Friday, June 4, 2010

Indian folk dances

Name of Indian folk dance









Andaman and Nicobar Islands

Nicobarese dances: 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.

Andhra Pradesh


Thapetta Gullu: 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.

Arunachal Pradesh


Bardo Chham: A folk dance of Sherdukpens, a small community of West Kameng District of Arunachal Pradesh, Bardo Chham depicts the victory of good over evil. The dance has an interesting background. According to the local beliefs, forces - both good and evil, rule mankind. The folks believe that in one year, twelve different types of stupid things , representing evil forces, appear each month and get together. The sherdukpens mask themselves representing the different animals and dance to the accompaniment of drums and cymbals as an act of fighting the evil forces.

Bihar


Karma/Munda: 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.

Chhattisgarh



Panthi: The folk dance of the Satnami community of Chhattisgarh bears religious overtones. Performed on Maghi Purnima - the birth anniversary of their Guru(Saint) Guru Ghasidas, the dance is evolving still to include a variety of steps and patterns. The dancers dance around a jaitkhamb set up for the occasion, to the songs eulogizing their spiritual head. The songs also reflect the Nirvana philosophy, conveying the spirit of renunciation of their Guru and the teachings of saint poets like Kabir, Ramdas, Dadu, etc. Dancers with bent torsos and swinging arms continue to dance till carried away by their devotion. As the rhythm quickens, they indulge in acrobatics and even form human pyramids. Raut Nacha: A traditional folk dance usually done by yadavs/yaduvanshis (a caste which considers itself as descendants of Krishna) as symbol of worship to Krishna. Done at the time of 'dev udhni ekadashi' (time of awakening of Gods after brief rest) according to Hindu pancang (calendar). The dance is a close resemblance of krishna's raas leela (dance of lord with his village's girls called gopis) with gopis.

Goa


Tarangamel:
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 Tarangamel a visually appealing affair.
  • Kunbi Dance
  • Koli Dance
  • Samayi nrutya
  • Jagar
  • Ranmale
  • Gonph
  • Tonnya mell
  • Dekhni

Gujarat

Garba : 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: 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: 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][3] 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[4], Raas Chaos[5], Garba With Attitude, Dandia on Fire and Maryland Masti among others.[6]

Tippani Dance: Originated from the chorwad region of Saurashtra, laborer women take a wooden rod to beat the floor,which had iron/wood piece at one end, to make it stronger in opposite rows,which made the dance an interesting work.[7]

Himachal Pradesh


Kinnauri Nati:
The beauty of hilly Himachal finds an 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 shona chuksom', 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: The Namagen dance is performed in September to celebrate the autumnal hues. The costumes a\re 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.

Haryana



Haryana has rich tradition of dances for various occasions (wedding, festivals, etc.) and seasons (harvest, sowing of seeds, monsoon, etc.). These dances come under one or the other category. Broadly, the following dances are common in one area or the other and performed on specific occasions. Refer to for

details.

Karnataka


Yakshagana
: Yakshagana (Kannada:ಯಕ್ಷಗಾನ, pronounced as yaksha-gaana) is a classical dance drama popular in the state of Karnataka in India mostly popular in the districts of Uttara Kannada, Shimoga, Udupi, Dakshina Kannada and Kasaragod district of Kerala.[1] This would be considered to be a form of opera in western eyes. Actors wear costumes and enact the various roles. Traditionally, Yakshaganas would go on all night. It is sometimes simply called as Aataā in both Kannada and Tulu (meaning play).[1] Yaksha-gana literally means the song (gana) of a Yaksha. Yakshas were an exotic tribe mentioned in the Sanskrit literature of ancient India.[2]

Dollu Kunitha: The Dollu Kunitha is a popular drum dance of Karnataka. The vigorous drum dance performed by the men of the shepherd community known as ' Kurba'. 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.

Kashmir


Dumhal:
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.

Lakshadweep


Lava:
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.

Madhya Pradesh


Tertali:
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.

Charkula: This 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: 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.

Maharashtra

Pavri Nach: 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.

Manipur

Thang Ta: 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: 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.

