Mindmaps4IAS GENERAL STUDIES NOTES

GENERAL STUDIES - 1

INDIAN DANCE

The Rig Veda mentions dance and danseuse and compares dawn to a

bright attired danseuse.

The epics are full of references to dances on earth and heaven.

It is from Bharata’s Natya sastra (2nd century BC-2nd century AD) that

we have full knowledge of the art.

On the basis of Navras there emerge two basic types of Indian dance –Indian classical dances and Indian folk dances. the Navras or the nine

moods are:

1.Rudrara – Anger

2.Shringarras – Love, sensuousness

3.Veerras – bravery, heroism

4.Hasyaras – humour

5.Bhayaras – fear

6.Krurras – cruel

7.Adbhuthras – wonder

8.Bibhatsaras – disgust

9.Bhaktiras – prayer, peace

Indian classical dance forms are more involved and intricate ad have

their origins in the temples, whereas Indian folk dances have evolved

over the ages as an expression of joy or exaltation for various occasions

related to marriage, harvest etc.

There are various folk dances for the same occasion in different States or

cultures.

However classical dance forms remain the same all over country.

Indian classical dance vs Indian folk dance

The Abhinaya Darpana by Nandikesvara is one of the main sources of

textual material, for the study of the technique and grammar of body

movement in Bharatnatyam Dance

It is known as Ekaharya(one dancer takes many roles in single

performance)

The style was kept alive by the devadasis (young girls 'gifted' by their

parents to the temples and who were married to the gods)

Nattuvanar – the person who conducts the dance recitation o It follow a

regular pattern of steps:

1. The first dance item is the alarippu (to adorn with flowers)

2. Jatiswaram - short pure dance piece performed to the

accompaniment of musical notes of any raga of Carnatic music

3. Bharatnatyam leans heavily on the abhinaya or mime aspect of

dance – the nritya

4. Shabdam follows the jatiswaram – the accompanying song is

generally in adoration of the Supreme Being

5. varnam which is the most important composition of the

Bharatnatyam repertoire, encompasses both nritta and nritya and

epitomises the essence of this classical dance form

6. After the strenuous varnam, the dancer performs a number of

abhinaya items expressing a variety of moods

7. Bharatnatyam performance ends with a tillana which has its origin in

the tarana of Hindustani music

8. a vibrant dance performed to the accompaniment of musical

syllables with a few lines of sahitya

9. finale of the piece is a series of well designed rhythmic lines

reaching a climax. The performance ends with a mangalam invoking

the blessings of the Gods.

CLASSICAL DANCE FORMS IN INDIA

1. Bharatanatyam – Tamil Nadu

2. Kathakali – Kerala

Only Kathakali give emphasis to the ‘Natya’ aspect

Chakiarkoothu, Koodiyattam, Krishnattam and Ramanattam – has

influence on kathakali in its form and technique

blend of dance, music and acting and dramatizes stories, which are

mostly adapted from the Indian epics

Four aspects of abhinaya (angika, aharya, vachika, satvika) – combined

perfectly

Codified hastamudras and facial expressions, closely following the verses

(padams) that are sung o Satvika characters are noble, heroic, generous

and refined

Types of characters based on Aharya (as per tenets laid down by

natyashastra) – o In pacha, green colour dominates and kirita (headgear)

is worn by all

Indra, Arjuna and devas – Pacha characters o Kathi – anti-heroes;

Ravana, Kamsa, Sisupala – kathi charaters (for ex)

moustache and the small knob called chuttippu fixed on "the tip of the

nose and another in the centre of the forehead, is peculiar kathi char o

Thadi (beard) – Chuvanna(red), vellathadi (white), Karutha (black)

Vellathadi – characters like hanuman o Kari – make-up having a black

base, black costume (hunter, dweller etc) o Minukku – women and sage

characters o Make up of kathakali classified into three types –

Teppu – self done makeup

Chuttikuthu – makeup done by experts • Uduthukettu – wearing of huge

bellowing skirts

o Tirasseela – curtain held on the stage before the performance of main

dancers o No other dance style is the entire body used so completely as

in Kathakali o Kalasams – pure dance sequences of actor to express

himself and his skills o Begins with Kelikottu – calling audience for

attention

Todayam – devotional no performed to invoke blessings of god

Purappadu - nritta sequence following todayam

Melappada – musicians and drummers hold stage entertaining

audience

Tiranokku – debut of all characters other than pacha or minukk

Follows the particular scene choosen to play

Music followed in kathakali – traditional ‘Sopana Sangeet’

