Tag: Folk dances of Jharkhand

Jharkhand, a vibrant state in eastern India, is home to a rich cultural mosaic shaped by numerous tribal and non-tribal communities. This diversity finds expression in its festivals, dances, music, instruments, and languages. Below is a comprehensive look into the cultural elements that define the lives of people in Jharkhand:

Major Cultural Elements of Jharkhand

The cultural life of Jharkhand includes many components, but the following are key elements studied as primary aspects:

• Festivals and Celebrations
• Dance and Music
• Musical Instruments
• Languages

Tribal Festivals of Jharkhand

Tribal festivals are often shared across communities. Here’s a look at some major ones:

• Santhal: Erok, Hariar Japad, Sohrai, Sakrat, Baha
• Oraon: Khaddi, Karma, Sohrai, Chandi, Maghe, Phagu, Jatra, Holi, Diwali, Chhath, Ramnavami
• Munda: Sarhul, Karma, Sohrai, Buru Puja, Fagu, Magh
• Ho: Maghi, Baha, Dumuri, Horo, Kolom, Batauli
• Pahadia (Sauriya & Mal): Gangi Adaya, Punu Adaya, Osra Adaya, Karra Puja, Maghi, Ghanghara Puja
• Bhumij: Chait Puja, Dhulia Puja, Karam Puja, Kali Puja
• Kharia: Giding, Ponmosor, Pitr Puja, Bhandanda, Sarhul, Karam, Rath Yatra
• Kharwar, Mahli, Lohra: Celebrate Sarhul, Karam, Holi, Diwali, Chhath, Jitiya, Durga Puja
• Bedia, Chick Baraik, Gond, Chero: Celebrate both tribal and Hindu festivals
• Korwa, Karmlis, Parahiya, Godait, Bedia, Asur, Birhor, Birjia, Sabar, Bathudi, Banjara, Baiga, Kisan, Khar, Kawar, Kol: Have unique nature- and ancestor-based rituals along with Hindu festivals.

Dance and Music in Jharkhand

• Due to the lack of written historical records, the roots of Jharkhand’s cultural evolution are traced through oral traditions—folk songs, tales, and legends.
• The Asur tribe, considered the original inhabitants of the forested Jharkhand region, had their own language, music, and lifestyle.
• Over time, Munda, Santhal, Ho, Kharia (Austroasiatic), Oraon (Dravidian), and Sadan (Indo-Aryan) communities migrated and settled in Jharkhand.
• Cultural coexistence developed as communities lived together or side-by-side.
• Linguistic and cultural integration led to a shared community culture that formed today’s distinct Jharkhandi identity.
• This fusion of traditions influenced folk literature, language, and especially music and dance.

Musical Instruments of Jharkhand

• Despite linguistic differences, the musical instruments used across communities are mostly the same, showing strong cultural integration.

Major Traditional Instruments:

• Murli
• Bansuri (flute)
• Banam
• Tuila
• Shehnai
• Dhol
• Dhak
• Nagada
• Bheir
• Turhi
• Dhap
• Mridang
• Mandar
• Kendra
• Jhaal
• Gubgubi
• Chodchodi

These instruments are used widely in songs and dances across Jharkhand.

Folk Music of Jharkhand

Folk music is categorized into two main types:

1. Tribal Folk Music

• Includes songs of Santali, Mundari, Ho, Kharia, Oraon, and other tribes.

2. Regional (Sadan) Folk Music

• Includes Nagpuri, Kurmali, Khortha, Panchpargania folk songs.
• Migrant communities from other states have also brought new musical influences.

Nagpuri Folk Music

• Nagpuri is the richest among Sadan languages in terms of folk music.
• It includes both folk and refined songs, vital to the survival of Nagpuri music traditions.
• While it draws influence from neighboring states and tribal music, it has distinct features not found in other regional music styles.

Unique Features of Nagpuri Music:

• Special musical modes include:
  • Mardana Jhumar
  • Janani Jhumar
  • Angnai
  • Phagua
  • Udasi
  • Pawas songs
• These ragas and melodies are exclusive to Nagpuri and absent in other languages.