Mizoram

Cheraw Dance: Cheraw dance is a 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 may have brought the dance with them when they migrated to their land in India.

Nagaland

Chang Lo (or) Sua Lua: This dance of the Chang tribe of Nagaland was performed to celebrate the victory over enemies in the earlier times. Presently, it forms a part of all the community celebrations, such as Poanglem, a three day festival preceding the harvest season. There are dramatic costumes of the traditional Naga warrior and finery of womenfolk.

Orissa

Ruk Mar Nacha (& Chhau dance): 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.

Goti Pua: 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.

Nacnī: female performers who sing and dance professionally in rural areas, accompanied by male ḍhulkī and nagarā drummers

Pondicherry

Garadi: 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.

Punjab

Bhangra: 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. It was originally danced during the harvest season, but now is a popular form of celebration at any time such as weddings and festivals. Bhangra is a very popular style of music and dance in Punjab, but is also very popular in the diaspora, specifically in Canada and the U.K. where many Bhangra competitions are now held. Creating Bhangra teams has become very popular and influential with teenagers.

Giddha: The counterpart to male bhangra, giddha is a female folk dance from Punjab. It is an energetic dance derived from ancient ring dancing that highlights feminine grace and elasticity. It is often accompanied by singing folk couplets known as boliyan.

Rajasthan

Kalbelia: The 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.[8]

Sikkim

Singhi Chham: 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.

Tamil Nadu

Kamandi or Kaman Pandigai: This is celebrated to commemorate the puranic event when Manmada the God of Love was burnt to ashes by Siva in anger. The villagers separate themselves into two parties as Erintha katchi and Eriyatha katchi and a heated debate ensues. Kaman and Rathi, his consort, are main characters.\ Devarattam 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.

Kummi: 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.

Kolattam: Kolattam is an ancient village art. This is mentioned in Kanchipuram as 'Cheivaikiyar Kolattam', which proves its antiquity. This is performed by women only, with two sticks held in each hand, beaten to make a rhythmic sound. Pinnal Kolattam is danced with ropes which the women hold in their hands, the other of which are tied to a tall pole. With planned steps, the women skip over each other, which forms intricate lace-like patterns in the ropes. As coloured ropes are used, this lace looks extremely attractive. Again, they unravel this lace reversing the dance steps. This is performed for ten days, starting with the Amavasi or Newmoon night after Deepavali.

Mayil Attam or Peacock dance: This is done by girls dressed as peacocks, resplendent with peacock feathers and a glittering head-dress complete with a beak. This beak can be opened and closed with the help of a thread tied to it, and manipulated from within dress. Other similar dances are, Kaalai Attam (dressed as a bull), Karadi Attam (dressed as a bear) and Aali Aattam (dressed as a demon) which are performed in the villages during village get-togethers. Vedala Aattam is performed wearing a mask depicting demons.

Poikal Kudirai Attam: 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.

Theru Koothu: Normally conducted during village festivals, during the months of Panguni and Aadi. This is performed where three or four streets meet. Here, make-up and costumes are considered of prime importance. Only men take part; the female roles also played by them. The performance consists of story-telling, dialogue-rendering, songs and dance, all performed by the artistes. The stories are taken from Puranas, epics such as Ramayana and Mahabharata, and also local folklore. The play starts in the late evening and gets over only during the small hours of the nights. Theru Koothu is popular in the northern districts of Tamil Nadu. The Koothu can be categorised as Nattu Koothu, including Vali Koothu, Kuravai Koothu etc. Samaya Koothu dealing with religious topics, Pei Koothu including Thunangai Koothu and Porkala Koothu dealing with martial events.

Tripura

Hojagiri: 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.

West Bengal

Gambhira: The folk dance/theater of Gambhira originated among the Hindu community of Maldah in West Bengal. After Partition of India, Chapai Nawabganj in Rajshahi became the main center of Gambhira. With time, Gambhira has undergone many changes in terms of theme and style of its presentation. Muslims also became the custodian of the dance, and thereby it became an integral part of their culture. May be for that reason the dancer now wears the Lungi. Gambhira comprises a few characters with dialogues in an atmosphere of music, its themes now being contemporary social problems, fakeness and selfishness of people and so on.

