Music and dance in India are among the oldest forms of classical arts with traditions that date back several centuries. Musical forms prevalent today have roots in the book 'Samaveda'. The source of Indian dance forms is the 'Natya Shastra', regarded as the fifth Veda, written between the second century B.C. and second century A.D. The uniqueness of Indian classical dances is that they are all devotional in content, using the body effectively as a medium of communication to express moods and emotions. Indian music has developed within a complex interaction between people of different races and cultures. Today, Indian classical music can be classified into two broad traditions, north Indian and south Indian. The north Indian tradition is known as Hindustani Sangeet. The different forms of Hindustani music are Dhrupad, Dhamar, Khayal, Tappa and Thumri. The south Indian tradition of music is called Carnatic Sangeet. Both traditions are fundamentally similar but differ in nomenclature and the way they are performed.

Many musical instruments are unique to the Indian cultural environment. Perhaps, the most eminent are the sitar and tabla, made popular by artists such as Ravi Shankar and Zakir Hussain respectively.

MUSIC

Indian music is based upon two pillars. They are 'Raga', which is the melodic form, and the 'Tal', the rhythmic form. The 'Raga' is India's unique contribution to the world of music. Ragas attempt to evoke the interaction of man's emotions with his environment. They are sung at an appointed hour of the day or night. Ragas are made of different combinations of some or all of the 'sapta swara' (the seven notes). They are Sa Sadjam, Ri Rishab, Ga Gaandhaar, Ma Madhyam, Pa Pancham, Dha Dhaivad, Ni Nishad and are fundamental to Indian classical music, both Hindustani and Carnatic.

Some of the most well known Ragas are:

VOCAL MUSIC

Carnatic Music

Carnatic music is considered one of the oldest forms of music in the world. Imbued with emotion and the spirit of improvisation, it also contains a scientific approach. This is mainly due to the contributions of inspired artists such as Purandara Dasa, known as the Father of Carnatic music.

The important element of Carnatic music is its devotional content. The lyrics of traditional compositions are set entirely against a devotional or philosophical background. Three saint composers Tyagaraja, Muthuswami Dikshatar and Shyama Shastri have composed thousands of songs that remain favourites among musicians and audiences.

The Melakarta Ragams are the sixty two basic roots for all Carnatic music. All of these ragams have seven notes - Sa, Re, Ga, Ma, Pa, Da and Ne. This system is divided into two sets of thirty one ragas. This is very similar to the Western concept of scales and the circle of flats.

The 'Sapta Talas' is the basis for rhythm in Carnatic music. The seven core Talas are Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata and Eka Talams. Using these sapta talas, all of the one hundred and fifty Carnatic talams can be derived.

A typical Carnatic classical vocal performance begins with a 'varnam' (a composition with three parts: pallavi, anupallavi and chlttaswaram), followed with one or two short kriti (songs) to build up a tempo. This is then followed by an alaap/ragam. The singer sings without words, concentrating on the notes of the raga, improvising within its structures.

Although, the singer is presenting a composition, most of the music is still improvised, with the composition acting as a refrain for the improvised material. The singer may end the concert with some lighter classical pieces like a ragamalika, bhajan or a thirupugazh.

Hindustani Music

Dhrupad is an ancient style of Hindustani vocal music. It pre-dates other forms of vocal music like Khayal, Dadra and Thumri by a number of centuries. In the Dhrupad performance, the singer is accompanied by a tanpura and a pakhawaj. The performance begins with a long, complex alaap and the treatment of the compositions is different from the khayal. It focuses more on the nuances of the raga and the text and less on technical feats.

Khayal is the most popular type of classical vocal performance today. The singer begins with a short alaap in which the characteristics of the raga are developed. No words are sung, but the singer concentrates on the notes of the raga while improvising within its structures. Each phrase that the singer sings may be repeated by the accompanist. When the raga has been properly introduced, the first composition, bandish (Bada Khayal) begins. The tabla enters in a very slow tempo - one cycle of the tal may take a minute or more. Although the singer is presenting a composition, most of the music is still improvised, with the composition acting as a refrain for the improvised material.

