Hindu Culture (Other Folk Dance) -2

Hindu  Culture – Other Folk Dance

Other Folk Dances:

Tripura

Tripura is justly proud of its rich cultural heritage. Like the Bengali community each Tripura tribal community has its own dance forms. The tribal communities have cultural activities throughout the year, which play a significant role in instilling a feeling of brotherhood among the members of the community. Likewise, the Bengali community is also particular about nurturing its own traditions. The tribal community and the Bengali community together build up a confluence of cultures.

The traditional folk music of the indigenous people of Tripura – Reangs, Chakmas and Lushais – dates back thousands of years. The Vasant Raas, the dance of the Hindu Manipuris of Tripura and the Hai Hak Dance of the Halam community are some of the more distinctive dance forms.

The main tribal and folk dance forms include :

Bizu Dance The Chakmas form a major part of the tribal population of Tripura. The Bizu Dance is a distinctive dance of the Chakma community. Bizu means Chaitra Sankranti or the end of the Bengali calendar year. Through the Bizu Dance, the members of this community bid goodbye to the year that has just ended and usher in the New Year. The dance is beautifully orchestrated to the rhythm of typical folk instruments of Tripura like Dhol (Drum) Baajhi (Flute), Hengrang (a musical instrument made from bamboo) and Dhuduk (an instrument similar to the Hengrang).

Lebang Boomani Dance The Lebang Boomani Dance is the harvest dance of Tripura. In this dance, the dancers aesthetically depict how bamboo clappers are used to catch colourful insects called lebangs. It is believed that the number of lebangs caught signifies how good the year’s harvest will be. The dance is performed by men as well as women. The men clap the tokkas or bamboo clappers while the women join the circle waving colourful scarves.The dance is performed to the accompaniment of the Sarinala and a drum called Pung.

Garia Dance The life and culture of the people of Tripura revolve around Jhum (Shift Cultivation). Jhum at first involves selecting a piece of land and clearing it, after which the seeds are sown. By mid April, when this process is completed, they pray to “Garia”, the God of Good Harvests. The Garia Puja celebrations continue for seven days. The Garia Dance is an integral part of the Garia Puja. The revered deity is worshipped through singing and dancing.

Hai Hak Dance The Hai Hak Dance is another dance connected with Jhum cultivation and performed by the Halam community. At the end of the harvesting season, the Halam community invoke the blessings of Goddess Laxmi. They perform the Hai Hak Dance as part of the festivities.

Jhum Dance As Jhum involves a tremendous amount of physical labour, the cultivators in an effort to divert their minds indulge in singing and dancing. The dance depicts their life style, mode of cultivation, culture and traditions. This ‘working song’ serves as an inspiration for them to work harder.

Sangrai – Mog Dance Sangrai is a special festival of Tripura. During this three-day festival, the younger members of the Mog community move from one house-to-house carrying the pious Wish Yielding Tree (Kalpataru) on their heads. This ceremony features singing as well as dancing. Water is carried in an auspicious pitcher and the elders of the community bathe with this water. Fragrant sandalwood paste is applied to the entrances of the houses in the village and the water of green coconuts is sprinkled on every house. In a grand ceremony fragrant water is poured on the roots of the ‘Bodhi Vriksha’. The dance is performed to the accompaniment of a traditional Khouyang.

Hozagiri Next to the Tripuris, the Reangs constitute the second biggest group among the tribal population of Tripura. The Reangs like other tribal communities have a distinct art and culture of their own. Dance forms an integral part of their lives. While the themes of the dances remain almost the same as the other tribes, the dance form of the Reang community is quite different from the others. The movement of the hands and the upper part of the body is somewhat restricted, whereas the movement from the waist to the feet creates a wonderful wave. The dancer stands on an earthen pitcher with a bottle on her head. A lighted lamp is balanced on the bottle. The Reang dancers bend and twist the lower parts of their bodies in a rhythmic fashion, without disturbing the bottle and the lighted diya. This dance is performed during a festival celebrated annually in the month of April, just before the selection of a site for Jhum, to pray to ‘Mainuma’ the Goddess of Wealth. The Reangs believe that if the Goddess is pleased with the singing and dancing, she will bless them with bumper crops.

Galamuchamo The Tripuri community performs this dance at the end of the harvesting season. The dance is of special significance to the community. Through the dance the community expresses their gratitude to the Gods for a good harvest. The Galamuchamo dance is performed by dancers dressed in traditional attire. The musical instruments played during the dance are typical to Tripura.