Ilakiattam - part of the performance when the characters get an

opportunity to demonstrate their excellence in ‘abhinaya’

Most part of the performance dancers engage in chodiattam - acting in

strict conformity to the words in the padams sung by musicians

3. Kuchipudi – Andhra Pradesh

Kuchipudi is the name of a village in the Krishna district of Andhra

Pradesh o Yakshagana – andhra’s long tradition of dance drama

17th century Kuchipudi style of Yakshagaana was conceived by

Siddhendra Yogi

It is said that Siddhendra Yogi had a dream in which Lord Krishna asked

him to compose a dancedrama based on the myth of the bringing of

paarijaata flower for Sathyabhaama–Bhaamakalaapam

Taarangam – solo dancing inspired by Krishna-leela tarangini o To show

the dexterity of the dancers in footwork and their control and balance

over their bodies, techniques like dancing on the rim of a brass plate and

with a pitcher full of water on the head was introduced

There are two forms of kuchipudi - traditional musical dance-drama and

the solo dance

Steps of a kuchipudi dance –

1. recital of Kuchipudi begins with an invocatory number, as is done in

some other classical dance styles (Earlier only ‘Ganesh Vandana’ now other gods also)

2. followed by nritta, that is, non-narrative and abstract dancing

3. Usually jatiswaram is performed as the nritta number • Next is presented a narrative number called shabdam

4. One of the favorite traditional shabdam is ‘Dashaavataara’

5. Shabdam is followed by a natya number called Kalaapam

6. entry of Satyabhama from the traditional dance-drama

Bhaamaakalaapam Next in the sequence comes a pure

nrityaabhinaya number based on literary- cum musical forms like

padam, jaavli, shlokam, etc

7. Eeach of the sung words is delineated in space through dance

(Drishya- kavita)

8. Kuchipudi recital is usually concluded with tarangam

9. Excerpts of Krishna-leela-tarangini are sung with this number

10. In this the dancer usually stands on brass plate locking feet in

shakatavadanam paada & moves plate rhythmically with great

dexterity

4. Kathak – UP

Kathak – katha (a story) – kathakars (story-tellers) o It probably started

as an oral tradition – mimea & gestures added later to make it eff

Raslila – Important development of Kathak mainly in Braj region

(Mathura, UP)

• It combined in itself music, dance and the narrative

• Dance in Raslila is an extension of basic mimes and gestures of

kathakars o The weight of the body is equally distributed along the

horizontal and vertical axis

• The full foot contact is of prime importance where only the toe or the

ball of the foot are used, their function is limited

• There are no deflections and no use of sharp bends or curves of the

upper or lower part of the body

Dance sequences –• Dancer commences with a sequence ‘That’ - soft gliding movements

of the neck, eyebrows and the wrists, are introduced

• Followed by conventional formal entry known as the Amad (entry)

and the Salami (salutation)

• Then follow the various combinations of rhythmic passages all

punctuated with and culminating in a number of pirouettes

• The nritta portion of Kathak is performed to the nagma

In the mime portions (nritya or abhinaya), words are not used in simple

numbers called the gata, which is performed in a lyrical manner to gentle

rhythm

These are short narrative pieces which portray a brief episode from

Krishna's life o The interpretative and the abstract dance techniques are

interwoven into each other, and the dancer's greatness lies in his

capacity for improvisation on the melodic and metric line on the one

hand and the poetic line on the other

Kathak is the only classical dance of India having links with Muslim culture

representing the unique synthesis of Hindu and Muslim genius in art

5. Odissi – Orissa

In Natyashastra south-eastern style mentioned as ‘Odra Magadha’ –precursor of odissi

