NORTH ZONE
Kinnauri Nati
Dance is in the Veins of the Kinnauris. Their Movements respond to the movement of the Natural World arount them and Their Music Echoes the sound of breeze blowing through forests. The pristine beauty of hilly Himachal finds an eloquent expression in the languid and elegant movements that form a part of the marvelous Nati dance. The dance matches the gentleness of the hilly breeze and the rhythmic swaying of trees. The dance is mainly a mime but also incorporates some abstract but languid sequences. Important among the dances of Nati is 'Losar shonachuksom', which takes its name from Losai - or the New Year. The dance depicts all the activities involved in sowing the crop and reaping it
Dance is in the Veins of the Kinnauris. Their Movements respond to the movement of the Natural World arount them and Their Music Echoes the sound of breeze blowing through forests. The pristine beauty of hilly Himachal finds an eloquent expression in the languid and elegant movements that form a part of the marvelous Nati dance. The dance matches the gentleness of the hilly breeze and the rhythmic swaying of trees. The dance is mainly a mime but also incorporates some abstract but languid sequences. Important among the dances of Nati is 'Losar shonachuksom', which takes its name from Losai - or the New Year. The dance depicts all the activities involved in sowing the crop and reaping it
Namgen (Himachal Pradesh)
The Namagen dance is performed in September to celebrate the autumnal hues. The costumes are largely woolen and richly studded ornaments of silver are worn by women. The most picturesque amongst these are dances of Gaddis. All regions of Himachal Pradesh have their own dances. Mostly men and women dance together, close to each other in the formation.
The Namagen dance is performed in September to celebrate the autumnal hues. The costumes are largely woolen and richly studded ornaments of silver are worn by women. The most picturesque amongst these are dances of Gaddis. All regions of Himachal Pradesh have their own dances. Mostly men and women dance together, close to each other in the formation.
Dumhal (Kashmir)
Dumhal is a dance performed by the men folk of the Wattal tribe of Kashmir on specific occasions. The performers wear long colorful robes, tall conical caps that are studded with beads and shells. The party moves in a procession carrying a banner in a very ceremonial fashion. It is dug into the ground and the men begin to dance, forming a circle. The musical accompaniment comprises a drum and the vocal singing of the participants. Dumhal is performed on set occasions and at set locations.
Dhamali Dance
it is devotional Dance performed by men in Kashmir to invoke the blessing of the gods. The occasions of the dance are ceremonical ones but it is very popular with the pilgrims going on ZIARAT. The dancing party is led in procession by thr flag bearer. The flag is fixed in the ground and the dancers form a circle around the pole. They start from slow, dedicated movements and break into whirls, jumps and twisting movements of the torso. The dancers dress themselves in colourful costumes comprising SALWARS, Long Gowns type shirts,
Jackets and turbans on the KULLAH caps. Another form of dhamali is when the dancers perform martial feats with sticks in their hands. This is called Raas Damali. Big drums and cymbals give musical accompaniment to those dance.
KUD DANCE
It is a typical community dance performed in the middle mountain ranges of Jammu. During the rainy seasons , When the maize is harvested , The villages come down from the nearby hills and gather in the vicinity of the local deity-the GRAMDEVTA. To express their gratitude for protecting their crops, cattle and childrean from natural calamities, The farmers dance KUD. Men women and children, attired their best, gather around a bonfire for the night long festivities. The musician playing NARSINGHA, BANSARIES, TALLI and DHAUNS enters the
circle first and are followed by the other dancers in a single file.
MANTOK STANMON-LEH DANCE
Mantok Stanmo, the flower dance, is performed by the inhabitants of Nurba valley of Ladakh. They offer first flower of the spring season to God and present the second to their beloved. Bewitched by the fragrance and beauty of natur the young girls and boys wearing colourful costumes dance with graceful movements to the accompaninment of DRUMS AND SHEHNAIS.
Dumhal is a dance performed by the men folk of the Wattal tribe of Kashmir on specific occasions. The performers wear long colorful robes, tall conical caps that are studded with beads and shells. The party moves in a procession carrying a banner in a very ceremonial fashion. It is dug into the ground and the men begin to dance, forming a circle. The musical accompaniment comprises a drum and the vocal singing of the participants. Dumhal is performed on set occasions and at set locations.
Dhamali Dance
it is devotional Dance performed by men in Kashmir to invoke the blessing of the gods. The occasions of the dance are ceremonical ones but it is very popular with the pilgrims going on ZIARAT. The dancing party is led in procession by thr flag bearer. The flag is fixed in the ground and the dancers form a circle around the pole. They start from slow, dedicated movements and break into whirls, jumps and twisting movements of the torso. The dancers dress themselves in colourful costumes comprising SALWARS, Long Gowns type shirts,
Jackets and turbans on the KULLAH caps. Another form of dhamali is when the dancers perform martial feats with sticks in their hands. This is called Raas Damali. Big drums and cymbals give musical accompaniment to those dance.
KUD DANCE
It is a typical community dance performed in the middle mountain ranges of Jammu. During the rainy seasons , When the maize is harvested , The villages come down from the nearby hills and gather in the vicinity of the local deity-the GRAMDEVTA. To express their gratitude for protecting their crops, cattle and childrean from natural calamities, The farmers dance KUD. Men women and children, attired their best, gather around a bonfire for the night long festivities. The musician playing NARSINGHA, BANSARIES, TALLI and DHAUNS enters the
circle first and are followed by the other dancers in a single file.
MANTOK STANMON-LEH DANCE
Mantok Stanmo, the flower dance, is performed by the inhabitants of Nurba valley of Ladakh. They offer first flower of the spring season to God and present the second to their beloved. Bewitched by the fragrance and beauty of natur the young girls and boys wearing colourful costumes dance with graceful movements to the accompaninment of DRUMS AND SHEHNAIS.
Ghoomar (Rajasthan, Haryana)
Women dressed in multi-hued skirts swirl gracefully in a circle during this lively dance. Ghoomar is performed by young women and girls during various festivities like Holi, Gangaur Puja, Teej, etc. In Rajasthan, Ghoomar is performed to the songs of valor and victory. In Haryana, the songs sung for Ghoomar are high-pitched and rich in humor and satire
Kalbelia (Rajasthan)
The fascinating dance is performed by the women of Kalbelia community. The main occupation of the community is catching snakes and trading snake venom. Hence the dance movements and the costumes bear resemblance to that of the serpents. Dancers attired in traditional black swirling skirts, sway sinuously to the plaintive notes of the 'been' - the wooden instrument of the snake charmers.
CHARI DANCE
Chari a popular dance from the KISHANGARH reagon in Rajasthan. It is performed by females of the GURJAR community on various festivals. The dancers carry the CHARI, the metal pots with fire in themon their heads while dancing on the beats of DHOL and aerophonic instruments called BANKIA.
CHANG DANCE
Chang is a famous dance of SHEKHWATI reagon of Rajsthan which is performed during the festival of colours “ HOLI ”. A group of young boys perform this dance carrying CHANG, Village to Village. CHANG is a round shaped percussion instruments playes during the dance. The dancers also sing folk songs based on festival or spring season knowan as FALGUN. One of male dancers is dressed like female and others dance around her.
CHAKRI DANCE
Chakri dance is performed by KANJAR community from Hadoti areas of Kota, Bundi and Baran districts of Rajasthan. Through performed on different occasions, Kanjar girls do the Chakri dance, especially during weddings or at the reception of wedding procession. Whirling round and round in circles with flowing skirts, The Kanjar girls seem to appear almost like spinning tops, hence the dance is names as CHAKRI. The “ DAF ” “ MANJIRA and the “ NAGARA ” are used as accompanying instruments.
Terahtail Dance
This dance is popular amongst the Kamad community of Rajasthan, who perform this as a ritual dance for prosperity and better yield. Story of Shri Ram Dev Babaji and poems of Sant Kabir and Meera Bai constitute the main theme of this female predominated dance and song. The dancer's face is covered with a veil, a naked sword is held between the teeth and a decorated pot is balanced on the head. The dancers enchant the entire atmosphere with the jingling sound of the bells tucked in thirteen cymbals, tied around the different parts of the body of the dancers. Rhythm is produced by striking majiras in thirteen different styles and that is how the dance gets its name 'Terahtali'. In the course of the dance, many imitative actions signifying usual chores of household, e.g., milking of cows, grinding of com., etc. are expressed . Dancers also exhibit several acrobatics moving around in a whirl while sitting down and balancing lit earthen pot placed on a thali ( plate ) over the head. The dance is accompanied by men who sing song to the accompaniment of Chautara, Dholak and Manjiras.
Langa Mangniyars
The Langas and Mangniyars are folk singers of wetern Rajasthan, mainly hail from the districts of Jaiselmer and Barmer, who remember thousands of songs which are sung on various occasions like marriages, child birth, festivals etc. In the houses of their patrons. Though Muslims by birth, they are closely linked since generations to both Muslim and Hindu families of their patrons called Jajmaans. Most of their songs are in devotion of Hindu gods, which are passed on to them from generation to generation by oral traditions Whatever be the occasion, a t the house of Jajmaans, the Mangniyars and Langas are there with the appropriate songs and music. During annual festivals and festivities related to rituals like engagements, marriages, births and even the sorrow of separation from beloved, these professional artists are called upon to sing and play in homes and temples, and aare remunerated for their services by their patrons in different ways. The music of this community borders on the classical, a s much in their mastery in singing, as in their virtuosity in playing various instruments, the Kamaycha, Sarangi 9 a string instrument played with a bow ), the Murli, the Surnai, the Algoza 9 wind instrument ), Kahrtal ( type of castanets ), Harmonium and the Dholak. They are accompanied by musical instruments like Sarangi, Kamaycha, Khartal, Morchhand, Algoza, Dholak, Satar, Murli, Sarnai and Harmonium.
Women dressed in multi-hued skirts swirl gracefully in a circle during this lively dance. Ghoomar is performed by young women and girls during various festivities like Holi, Gangaur Puja, Teej, etc. In Rajasthan, Ghoomar is performed to the songs of valor and victory. In Haryana, the songs sung for Ghoomar are high-pitched and rich in humor and satire
Kalbelia (Rajasthan)
The fascinating dance is performed by the women of Kalbelia community. The main occupation of the community is catching snakes and trading snake venom. Hence the dance movements and the costumes bear resemblance to that of the serpents. Dancers attired in traditional black swirling skirts, sway sinuously to the plaintive notes of the 'been' - the wooden instrument of the snake charmers.
CHARI DANCE
Chari a popular dance from the KISHANGARH reagon in Rajasthan. It is performed by females of the GURJAR community on various festivals. The dancers carry the CHARI, the metal pots with fire in themon their heads while dancing on the beats of DHOL and aerophonic instruments called BANKIA.
CHANG DANCE
Chang is a famous dance of SHEKHWATI reagon of Rajsthan which is performed during the festival of colours “ HOLI ”. A group of young boys perform this dance carrying CHANG, Village to Village. CHANG is a round shaped percussion instruments playes during the dance. The dancers also sing folk songs based on festival or spring season knowan as FALGUN. One of male dancers is dressed like female and others dance around her.
CHAKRI DANCE
Chakri dance is performed by KANJAR community from Hadoti areas of Kota, Bundi and Baran districts of Rajasthan. Through performed on different occasions, Kanjar girls do the Chakri dance, especially during weddings or at the reception of wedding procession. Whirling round and round in circles with flowing skirts, The Kanjar girls seem to appear almost like spinning tops, hence the dance is names as CHAKRI. The “ DAF ” “ MANJIRA and the “ NAGARA ” are used as accompanying instruments.
