Hindu Culture (Other Folk Dance) -1

Hindu  Culture – Other Folk Dance

Other Folk Dances:

 

Orissa

 

A veritable melting pot of art, tradition and religion, Orissa is a state rich in music, dance and festivals. Casaurina trees sway in the gentle breeze, the blue of the sky matches perfectly with that of the sea, and the sun plays hide and seek on Orissa’s golden beaches. Over the centuries, the state has nurtured distinctive styles of folk art forms. Music and dance is integral to the lives of the people of the state. Let us now take you on a journey through the many and varied folk dances of Orissa.

 

Gotipua Dance

The Gotipua Dance emerged from the ruins of the Devadasi tradition. From the 14th century onwards, political unrest and social changes took a toll on the Mahari or Devadasi tradition. During this time, attempts were made to keep alive the beautiful tradition of dance – thus was born the Gotipua tradition. The Gotipuas were young boys who were trained in singing, dancing and acrobatics in the village clubs or akhadas. They were dressed as girls and performed at temple festivals as well as various social and religious occasions. They also performed at special festive occasions relating to Radha and Krishna, like the Dol Utsav (or Spring Festival), the Chandan Yatra (or boat ride of Madan Mohan and Radhika on Chandan Pushkar) and the Jhulan Yatra (or Swing Festival). It is believed that the Gotipuas began their performance in the later medieval period, during the reign of the Bhoi King Ramachandradev. The present forms of Odissi dance have been derived to a great extent from the Gotipua tradition. Though the dances of the Gotipuas are in the Odissi style, crucial differences exist in technique, costume and presentation. Interestingly, the Gotipua dancers are the singers too.

The word Gotipua comes from the words ‘goti’ meaning one and ‘pua’ meaning boy. Gotipuas lead a life of rigorous training and exercise under the supervision of their gurus. Boys dedicated to the Lord by their parents are trained to become Gotipua dancers. Couples pray to Lord Balunakeswar Dev to be blessed with a male progeny. If the Lord answers their prayers, the child is dedicated to the Lord at the age of six years and becomes a Gotipua. He stays with the other Gotipuas till he is sixteen years old. When small children fall seriously ill, their parents offer prayers at the temple of Balunakeswar Dev. If the child is cured, he too is dedicated to the temple.

In its present form, the Gotipua Dance is more precise and systematic in its conception. Its repertoire includes Vandana (prayer to God, or a guru), Abhinaya (the enactment of a song) and Bandha Nritya (rhythms of acrobatic postures) which is a unique presentation in which gotipuas dance and compose themselves in various acrobatic yogic postures creating the forms of Radha and Krishna. Bandha Nritya is a demonstration of physical prowess requiring great agility and flexibility. Preferably performed in adolescence, with age, this dance form becomes increasingly difficult to execute. The dancers make extensive use of their hands and feet, and one cannot help admire the acrobatics involved in this dance. Musical accompaniment to the Gotipua Dance is provided by the mardala (a pakhawaj), gini (small cymbals), harmonium, violin and flute.

The philosophy of the Gotipuas is embedded in the Sakhibhava Culture where the devotees consider themselves to be consorts of Lord Krishna.

 

Sambalpuri Folk Dances

Western Orissa - a land of myths, which owe their origin to the legendary Goddess Sambleswari is known for its rich and colourful folk and tribal art forms. A wide range of percussion instruments is used as accompaniments to the Sambalpuri Dances. Hundreds of quaint musical instruments like the Sanchar, Samprada, Ghumra, Madal and Ghanta Vadya are also used. A variety of dance styles like the Dalkhai, Raserkeli, Nachnia, Bajnia, Maelajhara and Chutkachuta, explore the many moods and shades of human life. Melodious songs and lilting music characterize the Dalkhai Dance. The dance is performed by the young unmarried girls of the village, who pray to goddess Dalkhai for the well being of their brothers. The daughters of the village fast the entire day and pray to the Folk Goddess in the evening. The songs describe the everyday life of the villagers and celebrate the beauty of the young girls. The traditional costumes and ornaments worn by the dancers, add aesthetic appeal to the dance. The Dalkhai Geet (song), Dalkhai Nacha (dance) and Dalkhai Baja (music) create an atmosphere of gaiety and merrymaking.The accompanying musical instruments include the Dhol, Nishan, Tasha & Muhuri. The dance is performed on the eighth day of the full moon night of Ashtami. “Dalkhai–re” is the oft–repeated word in the songs. Nachnia, a dance usually performed by male artistes only, originated from the Sonepur district of Orissa. The dance is associated with the ceremony of marriage. The leader of the group of dancers is known as ‘gahar’ while his companions are called ‘palia’. The music, which accompanies this dance, is usually restricted to drums, and is played to a particular rhythm called Kaharba. Bajnia is a traditional folk dance of Western Orissa. Music is an important element of this fast paced and cheerful dance form. The men use an array of musical instruments to provide accompaniment to the women dancers. Often the men too join in the dancing. The dancers wear colourful local hand-woven Sambalpuri sarees and dhotis. Raserkeli is another folk dance of Western Orissa. In this dance too, the women are the dancers and the men provide the musical accompaniment. This dance is performed mainly during marriage ceremonies. The item begins with a musical piece called ‘Dulduli’. The player of the Dhol during this dance is called the Dhulia. The Dhulia and the dancers spread goodwill through their movements and their smiling faces. Maelajhoda is another dance form of Western Orissa, which is performed by young unmarried girls. The technique of the dance and the musical accompaniments used are similar to the Dalkhai dance. Differences exist in the movements of the hands and feet. The Chutkichuta Dance is also from Sambalpur in Western Orissa. This dance is dedicated to Goddess Sambleswari. Based on the various ragas of the Sambalpuri folk tradition and accompanied by melodious songs, this dance form reflects the rich culture of indigenous art forms in this part of Orissa. Durla Nacha is another traditional folk dance of Western Orissa. The dance is an integral part of the marriage festivities of the tribal communities. On the morning of the marriage, oil and turmeric paste are first offered to the family deity and then to the groom and bride. Singing and dancing accompany the ceremony.

Dhap Dance An ancient Adivasi tribe of Western Orissa, the Kandhas, performs the Dhap Dance. The dance is an integral part of all major festivals, especially the Nirakhai festival. The villagers gather together, as one united family, to worship the village deity. An elaborate village feast and merry making follow this. The ‘Mukhia’ or village senior also joins the dance, carrying an axe on his shoulder. Through this gesture, he symbolically promises to protect the dignity of the women of the village.

Jhoomar Dance The Jhoomar is another popular group dance of Western Orissa performed by both girls and boys. Typical Jhoomar songs accompany the fast-paced dance. Characteristic movements of the hips and waist mark this dance form. It is performed during Chaitra Parva, Karam Puja and Kali Puja.

Karma Dance The ritualistic Karma Dance is performed in honour of goddess ‘Karma Sani’ or ‘Karma Rani’, literally meaning ‘Queen of Fate’. The dance is popular in the districts of Mayurbhanj, Sundergarh, Bolangir and Dhenkenal. In the month of Bhadra, a branch of the Karam tree is cut and carried to the dancing arena in a ceremonial procession. The branch is planted and the boys and girls dance around it, to the beat of drums. Different tribal groups perform the Karma Dance differently. The dance presents a fusion of colour and elegance. The women wear bright sarees with jewellery made from shells and the men wear coloured turbans adorned with a shimmering blue peacock feathers. The women dance in concentric circles and the men move with characteristic steps. The indigenous instruments used are rhythmic and melodious.

Ghumra Dance Ghumra is a folk dance of the Kalahandi district of Orissa. It is named after the main musical instrument, a pitcher-shaped drum called the ghumra, which is tied around each dancer’s neck. The dancers play on the drum while dancing. It is performed to the accompaniment of songs, the content of which is varied, ranging from stories of hunting to everyday joys and sorrows of the people. The dancers execute intricate movements, jumps and pirouettes in a fast tempo. The Ghumra is popular in Bolangir, Sambalpur and Cuttack. With love as its main theme, the ghumra is a common dance at social functions such as marriages. The Saora tribes and other aboriginal tribes mostly perform this dance.

Bamsarani The Bamsarani, literally meaning ‘Bamboo Queen’, is a popular folk dance from Puri. In this dance, little girls exhibit acrobatic movements on a crossed bamboo bar as well as on the floor with admirable accuracy.