Thumri is a lighter classical vocal style that developed around the middle of the nineteenth century from a style called Lachari. Thumri has grown so significantly, that it can be divided into a variety of sub-genres. Dadra, Hori, Chaiti, Kajri and Jhoola are some of its prominent forms, which are heard separately in a performance. Other light classical music is usually rendered in a medium (madhya kaal) or fast (teevra gati) tempo and will not have a lengthy alaap. The emphasis is on presentation of the text, rather than nuances of the raga.

Ghazal

The Ghazal is a form of Urdu poetry that is sung. Eloquent 'shayari' (poetry), gentle 'mausiqui' (music) and fragile 'jazbaat' (emotions) combine to create the Ghazal. The music for the Ghazal is slow paced and the lyrics are often repeated twice or thrice. The first couplet of a ghazal is 'matla' and the finishing couplet is called 'makta'. The remaining couplets are called 'misra' and 'antara'.

Qawwali

Qawwali is a high-pitched and fast paced style of singing that was developed in the thirteenth century. During that period, Sufisrn was becoming popular in India and Qawwali emerged from the mystical sayings of Sufi saints. The followers of Khwaja Moinuddin Chishti Garib Nawaz, the famous Sufi saint of Ajmer (Rajasthan), adopted and improvised Hindustani classical music to popularise 'qual' (or the sayings of Sufi saints) which resulted in a style of singing called Qawwali.

Despite originally having developed from mystical music it later also began to include romantic themes.

FOLK MUSIC

Folk music of India is the most natural representation of the emotions of the masses. It resonates with the vibrant diversity of the land and the traditions of simple folk. These songs are associated with every event of life. Be it festivals, advent of new seasons, marriages, births or even every day affairs like wooing a loved one or admiring nature etc. Although folk music originated within small regional confines, it has reached out to touch the hearts of masses across India.

Marathi Bhajans are generally based on traditional Ragas. Mand is a Rajasthani folk tune recently elevated to a Raga and influences only a portion of Rajasthani folk songs.

INSTRUMENTS

Indian classical music has four types of instruments. They are the Tantru - stringed, Susir - wind, Avanada - percussion and Ghana - gongs, bell and cymbals. The most popular of these instruments are:

Dholak

The Dholak is a drum used to accompany light forms of music like bhajans, ghazals, qawwalis and most of folk music. In the Carnatic school of music, the dholak accompanies nadaswaram and is called 'dhol'.

Ektara

The Ektara is the simplest stringed instrument as it only has a single string that is plucked by the fingers. The string serves as the drone as well as the rhythmic accompaniment to the chanting of the mendicants and wandering minstrels. It is made from a single piece of bamboo with a large gourd attached to it.

Flute

This is a wind instrument that is common since the ancient days in India. It has a religious context as Lord Krishna is pictured with a flute and the instrument is also embedded in the music of the Buddhists. Furthermore, the ancient frescoes of Ajanta and Ellora depict the flute or Bansuri as an accompaniment to vocal and instrumental music in ancient India. In India, the instrument is made from a cylindrical bamboo pipe of uniform bore and contains six holes for movement of fingers and a bigger hole for blowing air.

Jaltarany

Jaltarang literally means 'water waves'. The instrument consists of about eighteen porcelain cups of different sizes, each possessing a distinctive tone. The cups are arranged in a semi-circle in front of the performer, beginning from the largest to the smallest. The bigger cups produce a deep pitch while the smaller have a higher pitch. The level of water in the cups also helps to control the pitch, a higher water level contributes to a lower pitch.

Ghatam

An ancient percussion instrument often heard in Carnatic music concerts. The instrument is a mud pot with an open mouth that is played by hands, wrists and fingers. The player of the Ghatam can elicit various volumes and tones by executing the finger strokes at different parts of the instrument- neck, center and bottom.

Mridangam

Commonly used in south India, it is among the most highly developed and most ancient of all percussion instruments. It is a cylindrical hollow block of wood with hide being used to cover the two ends. A wide variety of tones can be obtained from different parts of the instrument.