Kalikapatadi: The main story of this Bengali dance form is 'how Shiva calms down angry Kali after killing Asura. It is more prevalent in Howrah. Before the coronation of Shiva on Neelpuja Day (Chaitra Sankranti), the performance of this dance is a must. The green leaves of water hyacinth is used to make the hair of Kali and the black ash of Ganja to decorate the body. Clay mask is used for Mahadeva. Palm leaves reddened with Alta is used as the tongue of Kali. Participants go on fast for the whole day. The dance is being performed for nearly five-hundred years.

Nacnī: female performers who sing and dance professionally in rural Jharkhand, accompanied by male ḍhulkī and nagarā drummers.

Alkap: Alkap is arural performance, popular in many places of Bengal, especially in Rajshahi, Maldah and Murshidabad districts, and the Rajmahal Hills in the state of Jharkhand. This is associated with the Gajan Festoval of Shiva around th emiddle of April. The beginning of this form was in the late nineteenth century. It has no written script, but scenarios based on popular love stories, which the actors elaborate with extreme dialogues, breaking up for songs, dances and comic or satirical sketches called Kap. It is a composite performance comprising acting, dancing, singing and recitation. Each Alkap group consists of ten to twelve dancers, under the leadership of a 'Sorkar' or 'Guru'. The group includes two or three 'Chhokras', one or two lead singers called 'Gayen' or 'Gayok'. Also, there remain 'Dohars', the chorus called 'Gayokdol' and instrumentalists called 'Bajnadars'. Alkap performances take place at night on an open stage.

Domni: Domni belongs to Maldah in West Bengal. A Domni performance starts with a Vandana dedicated to God. Then the 'Mool Gayen' (Lead Character/Protagonist) and 'Chhokras' (Supporting Characters) offer devotional prayers. The dance performances of the Chhokras are called 'Nachari' or 'Lachari'. The main characters are the roles of husbands, wives, mothers, greedy moneylenders, peasant- girls and so on. The plays are composed taking extracts from small events of everyday life and are presented in a satirical manner. The musical instruments are Harmonium, Dholak, Kartal, Flute and so on. Domni groups are found in Maldah. With change on social life and popular taste/culture, this folk form is becoming extinct.

Western Orissa

Baagh Naach or Tiger Dance This Kosli Sambalpuri folk dance is performed in Binka and Sonepur of Subarnapur district during the month of chaitra. The dancer (only males) paints his bare body with yellow and black stripes like that of a tiger and attaches a suitable tail. One or more dancers move from house to house and after a crowd gathers the dance begins. The dancers are accompanied by a drummer and a bell player who provides the music. The dance is nothing but acrobatic movement in rhythm. They make hissing sounds while dancing. Tiger dance is also performed in Berhampur during the Thakurani Jatra.

Dalkhai:

Traditional Sambalpuri folk dancers performing on Dalkhai

Though Dusserah is the occasion of Kosli Sambalpuri folk dance Dalkhai, it’s the most popular folk-dance of Koshal , its performance is very common on all other festivals such as Bhaijiuntia, Phagun Puni, Nuakhai, etc. This is mostly danced by young women of Binjhal, Kuda, Mirdha, Sama and some other tribes of Sambalpur, Balangir, Sundargarh, Bargarh, Nuapada and Kalahandi districts under the Koshal region in which men joins them as drummers and musicians. The dance is accompanied by a rich orchestra of folk music played by a number of instruments known as Dhol, Nisan , Tamki , Tasa and Mahuri. However, the Dhol player controls the tempo while dancing in front of the girls. It is known as Dalkhai because in the beginning and end of every stanza the word is used as an address to a girl friend. The love story of Radha and Krishna, the episodes from Ramayana and Mahabharata, the description of natural scenery are represented through the songs.The song associated with this dance is sang in the Kosli Sambalpuri Language. The young women dance and sing intermittently. The songs are of special variety with the additive 'Dalkhai Go' which is an address to a girlfriend. While dancing to the uncanny rhythms of the Dhol, they place the legs close together and bend the knees. In another movement they move forward and backward in a half-sitting position. Sometimes they make concentric circles clockwise and anti-clockwise. The women generally dress themselves in colourful Sambalpuri Saris and wear a scarf on the shoulders holding the ends below in both the hands. Bedecked with traditional jewellery, their robust frames sustain the strains of the dance for long hours. The Dalkhai dance has several adjunctive forms for all ages and groups :

Dances performed by girl Child : Chhiollai, Humobauli and Dauligit.

