Harvest Folk Dances

More than 80% of Indians have been engaged in cultivation for centuries. Since the Hindu dharma is not a religion but a way of life, various agricultural operations are associated with rituals and festivals (utsava). Dancing is a part of the ritual or of the utsava. Right from the time of preparing the field for sowing seeds to the end of harvesting, during each stage of agricultural operations, various kinds of dances are performed.

Although industrial civilization is increasingly influencing the life style of the people living in urban areas, Indian civilization is basically agricultural. People living in rural areas are still retaining it. Indian civilization holds food in a very high esteem because it is not something that merely fills the stomach. Eating is considered as an act of yajna. There is a custom of reciting a prayer before eating. In Orissa the prayer has a line that says, " Udara-bharana nuhen ate ye yajna karma", which means this is not filling the stomach but a performance of yajna. To fully appreciate Indian civilization it is a must to understand what is Yajna. It is just not pouring clarified butter (ghee) on burning fire. There is a deep symbolism behind it. The ritual is associated with a powerful myth that explains the concept of performing yajna.

A Vedic work named Shatapatha Brahmana narrates the myth as follows: Prajapati, the originator of this universe, disintegrated his body into countless parts and scattered them in space. They formed the universe that is like a jigsaw puzzle,. The main aim of yajna is to mentally reconstruct the scattered body of the Prajapati so that the performer of the yajna rightly comprehends the relationship among the myriad different parts of the universe and the basic unity in the mind-boggling diversity.

The ritual of pouring ghee on burning file is a highly symbolic activity. The Vedas regard Agni, the fire god, as the leader of all gods (devata). There is also a symbolic reason behind this concept. Fire is the only thing in this world that goes upward acting against the gravitation. Some gaseous things may go up but they all leave the plane of their origin. Fire, on the other hand, although goes upward, never leaves the plane where it is ignited. The definition of Agni is : angati urdham ya, meaning that which goes upward. Besides, it is luminous, for which it is devata par excellence. In the yajna ritual the fire symbolizes the brighter aspects of human beings that aspire to go upward, but not leaving the earthly level of existence, aiming at an experience much higher than life. Ghee symbolizes the clarified awareness. In Indian mythology, milk is the symbol of consciousness. According to mythology, Vishnu, the divinity who sustains the woild, reclines on the kshira-sagara (ocean of milk). It means that the divinity exists in the vast realm of our consciousness beyond the experience of the senses The sagara manthana (churning of the ocean of milk) episode describes how the churning produced both beautiful and beneficial things like amrita, the elixir of immortality, and also the halahala, meaning deadly poison. It happens also today. For example; churning of the human consciousness and knowledge has produced many a life saving medicine as also the killer nuclear weapons, which can be compared respectively to amrita and halahala.

Churning of milk first produces butter which is the symbol of love in Indian mythology. That is why Krishna, being the incarnation of total love, has such an abiding fascination for butter. When the butter is heated over fire it is clarified to produce ghee. In Sanskrit tapas literally means heat. From this word is derived tapasya that means extremely rigorous meditation for clarifying the consciousness. Thus the ritual of pouring ghee on burning fire symbolizes the offering of clarified human consciousness to the aspiration of going to a much higher state of awareness for reconstructing mentally the unified body of the infinitely diversified universe. Now, of course, yajna has lost its deeper symbolism and is performed merely as a religious ritual, because the Indian civilization has been very much eroded under the influence of alien cultures.

Because eating is regarded as a performance of yajna, the food grains are also held in high esteem. In many a land of pooja (worship) uncooked rice grains are used as ritual material. An Upanishada says, "anna hi brahma" which means the rice is Brahman, the ultimate divinity. Food grains are regarded as the symbols of Lakshmi, the goddess of beauty and prosperity. In many parts of India food grains are worshiped after the harvesting is over. It is but natural for an agricultural civilization to hold harvesting and other farming operations in high esteem and to consider them as occasions for celebration in the form of utsavas. As said earlier, dancing forms an integral part of an utsava.

