Baramasi Songs

 

Baramasi songs, a genre of folk music prevalent in the Indian subcontinent, hold profound cultural and social significance within the communities where they are performed. Derived from the Hindi words "bara" (twelve) and "mas" (months), Baramasi songs are characterized by their thematic exploration of the twelve months of the year. Rooted deeply in the rural landscape, these songs serve not only as a form of entertainment but also as a reflection of the cyclic nature of life, seasons, and agricultural practices.

 

At its core, the theme of Baramasi songs revolves around the passage of time and the rhythms of nature. Each month is depicted with its own unique characteristics, capturing the essence of seasonal changes, festivals, agricultural activities, and societal events. The lyrics of these songs often incorporate vivid imagery and metaphorical language to depict the beauty and challenges associated with each month. For instance, songs dedicated to the monsoon season might evoke the imagery of rain-soaked fields and the joy of farmers anticipating a bountiful harvest, while those representing the harshness of winter could portray the struggle for survival amidst biting cold and scarcity. 

Culturally, Baramasi songs serve as a repository of traditional knowledge and practices, preserving age-old customs and rituals passed down through generations in the eastern part of India, especially in West Bengal and Bihar. These forms of east Indian folk music are often sung during community gatherings, religious festivals, and agricultural ceremonies, serving as a means of cultural expression and social cohesion. Through the performance of Baramasi songs, communities reaffirm their collective identity and celebrate their shared heritage. 

Moreover, Baramasi songs play a crucial role in social gatherings and festive occasions, fostering a sense of camaraderie and unity among participants. Whether sung by professional folk artists or ordinary villagers, these songs create a festive atmosphere, encouraging audience participation through clapping, dancing, and singing along. In rural areas, Baramasi songs are an integral part of wedding ceremonies, harvest festivals, and other communal celebrations, bringing people together and fostering a sense of belonging. 

Beyond their cultural and social significance, Baramasi songs also offer valuable insights into the lives and struggles of rural communities. Through their lyrical narratives, these songs shed light on the challenges faced by farmers, laborers, and marginalized groups, highlighting issues such as poverty, exploitation, and environmental degradation. By giving voice to the experiences of the common people, Baramasi songs serve as a medium for social commentary and advocacy, raising awareness about pressing societal issues and advocating for change. 

Baramasi songs represent more than just a form of entertainment; they are a living testament to the rich cultural heritage and social fabric of rural India. Through their exploration of seasonal rhythms, cultural traditions, and societal concerns, these folk songs offer a window into the lives and aspirations of rural communities. As custodians of tradition and agents of social cohesion, Baramasi songs continue to resonate with audiences, bridging the gap between the past and the present while celebrating the enduring spirit of rural life.

Bihu Dance Form of Assam

 

The Bihu dance of Assam is a vibrant and energetic folk dance form that holds a significant place in the cultural heritage of the northeastern state. Rooted in the agrarian traditions of Assam, Bihu dance is not just a performance but a celebration of life, love, and the cyclical rhythms of nature. In this article, we explore the fascinating history of Bihu dance, the occasions on which it is performed, and the captivating musical instruments that accompany this lively dance form. 

The origins of Bihu dance can be traced back to ancient times when the people of Assam relied heavily on agriculture for their sustenance. It is believed that Bihu dance emerged as a means to express gratitude to the gods for a bountiful harvest and to celebrate the changing seasons. The dance form evolved over the centuries, incorporating elements of different cultures and traditions, and became an integral part of Assamese festivals and rituals.

Bihu dance is characterized by its infectious rhythm and vibrant movements, which reflect the joy and exuberance of the Assamese people. It is traditionally performed by a group of young men and women during the Bihu festivals, which mark the beginning of the different agricultural seasons. The dance is accompanied by the melodious tunes of traditional instruments like the dhol, pepa, and taal. The dancers form a circle or a straight line, swaying and swirling to the lively beats, with intricate footwork and graceful hand gestures. 

The dance routine of Bihu comprises various elements that depict the everyday activities of Assamese village life. These include plowing, sowing seeds, reaping crops, and even romantic courtship. The dancers showcase their agility and skill through swift movements, leaps, and twirls. Bihu dance is not merely a performance; it is a celebration of life, love, and harmony with nature. 

Bihu dance of Assam embodies the spirit and cultural fabric of the state, uniting people in joyous celebration and showcasing the deep connection between humans and nature. From its humble agricultural origins to becoming a symbol of identity and pride, Bihu dance has transcended time and continues to enthrall audiences with its dynamic performances. The colorful costumes worn by the dancers add to the allure and visual splendor, making Bihu dance a truly captivating experience for both performers and spectators alike.

