Indian Folk Dance

India offers a number of Classical Indian dance forms, each of which can be traced to different parts of the country. Each form represents the culture and ethos of a particular region or a group of people. The eight main styles are Bharatanatyam, Kathak, Odissi, Kuchipudi, Mohiniattam, Manipuri and Kathakali. Besides, there are several forms of Indian folk dances such as Bhangra, and special dances observed in regional festivals.

Most Indian dance is based on the treatise Natyashastra by the sage Bharata Muni, which explains the Indian art of acting. Acting or natya is a broad concept which encompasses both drama and dance.

Kathak Dance

Indian folk and tribal dances are simple dances, and are performed to express joy.

Folk dances are performed for every possible occasion, to celebrate the arrival of seasons, birth of a child, a wedding and festivals. The dances are extremely simple with minimum of steps or movement. The dances burst with verve and vitality. Men and women perform some dances exclusively, while in some performances men and women dance together. On most occasions, the dancers sing themselves, while being accompanied by artists on the instruments. Each form of dance has a specific costume. Most costumes are flamboyant with extensive jewels.

While there are numerous folk and tribal dances, they are constantly improved. The skill and the imagination of the dances influence the performance.

Some of the famous Indian Folk dances are :

Raut Nacha (Chhattisgarh) 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.

Bardo Chham (Arunchal Pradesh) A fascinating 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 animals, 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.

Chang Lo (or) Sua Lua (Nagaland) 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 like Poanglem - the three day festival preceding the harvest season. The dramatic costumes of the traditional Naga warrior and the finery of womenfolk make this dance a visual treat.

Charkula (Uttar Pradesh) The spectacular dance is performed in the Braj region of Uttar Pradesh- the land of Krishna and his consort - Radha. Veiled women balancing large multi-tiered circular wooden pyramids on their heads, alight with 108 oil lamps, dance to the strains of 'rasiya' - songs of Krishna. Charkula is especially performed on the third day after Holi - the day, which Radha was born. According to legend, Radha's grandmother ran out of the house with the charkula on her head to announce the birth of Radha, since then, Charkula has formed a popular dance form of Brajbhoomi, performed during various festivities.

Cheraw Dance (Mizoram) Cheraw dance is an amazing combination of rhythm and skill. Four people hold two pairs of long bamboos across one another on the ground. As the bamboo sticks are clapped together, the main dancers in traditional attires weave patterns through them in time to the rhythm. Cheraw is a major attraction during all festive occasions in Mizoram. Cheraw is believed to have a foreign origin. Similar dances are popular in the Far East and the Philippines. The Mizos must have brought the dance with them when they migrated to their land in India.

Dalkai (Orissa) The Dalkhai dance is performed by women of some of the tribes in Sambalpur district in Orissa at the time of seasonal festivals. The dance is quite vigorous, and is accompanied by a set of particular musical instruments, played by men, of which the drummers often join the dance.

Devarattam (Tamil Nadu) Devarattam or ' the dance of the gods' is the dance of the Kambala Naikar community of Tamil Nadu, who believe that they are the direct descendants of the 'devas' or gods. Fast and fluent movements to the rhythmic sound of ' Deva Thunthubi' - a drum-shaped percussion instrument, make this dance truly enjoyable. . The dance is performed during festivals, marriages and other social occasions.

Dol cholam (Manipur) The drum, by itself, enjoys a privilege in the dances of Manipur. There are several kinds of drums, each intended for a particular occasion. The festival of Holi, in spring, is the real time for drum dances, such as Dhol Cholom.

Dollu Kunitha (Karnataka) The Dollu Kunitha is a popular drum dance of Karnataka. The vigorous drum dance performed by the men of the shepherd community known as ' Kourba'. Powerful drumming, acrobatic movements and attractive formations are the notable highlights of the dance. The men have large drums, decorated with colored cloth, slung from their necks, and they beat the drums as they dance with nimble movements of the feet and legs. The dance is at times accompanied by songs, which are either religious or in praise of war.

Dumhal (Kashmir) Dumhal is a dance performed by the men folk of the Wattal tribe of Kashmir on specific occasions. The performers wear long colorful robes, tall conical caps that are studded with beads and shells. The party moves in a procession carrying a banner in a very ceremonial fashion. It is dug into the ground and the men begin to dance, forming a circle. The musical accompaniment comprises a drum and the vocal singing of the participants. Dumhal is performed on set occasions and at set locations.

Garadi (Pondicherry) The famous dance of Pondicherry is believed to have a purely mythological origin. As the legend goes, when Rama - the epic hero of Ramayana defeated Ravana then the vanars (monkeys) performed this dance to celebrate his victory. Garadi is performed during all festivals and usually continues for five to eight hours. The dancers are disguised as 'vanars' and carry sticks in their hands as they dance to the beat of two big drums, called ' Ramadolus'. A distinctive feature of this dance is the iron rings called 'anjali' which dancers wear on their legs - ten on each leg. As the dancer proceeds, these rings produce a melodious sound.

