Folklore of India &amd Folk Dances of India

8/9/2019 Folklore of India &amd Folk Dances of India

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Folklore of India

The folklore of India compasses the folklore of the nation of India and the Indiansubcontinent. The subcontinent of India contains a wide diversity of ethnic, linguistic,

and religious groups. Thats why it is difficult to generalize widely about the folklore ofIndia as a unit. Hinduism is the religion of the majority of the citizens of India. Folkreligion in Hinduism may explain the rationale behind local religious practices, andcontain local myths that explain the existence of local religious customs or the locationof temples. These sorts of local variation have a higher status in Hinduism thancomparable customs would have in religions such as Christianity orIslam. Some haveclaimed that the very concept of folklore of India" represents a colonial imposition thatdisparages the Hindu religion. However, folklore as currently understood goes beyondreligious or supernatural beliefs and practices. Indian folk heroes in Sanskrit epics andhistory and also in freedom movement are well known to every one. They have found aplace in written literature. But in Indian cultural sub-system, Indian folk heroes are most

popular. The castes and tribes of India have maintained their diversities of culturethrough their language and religion and customs. So in addition to national heroes,regional heroes, and local folk and tribal heroes are alive in the collective memory of thepeople. Lets take examples of the Santals or the Gonds. The Santals have their culturehero "Beer kherwal" and "Bidu Chandan". Gonds have their folk hero "Chital SinghChatri". Banjara folk hero is "Lakha Banjara" or "Raja Isalu". But not only heroes, theheroines of Indian folklore have also significant contribution in shaping the culture ofIndia. Banjara epics are heroine-centric. These epics reflect the "sati" cult. Folk heroesare some times worshipped in the village. There is a thin difference of a mythic hero andromantic hero in Indian folklore. In Kalahandi oral epics are available among the ethnicsingers performed in ritual context and social context. Dr Mahendra Mishra, a folklorist

has conducted research on oral epics in kalahandi taking seven ethnic groups. Indianoral epics are found abundantly every where there are caste based culture.Prof. LauriHonko from Turku, Finland with prof. Vivek Rai and Dr K Chinnapa Gawda haveextensively conducted field work and research on Siri Epic and have come out withthree volumes on Siri Epic. Similarly Prof.Peter J Claus has done intensive work on Tuluepics. Aditya Mallick on Devnarayan Epic,Pulikonda Subbachary on jambupurana, DrJD Smith on Pabuji epic are some of the commendable work that have been drawnattention of the wider readership.

Folk Dances of India
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Pandavani (Chhatisgarh) This is popular form of story-telling prevalent among thetribals of the Chhatisgarh which serves as a means of both entertaining and educatingthe people. Pandavani narrates the story of the five Pandava brothers (protagonists ofthe epic Mahabharata) and are of two types: Kapilak and Vedamati. A team of

Pandavani performers consists of one main narrator-singer and one or two musician-cum-singers, who play on the tabla and the harmonium. The main narrator-singer holdsa tambura (stringed musical instrument), decorated with small bells and peacockfeathers in one hand and kartal (a pair of cymbals) on the other. Kudiyattam (Kerala)Kudiyattam is one of the earliest of the theatrical arts of Kerala. Kudiyattam presents afull-fledged drama or select portions thereof. Several actors appear on the stage at thesame time as in a modern drama. The actor portraying the male characters is known asthe Chakiar and one who portrays the female characters is known as the Nangiar. TheNangiar also clangs the cymbals and chants Sanskrit verses which the Chakiar enacts.A feature of Kudiyattam is that there is a Vidushaka or clown who repeats in Malayalamall the Sanskrit verse being uttered by the actors. Chavittu Natakam (Kerala) This

interesting art form was evolved by the church, under the guidance of the Portuguesemissionaries, as a Christian alternative to the Hindu Kathakali. It presents stories fromthe lives of Christian saints and the entire history of Christianity. In sharp contrast withKathakali, the actors in Chavittu Natakam not only speak and sing but also stamp on thewooden platform with their feet to the rhythm of the songs and the beating of drums.The movements of the actors are more lively and vigorous rather than graceful orartistic. Women are not allowed to participate in Chavittu Natakam. Vocal as well asinstrumental music play an important place in this art form. Chhau (Bengal/Orissa) Theorigin of word Chhau is shrouded in mystery. According to some, Chhau might haveoriginated from Chhaya (shadow). Another possibility is that the name sprung fromdancing masks (locally known as Chhau) used by the performers of Purulia Chhau. The