Maharis – original temple dancers centuries ago o Gotipuas – a class of

boys trained in the art, who danced in temples and also general

Facial expressions, hand gestures and body movements are used to

suggest a certain feeling, an emotion or one of the nine rasas

Two basic postures of odissi are – chowk and tribhanga

Chowk - position imitating a square - a very masculine stance with the

weight of the body equally balanced

Tribhanga - very feminine stance where the body is deflected at the neck,

torso and the knees

Bhangis - units of movement ending in one particular stance o Steps of

dance sequence are –

1. Opening item is Mangalacharan where the dancer slowly enters the

stage with flowers in her hands and makes an offering to mother

earth

2. followed by an invocation to the deity of the dancer's choice (gen.

ganesha) Item ends with nritta seq with salutations to God, Guru &

audience next item is called Batu where the basic concepts of the

Odissi nritta technique are highlighted bringing out the duality of the

masculine and the feminine through the basic stance of the chauk

and tribhanga

3. This is danced in praise of batukeshwar Bhairav or Shiva

4. After this comes flowering and ornamentation of music and

movements in Pallavi

5. followed by the rendering of abhinaya

6. Here dance of ‘Ashtapadis’(Jayadeva’s Gita govinda) was performed

7. The concluding item of the repertoire, which may consist of more

than one pallavi and items based on abhinaya, is called moksha

6. Manipuri – Manipur

Manipur have been protected from outside influences, and this region has been

able to retain its unique traditional culture

It is performed as a ceremonial offering while Lai Haraoba (Merrymaking of gods)

festival

Popular forms of Manipur dance – Ras, Sankirtana and Thang-Ta o Ras costume

consists of a richly embroidered stiff skirt which extends to the feet

In Sankirtana, male dancers play the Pung and Kartal while dancing o In Thang-

Ta, martial dances of Manipur (swords, spears and shields) is performed

Manipuri dance incorporates both the tandava and lasya

Manipuri abhinaya does not play up the mukhabhinaya very much – but there is

use of whole body to convey certain rasa – sarvangabhinaya

Rhythmic complexities are usually overlooked as the dancers do not wear ankle

bells to stamp out the rhythms in a theatrical display, as this interferes with the

delicate body movements

Nat – Manipuri classical style of singing

7. Sattriya – Assam

This dance form was introduced by vaishnavite saint Mahapurusha

Sankaradeva o For centuries, nurtured and preserved with great

commitment by the Sattras i.e.

Vaishnava maths or monasteries o Ojapali dances (folk dance) are still

prevalent in Assam

Two forms – Sukanni(Maroi) Ojapali (Sakti cult) & Vyah

Ojapali(Vaishnava cult)

The dancers in a Oja paali chorus not only sing and dance but also

explain the narration by gestures and stylized movements

As far as Devadasi dance is concerned, resemblance of a good number

of rhythmic syllables and dance postures along with footwork with Sattriya

dance is a clear indication of the influence of the Devadasi on Sattriya

Other visible influences on Sattriya dance are those from Assamese folk

dances namely Bihu, Bodos etc. Many hand gestures and rhythmic

syllables are strikingly similar in these dance forms

Sattriya dance is laid down with respect to hastamudras, footworks,

aharyas, music

8. Mohiniyattam- Kerala

The swaying coconut trees in the gentle breeze is reminiscent of the soft

and languorous movements of Mohiniyattam - the feminine classical

dance form of Kerala.

Literally meaning the Dance of the Enchantress, it is deeply rooted in

femininity, GRACE (Lasya) and BEAUTY (Sringara) forming the

quintessence of this dance form.

Of all the classical South Indian styles, Mohiniyattam can be singled out

with admirable distinction, for it's characteristic body movements, marked

by the graceful sway of the torso.

What is unique is the easy going rise and fall of the body, with emphasis

mainly on the torso.

The movements are never abrupt, but dignified, easy, natural, restrained

and yet subtle. The glances, postures, gait employed are so subtle and

graceful that they convey the infinite suggestiveness of radiant love.

The traditional costume worn in Mohiniyattam is white with a gold border,

and gold ornaments are worn.

The unique coiffure with hair gathered on the left side of the head reflect

it's aesthetic appeal, making it distinct from the other dance forms of

India.

The regional system of music that Mohiniyattam follows is the SOPANA

style which in it's lyricism is evocative of the spiritual element.