Forms of Nagpuri Songs:

1. Seasonal Songs
   • Phagua (Holi songs)
   • Udasi
   • Pawas
   • Bhadwahi
   • Kajli
2. Festival Songs
   • Teej
   • Karma
   • Jitiya
   • Sohrai
3. Ritual Songs
   • Devi Geet
   • Jhanjhin
   • Bida Geet
   • Lair
4. Dance Songs
   • Mardana Jhumar
   • Janani Jhumar
   • Damkach
   • Lujhri
   • Thadhiya
   • Daindhara
   • Khemta

• Sung during Holi
• Performed in groups by men
• Involve facing each other while singing and dancing

Seasonal and Emotional Folk Songs

• Udasi Songs:
  • Sung during the summer season with a devotional undertone.
  • Characterized by a long melodic pattern with a high number of words in each line.
  • Typically performed without instruments.
  • Lyrics reflect both Nirguna (formless divine) and Saguna (divine with form) devotion.
• Pawas Songs:
  • Sung by men during the monsoon.
  • These songs are melodically richer compared to other Nagpuri songs.
• Bhadwahi Songs:
  • Believed to be influenced by Kurmali traditions.
  • Mostly sung during the rainy season.

Festival Songs

• Karma Songs:
  • Performed during the Karma festival.
  • Women sing and dance together in courtyards or traditional grounds (Akhra).
• Sohrai Songs:
  • Associated with the Sohrai festival around Diwali.
  • Celebrated across Jharkhand with great enthusiasm.

Ritual Songs

• Sanskar Geet:
  • Folk songs associated with life’s milestones from birth onwards.
  • Widely found in the Nagpuri tradition.
• Biha Geet (Wedding Songs):
  • Sung during wedding ceremonies from pre-wedding rituals to the departure of the bride.
  • Include a wide variety of themed songs tied to specific wedding customs.

Dance Songs

• Mardana Jhumar:
  • A powerful, masculine dance performed by men.
  • High-energy movements accompanied by songs.
• Janani Jhumar:
  • Performed by women during festivals and social gatherings.
  • Typically performed in groups.
• Daidhara:
  • Involves dancing with sticks or holding each other’s waists.
  • Popular in other Sadani languages as well.
• Types of Dance Songs:
  • Includes styles like Jhumar, Golwari, Khemta, Rang, and Jhingphulia.
  • Jhumar in this region is a variant of Panchpargania Jhumar.
  • Fast-paced ragas like Khemta, Rang, and Hingfulia are part of the performance.
• Damkach Songs:
  • A dance-based raga performed by women.
  • Variants include Ekheriya, Dohari, and Shumta.
  • Primarily celebratory, especially at weddings.

Kurmali Folk Music

• Folk music and dance form the essence of Kurmali culture.
• Every Kurmali ritual involves music and dance.
• Seasonal themes dominate Kurmali songs.
• Performances involve synchronized male and female participation.

Prominent Kurmali Songs:

• Tusu:
  • Sung by women from the first day of Paush month to Makar Sankranti.
• Dhap Geet:
  • Sung by men from Agahan to Phalgun.
  • Reflects themes of renunciation.
• Sarhul:
  • Performed during the spring Sarhul festival.
  • Involves group dance and singing.
• Pata Song:
  • Known as Barahmasiya Geet.
  • A group dance where men and women hold hands or waists and dance in a circular motion.
• Udhwa:
  • Sung from Paush Sankranti to Ashadh.
  • Follows a question-answer format.
  • Considered a sophisticated raga.
• Adhaiya:
  • A “two-and-a-half steps” dance performed after Karma festival.
  • Multiple rhythmic patterns are used.
• Other Kurmali Musical Forms:
  • Daharwa, Chanchhar, Kunwari Jhupan, Ropni Sangeet, Sanskar Geet.

Khortha Folk Music

• Includes diverse ragas such as Bhadria, Bhatiyali, Jhumta, Khemta, Luhari, Sohrai, Sarhul, Boodi, Kisani, Udhwa, Raswari, Rasa Dance, Chachair, Govar Kanda, Jagwa, Bhokaran, and Barahmasia.
• Shared elements with other Sadani languages.
• Jhumar variations include Bhadria, Malhariya, Jhingphuria, Golwari, Daid, Jhumra, etc.

Specific Song Types:

• Udhwa or Rinja:
  • Sung loudly without instruments; also called Rinja.
• Karma Song:
  • Women sing while locking arms and dancing during Karma festival.
• Bhokaran:
  • Sung during Shivratri as groups go house to house.
  • Includes multiple melodies.
• Rasa Dance:
  • Solo or duo dances during Kartik Purnima.
  • Accompanied by a special musical composition.
• Sohrai:
  • Songs like Chachair, Govarkanda, and Gai Jagwa are sung after Diwali.
• Boodi:
  • Performed in Makar Sankranti fairs.
  • Features a “kul-kuli” shout after every few lines.
• Harabadiya:
  • Q&A format songs.
• Sanskar Geet & Fagua:
  • Ritual and spring songs influenced by other regional languages like Nagpuri, Bengali, and Magahi.

