Classical
classical dance is a relatively new umbrella term for various codified art forms
rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be
traced back to the Natya Shastra of Bharata Muni (400 BC).
Among them one of the form is Goudiya Mirtya which is by an large the source of
other Eastern Indian Classical Dance form
Gaudiya
Nritya
Gaudiya Nritya is a
classical Bengali school
of Indian classicaldance Originating
in Gaur, West Bengal, the ancient capital of the
region, it is an all-pervasive form which eventually gave rise to
present-day Odissi, Manipuri and Kuchipudi and
contributed to the development of many classical dance forms.
The classic text on
Indian dramaturgy,
the Natyashastra of Bharata,
mentions the names of no classical dance form recognized today, but in its
fourteenth chapter are the four Pravrittis: Dakshinatya, Audramagadhi,
Avanti, and Punchali.
During British colonial rule,
all these traditional forms declined. It was only around the middle of the 20th
century that attention came to be drawn to these dance forms, and they were
then gradually revived and re-established on the foundation of their
traditional heritage.
The visual grandeur,
which could not be captured in words, was immortalized by sculptures in metal,
stone, wood and clay. The unabashed beauty of this glorious dance tradition is
conveyed through several sculptural representations found in many of the
temples and preserved in the museums of Bengal. However, the temple sculptures
and literature have remained a mute, yet irrefutable proof of dance in this
part of India, though clay and mud do not stand a test of time usually.
Gaudiya Nritya (or
Gauriya Nritya) is one of the classical dances of India. It originated in
the Western Indian state of Bengal. The word “Gaudiya” itself means old
Bengal. The dance form can trace its roots back to the Natyashatra, in which
four Pravrittis are mentioned: Dakshinatya, Audramagadhi, Avanti, and
Punchali. The ancient traditions declined in the centuries leading up to
the British Raj in India.
Gaudiya Nritya is a
Bengali school of Indian classical dance. Originating in Gaur, West Bengal, the
ancient capital of the region, it is an all-pervasive form which eventually
gave rise to present-day Odissi, Manipuri and Kuchipudi and contributed to the
development of many classical dance forms.
During the time of the Pala dynasty we could know from Ramcharita Kavya about
the devadasi dancers of Gauda Banga. Padmavati, the wife of poet Jayadeva,
(12th century A.D.) is also said to have been a classical dancer.
The visual grandeur, which could not be captured in words, was immortalized by
sculptures in metal, stone, wood and clay. The unabashed beauty of this
glorious dance tradition is conveyed through several sculptural representations
found in many of the temples and preserved in the museums of Bengal. However,
the temple sculptures and literature have remained a mute, yet irrefutable
proof of dance in this part of India, though clay and mud do not stand a test
of time usually.
From above substances this dance form has been revived by Prof. Mahua
Mukherjee, Head, and Department of dance Rabindra Bharati University. One can
study centre of this dance form under Rabindra Bharati University.
Semi Classical Dances
Rabindra
Nritya
Tagore encouraged the addition of movements from the numerous folk dances of
India where the music was appropriate. While lacking the precision and
sophistication of the classical styles, folk dance styles can bring elements of
liveliness and communal joy to dance that the classical styles cannot provide.
And thus, the new concept of a 'fusion dance' combining the different Indian
dance styles was born.
This concept of Indian fusion dance was taken up and carried forward by other
maestros of dance such as the Uday Shankar, Manjushree Chaki-Sircar, Shanti
Bose, and one of its most recent proponents, Sukalyan Bhattacharya. In keeping
with the philosophy based on which the style was initiated, its major
proponents have continued to experiment with it, pushing boundaries not only in
terms of mixing the different dance-styles, but also in terms of costuming,
music and themes.
The
culture of West Bengal is renowned, worldwide, for its richness and variety.
The cuisines, music, costumes, language and wonderful dances of the state are
important constituents of its rich and varied culture. The folk dance forms of
West Bengal are known for their beauty and fervor. The dance encyclopedia of
this rich culture includes a wide variety within itself. Each region of the
state has something different to exhibit. Altogether, it forms a wonderful
combination of varied dance forms. Here, we will provide you information on the
six most popular dance forms of West Bengal.
