonstration. Woven around the presiding deity of Beereshwara or Beeralingeswara, chiefly worshipped by the Kuruba Gowdas of Karnataka and Andhra Pradesh, also called Halumathasthas, it presents both entertainment and spiritual edification.

 

Background

In all temples of Beereshwara, it is a religious practice that the major instrument Dollu be hung in the premises of the temple by means of a thick thread tied up to the hooks fixed in the ceiling. Every time pooja is offered to Beereshwara, the custom demands that there should be an instantaneous beating of the Dollu as an accompanying act of worship. definition of folk art: Folk art encompasses art produced from an indigenous culture or by peasants or other laboring tradespeople. In contrast to fine art, folk art is primarily utilitarian and decorative rather than purely aesthetic
Dollu Kunitha:
Dollu Kunitha is one of the ancient & famous folk dance forms of South India especially in Karnataka and Andra Pradesh. This dance form is known as the masculine art, with vigour.
Once upon a time a demon named “Dollu” prays to Lord Shiva Impressed by his penance Lord Shiva appears and offers a boon. Dollu Requests for immortality which Shiva refuses. Enraged Dollu swallows Shiva. This enrages Shiva, who tears out of dollu’s stomach. Shiva then uses the abdomen of dollu as instrument and nerves as the rope, hands as tala. Shiva takes up the Raudra Avatara and dances to quench his anger.
Shiva later handsover this instrument to his devotees, the “Halu Kurubas” and asks them to use it, thus worship him during their festivities. The “Halu Kuruba” tribes in shimogga follows this tradition even today.
It is a religious practice that the major instrument Dollu be hung in the premises of the temple through a thick thread tied up to the hooks fixed in the ceiling. Every time pooja is offered to Lord Shiva also known as Beereshwara, as per the custom there should be an instantaneous beating of the Dollu as an accompanying act of worship.
The performers form a semi-circle and involve in extremely swift and supple movements. The beat is controlled and directed by a leader with cymbals who is positioned in the centre. Slow and fast rhythms alternate and group Share: weaves varied patterns. The costumes are simple. Upper part of the body is usually left bare while a black sheet-rug is tied on the lower body over the `dhooti` or sarong.

History

Kuruba Gowdas sing in his lord Beereshwaras glory, giving an altogether different ring of intonation as distinguishable from the rest of other kinds of folk singers. Their ancestral pride is something, unconditional when they take to singing, tracing the origin of their genealogy, evolution and development over the ages. This expressive literature in its oral tradition goes by the legend called 'Halumatha Purana' or Kuruba Purana.
FOLK / TRIBAL DANCE DOLLU KUNITHA
Introduction:
Dollu Kunitha provides both spectacular variety and complexity of skills in the process of demonstration. It is performed in order to please the deity of Beereshwara or Beeralingeswara, worshipped by the Kuruba Gowdas of Karnataka and Andhra Pradesh, also called Halumathasthas.In all temples where deity Beereshwara presides , it is a religious practice that the major instrument Dollu be hung in the premises of the temple through a thick thread tied up to the hooks fixed in the ceiling. Every time pooja is offered to Beereshwara, as per the custom there should be an instantaneous beating of the Dollu as an accompanying act of worship.
History of Dollu Kunitha
Kuruba Gowdas sing praising lord Beereshwara , giving an altogether different ring of intonation. Their singing traces the origin of their genealogy, evolution and development over the ages. This expressive literature in its oral tradition goes by the legend called `Halumatha Purana` or Kuruba Purana.
A demon Dollasura worshiped Lord Shiva. He appeared before him and asked him to ask for a boon, Dollasura asked that he should be able to swallow Lord Shiva. The boon was granted and Dollasura swallowed Shiva. Shiva started growing bigger. The asura was unable to bear the pain and pleaded Shiva to come out. Shiva killed him and came out; Shiva used the skin of the asura to make a drum and gave it to the rustics to play it.
Performance:
The performers form a semi-circle and involve in extremely swift and supple movements. The beat is controlled and directed by a leader with cymbals who is positioned in the centre. Slow and fast rhythms alternate and group Share: weaves varied patterns. The costumes are simple. Upper part of the body is usually left bare while a black sheet-rug is tied on the lower body over the `dhooti` or sarong.

Tradition

Dollu dance has gone on uninterruptedly generation after generation with renewed vigour and raciness of performance. Hardly any religious performance of a ritualistic ceremony or any village festival can ever take place without this dance, especially in North Karnataka. On all these occasions, the Dollu dance becomes the very centre of activity around which other important things get built up. Since this dance demands strength, muscle power and the spirit of endurance, only well-built sturdy persons of enough stamina alone can take to it.

Story of Dollu

A demon Dollasura worshiped Shiva devotedly and Lord Shiva appeared before him and asked him to ask for a boon, Dollasura asked that he should be able to swallow Shiva himself. The boon was granted and Dollasura swallowed Shiva. Shiva started growing big. The asura unable to bear the pain pleaded Shiva to come out. Shiva tore open the demon thus killing him and came out, Shiva used the skin of the asura to make a dollu/drum and gave it to the ganas/rustics to play it.

The Troupe

The troupe consists of about a dozen artistes as dancing partners. Against the background we have tala, tappadi, trumpets, gong and flute, raised to a high-pitched tenor. These instruments are perforce used to reinforce the rich vibrations of Dollu. A miniature model of Dollu, easy to carry in hand, and handle it for beating – is often employed while singing a distinct class of songs-Dollu Songs/Drum Songs. Because there is beating of Dollu here by the fingers.

 

Om Tat Sat

                                                        

(Continued...) 

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