Dailo Nritya Dailo Nritya is a dance performed amidst great festivity and gaiety. This dance is performed when the crops are brought home. Invitations are sent to neighbours, friends and relatives. The entire community participates in the dance.

Cheraw The Cheraw Dance or Bamboo Dance is a dance of the Lushai community of Tripura. This dance is performed by women to help instill confidence in a pregnant woman. It is believed that even if the pregnant woman dies during childbirth, she will leave for the heavenly abode in peace.>

Wya Dance The Mogh community of Tripura celebrates the Wya festival on the full moon night of the month of Ashwin of the Bengali calendar year. Young boys and girls stand in rows with lamps in their hands to pray to Lord Buddha. After the worship, they sing and dance in the premises of the Buddha temple. This traditional dance is known as the Wya Dance or the Lamp Dance.

Gajan The Bengali community of Tripura celebrates the Gajan festival. Prayers are offered to Lord Shiva for a happy and prosperous new year. Dressed as Lord Shiva, Goddess Durga, Goddess Kali, Nandi and Bhringi (the associates of Lord Shiva), the performers dance to the beat of drums and sing songs in praise of Lord Shiva.

Other Folk Dances:

Manipur

In Manipur, dance is seen not only as an art form but an integral part of life, a medium of expression, which is closely interspersed with its social fabric. Manipuri Dance is purely religious and its aim is to create both for the dancer and the audience, an essentially spiritual experience. Not only is dance a medium of worship and enjoyment, a door to the divine, but is indispensable to all socio-cultural ceremonies. Dance is considered by Manipuris as a form of worship and is accorded great reverence.

Manipuri legend has it that when Lai Guru Sidaba created the earth, he created seven Laibangthous (Gods) and seven Lainuras (Goddesses) and these celestial beings leveled the uneven surface of the earth with their dance.

The study of Manipuri dance has been imparted over the ages in the ‘Guru-Shishya Parampara’ through a holistic approach. Here, students are imparted knowledge not only on dance but also on the values of life.

The traditional repertoire of Manipuri dance is varied.

First, there are the pre-Hindu ritualistic dances of the priestesses, which describe the creation of earth, heaven and man.

Second, there is the ancient martial art form of Thang-Ta, which, like the first, is a pre-Hindu ritualistic dance.

Third, there is the Rasleela, the cosmic dance of Lord Krishna

Fourth, there are the male-dominated forms, performed to the sound of percussion and cymbals. It accompanies ceremonies like childbirth, marriage and bereavement.

Besides, there are various folk dance forms, which are performed at different festivals all year round.

Manipuri Dance whether folk, classical or modern, is devotional in nature. The folk dances of Manipur captivate the beholders with their exotic costumes and simple but graceful rhythm. Their folklore is rich in quality. The dances are ritualistic and recreational, religious and temporal. The ritualistic dances are performed at a particular rite or ceremony or sacrifice and these dances naturally have a spiritual and religious basis.

The important dance forms include:

Lai Haraoba

Lai Haraoba means the Festival of Gods. The traditional Lai Haraoba Dance, which enacts the ‘Creation of the Universe’, was initially a part of the Lai Haraoba festival. The dance is traditionally presented before the shrines of Umanglai, the ancestral God of the Meiteis, at the village temples. The principal performers are the maibas (priests) and maibis (priestesses), who are considered to be embodiments of purity. They invoke the deity through their repetitive and rhythmic movements, which are highly symbolic. It is essentially a ritualistic dance and is considered to be the precursor of the classical Manipuri dance form as seen today. The maibas and maibis, through their dance, trace the philosophy of the Meitei people and describe evocatively their way of life.

The Lai Haraoba festival, which mirrors the pre-Vaishnavite culture of Manipur begins towards the end of the year and continues into the New Year (April-May). It is celebrated at the shrines of the ancestral forefathers known as ‘laibungs’ scattered all over the land. At this festival, people seek atonement for their sins and also resolve to lead a chaste life in the coming year.

The different segments of the festival are presented as Meibi Laiching Jagoi, Thougal Jagoi and so on.

Meibi Laiching Jagoi

This dance is performed by two Maibis, in which they enact the creation of the world. Through this dance, the maibis invoke the deity to initiate the celebrations.

Meibi Jagoi

Despite the prevalence of the Vaishnavite faith, every part of Manipur has a guardian deity, who still commands the devotion of the state’s denizens. The rains herald month long festivities. Through this dance, the maibis invoke the deities and exhort them to bless the entire community. Depicting the creation and evolution of life, the dance is an ultimate offering to the guardian deities.

