The women of Dafla tribal community of Arunachal Pradesh dance on the occasion of a child birth in the community. They dance in semicircular formation, each dancer holding the waist of the two dancers flanking her. They sing while dancing. No musical instrument is used. The waist girdles and iron chains produce a tinkling sound that becomes the percussion music of the dance.
Women of the Mali community of Kishangarh region of Rajasthan perform Chari dance on the occasion of the birth of a son. It is also called Charwa. Chari literally means a brass pitcher. The dance is called Chari because each of the dancers balances a brass pitcher on her head. On the mouth of the pitcher is put a bowl of fire; flames going up more than one foot high. The dancers spin and make swaying movements yet they never lose the balance of the pitcher. The dancers wear their best dress and dance to the music of Dhol, the drum, Shehnai, the reeded wind instrument, and two idiophones, namely, Thali and Bankia.
The Adis are one of the major tribes of Arunachal Pradesh. Their marriage ceremony is called Nyida Parik which has its own characteristics and style. There is also a legend associated with the Adi marriage. It is as follows: Donyi is the sun god. His daughter is Dony Mundi. She was married to Abo-Tani, the father of all human beings. Their marriage ceremony was a grand affair. Marriage of anyone of the Adi community should follow the same ceremonial rituals.
After completion of preliminary arrangements of marriage agreed upon by both the parties, the bride party along with the bride is invited to visit the house of the groom. A grand reception awaits the bride party at some distance from the house of the groom. In the reception is included the dance of two groups of male dancers. The dancers of one party wear hats made of cane and decorated with beaks of horn-bill. They hold poles called Yoksa. The dancers of the other party wear hats made of cane but without any decoration. They hold brass plates. When the bride’s party comes nearer the dancers start dancing and hitting the poles on the ground and beating the brass plates rhythmically. The dance is usually in faster tempo. The horn-bill signifies the nobility of the groom’s family and the brass plates implies that they speak in a pleasant voice. In other words the dance in the reception express symbolically that the groom deserves the bride.
In the eastern part of Rajasthan Kathchi Ghori dance is mostly performed at the time of marriage ceremony. The dance is generally performed by dancers belonging to Kumbhar and Bavaria communities. As the name of the dance suggests, it is a dance of false horse rider. To the both ends of a pair of bamboo rods two baskets are tied. The head of a horse prepared with paper-mache is fixed to one of the baskets. To the other a bunch of flex fibers are tied to suggest the tail of the horse. The dancer gets into the dummy horse at the middle of the space between the two bamboo rods and adjusts it at his waist so that it appears as if he was riding a horse. The dancer is dressed like a bridegroom. Traditionally, four to five dancers perform the dance. The musical accompaniment to the dance is provided by Dhol, the dium, and Turahi, a wind instrument made of brass.
The Bhil tribal community of Rajasthan performs Jhoria dance at the time of marriage ceremony. Both men and women perform the dance. The male dancers form one circle and the female dancers form another and dance to the music provided by Dhol, the drum, Shehnai, the reeded wind instrument, and Nagara, a large bowl-shaped drum with one face.