Nadaswaram

It is believed that the Nadaswaram evolved from the snake charmer's 'Pungi'. It consists of a wooden mouthpiece into which air is blown. This air is released from the lower end of the gourd through two bamboos or metal pipes producing sound. The Nadaswaram formed an integral part of temple music and was extensively used in the 15th and l6th centuries. It still plays an important part in Carnatic music

Pakhwaj

The Pakhwaj originates in north India and is similar to the Mridangam except for slight differences in construction and playing techniques The Pakhwaj is played with an open left hand, whereas southern musicians use the left side similar to the tabla players. The use of this instrument is only confined to classical compositions like Dhrupad and Dhamar.

Santoor

The Santoor is the offspring of the Vana Veena from the Vedic period and is extensively used in the Kashmir Valley. It is made of a trapezpidal wooden box

And has thirty bridges and a set of four strings of metal which are stretched over each pair of bridges. The instrument is played with a pair of flat wooden pieces curved at the striking ends. Today, the Santoor is played with all Indian ragas and is also used extensively in Indian film music.

Sarod

Sarod is a string instrument made of wood with one end rounded and covered with parchment. There are six main metallic strings fastened to pegs at the neck of the instrument. It is played with a plectrum held in the right hand while the fingers of the left hand are used to play the notes. The Sarod has secured an important place in Hindustani classical music for its deep and rich tone and a distinctive sound.

Shehnai

Of Persian origin, the Shehnai is a one reed instrument with six holes yielding a soft and melodious sound. Made of a smooth dark- grained black wood, the tube is narrower on the top and widens towards the bottom affixed in a cup. The notes it produces are continuous and generally used in classical and light classical music.

Tabla

The Tabla, as it is often called, consists of a set of two drums. Both the drums are hollow from inside and are covered with hide fastened to leather straps stretched over the body of the drums by leather braces. These straps are pulled to raise or lower the pitch. In the hands of a master, the Tabia is capable of producing all patterns of rhythms with well-established time cycles (talas).

Sitar

Invented in the 13th century by Amir Khusro, the Sitar is one of the most famous Indian instruments. Its name is derived from the Persian word 'she-tar', meaning three stringed. The instrument is made from seasoned gourd (which acts as a resonating chamber) and teak wood and has six to seven main strings. The main playing strings are first two and occasionallythe fourth for creating melody. Below the upper tier of seven strings there are thirteen strings meant for sympathetic resonance and are known as Taraf. Sitars are of varying sizes and some have an extra gourd at the end of the neck.

Veena

This southern instrument is associated -with the Goddess Saraswati, the deity of learning and fine arts. The body of the Veena is made from a hollow block of wood, with its neck attached to the stem resulting in a figure that looks like the head of a dragon. The instrument consists of twenty-four fixed frets and seven strings. The Vichitra Veena of the north was introduced by Ustad Abdul Aziz Khan, a court musician in Indore. It has a broad stem and six main strings that are fastened to wooden pegs fixed to the other end. The Vichitra Veena is played by a plectrum and is capable of producing delicate nuances.

Violin

The Violin is the only western instrument that has been completely absorbed into Indian music. The strings of the Violin in India are tuned to different notes than its western counterpart. The light tone of the steel string and the deep, almost human tone of the fourth string embellishes the peculiarities of Carnatic music.

Edakka

Edakka is a sensitive percussion instrument. Made of wood a quarter metre long, the drumheads are held in position by interlacing cotton threads. The player beats the drum with one hand while simultaneously manipulating the strings with the other, thus creating a variety of musical notes.

Kombu

Kombu, literally means horn. It is a C-shaped wind instrument made of brass or copper. Part of the Panchvadya ensemble, it is also played during religious processions.

Chenda

The Chenda is a hollow cylindrical instrument made from softwood, the ends of which are covered with cowhide. It is the chief accompaniment in Kathakali, and is the most important instrument which is played in temples.