Chhau dance is native to the eastern parts of India. It probably originated as a martialart, which is why it comprises vigorous movements and leaps. During the 18th andthe19th centuries, many of the princely rulers of Orissa evinced a keen interest in thedevelopment of this art. They maintained troupes that performed on special occasionsand during festivals. In a Chhau performance, the depiction of birds and animals is adistinctive feature; there are also heroic dances with sword, bow or shield, by means ofwhich the dancers demonstrate their dexterity. The themes often revolve aroundmythological heroes and warriors from the Mahabharata and Ramayana. There arethree recognized schools or styles of Chhau. Seraikella (Bihar) Chhau flourished underroyal patronage. Its vigorous martial character made it suitable only for male dancers.The princes were not only patrons but also dancers, teachers and mask-makingexperts. The Seraikella masks are similar to those used in the Noh dance of Japan andthe Wayang Wong of Java. Purulia (West Bengal) Chhau uses huge, colourful masks,the making of which is a highly developed craft in the region. The barren region, with amainly tribal population, multi-layered influences of Vedic literature, Hinduism, andmartial folk-lore are the influences which have all blended and fused to mould thePurulia Chhau dances, conveying the one and only message - the triumph of good overevil. In Mayurbhanj (Orissa) Chhau dancers do not wear masks. The Mayurbhanjrepertoire treasures the highest number of dance items, rarely found in any other dance
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forms of the world. The solo items include Dandi, Mahadev, Sabar Toka, Nataraj etcwhile the famous group items are Kirat Arjun, Mayasabari, Tamudia Krishna, Matrupuja,Kelakeluni, Dhajatal, Bainshi Chori, Kailash Leela among others. The presiding deity ofMayurbhanj Chhau is Bhairab (a fierce manifestation of Lord Shiva).The quintessenceof Mayurbhanj Chhau, is visual poetry; it is set in a style that is free, intense,

tempestuous, yet lyrical.Yakshagana (Karnataka) A native of Karnataka, this theatreform is basically folk but with strong classical overtones. Unlike the stylised costumesand masks of Kathakali, Yakshagana is a true people's theatre, often staged in thepaddy fields at night. It revolves around the stories from Ramayana, the Mahabharataand the Puranas. Although the name literally means: Song of the celestial beings,Yakshagana is more earthy and mundane than fantastic. There is both mystery androbustness about this dance form, in which singing and drum-beats merge with thedancing, and words with gestures. The colourful costumes and the dancers contoursblend in with the rest of the elements. Kalbelia Dance (Rajasthan) This fascinatingdance is performed by the womenfolk hailing from the Kalbelia community, who pursuethe centuries-old profession of catching snakes and trading snake venom. Hence, the

dance movements and the costumes have an uncanny resemblance to the slitherycreatures. The dancers clad in black swirling skirts (with ethnic designs), sway sinuouslyto the accompaniment of pungi (an ethnic trumpet), dufli and the been the wood-windinstrument used by the snake charmers. Two or three women sing in a shrill, high-pitched voice, while the others are engrossed in dancing. The combination of vigorous,zestful and perfect movements synchronizing with the enchanting musical is indeed atreat to both eyes and ears. Ghoomar Dance (Rajasthan) This is basically acommunity dance performed by groups of women on auspicious occasions. The nameis derived from the word ghoomna (pirouetting). This dance has simple basic stepswhere the ladies move gently, gracefully in circles. The Ghoomar is the characteristicdance of the Bhils - a tribal community inhabiting various parts of Rajasthan. Men and

women sing alternately and move clockwise and anticlockwise, affording free play to thenumerous folds of the swirling ghagras (gathered skirts), donned by the women.Bhangra (Punjab) Though the historians of culture opine that the dance may haveoriginated at the time of the wars with Alexander, no one is sure whether it existed untilabout five hundred years ago. It has come to light that during the 14th and 15thcenturies, the farmers in Punjab danced and sang songs about village life while workingin the fields. Gradually it became part of harvest as well as New Year celebrations(Baisakhi, April 13). Bhangra is a lively form of folk music and dance. While performingBhangra, people sing Boliyaan (lyrics or couplets) in the Punjabi language. Some of thedancers play the dhol (a large drum), beating it with a stick while others play the fluteand dholak (a smaller drum).Bhangra eventually became a part of social occasionsincluding weddings. Giddha (Punjab) This dance form has its roots in the Punjabregion, now split up between India and Pakistan. It is a folk dance performed by womenand girls and is considered to be the female counterpart of Bhangra. As a part of thedance, women of all ages form a circle, clapping their hands and sing small couplets.Two or three women come to the centre and dance vigorously while responding tothese couplets. The embroidered dupattas (stoles) and the chunky jewellery of theparticipants further enhance the tempo of the dance Raibenshe (Bengal) Among thevarious martial dances of Bengal the Raibenshe folk dances are remarkable for their
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expression of military energy and discipline and the atmosphere of martial excitementthey create. The vigorous and manly movements of the body, together with the stirringnotes of the drum, incite courage and daring. They afford a significant reminder thatBengalis, now believed to be a non-martial race, were once renowned for their militaryprowess. This dance was performed by a low-caste community of Bengal called Bagdis,

who were professional guardsmen of the erstwhile feudal lords of Bengal, and weretrained in the use of sticks, staves, daggers, short swords, This dance displayed theacrobatics of a quarterstaff master- (raibansh, a long wooden staff) made with bamboo.Bihu (Assam) It is the most widespread folk dance of Assam and is enjoyed by the oldand the young alike. The dance performed on the occasion of the month-long Bihufestival that comes in mid-April, when the harvesting of crops is over.The participantsare young men and women, who gather in the open, in the daytime and dance togetherin circles or parallel rows. Placing their hands on the small of their backs, the dancersmove their shoulders backwards and forwards, while swaying from side to side. Thedance is supported by drums and pipes. Intermittently, the dancers sing, usually of love.Bihu demonstrates the soul of the Assamese at its richest. Jhumur(Bengal) The dance

