Folk dances of Rajasthan

The people of Rajasthan live life to the hilt. After hard work in the harsh desert sun and rocky terrain whenever they take time off they let themselves go in gay abandon.

There is dancing, singing, drama, devotional music and puppet shows and other community festivities, which transform the hardworking Rajasthani in-to fun loving and carefree individual. Each region has it’s own folk entertainment, the dance style differ as do the songs. Interestingly enough, even the musical instruments are different.

Of considerable significance are the devotional songs and the communities who render these songs. Professional performers like the Bhaats, Dholies, Mirasis, Nats, Bhopas, and Bhands are omnipresent across the state. The villagers who participate actively in the shows put up by these traveling entertainers patronize them.

The dancing tradition of Rajasthan includes its unique entertainer tribes-----The Bhaats, Dholies, Mirasis, Nats, Bhopas, Bhands Bhils, Minas, Dhobi, , Nayak, Mali, Banjara, Kanjar to name only few are retainers of tradition that has no parallel in the world. Some performers from these communities are well initiated into the nuances of classical music, though their idiom remains folk in nature. Their education in music and dance begins early in life, and the art is passed through naturally from father to son or daughter. These entertainer communities have survived on a social system of patronage provided by land-owning agriculturists , business families and royal clan.

Although almost all communities perform dance on festive occasions all over the countryside of Rajasthan, for the tribal communities Bhils, Minas, Dhobi, Sansi, Nayak, Mali, Mirasi, and Bhopa, it is a part of their life, the main source of their pleasure and amusement. They perform several dance forms called the Ghoomar, Gair, Dandia, Geender, Charee, Teratali, Kachhighodi, Raasmandal etc. Some of the batters known forms are: -

Ghoomar
performed during the Gangaur festival, Ghoomar is an exclusive dance of the women folk in which they whirl and move in a circle to the accompaniment of kettledrum. Moving round some times anti clock wise and some times clockwise, also gyrating at times individually, they unite hands, and with measured steps and various graceful inclinations of body, beating palms or snapping fingers at particular cadences, sing some lilting song. With the rising tempo of the drum and the accompanying music towards the climax participants separate themselves into pairs and swirl swiftly about their axis, their swaying colourful garments adding much to the great spectacle.

Gair Dance
Pali district :- Gair is the main dance of this district.
Sirohi District :- Gair dance is the main dance of this district.
The Gair is performed exclusively by men. Clad in following apparel, they form a circle , alternate members facing outside, holding ornamental sticks with tiny bells attached to them in both hands. The dance starts with the beating of the drum when the performers begin moving anti-clockwise; in the first step striking their own sticks, and in the third striking with those to their left. Half a swirl is then taken by each performer, the original alternate members thus changing direction to face inside, and the dance proceeds in this sequence. Depending upon the ability of the performers, the dance is executed sometimes with the formation of many a complicated but interesting patterns involving wrapping or looping.

Geender
Shekhawati region
Men of Shekhawati region perform the Geender. The participant’s dance in a circle while the drummers beat the kettledrums from raised podium. As the performers move, the pairing changes to make various patterns giving delightful effects.

Raasmandal

Performing communities:-
Ahir
Meena
Gujar

Raasmandal is the peculiarity of the folks inhabiting the region bordering Uttarpradesh. Loard Krishna spent his early years in Brindaban near here he playe dhis celestial flute entrancingly and danced the mystic Raasmandal in the compny of milkmaids, each playing a musical instrument. This dance is noted in circular formation, pairing and the use of tiny sticks held in both hands which the performers strike against each other or against the sticks of those on each side as they move forward in circle. The movements are full of inspired grace, as the dancers believe they are impersonating Krishna and his fair companions. Their songs comprising the dialogues between Radha and Krishna are compositions of poet Jaideo and are replete with harmony. Mass marathon dancing session of Raasmaldal are held in Karauli region around Holi when hundreds of participants belonging mainly to Ahir, Mina, and Gujar communities dance and present a grand ad unforgettable night-long spectacle.