Bihu

One of the most representative harvest dances is Bihu of Assam which is mainly obserced in rice growing areas. On three most important stages of agricultural operations Bihu festival (utsava) is held just before the sowing of the seeds, at the time of transplanting the paddy seedlings and while harvesting. The word Bihu is a derivative of the Sanskrit word Visuva that means equinox. The Assamese pronounce 'S' as 'H', therefore, they pronounce Visuva as Bihuba. In Assam, Bengal, and Orissa, 'V is pronounced as 'B'. The shorter form of Bihuba is Bihu.

Of the three Bihu festivals, the most colorful and lively is the Bahag Bihu which is held from the first day of the lunar month of Vaishakh, the Assamese derivative of which is Bahag. This is the day of the vernal equinox and the Indian New Year's Day. In fact, the festival begins from the New Year Eve and continues from four days to one month. The Bahag Bihu is celebrated in four stages of development. The first is known as Goru (cattle) Bihu. It may last for one or more days. In Goru Bihu the cattle, especially the cows, are specially treated with oil-bath and food like salted rice cakes. In the evening there is music and dance. The next is Manuh (human beings) Bihu in which after a ceremonial bath people wear new clothes. Boys and girls perform Bihu dance to the accompaniment of Bihu songs which are basically love songs. The songs are quite tuneful. The musical accompaniment is provided by Dhol, the drum, Pepa, a buffalo-horn pipe, Toka, the bamboo clapper and cymbals. The next is Gosain Bihu in which people gather in the shrine called Namghar. There, all pray to God first and then the musicians' and dancers perform. The Bihu festival is concluded with Bihu Urva which means sending away the Bihu. This is done at a lonely paddy field or forest where the villagers go with all the ritual materials used during the three phases. A ritual is performed to bid farewell to Bihu.

The Kankali Bihu is held in the lunar month of Kartik corresponding to September/October. This month in colloquial Assamese is called Kati. Therefore, the festival is also called Kati Bihu, At this time of the year paddy seedlings are transplanted. The festival is held for proper growth of the transplanted seedlings. It is observed with solemnity. Rituals are performed and prayers are sung. Usually dance is not performed during this Bihu.

The Bhogali Bihu, also called Magh Bihu since it is held in the lunar month of Magha, corrresponding to December/January, is again a festival of gaiety and jubilation. By the time the festival is held, the harvesting is almost over or at the last phase. Houses are full of harvested grains. This is the time for the villagers to celebrate. Therefore, the dances performed during the Bhogali Bihu are more vigorous and faster in tempo than the dances performed during the Bahag Bihu.

Sarhul

Several Harvest dances are prevalent among the tribal communities of Madhya Pradesh. The Oraons perform Sarhul dance after the Kharif crops are harvested. Through the dance the gods are thanked for the crops and they are prayed to grant the community a happy life. On the full moon day of the lunar month of Chaitra, corresponding to March/April, this dance is performed after worshipping a Sal tree. This is the time when Sal trees blossom. There is a tribal myth associated with the worship of a Sal tree. The myth is as follows : Oppressed by a king of Bihar, the Oraon tribe fled to a Sal forest in Madhya Piadesh. The Sal trees not only gave them shelter but also necessary means for their living. Sal trees for the Oraons are symbols of protection. In gratitude, therefore, they worship a tall Sal tree every year and perform the Sarhul dance around it.

The entire village go near the selected Sal tree every year on the full moon day of Chaitra and in a ritual give it their offerings. Then men and women dance around the tree throughout the night. Often dancers from other villages are also invited to join the festivities. While dancing the dancers sing and musical accompaniment is provided by Mandar, a cylindrical drum with two faces, Nagara, a large hemispherical drum with one face, Jhanj, the cymbals, and Chatkola, a kind of castanets. The dancers are all in white. Men wear peacock feathers on their back side waist and women decorate their buns with white feathers or cranes and white flowers. The dance is usually in a fast tempo.

