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The Folk Music of Arunachal Pradesh

Music & dance are an integral part of every festival and occasion, taking place in Arunachal Pradesh. Every festival is celebrated with much fun & fair, which also includes music and dance. The music and dance of Arunachal Pradesh are generally performed in groups, in which both men & women participate.

The Music & Dance of Arunachal Pardesh
The Dance of Arunachal Pradesh
Dance forms an important aspect of the socio-cultural heritage of the people of Arunachal Pradesh. The people of Arunachal dance on important rituals, during festivals and also for recreation. The dances of the people of Arunachal are group dances, in which both men and women participate.

There are some dances such as igo dance of the Mishmi priests, war dance of the Adis, Noctes and Wanchos, ritualistic dance of the Buddhist tribes, which are specifically male dances. Females are not allowed to take part in these dances.
Some of the popular folk dances of the people of Arunachal Pradesh are Aji Lamu (Monpa), Roppi (Nishing), Buiya (Nishing), Hurkani (Apatani), Popir (Adi), Pasi Kongki (Adi), Chalo (Nocte), Ponung (Adi), Rekham Pada (Nishing), Lion and Peacock dance (Monpa) and so on. Most dances are performed to the accompaniment of songs sung generally in chorus. Musical instruments like drums and Cymbals are played along with the songs sung for the dances.

Music of Arunachal Pradesh
The themes of songs sung are like fables involving creatures or the animal and words signifying moral deduction. The folksong of Pailibos are related more to their folk history, mythology and description of their known historic past.

Following are the chief folk songs of Arunachal, sung on different festivals and occasion :
Ja-Jin-Ja : On occasion of feasts and merriment, during marriages or other social meets, this song is sung. Both men and women sing it in chorus or individually. But once the song starts, all those who are present join them in singing.

Baryi : It is a song which narrate their history, their religious lore and mythology. Its whole cycle takes hours to complete. It is also a feature of festivals or of occasion of important social or religious gatherings.

Both Ja-Jin-Ja and Baryi produce a nostalgic feeling in Pailibos, as the glories of the past ancestors are narrated through them.

Nyioga: It is sung when a marriage ceremony is concluded and the bridal party returns leaving the bride in her home. The theme is that of the joy. It contains pieces of advice to the bride for her future life.

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The Assam Folk music

Assam is indeed a home to diverse cultures and ethnic groups, all of which contribute significantly to its musical repertoire. Kamrupiya Lokageet, Goalporiya Lokageet and Ojapali, and ethnic folk music like Jhumur and Bharigaan are some forms in which the Assamese music is well known. An astonishing fact is that a ceremony or festival is performed which is regarded as being helpful in driving away the mosquitoes. Called as Mohauhau or Mahkheda, young boys go from door to door and sing and dance, striking the ground with bamboo sticks and taking leaps and turns; this is usually done on a full moon night in November.Yet another festival is Bihu which is a connotation of three different largely secular festivals of Assam, Rongali Bihu, Kongali Bihu and Bhogali Bihu The first one also called the Bohag Bihu is the one that is celebrated on the onset of the Assamese New Year and the onset of spring.Yet another festival involving groups of boys and young men who are led by older men moving from door to door thereby singing and dancing in the front or back courtyard and collecting subscriptions to be spent on repairing the village Namghar (community centre) is called Husari is a form of Rongali Bihugeet. The unique feature in this is that the music is indeed faltering or disjointed and the dance begins with the singing of hymns led by a comparatively elder person. This festival is indeed more famous for its religious grandeur thereby giving clear indications of the origin of the Bihu festival in some ancient fertility cult. A number of musical instruments are used for the Assamese folk music such as Wind instruments (Susir) including the flute, the Ciphung bahi of the Bodos, the kali, the pepa, the singa and the gagana, stringed instruments (tala) such as tokari, the been and the serja or serenda. It is indeed worth mentioning that the Tokari, played like an ektara or a sitar, is widely used by folk singers and also by wandering minstrels who sing mystic songs like Deh Bicarar Geets. the dhol, nagara, daba, khol, mridanga, jaidhol etc are some of the significant ones among the percussion instruments of Assam wherein the khol is the principal tala instrument for Vaishnava music, Jaidhol in wedding ceremonies, Khanjari, small and light and a combination of drum and cymbals, also belongs to this group. A common drum is used mainly in Bihu dance which is the dhol and another a simple instrument of a piece of bamboo-tube split from one side, is beaten to keep time measurement in Bihu song and dance called the Taka.

