Ceremonial Folk Dances
The Ceremonial folk dances have ritualistic overtones and are celebrative in character. While some of the dances have fascinating symbolism, others only celebrate important religious occasions. Read more…
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, corresponding 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 pradeep (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
put 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 RonkhlaAt 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.