A popular folk dance of Madhya Pradesh dances. Gaur dance is popular

in the Sing Marias or Tallaguda Marias of South Bastar.

Men put head-dresses with stringed 'cowries' and plumes of peacock

feathers and make their way to the dancing ground.

Women ornamented with brass fillets and bead necklaces with their

tattooed bodies also join the gathering.

The men beat the drums, tossing the horns and feathers of their head-

gears to the rising tempo that gives the dance a wilder touch.

FOLK DANCES OF INDIA

1. Gaur Dance

The Muria tribals of North Bastar area are trained in all types of their

community dances.

At the start of dance sequences they begin with an invocation to the

phallic deity of their tribe and the founder of the Ghotul institution.

The site chosen for the dance is near the Ghotul compound. During

marriages, the Muria boys and girls perform Har Endanna dance.

Their Hulki dance is the most beautiful of all the dances while the

Karsana dance is performed for fun and enjoyment.

In the Hulki dance, boys move in a circular fashion while the girls make

their way through them.

2. Muria Dances

Saila dance is performed by the young boys of Chattisgarh during the

post harvest time.

Saila is a stick-dance and is popular among the people of Sarguja,

Chhindwara and Betul districts.

In this region the Saila dance is also known as Danda Nach or Dandar

Pate.

Saila dance comprises over half a dozen varieties The Saila dance often

comes out with many variations and much buffoonery.

Sometimes the dancers form a circle, each standing on one leg and

supporting himself by holding on to the man in front. Then they all hop

together round and round.

3. Saila Dance

o The Karma dance is very popular among the Gonds and the Baigas of

Chhattisgarh and the Oraons of Madhya Pradesh.

The Karma dance is associated with the fertility cult and is related to the

Karma festival that falls in the month of August.

The Karma dance symbolizes coming of green branches in tress during

the spring season.

There are other variants of the Karma. The songs associated with these

variants differ with each pattern.

4. Karma Dance

Kaksar dance is performed during the festival period. It is popular among

the Abhujmarias of Bastar. Kaksar dance is performed in hope of reaping

a rich harvest.

To invoke the blessings of the deity, young boys and girls perform Kaksar

(a group dance).

Boys put on a peculiar costume of a long white robe while girls are clad

in all their finery.

The Kaksar dance presents a unique opportunity to boys and girls to

choose their life partners.

5. Kaksar Dance

Chhau is a popular folk dance of Bihar. Since masks form an important

feature of this dance it is called 'Chhau', which means mask.

All the Chhau performers hold swords and shields while performing. The

stages are decorated and brightly lit by torches, lanterns and flickering oil

lamps.

The musical instruments used are the Dhol (a cylindrical drum), Nagara

(a huge drum) and Shehnai (reed pipes).

The Chhau dance is performed by men and boys.

Chhau dance is full of energy and strength. It is interesting to note that

the entire body of the dancer is engaged as a single unit. This body

language of the dancer has to be poetic and powerful.

Folk Dances Of East India

1. Chhau (Bihar)

Brita dance is one of the most popular folk dances of Bengal.

Usually the barren women of the region perform the Brita dance to

invoke the blessings of the Gods so that their wishes are fulfilled.

Traditionally this dance is performed after a person recovers from a

contagious disease like small pox.

Kali Naach is yet another popular folk dance of the region. The Kali

dance is performed to invoke the blessings of Goddess Kali.

While performing the Kali Naach, the performers wear a mask, purified by

mantras and dances to the accompaniment of a sword.

Brita Dance (West Bengal)

'Dalkhai' dance is a popular folk dance among the women folks the tribal

people of Sambalpur, Orissa.

Dalkhai Dance is performed during the time of festivals.

In the Dalkhai dance the men usually play the musical instruments. Chaiti

Ghora is a dummy horse version of the Dalkhai dance and is popular in

the fishing communities.

The performers of this dance style are generally men.

Dalkhai (Orissa)

Goti Pua is yet another popular folk dance of east India (Orissa). The

credit of popularizing this folk dance largely goes to Ramchandradeva,

the Raja of Khurda, (Orissa).

He was an enlightened ruler and a great patron of art and culture. It was

due to his initiatives that the tradition of Goti Pua (boy dancers) began.