Parab

The Raja Murias living in the Bastar district of Madhya Pradesh perform the Parab dance after the harvesting of Khatif crops. It is also performed during the bright fortnight of the month of Chaitra. A branch of th Semal tree is brought and planted at the central place of the village. Only unmarried boys and girls perform this dance round the Semal branch celebrating the harvest festival. Groups of dancers exchange visits and the dancing goes on throughout the night. The dancers wear clothes of bright colors and decorate themselves with laces and strands of cowries. While the percussion music is provided by a double faced drum, the melodic, by Mahuri, a reeded wind instrument like Shehnai.

Saila-Reena

The Saila-Reena dance is performed by the Gonds of Mandla district of Madhya Pradesh. The Gond is the second largest tribal community of the country numbering around six millions. They are found in Bihar, Orissa, Maharashtra, Gujarat, Andhra Piadesh, and Uttat Pradesh, besides Madhya Pradesh where they have their largest population. They are an agricultural community. The Gond of Mandla are artistic people. The women wear distinctive ornaments and tattoo marks. After a successful harvest men and women express their joy and happiness in a dance festival that takes them from village to village. The young men dance Saila a number which is danced with a baton in one hand and a spray of peacock feathers in the other. The Reena is the dance that the girls perform. When they join the group of young men the dance gathers momentum and the rhythm rises to a very fast crescendo.

Bhojal

The Gonds of Satpura and Chhatisgarh regions perform Bhojali dance. It is performed during the festival held to express gratitude to Bhojali Mata, who is identified with goddess Annapoorna. There is a tribal myth associated with the dance. It is as follows : Once there was a severe drought. People prayed Gods very fervently. Pleased with the sincerity of the praying, goddess Annapoorna appeared in the dream of the priest and told him to worship the Bhojali Mata who is none else than herself. When the goddess was worshipped with great devotion, rain came pouring down. The dried up fields again became green with crops. The people were delirious with joy and danced so long that their feet were blistered, yet they went on dancing on their stilts. The stilt is called genda. Therefore, the dance is also called Genda dance. From then onwards the dance is performed every year during the same period.

The stilt dancers begin their dance and practice from the full moon day of the lunar month of Asadh, corresponding to June/July. The conclusion of the festival and the last performance of the stilt dance is held on the full moon night of the lunar month of Shravan, corresponding to July/August. On that day visarjan ritual for the Bhojali Mata is also performed.

Hazagiri

The Riangs of Tripura perform Hazagiri dance in the lunar month of Bhadra (August/September). Actually, Hazagiri is a form of Lakshmi, the goddess of prosperity. The Riangs practice Jhum (shift) cultivation. When the crop is ready for harvesting Hazagiri dance is performed invoking goddess Hazagiri for a bumper crop. The rituals begin with the worship of nine gods and culminate in worshipping goddess Hazagiri. It is performed by the girls of Riang community. They wear a lungi - like striped skirt and blouse, usually made of black cloth. As a part of the dance they perform on an earthen pitcher. In most of the dances with pitcher, it is balanced on the head as in Karagam of Tamil Nadu. In Hazagiri the dancer balances herself while dancing on it. The pitcher symbolizes the human body. When a dancer dances on it the symbolism is that the dance, which is performed for invoking goddess Hazagiri, is beyond the physical existence of the dancer. It requires a lot of practice to remain in balance while dancing on the pitcher. The musical instruments used with this dance are Khamb, the drum, and bamboo flute.