Terahtail Dance
This dance is popular amongst the Kamad community of Rajasthan, who perform this as a ritual dance for prosperity and better yield. Story of Shri Ram Dev Babaji and poems of Sant Kabir and Meera Bai constitute the main theme of this female predominated dance and song. The dancer's face is covered with a veil, a naked sword is held between the teeth and a decorated pot is balanced on the head. The dancers enchant the entire atmosphere with the jingling sound of the bells tucked in thirteen cymbals, tied around the different parts of the body of the dancers. Rhythm is produced by striking majiras in thirteen different styles and that is how the dance gets its name 'Terahtali'. In the course of the dance, many imitative actions signifying usual chores of household, e.g., milking of cows, grinding of com., etc. are expressed . Dancers also exhibit several acrobatics moving around in a whirl while sitting down and balancing lit earthen pot placed on a thali ( plate ) over the head. The dance is accompanied by men who sing song to the accompaniment of Chautara, Dholak and Manjiras.
Langa Mangniyars
The Langas and Mangniyars are folk singers of wetern Rajasthan, mainly hail from the districts of Jaiselmer and Barmer, who remember thousands of songs which are sung on various occasions like marriages, child birth, festivals etc. In the houses of their patrons. Though Muslims by birth, they are closely linked since generations to both Muslim and Hindu families of their patrons called Jajmaans. Most of their songs are in devotion of Hindu gods, which are passed on to them from generation to generation by oral traditions Whatever be the occasion, a t the house of Jajmaans, the Mangniyars and Langas are there with the appropriate songs and music. During annual festivals and festivities related to rituals like engagements, marriages, births and even the sorrow of separation from beloved, these professional artists are called upon to sing and play in homes and temples, and aare remunerated for their services by their patrons in different ways. The music of this community borders on the classical, a s much in their mastery in singing, as in their virtuosity in playing various instruments, the Kamaycha, Sarangi 9 a string instrument played with a bow ), the Murli, the Surnai, the Algoza 9 wind instrument ), Kahrtal ( type of castanets ), Harmonium and the Dholak. They are accompanied by musical instruments like Sarangi, Kamaycha, Khartal, Morchhand, Algoza, Dholak, Satar, Murli, Sarnai and Harmonium.
Ghoomar (Rajasthan, Haryana)
Women dressed in multi-hued skirts swirl gracefully in a circle during this lively dance. Ghoomar is performed by young women and girls during various festivities like Holi, Gangaur Puja, Teej, etc. In Rajasthan, Ghoomar is performed to the songs of valor and victory. In Haryana, the songs sung for Ghoomar are high-pitched and rich in humor and satireonium.
Phag Dance
The name of the dance suggests that it is danced to celebrate the mellow month of ' Phagun ', making the colourful festival of Holi. Popular in Faridabad district of Haryana, the Phag dance originated from Rass Leela of Shri Krishna. The sounds of Tasha, Nagara and Dhol precede the men who come running and singing " here arrives the colourful fagun ". They dance in a circle acting out of the spirit of Holi with gulal ( coloured powder ) and pichkaris ( sprinklers ). Then the women join in carrying ' koradas' which are knotted lengths of cloth. They run around the male dancers hitting them with the ' Koradas ' while the men defend themselves as best as they can with sticks. The rhythm gets faster and faster.
Women dressed in multi-hued skirts swirl gracefully in a circle during this lively dance. Ghoomar is performed by young women and girls during various festivities like Holi, Gangaur Puja, Teej, etc. In Rajasthan, Ghoomar is performed to the songs of valor and victory. In Haryana, the songs sung for Ghoomar are high-pitched and rich in humor and satireonium.
Phag Dance
The name of the dance suggests that it is danced to celebrate the mellow month of ' Phagun ', making the colourful festival of Holi. Popular in Faridabad district of Haryana, the Phag dance originated from Rass Leela of Shri Krishna. The sounds of Tasha, Nagara and Dhol precede the men who come running and singing " here arrives the colourful fagun ". They dance in a circle acting out of the spirit of Holi with gulal ( coloured powder ) and pichkaris ( sprinklers ). Then the women join in carrying ' koradas' which are knotted lengths of cloth. They run around the male dancers hitting them with the ' Koradas ' while the men defend themselves as best as they can with sticks. The rhythm gets faster and faster.
Bhangra (Punjab)
The dance known as Bhangra is one of Punjab's most popular dances and the name of the music style. Bhangra is done with classic style Punjabi dresses, and with instruments including a Dhol, Chimta, Tabla, etc. Bhangra is a very popular style of music and dance in Punjab, but is also very popular in U.K., Canada, and United States where many Bhangra competitions are held nowadays. Creating Bhangra teams have become very popular and influential with the teenagers these days. Some of the best Bhangra Teams include: PAU Bhangra, Budda Junction, Nachdi Jawani, Sher Foundation, Lethal Bhangra Crew, UBC Girls, Punjabi Soormay, GTA Bhangra, Duniya All-Stars, and many more. There are also popular collegiate teams such as Davis Di Dynasty (UC Davis), Rangla Punjab (UC Irvine), Texas Bhangra (UT Austin), and UCLA's Bruin Bhangra.
Jhoomer Dance( Punjab )
JHOOMER is a distinct folk dance of thr erstwhile suthern punjab ( Presently Part of Pakistan ) Performed by men to a specific JHOOMER Rhythm. The name is derived from GHOOMER i.e Performances in a circle or spinning around. The dancers make a circle around the drummer and their getures and movements consist of bending, swinging , spinning, awaying and clapping. The accompanying songs, the traditional folk poetry is based on basically feminine romantic emotions. The dress is mostly white.
Sammi Dance ( Punjab )
Sammi is the only tribal dance of Punjab initially performed by women in the Sandalbar region, now in Pakistan. Some people also connect this dance with the love episode of Dhola-Maru which has brought to Punjab by migrants from Rajasthan long also. Sammi is danced to the beat of the drum, the traditional percussion instrument of Punjab. The songs in this dance reflect the tender human emotions, happiness and sorrows of day – to – day life. The dancers are dressed in bright colour Lehengas ( long skirts ) and Kurtas ( shirts ). The dance song " Sammi Meri Van " is the popular song of this dance.
The dance known as Bhangra is one of Punjab's most popular dances and the name of the music style. Bhangra is done with classic style Punjabi dresses, and with instruments including a Dhol, Chimta, Tabla, etc. Bhangra is a very popular style of music and dance in Punjab, but is also very popular in U.K., Canada, and United States where many Bhangra competitions are held nowadays. Creating Bhangra teams have become very popular and influential with the teenagers these days. Some of the best Bhangra Teams include: PAU Bhangra, Budda Junction, Nachdi Jawani, Sher Foundation, Lethal Bhangra Crew, UBC Girls, Punjabi Soormay, GTA Bhangra, Duniya All-Stars, and many more. There are also popular collegiate teams such as Davis Di Dynasty (UC Davis), Rangla Punjab (UC Irvine), Texas Bhangra (UT Austin), and UCLA's Bruin Bhangra.
Jhoomer Dance( Punjab )
JHOOMER is a distinct folk dance of thr erstwhile suthern punjab ( Presently Part of Pakistan ) Performed by men to a specific JHOOMER Rhythm. The name is derived from GHOOMER i.e Performances in a circle or spinning around. The dancers make a circle around the drummer and their getures and movements consist of bending, swinging , spinning, awaying and clapping. The accompanying songs, the traditional folk poetry is based on basically feminine romantic emotions. The dress is mostly white.
Sammi Dance ( Punjab )
Sammi is the only tribal dance of Punjab initially performed by women in the Sandalbar region, now in Pakistan. Some people also connect this dance with the love episode of Dhola-Maru which has brought to Punjab by migrants from Rajasthan long also. Sammi is danced to the beat of the drum, the traditional percussion instrument of Punjab. The songs in this dance reflect the tender human emotions, happiness and sorrows of day – to – day life. The dancers are dressed in bright colour Lehengas ( long skirts ) and Kurtas ( shirts ). The dance song " Sammi Meri Van " is the popular song of this dance.
SOUTH CENTRAL ZONE
Charkula (Madhya Pradesh)
The spectacular dance is performed in the Braj region of Uttar Pradesh- the land of Krishna and his consort - Radha. Veiled women balancing large multi-tiered circular wooden pyramids on their heads, alight with 108 oil lamps, dance to the strains of 'rasiya' - songs of Krishna. Charkula is especially performed on the third day after Holi - the day, which Radha was born. According to legend, Radha's grandmother ran out of the house with the charkula on her head to announce the birth of Radha, since then, Charkula has formed a popular dance form of Brajbhoomi, performed during various festivities.
The spectacular dance is performed in the Braj region of Uttar Pradesh- the land of Krishna and his consort - Radha. Veiled women balancing large multi-tiered circular wooden pyramids on their heads, alight with 108 oil lamps, dance to the strains of 'rasiya' - songs of Krishna. Charkula is especially performed on the third day after Holi - the day, which Radha was born. According to legend, Radha's grandmother ran out of the house with the charkula on her head to announce the birth of Radha, since then, Charkula has formed a popular dance form of Brajbhoomi, performed during various festivities.
Jawara (Madhya Pradesh)
The Jawara is performed in the Bundelkhand area of Madhya Pradesh. It is essentially a harvest dance-reflecting the gaiety and pleasure of the peasants who have reaped a good harvest. The dance is performed by men and women together. The costumes and jewellery worn by the women are colorful. The women carry baskets full of jawara on their heads and although the dance is very vigorous they are able to balance these baskets very skillfully on their heads. The accompaniment includes a rich variety of percussion, stringed and wind instruments.
Tertali (Madhya Pradesh)
The Kamar tribe performs the Tera Tali, which is an elaborate ritual with many elements of dance. It is generally performed by two or three women who sit on the ground. Manjiras, or small metal cymbals are tied to different parts of the body, mostly the legs, and with a cymbal in either hand the dancer strikes these in rhythm. The head is covered with a veil, and at times a small sword is clenched between the teeth and an ornamental pot balanced on the head.
Gudum Baja ( Madhya pradesh )
Gudum is a traditional instrument which is more popular amongst the Dhulia tribals of Dindori, Mandla and Shahdol district in Madhya Pradesh. The God and Baiga tribal dances become more attractive in the company of Gudum instrument. Gudum players and duly acknowledge in their tribal society. It is played while performing social rituals and also on all auspicious occasions and festivals etc. The accompanying instruments are Shehnai, Flute, Manjira and Timki. The show begins with the playing of tune ' Dagarchali ' followed by Lavani. Daud, Gumak, Talband and Lehaki, respectively.
Gangaur dance ( Madhya Pradesh )
Gangaur, one of the most popular and traditional festival, is celebrated in the entire region of Nimad of Madhya Pradesh. The festival and ceremonies of Gangaur begin in the month od Chaitra on the occasion of Teej and the celebration continues for nine days. This picturesque celebration is decicated to Goddess Parvati also known as Gauri. Jhalaria and Mataki Gangaur dancers are performed on the beats of drums by placing the symbolic idols and images of Gauri and Shiva ( traditionally known as Renu & Dhaniyar ) side by side on chariot. The dancers then hold hands to form circle and dance round the deity, invoking the blessings of Gauri to bless their husbands. The dancers go round and round holding idols on their heats moving rhythmatically while singing in chorus. The dancers eulogise Shiva-Parvati, Brahma-Savitri and Vishnu-Laxmi, while singing and dancing Gagaur.