Thougal Jagoi Laisam Jagoi In this dance, men and women worshippers present themselves before the deity, for an auspicious beginning to the ritualistic duties of the day. Towards the end of this dance a tug-of-war between men and women is enacted. The dance has been stylized for stage presentations.

Kanglei Haraoba It is said that when Khoriphaba, the son of Laviningthou Soraren, the Lord of Heaven, reached the earth in search of his mother, Konthoujam Thampa, he was enchanted by the beauty of the earth. He then saw Thanjing, Marjing, Wangbren and Konbru (the ancestral Gods who guarded the four corners of the earth) performing a dance and requested them to allow him to join in. The Gods intially refused him as he had no partner. However, they later allowed him to choose a partner from amongst the Gods’ divine daughters present in the audience. Blindfolded, he chose his partner with a Kangjei Kaghu (stick) and then joined the dance. Though there have been a few modifications, the tradition of Lai Nupi Thiba, which means God’s search for a consort, continues till date and is performed by priestesses.

Pao-Sa Jagoi This dance is part of the traditional Kanglei Haraoba. The word ‘pao-sa’ means conversation. Nongpok Panthoibi set out in search of Nongpok Ningthou. In the course of her journey, she reached Nongmai-Ching, a hillock where she met Nongpok Ningthou. As soon as she greeted him, they recalled incidents of their past life and celebrated by singing and dancing.

Kabui Dance

The Kabuis, inhabiting the western hill ranges of Manipur, have a rich tradition of dance and music and are well known for their exquisite costumes. During the Gang-Ngai festival, the Kabuis perform a series of dances in different stylized forms, accompanied by the sound of heavy drums and high-pitched songs. The boys wield sharp weapons (daos) in their hands and move around in circles along with girls dressed in traditional costumes. The Shim Lam Dance and the Kit Lam Dance are some of dances of the Kabui Nagas. The Shim Lam dance is also known as the Fly Dance. According to Kabui legend, a prophet named Mhung was the creator of laws relating to all living creatures on the earth. Mhung performed a sacrifice called ‘Jourumei’, to which all the creatures were invited. Each of the species performed their own dance. The Shim Lam dance is believed to be based on the dance that was performed by Tajuibon, a flying insect with shiny wings, which moves around from one flower to another drinking nectar. The dance is performed during the Gang-Ngai Festival of the Kabuis. The Kit Lam is a colourful dance performed by the Kabuis to celebrate their harvest. This annual festival mainly involves merrymaking. The rhythmic dance imitates the movement of the crickets.

Katabenlu Laam Kabui The Katabenlu Laam, which means Bangle Dance, is known for its intricate footwork and rhythmic movements.

Takin Taremlaam Kabui This dance is also performed at the Gang-Ngai Festival of the Kabuis in January. The Kabuis, through their dances, pay homage to their ancestors and worship the spirits of the home and hearth.

Mao Naga Dance The Mao Naga Dance is a popular dance of the Mao Naga community of Manipur, who reside in the northern mountains of Manipur. Young girls and boys perform the dance during the annual harvesting and seed-sowing festivals (Chikhuni). It involves intricate footwork along with graceful body movements. Mao Maram Dance (Asharali Odo), a colourful dance known for its vocal rhythms and mellifluous movements, is one of the popular dances of this community.

Luivat Pheizak Dance The Luivat Pheizak Dance is one of the most popular dances of the Thangkhul Naga community of Manipur. This dance, which depicts the different stages of cultivation and the simple lifestyle of the Tangkhul Naga community, is performed during all traditional festivals. There are no musical accompaniments other than the quadruple tones or notes of different pitches. The dance features colourful costumes, variation of notes from act to act and the agile movement of hand and legs.

Thang-Ta

The art of Thang-Ta represents an ancient and remarkable tradition of Manipur. It exhibits the extraordinary technique of combat using the Thang (sword) and the Ta (spear). Thang-Ta symbolises the traditional martial art techniques of the Manipuris. It was customary for all Manipuri men to undergo rigorous training to master this art in order to prepare them to respond to a war-like situation. This dance helps provide basic training in warfare and develops personal strength, speed, sensitivity and agility of mind. In appreciation of the various benefits afforded by the dance, the Kings of Manipur used to maintain Thang-Ta experts in their courts.Training for this dance begins early and is an arduous task. All dance movements of the Meitis are said to have originated from this martial art and are linked to the snake lore of Manipur. The movements of the Thang help to ward off evil spirits, while the Ta is held in position to protect. The martial Meitis practice three types of Manipuri martial arts — sword fighting, spear-fighting and wrestling. These various forms of self-defense have been transformed into graceful performing arts. A Thang-Ta performance begins with Khurumjaba, an invocatory item, in which the performers seek blessings from the Lord, the gurus as well as the audience by holding their instruments or with bare hands.