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Rasa Dance of Manipur

 

 In rasa dance of Manipur lie the richness of both Nritta and abhinaya of the Manipuri style. Here the art attains a certain level of perfection and stylization. These are compositions of a literary order set to classical music and performed to a given metrical cycle. King Bhagyachandra has composed three of the four rasa dances known to Manipur. A quick glimpse into the history of Rasa Dance will lead one to the love poetry of the Vaishnavite sages, such as, Chaitanya, Surdas, Jayadeva and others. These love ballads were set to music and later adapted to dance forms.

Time of Performance
There is the Vasantarasa for the full-moon day of Holi, and the Kunja rasa which is performed on the Rakhi-Purnima in the month of August. Then there is the Maha rasa which is performed on the full-moon day of the Karthika Purnima in the month of October-November. King Chandrakirti added the Nitya rasa, and gopa rasa. These dances follow a definite pattern which gives full scope for single performance. This dance of Manipur is performed in front of the temples. In temple premises, such as, Shri Shri Govindaji in Imphal Ras Lila is commonly performed during Krishna Janmashtami, Basanta Purnima and Karthika Purnima.

Literature of Rasa
The literature is Vaishnavite, simultaneously giving full scope to the actors to present the various nayikas of the Indian aesthetic tradition and the several Sthayi Bhavas mentioned in Natyashastra. Through the various episodes of the rasa a dominant mood called Karuna is created. By presenting a transitory state a configuration is produced of a dominant state of being. Through each sequence the dancers present several vyabhichari Bhavas. The various rhythms of the bhangis give full scope to the dancer to present variations on a given theme. The songs of Jayadeva from the Gita Govinda or Vidyapati's Padavali or the works of other poets of the Bhakti school are woven into the rasa dances.

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South Indian Dances

  

South Indian Dances are originated in the temples as a means to praise the Gods and Goddesses which were performed by Devadasis and gradually the concept of dancing girls originated who started nurturing the art of dance in the courts of the kings. South Indian states comprise of Tamil Nadu, Andhra Pradesh, Karnataka, and Kerala which offer varied and interesting culture, cuisine and art form. Though visibly diverse forms exist in the southern states, yet they are a part of the important culture of India.

The South Indian Culture is mainly a celebration of the eternal universe. Thus South Indian Dances are the embodiment of the outline of expression, social interaction or presented in a spiritual or performance setting. The states have popular form of dances which include classical, folk, tribal and modern forms. The dances of South India have a long and elaborate history. During the medieval era in India, South Indian Dances prospered with the support of various kings and art-admirers.

Different types of South Indian Dances
The dances such asBharatnatyam, Kuchipudi, Kathakali and Mohiniattam thrived as popular classical dances of the region. These dance forms originated from the days of the creation of the Natya Shastra. Following are the different types of South Indian Dances:

Bharatanatyam Dance: The classical Indian dance Bharatanatyam was invented from the art of temple dancers in the South India state of Tamil Nadu. Bharata Natyam is considered to the oldest form of dance and mother of all other types of classical dances in India.

Kathakali Dance: Kathakali is one of the most attracting classical Indian dance-drama presented by well trained artists. Kathakali was originated in Kerala in 17th century and got well-liked at every corner of India.

Kuchipudi Dance: Kuchipudi is the most well-liked traditional dance form in South India performed with violin, flute and the tambura instruments and the characters first initiates themselves by the dharavu. Kuchipudi Dance originated in Andhra Pradesh state and got its name from Kuchipudi village near the Bay of Bengal.

Odissi Dance: Odissi is the oldest existing dance form in India that originated from state of Odisha. Odissi Dance is traditional and a very old style of dance performed in the temples.

Mohiniyattam Dance: The Mohiniyattam is a popular dance form with a drama in dance, performed with delicate gestures and footwork. Mohiniyattam is another classical dance style from Kerala and one of the eight principal Indian classical dances.

Padayani or Paddeni Dance: Padayani or Paddeni is connected with the festivals of certain temples. Padayani dancers wear Kolams of different shapes, colours and designs, painted on the stalks of areca nut fronds.

Kummi and Kolattam Dance: Kummi is a very easy form of dance, where dancers form circles and clap as they dance. Kummi and Kolattam are the dances performed by the tribal womenof Tamil Nadu, during certain festivals.

Kargam and Puli Vesham Dance: It is performed by men, in which they balance pots, filled with raw rice and enclosed by a tall pointed bamboo frame covered with flowers, on their head.