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It is worth mentioning that a basic characteristic of the ethnic music of Assam is its descending scale- this style is shared by ethnic music of the hill people surrounding the state of Assam, and by the music of countries like Thailand, Myanmar and China. It is this style that distinguishes it from the raga-based or folk music from the rest of India. These tunes are structured in a pyramid, in contrast to the music of rest of India which is meend-based.

Major Artists 

Rudra Baruah ,Jayanta Hazarika ,Rupkonwar Jyoti Prasad Agarwala ,Kalaguru Bishnu Rabha,Dr. Bhupen Hazarika,Anima Choudhury ,Nirmalendu Choudhury ,Utpalendu Choudhury,Parvati Prasad Baruva,Khagen Mahanta ,Zubeen Garg,Jitul Sonowal,Angaraag Mahanta.

Trivia/ Quotes

•    It is an interesting feature that in Assam, the Bihu drummer often utters his bols and follows their reproduction on his drum; he then dances in such a way that he appears to have no bones in his body at all.

•    It is indeed a matter of pride that besides the rich variety of folk music, the Assamese people also have Bhakti music in the form of Borgeet and Zikir

The Bihar Folk Music

During the famous chhath parva of Bihar, there is much music and a lot of singing of folk songs, both at home and on the river bank.The historical ballads dealing with the heroic deeds of the freedom fighter Kunwar Singh have also been immortalized through folk songs in the plain tracts of Bihar. The folk music of Bihar has survived all attacks of modernism. Some performers of Bihar's traditions have achieved commercial success. For example, Sharda Sinha (b. 1953) sings Bihari language folk songs in concerts throughout the world and has released many recordings. Maithil musicians, who seem to have been more popular outside Bihar, enriched Nepalese music and carried the traditions of their Folk songs. Some of the ragas, which may be claimed as special to Bihar, are 'Nachari', 'Phag', 'Chaita', 'Purbi',’lagani rag’etc.In the religious-type of dance the gods and goddesses are invoked through dance accompanied by folk-songs and music…

Bihar has its distinctive folk music. The region's folk songs are most often associated with the various events in the life of an ordinary person. The sohar is performed during childbirth, sumangali is associated with weddings, ropnigeet is performed during the season of sowing paddy and katnigeet is performed during the paddy harvesting season. The other forms of Bihari folk music include purbi, chaita, hori, bidesia, ghato, birha, kajari, irni/ birni, pachra, jhumar, jatsari, aalah, nirgun and samdaun. The tradition of war songs is called Beer Kunwar.Wandering folk singers in Bihar include the Kathaks, who travelled in groups and performed to the sounds of the dholak, sarangi, tamburu and majira. Other Bihari musician classes include Roshan Chouki, Bhajaniya, Kirtaniya, Pamaria and Bhakliya. During the 19th century many sad plays and songs called biraha became very popular in the Bhojpur area.

Bihari folk songs such as the Thumar or Barahmasa are sung by females in groups, especially when they are engaged in paddy plantation. When grinding corn in Jata or Chakki, they usually sing the Jatusari.

Major Artists 

Shyam Bihari Gaud,Bhikhari Thakur,Madhubala Shrivastava,Padmashree Sharda Sinha

The folk songs of the tribals have a strong ethical background. Just as in their dance there is no semblance of base. In spite of the absence of a script, many of the songs have been preserved. They have been handed down from generation to generation by the old men and women singing the songs to the younger generation and making them sing. The younger ones have the dancing floor to themselves. But the older generation, men and women, sit, watch and correct mistakes and provide guidance in music or rhythm. Purity and the primeval form in tribal poetry, songs or dance has been preserved wonderfully, although without any written literature. 

In their social life there is no place for the individual and it is the community for which the individuals exits. So the tribal songs have a moral and cultural bearing which makes them the common property of the entire community and the world at large. The universal appeal is a remarkable feature of the tribal songs and music.

Festival songs mark another important category of folk-song.Navaratra is religious and ritualistic to the core. People, especially women-folk, worship goddess Devi for nine days with proper rituals and observe fast. During the festivals, music conferences are arranged. There are certain rural centres where fine forms of music have been developed. Darbhanga, Panchgachia in Saharsa district, Ara and Jhabua towns have developed prolifically the music of various forms. There used to be a school of music where village girls and boys were being trained in playing of Mridanga. 

Some of the rich local Zamindar families in different parts used to hold regular music conferences every year. This form of entertainment has become rare now.    