The different variations of the Thang-Ta include:

Thang-Chungoi Yannaba This is a duel fight, where both the warriors carry a sword and a shield. The swordsmen use the Chungoi (shield) to protect themselves against possible attacks. The sword and the shield are wielded with agility and precision to thwart all attempts of attack.

Ta-Kousaba This dance mainly involves the use of the spear and is performed in an open area. There are nine kinds of Khausaral (steps with a spear), evolved by experts over the ages, which have been handed down through generations. In this performance, the artistes select one of the Khausarals and present it in the form of a dance. The warrior dancers hold a spear in one hand and a chung (a long shield) in the other. This dance forms part of the Kwak Jatia and Lai-Haraoba festivals.

Thang-Ta-Chaieraba This dance comprises a duel between the sword and the spear. While one dancer carries a sword and a shield, the other wields a spear but no shield. The man carrying the spear performs steps called Khousaba under the overarching principle called Khausaral. The steps used by the swordsman are known as Thanghairol. In this dance, both men try to defend each other’s attack.

Yet-Thang Oi-Thang Yannaba This fight involves great skill and proficiency as each dancer handles two swords simultaneously. This martial art form is used in battles but has been stylised for stage presentations. It is mainly performed during royal functions and at the Lai Haraoba Festival.

Thang Leiteng Haiba Also known as decorated sword play, this dance is only performed by highly skilled swordsmen. The choreography combines martial steps with complete mastery of the weapon.

Thang Amaga Aniga Yanaba In this fight, a man equipped with two swords fights two men at a time, one handling a sword and the other, a spear. The principles and rules of Thanghairol are followed in this dance too.

Chei Khatpa This dance forms part of the Thang-Ta repertoire and is performed using one long stick and two shorter ones. It is a form of Cheitek Kotpi, an indigenous Manipuri game.

Meibul-Thang-Ta

Successive gurus of this martial tradition have enriched this variant of the Thang-Ta. This dance uses the Thang-Leiteng (sword movement) and Ta-Khousaba (spear movement) but the weapons are replaced by firesticks. This interesting art of the fire dance known as Meibul Haiba is a visual treat.

Lhou Sha The Lhou Sha is a war dance performed at every confrontation between two villages. The dance form has been preserved as part of the tradition of the Maring community of Manipur and marks the conclusion of significant festivals. The dance, which was initially performed by men only, has evolved into a folk art, including the tribe’s womenfolk in its ambit.

Dhol Dholak Cholom

Holi, the festival of colours, is known as Yaoshang in Manipur and is accompanied by devotional songs and dances. After the advent of Hinduism, Vaishnavism became a way of life for the Manipuris. Consequently, Sankirtan, or the worship of Lord Krishna and Radha through the medium of music and dance, became the most powerful expression of Bhaktirasa. This Vaishnavite tradition of devotional songs and dances is performed as an offering to Lord Krishna. Sankirtan, now an integral part of Manipuri culture, is performed on all important occasions and festivals. During the festival of Yaoshang, Dhol Dholak Cholom is performed using the dhol, the dholak and a variety of drums. Dressed in colourful costumes, the drummers play a spectrum of rhythms and perform acrobatic feats simultaneously. The dance beautifully combines vigour and grace.

Dhol Cholom The Dhol is a large drum used during Manipuri dances, especially on religious occasions. The Dhol Cholom is a form of singing and dancing to the accompaniment of the dhol and is part of the Manipuri Sankirtan tradition. Dhol Cholom, which involves the intricate interplay of drums and fire play, is performed during the Yaoshang festival.

Pung Cholom

The Pung, or Manipuri drum is the soul of Manipuri dance. The Pung Cholom dance is performed during the festival of Holi. The Pung Cholom or Drum Dance is a visual interpretation of the various rhythmic patterns played on the pung. In this dance, the drummer identifies completely with the intricate rhythms he plays on the drum and expresses it through corresponding body movements and footwork. The Pung Cholom is part of the music of the Sankirtan tradition and is acclaimed as one of the best art forms of the state.