Bhagoriya dance
Bhagoriya is a well knowan dance of Bhils, a large tribe of madhya Pradesh Named after the Bhagoriya festival, this Dance is performed in falgun when “ HOLI ” is celebrated. The dance is associated with a fair called bhagoriya Haat. Unmarried girls and boys dressed in their best festival clothes come to fair to choose their life partner
Kathi Dance
Kathi is a very powerful form of folk theater of Nimar reagon in Madhya Pradesh and is performed by Balahi harijan community. Kathimata , the deity is worshipped ritually which is represented symbolically by a flag staff veiled with a cloth prior to the dance, the flag staff is sanctified on a block of wood. The word Kathi is said to be derived from this block of wood or “ KATHI ”. Kathiyawad is knowan as the original place for KATHI dance. The devotees of kathi mata are called “ Bhagats “. The Rajulya is the one who holds the image of kathi mataand the khordar plays the thali to set the pace of dance. The dancers tie daank instrument around their waist to produce rhythm and music for the dance.
Thapti Dance
Korkus are one of the chief and highly organised tribals settled in Madhya Pradesh. During the season of the shifting cultivation, Korkus entertain themselves with dance and music. THAPTI is one of the main dance of this tribe which is performed on various festival occasions. A red colour feather “ KALGI ” on male dancers headgear is a distinctive mark of this tribe. The dancers adorn themselves with garlands of shells and beads. The women dancers hold CHITKOLA in one hand and the male dancers clasp a strings of ghoongru and Panchha.
The Jawara is performed in the Bundelkhand area of Madhya Pradesh. It is essentially a harvest dance-reflecting the gaiety and pleasure of the peasants who have reaped a good harvest. The dance is performed by men and women together. The costumes and jewellery worn by the women are colorful. The women carry baskets full of jawara on their heads and although the dance is very vigorous they are able to balance these baskets very skillfully on their heads. The accompaniment includes a rich variety of percussion, stringed and wind instruments.
Tertali (Madhya Pradesh)
The Kamar tribe performs the Tera Tali, which is an elaborate ritual with many elements of dance. It is generally performed by two or three women who sit on the ground. Manjiras, or small metal cymbals are tied to different parts of the body, mostly the legs, and with a cymbal in either hand the dancer strikes these in rhythm. The head is covered with a veil, and at times a small sword is clenched between the teeth and an ornamental pot balanced on the head.
Gudum Baja ( Madhya pradesh )
Gudum is a traditional instrument which is more popular amongst the Dhulia tribals of Dindori, Mandla and Shahdol district in Madhya Pradesh. The God and Baiga tribal dances become more attractive in the company of Gudum instrument. Gudum players and duly acknowledge in their tribal society. It is played while performing social rituals and also on all auspicious occasions and festivals etc. The accompanying instruments are Shehnai, Flute, Manjira and Timki. The show begins with the playing of tune ' Dagarchali ' followed by Lavani. Daud, Gumak, Talband and Lehaki, respectively.
Gangaur dance ( Madhya Pradesh )
Gangaur, one of the most popular and traditional festival, is celebrated in the entire region of Nimad of Madhya Pradesh. The festival and ceremonies of Gangaur begin in the month od Chaitra on the occasion of Teej and the celebration continues for nine days. This picturesque celebration is decicated to Goddess Parvati also known as Gauri. Jhalaria and Mataki Gangaur dancers are performed on the beats of drums by placing the symbolic idols and images of Gauri and Shiva ( traditionally known as Renu & Dhaniyar ) side by side on chariot. The dancers then hold hands to form circle and dance round the deity, invoking the blessings of Gauri to bless their husbands. The dancers go round and round holding idols on their heats moving rhythmatically while singing in chorus. The dancers eulogise Shiva-Parvati, Brahma-Savitri and Vishnu-Laxmi, while singing and dancing Gagaur.
Bhagoriya dance
Bhagoriya is a well knowan dance of Bhils, a large tribe of madhya Pradesh Named after the Bhagoriya festival, this Dance is performed in falgun when “ HOLI ” is celebrated. The dance is associated with a fair called bhagoriya Haat. Unmarried girls and boys dressed in their best festival clothes come to fair to choose their life partner
Kathi Dance
Kathi is a very powerful form of folk theater of Nimar reagon in Madhya Pradesh and is performed by Balahi harijan community. Kathimata , the deity is worshipped ritually which is represented symbolically by a flag staff veiled with a cloth prior to the dance, the flag staff is sanctified on a block of wood. The word Kathi is said to be derived from this block of wood or “ KATHI ”. Kathiyawad is knowan as the original place for KATHI dance. The devotees of kathi mata are called “ Bhagats “. The Rajulya is the one who holds the image of kathi mataand the khordar plays the thali to set the pace of dance. The dancers tie daank instrument around their waist to produce rhythm and music for the dance.
Thapti Dance
Korkus are one of the chief and highly organised tribals settled in Madhya Pradesh. During the season of the shifting cultivation, Korkus entertain themselves with dance and music. THAPTI is one of the main dance of this tribe which is performed on various festival occasions. A red colour feather “ KALGI ” on male dancers headgear is a distinctive mark of this tribe. The dancers adorn themselves with garlands of shells and beads. The women dancers hold CHITKOLA in one hand and the male dancers clasp a strings of ghoongru and Panchha.
Pavri Nach (Maharashtra)
In the hilly regions of the northwest, the Kokna tribal dance to the accompaniment of the tarpha or pavri, a wind instrument made of dried gourd. Because of this, the dance is known as Tarpha Nach or Pavri Nach. The performers hold each other by the waist and dance in close formation. Men also dance separately, and this includes feats of skill, like forming a pyramid or rapidly revolving a dancer round a stout pole.
Lavani Dance
Traditionally an integral part of the Tamasha folk theatre of Maharaashtra, Lavan is the most popular and best known folk dance form of the State. Although there is no restriction regarding the choice of themes for a Lavani performance, this art form is at its best when dealing with themes of bravery, pathos, love and devotion, Music, poetry, dance and drama intermingle with such perfection in the rendering of Lavani, that it is almost impossible to separate the various components.
Songi Mukhawate The songi Mukhawate dance of Maharashtra is an inte gral part of the worship od devi at the time of Chaitra Purnima. The name of the dance is derived from the mask worn by the two dancers who portray the role of Narsingha. The dancers in the role of Kal Bhairav and Betal are also masked. The other dancers perform while holding sticks in their hands. Dhol, Pawari and sambal are the main instruments used in this dance. The pawari players wear green robes and peacock feather adornment on their heads.
Lezim Dance
In the hilly regions of the northwest, the Kokna tribal dance to the accompaniment of the tarpha or pavri, a wind instrument made of dried gourd. Because of this, the dance is known as Tarpha Nach or Pavri Nach. The performers hold each other by the waist and dance in close formation. Men also dance separately, and this includes feats of skill, like forming a pyramid or rapidly revolving a dancer round a stout pole.
Lavani Dance
Traditionally an integral part of the Tamasha folk theatre of Maharaashtra, Lavan is the most popular and best known folk dance form of the State. Although there is no restriction regarding the choice of themes for a Lavani performance, this art form is at its best when dealing with themes of bravery, pathos, love and devotion, Music, poetry, dance and drama intermingle with such perfection in the rendering of Lavani, that it is almost impossible to separate the various components.
Songi Mukhawate The songi Mukhawate dance of Maharashtra is an inte gral part of the worship od devi at the time of Chaitra Purnima. The name of the dance is derived from the mask worn by the two dancers who portray the role of Narsingha. The dancers in the role of Kal Bhairav and Betal are also masked. The other dancers perform while holding sticks in their hands. Dhol, Pawari and sambal are the main instruments used in this dance. The pawari players wear green robes and peacock feather adornment on their heads.
Lezim Dance
Dollu Kunitha (Karnataka)
The Dollu Kunitha is a popular drum dance of Karnataka. The vigorous drum dance performed by the men of the shepherd community known as ' Kourba'. Powerful drumming, acrobatic movements and attractive formations are the notable highlights of the dance. The men have large drums, decorated with colored cloth, slung from their necks, and they beat the drums as they dance with nimble movements of the feet and legs. The dance is at times accompanied by songs, which are either religious or in praise of war.
Dholu Kunitha ( female ) dance ( Karnataka )
Kunitha is a drum dance performed by the women of the shepherd community known as Kourkas. This dance from Karnataka is noted for ita powerful drumming and vigourous dancing which is replete with acrobatic elements . The dancers during the course of performing , make attractive formations of all sorts. This dance is popular in some parts on Norrth and South Karnataka.
Somanaa Kunitha Dance ( Karnataka )
Somanakunitha is basically the propitiation of Soma, the bodyguard of the village goddess, and is an essential part of all festivities. The deity usually has two bodyguards, the yellow and the red Somas called the Kencharaya and Kemparya. The main attraction is the mask made from the bark of the Bhootale tree, painted in vivid colours and draped in ten saris. The Soma is carried with great devotion and fervour by the chosen artiste who dances like one possessed by the Devi, and accepts sacrifies. The villagers have unshakable faith in this dance.
Gorwara Kunitha(Karnataka)
Gorwara dance of Karnataka is a religious dance performed during the festival of Mylaralinga. Mylara is a Shaivite center situated in North Karnataka. The Gorwara sing and dance in praise of their God. Damruga and flute are the main instruments of gorwara dancers. They adorn a fur cap of bear”s skin and black clothes. Their dance is full of alluring rhythms.
Pooja kunitha dance(Karnataka)
This is a dance of worship to propitiate Goddess Shakti. A frame made out of bamboo is covered with beautiful sarees. The dancers carries the frame on his hands while calls for his special skill. In the center of the frame the face of the Goddess made out of copper or some other metal can be seen. On festival days or special occasions dancers dance to fulfill their vows. This popular dance is usually performed in fron of the temple of Shakti. It is very popular in MADHYA, Bangalore and Kolar Districts.
Mathuri ( Koppu ) Dance ( Andhra Pradesh )
This dance is performed by the inhabitants of the Umji and Indravelli forest areas of Utnoor Tehsil in Adilabad district of Andhra Pradesh. It is traditionally performed during Krishnashtami celebrations and themes are taken from the Ramayan. Though both men and women perform this dance, the pace is different . Women dance in slow rhythmic movements, while the men dance at a more vigorous pace. Colourful costumes, handkerchiefs and small sticks are the other accoutrements of this dance. The Nagara is the main instrument used.
The Dollu Kunitha is a popular drum dance of Karnataka. The vigorous drum dance performed by the men of the shepherd community known as ' Kourba'. Powerful drumming, acrobatic movements and attractive formations are the notable highlights of the dance. The men have large drums, decorated with colored cloth, slung from their necks, and they beat the drums as they dance with nimble movements of the feet and legs. The dance is at times accompanied by songs, which are either religious or in praise of war.
Dholu Kunitha ( female ) dance ( Karnataka )
Kunitha is a drum dance performed by the women of the shepherd community known as Kourkas. This dance from Karnataka is noted for ita powerful drumming and vigourous dancing which is replete with acrobatic elements . The dancers during the course of performing , make attractive formations of all sorts. This dance is popular in some parts on Norrth and South Karnataka.
Somanaa Kunitha Dance ( Karnataka )
Somanakunitha is basically the propitiation of Soma, the bodyguard of the village goddess, and is an essential part of all festivities. The deity usually has two bodyguards, the yellow and the red Somas called the Kencharaya and Kemparya. The main attraction is the mask made from the bark of the Bhootale tree, painted in vivid colours and draped in ten saris. The Soma is carried with great devotion and fervour by the chosen artiste who dances like one possessed by the Devi, and accepts sacrifies. The villagers have unshakable faith in this dance.