DANCE

There is sculptural evidence from all parts of India that underlines the rich tradition of dance that flourished over a thousand years ago. Through this evidence, we see that in ancient India dance and music were not only seen as ways to celebrate, but also as offerings of worship and thanksgiving to the deity. Over the course of time, the dance forms practised in different parts of the country were codified and developed distinct identities according to the geographic, socio- economic and political conditions of each region. All dance forms were structured around the nine 'Rasa' or emotions. They are Hasya (happiness), Shoka (sorrow), Krodha (anger), Karuna (compassion), Bhibatsa (disgust), Adhbhuta (wonder), Bhaya (fear), Viram (courage) and Shanta (serenity).

Kathak

This dance form traces its origins to the nomadic bards of ancient northern India known as Kathakaris, or story tellers. These bards, performing in village squares and temple courtyards, mostly specialised 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 stylised gestures to enliven the stories.

With the advent of the Mughals, Kathak was introduced in the King's durbar, thus moving this art from devotion to entertainment. The dance has two main techniques, the Nritya (pure dance) and the Abhinaya (expressions). The typical Kathak costume resembles Mughal miniature paintings and is performed by both men and women. Lucknow, Varanasi and Jaipur are recognised as the three schools, or gharanas, where this art was nurtured and refined.

Bharatnatyam

This is one of the oldest and most popular forms of dance in India. Bharatha stands for Bhavana, which is mood, Raga is music, and Tala is rhythm, while Natyam stands for Nritya. Movement, mime and music are given equal importance in this dance. The costumes used in a performance are elaborate. The dancer's dress consists of colourful silk costumes, head-wear ornaments, necklaces and bangles. Flowers are wound around a long plait.

The dance was handed down from generation to generation under the Devadasi system. Women were dedicated to temples to serve the deity as dancers and musicians. These highly talented artists and the male gurus (nattuvanars) were the sole repository of the art until the early 20th century when a renewal of interest in India's cultural heritage prompted the educated elite to discover its charm.

Kuchipudi

Kuchipudi developed in the state of Andhra Pradesh in southern India in a village called Kuchelapuram. According to tradition, Kuchipudi was originally performed only by Brahmin (priests) men.

Kuchipudi performances are dance dramas, commonly referred as Ata Bhagavatham. The technique of Kuchipudi makes use of fast rhythmic footwork and sculpturesque body movements. Stylised mime, using hand gestures and subtle facial expression, is combined with more realistic acting. Themes are mostly derived from the scriptures and mythology and the portrayal of certain characters is a central motif of this dance form. A unique feature of Kuchipudi is the Tarangam, in which the performer dances on the edges of a brass plate, executing complicated rhythmic patterns on the ground, while sometimes also balancing a pot of water on his / her head. Kuchipudi is accompanied by Carnatic music. A typical orchestra for a Kuchipudi recital includes the mridangam, flute and violin.

Kathakali

Kathakali is the traditional dance of Kerala and is one of the oldest forms of theatre in the world. It is a combination of dance and drama where the actors depict characters from Indian mythology, mainly from the Ramayana and the Mahabharata. The facial expressions and hand gestures are an important facet of this dance form, enhanced by the traditional make- up and costumes. The make-up is of five types: Pacha, Kathi, Thadi, Kari and Minukku. The body movements and footwork in this dance are very rigorous. The dance is performed to live music and the tune of Chenda, a drum like instrument that produces thundering beats and the Maddala, an instrument which produces a softer and relaxed sound.

Mohiniattam

This is a semi-classical dance from Kerala. It is essentially a solo dance, performed only by women. In fact, the word Mohini means a maiden who steals the heart of the onlooker.

Mohiniattam performances depict love and devotion to God. The hero of most performances is Lord Vishnu or Lord Krishna. The movements are graceful and the costume chiefly consists of a white sari and blouse. The vocal music for Mohiniattam is classical Carnatic.

Odissi

Odissi is a traditional dance of the state of Orissa. Originally, this form of dance was performed in temples as a religious offering by the Maharis / Devadasis or temple dancers. The dance tries to capture human emotions of love and passion while keeping the performance soft and lyrical. Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govind, which are used to depict love and devotion to God. The dancers wear colourful costumes and traditional silver jewellery. Odissi dance performances involve a balance between pure dance and expressional dance with a combination of acting.