Naga Dance The Naga dancers of Puri perform with a heavy load of weapons, to the accompaniment of battle drums. The dancer carries, among other things, a sword, a kukri, a whistle made of horn, an iron shield and bows and arrows. The dancer’s body is covered with rama raja (a yellow paste). The vermillion tika on his forehead and the artificial moustache and beard, imparts a look of valour to the dancer. This highly energetic dance displays the strength and skills of a warrior.

Paika Dance

The Paika Dance is a martial art form of ancient Orissa, which has withstood the test of time. Paika Akhadas thrive in several villages of the state till today. As early as the 15th century A.D., Gajapati Raja was believed to have raised an army of Paika warriors. The brave Paikas raise their voice of rebellion against the British rulers as early as 1817, four decades before the Sepoy Mutiny broke out. Buxi Jagabandhu Bidyadhar Mahapatra Bhramarabar Roy led the Paika Bidroha. The Paiks of Khorda did not allow the British to enter the region and that is why Khorda is known as the last freedom fort of India. The heroism of these warriors influenced the art, architecture and literature of Orissa. The carvings that adorn the Konark Temple depict the martial prowess of the Paikas. Many of the performing art froms of Orissa, namely the Mayurbhanj Chhau, Ghumura and Ranapa Dances have been influenced by this glorious martial tradition. The Paikas have found pride in place in Oriya literature too. Sarala Dasa’s Mahabharat written in the 15th century describes this martial tradition of Orissa. Poet Balaram Dash narrates the institution of war fare education in his literary work Jagamohan Ramayan. The dance involves acrobactic movement with swords (talwars), sticks (lathis) and shields (dhalis). Not surprisingly, the dance demands of it performers an extraordinary level of physical fitness. Only through years of dedicated practice do these dancers master the precision and agility that is the hallmark of the Paika Dance. The dance is often an integral part of Dushera and Kalipuja celebrations. The Chagi, Nagar, Dhamsa, Mahuri and large cymbals provide the musical accompaniment.

Ranapa The Ranapa dance, which has its roots in martial arts, is popular in the coastal areas of the Ganjam district of Orissa. In this dance, the artistes walk and dance on the Ranapas or stilts. Mock fights choreographed to the rhythm of drums make this dance form unique. All through the dance, the dancers exhibit their skills in balancing on stilts.

Ruk Mar Nacha Ruk Mar Nacha is another martial dance form of Orissa. Ruk means to defend and Mar means to attack. Thus the dance is a highly stylised mock fight. It is prevalent in the Mayurbhanj district of Orissa and is believed to be the rudimentary form of the evolved ‘Chhau’ Dance of the region. Each dancer holds a sword in his right hand and a shield in his left. The group of dancers is usually divided into two and alternately one group attacks while the other defends. The effortless leg extensions of the dancers belie the complex nature of the dance. The Ruk Mar Nacha stands out for its rhythmic intricacies. While the melodic base for the dance is provided by a double-reeded wind instrument called ‘Mahuri,’ powerful percussion is provided by a ‘Dhola’ (a barrel-shaped two-faced drum), a ‘Dhuma’ (a cone-shaped hemispherical drum with one face) and ‘Chad chadi’ (a short cylindrical drum with two faces but played on only one face with two lean sticks.)

Mayurbhanj Chhau

The Mayurbhanj Chhau is one of the three styles of Chhau Dance prevalent in the Eastern region of the country. While the other two styles, Seraikella Chhau of Jharkhand and Purulia Chhau of West Bengal, are performed with masks, the Mayurbhanj style does not use masks. Chhau dance has a very distinctive character of its own. For its evolution and growth, it has freely imbibed techniques and movements from the prevalent folk and tribal dances of the region, creating a harmonious blend of classical, traditional, folk and tribal styles. The theme of the dance centres round tales from the Ramayana, Mahabharata and legends relating to Lord Krishna. The choreography of this ancient rhythmic dance is highly stylized. This dance form flourished under the patronage of the Maharajas of Mayurbharj for over a century. It evolved out of the martial art forms of the area and its ceremonial presentation formed an essential part of the annual ‘Chaitra Parva’ festival, which is held for three consecutive nights. The dancers were divided into two competing groups, each trying to outdo the other. It has a wide range of intricate movements with acrobatic displays. The dance presents an amalgam of dynamism, precision and elegance, which is at times indistinguishable from visual poetry.

Pasu Nritya

The Pasu Nritya or the Animal Mask Dance belongs to a majestic folk dance tradition of Orissa, particularly in the Ganjam district. Ma Byaghra Devi and Ma Thakurani are the popular Goddesses of this area. During festivals, when the idols are taken out on the streets (Thakurani Yatra), the masked dancers lead the procession in their colourful costumes. Pasu Nritya is also an important part of marriage ceremonies where the dancers lead the bridegroom and his family to the bride’s house. The different kinds of animal mask dances include dances wearing the masks of lions, tigers, bulls, horse, deer, goats, peacocks, ducks etc. The movements vary according to the kind of animal the dancers represent. The animal’s body is made out of a cane frame, which is richly decorated. Two dancers wear the cane frame representing the animal’s body, while their legs become the quadruped beast’s legs. The ring master (director) leads the animals around the stage accompanied by the drummers.

Chaiti Ghoda

Chaiti Ghoda is a traditional folk dance usually performed by the Kaivartas or the fishermen community residing in the coastal districts of Orissa. The dance has three main participants – the Rauta, the Rautani and the Horse Rider. The accompanists are the drummer and trumpeteer. The Rauta is the lead singer. The themes of the Chaiti songs are culled from India’s rich mythology. Various aspects of human relations also find a place in these songs. While the Rauta and the Rautani enthrall the audience with their soulful songs and witty exchanges, the horse rider entertains with his energetic dance with the dummy horse, performed to the musical accompaniment of the Dhola (drum) and Mahuri (trumpet). The horse represents ‘Ashwini Baseli’ the presiding deity of the fishermen. The performance begins on a full moon night in the month of Chaitra and lasts for eight days, till Ashtami. The artistes wear traditional costumes complete with a turban. A bunch of feathers in the turban adds to the colour and flamboyance of the costumes. A form of healthy entertainment, this dance also serves as a powerful medium for the preservation of unity and communal harmony among the villagers.

Danda Nacha During the 6th century AD, the King of Boudh in Western Orissa made several attempts to prevent the rise of Buddism in his kingdom. To popularise the worship of Lord Shiva among his subjects, he used a special form of folk dance called Danda Nacha. This dance, which originated as a tool to strengthen Hinduism in the kingdom, is now a very popular folk dance, retaining its religious character at the same time. Danda Nacha is performed in the month of Chaitra. This ritualistic dance to propitiate Lord Shiva and his consort Gauri, is prevalent in Dhenkenal, Bolangir, Cuttack, Puri and Ganjam districts of Orissa. The ritual is celebrated through dances, songs and physical feats. The dance derives its name from the Danda, or the pole, which symbolically represents Lord Shiva. The artistes tune their steps to the vigorous accompaniment of drums, winning for the dance form the acclaim of being one of the best drum dances of the world. The Danda is a unique performing art form, in that it is a synthesis of pure dance, song and drama, comparable to the Jatras of Bengal. This dance form attained its peak in the 16th century AD. The dancers depict sections from the Hindu scriptures through recitation of verses, singing, narration and enactment. The presentation is a whole night affair and the artistes keep their audience glued to their seats for a long stretch of 8 – 9 hours.

This dance form has a varied repertoire which includes:

The Parbha serves as the prelude to ‘Danda Nacha’. It is performed in the ‘Prathama Prahara’ of the night as a sanctifying gesture to set the stage for the main pole dance. No songs are sung during the Parbha Dance. The main Parbha dancer, assisted by two supporting dancers, move to the rhythmic beats of the Dhol and Ghanta. The main dancer personifies Lord Shiva through this performance, which has some similarities with the ‘Tandava Nritya’ and ‘Biravasa’. The dancers fast since morning until they complete the performance in the evening. The rigorous stepping movements and acrobatic feats are the characteristic features of this dance. This exhausting dance can only be performed for about ten minutes at a stretch. The fragrance of sandalwood and incense sticks adds to the atmosphere of holiness.