Gorwara Kunitha(Karnataka)
Gorwara dance of Karnataka is a religious dance performed during the festival of Mylaralinga. Mylara is a Shaivite center situated in North Karnataka. The Gorwara sing and dance in praise of their God. Damruga and flute are the main instruments of gorwara dancers. They adorn a fur cap of bear”s skin and black clothes. Their dance is full of alluring rhythms.
Pooja kunitha dance(Karnataka)
This is a dance of worship to propitiate Goddess Shakti. A frame made out of bamboo is covered with beautiful sarees. The dancers carries the frame on his hands while calls for his special skill. In the center of the frame the face of the Goddess made out of copper or some other metal can be seen. On festival days or special occasions dancers dance to fulfill their vows. This popular dance is usually performed in fron of the temple of Shakti. It is very popular in MADHYA, Bangalore and Kolar Districts.
Mathuri ( Koppu ) Dance ( Andhra Pradesh )
This dance is performed by the inhabitants of the Umji and Indravelli forest areas of Utnoor Tehsil in Adilabad district of Andhra Pradesh. It is traditionally performed during Krishnashtami celebrations and themes are taken from the Ramayan. Though both men and women perform this dance, the pace is different . Women dance in slow rhythmic movements, while the men dance at a more vigorous pace. Colourful costumes, handkerchiefs and small sticks are the other accoutrements of this dance. The Nagara is the main instrument used.
EAST ZONE
Karma/Munda (Bihar)
The traditional dance gets its name from the Karma tree, which stands for fortune and good luck. The ceremony starts with the planting of the trees. Dancers, both men and women, form circles around it and dance with their arms around each other's waists. As the drum beats get quicker and louder, the dancers gain momentum and generally end in an uproarious tumult.
Jhijhiya Dance
One of the most eminent traditional folk dances of Bihar, Jhijhiya depicts a band of young belles adoring and offering prayers in the form of song and dance to plase the king of Gods, Lord Indra, for rains and for better yield. The dancers sing and dance to please the Lord of Rain, with their deep devotion. The words of melody ' Halli Huli Barsaaun Inder Devata ' fill the hearts with conviction and devotion to the God as well.
Jharni Dance
This is a ritualistic dance performed by the JULAHA comunities during MUHARRAM where the dancers use bamboo sticks split in the bottom at one end. This is a circular formation dance where the dancers revolve around hitting the sticks of his partner and provides beat to the performers.
The traditional dance gets its name from the Karma tree, which stands for fortune and good luck. The ceremony starts with the planting of the trees. Dancers, both men and women, form circles around it and dance with their arms around each other's waists. As the drum beats get quicker and louder, the dancers gain momentum and generally end in an uproarious tumult.
Jhijhiya Dance
One of the most eminent traditional folk dances of Bihar, Jhijhiya depicts a band of young belles adoring and offering prayers in the form of song and dance to plase the king of Gods, Lord Indra, for rains and for better yield. The dancers sing and dance to please the Lord of Rain, with their deep devotion. The words of melody ' Halli Huli Barsaaun Inder Devata ' fill the hearts with conviction and devotion to the God as well.
Jharni Dance
This is a ritualistic dance performed by the JULAHA comunities during MUHARRAM where the dancers use bamboo sticks split in the bottom at one end. This is a circular formation dance where the dancers revolve around hitting the sticks of his partner and provides beat to the performers.
Natua Dance
Natua, an ancient dance form, features in the Shiv Puranas. The word Natua, may have been derived from the name of Lord Nataraj. It is believed that Nandi and Bhringi, the associates of Lord Shiva wwere the first to perform this dance during the time of Shiva's marriage with Parvati. This highly acrobatic dance form involves many tricks with fire and is usually accompanied by the beats of a jai Dhak, the instrument which is said to have been created by Lord Shiva. The dance is performed during the Charak Puja and occasionally during marriages.
Purulia Chhau Dance
Emiating from martial practices, Purulia Chhau is a vigorous form of dance drama, drawing its themes from the two great epics, Ramayana and Mahabharat. Masks and elobrate headgears are the ornamental apparels of Chhau dancers. The dance dance commences with an invocation of Loard Ganesh before it begins movements as per pattern of the story. In Chhau dance , The fight between god and evil culminates in the victory of good over evil. The chhau masks, the dazzling costumes, the rhythmic drum beatings and shehnai provide special feature to Chhau dance. It is distinctive by its acrobatic use of the body and the elaborate mask worn by the dancers. Powerful movements, immense concentration and release of energy are other features of this dance form.
Natua, an ancient dance form, features in the Shiv Puranas. The word Natua, may have been derived from the name of Lord Nataraj. It is believed that Nandi and Bhringi, the associates of Lord Shiva wwere the first to perform this dance during the time of Shiva's marriage with Parvati. This highly acrobatic dance form involves many tricks with fire and is usually accompanied by the beats of a jai Dhak, the instrument which is said to have been created by Lord Shiva. The dance is performed during the Charak Puja and occasionally during marriages.
Purulia Chhau Dance
Emiating from martial practices, Purulia Chhau is a vigorous form of dance drama, drawing its themes from the two great epics, Ramayana and Mahabharat. Masks and elobrate headgears are the ornamental apparels of Chhau dancers. The dance dance commences with an invocation of Loard Ganesh before it begins movements as per pattern of the story. In Chhau dance , The fight between god and evil culminates in the victory of good over evil. The chhau masks, the dazzling costumes, the rhythmic drum beatings and shehnai provide special feature to Chhau dance. It is distinctive by its acrobatic use of the body and the elaborate mask worn by the dancers. Powerful movements, immense concentration and release of energy are other features of this dance form.
Dalkai (Orissa)
The Dalkhai dance is performed by women of some of the tribes in Sambalpur district in Orissa at the time of seasonal festivals. The dance is quite vigorous, and is accompanied by a set of particular musical instruments, played by men, of which the drummers often join the dance.
Goti Pua (Orissa)
The goti puas are boy dancers who dress up as girls. They are students of the akhadas, or gymnasia, established by Ramachandradeva in Puri, in the periphery of the temple. As they were offshoots of the akhada system, goti puas also came to be known as akhada pilas - boys attached to akhadas. Another reason often given to justify the emergence of the goti pua system is that some followers of the Vaishnava religion disapproved of dancing by women as a pretext for worship - they introduced the practice of dancing by boys dressed as girls. The word goti means 'one', 'single' and pua, 'boy', but the goti puas always dance in pairs. Boys are recruited about the age of six and continue to perform till they are 14, then become teachers of the dance or join drama parties. Goti puas are now part of professional teams, known as dals, each headed by a guru. The boys are trained for about two years, during which, after having imbibed the basic technique, they learn items of dance, ornamental and expressional. The goti puas, being youngsters in their formative years, can adapt their bodies to the dance in a far more flexible manner as opposed to the maharis. A goti pua presentation is ably supported by a set of three musicians, who play the pakhawaj, the gini or cymbals and the harmonium. The boys do the singing themselves, though at times the group has an additional singer.
Ruk Mar Nacha (& Chhau dance) (Orissa)
This is a rudimentary form of the more evolved Chhau dance of West Bengal. Performed in the Mayurbhanj District of Orissa, it has its base in the martial arts tradition. The dance is a stylized mock battle in which two groups of dancers armed with swords and shields, alternatively attack and defend themselves with vigorous movements and elegant stances. Especially notable is the accompanying music, noted for its rhythmic complexities and vigorous percussion. The instruments include 'Mahuri' - a double reeded instrument, 'Dhola' - a barrel shaped two-sided drum, 'Dhumsa' - a hemispherical drum and 'Chadchadi' - a short cylindrical drum.
Paika Akhada Dance
Paika Akhada dance is a martial art from of ancient Orissa that thrives in several villages of the state till today. This dance is often an integral part of Dushera and Kalipuja celebrations. As early as the 15th Century A.D., Gajapari Raja was believed to have raised an army of Paika warriors. The brave Paikas raised their voice of rebellion against the Biritish rulers. The Paikas of Khorda did not allow the British to enter the region and that is why Khorda is known as the last freedom fort of India. Only through years of dedicated practice, the dancers master the precision and agility that is the hallmark of the Paika dance. The heroism of these warriors influenced the art and literature of Orissa. many of the performing art forms of orissa, namely the Mayubhanj Chhau, Ghumra and Ranapa dances have been influenced by this glorious martial tradition. The dance involves acrobatic movements with swords, sticks and shields. The Chagi, Nagar, Dhamsa, Mahuri and large cymbals provide the musical accompaniment.
The Dalkhai dance is performed by women of some of the tribes in Sambalpur district in Orissa at the time of seasonal festivals. The dance is quite vigorous, and is accompanied by a set of particular musical instruments, played by men, of which the drummers often join the dance.
Goti Pua (Orissa)
The goti puas are boy dancers who dress up as girls. They are students of the akhadas, or gymnasia, established by Ramachandradeva in Puri, in the periphery of the temple. As they were offshoots of the akhada system, goti puas also came to be known as akhada pilas - boys attached to akhadas. Another reason often given to justify the emergence of the goti pua system is that some followers of the Vaishnava religion disapproved of dancing by women as a pretext for worship - they introduced the practice of dancing by boys dressed as girls. The word goti means 'one', 'single' and pua, 'boy', but the goti puas always dance in pairs. Boys are recruited about the age of six and continue to perform till they are 14, then become teachers of the dance or join drama parties. Goti puas are now part of professional teams, known as dals, each headed by a guru. The boys are trained for about two years, during which, after having imbibed the basic technique, they learn items of dance, ornamental and expressional. The goti puas, being youngsters in their formative years, can adapt their bodies to the dance in a far more flexible manner as opposed to the maharis. A goti pua presentation is ably supported by a set of three musicians, who play the pakhawaj, the gini or cymbals and the harmonium. The boys do the singing themselves, though at times the group has an additional singer.
Ruk Mar Nacha (& Chhau dance) (Orissa)
This is a rudimentary form of the more evolved Chhau dance of West Bengal. Performed in the Mayurbhanj District of Orissa, it has its base in the martial arts tradition. The dance is a stylized mock battle in which two groups of dancers armed with swords and shields, alternatively attack and defend themselves with vigorous movements and elegant stances. Especially notable is the accompanying music, noted for its rhythmic complexities and vigorous percussion. The instruments include 'Mahuri' - a double reeded instrument, 'Dhola' - a barrel shaped two-sided drum, 'Dhumsa' - a hemispherical drum and 'Chadchadi' - a short cylindrical drum.
Paika Akhada Dance
Paika Akhada dance is a martial art from of ancient Orissa that thrives in several villages of the state till today. This dance is often an integral part of Dushera and Kalipuja celebrations. As early as the 15th Century A.D., Gajapari Raja was believed to have raised an army of Paika warriors. The brave Paikas raised their voice of rebellion against the Biritish rulers. The Paikas of Khorda did not allow the British to enter the region and that is why Khorda is known as the last freedom fort of India. Only through years of dedicated practice, the dancers master the precision and agility that is the hallmark of the Paika dance. The heroism of these warriors influenced the art and literature of Orissa. many of the performing art forms of orissa, namely the Mayubhanj Chhau, Ghumra and Ranapa dances have been influenced by this glorious martial tradition. The dance involves acrobatic movements with swords, sticks and shields. The Chagi, Nagar, Dhamsa, Mahuri and large cymbals provide the musical accompaniment.
Bagrumba dance
Bagrumba is a dance from of the Bodos, the largest tribal community of Assam. Young women assemble somewhere in the neighborhood after the day's hard labour for merry-making, singing and dancing in gay abandon. Holding the ends of colourful scarves hung round their necks, the dancers move forward and backward with alternate footsteps to the accompaniment of Kham (drum) and Sifung (flute). The dance begins in horizontal lines but takes a circular pattern later on. The special features of the dance like harmoniums jerks of the waist, graceful, forward and backward swinging of the body and wrist that makes it more fascinating.
