Ceremonial Folk Dances
There are two kinds of ceremonies : religious and social. On
this page, dances performed on the occasion of important
religious ceremonies will be discussed. The dances performed
during social ceremonies will be discussed on another page. The
ceremonial dances have ritualistic overtones and are
celebrative in character. While some of the dances have
fascinating symbolism, others only celebrate important
religious occasions.
Garba
One of the interesting ceremonial dances is
Garba of Gujarat. It is performed on the occasion of
Navaratra, a religious ceremony deeply influenced by
Tantrism. Navaratra is observed with great solemnity,
especially in Gujrat, before Diwali in the lunar month of
Kartik, corresponing to October/November. During this
religious observance the women folk of Gujarat perform
Garba, derived from the word 'Garbha', meaning the womb. A
clarried-buttet-fed pradeip (lamp) is put inside an
earthen pitcher with holes all around it. This pitcher
with the lamp inside it symbolizes the womb of the mother
goddess charged with creative energy and the lamp
signifies the seed of creation. This pitcher with the lamp
is called garbi. It is placed inside a decorated wooden
structure called mandavi. One or two girls each carrying
on her head the mandavi with the garbi and followed by the
other dancers go from house to house. On reaching the
premises of a household the mandavi is put on the ground
and the dancers dance around it. While dancing they sing
garba songs which were written long long ago. The percussion music is provided by the drum
called dholak. Garba songs are tuneful and the dancing is
fascinatingly lyrical. There are various kinds of Garba
which are danced by girls of every caste and
community.
The men folk of Gujarat perform Raas dances on this
occasion. Basically, however, Raas dances are connected with
agricultural operations.
Pata-da Kunita
The Pata-da Kunita of Karnataka is
traditionally performed at the time when a village deity
is taken out on ceremonial occasions. The dance having
deep religious association is believed to have originated
from Vaishnavite rites. Pata-da Kunita literally means the
dance of the Patas which are 10 to 15 feet long bamboo
poles decorated with colorful silken ribbons and with a
small umbrella made of either silver or brass fixed on top
end of each pillar. The dancers wearing red dhotis, folded
scarves slung crosswise from left shoulder to right side
waist, and garlands, each holds a Pata, the lower end of
which is put inside a bag of cotton fabric slung from the
shoulder. While dancing, the dancers form various
choreographic patterns. Some of the dance movements have
elements of acrobatics. The percussion music is provided
by two kinds of native drums, namely, Tamte and
Nagarika.
Guravayyalu
The Guravayyalu ceremonial dance is performed
by the priests of Kurava caste who mainly live in the
Anantapur and Kurnool districts of Andhra Pradesh. It is
strongly influenced by shaivism since the songs that
accompany the dance eulogizes Lord Shiva. The dancers put
on a typical costume made of bear skin with hair. Each
dancer holds and plays while dancing a small hourglass
shaped drum called Damarukam and a bamboo flute Jingle
bells (ghungroo) are tied to the waist, knees, and ankles
of each dancer who also holds a trident. From one of his
shoulders hangs a small bag made of deer skin. The bag
contains prasad (offering) offered to Lord Shiva.
Chawnglaizawn
The Chawnglaizawn is a ceremonial dance of
unique kind. It may be called a funeral dance, since it is
performed when the village chief or a very well-to-do
person of the village dies. This custom is prevalent among
the people of the Pawi tribal community. Chawnglaizawn
literally means dance and jump for glory. The Pawis regard
two days most important in a man's life : the day he is
born and the day he dies. It is a kind of homage the
villagers pay to the dead chief who is glorified in the
dance. The members of the chiefs family give pigs and
fowls to the villagers as gifts, which are treated for a
sumptuous feast. Earlier the dance was being performed by
only one dancer. He used to carry a gun and while dancing
and singing used fire shots upward occasionally. In course
of time the dance changed considerably and now it is
performed usually by 16 men and 16 women dancers. About
five musicians provide the accompanying percussion music
playing different sizes of gongs and drums.
Dhangar
Dhangar is a shepherd community who migrated long ago from
the Saurastra legion and have settled in the hilly regions of
north and north western parts of Goa. Their presiding deity is
Bira Deva. The community still retains some of the customs of
the region they earlier belonged to. They, like the people of
Gujarat, observe Navaratra with great zeal and earnestness. In
this nine-day long religious observance the head of the family
fasts throughout taking only a cup of milk everyday. On the
tenth day all the families observing Navaratra bring their
family deities to a particular place where the ceremonial dance
is performed with great devotion. The Dhangar dance is
performed only by men. Each dancer wears the ceremonial dress:
white dhoti, white kurta with red embroidery and a turban. The
dance is vigorous as it is performed with devotional zeal. The
music which is predominantly percussive is provided by Dhol, a
barrel-shaped drum, Thaang, a pair of cymbals, and a drone
called Taso.