Chadheya Dance is also a component of the Danda Nacha tradition of Orissa. The leg extensions of this dance form are similar to those of the Mayurbhanj Chhau Dance. Like the Chhau, this dance form contains elements of martial art. The accompanying music too, resembles that of the Chhau Dance. The dance depicts a tribal tradition of hunting and selling birds. The Chadeya or bird catcher carries a stick in one hand and a noose in the other. He and his wife, the Chadeyani, perform the dance to the accompaniment of enthralling music.

Gadaba This is a popular dance form of the nomadic tribes of Koraput district and is performed during festivals like Dushera, Poush Purnima, Chaitra Parva and Gatar. The Gadaba women dance with unusual steps using their heels. Men playing the Dhol, Tamak, Khiridi and Mahuri provide the musical accompaniment.

Koya Dance The members of the Koya tribe perform this dance during Chaitra Parva (March – April). The Koya girls wear elaborate jewellery made of beads and sport decorative caps. The Koya boys wear traditional costumes and jewellery. The head gear is fitted with a bison’s horn. Koya drums and the flute are the main accompanying musical instruments.

Gond Dance The Gond community of Koraput district performs this dance. Silver jewellery and decorative turbans form an essential part of the costume of the dancers. The Gond dance is not restricted to any particular time of the year.

Oraon Dances Both boys and girls perform the dances of the Oraon tribes of Sundargarh and Bolangir districts. The dance, with its own characteristic features, is performed by artistes wearing heavy tribal jewellery of the region.

Kond Dance The dance is performed by unmarried boys and girls of the Kond community. Dressed in special costumes, the intricate movements of the dancers resemble the movements of serpents. This dance is fittingly called the ‘Snake Dance of Orissa.’

Harvest Dance Folk music abounds with songs that celebrate the harvest season; so do folk dances. The Harvest Dance of Orissa is a prayer dance performed by men and women in separate groups. They pray to Mother Earth, seeking her blessings for a good harvest. The dance is accompanied by songs sung in chorus to the rhythm of drums and cymbals.

Sankha Badan

The Bay of Bengal that bathes the golden sands of eastern Orissa has had a beautiful impact on the lives of the people of the region. The Blowing of Conches or Sankha Badan during festivals and religious ceremonies (like Ratha Yatra and Chandan Yatra) is a very common ritual. In the olden days, conches were also used as bugles in the battle fields. The exponents of this art form can blow two conches at a time for five to six minutes without a break, simultaneously performing intricate body movements.

Community Dances Community dancing is spontaneous and often based on local legends or life styles of the people of different areas. The songs and dances are laced with humour, to make them more enjoyable. As all members of the community participate in these dances, it plays an important role in binding them together in bonds of brotherhood.

Puppet Dance The Kandhei or Sakhi Nacha, is a rare and unusual type of stylised indigenous dance drama based on mythological stories. This ancient art form is performed even today in various parts of the state. The puppets usually represent various characters of a particular story. The puppets of Orissa can be classified into three categories; hand, string and rod puppets.

Prahalad Nataka

Prahalad Nataka, as the name implies, is the story of Prahalad, who was born in a family of demons, but was a devotee of Lord Krishna. The story of the play is taken from the Nrushingha Puran. The language used is a mixture of Oriya and Sanskrit. This highly spectacular and dramatic presentation includes loud music, vigorous dancing, dialogues and acrobatics. In this unique folk theatre form we see the combined tribal folk and classical traditions of Orissa.

Other Folk Dances:

West Bengal

Bengal, a land of fecundity and prosperity embraces all within her fold. The varied hues of her rich culture colour her songs, music and literature. The numerous tribes and ethnic groups of Bengal have their own distinctive folk arts, as varied and beautiful as the tribes themselves. Bengal’s repertoire of folk songs with its lyrical appeal and richness, its thematic diversity and range is a reflection of rural Bengals creativity and imagination. As a traditional art form, folk dances of Bengal have gained immense popularity and recognition over the years. The dances contain themes that range from ritualistic to satirical and from allegorical to social. They involve prayers, offerings, celebrations and odes. Usually performed during festive seasons, or to mark a happy occasion, these dances ingrained in folk culture, reflect local faith, tradition and custom. These dances encompass a broad spectrum, from invoking the rain Gods for a good harvest to depicting mythological events. In fact, some religious festivals are celebrated through songs and dances that characterise devotion, prayer and worship. The dance forms that have evolved from the martial arts depict events from the great Indian epics, the Ramayana and the Mahabharata. These dances are performed round the year on various occasions, at fairs and festivals and religious conglomerations.

Some of the well known folk dances of Bengal include:

Baul Bengal, during the post medieval period, was a divided and closed society. Ruled by religious strictures, Hindus and Muslims led cloistered lives, against which grew a protest that took on the character of a cult. The community of protesters could be identified by the robes they wore (a long saffron-coloured cloak called the alkhalla with a turban of the same colour), the one-stringed instrument or Ektara they always carried and the bells they tied to their perpetually dancing feet. Sometimes the alkhalla would be made of different pieces of cloth patched together. They were the Bauls, the creators of a phenomenal music tradition that has survived and grown despite the ravages of time. Apart from the expected bamboo flute, they developed a variety of musical instruments like the Premjuri and Dotara, the Khamak and Goopi Jantro, the Kartal and Dubki among others. The Bauls are free wanderers. They are detached from the bondage of society and family. They move from place to place, making a meagre living from the alms given to them by those who can plumb the profound depths of their frugality. The Bauls belong to a sect with a distinctive mystic ideology of their own and their songs spread the message of peace and universal brotherhood. The word ‘Baul’ means mad, the madness that comes out of an overwhelming love for the Infinite Self. The singers describe the transience of mundane existence and the simple means to spiritual upliftment, though the root of their philosophical theory rests in a deeper complex psychological consciousness. Bauls are basically philanthropists, though sometimes satire from day to day life finds a place in their songs. The Bauls have played a major role in Indias freedom struggle when they moved from village to village in rural Bengal with their songs stirring up a feeling of nationalism and pride in our motherland among the illiterate village folk. Both men and women (Bauls and Baulanis) are a part of this great music tradition. For a long time, the Baulanis performed with the Bauls and they did not have any separate identity. But in recent years Baulanis have carved out their own foothold. The music of the Bauls had a significant influence on Rabindranath Tagore. Today the Bauls’ songs can be heard in many districts of West Bengal as their footsteps dot the muddy village lanes of Bankura, Birbhum, Burddhaman, Nadia, Dinajpur and Murshidabad.

Purulia Chhau

The Chhau dance of Purulia district is one of the most vibrant and colourful art forms. Emerging from martial practice, the Purulia Chhau is a vigorous form of dance drama that draws its themes from the two great Indian epics, The Ramayana and The Mahabharata. Masks and elaborate headgear are the ornamental apparels of the Chhau dancers. The dance is believed to date back to over a century, though the specific date of its origin cannot be definitely ascertained. The dance was patronised by the royalty and landlords of the region. Since its inception, the members of the Mahato, Kurmi, Bhumija, Deowa, Bhuama and Dom communities have sustained this dance form. The dance is an essential part of the Gajan Festival, a festival that celebrates the glories of Lord Shiva. Today, the dance is no longer restricted to one particular time of the year. The Purulia Chhau dance has been influenced by many dances of the district, like the Nata Jawaid Dance, the Mahi Dance and the Nachni Dance. Even two relatively sophisticated dance forms like the Jhumur and Bhadra Jhumur have influenced the Chhau Dance in its tune and rhythm. The accompanying musical instruments include the Dhol, Dhamsa and Shenai. The dance commences with an invocation to Lord Ganesh. Then the movements follow the nuances of the story. In a Chhau Dance the fight between good and evil always culminates in the triumph of good over destructive evil. The elaborate masks, the dazzling costumes, the rhythmic drum beatings and shenai, characterise the Chhau Dance. A distinctive feature of this dance is the acrobatic use of the body and the intricately crafted masks worn by the dancers. Powerful movements, immense concentration and release of energy are the other features of this dance. In the villages the performance usually starts between 9.00 and 10.00 o’clock in the evening. As the night grows and the dance gains momentum, there is an air of excitement all around. Communication between the performers and the audience is a significant feature of this dance form. In the olden days, the performance area used to be illuminated by torches that burnt throughout the night. Over the years the dance has undergone evolutions in form, stage craft, lighting and use of musical instruments. The masks help the dancers to portray different characters. There are masks depicting particular Gods and Goddesses, demons and monsters. There are also interesting masks for different animals like the lion, tiger, bear, monkey and so on. These finely-crafted masks are made by the painter artistes of the district. With the face covered by a mask, it is left to the dancers to emote using their bodies. Movements and postures therefore serve both to portray emotions and make the dance lively. One of the most popular presentations of the Purulia Chhau Dance is Mahisasur Mardini. Oppressed by the tyranny of the Mahisasura, the Gods pray to Goddess Adyashakti Mahamaya who takes the form of Goddess Durga, Durgatinashini and after a fierce battle with Asura, finally slays him.