Dances Performed by teenagers : Sajani, Chhata , Daika and Bhekani.

Dances Performed by Youths : Rasarkeli, Jaiphul, Maila Jada, Bayamana, Gunchikuta .

The man who worship work, composes “Karma” and “Jhumer” invigorating Lord Vishwakarma and the Karamashani goddess.

Dhap : This Kosli Sambalpuri folk dance is mostly performed by the Kandha tribe of Kosal region .Both men and women participate in the dance. Men of one village dance with women of another village. Usually unmarried boys and girls take part. The dance is performed during marriage ceremony and more often for the sake of recreation. The dance is named so because of the accompanying instrument called ‘Dhap.’ The dhap is in the shape of a Khanjari made up of wood with one side open and the other side covered with a piece of animal skin. The dhap dancer holds the dhap with his left hand, the sling slung over his left shoulder, and beats with his right as well as left hand.

Ghumra : Kosli Sambalpuri Folk dance Ghumra is also known as vira-badya of koshal region. It was used during war times in the past to encourage soldiers. It is also used to give social message like forestation, saving girl child,literacy etc. It is a typical drum. It is just like a big pitcher with a long stem made of clay. The mouth is covered with the skin of a Godhi (a reptile). When played with both hands, it produces a peculiar sound quite different from other varieties of drums. The dance performed to the accompaniment of this drum is called Ghumra Naat. It begins fifteen days before the Gamha Puni (full moon in September) and culminates on that night in a ceremonial performance. Young men of various communities fix a Ghoomra each on the chest with string tied the body simultaneouly dance and play. The performance begins with slow circular movements. The Nisan is a smaller variety of Kettle-drum played with two leather-sticks. The player always places himself in the centre and controls the tempo of the dance. He also indicates change over the movements. After a brief dance sequence in different rhythmic patterns all the dancers move in a concentric circle and then stand erect in a line. Then enters the singer who first sings in praise of Saraswati and other gods and goddesses. During the song the drums remain silent. After the prayer-song Chhanda, Chaupadi and other literary folk-songs are sung. Each couplet of a song is followed by a dance. At the end of the each couplet the singer adds 'Takita Dhe' which is a numonic syllable for the time-beats and indicates the dance to begin. Ghumra dancers are basically from Kalahandi and Balangir dist.

Karma Naach : Karam or Karma literally means 'fate' in Kosli Sambalpuri language. This pastoral Kosli Sambalpuri folk dance is performed during the worship of the god or goddess of fate (Karam Devta or Karamsani Devi), whom the people consider the cause of good and bad fortune. It begins from Bhadra Shukla Ekadasi (eleventh day of the brightmoon of the month of Bhadra) and lasts for several days. This is popular among the scheduled class tribes (e.g., the Binjhal, Kharia, Kisan and Kol tribes) in the districts of Balangir, Kalahandi, Sundargarh, Sambalpur and Mayurbhanj. This dance is in honour of Karamsani, the deity who bestows children and good crops. After the puja is done it is followed by singing and dancing in accompaniment of drum (maandal), cymbal etc. The dance performance full of vigour and energy combined with charm of the youth decked with colourful costumes in exuberance of red cloth, set in peacock feathers, skillfully designed ornaments made of small conch shells, brings the onlookers as well as the performers to a mood of trance and ecstasy. In this dance both men and women take part and continue to engross themselves for the whole night. The skillful movement of the young boys with mirror in hand indicates the traditional pattern of love-making in course of dancing and singing. The dance is performed sometimes by boys in group, sometimes by girls in group and sometimes both the sexes together. The subject matter of songs constitutes the description of nature, invocation to Karmasani, desires, aspiration of people, love and humour.