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Mahari Devadasis, Dancers of Odisha

  

In the Jagannath Temple of Puri the dancing girls were appointed for the essential ritual service of the deity. All the female attendants of the temple are known as Mahari devadasis. They are again divided into several groups according to their services. The dancing girls are known as Nachuni and the others are Bhitara Gauni and the Gaudasani are those whose duty is to fan the lord. Their accompanists are all males. They are Veena-kara, the Veena player and the Madala, the Mardala or the Pakhwaj player. The nachunis perform in the nata mandir or hall of dance which is a part of the temple building or near the Garuda Stambha or the ceremonial flag staff outside the temple. The Bhitara Gaunis who constitute an exclusive group are permitted to the sanctum sanctorum of the temple and it is they who are allowed to dance and sing at the time of Bada singara or bed-time every night. The Bahara Gaunis are on the other hand not permitted to enter the innermost sanctuary of the temple.

The Mahari devadasis are forbidden to enjoy the company of men. They are to dance for ceremonies and festivals connected with Lord Jagannath. After the initiation, they are always to adorn themselves with the mark of tilak. They are not supposed to partake of food prepared at home. They are to wear clean clothes on the days on which they have to dance; they are not to speak with any man. The Mahari devadasis are to be conducted to the temple by the Mina Nayak. At the time of performance, they are not to look at the audience. Their dance must strictly follow the shastras. The Maharis must dance in the following talas: Pahapata, Sarimana, Parameswara, Malashree, Harachandi, Chandan Jhoola, Shreemangala, Bachanika and Jhuti Atha-tali. They are to perform bhava only from the Geeta Govinda.

The Maharis are initiated into the order after a compulsory marriage with the God. In a simple ceremony a piece of new cloth is taken out from the idol and is tied around the neophytes head. After this ceremony, a Mahari devadasi begins her service as a dancer. The Maharis dance in the temple according to their terms. Whenever they have to dance they come to the temple after a purificatory bath. The Rajguru always presents himself during the dance as a representative of the king. Holding gold mounted cane as a symbol of authority, he stands near the dancer. The Mahari devadasi prior to her performance pays her obeisance to the deity and then bows to Rajguru.

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Folk Dances of Mizoram

  

Folk dances of Mizoram include Khallam, Chailam, Chawnglaizawn, Chheihlam, Thanglam, Zangtalam and Cheraw. These dances express the carefree spirit of the Mizos. These dances are performed during festivals. Drum and gong are the main instruments which are used during their dances.

Folk Dances of Mizoram reveal the cultural liveliness of the place. Deriving encouragement from the natural beauty of the hilly lands, the Folk dances of Mizoram are identical to the multi-cultural atmosphere of Mizoram.

Different Folk Dances of Mizoram
Following are the Different Folk Dances of Mizoram:

Cheraw Dance: Cheraw dance is also known as 'Bamboo dance' as bamboos are used while performing the dance. This dance is one of the most colourful and distinct dance of the Mizos. It is thought that the dance had previously subsisted way back in the 1st Century A.D. Men sit head to head on the ground, tap long pairs of horizontal and cross bamboo staves open and close in rhythmic beats. Girls wear multi-coloured Mizo costumes of 'Puanchei', 'Kawrchei'. ‘Vakiria’ and 'Thihna' dance in and out between the beats of bamboo. This dance is performed in almost all celebratory occasions.

Khuallam Dance: Khuallam is also known as 'dance of the guests' and it is performed at the time of ceremony called 'Khuangchawi'. In this dance a group of males perform to the tunes of drum and gong. Khuallam dance is performed in the ritual called "Khuangchawi".

Chheih Lam Dance: This dance represents spirit of happiness and joy. This dance is executed with song which is sung with bamboo tube and drum beats. The dancer is surrounded by people sitting in a circle around him. Finally, the dancer is joined by those circling him. It is performed to signify the end of a day’s work.

Sawlakia Dance: Sawlakia was presented previously to celebrate winning a war. It evokes actions of a hero who has won the war. As women and men stand in their places, the hero dances holding shield and sword to the tune of gong beats. This is one of the earliest and traditional dances celebrated by people of Mizoram.

Chailam Dance: This dance is performed during the festival of Chapchar Kut. This dance is performed by men and women standing in circles. Women and men stand one after another and together form a circle. They hold each other by shoulders and waists and they sing a song in chorus and dance while swinging to its rhythms. Drums and gongs are also used.

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East Indian Dances, Indian Regional Dance

 

East Indian Dances comprise of an eye-catching combination of classical, folk and tribal dance forms that replicate the history of the region spanning over a time frame of hundred years. As a result of developing over several eras, the dances of eastern India have been catalysed by various factors.

East Indian Dances are the outcome of several religious inspirations, cultural expressions, as well as entertainment. Eastern India; coloured by the rainbow of cultural and linguistic characteristics; even thrives to be a standalone barricaded by the shadow lines of historical influences intermingled with the existing traditions of the land. Eastern India had been the historical centre of the Kalinga, Sunga and Pala empires, who had the monopoly of the political reigns to their kitty. The states also experienced the rule of Mughals and then the British empires that influenced the culture, music and tradition of eastern India a lot. Thus the major dances that emerged as the popular dance forms of the region include several folk and tribal dances along with classical dance forms.