Santhali Dance

The Santhals are an integral part of the folklore of Bengal. The Santhali dance form is seen in the districts of Birbhum, Bankura, Malda and Burddhaman. The Santhals are born dancers. Dance is an integral part of all festivities of the Santhal community. Musical accompaniment is provided by instruments like the Madol, Flute, Dhamsa, Jhanj, Kartal and occasionally the Shenai. The songs are typically based on Taal Madol Chhanda. Dances are usually performed on a fullmoon night and are connected with the celebration of certain rituals. A notable feature of the Santhal dances is the unison in movement. The dancers stand in a line holding hands and move to the rhythm of the madol. Usually the women take part in the dance and the men provide the musical accompaniment. This is reflected in the words of a song, which accompany the Dang Dance, a dance performed as a part of marriage rituals. The boys carry two types of drums, the Madal and the Lagra. They sing to the girls telling them: “Though the drums are heavy, we carry them around dancing all the time”. The girls reply, “As we hear the beat of drums, we cannot stand still. We lift our feet and begin to dance”. Simplicity of theme and language is what makes the Santhal dances so endearing. Nowadays, Santhali men also take part in the dances, most of which are seasonal and reflect the ritualistic life of the Santhal community. Each dance form has its own distinctive rhythm and dance style. Some of the popular dances include the Sohrai, which is a harvest dance, inviting all the village folk to come out of their homes and join in the festivities, and the Dasai, a dance performed just before the Durga Puja, when the Santhali men go out to the neighbouring villages, where they sing and dance to collect donations of rice and alms. The Santhal dance reflects the beauty of rural Bengal and adds colour to the palette of the folk culture of the state.

Mundari dance The members of the Mundari community perform these dances on different festive occasions, most of which are related to agriculture. The main festival of the Mundari community is the Karam Puja. The dances of the Santhali and Mundari communities are very close in style and form. The musical instruments used by the two communities are also common.

Gambhira

Gambhira, a popular annual festival of Malda District comprises songs and dances closely related to agriculture and mythology. Performances depict on one hand, the success, failure or annual production of crops, and on the other tell stories about mythological figures. Depending on the theme, dancers perform solo, duets or in groups, stepping in tune with the beat of dhaks. Colourful masks representing Gods and Goddesses like Kalika, Chamunda, Rama, Hanuman, Shiva and even animals and birds, make the performances both charming and entertaining, while retaining the authenticity of this primitive dance form.

The word Gambhira means ‘Devalaya’ or House of God. This festival is very closely associated with Shiva Puja. In the different rituals associated with Gambhira Puja we find an amalgamation of different religious thoughts like Shaivism, Vaishnavism, Buddhism and Shaktiism. In Malda district, where this festival is immensely popular, Shiva is also known as Gambhir, and hence the festival associated with Shiv Puja is known as Gambhira. The Bengal Drum or Dhak and the Gong or Kanshi are main musical instruments accompanying this dance. Dancers tune their steps to the different beats of the Dhak, the intricate patterns of their dance blending into the pulsating rhythm of festivity and celebration. Over the years, poverty and social changes are forcing this dance, which was once synonymous with grandeur, into oblivion. The Gambhira festival begins with Agamani songs. The second day of the festival is called the Choto Tamasha and the third day the Boro Tamasha. These days are devoted to Shiva and Gouri Puja. Other popular dances of the Gambhira tradition include the Baan Nritya (Arrow Dance) Bak Nritya (Stork Dance) Tapa Nritya (a dance performed by the fishermen and fisherwomen using a special kind of bamboo basket known as the Tapa which is used for catching the fish) and Kali Nritya (the dance of Goddess Kalika).

Gajan

Gajan is a very popular festival in some parts of Bengal. Gajan songs are sung in praise of Lord Shiva and Goddess Parvati in the Bengali month of Chaitra. Singing and dancing is an integral part of this celebration. The dance is performed with great devotion and austerity. The dancers sometimes dress up as Hara Parvati and move around the village, dancing to the accompaniment of the Dhol, Kanshi and Flute. In Malda and Murshidabad, the celebration is known as Bolan. The dancers undergo penance with a view to attaining salvation and becoming free of worldly sufferings. This celebration is observed during the latter part of the month of Chaitra. Being a festival of austerity, the dancers often fast before a performance. The performance of this Puja involves some harrowing rituals and is usually performed by the lower castes. The involvement of the upper castes is limited to bowing down before the lower castes for just this one time in the year.

Durga Puja Dhak Utsav is Bengal is synonymous with Durga Puja. The Bengali waits all year round for the arrival of Devi Ma. It is a time for celebration and festivity, and it is the sound of the Bengali Drum or the Dhak that joyously announces her eagerly awaited arrival. It is the sound of the Dhak that captures the many moods of the Devi, frenzied, calm, plaintive and nostalgic, and it is the sound of the Dhak that also tells us it is time for her to return to her heavenly abode. Every beat of the dhak is different and each of them holds a special place in every Bengalis heart.

Dhol Badan The Dhol (a variation of the Bengali Drum) is an indispensable musical instrument of the different festivals of Bengal. The musicians dance and play the Dhol simultaneously.

Bratachari – Raibense

The Raibense dance which is performed by a group of male dancers is a part of the repertoire of the ‘Bratachari’ tradition of West Bengal. The Raibense dance of ancient Bengal, is a significant and authentic reminder that the Bengalis were once renowned for their military prowess. The dance belongs to a living tradition of the war dances of ancient Bengal. Rai means royal, kingly and bansh or bansha means bamboo. This was used by the infantry soldiers in the middle ages. This vigorous dance form includes mock fighting and acrobatics. It speaks volumes about the valour of the people of ancient Bengal. The Dhol and Kanshi are the main instruments used. The strident rhythmic notes of the Dhol and the clanging of the Kanshi generate courage and daring in the hearts of the dancers. No songs are sung or verses recited during this martial dance. Instead, vigorous yells mark the various sectional movements. The simplest costume, a dhoti (which is the traditional dress of Bengali men) is worn with a strip of red cloth signifying spirit and valour. Shri Gursasaday Dutt, ICS, was responsible was resurrecting this ancient group dance and modifying it to its present form. The Bagdi, Bauri and Dom communities of Burddhaman, Birbhum & Murshidabad districts, perform the dance.

Stick Dance or Laghur Nritya The Stick Dance or Laghur Nritya is another interesting martial folk art form of West Bengal. The stick, which has from time immemorial been used as a weapon of self-defence, is used in this dance. The long sticks not only keep the beat of the dance, but are also used for the acrobatic feats, which are an integral part of this dance form.

Ranapa Dance The Ranapa is another martial form of dance, where the artistes walk and dance on stilts. As the dancers display mock fights, they exhibit their skills of balancing on stilts.

Dhali & Paika Nritya These two dances are heroic war dances and are performed by a group of dancers. The dances are evocative of the valour and prowess of the people who took part in the wars. The Dhali Dance, as the name implies, is the Shield Dance. It was the war dance of the Dhali (Shield man) troupes in the armies of the ancient potentates of Bengal. In the Dhali Dance, the spectacular movements are formal and are more in the nature of athletic exercises. It is a dance of high aesthetic value by virtue of its intricate manoeuvres and ordered formations. Being a war dance, it is not accompanied by any songs. This dance form originated and flowered during the reign of Raja Pratapaditya of Jessore. After winning a battle, the fatigued and exhausted solders starting dancing with swords and shields in the cantonment to inspire themselves for the next war. It is believed that Raja Pratapaditya maintained an army of highly skilled Dhali soldiers. Over the years, the dance form has been modified extending to women dancers as well.

Natua Dance

Natua, an ancient dance form, features in the Shiv Puranas. The word Natua, may have been derived from the name of Lord Nataraj. It is believed that Nandi and Vringi, the associates of Lord Shiva were the first to perform this dance during the time of Shiva’s marriage with Durga. This highly acrobatic dance form involves many tricks with fire and is usually accompanied by the beats of a Jai Dhak, the instrument which is said to have been created by Lord Shiva. The dance is performed during the Charak Puja and occasionally during marriages.