It is interesting to note that the Odissi dance evolved from a curious

amalgamation of both mahari and goti pua dance styles.

Usually a Goti Pua performance is ably supported by a set of three

musicians, who play the pakhawaj, cymbals and harmonium. The boys do

the singing themselves, though at times the group has an additional

singer.

A goti pua dance performance usually commences with Bhumi Pranam

(acknowledgment to Mother Earth) and wraps up with Bidahi Sangeet, a

farewell song and dance item.

The whole Goti Pua performance lasts around three hours.

Goti Puas (Orissa)

Bihu is a popular folk dance of Assam is called Bihu. The Bihu dance is

an integral part of the Bihu festival of Assam. The Bihu festival is

celebrated in mid-April, during the harvesting time and lasts for about a

month.

Young men and girls perform the Bihu dance together to the

accompaniment of drums and pipes.

Love forms the subject matter of the songs that are sung during the

performance.

The dances are performed in circles or parallel rows.

The Zemis, Zeliangs and several other tribes of Assam have a number of

folk dances.

Most of these folk dances are performed during the harvest period.

Similarly, the Naga tribals too have their harvest dances and celebrations.

"Khamba Lim" is one such folk dance and is performed by two groups of

men and women who stand in two rows.

Another popular Naga folk dance is "Akhu".

Folk Dances Of North East India

Bihu (Assam)

Hajgiri is a famous folk dance of Tripura. Hajgiri dance is performed by

young girls who display a series of balancing skills and instruments of

their kind.

In Tripura dances are a part of people's efforts and ceremony to appease

the goddess Lakshmi.

It is to ensure good harvest.

Tribal people of Tripura and other adjoining states make use of the

compounds of their own houses as dancing grounds during main

festivals.

Hajgiri (Tripura)

'Nongkrem' is an important folkdance of Meghalaya.

The Khasis tribe of Meghalaya also celebrates the ripening of paddy for

threshing, by dances and songs.

Nongkrem (Meghalaya)

One of the instruments that dominate Manipuri dances is the drum. Dhol

Cholom, a drum dance is one of the dances performed during Holi in

Manipur.

The Thang-ta dance of Manipur was an evolved from the martial arts

drills promoted by the kings of Manipur.

The dance is exciting and is performed by young men holding swords

and shields.

In Arunachal Pradesh, many dance and songs are performed, based on

the stories of Buddha.

The performers of these folk dances wear masks of demons or animals,

inspired from Buddha stories.

Most of these folk dances are performed in Buddhist monasteries during

festivals.

Dhol-Cholom (Manipur)

Dumhal is a popular dance of Kashmir. This dance is performed with long

colorful robes, tall conical caps (studded with beads and shells).

Dumhal dance is accompanied by songs which the performers themselves

sing. It is supported by drums.

There is an interesting tradition associated with Dumhal dance where the

performers of this dance place a banner into the ground at a fixed

location and they begin to men dance around this banner.

Folk Dances Of North India

Dumhal (Jammu & Kashmir)

o Hikat is a popular dance of Himachal Pradesh, performed by women.

The Hikat dance is performed in pairs and the participants extend their

arms to the front, holding each other's wrists.

The dancers keep their bodies inclined back and make round of the

same place.

In the Kulu valley of Himachal Pradesh Dussehra is celebrated with great

grandeur and splendor. Singing and dancing form an important part of

this festivity.

Here, there are dances for different occasions and collectively all dances

are called Natio.

Hikat (Himachal Pradesh)

Namagen is a dance performance usually held during autumnal hue

celebrations.

The most prominent dance amongst these is the Gaddis. In this dance

the costumes are largely woolen.

Namagen (Himachal Pradesh)

Some of the seasonal folk dances of Uttaranchal are Jhumeila, the

Chaufula of Garhwal and the Hurka Baul of Kumaon.

The Hurka Baul dance is performed during the cultivation of paddy and

maize.

The name of the dance is derived from Hurka, the drum which is the only

musical accompaniment and baul, the song.

In the Hurka Baul dance the singer narrates the story of battles and

heroic deeds, the performers enter from two opposite sides and enact the

stories in a series of crisp movements.