Dandia Rasa

The Dandia Rasa dance of Gujarat is performed as an essential part of festivals synchronized with different agricultural operations like sowing and harvesting. Dandia Rasa is danced only by men. Its counterpart is Garba which is danced only by women. It has been discussed in the previous chapter. It is believed that Dandia Rasa was originated by Krishna. Several kinds of Rasa dances are prevalent in Gujarat and Sourashtra regions. All are associated with Krishna legend. These Rasa dances are totally different from the Rasa dances of Manipur, which are highly stylized and are considered classical. Dandia is an epithet because in this Rasa dance the dancers hold two wooden sticks in both their hands. While dancing they rhythmically strike not only the two sticks but also strike the sticks held by other dancers who are either in front or at the sides. Often jingle bells (ghungroos) are tied to one end of each stick. When the sticks are struck the jingling sound enhances the percussion music. The dancers wear typical costume which consists of a white frock coat called Kadiya. It is colorfully embroidered with local motifs of sun, moon, peacock, etc. The chorni is like churidar-pyjama. It is also white. The dancers cover their heads with turbans. The dancers sing while dancing and the percussion music is provided by drums and cymbals.

Lebang Bomani

Another interesting harvest dance of Tripura is Lebang Bomani. The dance is named after the distinctive bamboo clapper with a drone. While playing the clapper the drone wire is also plucked rhythmically: The sound of the drone attracts a kind of grasshoppers. They come in large numbers hearing the droning sound. The dancers gather the grasshoppers and put them in a bamboo bag which is a part of the costume the dancers wear. The dancers are all girls. The grasshoppers are eaten with relish and it is believed that if the catch is sizable then a bumper crop will be harvested. The grasshoppers coming in large numbers attract birds. To drive them away a bamboo made idiophone called 'Tak-dutreng' is sounded rhythmically: Besides the idiophone and clapper, the percussion music is provided by a drum called Pung. The melodic content of the accompanying music is provided by a simple string instrument called Sarinala. At rimes, men also join the dance. The choreographic pattern changes from time to time. When both men and women are dancing, women invariably dance in the inner circular formation and the men in the outer ring.

Bhangra

Punjab is considered as the granary of India. The main crops are wheat and sugarcane. Three harvest dances are performed in Punjab and all of them are associated with wheat cultivation. The most popular and widely known dance is Bhangra. Next to it is Jhumar. The Karthi dance is performed more in the hill region.

Bhangra is one of the most virile dances and is danced only by men. After the wheat seeds are sown the Bhangra is performed in the full moon night. First of all, in an open place in the village the leading drummer plays Dhol, the drum with two faces. One face is played by the fingers, the other face is played with a blunt stick. The rhythmic phrases played on the Dhol is indeed exhilarating. Hearing the drum beats dancers come and gather in the open place. A Bhangra dancer wears lungi, a Kurta, a waistcoat, and a turban. The dancers wear colorful dress. The Dhol (also called DholaK) player is the leader. He is joined by a pair or more of vocalists who sing couplets of folk song called Boli or Dhola.

After a couplet or two the stepping changes and the dancers shout with great zest the typical refrains like Bale-Bale, Oai-Oai, and Uhun-Uhun. Various kinds of steppings are there in the repertory of Bhangra. Acrobatic elements also spice up the dance. The main inspiration for Bhangra comes from the enlivening drum music. Earlier no other musical instrument was played with the dance. Nowadays idiophones like cymbals and Chimta are being used. The melodic content is only singing. No melodic musical instrument is played with Bhangra dance.

Jhumar

In Jhumar many elements of Bhangra are there. The only difference is that while dancing the dancers depict the various agricultural operations through dance movements. The dancers also execute gaits of different domesticated animals. The finale of Jhumar is exactly like Bhangra. It is also danced by men only and accompanying music is only provided by Dholak and singing of folk songs.

Karthi

Karthi is performed by both men and women. Unlike Bhangra and Jhumar, in this dance there is a ritual beginning in which a God of harvest is worshipped first. Then women singing songs lead the procession to the place of the dance. Men follow them. Karthi is not as vigorous as Bhangra and Jhumar. In this dance a reeded wind instrument like Shehnai is used. The dancers perform in circular formation with men and women alternating and holding hands of the nearest dancers on either sides.