Kirtan Dance The Kirtan Dance is the most widely practised folk dance form of Bengal. The democratic nature of the dance, which unites people of the whole village, irrespective of their caste or social standing is its most striking feature. The dance is performed to the accompaniment of the Dhol and Mridanga. The great spiritual leader, Shri Chaitanya Dev gave the dance a national character.

Rabha Dances The women of the Rabha Community perform the Rabha Dances, popular in the Northern part of Bengal. The men provide the musical accompaniment, playing the Barangshi (a bamboo flute), Hem (a drum with two faces), Dandi & Barding, (idiophones made from bamboo) and Karnal (a rare tribal instrument made of bamboo and buffalo horn). The Rabha women have different dances for different occasions, like the “Fai Nang Ning Mein” or Welcome Dance, the “Braisar Pridan” or New Year’s Dance and “Larai Lunge” or War Dance. The dancers depict the daily life of the community and embody the merriment that enlivens all their festivals.

Chaibari Nritya The Chaibari Nritya, as the name suggests, is a dance mastered by the tea garden workers of Nothern Bengal. The dancers, with their intricate costumes and jewellery make for a picture perfect sight in the breathtaking backdrop of the verdant tea gardens. The melodious music adds to the charm and beauty of the dance.

Domphu Nritya The Domphu is a musical instrument used by the Nepali community settled in North Bengal. The Domphu Nritya takes its name from this traditional instrument. The dances give expression to the joys, hopes and aspirations of the community through this colourful folk dance.

Kukri Nritya The Kukri Nritya, also from North Bengal, is performed by the girls of the community, as they ceremoniously hand over their traditional weapon, the Kukri, to their brothers, before they set off for the war.

Mech Dance The Mech Dance is another popular dance form of North Bengal, the land of forests, mountains and turbulent rivers. In this dance form, which originated in Jalpaiguri district, we see and feel the inner rhythm which pervades the simple life of the tribal people living in harmony with nature. There are several variations of the Mech Dance. Bagroomba is performed by the Mech women at spring festivals, The colourful costumes used by the dancers are evocative of butterflies. Chal Jhumgre Gele Nai is a war dance which is rhythmic and martial in character. In the Mesa Glang Nai dance, performed by the Mech women, the youth of the community is exhorted to be industrious and hardworking. The young members of the community are reminded that they must always retain the purity of their minds and bodies. This dance is performed as the women pluck flowers for the ‘Kherai Puja’. They carry small bowls in their hand to collect the flowers.

Rajbanshi Dance The Rajbanshi is one of the many tribes of North Bengal. The lives of the people belonging to the Rajbanshi tribe revolve around the Teesta River, which they worship as a Goddess. The Teesta flows down the snow-capped peaks of Darjeeling, through the dense forests of Jalpaiguri. It then charts a turbulent course through the lush scenery of Coochbehar, finally meeting the Bharmaputra River in Bangladesh. This graceful dance is performed to invoke the blessings of the River Goddess. The Dhol, Kanshi, Kartal and Mukhabanshi are the instruments that accompany this invocatory dance.

Jhumur Dance The Jhumur Dance is one of the liveliest folk dances of Bengal. Several variations of this dance have emerged from Purulia, Birbhum, Bankura and Burddhaman. This is an elaborate dance, choreographed and performed by professional artistes. Here lies its essential difference with forms like the Santhal Dance. The dance is performed by girls while the boys play the Dhol and Madol. This entertaining dance is performed on stage and during road shows. Heavy make-up and ornate jewellery form part of the costume of the Jhumur dancers. This secular dance form is accompanied by fast-paced and cheerful Jhumur songs. The sensuous Nachni is an offshoot of the Jhumur Dance, depicting the love of Radha (Nachni) and Krishna (Rasik).

Bhadu As the rains pour down on the red earth of Bengal, voices rise in praise of Bhadreswari Ma, invoking her blessings for a good harvest. Originating from the districts of Bankura, Purulia, West Burddhaman and Birbhum, the Bhadu Dance is performed mainly during the Monsoon. The dance draws its name from the Bengali month of Bhadra, when the monsoon showers drench the earth. The Bhadu Festival celebrates the transformation of Princess Bhadreswari into a cult figure. Legend has it that the Princess was the only daughter of Neelmoni Singh Deo, the Kashiraj of Panchakot. She was dearly loved by the villagers of Panchakot and even worshipped as Bhadu – the Goddess of Crops. Tragedy struck as the princess waited for her marriage to the Prince of Burddhaman. As she waited for her groom, dressed in her bridal finery, she received the tragic news that the prince had been killed in an encounter with dacoits on the way. Unable to bear her sorrow, she takes her own life. During the festival, Bhadreswari or Bhadu is invoked by the villagers, seeking her blessings for an abundant harvest. The women of the community, both married and unmarried perform the Bhadu Dance. The unmarried girls pray for a loving husband while the married women pray to Mother Earth to be blessed with children. The Bhadu festival is also celebrated in Chota Nagpur, where it is known as ‘Karam Parab’.

Tushu When we think of harvest songs in Bengali folk culture, we think of Tushu. Tushu songs, originating from the districts of Bankura, Purulia & Midnapore have similar features. The daily lives and relationships of the villagers form the theme of this genre of songs. Family rows between rival co-wives, and between wives and their sisters-in-law find a place in Tushu songs. Tushu songs being associated with harvesting, always refer to the householders wealth – ‘ghee of 32 cows’, ‘rice of fine paddy’, ‘pots of ghee and gur’ are some of the expressions used. The villagers pray to the Folk Goddess Tushu for prosperity. They ask for the Goddess’s blessings so that their homes and the homes of their sons may overflow with wealth.

Dhamail Dhamail is a folk dance performed by the married women of rural Bengal. The women arrange themselves in a circle, around a certain object of prayer, clapping to the beats of the song. While praying to the Sun God, a lit diya, symbolising the sun, is kept at the centre. The clapping brings a rhythmic element into the otherwise slow-paced dance.

Nabanna Nabanna is a ritualistic dance performed after the autumn harvest. It is part of a religious ceremony associated with cultivation and harvesting. The dance is an expression of the happiness of the farmers’ families after a successful harvest. A special religious ceremony is held on the day the new rice is eaten.

Noila Broto Farming is an integral part of the lives of villagers in rural Bengal. After a day’s toil, the villagers often sing and dance as a welcome break from their daily routine of labour and hard work. In most parts of rural India, agriculture is still dependant on the rains. Noila Broto is a traditional ode to the Rain Goddess, “Megh Kanya”. This prayer dance, involving rituals and offerings, celebrates the arrival of the first monsoon clouds. The farmers and their wives pray for a good monsoon that will bring forth an abundant harvest of crop, ushering in prosperity and happiness.

Baromashya The Bengali community is known for the warm hospitality it extends to visitors. When a guest arrives unannounced at a Bengali home, he is greeted warmly and made to feel welcome, while the host makes every effort to ensure a comfortable stay. The Baromashya songs and dances describe this endearing quality of the simple folk of rural Bengal.

Bou Nritya This is a part of the traditional Badhubaran ceremony of Srihatta. Bou Nritya enacts the custom of asking a new bride to dance, a process of helping her shed her inhibitions. The dancers wear ornaments typical of this region and drape the sari in a different way. The distinguishing feature of this dance is that the dancers never lift their feet off the ground during the entire performance. Through this dance of initiation, the new bride is welcomed into her new family.

Ganga Baidya Ganga Baidya is a dance of the snake charmers or Bedes of Bengal. The dance gives expression to the daily lives, customs, hopes and aspirations as well as the pains and tribulations of this sect of people of rural Bengal. The Bedes were a nomadic tribe who moved from place to place, earning their living by singing their songs and displaying acrobatic tricks – with fire, knives, sticks and ropes. These worshippers of Ma Manasha use snakes for a variety of tricks. Through their songs and dances, the fearless Bedes sold snake venom and talismans to the villagers, promising them that these would keep evil away.

Ganga The fisherman community of rural Bengal pray to Ganga Devi in the month of Chaitra. Through their prayers and dances, they appease the Goddess, so that she bestows blessings on them throughout the year.