The rural folk form two rows and move backwards in harmony, while

responding to the tunes of the song and the rhythm of the players.

Chholiya is yet another famous folk dance of Kumaon, Uttaranchal.

The Chholiya dance is performed during marriages. As the procession of

marriage proceeds to the bride's house, the male dancers, armed with

swords and shields, dance animatedly.

Hurka Baul (Uttaranchal)

o Bhangra is one of the most popular and energetic dances of India.

Bhangra is performed by men folks during Baisakhi.

It is among the most energetic and captivating dances of India and

includes tricks and athletic feats.

During the Bhangra performance the drummer is surrounded by men

dressed in lungis and turbans. Luddi is yet another folk dance of the

Punjab, performed by men folk. Luddi is performed to celebrate victory.

In the Luddi dance the try to copy the movement of a snake's head.

The dance performed by the women folk of Punjab is called the 'Gidha'.

In the Gidha dance a woman or a pair of women dance while the others

surrounding her clap in rhythm.

The Gidha dance is performed during the festival of Teeyan to welcome

the monsoons (rains).

This dance also includes a step when women go round and round with

feet planted at one place. Jhoomer is a dance of graceful pace. This

dance is also performed in a circle. Dancers dance around a single

drummer standing in the centre.

Bhangra (Punjab)

Dhamyal or Dhup is one of the most popular folk dances of Haryana.

Dhamyal dance is performed either by men alone or with women.

A circular drum (Dhup) is played lightly by the male dancers.

The spring season is a time of celebration in Haryana.

The celebration is done usually after the work in the fields has been

done.

Dhamyal (Haryana)

Padayani is one of the most colorful and popular dances of Southern

Kerala.

Padayani is associated with the festival of certain temples, called

Padayani or Paddeni. Such temples are in Alleppey, Quilon,

Pathanamthitta and Kottayam districts.

The main Kolams (huge masks) displayed in Padayani are Bhairavi (Kali),

Kalan (god of death), Yakshi (fairy) and Pakshi (bird).

Padayani involves a series of divine and semi divine imitation, putting

Kolams of different shapes and colors.

In the performance of Padayani, dancers, actors, singers and

instrumentalists play an important role.

The actors or dancers wear Kolams that are huge headgears, with many

projections and devices and a mask for the face or a chest piece to

cover the breast and abdomen of the performer.

Folk Dances of South India

Padayani (Kerala)

o Kummi is a popular folk dance of Tamil Nadu. Kummi dance is

performed by tribal women during festivals. Kummi is a simple folk dance

where dancers form circles and clap in rhythmic way.

Kolattam

'Kollattam' or the stick dance is one of the most popular dances of

Andhra Pradesh and Tamil Nadu.

Kolattam is derived from Kol (a small stick) and Attam (play). It is also

called as Kolannalu or Kolkolannalu.

Kolattam dance is a combination of rhythmic movements, songs and

music and is performed during local village festivals. Kolattam is known

by different names in different states of India. The Kolattam group

consists of dancers in the range of 8 to 40. The stick, used in the

Kolattam dance, provides the main rhythm.

Kummi (Tamil Nadu)

The Perini Thandavam is a male dance of the warriors. As a part of

tradition, the warriors performed this dominant dance in front of the idol

of Nataraja or Lord Shiva, before leaving for the battlefield.

This is popular in some parts of Andhra Pradesh state.

In earlier times the rulers of the Kakatiya dynasty patronized this form of

dance. The Perini dance is performed to the accompaniment of the beat

of the drums.

Perini

Thapetta Gullu is a folk dance form of Srikakulam district, Andhra

Pradesh. In the Thapetta Gullu dance more than ten persons participate.

The participants or performers sing songs in the praise of local goddess.

While performing the Thapetta Gullu dance, the dancers use drums,

hanging around their necks.

The dancers wear tinkling bells around their waist.

Thapetta Gullu (Andhra Pradesh)

Dollu Kunitha is a popular drum dance of Karnataka state. In the Dollu

Kanitha dance, large drums are adorned with colored clothes and hang

around the necks of men.

The songs used in this dance usually have religious and battle fervor.

The main emphasis is on quick and light movement of the feet and legs.