Pookkavadi
The Pookkavadi ceremonial dance is mainly
performed by the Kudumbi, Ezhava and Nair communities of
Trichur district in Kerala. Pookkavadi literally means
floral arches. This dance originated as a component of
Ambalakkavadi, a religious procession in which the model
of a temple is ceremonially carried. The dancers of
Pookkavadi accompany the procession carrying on their
heads or shoulders arch - like structures made of colorful
paper flowers. The dancers dance in circular formation and
in faster tempo. The dance enhances the grandeur of the
procession.
Kolam Tullal
The Kolam Tullal is another fascinating
ceremonial dance of Kerala. Kolam is a highly stylized and
colorful mask or headgear or both unified into one. The
dancer or actor who wears this, together with appropriate
costume is also called a kolam. In Kolam Tullal dancers
wearing different kinds of kolams, perform. This dance has
a deep association with the Bhagavati cult. The Kolam
dancers are brought in a procession by a number of
traditionally dressed young girls. Each of them holds a
plate of offerings in one hand and an oil-fed lamp in
another. The priest wearing jingle bells on his ankles
accompany the procession. The Kolams are brought to the
stage tastefully decorated with banana stems and lamp
steads. It is believed that the kolams are titans sent by
Lord Shiva to terminate the evils of the society and bring
prosperity. Percussion music is provided by drums, such
as, Chenda, Maddalam, Timila and idiophones like gong and
cymbals. The percussion music is punctuated by the sound
of horns called Kompu. The music is loud and pulsating and
the dance is performed with increasing tempo till it
becomes frenzied.
Karma
Karma dance is performed by many tribal
communities living in Bihar, Orissa and Madhya Pradesh, in
varying forms and styles. One factor is common that the
ceremony of Karma is performed to bring prosperity to the
community and a branch of Karma tree is brought and
planted around which the dance is performed. Although it
is basically a tribal ceremony, a few non-tribal
communities also observe it. Invariably a legend is
associated with each style of Karma dance. The karma
legend associated with the dance prevalent in eastern
Madhya Pradesh runs as follows : Once upon a time there
was a very benevolent king by name Karmachand. When he was
defeated by the army of the neighboring kingdom he fled to
the forest. One day he saw some lamps burning at a
distance. The king was surprised and went near the lamps.
He found that a god was sitting on his throne and young
girls are dancing before him. The moment they saw the king
they vanished. Karamchand went and fell prostrated at the
feet of the god who asked him what he wanted. The king
begged the god to return his kingdom to him. The god said
that if the king performs Karmapooja he will get back his
kingdom. As advised by the god, Karmachand sent unmarried
girls to bring a branch of the Karma (kadam) tree which
was planted on a sanctified place. The branch was
worshipped and the Karma dance was performed throughout
the night. In the morning the branch was ritually floated
down the river. Immediately the king got the news that his
enemies have fled the kingdom. He thus got back his
throne. Those who want to avert their misfortune should
observe the Karma ceremony exactly as the king did.
The Karma ceremony is held in the lunar month of Ashwin,
corresponding to September/October. In the eastern Madhya
Pradesh it is performed thrice. The first is held on third day
of Ashwin. In this only unmarried girls take part. The second
is held on the eleventh day in which both unmarried girls and
boys participate. The third is observed just twelve days after
the second in which women also take part, irrespective of
whether married or unmarried. The rituals and dance remain the
same for all the three observances. The Karma observed by the
tribal communities of Chhatisgarh is associated with a legend
which is different and has some similarity with that prevalent
in Orissa. Both tribal and non-tribal communities living in the
district of Sambalpur and Phulbani in Orissa observe the Karma
festival. Here the ceremony also includes some entertaining
items. The legend associated with the Karma of Orissa is as
follows : Six sons of a rich merchant set sail in a ship for
trade, leaving the youngest at home. When they returned they
found that their wives are dancing Karma dance and the youngest
brother is playing the drum. Enraged they drove away their
wives. The karma god was angry and the wealth of the six
brothers vanished. They went to the god and prayed that their
wealth may be restored to them. The god said that if they take
back their wives and continue to observe the Karma they will
regain their vanished wealth. They did exactly as the god
wanted them to do and they got back their wealth. From that day
Karma festival is being celebrated every year in the month of
Ashwin.