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.
Gambhira songs are
assumed to have originated from the worship of the god Shiva. God Shiva is also
known as `Gambhir` so the dance is termed according to that. In ancient times,
Gambhira used to be celebrated as Puja, a form of worship only. But in the
medieval period, most Hindu communities started celebrating the Puja of `Dharma
thakur` (a popular god of the Hindus) on the last three days of the Bengali
year. This came to be known as the `gajan of Shiva` later on. In the past,
Shiva was imagined to be present at the time of actual performance.
Scholars believe that
Gambhira was of two kinds: the primary Gambhira and the narrative Gambhira. The
primary Gambhira would throws light on gods and goddesses and describes human
joys and sorrows. And sometimes, important events of the year also. In the
narrative Gambhira, every character would represent a social problem through
their acting.
At present, the main
characters in the Gambhira are a maternal grandfather and his grandson. The
performance is usually structured as a dialogue between them, interspersed with
songs for fluent flow. Both prose and verse kinds of dialogues are used. The Gambhira
reflects contemporary social problems through witty dialogues, songs, dances
and jokes. Sometimes it also reflects a generation contradiction in opinions
& choices.
The costumes for this
performance are very simple. Both of performers wear lungi. The gray-bearded
grandfather wears a mathal i.e.straw hat on his head and holds a stick in his
hand. Whereas, the grandson wears a torn jersey and has a gamchha, a local
checked towel that is tied round his waist.
It takes place during
Chadak festival in the month of March-April. The big drum Dhak is primarily
used as the principal accompanying instrument and the song, sung in eulogy of
Lord Shiva, produces an effect of heavenly atmosphere. Tunes are loud and coarse
having no variations gives an added glory to its form.
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 forMahadeva.
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.
Female performers who
sing and dance professionally in rural areas, accompanied by male ḍhulkī and
nagarā drummers.
Alkap is a rural
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 Festival
of Shiva around
the middle 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 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 areHarmonium, 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.
Brita Dance
The land of West Bengal
is famous for its festive culture and adorable art. Music and beats run in the
veins of Bengali people. There are several kinds of folk music and dances
prevalent in various parts of the state. Amongst the chosen few, the Brita Dance,
also known as Vrita Dance, is considered to be very special.
West Bengal is the state
that has given us many of our renowned poets, thinkers, artists & has a
rich tradition of folk art performance. Brita dance or Vrita dance is one of
the most important traditional folk dances of Bengal. Quite often, this dance
is performed after a recovery from a contagious disease like small pox, etc.
So, the basic purpose of this dance is of thanks giving.
Only, women members can
participate in this dance. The belief is that the children are god`s gift. As
one receives His blessings through birth of Child, one must bowed to him.
Chhau Dance
Chhau Dance is one of
the most renowned tribal martial dances of India. The dance is known as
Seraikella Chau in Jharkhand, Mayurbhanj Chau in Orissa and Purulia Chhau in
West Bengal. Since the dance is supposed to have originated in the Purulia
district of Bengal, it is known as such in the state. Purulia Chhau dance
differs quite a lot from its counterparts.
The subgenre of Chhau performed in Purulia district and Jhargram subdivision of
Paschim Medinipur District in West Bengal state, is referred to as the Purulia
Chhau. It has a distinctive character of its own. It has received international
acclaim and scaled rare heights of beauty and perfection. Essentially a
festival dance, Chhau was originally performed on the occasion of the Sun
Festival towards the end of the month of Chaitra (March–April). The situation
has changed with time, as Chhau is now performed during some other festivals
and at other times of year as well.
The Chhau dance is epical in content, and is based on various episodes of the
Ramayana and the Mahabharata. Sometimes certain episodes of the Puranas are
also used. The dominant rasas are Vira and Rudra. In the end, generally, forces
of evil are vanquished and the righteous triumphs. In the villages, no dais or
raised platform is used; the dance takes place on the ground around which, the
spectators sit in a circle. When performing outside their villages the dancers
often use the stage. The dance, opens with the beating of drums followed by an
invocation to Ganesha. by a singer. As soon as the singer finishes the song,
host of drummers and musicians step in creates an in inexplicably wonderful environ
prior to the dance. Ganesha appears followed in quick succession by other
characters —gods, demons, animals and birds
The Chhau dance of West Bengal is originated from Purulia district. It is
included in the sophisticated dance performances of Bengal. The Chhau dance is
a mask dance in which only male dancers can participate. In the performance of
the Chhau, some of the characteristics of primitive ritualistic dance
performance are noted. This can be also seen through its vigour, style and
musical accompaniment mainly with the drum.