Panchpargania Folk Music

• Spoken in Budhu, Tamar, Silli, Sonahatu, Rahe, Adki, and Angara blocks.
• A linguistic amalgamation of Nagpuri, Kurmali, Khortha, and local Tamariya.
• Folk songs and dances share similarities with Kurmali and Nagpuri.

Key Features:

• Influenced by Bengali folk due to Chaitanya Mahaprabhu’s travels.
• Distinct Jhumar style with local flair.
• Rasleela-themed solo and group dances.
• Incorporates ragas like Rang, Khemta, Lahsua, Jhingphulia, Luhari.
• Major folk songs include Sanskar Geet, Karma Geet, Jitiya Geet, Sohrai Geet, Tusu Geet, Bhadria.

Distinctive Features of Jharkhand Folk Music

• Based on:
  • Seasonal rhythms
  • Labour and celebration
  • Joy and devotion
• Performed:
  • Individually or in groups
  • With or without instruments
  • While walking, resting, or dancing
• Rich in melodic intensity and emotional expression.

Dance Culture of Jharkhand

• Dances are communal—no spectators, everyone participates.
• Each participant excels in singing, instrument playing, or dancing.
• No solo dances; group format is universal among both tribal and Sadani communities.
• Common instruments and rhythmic styles across groups.
• Cultural similarity exists among Nagpuri, Kurmali, Khortha, and Panchpargania.

Broader Linguistic and Cultural Influence

• Sadani languages show structural unity with regional variations in style.
• Austroasiatic group (Mundari, Santali, Ho, Kharia) and Dravidian group (Oraon) have distinct styles, yet some shared elements.
• Across all traditions, folk music and dance are reflections of daily life, nature, and spiritual beliefs.

Common Characteristics of Jharkhandi Dance

• All traditional dances in Jharkhand are community-centered and participatory, not spectator-based.
• Dances are known by different names and forms depending on the season, festivals, or special occasions — e.g., Phagua Dance, Manda Nach, Bhagtiya Dance, Sohrai Dance, Maitkodan, and Pain Katan.
• Song and instrumental music are usually integral to dances, though a few dances may be performed without singing.
• Instruments like shehnai, flute, madar, dhol, dhang, nagada, and bheir are used to provide rhythm and regulate dance movements.
• In Nagpuri society, the word “khel” or “khelek” (meaning to play) is often used instead of “dance,” such as in:
  • Akhra Khelek (to dance in the akhra)
  • Damkach Khelekaiya (one who dances the Damkach)

Variety and Themes in Dance

• Some folk songs like Pawas, Udasi, wedding songs, and Prabhati are primarily song-based and not accompanied by dance.
• Jharkhand’s dances reflect various rasas (emotional themes), including:
  • Devotion (Bhakti)
  • Romance (Shringar)
  • Compassion (Karuna)
  • Heroism (Veer)
  • Peace (Shanta)
  • Hunting and Warfare

Gender-Specific and Inclusive Dances

• Male-dominated dances:
  • Chhau, Natua, Padka, Manda, Mardani Jhumar, Phagua, Ghoda Nach
• Female-dominated dances:
  • Kali, Nachni, Kheldi, Janani Jhumar, Angnai, Damkach, Maitkodan, Pain Katan
• Children’s dances and joint male-female dances are also common:
  • Udiya, Golwari, Lahsua, Lujhri are performed by both men and women together.

Form and Movement in Dance

• Women often form rows or circular formations, dancing while holding each other:
  • By locking arms shoulder-to-shoulder.
  • By clasping palms or interlocking fingers.
  • By holding each other’s waist or shoulders.
• Movements vary in speed and direction:
  • Slow to fast pace.
  • Forward and backward steps.
  • Left-to-right or right-to-left motions.
  • Spiral, zigzag, crouching, springing, or swaying forms.
• Certain dances are simple, like Janani Jhumar.
• Some are complex and athletic, such as Mardani Jhumar, Chhau, Paika, Natua.

Use of Musical Instruments

• Most traditional instruments are large and heavy, like nagada, dhang, dholak, mandar, bheir, and narsingha.
• These are usually played by men, as the weight and power required are significant.
• Women rarely play these instruments but may use small percussion items like kartal, manjira, or jhanjh.
• Men may dance while playing instruments, combining rhythm with performance.
• Singers often dance independently while singing.

Costumes and Masks in Dance

• Some dances require special costumes and adornments:
  • Mardani Jhumar, Paika, Natua, Ghoda Nach, Bhagtiya, Chhau, Kali Nach
• Masks are used in certain dances like Chhau, but in some areas (like Khunti), Chhau is performed without masks.