Pastoral songs express the thoughts, aspirations and sorrows of the villagers. Kuvar-Vijay folk songs are historical while Sobhnaika is sung at the time of marriage. Folk songs are widely recited and appreciated on religious and social occasions like Nagpanchami, Janmasthami, Tiz, Chauk Chanda, Anant, Chhath, karma etc.

The marriage ceremony holds an important place among the ceremonies prescribed by both shastras and folklore. This ceremony lasting for several days is equally important for folk-songs. For example, some songs are called nehchu songs, sung on the nail-cutting ceremony of the bridegroom. Jyonar is also a form of folk-song which is sung when the bride and the wedding party enjoy a feast. These jyonar songs enumerate the things which are being served in the feast. Marriage songs can be said to be of three categories. The first one is ritualistic and has an air of magical charm about it. Various spirits are involved by a song and imagining that the spirits are coming in they are shut up in the cap, which is pasted on the wall of a room, and which during these marriage days is called ‘Kohbar’. There are other songs imploring the presence and protection of various divinities and spirits.

Purely seasonal songs are those which are sung during raining season, specially in the month of Savan and Bhadon. A class of these songs is called malhar. These songs express the pleasure of ladies when they enjoy ‘rimjhim’ or light showers. They insist in swinging (jhula) while singing with their friends and relatives. 

The Santals of Bihar are  musical people. One of their favourite musical instruments being a flute with six holes for stops and another one for blowing.

A category of songs are those in which women are free to sing according to their own choice and pleasure, expressing feelings and emotions for different occasions. As this is a very important occasion in the family life, there are many glimpses of delicate family relationship and finer sentiments. 

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The Uttrakhand Folk Music

The folk music of Uttaranchal is primarily related to the various festivals, religious traditions, folk stories and simple life of the people of Uttaranchal. Thus the songs of Uttaranchal are a true reflection of the Cultural Heritage and the way people lives their lives in the Himalayas.

There are many kinds of folk songs from the area, including ceremonial mangals, martial panwaras and melancholy khuded, thadya and jhora.

Musical instruments used in Uttaranchal music include the dhol, damoun, turri, ransingha, dholki, daur, thali, bhankora and masakbhaja. Tabla and harmonium are also used, but to a lesser extent.

The Music and its development have seen various phases of growth and have undergone lots of transformation during the course of time.

The earliest of the singers who left an never ending impressions on the folk music of Uttaranchal were :

1. Shri Narendra Singh Negi who is considered to be the voice of Uttaranchal.

2. Shri Gopal Babu Goswami who is considered to be a legend in Kumaon for his melodious voice.

Other famous personality associated with Kumaoni Folk Music is Mohan Upreti, who is known for his Nanda Devi Jagar & Rajula Malu Shahi Ballad.

Likewise Chander Singh Rahi is another popular singer, a balladeer and storyteller. His recordings are perhaps the most authentic to the hills, and he incorporates many legends and folk tales into his rousing songs.

In the past decade Uttaranchali Music has seen a revolution after the offer by various Music Recording / Cassette Producing agencies such as Rama Video Cassette and T Series who have offered news talents from local areas to make their own Cassettes after getting their songs recorded in the Studios.

This has led to a sudden usurp of number of hidden talents from various corners of Uttaranchal which include famous personalities such as Kalpana Chauhan, Meena Rana, Anuradha Nirala, Fauji Lalit Mohan Joshi, Pritam Bharatwan, Gajendra Rana who have made their contribution to the Garhwali / Kumaoni Music by various hit songs / music albums over the period.

Also, with advance in Technology and easy availability of videocams and other recording devices, lots of talents have started producing music albums which has further led to popularization of Uttaranchali folk dance. In fact, Garhwali/Kumaoni songs have gained so much popularity over the years that they have become integral part of the DJ Music being played during wedding and other functions.

With the rapid growth and popularity in Uttaranchali Music and folk dances, the day is not far when any cultural / social functions / weddings / festivals / Discotheques would have some elements of Uttaranchali Music and folk dances as an integral part.

The Rajasthan Folk Music

Music
Two types of music that are especially famous in Rajasthan are described below:

Maand: Originated as court music, the maand is a distinct raga that was developed in Marwar. It is very sophisticated and involves complex inflexion of voices sung in deep bass but with time it permeated to the folk forms we know today and when ballads of the chivalrous rulers and local folk heroes are sung using maand raga, they have a unique haunting quality that echoes in the desert. Its popularity is evident from the fact that an entire festival in Jodhpur is dedicated to it exclusively.