Keisabadi : Only men can take part in this form of the Kosli Sambalpuri folk dance .Some of them holding a stick two feet in length. They dance in different forms by striking the sticks according to the rhythms of the song they sing. The leader sings first and others follow him. They sing in Kosli Sambalpuri language and in every stanza they shout " Haido". The main theme of the song is derived from the love story of Radha and Krishna.

Others

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

Koli (Maharashtra & Goa)

The dance derives its name from the fisher folk of Western Maharashtra & 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. Especially most of the dances and celebrations are devoted to "Sea God" for a better catch and protection.

Padayani (Malbari town)

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.

North India

Kathak:

Kathak (Hindi: कथक, Urdu: کتھک) is one of the eight forms of Indian classical dances, originated from northern India. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathaks, or story tellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music along with stylized gestures, to enliven the stories. The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast, ending with a dramatic climax. A short danced composition is known as a tukra, a longer one as a toda. There are also compositions consisting solely of footwork. Often the performer will engage in rhythmic 'play' with the time-cycle, splitting it into triplets or quintuplets for example, which will be marked out on the footwork, so that it is in counterpoint to the rhythm on the percussion. All compositions are performed so that the final step and beat of the composition lands on the 'sam' or first beat of the time-cycle. Most compositions also have 'bols' (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance. Some compositions are aurally very interesting when presented this way. The bols can be borrowed from tabla (e.g. dha, ge, na, tirakiTa) or can be a dance variety (ta, thei, tat, ta ta, tigda, digdig and so on).

References

External links

The Vibrannt Dance Academy (abut dance)

Dance is an art form that generally refers to movement of the body, usually rhythmic and to music,[1] used as a form of expression, social interaction or presented in a spiritual or performance setting.

Dance may also be regarded as a form of nonverbal communication between humans, and is also performed by other animals (bee dance, patterns of behaviour such as a mating dance). Gymnastics, figure skating and synchronized swimming are sports that incorporate dance, while martial arts kata are often compared to dances. Motion in ordinarily inanimate objects may also be described as dances (the leaves danced in the wind).

Definitions of what constitutes dance are dependent on social, cultural, aesthetic, artistic and moral constraints and range from functional movement (such as folk dance) to virtuoso techniques such as ballet. Dance can be participatory, social or performed for an audience. It can also be ceremonial, competitive or erotic. Dance movements may be without significance in themselves, such as in ballet or European folk dance, or have a gestural vocabulary/symbolic system as in many Asian dances. Dance can embody or express ideas, emotions or tell a story.

Dancing has evolved many styles. Breakdancing and Krumping are related to the hip hop culture. African dance is interpretive. Ballet, Ballroom, Waltz, and Tango are classical styles of dance while Square and the Electric Slide are forms of step dances.

Every dance, no matter what style, has something in common. It not only involves flexibility and body movement, but also physics. If the proper physics is not taken into consideration, injuries may occur.

Choreography is the art of creating dances. The person who creates (i.e., choreographs) a dance is known as the choreographer.

Dance studies and techniques

Saman Dance from Gayo people of Sumatra, Indonesia

In the early 1920s, dance studies (dance practice, critical theory, Musical analysis and history) began to be considered an academic discipline. Today these studies are an integral part of many universities' arts and humanities programs. By the late 20th century the recognition of practical knowledge as equal to academic knowledge lead to the emergence of practice research and practice as research. A large range of dance courses are available including:

Academic degrees are available from BA (Hons) to PhD and other postdoctoral fellowships, with some dance scholars taking up their studies as mature students after a professional dance career

Dance competitions

An amateur dancesport competition at MIT.

A dance competition is an organized event in which contestants perform dances before a judge or judges for awards and, in some cases, monetary prizes. There are several major types of dance competitions, distinguished primarily by the style or styles of dances performed. Major types of dance competitions include:

Today, there are various dances and dance show competitions on Television and the Internet.