Terah tali

Performing communitiy: -
Kamad

Not a dance in a strict sense, as the performance does not involve any movement of feet rhythm, but a devotional tribute involving a exercise mainly of the hands and the parts of the body between the ribs and the hips, terh tali is an important link with cultural heritage. Restricted now to the women of Kamad community. Performer sit in front of the heroon housing the image of the legendry Ramdeo ji along with the accompanists playing on Chutara and Khartaal, singing songs in adoration of the saints. The magnificence of this grandiose spectacle lies in the simultaneity of the swift and elegant rocking motion of the performer –leaning , inclining and swaying back and forth of the torso, while striking tinkling cymbals with great precision, as if in a hypnotic trance.

Jasnathi Agni
Perfrming community
Sadhu
A devotional dance of Bikaner region , producing a mixed feeling of awe and reverence, is the Jasnathi Agni, called so as it is restricted to the religious order of the saint Jaisnath. A pit about seven by four feet containing several layers of burning charcoal is prepared. A group of male performers, inspired to a condition of great mental concentration by the religious fervour of the spiritual music, swiftly enters it, and dancing plays with the blazing charcoal, taking a fistful for crushing and munching.

Chung

Performing community
Bhil
Dholi
The chung is an extremely popular number with the menfolk during Holi. After carousing they sing riotous songs full of rhythmic audacities to the accompaniment of Chang. The merry bacchanals first form a ring and moving towards the center they form a smaller ring to revert to the original position, and caprioling swivel around on their heels. Twisting and turning their bodies in serpentine movement in response to the swinging , lilting sounds of the Chang, they sit on half bent knees and mirthfully convey erotic expressions through suggestive movements to highlight the impudicity contained in the accompanying songs. The sense of humour at times goes earthy and sprinkled with bawdy abuses, but all the time they keep perfect harmony with dynamic beats of the instruments.

Kachhaighodi
Performing communities :-
Sargade
Kumhar
Dholi
Bhambhi
The folks also enjoy a dance, largely associated with marriage festivities called Kacchighodi. Performed mainly by the men folk of the Bavaria, Kumhar and sargara communities, it has its roots in the martial traditions of Rajasthan. Four to five persons in the attire of a bridegroom are presented as if riding horses. The body of the toy horse is made up two bamboo sticks and two baskets covered with trappings and tastefully decorated wooden head, while a little jute fiber makes its tail. The radiant riders in following colourful garments move on the stage majestically from one end to the other, enact a battle scene elegantly brandishing their swords in the air; and make the toy horse seem sometimes rearing and prancing to the accompaniment of the Dhol, Jhalar, Bankia, or to the songs by the women. The dance concludes with some vigorous movements synchronal with the gallopadic tunes of musical aids.

Charee
Performing communities
Mali
Sarwar
Dhobi
Certain ethnic groups are specially noted for the delightful dances performed by their women folk. One such dance is Charee, after the name for brass vessel. Women of the Mali community in the Sarwar region, perform this dance as a gesture of welcome to an honoured guest, specially the bridegroom and his party on their arrival the bride’s house. They adorn themselves with the best ornaments and colourful attire. Heavily veiled, they present themselves with brass vessels filled with flaming cottonseeds on their heads and dance in gay abandon, squatting, reclining and caprioling elegantly to the flow of rhythm provided by the Dholak and Bankia till the flames dies out.
The women folk belonging to the Dhobi community are also known for their exquisite dancing. On all happy events and festivities after a bit of carousing, they dance in circular formations to the accompaniment of Dholak.

Dances of Banjara, Nat and Santhyas
Dances performed by the nomadic Banjara, Nat and Santhiya womenfolk are no less then spectacular. Outside their campus in the open grounds, late in the evenings, they light bonfires around which the menfolk squat in a bacchanalia to carouse together. The womenfolk singing episodic hilarious song, based on interesting occurrences in their lives, which may sometimes be scandalous, slanders and even bawdy, enters this ring with small measured steps. Moving gracefully as if gliding, they dance with little of hand and torso movement but a profusion of later hip activity, punctuated with pirouettes to the accompaniment of the Dholak, Thali or Jhalar, played by men, creating an exotic atmosphere in the soiree lasting till the small-hours of the morning.

Kalbelia
Performing community
Kalbelia community
Dances performed by womenfolk of the Kalbelia community are indeed breath-taking. They closely seem to simulate the appearance, manner and mood of a snake at the time when the snake-charmer plays on his Poongi to charm and hipnitize it by his music. Warped in a black striped Odhani, which gives them a reptilian semblance, with the Khanjari and Poongi as musical aids to the performance, they make all the swift serpentine movements of the body.
Of the sundry dance forms all over the countryside, those performed with swords, shields, bows and arrows are also very interesting. Reminiscent of the glorious martial history of Rajasthan, the accompanists on such occasions- Sansi and Nagara players, effectively combine with the dancers performing with great virility and enthusiasm to create a warlike atmosphere.