Pabuji ka Phad: Pabuji Ramdeo was a folk hero of the 14th century in the Bhopa region whose legends have become timeless in the form of ballads that are sung against a painted scroll known as the 'Phad' paintings where scenes from his story are portrayed in comic-strip fashion. Its performances were always held at night, when the villagers gathered for these performances. The Bhopa minstrel would sing the ballad and give the music using ravanhatha while his wife used to hold an oil lantern illuminate just the particular portion of the scroll that matched with the episode of the story he was singing about.

Rajasthan has a diverse collection of musician castes, including langas, sapera, bhopa, jogi and Manganiar. There are two traditional classes of musicians: the Langas, who stuck mostly exclusively to Muslim audiences and styles, and the Manganiars, who had a more liberal approach.
Traditional music includes the women's Panihari songs, which lyrically describes chores, especially centered around water and wells, both of which are an integral part of Rajasthan's desert culture.

The Madhya Pradesh Folk Music

Dances of Madhya Pradesh



Tribal Dance Forms

Madhya Pradesh has been, and still is, to a large extent dominated by its tribal population. So it is not surprising that the ethnic dance and music of Madhya Pradesh is also tribal in nature. 

The colourful Maria Gonds of Bastar celebrate almost every significant event in their lives by dancing. One of their most famous dance tradition is the spectacular marriage dance, the Gaur do catch a performance if you can.

The head dress that the Maria Gonds wear for the dance is made of bison horn, raw silk and feathers and is handed down from father to son. Like the American Indians, the Maria Gonds attach great importance to their head dress; a Maria may give a bullock in exchange for a good pair of horns. The traditional marriage ceremony of the Marias is simple - theres just the dance and the feast after it 

Murias Tribes Drum Dance

Their neighbours, the Murias, are known for their tradition drum dances called Mandri. It is mainly the dance of boys, who play the drum along with dancing. Sometimes girls also join them, though they appear grouped separately. 

The dance movements and steps of the boys are often complicated, involving kneeling, jumping, gyrating and the like, but at no time is there a let-up in the playing of the drum. 

All over India the harvest means celebration and dancing. So it is for the tribals here. Women in the Bundelkhand region dance the Jawara, in which they carry the newly harvested grains of the jowar (sorghum) crop on their heads in baskets. They skilfully keep their baskets balanced on their heads without using their hands even though the dance is often quite fast-paced. 

The Folk Theatre

The Maach of Madhya Pradesh is a folk theatre form presented largely through traditional song and dances. Men portray all the characters and the themes are generally historical or borrowed from folk legends about kings and warriors. There is not much of acting, as the theme unfolds mainly through song and dance. The singing is generally done by the dancers themselves, but there are supporting musicians too. The climax of the performance often shows the principal characters dancing in a cloud of coloured powder.

Folk Dance

The dances are to some extent influenced by the folk dances of the neighbouring state of Rajasthan. The womens dances are full of swirls, with one hand holding the ghunghat (veil worn over the face) and the other poised on the waist

Other interesting dances of the tribals of Madhya Pradesh are the Phag (a sword dance) and Lota (a dance performed by women who balance full pitchers of water on their heads).

The Haryana Folk Music

Haryana has a rich tradition of folk music. Even villages have been named after classical ragas. In Dadri tehsil, several villages have names related to well known ragas. These are Nandyam, Sarangpur, Bilawala, Brindabana, Todi, Asaveri, Jaishri, Malakoshna, Hindola, Bhairavi, Gopi Kalyana etc. Similarly in Jind district there are Jai Jai Vanti, Malavi etc.

The folk music of Haryana generally falls in to two categories

(1) Classical form: The group song that is closely linked with the classical form of singing comes under this category. The themes of such songs are usually mythological. Allah, Jaimalphalla, Barahmas, some Teej songs, Phag and Holi songs belong to this group.

(2) Country side music: This group includes legendary tales, such as Purana-Bhagata, ceremonial songs, seasonal songs, ballads etc. Its music survives in cross-cultural traits of social rapport. In such songs Jai Jai Vanti, Pahari, Bhairavi, Kafi, Jhinjhoti and Bhairav ragas are used. Raga Pilu is also used in some songs sung by the Ahirs, using a scale with twelve semi tones. The main credit for popularizing folk music in Haryana goes to Jogis, Bhats and Saangis. The Jogis use Sarangi as an accompaniment  to their songs. They are proficient  in using Allah, Jaimal-phatta and other heroic ballads with their rich melodies and resonant-appealing voice.



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