Manipuri

Manipuri is regarded as one of the most beautiful dance styles of India and is intrinsic to the state of Manipur. The Lai Harob a ritualistic dance depicting creation is, considered the precursor of Manipuri. While Lai Haroba continues as a living tradition, Manipuri has expanded and gained popularity as a performing art in group and solo perrormances. The themes of Manipuri are usually based on the Raas Leela which depicts the cosmic dance of Krishna and the cowherd maidens. The beautiful embroidered skirts of the dancers are long and flared from the waist with translucent veils This along with Krishna’s costume that has a tall peacock feather crown, adds to the radiant appearance of this dance as the performers sway and twirl to an ascending tempo.

Chhau

The Chhau is a popular dance performed in Orissa, Bihar and W'est Bengal. In this dance the mask holds the dominant Rasa while the body creates, projects and develops the moods. Chhau has three schools, originating from Seraikella in Bihar, Mavurbhanj in Orissa and Purulia in West Bengal. All three forms are primarily martial dances and are hence somewhat similar, however, the costume and make-up in each or these is very distinct. While men dance all the three Chhau forms, Mayurbhanj Chhau uses no masks.

The themes are based on mythology, everyday life, aspects of nature or just a mood or emotion. Purulia Chhau, however, has a single focus - good triumphs over evil. The musical accompaniment for Chhau is provided by the Nagada (a drum), Dhol, a cylindrical drum and Shehnai (reed pipes). The steps of the dance are governed by patterns or rhythmic syllables played on the drums and any change of tempo is prefaced with a katan, a rhythmic flourish played three times in succession. Performed by men and boys, the item never lasts more than 7 to 10 minutes each, as it is difficult to dance longer wearing a mask. However, in Purulia Chhau, a single item could be for forty minutes and a performance all night long.

FOLK DANCES OF INDIA

One of the ways to experience the diversity of India's culture and tradition is through its folk art. Folk dances have different faces in different regions. These dances are more popular than classical forms of dance in India as they are easier to understand and perform.

The Indian folk dance can be described as simple, but behind its simplicity lies both profundity of conception and a directness of expression that are of great artistic value. In folk dances, the effect of the overwhelming buoyancy of the spirit and the eloquent effortless ease with which the dance is expressed, is what stands out.

Almost every village has its own folk dances performed on every possible occasion such as the birth of a child, to celebrate the arrival of seasons, weddings and festivals. On most occasions, the dancers sing while being accompanied by artists on instruments. Each form of dance has a specific costume. Most of these costumes are flamboyant with elaborate jewellery. All-night dance dramas are popular throughout India and mark major festivals. The journey into various regions brings one closer to the life and spirit of the common people.

NORTH

Dumhal

The Dumhal is a dance performed by men in the Wattal tribe of Kashmir. The performers wear long colourful robes and tall conical caps, which are studded with beads and shells. These performers move in a procession, carrying a banner in a ceremonial fashion. This banner is then dug into the ground and the men begin to dance, forming a circle. The musical accompaniment comprises of a drum and the singing of the participants.

Rouf

The Rouf is a dance which is performed to mystical poetry during springtime in Kashmir. The performers divide themselves into two rows facing each other. The dancers put their arms around the shoulders of the dancers next to them and the resulting formation glides forwards and backwards. Rouf is also related to chorus singing called Chakri

Lama Dances

Lama dances are festival mask dances of the monasteries of Jammu & Kashmir, Sikkim, Himachal Pradesh and other regions along the Himalayan belt. The dances are characterized by slow movements, open positions and large circular whirls. The mask dancers represent divine, human and animal life as well as martial art techniques. Each Lama dance is distinct and yet amazingly similar in respect of movement patterns.

Pangi Dances

These dances in the state of Himachal Pradesh usually begin with a single file entry of men and women separately. The two rows then form half concentric circles and move clockwise. This is then followed by the two rows forming one large circle and moving clockwise. Later, two concentric circles are formed with the men moving clock-wise and the women moving anti-clockwise. The initial holding of hands becomes a pattern with interlocking arms at the waist level, forming attractive designs.