Pena Cholom The Pena is a traditional string instrument of Manipur that is played during Sankirtan and on other religious occasions. In Pena Cholom, the dancers execute graceful body movements while playing the Pena.

Mandil Nartan This is a festival dance performed during the Jhulan Yatra in Manipur. The dancers use small cymbals (Mandila) to provide the musical accompaniment to their performance. The Mandil Nartan depicts Radha and Krishna on the Jhula (swing) surrounded by the Sakhis who dance around them.

Khubak Ishei This is a festival dance performed during Rathayatra. The song of Dashavatar is performed while the artistes clap their hands as accompaniment to the dance. Khubak Ishei depicts the Tandava aspect of Manipuri dance.

Raas Raas is a highly evolved dance drama, which depicts the union of Lord Krishna with his female devotees, the gopis, and in particular, his consort-devotee Radha. This fascinating dance of Manipur has been rightly called the Jewel Dance from the Land of Jewels. The dance embodies the rich Vaishnavite tradition of Manipur. The themes of the dances centre around 'Krishna Leela' or the different episodes from Lord Krishna’s life. Vasant Raas, which is one of the most beautiful Raas Leelas, is celebrated on Chaitra Purnima, the full moon night in the month of Chaitra. (April - May). The dance depicts the eternal love of Radha and Krishna. The richness of the costumes worn by the performers adds grandeur to this dance. It ends with an 'Aarti', a ceremonial worship of the Holy Union. Raas Leela was initially visualised by Maharaja Jay Singh in AD 1700. Every Manipuri dance based on the theme of Lord Krishna’s life, reveals as it progresses, the supreme love of the Lord for mortals. The dances reflect disciplined joy and power. They have rhythmical subtlety, slow suspense, speed, lyricism and drama. The different segments of the dance are functionally interdependent and a beauty that transcends the suggestive allurements of mere sensual grace illumines the whole. Profoundly, they express the inwardness of life and love.

Other Folk Dances:

Sikkim

The beautiful hill state of Sikkim is cradled by the majestic Himalayas. Folk songs and dances, which embody the colours and sounds of the mountains, form an integral part of Sikkimese culture. Some of the dances describe the beauty of the natural surroundings, some depict the harvest season and others are performed for good luck and prosperity. Many of the rural folk dances are based on the social customs and religious practices of the people. Several musical instruments that accompany these dances are unique to Sikkim. With its one hundred and ninety four monasteries, Buddhism seeps into everyday life, yet it intrudes into nothing. Padmasambhava or Guru Rimpoche is the patron saint of the state. The breathless beauty of Sikkim’s landscape lends an air of magical unreality to it.

Some of the main tribal and folk dance forms are:

Singhi Chham Mount Khan-chen Dzongpa (Kanchanjunga) is the third highest mountain in the world. This towering creation of nature is sacred to the people of Sikkim. It has been decreed the guardian deity of Sikkim by Guru Rimpoche (Guru Padmasambhava). This majestic mountain stands guard over the land holding in its crevices the sacred mountain peaks known as the Five Treasures. Its associate peaks look like the legendary snow lion, fierce and fiery, with a gorgeous mane hued in turquoise. The snow lion is considered an important cultural symbol of the state and is elaborately depicted in the ‘Singhi Chham’ or the Snow Lion Dance. The snow lion is a mythical animal. The Sikkimese people believe that if one sights the animal it brings good luck. This cultural symbol of good luck comes alive in this dance.

Yak Chham High in the mountains, the Sikkimese herdman’s best friend on the ragged slopes is the yak. The yak is his sole means of transportation, besides providing him with milk and meat for sustenance during the long winter months. Its rich mane is woven into cloth that protects him from the biting cold, its rich milk is churned into cheese and butter and its rich fibre is woven into blankets. This dance depicts the movements of the yak and the simple lifestyle of the herdsmen of the mountains. The dancers don the costume and mask of the yak, and tune their steps to traditional songs and instrumental music

Tamang Selo

Tamang Selo is a traditional Sikkimese folk dance patronised by the Tamang community of the state. A traditional musical instrument of the Tamangs, called the Damphu, accompanies the dance. The spellbinding dance, which is full of fun and vigour, depicts the colourful lifestyle of the people of Sikkim. It is performed during the Dasain or Dusserah festival, and expresses the joy and happiness of the people. The young and old come together to take part in the dance.

Shelo Shelo is a Nepalese folk dance that is performed during Vasant or the season of Spring. As new leaves or buds appear on the trees, young hearts are filled with love and longing. The young boys express their love to their beloveds. Through their songs, they compare the beauty of the girls with the beauty of spring and propose to them. When after a lot of coaxing, the girls accept the proposals, they dance together with the joy of Spring in their hearts.