In the early period, various shaped symbols were used as facial painting or
body painting by dancers. Thus, they are recognized as personifying the
characters they are playing in the performance. And later on, the masks
appeared in the dance performances. It is said that, the best Chhau dancers are
from Baghmundi P.S. Many groups or parties are located from here for the best
performance because of their traditional vigorous and heroic style of
performance.
Many other groups like Domordi-group, Birgram-group, Madla-group etc. are also
famous for the performance but they are more sophisticated and refined in terms
of the themes and dancing styles. The Chorda-group is popular for the best
performance is based on the heroic Pauranic themes. Chhau mask dance is
predominantly a Bhumij art.
Basically, it is a festival dance, performed on the occasion of the sun
festival observed towards the end of the month of Chaitra as per Bengali
Calendar. The festival is celebrated for about one-and-a-half months till
before the starting of sowing season. This indicates its linkage with the
social and economic life of the Bengal farmer & common man. With passing of
time, the situation has changed drastically. Chhau is not only performed on
this sun festival but also during many other festivals at other times of
year.
The artistes from rural areas like Midnapur and Purulia districts have kept
alive this traditional dance against every heavy odd. So, the dance has its own
identity, making it distinctively different from the Chhau dances that are
performed in parts of Serai KelIa of Bizarre and Mayurbnanj of Orissa.
The costumes of the Chhau performers used at the time of its early year
performance, over two hundred years ago are not known. But the costumes used in
modern period are of various colours and designs. It mainly comprises of
pyjamas in deep green or yellow or red shade that is worn by the artistes
playing the role of gods, while those, who play the role of demons (asuras)
have on loose trousers of a deep black shade. Sometimes, stripes of contrasting
colours are used to make the costumes more attractive & different. The
costumes for the upper part of the body are full of various designs. A
character of Goddess Kali is considered as a popular character in Chhau dance.
The costumes for the Kali are made up of cloth of unrelieved black. To express
the separate & distinct identity, the characters of animals and birds use
suitable type of masks and costumes.
The masks generally used for Chhau of West Bengal are made in a village called
Charida in Baghmundi area of Purulia district. These masks are made up from the
clay and paper. The groups of people, who make masks, have been engaged in this
business from generations. Generally, these artisans are familiar with the
details about the Indian epics so that they bear an ability to produce the high
artistic skill.
The Chhau dance is mythological, as it is mainly based on various episodes of
the epics Ramayana and Mahabharata. Sometimes certain episodes of the Puranas
are also used. Two rasas are dominant in the performance are Vira and Rudra. At
the end, forces of evil are punished and the righteous triumphs.
No proper dais or raised platform is constructed for its performance. Usually, the
dance takes place on the ground where, the spectators can sit in a circle
around it. The Chhau dance shows usually start in the night and continues till
after daybreak.
The use of the drum is an important part of Chhau performance. With the beating
of drums an invocation to God Ganesha is given and the dance begins. As the
singer complete the invocation song, host of drummers and musicians starts
beating with the Dhol and the Dhamsa. Dhamsa is a two-faced percussion
instrument and gigantic kettledrum played with sticks and fingers respectively.
These two traditional musical instruments are used by the rural population in
various parts of the country for providing music.
As it is compulsory for all the characters in the Chhau dance to wear masks, it
is impossible for the artistes to show variations in mood through facial
expressions. Therefore, various body movements, including movements of the
peaks of the masks are used to illustrate different moods. The mask movements
show anger, while shoulder and chest movements indicate joy, melancholy and
courage etc. Jumping in the air is another movement, which serves as a gesture
of attack during the enactment of a war scene. This kind of jumping known as
ulfa is a high hallmark of acrobatic skill and physical prowess of the
performers of the dance.