Losar Shona Chuksam

This dance of the Kinnaur district in Himachal Pradesh is a functional dance with passages of mime and other sequences, which are purely abstract. Slow movements with soft knee dips are the key characteristics of this dance. The dance is held during the months of April-May in which the dancers recreate movements of sowing and reaping ogla (barley) and phaphar (a local grain).

Bhangra

Bhangra is the most important dance of Punjab, performed by men. It is a robust dance performed during the Baisakhi festival. The dance is accompanied by the dholak (drums). The drummer usually takes his place in the centre of a circle of people dancing.

Raas

The dance is performed during the Dussehra festival in the Kulu district of Himachal Pradesh. Based on human love stories unlike the traditional Raas, the dance is characterized by chain formations and concentric circles.

Gidda

The Gidda is an ancient dance from the state of Punjab and has simple graceful movement. It is performed in open courtyards by women. The dance begins in a circle, which then breaks into two semi circles and groups of four or six.

Dhamyal

The leading dance of Haryana, Dhamyal is also known as the Duph. The Duph is a circular drum, played nimbly by the men dancers. The dance can be performed by men alone or along with women.

Duph

In this dance from Haryana the dancer enters the dancing arena with a duph in hand and begins dancing slowly, with percussion instruments playing softly. Rows of people then form a circle and the tempo of the dance increases. The steps are limited and the torso is held erect, as the dancer is continuously required to play on the large duph.

Lahoor

The Lahoor is a dance performed by women in Haryana. It is mainly performed during springtime, after the work in the fields is over. The dance is often accompanied by witty questions and retorts rendered in a sing-song manner.

Dhurang

This dance from Uttar Pradesh is connected with the death ceremony. Its objective is to liberate the soul of the dead from evil spirits. Dancers in the Dhurang hold swords and dance in a circle. The movements are virile and reminiscent of the hunting dances of the Nagas on the eastern borders of India.

Mali Dance

A dance performed by women to receive the bridegroom's party on the occasion of a marriage. The dancers are veiled and have flaming brass pots on their head. They squat, recline and jump dexterously with these pots on their heads. The dance ends when the flames of the pots die out. This dance is from the state of Rajasthan.

Tera Tali

This dance trom Rajasthan is performed by two or three women, their faces covered with a veil. They have a naked sword between their teeth and balance decorated pots on their heads. The women produce a variety of sounds with the manjira (small cymbals) in their hands as they shift or slide on the ground.

EAST

Naga Dance

Each tribe of the Nagas has its distinct style of performing this dance. The Nagas live in Manipur, Tripura, Nagaland, Mizoram, Arunachal Pradesh, Meghalaya and Assam. In this dance, the erect torso and the unbent knees always maintain a balance of deportment, which is marked by an austerity and dignity in the earlier phases. The later phase of the dance exhibits an ecstatic vigour. The floor patterns of the Naga dances are one of the most complex and intricate amongst the tribes in India. The Formations are determined by the social organisation of the tribe. For example, a single dancer leads the dance of those who subscribe to the institution of headman and similarly group formations are common to those where a council governs.

Hazagiri

This is a dance by the Riangs of Tnpura, held to invoke the blessings of the Goddess Hazagiri, for a good harvest. Goddess Hazagiri is a form of Lakshmi (the Hindu Goddess of wealth). The ceremonies begin with the worship of nine gods and culminate in the worship of the Goddess Hazagiri. The dance begins with women dancing slowly (often with pots on their heads), joined later by men. The dance concludes on an ecstatic note in a fast tempo.

Bamboo Dance

The most colourful and distinctive dance of the people of Mizoram is called the Cheraw. Long bamboo staves are used for this dance, which is why it is called the Bamboo Dance. This is a dance that requires skill and an alert mind.

Nongkrem

The Nongkrem dance of Meghalaya is performed in autumn at Smit, the cultural center of the Khasi Hills. It is performed to commemorate the evolution of the Khasi tribe.

Bihu

Bihu is the most popular folk dance of Assam. It is part of the Bihu festival that occurs in mid-April after harvesting is completed and continues for about a month. The participants are young men and girls who gather in the open and dance together in separate groups of men and women. The dance is accompanied by drums and pipes.