Other Folk Dances:

Bihar

When we think of culture, music, art and religion, we at once form an image in our minds, an image of the holy land of Bihar. The history of Bihar can be traced back to as far as the history of civilization itself. Lord Rama’s wife, Sita is known to have been born in Bihar. The city of Pataliputra or Patna was founded by the great Mauryan emperor, Ashoka in 270 B.C. The religions of Buddhism and Jainism, a revolt against Hinduism, were founded in Bihar. Vardhamana Mahavira attained nirvana in this land and founded the new religion of Jainism. Another prince sacrificed all his worldly treasures and meditated under the Bodhi tree in Bodhgaya. He too attained salvation from the continuous cycle of birth and rebirth and founded Buddhism. Today he is known as the Buddha. Chanakya, also known as Kautiliya, wrote the first treatise on modern science of economics, called the Arthashastra and he too hailed from this land. This land also witnessed the birth of the tenth and last Sikh guru, Guru Gobind Singh, who attained sainthood in Bihar.

The tribal and folk songs, as well as the varied dance forms of Bihar are a representation of the emotional upheavals experienced by the people, as well as their values, hopes, beliefs and traditions. The music and dance forms in Bihar are as many as the numerous tribal groups, filling the state with love, music, art and diversity.

Karma Dance The traditional Karma Dance gets its name from the Karma tree which stands for fortune and good luck. The dance begins with the planting of the tree, followed by circular formations around it. In this group dance, there are usually as many men as women dancers. The dancers form a two-tiered formation and the movements are usually backward and forward, towards and away from each other. The dancers swing to the rhythm of the drum and the clapping of the women folk. Later, breaking the formation, the dancers thread in and out and the body movements involve bending of the torso and the knees. The dancers put their arms around the waists of their neighbours and form semicircular rows. Each row of dancers sings and dances alternately to the accompaniment of the Mandur and Timki. Drums beat fast and loud and the dance ends on a happy note. The choreography is imaginative and the themes of the songs are contemporary and relevant.

Jhijhia Dance Jhijhia is a prayer dance that originated in the Koshi region of Bihar and is performed during droughts, when the land is dry and parched and there are no signs of clouds in the lifeless sky. Through the Jhijhia dance, the young girls offer their prayers to the King of Gods, Lord Indra. The dancers pray to the Lord of Rains for life-giving rain and a good crop. The words of the song Haali Huli Barsaaun Inder Devta depict the conviction and deep devotion of the dancers as they pray to their Lord.

Kajri Dance The Kajri Dance welcomes the beautiful season of Monsoon. The young girls of the village dance in gay abandon out in the open to express their joy at the approach of the season of fulfillment. The dance is usually performed in the months of Shravan and Bhandrapad. The young girls bathed in the romance of the season exchange notes with each other about their beloveds. Rain is after all, the sublime symbol of fertility, of succulence, of birth and rebirth.

Jhumar Dance

Jhumar is a traditional folk dance of Bihar, which is performed by the rural women. There is no fixed season for this beautiful dance form, it is a dance, which is performed at all times. Spring descends on earth with its beauty and spreads joy and happiness all around. The women dance with gay abandon. The men folk are invited to join in and they usually provide the musical accompaniment. Bhojpuri Jhumar Dance Bhojpuri music and dance is popular in Magadh and its surrounding districts in Bihar. Bhojpuri Jhumar is a famous folk dance of the Bhojpuri people. With the advent of Spring, nature blossoms into a riot of colour and fragrance. The people of this region welcome Spring with vibrant songs and dances. This rhythmic dance form is an expression of the joys and sorrows of the people.

Magahi Jhumar Dance The Magahi Jhumar dance is usually presented in the form of a duet, where male and female dancers play the role of husband and wife. They dance in unison, expressing their desires and aspirations. The wife asks her husband for good clothes and beautiful ornaments. The husband promises to give her everything she desires. This vibrant folk dance in performed to the accompaniment of melodious music.

Jharni Dance The Jharni Dance is a ritualistic dance performed by the Julaha community during Muharram. The dancers use bamboo sticks split at one end. They stand in a circular formation, and move around, each dancer striking the stick of his partner. The sound produced provides the beat for the dance.

Jat Jatin The women of the Mithilanchal region perform the Jat Jatin dance on moonlit nights during the Monsoons. Unmarried girls and young housewives assemble in a courtyard and accompanied by a drum, dance from midnight to dawn. As they dance, they enact in gestures the epic story of the love of Jata and Jatin. The most dramatic part of the dance is when a wicked boatman breaks through the dancing ring and kidnaps the beautiful Jatin. The lovers are separated but as in all folk tales all ends well and the lovers live happily ever after.

Jhumeri Jhumeri is a folk dance from Mithilanchal. After the month of Ashwin comes Kartick with its clear skies. On the full moon night of Kartick the young maidens of the village sing and dance to celebrate the turn of the season. The words of the Jhumeri song Kartik maas na akashey badari and the graceful movements of the dance cast a spell on the audience.

Sohar Khelwana Sohar Khelwana is a dance performed by women to celebrate the birth of a child. In India, the arrival of a newborn is celebrated with traditional rituals. The child receives blessings from family members, neighbours and well-wishers. Through the Sohar songs, the women compare the new born to Lord Rama and Lord Krishna, popular Hindu Gods who are the embodiments of virtue. The eunuchs are an integral part of the celebration of childbirth and take part in this dance.

Holi Dance (Dhamar Jogira)

Spring arrives, resplendent in the colours of ‘abir’ as the magic of Holi sweeps across the land. Commemorative of the victory of good over evil, the Festival of Colours is celebrated with unabated enthusiasm by the young and old alike. Come Holi and the hues of the rainbow deck the air in fine mists, the streets in telltale smears and our hearts with the joyful hope that peace and happiness shall reign. The Holi dance is a vibrant dance form of Bihar. The accompanying songs are sung in the Dhamar style.

Chhath Puja Chhath is the most important and holy festival of Bihar, celebrated in the month of Kartick. The Puja is unique because it is possibly the only festival in which the devotees worship the setting sun before worshipping the rising sun. The first offering or ‘Arghya’ is done at sunset, after which the worshippers spend the night on the banks of the river Ganges. The next morning they offer ‘Arghya’ to the rising sun, before returning home. This prayer dance is performed with great devotion by the dancers.

Devas In the months of Chaitra and Ashwin (during the Navaratri period), Shakti Puja is performed. Devotees believe that the Devi enters the body of a mortal on hearing the prayers of the Pujari. The dance depicts this divine presence in our midst.

Krishi Nritya The rains have quenched the earth’s thirst. The sight of their fields rich with the golden crop fills the farmers’ hearts with joy. They express their happiness through dances, which are rhythmic and enjoyable.

Kishan Nritya This dance is an expression of pride of the farmers of Bihar. The dance brings together the farmers of the state in a bond of brotherhood.

Chaita Chaita songs, as the name suggests, are sung in the month of Chaitra, when flowers appear in the mustard plants. Men sing these romantic songs.

Nachni The Nachni dances with her Rashik or male partner, to the singing and clapping of male accompanists. Nachni dances are presented at various festivals and special occasions. The Nachni is not only the dancer, but also the singer. The accompanying musical instruments include the Nagara, Shenai and Harmonium.

Natua The Natua dance begins with an item called the Natua Kachal. In this duet performance, the accompanying musical instruments include the Nagara, Dhol and Shenai. The costumes worn by the dancers are indigenous and attractive.

Other Folk Dances:

Assam

Assam, once known as the “Light of the East” is the land of the mighty Brahmaputra, one of the longest flowing rivers. The Brahmaputra curves in a serpent like manner around a land where one not only sees lush green tea plantations and an extravagance of flora and fauna, but also myriad tribes and races that come together to bring about a conglomeration of cultures, values, traditions and beliefs.

Among the repertoire of festivals celebrated in Assam, the Bihu stands at the pinnacle bearing the most importance. The Bihu is a festival, most anticipated, and celebrated with a tremendous amount of zeal and enthusiasm. The festival brings together all the Assamese people, irrespective of their caste, creed and religious beliefs.