Bhortal Dance
Bhortal is a big cymbal of brass and while singing prayers, the people sometimes perform dance with the big cymbals, popularly known as ' Bhortal ' in their hands. It is a dance of God which is an invocation from the Satriya dance by Narahari Burhabhakat, a saint of Barpeta Satra of Assam.
Mishing Gumrak
The Mishing are one of the largest plain tribes of assam. Ali-Ai-Ligang ( Seed sowing festival ) is their most important festival held every year in the month of falgun. The dance form associated with this festival is Gumrak. The dancers demonstrate various stages of the process of cultivation in this dance. The whole atmosphear is surcharge with music of dum dum, Pempa, Siphung and gunggang played with rhythmic dances of the girls attired in their best “ RIBIGASENG” and “ RIBIYEGE ”. The festival continues for five days and during these days dancing and feasting is held in the countryard of the villagers and in return the host entertains the Gumrak dancers. The festival is concluded with “ DAPAN TIPAN ” i.e a community feast. The last day of the festival is called “ LILEN ”
Bagrumba is a dance from of the Bodos, the largest tribal community of Assam. Young women assemble somewhere in the neighborhood after the day's hard labour for merry-making, singing and dancing in gay abandon. Holding the ends of colourful scarves hung round their necks, the dancers move forward and backward with alternate footsteps to the accompaniment of Kham (drum) and Sifung (flute). The dance begins in horizontal lines but takes a circular pattern later on. The special features of the dance like harmoniums jerks of the waist, graceful, forward and backward swinging of the body and wrist that makes it more fascinating.
Bhortal Dance
Bhortal is a big cymbal of brass and while singing prayers, the people sometimes perform dance with the big cymbals, popularly known as ' Bhortal ' in their hands. It is a dance of God which is an invocation from the Satriya dance by Narahari Burhabhakat, a saint of Barpeta Satra of Assam.
Mishing Gumrak
The Mishing are one of the largest plain tribes of assam. Ali-Ai-Ligang ( Seed sowing festival ) is their most important festival held every year in the month of falgun. The dance form associated with this festival is Gumrak. The dancers demonstrate various stages of the process of cultivation in this dance. The whole atmosphear is surcharge with music of dum dum, Pempa, Siphung and gunggang played with rhythmic dances of the girls attired in their best “ RIBIGASENG” and “ RIBIYEGE ”. The festival continues for five days and during these days dancing and feasting is held in the countryard of the villagers and in return the host entertains the Gumrak dancers. The festival is concluded with “ DAPAN TIPAN ” i.e a community feast. The last day of the festival is called “ LILEN ”
Hojagiri (Tripura)
Hojagiri is a reflection of the age-old culture and the unique style of dance of the Reang community of Tripura. Only lower half of the body is moved to create rhythmic movements. Dancers performing unusually amazing acrobatic feats is the main highlight of the dance. Reang girls twist and turn and dance in time to the compelling rhythm, sometimes dancing on an earthen pitcher or balancing a bottle on the head with a lighted lamp on top of it.
Hozagiri Dance
Hozagiri dance is the most popular and spectacular dance of the Reang Community of Tripura. The occasions on which Reang women perform Hozagiri are known as Mailuma and Maiktah, signifying the festival of new harvest and worship of Lakshmi, the goddess of wealth and prosperity . The Reangs believe that when the goddess is pleased by entertaining with dance and songs, she blesses them with bumper crops. Thus, the theme of this dance is mostly connected with cultivation. Standing on the pitcher, they move the metal plates while dancing on it while keeping the bottle on the head atop which is a oil lamp alight or pick up a flower from the ground bowing their body back. All along the dance they twist their waist with must finesses.
Sangrai-Mog Dance
Sangrai is the occasion of special festival. The festival continues for three days. The youth of the Mog community on this auspicious occasion move from house to another dancing and singing with pious “ WISH YIELDING TREE” ( Kalpataru ) on head. On this day water is carried through auspicious pitcher and respected person are allowed to take bath with this water. Traditional “ KHOUYANG ” is played on rhythm. Paste of fragrant sandalwood and water of green coconuts are sprinkled in every house. There is joy and happiness everywhere and in the midst of pomp and grandeur fragrant water is poured on the root of “ BODHI VRIKSHA”
Hojagiri is a reflection of the age-old culture and the unique style of dance of the Reang community of Tripura. Only lower half of the body is moved to create rhythmic movements. Dancers performing unusually amazing acrobatic feats is the main highlight of the dance. Reang girls twist and turn and dance in time to the compelling rhythm, sometimes dancing on an earthen pitcher or balancing a bottle on the head with a lighted lamp on top of it.
Hozagiri Dance
Hozagiri dance is the most popular and spectacular dance of the Reang Community of Tripura. The occasions on which Reang women perform Hozagiri are known as Mailuma and Maiktah, signifying the festival of new harvest and worship of Lakshmi, the goddess of wealth and prosperity . The Reangs believe that when the goddess is pleased by entertaining with dance and songs, she blesses them with bumper crops. Thus, the theme of this dance is mostly connected with cultivation. Standing on the pitcher, they move the metal plates while dancing on it while keeping the bottle on the head atop which is a oil lamp alight or pick up a flower from the ground bowing their body back. All along the dance they twist their waist with must finesses.
Sangrai-Mog Dance
Sangrai is the occasion of special festival. The festival continues for three days. The youth of the Mog community on this auspicious occasion move from house to another dancing and singing with pious “ WISH YIELDING TREE” ( Kalpataru ) on head. On this day water is carried through auspicious pitcher and respected person are allowed to take bath with this water. Traditional “ KHOUYANG ” is played on rhythm. Paste of fragrant sandalwood and water of green coconuts are sprinkled in every house. There is joy and happiness everywhere and in the midst of pomp and grandeur fragrant water is poured on the root of “ BODHI VRIKSHA”
Thang Ta (Manipur)
Thang Ta is the martial art form exclusive to Manipur, with 'Thang' meaning sword and 'Ta' meaning spear. In this amazing display of the traditional art of warfare, performers leap and attack each other and defend themselves. Encouraged by the kings of the earlier times, Thang Ta is an ingenuous display of skill and creativity. The art has a ritualistic aspect with some movements of sword intended to ward off evil spirits, while other postures indicating protection. All the dance forms of Meiti people are believed to have originated from Thang Ta.
Dol cholam (Manipur)
The drum, by itself, enjoys a privilege in the dances of Manipur. There are several kinds of drums, each intended for a particular occasion. The festival of Holi, in spring, is the real time for drum dances, such as Dhol Cholom.
Pung Cholom Dance
The Pung or Manipur drum is the soul of manipur 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 movements and footwork. The Pung Cholom is part of the music of the Sankirtan tradition and is acclaimed as one of best art forms of the state.
Maibi- laiching Jagoi Dance
Maibi Laiching Jagoi is the first item of the Kanglei Lai-Haraoba Festival of Manipur. According to Manipur mythology, there lived a protector goddess within sacred forest of Manipur. Although, most of the people from Manipur are devotees of Vishnu but they also have faith on these gods and goddesses. It is celebrated during the month of March and April every year in which piestess summons the gods goddesses and wishes for the welfare of Mankind and development of good harvest. The worship is done by the priestess called Maibi, so the from known as Maibi Laiching Jagoi.
Lai-Haraoba Dance
It is most important dance performed before the SYLVAN GODS and GODDESSES of manipur during village festivals mirroring the ancient culture of manipur. The Maibas and the Maibis cunduct this ceremony depicting the creation of the world, origin of life, growth of civilization through complicated rituals and movements. The Lai-Haraoba dance festival lasts for many days. The Maibis , The priestesses are the star performers of this festival.
Thang Ta is the martial art form exclusive to Manipur, with 'Thang' meaning sword and 'Ta' meaning spear. In this amazing display of the traditional art of warfare, performers leap and attack each other and defend themselves. Encouraged by the kings of the earlier times, Thang Ta is an ingenuous display of skill and creativity. The art has a ritualistic aspect with some movements of sword intended to ward off evil spirits, while other postures indicating protection. All the dance forms of Meiti people are believed to have originated from Thang Ta.
Dol cholam (Manipur)
The drum, by itself, enjoys a privilege in the dances of Manipur. There are several kinds of drums, each intended for a particular occasion. The festival of Holi, in spring, is the real time for drum dances, such as Dhol Cholom.
Pung Cholom Dance
The Pung or Manipur drum is the soul of manipur 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 movements and footwork. The Pung Cholom is part of the music of the Sankirtan tradition and is acclaimed as one of best art forms of the state.
Maibi- laiching Jagoi Dance
Maibi Laiching Jagoi is the first item of the Kanglei Lai-Haraoba Festival of Manipur. According to Manipur mythology, there lived a protector goddess within sacred forest of Manipur. Although, most of the people from Manipur are devotees of Vishnu but they also have faith on these gods and goddesses. It is celebrated during the month of March and April every year in which piestess summons the gods goddesses and wishes for the welfare of Mankind and development of good harvest. The worship is done by the priestess called Maibi, so the from known as Maibi Laiching Jagoi.
Lai-Haraoba Dance
It is most important dance performed before the SYLVAN GODS and GODDESSES of manipur during village festivals mirroring the ancient culture of manipur. The Maibas and the Maibis cunduct this ceremony depicting the creation of the world, origin of life, growth of civilization through complicated rituals and movements. The Lai-Haraoba dance festival lasts for many days. The Maibis , The priestesses are the star performers of this festival.
Nicobarese dances (Andaman and Nicobar Islands)
This is the dance of the Nicobarese - the fascinating tribal group residing in the island of Car Nicobar. The dance is performed during the Ossuary Feast or the Pig Festival. Dedicated to the departed head of the family, the occasion is observed with night long dancing in the full moonlight under the swaying palms. The dancers dressed in coconut fronds step gracefully in time to traditional songs. Feasting and good food followed by a pig fight in the morning are other highlights of the celebration.
Singhi Chham( Snow Lion ) (Sikkim)
It is a masked dance of Sikkim, depicting snow lion - the cultural symbol of the state. (Snow lion was decreed the guardian deity of the people of Sikkim by Guru Padamsambhava). The third highest mountain in the world - Kanchenjunga(Khang-Chen Dzong Pa), standing sentinel over the state of Sikkim, is believed to resemble the legendary snow lion. The natives display their cultural symbol by dressing up in furry costumes and performing this majestic masked dance.
Tamang Selo Dance ( Sikkim )
Tamang Selo is a Sikkimese folk dance patronised by the Tamang Community. This dance is also knowan as Damphu. Damphu is the traditional musical instrumentsof the Tamangs. This dance depicts the colourful life style of the hill people which finds expression in the splendour of their festivals and dancers. This dance is full of fun and vigour and hence, it is performed during dasain or dussehra. Thus, the Tamang dance or Damphu dance has since time immemorial been a traditional dance performed by young and old folk alike in their traditional costumes
This is the dance of the Nicobarese - the fascinating tribal group residing in the island of Car Nicobar. The dance is performed during the Ossuary Feast or the Pig Festival. Dedicated to the departed head of the family, the occasion is observed with night long dancing in the full moonlight under the swaying palms. The dancers dressed in coconut fronds step gracefully in time to traditional songs. Feasting and good food followed by a pig fight in the morning are other highlights of the celebration.