Thang-ta

Karma (Munda)

The traditional dance of Bihar gets its name fromthe Karma tree, that is supposed to embody fortune and good luck. The ceremony starts with the planting of trees. Dancers, both men and women, form circles around the tree and dance with their arms around each other's waists.

Ponung

Among the Adis in Arunachal Pradesh, dance had evolved almost into an art form mainly for entertainment and recreation. The 'Ponung' dance of the Adis is performed by teams of young girls in perfect rhythmic unison. Similar group dances in colourful costumes are performed by the Nishis and the Tagins of Upper and Lower Subansin Districts.

Brita or Vrita

One of the most important folk dances of Bengal, it is an invocational dance performed by the barren -women of Bengal who –worship in gratitude for their wish being fulfilled. Quite often, this dance is performed after a recovery from a contagious disease.

Hurka Baul

The Hurka Baul from West Bengal is performed during the cultivation of paddy and maize. After preliminary rituals, the dance is performed in different fields. The dance derives its name from Hurka, the drum which constitutes the only musical accompaniment, and Baul, the sons. The singer narrates a story of battle and heroic deeds and the performers enter from two opposite sides and enact the stories in a series of crisp movements.

Kali Nach

This dance is performed in honour of the Goddess Kali. Here, the performer wears a mask, purified by mantras, dances with a sword and when worked up can give prophetic answers.

Ghanta Patua

For the month of Chaitra, the village streets in Orissa reverberate with the sound of Ghanta (brass song). The Ghanta is played by Ghanta Patuas in accompaniment to their dance on stilts. Ghanta Patuas are non-Brahmin servants of the deities. The dance is closely associated with the worship of the Mother Goddess who has numerous names including Sarala, Hingula. Charchika, Bhagavati, Mangala and Chandi.

One of the Ghanta Patuas dresses himself as a female with a black cloth tied on the head. He places the Ghata (sacred pitcher) decorated with flowers and coloured threads on his head and then performs with the Ghata on his head. He also displays a variety of Yogic postures. The Dhol and Ghanta are the accompanying instruments.

Paik

This martial art dance from Orissa is masculine, vigorous, highly structured and full of dignity. The dancers stand facing each other on rows wearing tight dhotis, colourful turbans and holding large shields and swords. In the first phase of the performance, the dancers approach each other slowly, their stance and movements recalling fencing positions. Gradually, the tempo increases and the mock battle begins with mighty jumps and swords being struck.

Dalkhai

The Dalkhai dance is performed in some of the tribes in the Sambalpur district of Orissa. The dance is vigorous and is accompanied by a set of particular musical instruments, played by men, of which the drummers often join the dance. Another version of this dance is the Chain Ghorha, performed by a community of fisher-folk.

WEST

Gendi (Stilt)

This dance from Madhya Pradesh is usually performed during the rainy season from June to August. The dancer, who has learnt to balance himself on the Gendi, can perform the dance even in water or on marshy surfaces. Children generally perform the dance as intense balance is required. The performers are colourfully attired with belts studded with cowrie shells around their necks. The Gendis are dyed in bright colours.

Bhagoriya

This dance is performed by the Bhils, a large tribe in Madhya Pradesh. It is performed by men and women wearing colourful costumes during Holi. This is a lyrical dance and is an occasion when many young men and women get to find their partners.

Jawar

Jawar is performed in the Bundelkhand area of Madhya Pradesh. It is a harvest dance reflecting the gaiety and joy of the farmers who have reaped a good harvest. The women carry baskets full of jawara (millet) on their heads and are able to balance these baskets while dancing. The accompaniments include a rich variety of percussion, stringed and wind instruments.

Garba

Garba, the leading dance of women in Gujarat, is performed in honour of the Goddess Amba. This fertility dance involves perforated earthen pots in which an oil lamp is placed symbolizing embryonic life. The pots are balanced on women's heads as they move around a circle, snapping their fingers and clapping their hands to produce a fast beat. When men dance, by singing and clapping, the dance is known as Garbi. Traditionally, the Garba was performed only at night and as a votive offering. In an evolved version, the dance can be performed for its own sake and at any time.

