In the realm of the folkways dance and music rule
supreme and one cannot think of Rajasthan without this important element
of its folk life. A large variety of musical instruments is used in the
countryside. It ranges from the soft tinklers to thunderous kettledrums;
from simple, slender flutes to intriguing trumpets; and from the rustic
looking resonators for basic rhythm to elegant and fully developed
bowing or plucking devices.
It is a fascinating sight to see the folk musicians of Rajasthan with
their musical instruments, who besides dressing themselves in colorful
attire, also decorate and embellish their instruments with beautiful
trappings and ornamental coverings. They are a people with music in
their souls. Their amazingly rich music has an extraordinary
individuality, tradition and exotic flavor, which gives a distinctive
feature and quality to their musical sounds, and a certain pulse which
does not fail to fascinate the listener, staying like lingering perfume.
They have songs for every occasion with rich emotional content, almost
an endless variety of tunes, quite a few delightful dance forms, and a
large number of musical instruments, all a collective creation of the
folks which is retained by them in its traditional form and character
and passed from one generation to the other.
The people of Rajasthan live life to the hilt. After hard work in the
harsh desert sun and the 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 into a fun-loving and carefree
individual. Each region has its own folk entertainment, the dance styles
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, Dholis, Mirasis, Nats, Bhopas and Bhands are omnipresent across
the state. They are patronised by the villagers who participate actively
in the shows put up by these travelling entertainers. Some of the better
known forms of entertainment are:
Ghoomar Dance: This is basically a community dance for women and
performed on auspicious occasions. Derived from the word ghoomna,
piroutte, this is a very simple dance where the ladies move gently,
gracefully in circles.
Gait Ghoomar: This is one of the many dance-forms of the Bhil
tribals. Performed during Holi festival, this is among a few
performances where both men and women dance together.
Gait: Another Holi dance but performed only by men. This becomes
Dandia Gair in Jodhpur and Geendad in Shekhawati.
Chart Dance: This is popular in the Kishengarh region and
involves dancing with a chari, or pot, on one's head. A lighted lamp is
then placed on the pot.
Kachhi Ghodi: This is a dance performed on dummy horses. Men in
elaborate costumes ride the equally well decorated dummy horses. Holding
naked swords, these dancers move rhythmically to the beating of drums
and fifes. A singer narrates the exploits of the Bavaria bandits of
Shekhawati.
Fire Dance: The Jasnathis of Bikaner and Chum are renowned for
their tantric powers and this dance is in keeping with their lifestyle.
A large ground is prepared with live wood and charcoal where the
Jasnathi men and boys jump on to the fire to the accompaniment of drum
beats. The music gradually rises in tempo and reaches a crescendo; the
dancers seem to be in a trance like state.
Drum Dance: This is a professional dance-form from Jalore. Five
men with huge drums round their necks, some with huge cymbals accompany
a dancer who holds a naked sword in his mouth and performs vigorously by
twirling three painted sticks.
Teerah Taali: The Kamad community of Pokhran and Deedwana
perform this dance in honor of theft deity, Baba Ramdeo. Rather unusual
performances, where the men play a four-stringed instrument called a
chau-tara and the women sit with dozens of manjeeras, or cymbals, tied
on all over their bodies and strike them with the ones they hold in
their hands. Sometimes, the women also hold a sword between their teeth
or place pots with lighted lamps on their heads.
Kathputli: Puppet plays based on popular legends are performed
by skilled puppeteers. Displaying his skill in making the puppets' act
and dance, the puppeteer is accompanied by a woman, usually his wife,
who plays the dholak, or drum and sings the ballad.
Pabuji Ki Phach: A 14th century folk hero, Pabuji is revered by
the Bhopa community. The phad, or scroll, which is about 10 metres 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 Bhopa as he plays the Ravan-hattha
and he is joined by his wife who holds a lamp and illuminates the
relevant portions at appropriate points.
Maand: Rajasthan's most sophisticated style of folk music and
has come a long way from the time it was only sung in royal courts, in
praise of the Rajput rulers.
Professional singers still sing the haunting ballads of Moomal
Mahendra, Dhola-Maru and other legendary lovers and heroes.
List of singers and performers also includes the Mirasis and Jogis of
Mewat, Manganiyars and Langas, Kanjars, Banjaras and Dholies.
Performances like the Kuchamani Khayal, Maach, Tamasha, Rammat, Nautanki
and Raasleela are no less popular. The musical instruments of Rajasthan
are simple but quite unusual. Handcrafted by the musicians themselves
they are rather unique and include instruments like the Morchang, Naad,
Sarangi, Kamayacha, Rawanhattha, Algoza, Khartal, Poongi, Bankia and Da
There are dozens of other instruments which are exclusive to Rajasthan
only.