BIHU DANCE

The Bihu Dance is one of the most colourful folk dances of India. Bihu is generic to celebration in an agricultural society. For the people of Assam, Bihu is not only a festival, but also a time for celebration. The Assamese people celebrate three different Bihu festivals, Bohag Bihu or Rangoli Bihu, celebrated in Spring, Magh Bihu or Bhogali Bihu celebrated in Winter and Kongali Bihu or Kati Bihu celebrated in Autumn. The Bihu dance is a traditional heritage of Assam and the festival helps to strengthen the unity in diversity among the people of Assam. During the revelry, the banks of the Brahmaputra come alive with the rhythms of the dhol (drum) and pepa (flute).

The dancers perform in a circle beginning with a slower tempo, which gradually gains momentum. Drums, cymbals, hornpipes, harps and bamboo clappers, provide musical accompaniment. Though the dance is inspired by agricultural operations, the songs and the graceful dancing builds up an atmosphere of love and romance. The dance has been noted for maintaining authenticity and at the same time displaying the traditional Assamese handlooms and handicrafts in their beauty and glory. The costume worn by the women consists of a Gitigee (kind of headgear), Agoo (mekhala) and Lagu Richa (chaddar). Beautiful ornaments are their accessories. The men wear a Dhoti, Gomocha (Towel) and Chapkan (shirt). The well-known forms of the Bihu Dance include:

Bohag Bihu or Rangoli Bihu.

With the advent of spring come the Bohag Bihu or Rangoli Bihu, a festival of music and dance when nature like a young woman blossoms into radiance of light, beauty and colour. It is in this atmosphere that young boys and girls perform the Bihu Dance, inviting each other to the land of romance. The Bohag Bihu or Rangoli Bihu not only ushers in the Assamese New Year, but also the sowing time and the season of marriage. In fact, this festival has its roots in some earlier fertility cult. The Bohag Bihu Dance is an expression of the joys of spring and the exuberance and vigour of youth. Amidst nature’s pristine beauty, young boys and girls perform this dance, accompanied by songs of erotic sentiment, virile beating of drums (dhol), soft strains of Pepa made from buffalo horns and many other indigenous folk instruments.

Magh or Bhogali Bihu The Magh or Bhogali Bihu is also an important festival celebrated after the harvest is collected. Bonfires, social get togethers and feasts are an integral part of Magh Bihu. Most of the rituals connected with this season’s Bihu are observed in front of Agni, the God of Fire. Various offerings are made to Agni with the chanting of mantras. The origins of Magh Bihu can be traced back to the Fire-Worship Festival of ancient times. The Bhogali Bihu Festival begins on the last day of the month of Pous and the actual day of celebration is the first day of the month of Magh.

Kaati Bihu or Kongali Bihu This Bihu festival is not celebrated with the usual pomp with which the other Bihu festivals are celebrated. The day of celebration is the last day of the month of Ashwin – when the new crops are not ready for harvesting and the previous harvest stored in the granary has been depleted. The festival reminds people of the scarcity of food. It is a time to offer prayers for a good harvest in the coming season. Prayers are possibly the most significant part of this festival. Differences exist in the presentation of the Bihu Dance, depending on the community presenting it.

Moran Bihu Moran Bihu is a typical form of Bihu Dance practiced by the Moran tribe of Assam. Generally, young Moran boys select a place far away from the din and bustle of the city. Here they make a wooden bamboo-house known as the Bihu-Ghar. The ghar is separated into two areas – one for the young boys and the other for the girls. Their songs and dances are woven around the theme of love and yearning. Indigenous instruments such as the dhol and pepa provide the musical accompaniment.

Deori Bihu The Deoris of Assam are a riverine tribe who originally belonged to the Lohit district of Arunachal Pradesh. They have preserved and maintained their traditions, religious beliefs and practices. The Deories celebrate the Bohag Bihu or Bhohagiyo Bihu and the Magh Bihu or Maghyo Bihu. The presentation of Bihu by this community has a distinct style.

Mishing Bihu Mishing Bihu is a form of Bihu dance associated with the Ali-Ai Ligang festival (seed sowing festival) of the Mishings. The dance demonstrates the various stages of the process of cultivation from sowing to reaping. The Bihu songs of the Mishing tribes have a telltale note, a lovely ‘eiiyoo oh’ that rises and falls, as if a cowherd is calling out to his beloved who is reaping the paddy. The Mishings have starkness in their Bihu that captures the spirit of the festival, of Spring, fertility, longing, of the beautiful kopon flower (the Assamese orchid) and love like no other. It is the time to sing about Jonki and Panoi, the Romeo and Juliet of the Mishings.

Jeng Bihu Jeng Bihu is an ancient form of Bihu Dance from Upper Assam. Only women perform this form of Bihu Dance on a moonlit night in a place far away from an inhabited area. The word Jeng possibly means an obstructive barrier between the performers and the audience.

Mukholi Bihu This dance is similar to the Rangoli Bihu. The young boys invite the girls with Bihu songs, the beating of drums and the tunes of the pepa to join them in the open fields. They exchange feelings of love and affection in the season of love, Spring. The buffalo horn pipes and bamboo clappers paint a portrait of Spring that is not seen anywhere else. It is a time when youngsters meet in the fields to dance, a time when young girls in love weave handkerchiefs for their chosen ones.

The other folk dance forms of the state include:

Kahin Ghuruwa Nach This is also a part of the traditional Rangoli Bihu Festival of Assam. Young boys and girls attired in traditional costumes perform this dance to the rhythm of the dhol. The dancers very artistically place thaalis on their bodies and strike different poses during the performance. The lead dancer places as many as twelve to fifteen thaalis on his body while dancing.

Bordoishikla The Bodos like the other communities of Assam have nurtured their own distinctive music and dance forms. They have contributed towards upholding the cultural traditions of Assam to a large measure. Bordoishikhla, a very special folk art form of the Bodo community, is one of the most colourful and rhythmic dances of Assam. Young girls assemble in a particular area of the village to perform the dance to relieve themselves of their wearisome days’ work through singing and dancing. It is also closely associated with harvesting and is performed to welcome a good Monsoon. The dancers perform with bamboo clappers in their hands, which provide the rhythm for their movements. The colourful costumes worn by the dancers and graceful body movements make the dance fascinating. This group dance is performed to the accompaniment of traditional musical instruments like Kham, Siphung, Jotha, Charinda and Cymbals.

Domahi Kikang The Karbi tribe of Assam performs the Domahi Kikang Dance during Spring. There are two varieties of this dance, one is performed by the Karbi tribes living in the hilly areas of Assam and the other is performed by the Karbi residents of the plains. The Karbi youths carry decorated swords and present a very enchanting dance.

Jhumur The Jhumur Dance is a traditional, highly rhythmic folk dance of Assam and is extremely popular with the ‘Kulis’ (people who work in the tea gardens). The dance is usually performed during Autumn. It is secular in concept and has a distinct identity. The dance is performed to the rhythmic accompaniment of the Madal. The young and old dance together in gay abandon. The costume worn by the Jhumur dancers is different from the traditional costume worn for the Bihu dance.

Mishing Gumrak The Mishings are one of the largest plain tribes of Assam. Ali-Ai-Ligang is their most important festival, held every year in the month of Falgun. The dance form associated with this festival is Gumrak. The dancers demonstrate various stages of the process of cultivation through their performance. The atmosphere is charged with the music of the dumdum, pepa, siphung and gung gang. The girls perform this rhythmic dance, attired in their best Ribigaseing and Ribiyege. The festival continues for five days and during this time dancing and feasting takes place in the courtyards of the village homes. The festival concludes with ‘Dapan Tipan’ or a community feast. The last day of the festival is called ‘Lilen’.

Bisuyo Jama Dance

The Bisuyo Jama Dance is one of the most attractive dance forms of the Deori tribe of North East Assam. In the Deori dialect ‘Bi’ means extreme or excess and ‘Su’ means rejoicing. So Bisu indicates the time for rejoicing. The most important festival of the Deori community is ‘Bohagiyo Bisu’, which lasts from a week to a fortnight. Spring is an important time for the Deoris who are mostly cultivators. The young boys and girls spend the late evenings dancing to the rhythm of melodious Bisu songs. Through this celebration, the Deoris pray for the peace and prosperity of the village.

Muchaglangnai Dance The Bodo community is known for its rich cultural heritage. The lively tunes and the colourful attire of the dancers, (consisting of the dekhona and aarnia) make this dance particularly interesting and attractive. The young girls dance to the lively beat of the Kham, a traditional musical instrument.

