Folk and tribal dance forms

Folk dances and plays in India retain significance in rural areas as the expression of the daily work and rituals of village communitie

Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. The Natya Shastra includes group dances of women as a preliminary dance performed in prelude to a dramaIndia has numerous folk dances. Every state has its own folk dance forms like Bedara Vesha, Dollu Kunitha in Karnataka, Thirayattam and Theyyam in Kerala, Garba, Gagari (dance), Ghodakhund & Dandiya in Gujarat, Kalbelia, Ghoomar, Rasiya in Rajasthan, Neyopa, Bacha Nagma in Jammu and Kashmir, Bhangra & Giddha in Punjab, Perini Dance in Telangana, Chholiya dance in Uttarakhand, Bihu and Bagurumba dance in Assam, Sambalpuri Dance in Western Odisha and likewise for each state and smaller regions in it.[105] Lavani, Koli dance is among the most popular dances of Maharashtra. Thirayattam is a Ritual Performing Ethnic Art of Kerala state, This vibrant art form performed in courtyards of sacred groves and village shrines, during Thirayattam Festival. This art form combination of dance, music,drama,instrumental music, Facial and body makeup, martial art and ritualistic functions, composed in a harmonizing manner. Tribal Dances in India are inspired by the tribal folklore. Each ethnic group has its own distinct combination of myths, legends, tales, proverbs, riddles, ballads, folk songs, folk dance, folk music, and folk carvings. The definition of a ethnic group being a contentious, it is better to refer to them as ethnic groups. The dances do not necessarily fall rigidly into the category of “tribal”. However, these forms of dance closely depict their life, social relationships, work and religious affiliations. They represent the rich culture and customs of their native lands through intricate movements of their bodies. A wide variation can be observed in the intensity of these dances. Some involve very slight movement with a more groovy edge to it, while others involve elevated and vigorous involvement of limbs. These dances are composed mostly on locally made instruments. Percussion instruments feature in most of these dances. Music is produced through indigenous instruments. Music too has its own diversity in these tribal dances with the aesthetics ranging from mild and soothing to strong and weighted rhythms. A few of them also have songs, either sung by themselves or by onlookers. The costumes vary from: traditional saris of a particular pattern to skirts and blouses with mirror work for women and corresponding dhotis and upper-wear for men. They celebrate contemporary events, victories and are often performed as a mode of appeasing the tribal deities. A lot of the dance styles depend upon the regional positioning of the ethnic group. Factors as small as east or west of a river result in a change of dance form even though the over-reaching look of it may seem the same. The religious affiliation affects the content of the songs and hence the actions in a dance sequence. Another major factor affecting their content are the festivals, mostly harvest. For example: The ethnic groups from the plain land rabhas from the hilly forested areas of Assam make use of baroyat (plate-like instrument), handa (a type of sword), boushi (adze-like instrument), boumshi (bamboo flute), sum (heavy wooden instrument), dhansi. kalbansi, kalhurang, chingbakak. Traditionally, their dances are called basili. Through their dance they express their labours, rejoicings and sorrows. Handur Basu their pseudo-war dance expresses their strength and solidarity