gets its name from the cluster of bells worn round the ankles, which make a clangingnoise.There are many variations of Jhumur. This dance is some times performed as aritual worship of gods and goddesses, sometimes for courting and lovemaking, and yetagain as a prayer for rainfall. This dance incorporates songs and dialogues, whichdepict the joys and sorrows, yearning and aspirations of the everyday lives of thecommon people. It is believed that Jhumur was originally a means of recreationbetween phases of tedious agricultural work. This dance form has also been adopted bythe Santhals. Probably the most entertaining form of Jhumur is the Bhaduria, performedas thanksgiving for a bountiful monsoon. Losar Shona Chuksam (Himachal Pradesh)Performed on the occasion of Losar (Tibetan New Year) this is basically an agriculturalfestival dance performed by the local people of Kinnaur valley; in this dance the

movements depict all kinds of agricultural activities from sowing to the reaping of ogla(barley) and phaphar (a local grain). Naati (Himachal Pradesh) Performed by theinhabitants of Kullu district, this dance is immensely popular. The menfolk clad inswirling tunics, churidaars, sashes and colourful caps link their hands and move in stepto varying rhythms, dancing for hours on end. This dance has now been modified sothat women can take part in it too. The musical instruments accompanying thesedances include damane (a huge bowl shaped drum played with two drumstricks), anga,dhol (a large drum slung across the neck, rests on the chest and played with two thinsticks), dholak (hand drum), karnal (clappers), khanjiri (tambourine) and jhanja (largecymbals). Bhotiya Dance (Uttaranchaal) This dance is performed by Bhotia (amongoloid race with the majority living in Bhutan) community living in this area and isconnected with their death and funeral ceremonies. These people believed that the soulof a dear departed resides in the body of a goat or sheep, and it can be liberated bymeans of dancing. Chiraw (Mizoram) A highly colourful dance from the north-easternstate of Mizoram, it employs a grid of bamboo poles in its performance. The dancersmove by stepping alternately in and out of the pairs of horizontal bamboos, held againstthe ground, by people sitting on either side, facing each other, who tap the bamboosopen and closed in rhythmic beats. The bamboos when clapped produce a sharp soundwhich provides the rhythm of the dance. The dancers step in and out of the squares
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formed by the bamboos with ease and grace. The pattern and stepping of the danceresemble the movements of birds, swaying of trees and so forth. Gaur Dance (MadhyaPradesh) The most popular among the Madhya Pradesh dances are associated withthe Bastar district, which has a predominantly tribal population.The Gaur dance of theSing Marias or Tallaguda Marias (bison-horn Marias) inhabiting south Bastar is a

spectacular dance, depicting the hunting spirit of the tribe. The word 'Gaur' means aferocious bison. The call for a dance is given by sounding a bamboo trumpet or a horn.Wearing head-dresses decorated with strings of cowrie shells and plumes of peacocks,menfolk equipped with flutes and drums assemble at the dance venue. Women adornedwith brass fillets and bead necklaces over their tattooed bodies soon join the assembly.They carry dancing sticks (Tirududi) in their right hands which they tap to match thedrum-beats. They dance in groups besides the menfolk. The men with drums usuallymove in a circle and create a variety of dancing patterns as the dancing gathersmomentum. As a part of the dance they attack one another and even chase the femaledancers. This dance incorporates the movements of a bison namely charging, tossing ofhorns, hurling wisps of grass into the air, to name a few. Dhimsa (Andhra Pradesh)

This dance is popular among the members of Valmiki, Bagata, Khond and Kotia tribesinhabiting the Araku Valley region of Vishakhapatam, in Andhra Pradesh. It is generallyperformed in local fairs and festivals of the area. Women attired in tribal dresses, fineryand ornaments dance form a chain dance to the beat of typical tribal instruments likeMori, Thudum and Dappu which are played by the menfolk. There exist eight differentcategories of Dhimsa. For instance, in Gunderi/Usku Dimsa a male dancer while singingsends invitations to the females to dance with him. Thereafter, the male and female withfirm steps move forward and backwards, while standing in a circle. Potar Tola Dimsadepicts the picking up leaves. Half of the dancers stand side by side in a row, while therest stand behind in same manner, keeping their hands on shoulders of dancers in thefront row. Turning their heads to right and left the two rows march forward and

backward. Bhag Dimsa demonstrates the art of escaping a tigers attack. Half of thedancers form a circle holding hands. They stand on their toes, bowing and raising theirheads. Moving round swiftly, the rest of the dancers enter the circle and form aserpentine coil.This is repeated several times. The Dhimsa dances by and largeconform to the rhythm of either Aditala (8-beat cycle) or Rupakatala (a seven-beat cyclethat is subdivided into 3+2+2).Tala literallay means a rhythmical pattern that determinesthe rhythmical structure of a composition.
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Folklore of India &amd Folk Dances of India