Sherpa Dance Sikkim’s Sherpa Dance is a unique dance form. The costumes and headgear worn by the dancers are similar to Tibetan costumes. The difference with Tibetan dances lies in the foot movements and the language of the songs. The songs praise the colourful flora and fauna of the land and the dances depict the lifestyle of the Sherpas. The Sherpas are very attached to their land and proud of their heritage. Through their songs, the religious and God fearing Sherpas thank God for the beautiful Mount Everest which protects their land. Through their prayer dances, they pray for peace and happiness all around.

Ghantu

The Ghantu dance is a Sikkimese folk dance patronised by the Gurung community of the state. This ancient folk dance form depicts the colourful lifestyle of the people of the land. The dance, which is full of fun and vigour is performed by young girls in traditional costumes and headgear.

Kinchum – Chu – Bomsa Through this popular folk dance the scenic beauty of Sikkim is beautifully expressed. The Lepchas of Sikkim thank God for their beautiful land – Ney Mayal Lyang – which means a hidden paradise on earth. The snow-covered mountains, the falls, rivers and brooks, luxuriant valleys with vast green meadows, serene monasteries, sacred caves and holy lakes lend sanctity to this wonderful land. The young boys and girls perform this dance wearing their colourful traditional costumes. The dance is accompanied by traditional music and singing.

Nyongri – Nyot Cultivation of maize is an important agricultural activity in Sikkim. The dance depicts the entire process of ploughing the fields, tilling and sowing the seeds, weeding and harvesting the crops. Artistes wearing colourful Sikkimese costumes perform the Nyongri–Nyot dance. The dancers hold different traditional implements in their hands, making the dance a visual representation of the agricultural process.

Gayley-Yang Dance The Gayley-Yang Dance depicts the hospitality of the people of Sikkim. The young girls of the village perform this welcome dance to receive Guest of Honour. To pay respect to the guests, locally made beverages like Chhang and Bangchhang are offered to them. Melodious songs accompany the dance.

Sangey Chham Dance The Sangey Chham is an annual ceremony observed by all the monasteries in Sikkim. This grand festival lasts for two or three days, on the concluding day of which, the dance is performed. The statue of Lord Buddha and religious scriptures are taken out in a palanquin, for everyone to see. People from all walks of life join in the dance. The dancers wear traditional Sikkimese dresses.

Chu Faat This is an ancient dance of the Lepcha community of Sikkim, performed in honour of Kanchanjunga and its four associate peaks. The dance is performed on the fifteenth day of the seventh month of the lunar calendar every year. Dancers hold butter lamps and green bamboo leaves during the performance.

Denzong Neh–Na Sikkim is a land steeped in religion. This beautiful land with its bounty of gifts from nature, has received the blessings of saints and sages through the ages. Guru Rimpoche had said when he blessed this land, that the people of this land had hidden treasures in the hills and valleys. The hidden treasures were not precious metals or gems, but scriptures of teachings. In the Denzong Neh–Na dance, the sanctity of the land is highlighted through the songs and the movements.

Damsang – Lyang The Lepcha community of Sikkim is a community of very hardworking people. Many of them are involved in agricultural activities for a major part of the year. To lessen the burden of their work, they go around the villages singing and dancing. Through the dances, they depict the graceful movements of different birds and insects.

Maarooni Dance The Maarooni is a rare dance form that has its roots in ancient Nepalese culture. The songs that accompany this dance have a variety of themes ranging from mythology to every day life. While some depict heroic events from the lives of Lord Rama, Lord Krishna, Lord Shiva and other Gods of the Hindu pantheon, others deal with simple day to day incidents of the people of the land. The dancers move rhythmically, balancing on their palms copper thaalis with lit diyas arranged on them. In the olden days, the dance used to be performed by young boys dressed as girls. Two accompanists, one playing the madal (mridanga) and the other acting as the prankster, were also part of the troupe. The Nepali Brihat Shabda Kosh (Royal Nepal Academy) and the Nepali Shabda Parichaya (Mahananda Sapkota) carry elaborate descriptions of the Maarooni Dance. Today both boys and girls take part in the dance, singing as well as playing the instruments.