Chhau is considered as the most popular Indian folk dance and said to have
originated from some primitive war-hoops. Many experts & scholars feel
Chhau had its roots in sympathetic magic, as tribal people performed it in an
effort to appease and influence the Sun God.
Though about its origin there exist confusion, it forms an important part of
the rich legacy of the folk culture of West Bengal and still it has gained
international popularity. The Purulia-school has got a huge popularity today
not only because of its gorgeous masks and dresses, but also for its touching
themes and dignified gaits as well. Many artistes coming from the rural working
class traditionally regard this dance as a part of their rituals. Several teams
of Purulia Chhau dancers have performed not only in different parts of India
and but also in abroad.
Santhal Dance/ Santhali Tribal Dance
Santhal is one of the
most abundantly found tribes in India. A major chunk of this tribe can be found
in West Bengal and Jharkhand. Santhal tribe has a rich cultural lineage and
immense solidarity. Its members are basically the devotees of 'Thakurji', the deity
they believe created this world. They move to the beats of music, to celebrate
the glory of nature, raise a message and offer prayers.
Santhal is a very
popular folk dance performed in the districts of Bankura and Birbhum. It is a
group dance performed by Santhal tribes originally from Jharkhand. This dance
is performed by the Santhal tribes during all special festivals and occasions.
It not only reveals the culture or traditions of the local tribes but also
showcases the strength of unity.
The main attraction of the Santhal dance are the colorful costumes worn by the
tribal people. The typical garments worn by men during the Santhal are dhoti
and a turban but the main attraction is their body decoration with various
species of flora. Since the Santhals are believed to be close to nature, they
use natural things such as leaves, branches and flowers to do their make-up and
design their clothes.
Tusu Dance
West Bengal is a land of
rich culture and lots of festivity. Almost every region in the state has a
specific folk dance and music attached to it. These folk traditions are
basically related to some specific season of festival. The Tusu Dance of
Birbhum district is one of them. It is basically performed in the month of
Pausa, during the Gregorian months of December and January.
`Makara Sankranti` is an
important festival in all parts of Bengal that comes in the month of January.
`Makara Sankranti` is celebrated in vigor. The Tusu Parab is held in Birbhum on
this occasion. In its performance groups of young girls gather every evening
throughout the month of Pousa (December-January) and sings songs. These songs
are termed by the generic term Tusu.
On the day of Makara
Sankranti, the groups gather at one place & go to the village to a nearby
tank or river with the goddess Tusu symbolized in small clay figurines or sometimes
merely as cow-dung balls. After taking a sacred bath, all return to their
worship. And make offerings of rice to the deity as a token of respect &
love. Different groups meet, sing songs near the riverbank or the pond and
compete with each other. This creates an environment of happiness. Simple group
movements accompany the songs but there is no other accompaniment for it.
The men also have their
particular songs and dances for the occasion. These are known as the Bhaduriya
Saila. The dance is performed in a traditional way. The performance of the
dance is more predominant in nature. For example men dance in circles
clock-wise and anti-clockwise direction.
In some parts, it is
performed by & for the unmarried girls. For them, Tusu is very excellent
with graceful movements and elegance that may fulfil their desire of
performance. There is no history behind this festival but there are some ritual
customs that are primarily responsible for its performance. It has its
tremendous store of songs, which are also full of life and taste.
The stories and the
experiences of livelihood are reflected through these songs. These songs gives
spirits for living. Songs are deeply related with nature that one can feel its
simple impression in the innocent people of this land.
Lathi Dance
Dance is a unique art of
expression. Be it celebration, remorse, anger, love or pain, dance moves can
clearly define every expression. Talking about the Lathi dance of West Bengal,
performed on Muharram, it confines within itself the feeling of remorse and
anger, associated with this Muslim festival. During the first ten days of
Muharram, the Lathi players display their art at several places.
Jhumur
Dance
Nepali
Folk Dance
The Nepalese in
Darjeeling are rich in folk culture. The hills and dales are the treasure house
of songs and dances of the hill folk. There is not a moment in their lives,
possessed as they are of a lyrical mind and heart that does not turn into
singing and dancing.