Singhi Chham( Snow Lion ) (Sikkim)
It is a masked dance of Sikkim, depicting snow lion - the cultural symbol of the state. (Snow lion was decreed the guardian deity of the people of Sikkim by Guru Padamsambhava). The third highest mountain in the world - Kanchenjunga(Khang-Chen Dzong Pa), standing sentinel over the state of Sikkim, is believed to resemble the legendary snow lion. The natives display their cultural symbol by dressing up in furry costumes and performing this majestic masked dance.
Tamang Selo Dance ( Sikkim )
Tamang Selo is a Sikkimese folk dance patronised by the Tamang Community. This dance is also knowan as Damphu. Damphu is the traditional musical instrumentsof the Tamangs. This dance depicts the colourful life style of the hill people which finds expression in the splendour of their festivals and dancers. This dance is full of fun and vigour and hence, it is performed during dasain or dussehra. Thus, the Tamang dance or Damphu dance has since time immemorial been a traditional dance performed by young and old folk alike in their traditional costumes
NORTH CENTRAL ZONE
Madhya Pradesh
Charkula (Madhya Pradesh) - AlreadyExplain
Gangaur dance - Already Explain
Jawara (Madhya Pradesh) - Already Explain
Tertali (Madhya Pradesh) - Already Explain
Gangaur Dance - Already Explain
Charkula (Madhya Pradesh) - AlreadyExplain
Gangaur dance - Already Explain
Jawara (Madhya Pradesh) - Already Explain
Tertali (Madhya Pradesh) - Already Explain
Gangaur Dance - Already Explain
Ghoomar (Rajasthan, Haryana) - Already Explain
Kalbelia (Rajasthan) - Already Explain
CHARI DANCE - Already Explain
Chakri Dance - Already Explain
Terahtail Dance - Already Explain
Langa Mangniyars - Already Explain
Kalbelia (Rajasthan) - Already Explain
CHARI DANCE - Already Explain
Chakri Dance - Already Explain
Terahtail Dance - Already Explain
Langa Mangniyars - Already Explain
Ghoomar (Rajasthan, Haryana) - Already Explain
Phag Dance - Already Explain
Phag Dance - Already Explain
Karma/Munda (Bihar)
The traditional dance gets its name from the Karma tree, which stands for fortune and good luck. The ceremony starts with the planting of the trees. Dancers, both men and women, form circles around it and dance with their arms around each other's waists. As the drum beats get quicker and louder, the dancers gain momentum and generally end in an uproarious tumult.
Jhijhiya Dance - Already Explain Jharni dance - Already Explain
The traditional dance gets its name from the Karma tree, which stands for fortune and good luck. The ceremony starts with the planting of the trees. Dancers, both men and women, form circles around it and dance with their arms around each other's waists. As the drum beats get quicker and louder, the dancers gain momentum and generally end in an uproarious tumult.
Jhijhiya Dance - Already Explain Jharni dance - Already Explain
Charkula dance
This traditional dance is associated with the Braj area of Uttar Pradesh and in particular with the village of Mukhrai in Mathura. This female dominated dance is performed during the monsoon and the other occasions festivity. The faces of the women are veiled. The inspiration for the dance is believed to have come from Radha's grandmother, who is believed to have run out of her house with wheel on her head to give the news of Radha's birth. While dancing, women carry a multi-tiered heavy wheel on their heads. This wheel has 108 oil lamps placed on the rim of each wheel and pots in the centre. While women dance, the men sing Rasia folksongs in honour of Lord Krishna, The instruments used in this dance are Nagara ( Drum ), Algoza (Wind Instrument), Thali ( Brass Plate used for Beat), Bansuri ( Flute ), Manjira ( Cymbal ), Kharartal ( Cymbal ) and Harmonium.
Saira dance
This traditional Saira dance hails from Bundelkhand region of Uttar Pradesh and is very popular in the district of Hamirpur, Jhansi and Lalitpur. This dance is performed by the young girls and boys of peasant community during the rainy season. The vedic God Indra, is worshipped for his blessings for a successful harvest. Since dancers hold sticks while dancing, this dance projects its masculine character. The peacock feathers are also held in one hand while forming a circle in this dance. The drummer who holds the centre position in this dance provides the rhythmic beat of the round drum. The dance is accompanied by Bundelkhandi folk songs.
Natwari Dance
One of the popular folk dance of Awadh region, Natwari is prevalent in Sultanpur district and its adjoining areas of the eastern U.P. It is generally performed during Janmashtami and Holi in honour of Lord Krishna. The theme revolves around the life of Lord Krishna. The music begins with the beating of Naqqara, which is accompainied by dholak and Manjira. The dancers wearing colourful clothes and holding flutes presents different sportive activities through which gain momentum with the music.
This traditional dance is associated with the Braj area of Uttar Pradesh and in particular with the village of Mukhrai in Mathura. This female dominated dance is performed during the monsoon and the other occasions festivity. The faces of the women are veiled. The inspiration for the dance is believed to have come from Radha's grandmother, who is believed to have run out of her house with wheel on her head to give the news of Radha's birth. While dancing, women carry a multi-tiered heavy wheel on their heads. This wheel has 108 oil lamps placed on the rim of each wheel and pots in the centre. While women dance, the men sing Rasia folksongs in honour of Lord Krishna, The instruments used in this dance are Nagara ( Drum ), Algoza (Wind Instrument), Thali ( Brass Plate used for Beat), Bansuri ( Flute ), Manjira ( Cymbal ), Kharartal ( Cymbal ) and Harmonium.
Saira dance
This traditional Saira dance hails from Bundelkhand region of Uttar Pradesh and is very popular in the district of Hamirpur, Jhansi and Lalitpur. This dance is performed by the young girls and boys of peasant community during the rainy season. The vedic God Indra, is worshipped for his blessings for a successful harvest. Since dancers hold sticks while dancing, this dance projects its masculine character. The peacock feathers are also held in one hand while forming a circle in this dance. The drummer who holds the centre position in this dance provides the rhythmic beat of the round drum. The dance is accompanied by Bundelkhandi folk songs.
Natwari Dance
One of the popular folk dance of Awadh region, Natwari is prevalent in Sultanpur district and its adjoining areas of the eastern U.P. It is generally performed during Janmashtami and Holi in honour of Lord Krishna. The theme revolves around the life of Lord Krishna. The music begins with the beating of Naqqara, which is accompainied by dholak and Manjira. The dancers wearing colourful clothes and holding flutes presents different sportive activities through which gain momentum with the music.
SOUTH ZONE
Padayani (Kerala)
Padayani or Padeni in colloquial speech is one of the most colorful and spectacular folk arts associated with the festivals of certain temples in southern Kerala (Aleppy, Quilon, Pathanamthitta, and Kottayam districts). The word Padayani literally means military formations or rows of army, but in this folk art we have mainly a series of divine and semi-divine impersonations wearing huge masks or kolams of different shapes, colors and designs painted on the stalks of areca nut fronds. The most important of the kolams usually presented in a Padayani performance are Bhairavi (Kali), Kalan (god of death), Yakshi (fairy), Pakshi (bird) etc. The Kolam consists primarily of a huge headgear with many projections and devices with a mask for the face or a chest piece to cover the breast and abdomen of the performer. The whole performance consisting of the dancers or actors who wear the kolams, the singers who recite a different poem for each Kolam, and the instrumentalists who evoke wild and loud rhythm on their simple drum called Thappu and Cymbals, etc., takes the form of a procession of Kali and her spirits returning after the killing of the Asura chief Darika.
Padayani or Padeni in colloquial speech is one of the most colorful and spectacular folk arts associated with the festivals of certain temples in southern Kerala (Aleppy, Quilon, Pathanamthitta, and Kottayam districts). The word Padayani literally means military formations or rows of army, but in this folk art we have mainly a series of divine and semi-divine impersonations wearing huge masks or kolams of different shapes, colors and designs painted on the stalks of areca nut fronds. The most important of the kolams usually presented in a Padayani performance are Bhairavi (Kali), Kalan (god of death), Yakshi (fairy), Pakshi (bird) etc. The Kolam consists primarily of a huge headgear with many projections and devices with a mask for the face or a chest piece to cover the breast and abdomen of the performer. The whole performance consisting of the dancers or actors who wear the kolams, the singers who recite a different poem for each Kolam, and the instrumentalists who evoke wild and loud rhythm on their simple drum called Thappu and Cymbals, etc., takes the form of a procession of Kali and her spirits returning after the killing of the Asura chief Darika.
Velakali Dance
Velakali has originated from martial practices and has subsequently acquired ritualistic overtones. Traditionally, the performance takes place at the time of the annual Phalguni festival in March or April. The dance is generally performed by special hereditary Nair families who have exclusive rights of performance. The dance recreates the battle of the Mahabharatha, with dancers representing the Kauravas and the wooned effigies - the Pandavas. The dancers exhibit many skills in wielding the shiels and the stick, as if in a real battle, to the accompaniment of trumpets, Kettle – drums and war cries.
Theyyam Dance
Theyyam is otherwise knowan as Kaliyattam. Kaliyattam is an ancient socioreligious ceremoney performed in Kerala since very remote times. The word Kaliyattam denotes a sacred dance performance for KALI. Kaliyattam is sometimes called Therayattom because every thera or village was dily bound to performe it. These names show that Kaliyattam were special festival of religious and social importance. In ancient times, every Village or Thera in Kerala had its own common shrine called Kavu and it was imperative to have Kaliyattam performed in front of it.
Velakali has originated from martial practices and has subsequently acquired ritualistic overtones. Traditionally, the performance takes place at the time of the annual Phalguni festival in March or April. The dance is generally performed by special hereditary Nair families who have exclusive rights of performance. The dance recreates the battle of the Mahabharatha, with dancers representing the Kauravas and the wooned effigies - the Pandavas. The dancers exhibit many skills in wielding the shiels and the stick, as if in a real battle, to the accompaniment of trumpets, Kettle – drums and war cries.
Theyyam Dance
Theyyam is otherwise knowan as Kaliyattam. Kaliyattam is an ancient socioreligious ceremoney performed in Kerala since very remote times. The word Kaliyattam denotes a sacred dance performance for KALI. Kaliyattam is sometimes called Therayattom because every thera or village was dily bound to performe it. These names show that Kaliyattam were special festival of religious and social importance. In ancient times, every Village or Thera in Kerala had its own common shrine called Kavu and it was imperative to have Kaliyattam performed in front of it.
Poikal attam (Tamil Nadu)
Poikal attam refers to the dance of "false legs". Here dancers are attached to a dummy horse at the waist. Instead of 4 legs of a horse only 2 legs of the person with the prop on his body is present. The image is similar to a rider on a horse (albeit a two legged horse and thus the name Poikal attam). This is a popular folklore dance with themes often on "Raja Desingu" - a once popular Rajput ruler called Tej Singh who invaded areas all the way up until Tamil Nadu.
Kummi (Tamil Nadu)
The womenfolk of Maharastra have three closely related dances, which can be performed at any time but are seen at their best during festivities. The simplest of these is the Kummi, in which the dancers gather in a circle and clap their hands as they dance. As an extension to this is the Kolattam, where instead of clapping, the participants hold small wooden rods in their hands and strike these in rhythm as they dance.
Devarattam (Tamil Nadu)
Devarattam or ' the dance of the gods' is the dance of the Kambala Naikar community of Tamil Nadu, who believe that they are the direct descendants of the 'devas' or gods. Fast and fluent movements to the rhythmic sound of ' Deva Thunthubi' - a drum-shaped percussion instrument, make this dance truly enjoyable. . The dance is performed during festivals, marriages and other social occasions.