Other Folk Dances:

Jharkhand

Carved out of Bihar in 2000, many treasures of the relatively new state of Jharkhand situated in the Chota Nagpur Plateau is still less known to most people. Nature wears her best clothes in this state. Many rivers like the Damodar, Brahmani, Kharkai and the Subarnarekha, flow gently adding to the natural charm of Jharkhand. It is heaven on earth, where hill streams bubble like a young adivasi’s laughter. It is here that you can hear the sound of silence, taste the elegance of nature. The state is endowed with abundant mineral wealth, flora and fauna. The many tribes inhabiting this part of the country are scattered and spread all over the state. Jharkhand has proudly emerged culturally as an important multi ethnic state.

Over thirty indigenous communities exist harmoniously in Jharkhand. Some of the major tribes are the Santhals, Oraons, Mundas, Kharias, Hos and Cheros. Rich in culture and traditions, these communities have several colourful festivals. As the tribal communities gave up their gypsy life styles, they began clearing forests for settlements. The journey of their life is reflected in the rhythm of the different tribal and folk dances of the state.

PAIKA The Munda community of Jharkhand performs the Paika Dance. It is a stylized representation of the rituals connected with the preparations of war. The dancers hold bows, arrows, spears, swords and shields and the dance is, in fact a stylized worship of arms. The martial character of the dance is retained by the use of the shield and sword. The dancers display their skills in handling the sword and shield and the dance reaches a climax with the fast beat of the Madal. Previously the dance was performed to welcome guests, but nowadays it is also performed on different happy occasions like weddings. The Dussehra celebrations remain incomplete without this dance. The musical accompaniments of this dance are the Dhol, Nagara, Shehnai and Ranbheri. The Mundas originally came from North West India, but later moved to the Chota Nagpur Plateau. They began their settlements here by clearning forests. They were the first tribal people to resist colonization. The Paika Dance of the Mundas symbolises the great war of their community against the British. Besides their protective chest blades, the dances also wear colourful headgear and bells around their ankles. This captivating dance form, which is indigenous to the Mundas, is a martial art with variations throughout Jharkhand.

TRIBAL DANCES The Adivasis of Jharkhand (Mundas, Santhals and Oraon)s are born dancers and singers. Their songs and music are joyous and depict the festive spirit that prevails whenever there is an occasion for people to get together. The indigenous musical instruments and the traditional tribal costumes and jewellery worn by the dancers, add to the beauty of the dance.

Hunta Dance The Hunting Dance of the Santhals who live in the hilly plateaus of the Chota Nagpur region of the Santhal Parganas of Jharkhand is known as the Hunta Dance. This powerful dance requires a lot of strength and vigour and is performed only by men. The dance depicts the act of preparing for the hunt with bows and arrows, stalking the animal and finally killing it. Mime, slow strong stepping and measured movements are the distinctive features of this ancient tribal dance.

Mundari Dance The Mundari Dance is a very common and popular dance of the Mundaris. All members of the community can participate in this dance. This dance is generally performed to celebrate the newly weds. Munda songs are often mixed with songs in other tribal languages in such a way, that one can rarely identify the pure Munda elements in their songs. Munda phrases and idioms, when properly decoded, are as thrilling as any exciting discovery. The remarkable similarity between Munda songs and dances and those of other constituent tribal groups in the culture of Jharkhand, lies in this form of group dancing, performed with the swinging of the dancers’ bodies with especially expressive mudras or gestural language. The movements of the dance are very repetitive. The dance style has only a few steps. They move forward a few steps and then backwards the same steps.

Barao Dance The richness and variety of the Barao Dance and music is remarkable. The Oraon community of the state, who are mainly concentrated in the Hazaribagh Goomla area, performs this dance. The high table land is thickly dotted with hills and hillocks. The Oraons call themselves Kuruk. The ten lakh strong Oraon population of Jharkhand has folk songs, folk dances, folk tales and some traditional musical instruments, which are their own. Both men and women participate in these community dances. There are different songs and dances for different occasions and seasons. Every village has a Akhada or performing area in which in the month of Baisakh (April – May) all groups of the village organize a jatra (folk theatre) or dance festival. The Barao dance is held during this month. The community offers prayers to Mother Earth for a plentiful monsoon, so that a good harvest season may follow. The richness and variety of these songs is remarkable.

Jitia Karam Karam is the Oraons name for the Kadamb tree, which the Oraons consider very sacred. They worship the Kadamb tree as a deity. The Oraons used the Kadamb flowers and twigs as decorations. High pitched sounds and the rhythms of the dance touch the hearts of the people of Jharkhand. Through those songs and dances they celebrate their deep and life long attachment to the forests which itself appears to them as a deity.