The panorama of the Majestic Himalayan mountains, its lush green hills and
forests seem to have played a significant role in influencing the religion and
culture including the folk songs and dances of the Nepalese people, inhabiting
in and around the Himalayan regions with its serene, romantic and poetic shades
of different hues. Even the two major religions. viz., Hinduism and Buddhism
seem to have influenced the Nepali culture full of its rich folk songs and
dances, co-existing side by side.
The earlier cave paintings, religious rites and temple songs and dances have
also played another significant role in influencing Nepalese Folks songs and
dances. The earlier form of dances and folk songs attributed to the Gods and
goddesses of both the Hindu and Buddhist pantheon, are also inspirational in
creating Nepalese folk songs and dances, impressions of religious dances
performed either to appease Gods and goddesses or ward-off the evil spirits can
also be seen distinctly in performing arts of the Nepalese people.
The following are some of the most popular and worth mentioning forms of Nepali
folk dances.
1. Maruni Nach. 2. Dhan Naach. 3. Jhankri Naach. 4. Jatra Naach. 5. Damphu Naach.
6. Khukuri Naach. 7. Deora Naach. 8. Panchay Naach. 9. Dhimay Naach. 10.
Sanginy Naach. 11. Balan Naach. 12. Jhyauray Naach. 13. Paschimay Chutki. 14.
Rodhighar Naach. 15. Baton Naach. 16. Jhumara Naach. 17. Sakhia Naach.
Among them one of the form is Goudiya Mirtya which is by an large the source of other Eastern Indian Classical Dance form
During the time of the Pala dynasty we could know from Ramcharita Kavya about the devadasi dancers of Gauda Banga. Padmavati, the wife of poet Jayadeva, (12th century A.D.) is also said to have been a classical dancer.
The visual grandeur, which could not be captured in words, was immortalized by sculptures in metal, stone, wood and clay. The unabashed beauty of this glorious dance tradition is conveyed through several sculptural representations found in many of the temples and preserved in the museums of Bengal. However, the temple sculptures and literature have remained a mute, yet irrefutable proof of dance in this part of India, though clay and mud do not stand a test of time usually.
From above substances this dance form has been revived by Prof. Mahua Mukherjee, Head, and Department of dance Rabindra Bharati University. One can study centre of this dance form under Rabindra Bharati University.
Semi Classical Dances
Tagore encouraged the addition of movements from the numerous folk dances of India where the music was appropriate. While lacking the precision and sophistication of the classical styles, folk dance styles can bring elements of liveliness and communal joy to dance that the classical styles cannot provide. And thus, the new concept of a 'fusion dance' combining the different Indian dance styles was born.
This concept of Indian fusion dance was taken up and carried forward by other maestros of dance such as the Uday Shankar, Manjushree Chaki-Sircar, Shanti Bose, and one of its most recent proponents, Sukalyan Bhattacharya. In keeping with the philosophy based on which the style was initiated, its major proponents have continued to experiment with it, pushing boundaries not only in terms of mixing the different dance-styles, but also in terms of costuming, music and themes.
Folk Dances
Brita Dance
The land of West Bengal is famous for its festive culture and adorable art. Music and beats run in the veins of Bengali people. There are several kinds of folk music and dances prevalent in various parts of the state. Amongst the chosen few, the Brita Dance, also known as Vrita Dance, is considered to be very special.
Chhau Dance is one of the most renowned tribal martial dances of India. The dance is known as Seraikella Chau in Jharkhand, Mayurbhanj Chau in Orissa and Purulia Chhau in West Bengal. Since the dance is supposed to have originated in the Purulia district of Bengal, it is known as such in the state. Purulia Chhau dance differs quite a lot from its counterparts.
The subgenre of Chhau performed in Purulia district and Jhargram subdivision of Paschim Medinipur District in West Bengal state, is referred to as the Purulia Chhau. It has a distinctive character of its own. It has received international acclaim and scaled rare heights of beauty and perfection. Essentially a festival dance, Chhau was originally performed on the occasion of the Sun Festival towards the end of the month of Chaitra (March–April). The situation has changed with time, as Chhau is now performed during some other festivals and at other times of year as well.