Lam-Kut-Lam

Lam-Kut-Lam is the harvest dance of the Kom tribe of Manipur. There are about ten thousand Korns belonging to the Kuki-Chin constellation of tribes. In the month of July/August, when the paddy transplantation is over, the Koms hold a grand festival. That is the time for the Reivang flowers to blossom. Young boys and girls wearing these flowers on their headgears dance joyously in the festival while singing specific songs. The well-to-do farmers of the Kom tribe present the dancers pigs, cows, and buffaloes as gifts. These are killed on the concluding day of the celebration and a grand feast is arranged. It is believed that the dance brings prosperity to the village. One of the songs that accompany the dance invokes a god named Khornu. In the dance the Reivang flowers symbolize richness and prosperity.

Kud

Kud is a typical community dance performed in the middle mountain ranges of Jammu. During the rainy season, when the maize is harvested, the villagers come down from the nearby hills and gather in the vicinity of the gramdevata, the presiding deity of the village. To express their gratitude for protecting their crops, cattle, and children from natural calamities, the farmers dance Kud for the diety. Men, women and children wearing their best dress gather around a bonfire for the nightlong festivities. The musical accompaniment is provided by Dhauns, the drum, Bansiri, the bamboo flute, Ransingha, a kind of trumpet. The costume of the dancers vary from place to place as do the song sung while dancing. The Kud is usually danced all night on moonlight nights.

Various kinds of Nati dances are performed in Himachal Pradesh. The one danced in the Birshi festival is called Birshi Nati. The festival is held in the Rampur region just before harvesting. The dancers put on their typical costumes and dance with a lyrical grace and elegance. While Shenai, a double-reeded wind instrument provides the melodic base for the dance, rhythm is provided by three percussion instruments, namely, Dhol, the drum, Nagari, a small hemispherical single face drum played with two lean sticks, and Ghasal, made of bronze. Two kinds of lip-voiced trumpets, namely, Narasingha and Kahadi punctuate the music with their typical sounds and create a kind of ceremonial atmosphere

Dhan Nach

Dhan Nach, which literally means Paddy Dance, is the harvest dance of Sikkim where paddy is the main crop. The dance is performed by both men and women at the time of every important agricultural operation, especially while the paddy is being harvested. The dancers wear traditional costumes. Men wear typical pajama and shirt locally called Daura-suruwal, a waist coat, and Patuka (sash), Topi (cap), and Rumal (Kerchief). Women wear Fariya (a type of sari), Coubandi-cholo (typical blouse), and Hembari (scarf tied on the chest). They also wear various kinds of traditional ornaments. The musical accompaniment is provided by Madal - a drum with two faces, and Murali, the bamboo flute. The dancers also tie jingle bells, locally called gungur, on their ankles.

Ponung

Ponung is the harvest dance performed by the Adi tribal community of Arunachal Pradesh. It is danced at the festival held just before the harvesting operations. It is believed that the dance will bring about a good harvest and prosperity to the community. Married girls and women take part in the dance which is led by a man called Miri. He is adept in singing the particular songs that tell of local myth of the origin of paddy and other crops. While singing the Miri rhythmically rattles the iron disc fitted loosely to the hilt of his sword. The dancers in chorus repeat the lines sung by the Miri. No other musical instrument is used in this dance.

Domrua

The Ho tribal community living in Orissa, Bihar and West Bengal holds a series of festivals connected with different agricultural operations from sowing to harvesting. Dancing is a must for every festival. Ho is the shorter form of Horo that literally means a human being. The dance that the Hos perform at the time of sowing paddy seeds is called Domrua. The festival is held in April/May. First the spirits of the ancestors are worshipped and a cock is sacrificed. The fields where the seeds will be sown is given turmeric. The Gods of the field are called Nage-era and Bindi-era. When the rituals are over, both men and women perform the Domrua dance.