Dance occupations

There are different careers connected with dancing: Dancer, dance teacher, dance sport coach, dance therapist and choreographer.

Dancer

Dance training differs depending on the dance form. There are university programs and schools associated with professional dance companies for specialised training in classical dance (e.g. Ballet) and modern dance. There are also smaller, privately owned dance studios where students may train in a variety of dance forms including competitive dance forms (e.g. Latin dance, ballroom dance, etc.) as well as ethnic/traditional dance forms.

Professional dancers at the Tropicana Club, Havana, Cuba, in 2008

Professional dancers are usually employed on contract or for particular performances/productions. The professional life of a dancer is generally one of constantly changing work situations, strong competition pressure and low pay. Professional dancers often need to supplement their income, either in dance related roles (e.g., dance teaching, dance sport coaches, yoga) or Pilates instruction to achieve financial stability.

In the U.S. many professional dancers are members of unions such as the American Guild of Musical Artists, the Screen Actors Guild and Actors' Equity Association. The unions help determine working conditions and minimum salaries for their members.

Dance teachers

Dance teacher and operators of dance schools rely on reputation and marketing. For dance forms without an association structure such as Salsa or Tango Argentino they may not have formal training. Most dance teachers are self employed.

Dancesport coaches

Dancesport coaches are tournament dancers or former dancesports people, and may be recognised by a dance sport federation.

Choreographer

Choreographers are generally university trained and are typically employed for particular projects or, more rarely may work on contract as the resident choreographer for a specific dance company. A choreographic work is protected intellectual property. Dancers may undertake their own choreography.

Dance in South Asia

India

South indian folk Dance like a horse known as Poi Kal Kudirai

During the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. In the matter of dance, Bharata Muni's Natyashastra (literally "the text of dramaturgy") is the one of the earlier texts. Though the main theme of Natyashastra deals with drama, dance is also widely featured, and indeed the two concepts have ever since been linked in Indian culture. The text elaborates various hand-gestures or mudras and classifies movements of the various limbs of the body, gait, and so on. The Natyashastra categorised dance into four groups and into four regional varieties, naming the groups: secular, ritual, abstract, and, interpretive. However, concepts of regional geography has altered and so have regional varieties of Indian dances. Dances like "Odra Magadhi", which after decades long debate, has been traced to present day Mithila-Orissa region's dance form of Odissi, indicate influence of dances in cultural interactions between different regions.[4]

From these beginnings rose the various classical styles which are recognised today. Therefore, all Indian classical dances are to varying degrees rooted in the Natyashastra and therefore share common features: for example, the mudras, some body positions, and the inclusion of dramatic or expressive acting or abhinaya. The Indian classical music tradition provides the accompaniment for the dance, and as percussion is such an integral part of the tradition, the dancers of nearly all the styles wear bells around their ankles to counterpoint and complement the percussion.

Bhangra in the Punjab

The Punjab area overlapping India and Pakistan is the place of origin of Bhangra. It is widely known both as a style of music and a dance. It is mostly related to ancient harvest celebrations, love, patriotism or social issues. Its music is coordinated by a musical instrument called the 'Dhol'. Bhangra is not just music but a dance, a celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and dance.It developed further with the Vaisakhi festival of the Sikhs.

Ballet
Harlequin and Columbine from the mime theater at Tivoli , Denmark.

Ballet developed first in Italy and then in France from lavish court spectacles that combined music, drama, poetry, song, costumes and dance. Members of the court nobility took part as performers. During the reign of Louis XIV, himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet dance academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well.[2]

20th century concert dance

At the beginning of the 20th century, there was an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The relationship of music to dance serves as the basis for Eurhythmics, devised by Emile Jaques-Dalcroze, which was influential to the development of Modern dance and modern ballet through artists such as Marie Rambert. Eurythmy, developed by Rudolf Steiner and Marie Steiner-von Sivers, combines formal elements reminiscent of traditional dance with the new freer style, and introduced a complex new vocabulary to dance. In the 1920s, important founders of the new style such as Martha Graham and Doris Humphrey began their work. Since this time, a wide variety of dance styles have been developed; see Modern dance.