Kargam Dance
Kargam is a folk dance of Tamilnadu which ofirinated as a ritual dedicated to Mariamman, the goddess of health and rain. The Karagam dance is veery popular in Tamil Nadu, Pondicherry, Andhra Pradesh ( Garagalu) and Karnataka ( Karaga ). She is also the protector from the dreaded diseases , i.e. small pox and cholera etc. This ritual is performed in the month of August when idol of Mariamma is carried in procession. The ritual pot filled with water and adorned with decorations several feet high is carried by the priest. The dancers perform various acrobatic feats while following the procession accompanied by a number of musical instruments like thavil, nadaswaram, muni, udukkai and pambais etc. The performers carry decorated and vertically piled vessels on their heads and donning colourful costumes, dance in a lively manner to the tune of Nadaswaram and the rhythm of Tahvil, It is popular in villages during temple festivals.
Kavadi Dance
This dance was supposed to be performed by a giant named idumban with a pole slung across his shoulder. At the two ends of the pople he was supposed to carry the favourite hills of Muruga, the Popular diety of Tamil Nadu. The carrying of Kavadi by pilgrims is symbolic of idumban with the hillocks poised on the pole. There are several kinds of Kavadis. Under the spell of the hypnotic music provided by the drums, nadaswaram and Thavil, the devotees proceed to the shrine by singing the song "Kavadi Chindu " with quick and vigorous movements. The Kavadi is never touched by the dancer while dancing.
Kokkalikattai Dance
This dance was supposed to be performed by a giant named idumban with a pole slung across his shoulder. At the two ends of the pople he was supposed to carry the favourite hills of Muruga, the Popular diety of Tamil Nadu. The carrying of Kavadi by pilgrims is symbolic of idumban with the hillocks poised on the pole. There are several kinds of Kavadis. Under the spell of the hypnotic music provided by the drums, nadaswaram and Thavil, the devotees proceed to the shrine by singing the song "Kavadi Chindu " with quick and vigorous movements. The Kavadi is never touched by the dancer while dancing.
Poikal attam refers to the dance of "false legs". Here dancers are attached to a dummy horse at the waist. Instead of 4 legs of a horse only 2 legs of the person with the prop on his body is present. The image is similar to a rider on a horse (albeit a two legged horse and thus the name Poikal attam). This is a popular folklore dance with themes often on "Raja Desingu" - a once popular Rajput ruler called Tej Singh who invaded areas all the way up until Tamil Nadu.
Kummi (Tamil Nadu)
The womenfolk of Maharastra have three closely related dances, which can be performed at any time but are seen at their best during festivities. The simplest of these is the Kummi, in which the dancers gather in a circle and clap their hands as they dance. As an extension to this is the Kolattam, where instead of clapping, the participants hold small wooden rods in their hands and strike these in rhythm as they dance.
Devarattam (Tamil Nadu)
Devarattam or ' the dance of the gods' is the dance of the Kambala Naikar community of Tamil Nadu, who believe that they are the direct descendants of the 'devas' or gods. Fast and fluent movements to the rhythmic sound of ' Deva Thunthubi' - a drum-shaped percussion instrument, make this dance truly enjoyable. . The dance is performed during festivals, marriages and other social occasions.
Kargam Dance
Kargam is a folk dance of Tamilnadu which ofirinated as a ritual dedicated to Mariamman, the goddess of health and rain. The Karagam dance is veery popular in Tamil Nadu, Pondicherry, Andhra Pradesh ( Garagalu) and Karnataka ( Karaga ). She is also the protector from the dreaded diseases , i.e. small pox and cholera etc. This ritual is performed in the month of August when idol of Mariamma is carried in procession. The ritual pot filled with water and adorned with decorations several feet high is carried by the priest. The dancers perform various acrobatic feats while following the procession accompanied by a number of musical instruments like thavil, nadaswaram, muni, udukkai and pambais etc. The performers carry decorated and vertically piled vessels on their heads and donning colourful costumes, dance in a lively manner to the tune of Nadaswaram and the rhythm of Tahvil, It is popular in villages during temple festivals.
Kavadi Dance
This dance was supposed to be performed by a giant named idumban with a pole slung across his shoulder. At the two ends of the pople he was supposed to carry the favourite hills of Muruga, the Popular diety of Tamil Nadu. The carrying of Kavadi by pilgrims is symbolic of idumban with the hillocks poised on the pole. There are several kinds of Kavadis. Under the spell of the hypnotic music provided by the drums, nadaswaram and Thavil, the devotees proceed to the shrine by singing the song "Kavadi Chindu " with quick and vigorous movements. The Kavadi is never touched by the dancer while dancing.
Kokkalikattai Dance
This dance was supposed to be performed by a giant named idumban with a pole slung across his shoulder. At the two ends of the pople he was supposed to carry the favourite hills of Muruga, the Popular diety of Tamil Nadu. The carrying of Kavadi by pilgrims is symbolic of idumban with the hillocks poised on the pole. There are several kinds of Kavadis. Under the spell of the hypnotic music provided by the drums, nadaswaram and Thavil, the devotees proceed to the shrine by singing the song "Kavadi Chindu " with quick and vigorous movements. The Kavadi is never touched by the dancer while dancing.
Thapetta Gullu (Andhra Pradesh)
This is the dance form of the Srikakulam district of Andhra Pradesh, in which more than ten persons participate, singing songs in the praise of the local goddess. The dancers use drums, which are hung around their necks to produce varied rhythms. Tinkling bells around the waist form a distinctive part of the dancers' costumes. Mathuri ( Koppu ) Dance(Andhra Pradesh)—Already Explain
Veernatyam dance
It is also called Veerangam and Veerabhadra Nrityam. Siva, outraged consequent to the himiliation meted out to sathi devi, His first wife, Picked up a relic out of his Jatajhuta and created Veerabhadram. Veerabhadram took the fierce form and smashed the Yakshayagna Vatika. Draksharama in East godavari district of Andhra Pradesh is stated to be the place of dakshavatika and birth of Veerabhadra. The Veeramusti community which claims to be a descendent of Veerabhadra perform this dance with instruments like tambura, Soolam, Dolu, tasha and Veeranam.
Gussadi Dance
There are many aboriginal tribes living in Adilabad district of Andhra Pradesh. Rajgonds have an unique position among all the tribes of this reagon. The festivals they celebrated as a part of theit culture feature their life style. They give utmost importance to dancing and singing during any festival or festive occasion. Gussadi dance is the most Magnificent dance among all the types of dances of Gonds. They start this dance after Dussahera and end it with Diwali festival. Gussadi is a type of costume, Worn by few young men from every village who observe high principles with single minded devotion. They wear this costume for 15 days in commemoration of their Guru, “ Ethmosnrpess”
This is the dance form of the Srikakulam district of Andhra Pradesh, in which more than ten persons participate, singing songs in the praise of the local goddess. The dancers use drums, which are hung around their necks to produce varied rhythms. Tinkling bells around the waist form a distinctive part of the dancers' costumes. Mathuri ( Koppu ) Dance(Andhra Pradesh)—Already Explain
Veernatyam dance
It is also called Veerangam and Veerabhadra Nrityam. Siva, outraged consequent to the himiliation meted out to sathi devi, His first wife, Picked up a relic out of his Jatajhuta and created Veerabhadram. Veerabhadram took the fierce form and smashed the Yakshayagna Vatika. Draksharama in East godavari district of Andhra Pradesh is stated to be the place of dakshavatika and birth of Veerabhadra. The Veeramusti community which claims to be a descendent of Veerabhadra perform this dance with instruments like tambura, Soolam, Dolu, tasha and Veeranam.
Gussadi Dance
There are many aboriginal tribes living in Adilabad district of Andhra Pradesh. Rajgonds have an unique position among all the tribes of this reagon. The festivals they celebrated as a part of theit culture feature their life style. They give utmost importance to dancing and singing during any festival or festive occasion. Gussadi dance is the most Magnificent dance among all the types of dances of Gonds. They start this dance after Dussahera and end it with Diwali festival. Gussadi is a type of costume, Worn by few young men from every village who observe high principles with single minded devotion. They wear this costume for 15 days in commemoration of their Guru, “ Ethmosnrpess”
Dollu Kunitha (Karnataka) ---Already Explain
Dholu Kunitha ( female ) dance ---Already Explain
Somanaa Kunitha Dance ---Already Explain
Gorwara Kunitha ---Already Explain
Pooja kunitha dance ---Already Explain
Nicobarese dances (Andaman and Nicobar Islands) –Already Explain.
Lava (Lakshwadeep)
It is the colorful dance of the Minicoy Island of Lakshadweep in which dancers wear multi-hued costumes, a headgear and carries a special drum. The dance movements are prolific and profuse and are in rhythm with the drum beats and vocal accompaniment.
Parichakali Dance (Lakshwadeep)
This is the second Popular dance among men in the islands. The dancers use wooden sword and shiled to perform this dance. It reminds us of a martial art and some formations reiterate dual combats and are classic in nature. They describe the valour of the war heroes of the past. This dance begins with a slow note and gradually developes and culminates in a crescendos of agile physical movements.
Garadi (Pondicherry)
The famous dance of Pondicherry is believed to have a purely mythological origin. As the legend goes, when Rama - the epic hero of Ramayana defeated Ravana then the vanars (monkeys) performed this dance to celebrate his victory. Garadi is performed during all festivals and usually continues for five to eight hours. The dancers are disguised as 'vanars' and carry sticks in their hands as they dance to the beat of two big drums, called ' Ramadolus'. A distinctive feature of this dance is the iron rings called 'anjali' which dancers wear on their legs - ten on each leg. As the dancer proceeds, these rings produce a melodious sound.
Veerayee Natanam Dance (Pondicherry)
Veerayee was a brave woman, lived in the landscape of Thodaimandalam, which spreads between the river Thenpennai and River Paalaru and ffrom Eastern Ghat to Bay of Bengal. Veerayee was noted for her bravery as she drove away a tiger using a Muram, a small spade made up of bamboo plates. In memory of her bravery, a folk dance by name ' Veerayee Natanam ' is performed in most parts of Pondicherry.
It is the colorful dance of the Minicoy Island of Lakshadweep in which dancers wear multi-hued costumes, a headgear and carries a special drum. The dance movements are prolific and profuse and are in rhythm with the drum beats and vocal accompaniment.
Parichakali Dance (Lakshwadeep)
This is the second Popular dance among men in the islands. The dancers use wooden sword and shiled to perform this dance. It reminds us of a martial art and some formations reiterate dual combats and are classic in nature. They describe the valour of the war heroes of the past. This dance begins with a slow note and gradually developes and culminates in a crescendos of agile physical movements.
Garadi (Pondicherry)
The famous dance of Pondicherry is believed to have a purely mythological origin. As the legend goes, when Rama - the epic hero of Ramayana defeated Ravana then the vanars (monkeys) performed this dance to celebrate his victory. Garadi is performed during all festivals and usually continues for five to eight hours. The dancers are disguised as 'vanars' and carry sticks in their hands as they dance to the beat of two big drums, called ' Ramadolus'. A distinctive feature of this dance is the iron rings called 'anjali' which dancers wear on their legs - ten on each leg. As the dancer proceeds, these rings produce a melodious sound.
Veerayee Natanam Dance (Pondicherry)
Veerayee was a brave woman, lived in the landscape of Thodaimandalam, which spreads between the river Thenpennai and River Paalaru and ffrom Eastern Ghat to Bay of Bengal. Veerayee was noted for her bravery as she drove away a tiger using a Muram, a small spade made up of bamboo plates. In memory of her bravery, a folk dance by name ' Veerayee Natanam ' is performed in most parts of Pondicherry.