In Bihar also a few non-tribal communities like Mahato,
Malah, Chamar, etc observe the Karma ceremony like the tribal,
but it is held during the rainy season and related to
transplanting of paddy.
Lahaw (Lahoo)
On the picturesque hills of Assam lives the
comely and sturdy Jaintia tribal community. They perform a
ceremonial dance called Lahaw. It is associated with the
worship of goddess Rangkit and is performed as an
invocation to grant prosperity to the tribe. First the
instrumental music is played. The orchestra consists of
drums, flute, and cymbal. After a while the women dancers
enter the dancing arena. They come tiptoeing. They are
followed by the male dancers. The group then forms several
units. Each unit has three dancers; one female dancer is
flanked on both sides by two male dancers. These units
make a pattern that is somewhat diagonal. The men wear
dhoti, kurta, and waist-coats. Each of them wears a
colorful turban. The girls wear, richly embroidered silk
skirts shawls and sashes. They also wear necklaces of
various kinds of beads. The dance is accompanied by
singing and instrumental music. Two singers lead, the
lines are then sung in chorus. The dance is distinctive
for its graceful swaying movements and slow tempo.
Baredi
The Baredi dance is performed by the dancers of Aheer
community of Madhya Pradesh. They are also called Yadavas. The
dance is believed to have originated by Krishna who belonged to
this community of cowherds. It is performed every year just the
day after the Diwali festival and danced everyday for a
fortnight, i.e. till the night of the full moon. On the first
day, the deity called Dulhadev is worshipped. Then the senior
most member of the group puts on the forehead of each dancer a
dot of sandalwood paste mixed with turmeric. The dancers wear
colorful costumes and decorate themselves with ornaments made
of cowries. They first perform before Dulhadev and then go and
dance before every household of the village. The songs that
accompany the dance usually pray God to protect and increase
the cows and to bestow prosperity on the community. The
instrumental music is provided by drums called dhol and nagada
and flutes. At times mridang is played instead of dbol.
Chilori
Another ceremonial dance of Madhya Pradesh is Chilori. It is
a dance performed by girls of tribal communities and in the age
group of twelve to sixteen. Usually, sixteen to twenty dancers
participate in the dance. It is danced twice every year a
fortnight before Diwali and Holi festivals. It is danced
everyday till the day of the festival. There is a particular
place called akhraa where the dance is performed. The dancers
make a circle each holding other's waist. While dancing the
dancers sway alternately to the left and to the right. They
wear flowers on th temples above the ears and tie jinglebells
(ghungroos) on their ankles. They begin the dance in slower
tempo which goes on increasing gradually. They sing while
dancing and the songs are called chilori-siring. At the end of
each line of the song the dancers take a jump and hit the
ground hard with both the feet. No musical instrument is played
with the dance. Only on very special occasions Dhol, the drum
and Jhanj, the cymbals are played to provide the rhythm.
Hiroria
While Chilori is the dance of only girls, the Hiroria of
Madhya Pradesh is a dance of men only. It is performed in the
lunar month of Shravan, corresponding to July/August. It is
also known as Dandaa-nritya, because the dancers hold batons in
both their hands and while dancing in circular movement hit the
batons held by the nearest dancer. It is some what similar to
the Dandia Raas of Gujarat. The dancers make various kinds of
choreographic patterns. Musical accompaniment is provided by
Dhol and Timki, the drums, flute, cymbals, and Chitkora, a kind
of castanets. Songs accompanying the dance is called
hiroria-siring. When the rhythm changes, the choreographic
pattern also change.
Tarangmel
The Tarangmel of Goa is danced on the occasion of Dussehra
and Holi festivals. The youth of Goa swarm the streets in
colorful groups waving flags and streamers (toning) inspiring
and inviting one and all to imbibe the festive spirit. The
spirited youth shout Ho ! Ho! to the rhythmic beat of the
percussion music provided by Romut, Dhol and Tasha. A colorful
atmosphere is created by the colorful costumes the dancers wear
and the varied hues of the flags and streamers they carry.
Chham Chhank
The Lamas of Lahul Spiti region of Himachal Pradesh perform
Chham Chhank ceremonial dance related to their Chakhar festival
which is held once in three years to pay tribute to the Buddha.