The Dollu Kunitha dance forms a part of the ritualistic dances of the

Dodavas of Karnataka.

Folk Dances Of South West India

Dollu Kunitha (Karnataka)

The culture of Goa bears strong European influence as it was ruled by

the Portuguese for many years. Ghode Modni dance portrays the brave

deeds of the Goan warriors.

In the Ghode Modni (dummy horse presentation) dance the delightfully

dressed dancers perform dances, armed with swords.

During the Ghode Modni celebrations people are in a mood for fun and

frolic. Elaborate parades and spectacular processions are taken out,

accompanied by dances of boys and girls.

Ghode Modni (Goa)

Lava dance is a colorful and energetic dance of the Minicoy Island of

Lakshadweep.

During the Lava dance performance the dancers are dressed in multi-

hued costumes and a headgear.

They also carry a drum.

The dancers perform to the rhythmic beats of drums and songs.

Lava Dance of Minicoy (Lakshadweep)

Tarangmel is an energetic and youthful dance of Goa.

The Tarangmel dance is usually performed during Dussehra and Holi

celebrations.

During Dussehra and Holi, the energetic young girls and boys throng the

streets in colorful group with flags and streamers (tarang).

This gathering of young people is an invitation to everyone to join in the

festive spirit.

The musical instruments used during Tarangmel are 'romut', 'dhol' and

'tasha'.

Tarangmel (Goa)

Dandiya is a popular folk dance of Rajasthan. Dressed in colorful

costumes the performers play skillfully with big sticks in their hands.

Dandiya dance is accompanied by the musical instrument called the

'Meddale' played by the drummer in the centre.

The Bhil tribal of Rajasthan perform a variety of dances. All these folk

dances correspond to the agricultural cycle.

The Ghumer dance, Raika and Jhoria are some examples of this type of

dance.

The Gher dance is a favorite and popular dance of the Mina tribe who

are similar to the Bhils while Valar is typical dance of the Garasias of

Rajasthan.

Folk Dances Of West India

Folk Dances Of West India

Tera Tali is another famous folk dance of Rajasthan. It is performed by

two or three women of the 'Kamar' tribe.

The women folk sit on the ground while performing the Tera Tali which is

an elaborate ritual with many other rituals in it.

An interesting part of the Tera Tali dance is tying of metal cymbals

(Manjiras) to different parts of the body, mostly on the legs.

The Tera Tali dancers hold cymbals in their hands and strike them in a

rhythmic manner.

On many occasions the women clasp a sword in between their teeth and

balance a decorative pot on their head.

Tera Tali (Rajasthan)

Dindi and Kala are devotional dances of Maharashtra. In these dances

the playful attitude of Lord Krishna is presented.

Dindi is a small drum.

The musicians, comprising 'Mridangam' player and a vocalist, stand in the

center and give the dancers the necessary musical background.

Men and women folk perform the dance on the rhythmic music.

This dance is usually performed on the Ekadashi day in the Hindu month

of Kartik.

Dindi And Kala

o Garba is the leading dance of women in Gujarat. The Garba dance is

associated with the fertility cult. The Garba dance is performed

throughout nine nights of Navaratri, an autumn festival.

Women folk come out into the open and with perforated earthen pots

holding lighted lambs poised on the head sing, clap and dance a simple,

circular dance, in honor of the Goddess Amba.

When men also dance by singing and clapping the dance is known as

Garbi.

Tippani is a popular folk dance of Saurashtra. Tippani is performed by

women laborers in parts of Saurashtra.

The Dhangari Gaja Dance is performed by Dhangars of Maharashtra to

please their God for blessings.

The Dhangari Gaja dance is performed in the traditional Marathi dresses

- Dhoti, Angarakha and Pheta, accompanied by colorful handkerchiefs.

Dancers move around a group of drum players.

Garba

The Koli dance derives its name from the Koli tribe of Maharashtra.

The dances of Kolis incorporate all elements of their surroundings.

The Koli dance is performed by both men and women - divided into two

groups.

The main story of the dance is enacted by the smaller group of men and

women.

In this dance the Kolin or fisherwoman makes advances to the Kolis or

fishermen.

Koli (Maharashtra)