WEST ZONE
Tarangmel (Goa)
The multi-hued dance is all energy and youthfulness. On the occasions of Dussehra and Holi, the spirited young girls and boys swarm the streets in colorful group, waving flags and streamers (tarang), inspiring and inviting one and all to imbibe the festive spirit. They shout Ho! Ho! To the beats of 'romut', 'dhol' and 'tasha'. The rainbow like costumes of the dancers and the multi-coloured flags and streamers make Taranmel a visually appealing affair.
The multi-hued dance is all energy and youthfulness. On the occasions of Dussehra and Holi, the spirited young girls and boys swarm the streets in colorful group, waving flags and streamers (tarang), inspiring and inviting one and all to imbibe the festive spirit. They shout Ho! Ho! To the beats of 'romut', 'dhol' and 'tasha'. The rainbow like costumes of the dancers and the multi-coloured flags and streamers make Taranmel a visually appealing affair.
Koli Dance (Goa)
The dance derives its name from the fisher folk of Goa - Kolis, who are noted for their distinct identity and lively dances. Their dances incorporate elements they are most familiar with - the sea and their occupation of fishing. The dance is performed by both men and women - divided into two groups. The smaller group of men and women, in pairs, enact the main story of the dance - where the Kolin or fisherwoman makes advances to the Koli or fisherman. The larger group, also in pairs, forms the backdrop for the story, dancing in a looped movement that depicts the rowing of a fishing boat on undulating waves.
Tarangmel dance
On the occasion of Dushehara and Holi, the youth in goa swarm the streets in colourful groups waving flags and streamers ( Tarang ) inspiring and inviting one and all to imbibe the festivae spirit. The spirited youth shout Ho; Ho; to the beats of romat dhol and tasha adding excitement to the colourful atmosphere created by the rainbow like costume of the dancers and the varied hues of the flags and steamers they carry.
The dance derives its name from the fisher folk of Goa - Kolis, who are noted for their distinct identity and lively dances. Their dances incorporate elements they are most familiar with - the sea and their occupation of fishing. The dance is performed by both men and women - divided into two groups. The smaller group of men and women, in pairs, enact the main story of the dance - where the Kolin or fisherwoman makes advances to the Koli or fisherman. The larger group, also in pairs, forms the backdrop for the story, dancing in a looped movement that depicts the rowing of a fishing boat on undulating waves.
Tarangmel dance
On the occasion of Dushehara and Holi, the youth in goa swarm the streets in colourful groups waving flags and streamers ( Tarang ) inspiring and inviting one and all to imbibe the festivae spirit. The spirited youth shout Ho; Ho; to the beats of romat dhol and tasha adding excitement to the colourful atmosphere created by the rainbow like costume of the dancers and the varied hues of the flags and steamers they carry.
Garba (Gujarat)
Garba is customarily performed by women, the dance involves circular patterns of movement and rhythmic clapping. It popularly performed during Navratri. The word comes from "garbha deep" which is translated as either light in the inner sanctum of the temple or lamp inside a perforated earthen pot (which is often used in the dance).
Padhar (Gujarat)
It is performed by a rural community living around NalLake. In it, performers simulate the rhythmic movements of roving mariners and the undulating sea waves. The Bhil tribes, who live close to border tracts, and the Adivasis of Dangs district, have particularly lively folk dances.
Raas (Gujarat)
Raas is an energetic, vibrant dance originating in the state of Gujarat. Often called the "stick dance" because it uses polished sticks or dandiya, it represents a mock-fight between Durga and Mahishasura, the mighty demon-king. It is nicknamed "The Sword Dance" because the dandiya represent the sword of Durga and are hit together.[1][4] The combination of garba and raas has become very popular at the collegiate level in the United States. Garba-Raas competitions are increasing in number. Popular ones include Dandia Dhamaka, Raas Chaos, Garba With Attitude, and Maryland Masti among others.
Mewasi Dance
Mewasi is a tribal dance of Gujarat. The Bhils perform this dance on the occasion of engagement ceremony. The Raman dhol, sharnai, and thali are the main instruments. While the girls waer ' Lodiya', ' Hasli ', ' Hiriya ', ' Kada ', and ' Pageradi ' the boys put 'Pagadi' ( turban) tucked with peacock feather in it.
Manjira raas dance
Rass is a popular folk dance of Gujarat. It is believed that Lord Krishna brought this dance to Dwarka ffrom Vrindavan. There are different types of Rass like Manira Rass, Dhal Talwar Rass, Hudo Rass, Mer Rass and Dandia Rass. Normally performed by men and women on the occasion of Janmashtami ( Birth day of Lord Krishna ) and Navratri, it is also performed on festive occasions. Manira Rass is very popular in Saurashtra region of Gujarat. Only male members perform this dance striking manjiras ( small cymbols ) in different patterns making presentation aesthetically ricg. Adorned in traditional costumes, dancers sing traditional songs on an accompaniment of traditional musical instruments.
Beda Raas Dance
Raas is a popular dance form of Gujarat which is widely performed during Navratri festival. Beda raas is performed by the women folk of the Saurashtra region in Gujarat. They put Beda ( number of Pots ) on their heads and dance slowely balancing Beda on the beats of Dhol, Shahanai and Jhanjh Etc. The singers sing Dohas and chhand in praise of Lord Krishna and Goddess Amba.
Garba is customarily performed by women, the dance involves circular patterns of movement and rhythmic clapping. It popularly performed during Navratri. The word comes from "garbha deep" which is translated as either light in the inner sanctum of the temple or lamp inside a perforated earthen pot (which is often used in the dance).
Padhar (Gujarat)
It is performed by a rural community living around NalLake. In it, performers simulate the rhythmic movements of roving mariners and the undulating sea waves. The Bhil tribes, who live close to border tracts, and the Adivasis of Dangs district, have particularly lively folk dances.
Raas (Gujarat)
Raas is an energetic, vibrant dance originating in the state of Gujarat. Often called the "stick dance" because it uses polished sticks or dandiya, it represents a mock-fight between Durga and Mahishasura, the mighty demon-king. It is nicknamed "The Sword Dance" because the dandiya represent the sword of Durga and are hit together.[1][4] The combination of garba and raas has become very popular at the collegiate level in the United States. Garba-Raas competitions are increasing in number. Popular ones include Dandia Dhamaka, Raas Chaos, Garba With Attitude, and Maryland Masti among others.
Mewasi Dance
Mewasi is a tribal dance of Gujarat. The Bhils perform this dance on the occasion of engagement ceremony. The Raman dhol, sharnai, and thali are the main instruments. While the girls waer ' Lodiya', ' Hasli ', ' Hiriya ', ' Kada ', and ' Pageradi ' the boys put 'Pagadi' ( turban) tucked with peacock feather in it.
Manjira raas dance
Rass is a popular folk dance of Gujarat. It is believed that Lord Krishna brought this dance to Dwarka ffrom Vrindavan. There are different types of Rass like Manira Rass, Dhal Talwar Rass, Hudo Rass, Mer Rass and Dandia Rass. Normally performed by men and women on the occasion of Janmashtami ( Birth day of Lord Krishna ) and Navratri, it is also performed on festive occasions. Manira Rass is very popular in Saurashtra region of Gujarat. Only male members perform this dance striking manjiras ( small cymbols ) in different patterns making presentation aesthetically ricg. Adorned in traditional costumes, dancers sing traditional songs on an accompaniment of traditional musical instruments.
Beda Raas Dance
Raas is a popular dance form of Gujarat which is widely performed during Navratri festival. Beda raas is performed by the women folk of the Saurashtra region in Gujarat. They put Beda ( number of Pots ) on their heads and dance slowely balancing Beda on the beats of Dhol, Shahanai and Jhanjh Etc. The singers sing Dohas and chhand in praise of Lord Krishna and Goddess Amba.
Ghoomar (Rajasthan, Haryana)—Already Explain
Kalbelia (Rajasthan) —Already Explain
CHARI DANCE—Already Explain
Chakri Dance—Already Explain
Terahtail Dance—Already Explain
Langa Mangniyars—Already Explain
Kalbelia (Rajasthan) —Already Explain
CHARI DANCE—Already Explain
Chakri Dance—Already Explain
Terahtail Dance—Already Explain
Langa Mangniyars—Already Explain
Pavri Nach (Maharashtra)—Already Explain
Songi Mukhawate—Already Explain
Lavani Dance—Already Explain
Lezim Dance—Already Explain
Songi Mukhawate—Already Explain
Lavani Dance—Already Explain
Lezim Dance—Already Explain
Machhi Dance ( Daman )
Machhi dance, a popular dance of fisherman community of Union territory of Daman, is performed by male and female dancers on festive occasions. Female carry baskets and sing melodious songs and dance on the beats of dholak and Jhanjh. The male dancers perform depicting fishing boats.
Machhi dance, a popular dance of fisherman community of Union territory of Daman, is performed by male and female dancers on festive occasions. Female carry baskets and sing melodious songs and dance on the beats of dholak and Jhanjh. The male dancers perform depicting fishing boats.
NORTH EAST ZONE
Bagrumba dance,
Bhortal Dance ,
Mishing Gumrak - Already Explain
Bhortal Dance ,
Mishing Gumrak - Already Explain
Hojagiri (Tripura) - Already Explain
Hozagiri Dance - Already Explain
Sangrai-Mog Dance - Already Explain
Hozagiri Dance - Already Explain
Sangrai-Mog Dance - Already Explain
Cheraw Dance (Mizoram)
Cheraw dance is an amazing combination of rhythm and skill. Four people hold two pairs of long bamboos across one another on the ground. As the bamboo sticks are clapped together, the main dancers in traditional attires weave patterns through them in time to the rhythm. Cheraw is a major attraction during all festive occasions in Mizoram. Cheraw is believed to have a foreign origin. Similar dances are popular in the Far East and the Philippines. The Mizos must have brought the dance with them when they migrated to their land in India.
Khuallam Dance
Khuallam Litterally means “ Dance of the guest ” it is usually performed in the “ Khuangchawi ” ceremoney, The final rite at the public feast in order to attain the coveted tittle “ Thangchhvah ”. To acertain a place in paradise, One has to prove one”s mettle in war, Hunting or by being a man of distinction in socity. This comes through the “ Khuangchawi ” ceremoney. The guest enter the arena of the “ Khuangchawi ” dancing khullam. The dancers wear “ Puangum ” atraditional Mizo dress with black, Red, Yellow and green strips and dance to the accompaniment of a set of gongs knowan as “ Darbu ”
Cheraw dance is an amazing combination of rhythm and skill. Four people hold two pairs of long bamboos across one another on the ground. As the bamboo sticks are clapped together, the main dancers in traditional attires weave patterns through them in time to the rhythm. Cheraw is a major attraction during all festive occasions in Mizoram. Cheraw is believed to have a foreign origin. Similar dances are popular in the Far East and the Philippines. The Mizos must have brought the dance with them when they migrated to their land in India.
Khuallam Dance
Khuallam Litterally means “ Dance of the guest ” it is usually performed in the “ Khuangchawi ” ceremoney, The final rite at the public feast in order to attain the coveted tittle “ Thangchhvah ”. To acertain a place in paradise, One has to prove one”s mettle in war, Hunting or by being a man of distinction in socity. This comes through the “ Khuangchawi ” ceremoney. The guest enter the arena of the “ Khuangchawi ” dancing khullam. The dancers wear “ Puangum ” atraditional Mizo dress with black, Red, Yellow and green strips and dance to the accompaniment of a set of gongs knowan as “ Darbu ”
Thang Ta (Manipur) - Already Explain
Dol cholam (Manipur) - Already Explain
Maibi- laiching Jagoi Dance - Already Explain
Lai-Haraoba Dance - Already Explain
Dol cholam (Manipur) - Already Explain
Maibi- laiching Jagoi Dance - Already Explain
Lai-Haraoba Dance - Already Explain