Dandiya

This dance is a counterpart of the Garba. The dancers use sticks at the end of which tiny bells are tied. The movement is manipulated in circles and sticks beaten in standing, sitting or lying down postures. The dance develops in a manner that each person not only performs a solo with his/her own sticks, but also has complex multiple relationships with partners on either or opposite sides.

Kala

This dance is performed in Maharashtra on the birthday of Lord Krishna and is connected with the breaking of a dahi handi (pot of curd). The dance recreates one of the Lilas (stories) of the early life of Lord Krishna. A pot is tied to a rope and hung between two storeys of houses. The dancers then form a pyramidal structure and with arms stretched and holding each other's shoulders, tier upon tier is formed, until the boy who plays the part of Krishna can reach the handi. He then breaks the pot and lets the buttermilk and the kala (rice mixed with curd and condiments flow out).

Dindi

In the state of Maharashtra, religious devotional dances are called Dindi. The musicians for this dance comprise a 'Mridangam' player and a vocalist who give the dancers the necessary musical background. This dance is usually performed on the Ekadashi day in the month of Kartik.

Mando

Mando is a semi urban folk form, evolved by the Goan aristocracy. It begins on a slow and sad note but ends with a faster beat called Dulpod. Latter day compositions cover a variety of themes and moods distinct from the traditional compositions. Some of the other folk dances of Goa are, Ghode Modni (dances with effigies of horses), Dekhni, Dhangar, Tonyamel, Suvari and Jagar.

SOUTH

Dollu Kunitha

The Dollu Kunitha is a popular drum dance of Karnataka. Men carry large drums that are decorated with coloured cloth slung from their necks. 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 praise victory.

Dandaria

This dance is performed by some tribes of Andhra Pradesh during festivals. The dancers, dressed in their best, exchange visits with other villages and are received as honoured guests wherever they go. The old and young men of the tribes dance together, holding sticks, which they strike against one another to keep time.

Karagam

It is the most common form of folk dance in Tamil Nadu, dedicated to Mariamman, the Goddess of health and rain. The Karagam dance is essentially performed by men balancing pots filled with uncooked rice, surrounded by a tall conical bamboo frame covered with flowers. The musical accompaniment comprises a drum and a long pipe.

Kummi

The womenfolk of Tamil Nadu have three closely related dances, which 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. An extension to this dance is the Kolattam, where instead of clapping, the participants hold small wooden sticks in their hands and strike them in rhythm as they dance.

Kuttiyattam

Kuttiyattam, a dance from Kerala literally means 'acting together' and the theme for this dance form is taken from mythology. Evolved in the 9th century A.D., Kuttiyattam has two or more characters on stage. The Chakkiars play the male cast and the Nangiars play the female roles while also reciting Sanskrit verses. The performance can last between 6 to 20 days.

Padavani

Padayani is one of the most colourful and spectacular folk arts associated with the festivals of some temples in southern Kerala (Aleppy, Quilon, Pathanamthitta and Kottayam districts). The word Padayani literally means military formations, but in this folk art it is mainly a series of divine and semi-divine impersonations wearing huge masks of different shapes, colours and designs. The most important of the kolams usually presented in a Padayani performance are Bhairavi (Kali), Kalan (God of death), Yakshi (fairy) and Pakshi (bird).

Kolam

The Kolam consists of a huge headgear with many projections with a mask for the face and a chest piece to cover the breast and abdomen of the performer. The dancers wearing kolams perform, as singers recite poems accompanied by the wild and loud rhythm of the instrumentalists.

Lava

This is the colourful dance of the Minicoy Island of Lakshadweep. The dancers wear multi-hued costumes, a headgear and carry special drums. The dance movements are prolific and profuse, and are in rhythm with the drum beats and vocal accompaniment

Nicobarese

This is the dance of the Nicobarese - a fascinating tribal group residing in the island of 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 moonlight under swaying palms. Feasting and good food followed by a pig fight in the morning are highlights of the celebration.