Some of the East Indian Dances are as follows:

Jhijhian: Jhijhian dance is a dance style, well-liked in Bihar. This is a ritualistic dance performed during no-rain time and aims at building the God of rain pleased. The dance is accompanied by a song which is full of prayers to Lord Indra, the rain God. The participants of the dance comprise a lead singer, harmonium player, a flute player, and a dholak player.

Paika: Another popular dance form of Bihar is Paika. The dance reminds us of infantry and its quickness, courage, and excitement. The dance is popular mainly in the Mayurbhanj region. A flat ground is essential for its performance. This dance displays the skills and the ability of the dancers to handle these weapons. The dance reaches its climax with the fast beats produced by ‘Mandal’. Performers wear colourful turbans and tight dhotis and stand in two rows. Holding the wooden swords and shields in their hands, warriors engage in a fierce mock combat.

The Santhal Dance: This dance is based on the folk dance of Madhya Pradesh. This is the dance that usually wraps the themes related to the matters of gender and land rights. Both men and women take part in the Santhal dance.

Phagua: This is a dance that is performed by the males in the time of Hindu festival Holi. Throughout their performance, the dancers throw coloured water and powder on each other. Women also join this Phagua dance in some of the parts of Jharkhand.

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Odissi, Indian Classical Dance

  

Odissi is believed to be oldest form of Indian dance according to the various sculptural evidences available. Temples has been the basis of cultural life in this state therefore Odissi dance has been closely connected with their routine activities. Odissi dances show signs of Buddhism, Tantrism, Shaivism, and Vaishnavism. In Natyashastra it is referred to as Odhra Magadhi. It has been differentiated from other Indian dance forms as it emphasizes upon the tribhangi, the independent movement of head, chest and pelvis on the basic square stance known as chauka.

Origin of Odissi
The most outstanding archaeological evidence of Odissi is found in the Rani Gumpha from 2nd Century B.C. in Orissa. Scholars have dated these caves earlier than the writing of the Natyashastra. From the 7th Century onwards there is a continuous history of this dance form, supported by chronicles and archaeological and literary evidence. This dance tradition was however kept alive by the Devadasis, the female servants of God. The Devadasis used to dance to the recitation of hymns and bols of talas. The dance remained an oral tradition through the beginning of the 20th century, in possession of semi-literates who were not aware of the existing Sanskrit texts on dance.

Theme of Odissi
Odissi derives its theme from Geeta Govinda mostly. It is generally believed that the composers fixed the tala and raga of each song as in those of Geeta Govinda. Mostly these romantic compositions are set in a slow rhythm which enables the dancer to fully depict the emotion by gestures and softer movements to bring about the full meaning of the compositions. Odissi's dependence on Geeta Govinda has enhanced its popularity and made it acceptable to the masses. The dance while portraying the bhava brings out the many tones of the Shrinagar rasa. Devotional songs are used in this item. The themes of Odissi revolve around Lord Krishna. The Ashtapadi of Jayadeva is a very common theme. Odissi centers on spirituality and devotion.

Technique of Odissi
Odissi dancing follows the basic rules of the Natyashastra and the Silpasastra in its techniques. Hip deflection is the characteristic feature of this dance. It has similar foot movements as Bharatnatyam. The essence of Odissi dance lies in its sculpturesque quality. Its beautiful poses resemble the sculptures of the famous temples, which once nourished this art. This dance form lays emphasis on sensitive facial expression. It has vigorous movements that make the dancer emotional, tired and exhausted. This style of dance maintains a perfect balance between physical, mental and spiritual aspects of dance.

Jewellery and Costumes in Odissi
Odissi dance attire has a stitched costume in pyjama style made out of the special Orissa handloom silk sarees, draped in a comfortable style. The sarees have special borders and intricate designs which distinguish them from other sarees. Earlier only the sarees used to be draped around. However over a period of time, the stitched costume has been used due to its convenience.

Odissi dance uses silver jewellery. The dancer wears a choker, a longer necklace, armlets, bracelets, a belt, anklets, bells, earrings, each placed on the bun, and a seenthi which is a piece placed on the hair and forehead. An Odissi dancer has elaborate hair-do in a knot adorned with the "Tahiya" which represents a temple tower. Flower garlands are woven into the hair. Palms and soles are painted with the Alta. They also wear the head ornament called the Mathami. Earlier the headpiece used to be made of real flowers, but now it has been changed to Styrofoam. They also wear the "Kapa" on the ears, "Kankana" on the wrists, armlets called "Bahichudi" or "Tayila" and an elaborate belt. She wears on her ankles bells strung together on a single cord. A "Padaka-tilaka", a necklace with a locket rests on the chest is also worn.

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