Hero Parab

The next festival is called Hero Parab. It is held on the full moon night of the lunar month of Ashadh (June/July). Around this time the paddy fields are re-ploughed to get rid of the weeds. Ritual offerings are made to the divinities, namely, Desauli and Jaera. This festival is celebrated in the memory of Lita, the legendary hero. The legend of the Hos is : Lita is the youngest son of Surmi who was killed by the mythical wild animal called Bandu. Lita prayed the deity named Jaera. Pleased with the sincere prayer the deity gave blessings to Lita so that he can recover the dead body of his father from the claws of the ferocious animal. Lita showing exceptional bravery and determination recovered the body of his father from the wild animal. Therefore,, Lita is regarded as an ideal son.

Batauli Nach

The festival that is held next is called Batauli Parab. It is celebrated in the month of August/September and is associated with the proper growth and vitality of the standing crop. This festival is also dedicated to the memory of the legendary hero Lita. The dance is named after the festival, i.e., Batauli Nach.
Nom-jama

When the paddy grains ripen the Nom-jama festival is held. The ripe grains of paddy is taken and after parboiling are beaten flat. In Ho dialect it is called Taben, in Hindi it is called Chewda, which is given as offering to Sing-Bonga, the supreme deity of the Hos and also to the spirits of the ancestors on the leaves of SoSo (black nut) and Kusha grass. New rice is also cooked on this day. None take new rice before this day. The dance performed is named after the festival.

Mage Parab

Finally comes the Mage Parab, the most important fesival of the Hos. It is held between December and February when the crops from every field have been harvested. Mage means mother and the festival is celebrated in the memory of the first mother of the human beings. In the evening of the festival day the Mage dance is performed by both men and women like all the dances discussed above. The musical instruments that accompany the dances are Dumarg (which is more commonly known as Maandar), a cylindrical drum with two faces, Dram, a hemispherical drum with one face like nagada, and bamboo flute.

Tarpa

Warli, an ancient tribe of Western India, lives in the Vindhya and Satpura hill ranges. In Maharastra, they are concentrated in western districts of Nasik and Thana with a population of about four hundred thousands. They play an interesting musical instrument called Tarpa. It is made with the thick skin of a whole gourd into which a bamboo pipe with finger holes is inserted to form a wind instrument. It is decorated with colorful threads and the fronds appear like the feather of a peacock. The harvest dance that is centered around this musical instrument is called Tarpa dance. It is performed in the month of September/October with the belief that the dance will impart necessary vitality to the growing crops for a rich harvest. Men and women both wearing colorful costumes and decorated with leaves and flowers dance usually in circular formation with, the Tarpa player at the centre. Tarpa is generally played by an old man who has gained expertise in the art of playing it. Through his control of the instrument, he provides variations in the tempo of the dance.

Hazong

The Hazaongs, a small tribal community which live in the Garo hills of Meghalaya celebrate a festival every year just before the harvest. It is believed that proper observance of this festival not only invokes God's blessings for a good and plentiful harvest, but also ensures the well-being of the community through -out the year. The Hazong dance is the most important aspect of the festival. Both men and women participate in the dance.

Bijja Pandu

In Koraput district of Orissa live the Koyas, a tribal community. Most of their dances reflect the perils of jungle life and hunting. In the lunar month of Chaitra (March/April) the Koyas observe a festival called Bijja Pandu to worship their deity who bestows good and plentiful harvest. During the festival the men folk go hunting while the women perform the dance named after the festival. On other occasions both men and women participate in the dance which starts with slow steps and the rhythm builds up gradually with the tempo of the drum music. The women provide the beat with sticks fitted with jinglebells, while the men wearing turbans decorated with bison horns play the drums.
Since people living in rural India are mostly dependent on agriculture, harvest dances are performed with great zeal and enthusiasm.