Cultural Values and Decorum

• All Jharkhandi dances are graceful and dignified.
• There is no space for vulgarity or obscenity, as the whole family and village participate.
• Dances occur in the presence of elders, children, siblings, and in-laws, ensuring cultural propriety.

Rhythm and Physicality

• Dances are performed at varied speeds:
  • Some are fast-paced, others are medium or slow.
• Movements often include flexing and vibrating of different body parts:
  • Chest, shoulders, arms, legs, head, waist.
• Dances like Mardani Jhumar, Chhau, Padka, and Natua display dynamic motion and martial vigor.

Regional Dance Styles (with Examples)

Nagpuri, Panchpargania, Khortha, Kurmali Dances (Sadani Group)

• Widely performed and culturally dominant in Jharkhand.
• Prominent dances include:
  • Chhau, Padka, Natua, Kali, Nachni, Kheldi, Manda, Bhagtiya
  • Mardani Jhumar, Janani Jhumar, Angnai, Damkach, Ekheriya, Dohari
  • Jashpuriya, Asamiya, Golwari, Jhuma, Khemta, Udiya, Sandhara
  • Lahsua, Lujhri, Pahil Sanjha, Adhratiya, Minsariya
  • Phagua ka Puchari, Rang, Panchrangi, Maitkodan, Pain Katan
  • Bangla Jhumar, Ras, Udhwa Matha, Jadura, Dadhar, Yanchhar
  • Khariya, Baraya, Jatra, Dhol, Ghoda Nach, Modern dance forms

Notable Dance Forms

• Phagua:
  • A male-centric dance performed during the transition from Phalgun (Feb–March) to Chaitra.
  • Preparations begin as spring approaches.
• Domkach, Thadhiya, Dainidhar, Bhinsariya, Udasi, Pawas:
  • Each has seasonal and cultural significance.
  • Reflect regional variations and themes of joy, longing, or devotion.

Panchpargania Dance

• Practiced in Bundu, Tamar, Sonahatu, Silli, and Barenda regions.
• Though influenced by Nagpuri, Khortha, and tribal styles, Panchpargania dances have their unique flavor.
• Prominent dances include:
  • Ras, Bangla Jhumar, Tusu, Khemta, Lahsua, Lujhri, Karam, Sohrai
• Dance style resembles Sadani dances, with Bengali musical influence in melodies.

Khortha Dance

• Shares strong similarities with Sadani dances but retains its distinctiveness.
• Key dances include:
  • Karam, Ras, Sohrai, Bandi, and others.

Kurmali Dance

• The Kurmali culture shares close ties with the Sadan (non-tribal) culture, yet retains distinct characteristics in its music and dance.
• Dance postures and styles show similarities with other Jharkhandi traditions.
• Both men and women perform dances, either in separate groups or together in unison.
• Besides the Kurmali dance, other prominent dances include:
  • Tusu
  • Sarhul
  • Pata
  • Adhaiya
• Each of these dances reflects the tribe’s unique cultural identity.

5. Mundari Dance

• The Munda community is known for its distinct language and cultural practices.
• Their dances correspond to changes in season and are integral to the celebration of various festivals and rituals throughout the year.
• Festivals in Munda society are incomplete without dance and music.
• Notable dances of the Munda community include:
  • Jadur
  • Ordur
  • Japi
  • Gena
  • Chitid
  • Chhav
  • Karam
  • Khetma
  • Jarga
  • Orjarga
  • Jatra
  • Paika
  • Buru
  • Jali
• Unique Feature: Men do not join women’s dance groups.

6. Santal Dance

• The Santals belong to the Munda ethnic group and are one of the largest Austroasiatic tribal groups.
• Despite cultural similarities with the Mundas, Santals have distinctive dance and musical forms.
• Their dances are seasonal and aligned with the agricultural and festive calendar, except during the months of Shravan and Bhadon, when farming activities are at their peak.
• Santal dances fall into three categories:
  1. War and Hunting Dances
  2. Religious Dances
  3. Social Dances
• Major Santal dances include:
  • Dahar
  • Baha
  • Langre
  • Doda
  • Doger
  • Dasai
  • Shikari
  • Sohrai
  • Dosami

7. Ho Dance

• The Ho community is a unique subgroup of the Munda ethnic lineage.
• Like others, they are part of the Austroasiatic language family.
• Their music and dance hold a special place within their cultural expression.
• Key dances include:
  • Magh
  • Vivah (Wedding) Dance
  • Ba
  • Hero
  • Jomnam
  • Dasai
  • Sohrai