The dancers wear a typical headgear called Chhank, after which
the dance is named. The costume made of golden, black and
yellow cloth decorated with traditional motifs in patch work is
very distinctive. Some dancers carry swords and others knives
while covering half their faces with a piece of black cloth. It
is a very slow moving dance with circular movements and
accompanied by musical instruments like Tangchim, a long
straight trumpet, and Ghhan, a barrel-shaped drum. The
musicians wear the traditional Lama libas along with beautiful
headgear with yellow feathers.
Garadi
The Garadi dance of Pondicherry traces its
origin to the ancient days of Ramayana, when the Vanara
army performed this dance to celebrate the victory of Rama
over Ravana. It is mainly performed at the time of the car
festival of Lord Vishnu. The dance continues for five to
eight hours every night. The distinctive feature of this
dance is the iron rings, called anjali, which the dancers
wear, ten on each leg. As the dancers execute intricate
movements, the rings produce sweet sonorous sound. The
dancers carry flags in their hands. They dance to the
beats of two huge drums called Romadolu. The drum is
hemispherical with a diameter of about eight feet.
Rikhampada
Rikhampada is a dance of Nishi tribe of lower
Subansiri District of Arunachal Pradesh. It is believed
that this dance and the Nyokum festival were introduced by
one of their forefathers named Apatani, when he along with
his tribe migrated to the present place of settlement. The
dance is accompanied by songs in the form of ballads
narrating legends of love. It is performed by women only
to express their love for their husbands and to offer
their reverence to the gods.
Suggi Kunita
In Karnatak the ceremonial dances with
ritualistic overtones are called by the generic name of
Kunita. Like Pat-da Kumita, another such dance is Suggi
Kunita. It is performed by the farming Halaki Vokkaligas
of the North Kanara. The Suggi procession is taken out on
the occasion of Kamana Hunnime amdist elaborate
arrangements. The headgear of the dancers, called Turayi,
looks like birds perched on crop and is particularly eye
catching. Each dancer holds a small stick and a bouquet of
peacock feathers in his right hand. The singing and
dancing suggi procession is greeted in every house with
aarti. When the procession returns, Karma is burnt,
followed by festivities. The Suggi Kunita is believed to
eradicate diseases in the village, bring rains and fulfill
the wishes of the people.
Kokali-kattai
Kakali-kattai is a form of stilt dance
prevalent in the North Arcot district of Tamil Nadu. The
dance has religious associations since it is traditionally
performed during a festival held in honor of Mariamma, the
mother goddess. The dance is named after the stilt which
is called kokali-kattai. It is about three feet high and
is tied to each foot of the dancer. Jingle bells are also
tied to each stilt. One has to pu t in arduous training and practice to become a
Kokali-kattai dancer since the dance demands acrobatic
skill.
In stilt dances prevalent in other regions of the country,
the stick of the stilts extends upward to be held by the dancer
with his hands. In Kakali-kattai the stilts are tied to the
feet of the dancers and not held at all, which makes it far
more difficult. The only musical instrument that provides
rhythmic inspiration to the dancers is a large frame drum
called Tappettai.
Karadiyattam
In Palghat district of Kerala, the Urula tribal community
perform Karadiyattam. Men and women of all ages perform it.
About ten to thirteen dancers are requited to perform the
dance. The main aim of the dance is to propitiate the gods, but
it is believed that the performance of the dance makes the
departed souls of the community more comfortable. The dancers
move in a circular way and sing while dancing. The main refrain
of the song is, "Ele le le... Karadi Ele le le". The percussion
music is provided by Para and Thakil, both drums. The melodic
accompaniment is provided by Kuzhal, a wind instrument. The
dancers wear their usual dress and dance around a bonfire which
is the only light source for the dance.
Padayani
In Padayani, elements of theatre dominate and
it has ritualistic overtones as it is danced before Devi
temples, especially in the districts of Alleppey and
Quilon. The performers wear highly stylized masks and
towering headgears made out of arecanut fronds and painted
with indigenous colors. The dancers wearing appropriate
masks, headgears, and costumes represent gods, goddesses,
demons, etc. The gods and goddesses mainly represented are
: Bhadrakali, Bhairavan, and Kalan (the god of death).
About a dozen dancers are needed for the performance.
There is no age restriction for participating in the
dance. Thappu, an indigenous musical instrument, provides
the accompanying music. Because of the dominant theatrical
elements Padayam may come under the category of
dance-drama.