The Chhau dance is epical in content, and is based on various episodes of the Ramayana and the Mahabharata. Sometimes certain episodes of the Puranas are also used. The dominant rasas are Vira and Rudra. In the end, generally, forces of evil are vanquished and the righteous triumphs. In the villages, no dais or raised platform is used; the dance takes place on the ground around which, the spectators sit in a circle. When performing outside their villages the dancers often use the stage. The dance, opens with the beating of drums followed by an invocation to Ganesha. by a singer. As soon as the singer finishes the song, host of drummers and musicians step in creates an in inexplicably wonderful environ prior to the dance. Ganesha appears followed in quick succession by other characters —gods, demons, animals and birds
The Chhau dance of West Bengal is originated from Purulia district. It is included in the sophisticated dance performances of Bengal. The Chhau dance is a mask dance in which only male dancers can participate. In the performance of the Chhau, some of the characteristics of primitive ritualistic dance performance are noted. This can be also seen through its vigour, style and musical accompaniment mainly with the drum.
In the early period, various shaped symbols were used as facial painting or body painting by dancers. Thus, they are recognized as personifying the characters they are playing in the performance. And later on, the masks appeared in the dance performances. It is said that, the best Chhau dancers are from Baghmundi P.S. Many groups or parties are located from here for the best performance because of their traditional vigorous and heroic style of performance.
Many other groups like Domordi-group, Birgram-group, Madla-group etc. are also famous for the performance but they are more sophisticated and refined in terms of the themes and dancing styles. The Chorda-group is popular for the best performance is based on the heroic Pauranic themes. Chhau mask dance is predominantly a Bhumij art.
Basically, it is a festival dance, performed on the occasion of the sun festival observed towards the end of the month of Chaitra as per Bengali Calendar. The festival is celebrated for about one-and-a-half months till before the starting of sowing season. This indicates its linkage with the social and economic life of the Bengal farmer & common man. With passing of time, the situation has changed drastically. Chhau is not only performed on this sun festival but also during many other festivals at other times of year.
The artistes from rural areas like Midnapur and Purulia districts have kept alive this traditional dance against every heavy odd. So, the dance has its own identity, making it distinctively different from the Chhau dances that are performed in parts of Serai KelIa of Bizarre and Mayurbnanj of Orissa.
The costumes of the Chhau performers used at the time of its early year performance, over two hundred years ago are not known. But the costumes used in modern period are of various colours and designs. It mainly comprises of pyjamas in deep green or yellow or red shade that is worn by the artistes playing the role of gods, while those, who play the role of demons (asuras) have on loose trousers of a deep black shade. Sometimes, stripes of contrasting colours are used to make the costumes more attractive & different. The costumes for the upper part of the body are full of various designs. A character of Goddess Kali is considered as a popular character in Chhau dance. The costumes for the Kali are made up of cloth of unrelieved black. To express the separate & distinct identity, the characters of animals and birds use suitable type of masks and costumes.
The masks generally used for Chhau of West Bengal are made in a village called Charida in Baghmundi area of Purulia district. These masks are made up from the clay and paper. The groups of people, who make masks, have been engaged in this business from generations. Generally, these artisans are familiar with the details about the Indian epics so that they bear an ability to produce the high artistic skill.
The Chhau dance is mythological, as it is mainly based on various episodes of the epics Ramayana and Mahabharata. Sometimes certain episodes of the Puranas are also used. Two rasas are dominant in the performance are Vira and Rudra. At the end, forces of evil are punished and the righteous triumphs.
No proper dais or raised platform is constructed for its performance. Usually, the dance takes place on the ground where, the spectators can sit in a circle around it. The Chhau dance shows usually start in the night and continues till after daybreak.
The use of the drum is an important part of Chhau performance. With the beating of drums an invocation to God Ganesha is given and the dance begins. As the singer complete the invocation song, host of drummers and musicians starts beating with the Dhol and the Dhamsa. Dhamsa is a two-faced percussion instrument and gigantic kettledrum played with sticks and fingers respectively. These two traditional musical instruments are used by the rural population in various parts of the country for providing music.