8. Kharia Dance

• Although part of the Austroasiatic family, the Kharias are not as closely related to the Mundas and Santals.
• They maintain a separate cultural identity.
• While their musical traditions resemble other tribal communities, they retain unique styles and presentations.
• Dance is central to Kharia society, performed according to seasons, festivals, and special occasions.
• Strong communal participation is a hallmark; entire villages dance together.
• Women often dance in straight lines, holding hands or individually, and sometimes in multiple rows.
• Men may join these dances or perform separately.
• Popular musical instruments: Mandar, Nagara, Dhol
• Notable Kharia dances include:
  • Hario
  • Kinbhar Halka
  • Kuaading
  • Indo Kuaading
  • Doyor Jadura
  • Jeth Lahsua
  • Kubar Aghani Lahsua
  • Jethwari Udiya
  • Karam Udiya
  • Jethwari Thoylo
  • Jethwari
  • Angnai
  • Chait-Vaishakh Thadhiya
  • Chait-Vaishakh Lahsua
  • Dholki Saylo

9. Oraon Dance

• The Oraons belong to the Dravidian linguistic family and hold a significant place in Jharkhand’s tribal demography.
• Highly fond of music, their dance forms are rich in diversity and creativity.
• Their costumes and musical instruments are visually captivating.
• Instruments include:
  • Mandar
  • Nagara
  • Thechka
  • Ghanti
  • Tirio
• Their dance traditions are observed all year round, with no celebration considered complete without music and dance.
• Some songs are performed without instruments or dance.
• Besides Kudukh songs, Nagpuri (Sadri) songs are also widely popular among Oraons.
• W.G. Archer and Dharmdas Lakra have collected many Oraon folk songs as evidence of this musical richness.
• Many wedding songs and ritual songs are composed in both Kuduk and Nagpuri languages.
• Due to their long association with the Sadans, Mundas, and Kharias, cultural cross-influence is natural.
• Dance formations usually involve women forming lines, joined by holding hands or shoulders. Men may join as well.
• Dance movements are often symbolic and aesthetic. For instance:
  • Totakana – stepping two steps back quickly.
  • Langdana – moving forward with grace.
  • Holding hands or shoulders in a line is called Jodna.
• The Mandar player holds a central role in setting rhythm and guiding the dance.
• Today, even women have started playing Mandar in the Oraon community.
• Prominent Oraon dances include:
  • Phar
  • Khadijadi
  • Jethwari
  • Ropa
  • Karam
  • Turga
  • Damkach
  • Jhumair Dodong
  • Ghudhiya
  • Surgujiya
  • Cha Tutta
  • Deshwari
  • Khaddi Lujki
  • Udariya
  • Jethwari Lahsua
  • Gharaghdiyawari Thadhiya
  • Asari
  • Angnai
  • Chali
  • Chali Riyo Re
  • Karam Mairi
  • Birinjhiya

Musical Instruments of Jharkhand

• Music and dance are vital to Jharkhand’s cultural and social life.
• A local proverb aptly states: “To walk is to dance, and to speak is to sing.”
• Musical instruments have been used since ancient times for festivals, weddings, worship, and community celebrations.
• Instruments are mostly handcrafted from local materials and hold great cultural value.
• Essential instruments like Mandar, Nagara, and Bansuri are considered the soul of Jharkhandi music.
• Instruction in playing instruments traditionally takes place in Akhara, Dhumkuriya, or Giti-Ora.
• The Akhara serves as both the training ground and the guru.
• Rhythm (taal) is the backbone of both songs and dance movements.
• Women traditionally play light instruments like:
  • Ghungroo
  • Thechka
  • Kartal
• Heavier instruments such as Nagada, Dhaak, Dhol are usually played by men.
• Even lightweight instruments like Flute, Shehnai, Kendra, and Tuhila are generally off-limits for women.

Classification of Instruments (According to ‘Sangeet Ratnakar’ by Sharangdev)

1. Tantu Vadya (String Instruments)
   • Sound is produced using strings made of silk, gut, metal, or other fibers.
   • Two types:
     • Played with fingers, sticks, or plectrums – Kendra, Bhuaang, Ektara
     • Played with bows over a leather base – Sarangi-like instruments
2. Sushir Vadya (Wind Instruments)
   • Played by blowing air – Bansuri, Madan Bheri, Shehnai, Tumri (Bin), Singha
3. Avanaddha Vadya (Percussion Instruments)
   • Made of stretched leather – Nagada, Mandar, Dhamsha, Dhol, Chang
4. Ghan Vadya (Solid Instruments)
   • Made of metal, produces sound by striking – Kartal, Mandira, Jhanjh, Thala