Poothamkali
At some places in the district of Malappuram,
Poothamkali is performed, especially by the dancers
belonging to the Mannan community. The Mannans are
basically washer men, but they do also practice indigenous
medicine. Three dancers are required to present
Poothamkali. They wear wooden masks made out of the wood
of Pala and Muruku trees. These masks are also highly
stylized and colorful. The dancers wear a right fitting
sash and tie jingle bells (ghungroo) on their ankles. The
dancer who represent Pootham has to undergo some
austerities for seven days. It has also elements of
theatre.
Kahadia
In the Dang region of Gujarat, where majority of people
belong to tribal communities, the ceremonial dance named
Kahadia is performed to express gratitude and reverence to God
for having enabled them to perform the dance successfully. The
dance is named after the musical instrument Kahadi which
provides the melodic inspiration for the dance. It is a
woodwind instrument with double beating reed and a conical
bore, much like Shehnai. A longer reeded pipe but without
fingerholes, called Sur, provides drone on the tonic, and is an
inseparable companion to the kahadi. It is traditionally
performed in six different movements and the last but one is
the most spectacular, as the dancers, with the skill of
acrobats, form a human pyramid while dancing. In the last
movement the dancers offer their gratitude to God. Percussion
music for the dance is provided by Dholak, a barrel-shaped
drum, and Khanjari, a circular frame-drum.
Naati
Naati is danced in more than a dozen styles in
Himachal Pradesh. Basically, Naati is a recreational kind
of dance. But the Naati danced at the time of Dussehra
festival in Kulu valley acquires a ceremonial character.
The Dussehra festival in Kulu valley is a grand religious
ceremony. Various deities worshipped in neighboring
villages are brought to the festival site with colorful
processions. Performance of Naati on this occasion is a
must. The dance movements are simple yet gracefully
lyrical. It is danced in a semicircular formation led by
an expert dancer. The dance begins with a slow tempo which
increases gradually. Earlier Naati was danced only by men
and the most enthusiastic onlookers were women. Now both
men and women perform the dance with equal zeal. The
orchestra that accompanies the dance is comprised of
Sarna, a double-reeded wind instrument that provides the
melodic base; Karnal, a kind of long straight trumpet with
a very large funnel; Dhol and Nagada, the drums that give
the rhythmic structure to the dance. The dancers sing
while dancing
Solakia
The Solakia dance is prevalent in Mizoram. 'So'
literally means unnatural death, but in the context of
this dance it means the severed head of an enemy. 'La'
means dance and 'Kia' refers to that which has been done
with better understanding and knowledge. Originally,
Solakia was danced to celebrate the victory over enemies,
especially when the head of an enemy is brought home as a
trophy by the victor. Now, it is performed on all
important occasions. Although at present it is performed
by men and women of all Mizo communities, it is believed
to have originated by the Piwi and Lakher communities. The
vocal music that accompanies the dance is closer to
chanting than singing. Percussion music is provided by a
pair of gongs, one bigger than the other, are called
Darkhuang. Several pairs of cymbals are also played to
enhance the music.
Dandia Gair
Dandia Gair dance is performed with pomp and
show during the Holika festival in Rajasthan. The dancers
wear wide bottomed and pleated gowns over the
Churidar-pyjama. The costumes are very colorful and are
embroidered with golden threads. The dance is performed in
circular movement. Only percussion music accompany the
dance provided by two kinds of drums called Dholand
Nagara; three kinds of idiophones called "Thali, Manjira
and Khartal". The dancers also wear ankle bells. When they
dance the tinkling of the ankle bells enhances the
richness of the percussion music. As the tempo of the
dance becomes faster, the flowing gowns present a feast of
visual spectacle.
Thisham
In the hills of Manipur lives the Tangkhul tribal community.
In the month of December they perform the Thisham dance. The
dancers form a bow-like arrangement and depict the cycle of
life and death. The song accompanying the dance speaks of the
meeting of souls after death and exhort people not to be afraid
of death.
Shad Ronkhla
At Nongtalang village in the Jaintia Hills of
Meghalaya live twelve tribal communities. They all perform
Shad Ronkhla or Tiger dance. Whenever a tiger is killed by
the hunters of these tribes, the representatives of the
tribes go to the priest who fixes a date for the
performance of the dance to celebrate the killing of the
tiger. All the twelve communities participate in the
dance. First the boys dance it during the day and later
the girls dance at night. The dancers wear their
ceremonial costumes and the music is provided by simple
instruments, such as, flute, a huge war drum, a smaller
drum and a clapper made of bamboo.
There are scores of ceremonial dances prevalent in different
parts of this country. Only a handful of them have been covered
above.
|