Langkhon Fuja Mishawa Langkhon Fuja Mishawa is a traditional dance of the Tiwa tribe of Assam. Tiwa means Enlightened People. The people belonging to this tribe were originally known as the Laloongs and they inhabited the western part of the Nagaon district of Assam. The Tiwas observe Beusakh Bihu, Magh Bihu and many other religious festivals. All their festivals start on the first Wednesday of the related month. The Langkhon Fuja Mishawa is performed during the festivals observed in the months of November, December and January. The theme of the dances is man’s relationship with and dependence on nature. The dancers wear colourful traditional costumes and carry decorated bamboo sticks. Singing, drum beating and the melodious strains of the flute accompany this very enjoyable and choreographically interesting tribal dance forms.

Rabha Dances (Dances of the Rabha Community)

Farkanti Dance The Rabhas believe that the souls of the dead are reborn in this world not only as human beings, but also as animals and birds. According to ancient belief, the three birds, Manchelenka, Tandalenka and Batiktika represent the souls of the departed. During the performance of the Farkanti Dance, these birds are used as symbols of friendship and trust. The Farkanti Dance is performed after the death of a person, in the presence of the kith and kin of the deceased, his friends and community. The purpose of the dance is to enliven the sorrowful atmosphere in the deceased person’s family. Through the dance, prayers are offered to show reverence and respect to the departed soul.

Hamzar Dance Hamzar refers to an age-old agricultural tradition of cultivating paddy on land cleared of forests in the hills and plains. This form of agricultural practice is known as ‘Jhum’ or “slash and burn” cultivation and has been practiced by many tribes from primitive times. It is still largely prevalent among the Rabhas. The poorer sections of the tribal community resort to Hamzar for cultivating Ahu paddy because they do not have suitable plainland to produce Sali paddy. The lure of a higher yield attracts even the comparatively well-off sections of the community to Hamzar. The tradition of Hamzar has well-defined roles for the Rabha man and Rabha woman. While the Rabha men clear the land by cutting down the trees of the forest, the women folk scrub and sweep the land. Both men and women take part in ploughing the land and sowing the seeds. The men keep vigil at night to protect the farmland. They spend the night on raised platforms known as ‘Robongs’. During the day, the women take care of the crops by scaring away the birds and insects. Both men and women folk do the reaping of the harvest. All this is very aesthetically depicted in the Hamzar Dance.

Dhaowa Dance Hostilities, struggles and conflicts that ultimately culminate in battles and wars are part of human existence from time immemorial. The brave Rabha people have been faced with such situations innumerable times and have fought many battles with other hostile groups. The Dhaowa Dance is performed ceremonially just before the Rabha warriors set out for the battlefield. This dance form symbolises the bravery and undaunted spirit of the Rabha people that defies defeat or even death.

Santhar Dance The Santhar Dance is part of the Festival of Baikho Puja in the Killa Dibi Khai tradition. The festival ends with much celebration and the Santhar Dance is an integral part of it. The dances describe the joys of youth and love. The Santhar dance is also a medium for conveying proposals for marriage.

Pangba Dance According to tribal belief, the movement of the stars destines man’s fate. One such ancient belief is that during certain movements of the stars, the different Gods of Diseases enter the human body causing different ailments. Of the many Gods of Diseases, the most ruthless is God ‘Pangba’. When he enters the body, the person experiences immense pain. The tribal communities believe that performing a prayer dance in front of the deity can cure the ailing person. In essence, the Pangba is a prayer dance and is performed to calm down a hostile God. It is a helpless plea of man to the mysterious, unknown and sometimes hostile forces of nature.

Sutradhari Nach The Sutradhari is an important character, who links the different sequences of the traditional classical theatre form of Assam, the Ankiya Nat. The Ankiya Nat begins with the entry of the Sutradhar to the rhythmic beats of the Khol. Intricate footwork and fluid dance postures are an integral part of the Ankiya Nat. The Sutradhar narrates the portions of the storyline that are not dramatised on stage and also recites the initial Bhatima, using different ‘hastamudra’ or hand gestures to explain the subject matter of the verses.

Ojhapali and Deodhani Nritya This traditional dance belongs to the pre-Sankarite era. It is performed during the celebration of Manasha Puja. The dance has a vigorous rhythm and the dancers often go into a trance during the performance. The Ojha narrates the Manasha Purana with his Paalis. The Ojhapali is followed by the Deodhani Nritya, which cannot be performed without the former. Nowadays, during an Ojhapali recital, stories on different social themes besides those from the Puranas are also enacted. The Ojha expresses the content of the stories through songs and gestures and the Paalis follow it by repeating the lines. In the course of the performance, they present short items depicting the movements of animals and birds. The musical instruments used are the Dhol and Khanjani (small cymbals). The Ojha wears the conventional dress of the Sutradhar. Young unmarried girls dedicated to Goddess Manasha perform the Deodhani Dance. The dance is performed in front of the deity to the accompaniment of the Jai-Dhol and Bhortal (big cymbals) with graceful hand gestures and intricate footwork.

Kushan Dance The Kushan Pala and Kushan Dance is a folk art form popular in undivided Goalpara district of Western Assam, Jalpaiguri and Coochbehar districts of North Bengal, Purnia region of Bihar, Rangpur and Mymensingh district of Bangladesh, Tuochi region of Bhutan, Jhapa region of Nepal and the Western region of Meghalaya. This ancient, traditional and religious art form draws its theme from the Ramayana. In the Kushan Pala we find a union of song, dance, narrative and dialogue. The word Kushan is derived from the Sanskrit word “Kushilab”. Kushilab is the first preacher of the Valmiki Ramayana. It is believed that the Kushan play and dance are derived from songs from the great epic, sung by the sons of Lord Rama, Kush and Luv. There are two types of Kushan play or dance, based on the musical instruments used — Bena Kushan and Dotara Kushan. The number of performers in a Kushan play or dance is fifteen to sixteen. They are designated by different names such as Mul or Geedal or Kushani, Pali or Pail, Dohari, Bain, Chukuri or Chokara. The Mul or Geedal is the main singer of the Kushan play. He has to be proficient in singing, dancing, theatre and playing of different musical instruments. There are three or four Palis or musicians in the Kushan Pala. The chief Pali is known as the Daina Pali. The Dohari is the main assistant to the Geedal. The Dohari must not only be proficient in singing, dancing, acting and playing of musical instruments but should also have presence of mind. The cast also includes one or two Bayans who play the Khol or Mrirdanga. Either a young boy dressed as a girl or a young girl plays the role of the “Chukuri” or dancer. The different musical instruments used include the Bena, Khol, Mandira, Sarinda and Bansi. The play opens with the Kholabar or Opening Concert. This is followed by the Abahan or Ram Vandana. The dancers then perform the Saraswati Vandana. This is followed by the Saptakanda Ramayan.

Baitha Maro Dance The river Brahmaputra and its tributaries flow through the undivided Goalpara district of Assam. The Baitha Maro Dance describes a very popular sporting event of this area — boat racing. Special songs and dances that cheer the boatmen to win the race are associated with this sport.

Goalnoni Dance Songs and dances are an integral part of the lives of the people in Goalpara district. This traditional dance describes the process of harvesting. The dance, which is performed by the wives of the farmers during the harvesting season, begins with a Laxmi Baran or invocation of Goddess Lakshmi.

Zikir During the time of Shankaradeva, Muslims joined in devotional prayers sung in Hindu temples, while Hindus joined in the chords of Zikir songs (the word Ziqr in Arabic means remembering Allah’s name). The Muslim Saint Shah Milan, popular known as Ajan Fakir, who had migrated from Baghdad to Assam, composed the original Zikir songs. Generally, Zikir songs are accompanied by dance and performed by the Muslim villagers on social occasions such as community feasts and weddings.

Sattriya Dance The Sattriya Dance form was introduced in the fifteenth century A.D. by the great Vaishnava saint and reformer of Assam, Srimanta Shankara Deva, as a powerful medium for the propagation of the Vaishnava faith. He integrated art and bhakti through music, dancing and drama. His aim was upliftment of the Assamese society, which was ridden with religious malpractices. He was opposed to caste privileges and this appealed to the broad tribal base of the state. Through his simple dramas in the Brajabali language, he made the audience aware of the Bhakti Rasa and selfless devotion for the Supreme Being.

Bhortal The Bhortal Dance is an innovation of the famous Sattriya Dance, the classical dance form of Assam. This invocatory dance is performed with big cymbals

Om Tat Sat

                                                        

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