Madal
Performing communities
Bhil
Girasis
Frolicsome tribal communities of the Bhils and Girasias are very fond of dancing, indeed it is a part of their life and they have quite a variety of dances. In walar and Maadal numbers both men and women participate, while Lubar and Kood are exclusively done by the women.

Walar
Performing community :-
Girasia of Mount Abu
Bhil
Kumhar
Meena
Mali
This dance is performed by tribal called ‘Ghirasia’, of Mount Abu, Holi is the main festival of Girasis. In walar, the men and women form two separate concentric circles , the outer being of men who hold a sword or a stick in their right hands. Each participants rests the left arm on the shoulder of the next person. The drummer, standing in the center then starts playing on his Dhol. The steps are taken sprightly in perfect rhythm with the beats of the Drum. Exchange of wits is amusing, often thought of on the spur of the moment exhibiting much wit and sense of humour.

Lubar
The Lubar dance is performed exclusively by the womenfolk mainly on the occasion of marriage. Two parties are formed which stands facing each other in a line some distance apart. When the drummer starts the beat, participants move forward in line coming close to each other and then retrace their steps to the original position all the time singing joyously.

• Gavri
• Performing community
• Bhil

A Bhil dance associated with the eternal couple Mahadeo and Parvati, called the Gavri is performed by males in the month of Asoja. One of the performers representing Mahadeo, is called Budia, while the rest, dressed as females, call themselves Rai representing Parvati. At the center of the site of performance a large trident Trishul is pitched in the soil around which lamps are lighted, incense burned and a Puja performed before starting the dance to accompaniment of the drums. The dancers whirl on their toes at regular intervals. Gestures depicting certain anecdotes about Mahadeo and Parvati are made by the participants with their hand and body movements.

The customary dances of Meenas, Bhils and Girasias at the time of the bride’s farewell are the most vigorous, spontaneous and spectacular. Men and women of both parties, attired in their choicest clothes, form a ring around a drummer, half the circle composed of men and the other half of women. Sometimes they make two concentric rings, inner of the women and outer of the men. When the drummer starts with a slow rhythm on Maadal or Dhol, me and women being moving anti-clock wise. The ring widens and narrows concentrically at regular intervals, as if symbolizing the quaint vicissitudes of life, with the simple but extremely rhythmic waving of arms and clapping of hands in perfect harmony with the cadence of the sounds produced by the drummer in a state of gay abandon and sheer ecstasy of great delight.
The Phad

The phad or scroll, which is about 10 meters long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopas he plays the Rawan-Hatta and he joined by his wife- Bhopi, who holds a lamp and illuminates the relevant portions at appropriate points.

The professional reciters are called Bhopas. Those who recite the “Bagdawat” belong mostly to the “Kumhar” and “Gujar” Communities, the ballad of Ramdevji is recited by the kamads and the ballads of Pabuji, Gogaji and Dungji Jawarji by the Thoris and Nayaks. While the traditional reciters of the romantic ballads are the Jogis, also called as Nathji, the followers of Guru Gorkhanath, the Langas recite the love ballads in great style and great effect, rendering them with moving expressions of intense felling.
Performing community :-

• Bhopa
• Kumhar
• Gujar
• Nayaks.
• Chang

The chung is an extremely popular number with the men folk during Holi. After carousing they sing riotous songs full of thythmic audacities to the accompaniment of chang.
The villages of Rajasthan, as in other parts of India, The people base their festive calendar on the movement of the moon.

The narrow but the straight paths of their tradition are currently much exposed to strong winds of change; many appear to be dissolving, hope-fully new and better will rise on the ruins of the decadents.

The folks have to be approached with understanding, genuine respect and affection for their age-old primitive practices and the greatest treasure---- the peaceful and contented life. let them only help the village elders revive creativity in those who have lost their arts. Stimulate their joy and zest in living and restore self-respect and pride in culture among those who are infected by a feeling of inferiority; and above all, give them a sense and vision to contribute their best to country.

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