Jenana Jhumur The Santhal and Nagpuri communities mainly perform the Jhumur songs and dances of Jharkhand. The Jenana Jhumur Dance is a traditional dance of the women of the Jharkhand region performed mainly during the period of cultivation in the rainy season. This is the time of the year when every member of the tribal community is hopeful of a good harvest. It is in this hour of joy and expectations that villagers of the Nagpuri community remember the dark days that they have just over come. Actually, there is no fixed season for this beautiful dance form, it is performed throughout the year, to mark all happy occasions and festivities.

Mardani Jhumur The men of the Nagpuri community and Southern cultures perform the Mardani Jhumur dance after the harvest. The musical accompaniments include the Shenai, Dhol, Kara, Nakara, Jhanj and Kartal. Like the Paika Dance, the Mardana Jhumur Dance is also a semi martial art form. The dance movements and the accompanying music are martial in character and the mood of the dance is that of the Veera (valorous). Occasionally one or two female dancers known as nachnis join in this dance with the men.

JHITKA AND DANGA Both men and women perform the Jhitka and Danga dances. The dances celebrate different feudal traditions. They are spontaneous expressions of joy and happiness and combine elements of reality and fantasy. The costume and headgear worn by the dancers is similar to that of the Paika dancers.

LAHASUYA. The Lahasuya songs and dances accompanied by rhythmic beats of the Madol, is a call for rain, if there is a drought. Both men and women participate in this dance.

DOMKACH

The Domkach is a distinctive folk dance of the Chotonagpur area of Jharkhand. The women of the bridegroom’s family perform this ceremonial dance after his baraat has left for the bride’s house. Since most men have left with the baraat, the women are on their own at home. Through this dance, they keep themselves awake and entertained. Moving in circles, they poke fun at each other and crack jokes through their satiric songs.

GHORA NAACH This dance is performed during wedding ceremonies. Men wear loose horse puppets around their waists and dance to the rhythms of indigenous folk instruments.

SERAIKELLA CHHAU The Seraikella Chhau is one of the three Chhau dance forms prevailing in Eastern India, in the states of West Bengal, Orissa and Jharkhand. This dance form based on the martial arts incorporates the Veera Rasa of the Indian dramatic spectrum. The Seraikella Chhau Dance is an art form, which combines popular appeal with sophistication. The nature of the themes is similar to those of the classical dance forms, but it has permeated the rank and file of the people. The dances are usually vigorous.

Other Folk Dances:

ANDAMAN & NICOBAR ISLANDS

The Bay of Bengal smiles to itself as it kisses the sand beaches along these islands. The dense green forests and colourful birds make the Andaman and Nicobar Islands an abode for the peaceloving, non-interfering happy and cheerful Andamanese and Nicobarese people. The tribes have their own traditions and culture, social customs and religious practices. Though people from other parts of the country, having different faiths, languages, customs and religions have settled down here, the original inhabitants have fiercely guarded their own social and cultural identity. Though the dances of the people of the islands do not have a wide variety, they are entertaining and unique in their own way.

Nicobarese Dance

The creative expression of the Nicobarese people is closely associated with the environment. Nature has always been the strongest inspiration for them. The Nicobarese tribes living in the Car Nicobar Island of the Andaman and Nicobar Islands are the only tribes which have accepted the value of civilisation. The most important festival celebrated by the Nicobarese tribe is the Ossuary Feast. At this feast, the members of the family pay homage to the soul of the departed head of the family. On this occasion, the Nicobarese Folk Dance is organized and all invitees take part in the dance. The festival is celebrated on a full moon night so that there is sufficient light for the nightlong performance. All the people who are invited join in the dance. The dance is performed in a circular formation. The dancers extend their arms across each other’s back with the hand resting on the next person’s shoulder. Both men and women join in the dance but in separate groups. The dancers wear the traditional costume consisting of coconut and plantain leaves around their heads and waist. There are no musical instruments accompanying this performance. This folk dance is also performed during canoe racing and other seasonal festivals. A pig fight follows the folk dance in the morning.

Dances of the Great Andamanese.

The Great Andamanese people appreciate rhythm and time but not pitch or tune. They sing in unison, but not in parts. The key in which a solo or a chorus starts is quite accidental. They can be readily taught any dance step and they can also learn it by themselves from observation. The composer of the song always sings without action or gesticulation and always to the same rhythm. The songs relate to travel, sport and personal adventures, they never relate to love and very rarely to beliefs and superstitions.

Om Tat Sat

                                                        

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