Ghoomar (Haryana, Rajasthan) Beautiful women dressed in multi-hued skirts swirl gracefully during this lively dance. Ghoomar is performed by young women and girls during various festivities like Holi, Gangaur Puja, Teej, etc. In Haryana, the songs sung for Ghoomar are high-pitched and rich in humor and satire. In Rajasthan, Ghoomar is performed to the songs of valor and victory.

Goti Pua (Orissa) Image:Gotipuas.jpgThe goti puas are boy dancers who dress up as girls. They are the 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 as a section of 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.

Hojagiri (Tripura) Hojagiri is a reflection of the age-old culture and the unique style of dance of the Reang community of Tripura. Only lower half of the body is moved to create rhythmic movements. Dancers performing unusually amazing acrobatic feats is the main highlight of the dance. Reang girls twist and turn and dance in time to the compelling rhythm, sometimes dancing on an earthen pitcher or balancing a bottle on the head with a lighted lamp on top of it.

Jawara (Madhya Pradesh) The Jawara is performed in the Bundelkhand area of Madhya Pradesh. It is essentially a harvest dance-reflecting the gaiety and pleasure of the peasants who have reaped a good harvest. The dance is performed by men and women together. The costumes and jewellery worn by the women are colorful. The women carry baskets full of jawara on their heads and although the dance is very vigorous they are able to balance these baskets very skillfully on their heads. The accompaniment includes a rich variety of percussion, stringed and wind instruments.

Karma/Munda  (Bihar) The traditional dance gets its name from the Karma tree, which stands for fortune and good luck. The ceremony starts with the planting of the trees. Dancers, both men and women, form circles around it and dance with their arms around each other's waists. As the drum beats get quicker and louder, the dancers gain momentum and generally end in an uproarious tumult.

Kinnauri Nati (Himachal Pradesh) The pristine beauty of hilly Himachal finds an eloquent expression in the languid and elegant movements that form a part of the marvelous Nati dance. The dance matches the gentleness of the hilly breeze and the rhythmic swaying of trees. The dance is mainly a mime but also incorporates some abstract but languid sequences. Important among the dances of Nati is 'Losar 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.

Kalbelia (Rajasthan) The fascinating dance is performed by the women of Kalbelia community. The main occupation of the community is catching snakes and trading snake venom. Hence the dance movements and the costumes bear resemblance to that of the serpents. Dancers attired in traditional black swirling skirts, sway sinuously to the plaintive notes of the 'been' - the wooden instrument of the snake charmers.

Koli (Goa) The dance derives its name from the fisher folk of Goa - Kolis, who are noted for their distinct identity and lively dances. Their dances incorporate elements they are most familiar with - the sea and their occupation of fishing. The dance is performed by both men and women - divided into two groups. The smaller group of men and women, in pairs, enact the main story of the dance - where the Kolin or fisherwoman makes advances to the Koli or fisherman. The larger group, also in pairs, forms the backdrop for the story, dancing in a looped movement that depicts the rowing of a fishing boat on undulating waves.

Kummi (Tamil Nadu) The womenfolk of Tamil Nadu 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.

Lava (Lakshwadeep) It is the colorful dance of the Minicoy Island of Lakshadweep in which dancers wear multi-hued costumes, a headgear and carries a special drum. The dance movements are prolific and profuse and are in rhythm with the drum beats and vocal accompaniment.

Namgen (Himachal Pradesh) The Namagen dance is performed in September to celebrate the autumnal hues. The costumes are largely woolen and richly studded ornaments of silver are worn by women. The most picturesque amongst these are dances of Gaddis. All regions of Himachal Pradesh have their own dances. Mostly men and women dance together, close to each other in the formation.

Nicobarese dances (Andaman and Nicobar Islands) This is the dance of the Nicobarese - the fascinating tribal group residing in the island of Car Nicobar. The dance is performed during the Ossuary Feast or the Pig Festival. Dedicated to the departed head of the family, the occasion is observed with night long dancing in the full moonlight under the swaying palms. The dancers dressed in coconut fronds step gracefully in time to traditional songs. Feasting and good food followed by a pig fight in the morning are other highlights of the celebration.

Padayani (Kerala) Padayani or Padeni in colloquial speech is one of the most colorful and spectacular folk arts associated with the festivals of certain temples in southern Kerala (Aleppy, Quilon, Pathanamthitta, and Kottayam districts). The word Padayani literally means military formations or rows of army, but in this folk art we have mainly a series of divine and semi-divine impersonations wearing huge masks or kolams of different shapes, colors and designs painted on the stalks of areca nut fronds. The most important of the kolams usually presented in a Padayani performance are Bhairavi (Kali), Kalan (god of death), Yakshi (fairy), Pakshi (bird) etc.