As it is compulsory for all the characters in the Chhau dance to wear masks, it is impossible for the artistes to show variations in mood through facial expressions. Therefore, various body movements, including movements of the peaks of the masks are used to illustrate different moods. The mask movements show anger, while shoulder and chest movements indicate joy, melancholy and courage etc. Jumping in the air is another movement, which serves as a gesture of attack during the enactment of a war scene. This kind of jumping known as ulfa is a high hallmark of acrobatic skill and physical prowess of the performers of the dance.
Chhau is considered as the most popular Indian folk dance and said to have originated from some primitive war-hoops. Many experts & scholars feel Chhau had its roots in sympathetic magic, as tribal people performed it in an effort to appease and influence the Sun God.
Though about its origin there exist confusion, it forms an important part of the rich legacy of the folk culture of West Bengal and still it has gained international popularity. The Purulia-school has got a huge popularity today not only because of its gorgeous masks and dresses, but also for its touching themes and dignified gaits as well. Many artistes coming from the rural working class traditionally regard this dance as a part of their rituals. Several teams of Purulia Chhau dancers have performed not only in different parts of India and but also in abroad.
Santhal Dance/ Santhali Tribal Dance
Santhal is one of the most abundantly found tribes in India. A major chunk of this tribe can be found in West Bengal and Jharkhand. Santhal tribe has a rich cultural lineage and immense solidarity. Its members are basically the devotees of 'Thakurji', the deity they believe created this world. They move to the beats of music, to celebrate the glory of nature, raise a message and offer prayers.
The main attraction of the Santhal dance are the colorful costumes worn by the tribal people. The typical garments worn by men during the Santhal are dhoti and a turban but the main attraction is their body decoration with various species of flora. Since the Santhals are believed to be close to nature, they use natural things such as leaves, branches and flowers to do their make-up and design their clothes.
Tusu Dance
West Bengal is a land of rich culture and lots of festivity. Almost every region in the state has a specific folk dance and music attached to it. These folk traditions are basically related to some specific season of festival. The Tusu Dance of Birbhum district is one of them. It is basically performed in the month of Pausa, during the Gregorian months of December and January.
Lathi Dance
Dance is a unique art of expression. Be it celebration, remorse, anger, love or pain, dance moves can clearly define every expression. Talking about the Lathi dance of West Bengal, performed on Muharram, it confines within itself the feeling of remorse and anger, associated with this Muslim festival. During the first ten days of Muharram, the Lathi players display their art at several places.
The Nepalese in Darjeeling are rich in folk culture. The hills and dales are the treasure house of songs and dances of the hill folk. There is not a moment in their lives, possessed as they are of a lyrical mind and heart that does not turn into singing and dancing.
The panorama of the Majestic Himalayan mountains, its lush green hills and forests seem to have played a significant role in influencing the religion and culture including the folk songs and dances of the Nepalese people, inhabiting in and around the Himalayan regions with its serene, romantic and poetic shades of different hues. Even the two major religions. viz., Hinduism and Buddhism seem to have influenced the Nepali culture full of its rich folk songs and dances, co-existing side by side.
The earlier cave paintings, religious rites and temple songs and dances have also played another significant role in influencing Nepalese Folks songs and dances. The earlier form of dances and folk songs attributed to the Gods and goddesses of both the Hindu and Buddhist pantheon, are also inspirational in creating Nepalese folk songs and dances, impressions of religious dances performed either to appease Gods and goddesses or ward-off the evil spirits can also be seen distinctly in performing arts of the Nepalese people.
The following are some of the most popular and worth mentioning forms of Nepali folk dances.
1. Maruni Nach. 2. Dhan Naach. 3. Jhankri Naach. 4. Jatra Naach. 5. Damphu Naach. 6. Khukuri Naach. 7. Deora Naach. 8. Panchay Naach. 9. Dhimay Naach. 10. Sanginy Naach. 11. Balan Naach. 12. Jhyauray Naach. 13. Paschimay Chutki. 14. Rodhighar Naach. 15. Baton Naach. 16. Jhumara Naach. 17. Sakhia Naach.
No comments:
Post a Comment