The Kolam consists primarily of a huge headgear with many projections and devices with a mask for the face or a chest piece to cover the breast and abdomen of the performer. The whole performance consisting of the dancers or actors who wear the kolams, the singers who recite a different poem for each Kolam, and the instrumentalists who evoke wild and loud rhythm on their simple drum called Thappu and Cymbals, etc., takes the form of a procession of Kali and her spirits returning after the killing of the Asura chief Darika.

Panthi (Madhya Pradesh) The folk dance of the Satnami community of Madhya Pradesh bears religious overtones. Performed on Maghi Purnima - the birth anniversary of their Guru Ghasidas, the dance is evolving still to include a variety of steps and patterns. The dancers dance around a jaitkham 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.

Pavri Nach (Maharashtra) In the hilly regions of the northwest, the Kokna tribal dance to the accompaniment of the tarpha or pavri, a wind instrument made of dried gourd. Because of this, the dance is known as Tarpha Nach or Pavri Nach. The performers hold each other by the waist and dance in close formation. Men also dance separately, and this includes feats of skill, like forming a pyramid or rapidly revolving a dancer round a stout pole.

Poikal attam (Tamil Nadu) Poikal attam refers to the dance of "false legs". Here dancers are attached to a dummy horse at the waist. Instead of 4 legs of a horse only 2 legs of the person with the prop on his body is present. however 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.

Ruk Mar Nacha (Orissa) This is a rudimentary form of the more evolved Chhau dance of West Bengal. Performed in the Mayurbhanj district of Orissa, it has its base in the martial arts tradition. The dance is a stylized mock battle in which two groups of dancers armed with swords and shields, alternatively attack and defend themselves with vigorous movements and elegant stances.

Especially notable is the accompanying music, noted for its rhythmic complexities and vigorous percussion. The instruments include 'Mahuri' - a double reeded instrument, 'Dhola' - a barrel shaped two-sided drum, 'Dhumsa' - a hemispherical drum and 'Chadchadi' - a short cylindrical drum.

Singhi Chham (Sikkim) It is a masked dance of Sikkim, depicting snow lion - the cultural symbol of the state. (Snow lion was decreed the guardian deity of the people of Sikkim by Guru Padamsambhava). The third highest mountain in the world - Kanchenjunga(Khang-Chen Dzong Pa), standing sentinel over the state of Sikkim, is believed to resemble the legendary snow lion. The natives display their cultural symbol by dressing up in furry costumes and performing this majestic masked dance.

Spaw (Ladhakh)This 'martial' form of dance is a brilliant display of courage, stamina and skill of 'dPao' or the powerful warriors of Ladakh, who once defended the freedom and territorial integrity of the land. Their martial art has taken the form of this fascinating dance, which forms an inseparable part of the Ladakhi culture.

Tarangmel (Goa) The multi-hued dance is all energy and youthfulness. On the occasions of Dussehra and Holi, the spirited young girls and boys swarm the streets in colorful group, waving flags and streamers (tarang), inspiring and inviting one and all to imbibe the festive spirit. They shout Ho! Ho! To the beats of 'romut', 'dhol' and 'tasha'. The rainbow like costumes of the dancers and the multi-coloured flags and streamers make Taranmel a visually appealing affair.

Tertali (Madhya Pradesh)  The Kamar tribe performs the Tera Tali, which is an elaborate ritual with many elements of dance. It is generally performed by two or three women who sit on the ground. Manjiras, or small metal cymbals are tied to different parts of the body, mostly the legs, and with a cymbal in either hand the dancer strikes these in rhythm. The head is covered with a veil, and at times a small sword is clenched between the teeth and an ornamental pot balanced on the head.

Thang Ta (Manipur) Thang Ta is the martial art form exclusive to Manipur, with 'Thang' meaning sword and 'Ta' meaning spear. In this amazing display of the traditional art of warfare, performers leap and attack each other and defend themselves. Encouraged by the kings of the earlier times, Thang Ta is an ingenuous display of skill and creativity. The art has a ritualistic aspect with some movements of sword intended to ward off evil spirits, while other postures indicating protection. All the dance forms of Meiti people are believed to have originated from Thang Ta.

Thapetta Gullu (Andhra Pradesh) This is the dance form of the Srikakulam district of Andhra Pradesh, in which more than ten persons participate, singing songs in the praise of the local goddess. The dancers use drums, which are hung around their necks to produce varied rhythms. Tinkling bells around the waist form a distinctive part of the dancers' costumes.

Padhar (Gujarat) It is performed by a rural community living around NalLake. In it, performers simulate the rhythmic movements of roving mariners and the undulating sea waves. The Bhil tribes, who live close to border tracts, and the Adivasis of Dangs district, have particularly lively folk dances.