|
|
| |
|
|
|
It is
interesting to have a look into the basic structure of some of these
instruments as it reflects a great deal on the musical ingenuity of
the folks. |
|
|
|
Ghoomar
The ghoomar is an exclusive dance of the Rajput ladies in which they
whirl and move in a circle to the accompaniment of a kettledrum.
Moving round, sometime anti-clock-wise and sometime clockwise, also
gyrating at times individually, they unite hands, and with measured
steps and various graceful inclinations of body, beating palms or
snapping fingers at particular cadences, sing some lilting songs.
With the rising tempo of the drum and the accompanying music towards
the climax, participants separate themselves into pairs and swirl
swiftly about their axis, their swaying colorful garments adding
much to the great spectacle.
A new bride, on being welcomed to the home of her husband, too is
expected to dance the ghooma as one of the rituals of the new
marriage.The ghoomar is performed generally in the privacy of homes
(rawala). |
|
|
|
Sapera Dance
This most sensuous dance performed by the Kalbeliya (Snake-charmar`s
community). The sapera dancers wear long, black skirts embroidered
with silver ribbons. As they spin in a circle, their body sways
acrobatically, so that it is impossible to believe that they are
made of anything other than rubber. As the beat increases in tempo,
the pace increases to such a pitch that it leaves the viewer as
exhausted as the dance.
|
|
Terah-Taali
Terah thirteen cymbals are used to give rhythm to the intricate
movements of the performer and to provide a synchronous pulse to the
accompanying musical instruments as well as the devotional singing,
is a bewitching performance. Nine cymbals are fastened on the right
leg, seven between the knee and the ankle, one on the instep, one on
the big toe, and each on both the arms, while the performer or
sometimes two, sit in front the heroon housing the image of the
legendary Ramdeoji along with the accompanists playing on chutara
and khartla, singing songs in adoration of the saint. To begin with,
the accompainsts chant in slow rhythm and the performer streching
the right leg a little, starts striking the cymbals in hands against
those tied up at different places. With the increase in the tempo,
the performer stirred into rapid lively movement weaves some
intriguing patterns by changing the sequence of the strikes and
embellishments in the rhythm. The magnificence of this grandiose
spectacle lies in the simultaneity of the swift and elegant rocking
motion of the performer- leaning, inclining and swaying back and
forth of the torso, while striking tinkling cymbals with great
precision, as if in a hypnotic trance.
|
|
Kachchi Ghodi
The folks also enjoy a dance, largely associated with marriage
festivities called kachchi- Ghodi. Performed mainly by the men-folk
of the Bavariia, kumhar and Sargara communities, it has its roots in
the martial traditions of Rajasthan. Four to five persons in the
attire of a bridegroom are presented as if riding horses. The body
of the dummy horse is made up of two bamboo sticks and two baskets
covered with trappings and a tastefully decorated wooden head, while
a little jute fibre makes its tail. The rident riders in flowing
colorful garments move on the stage majestically from one end to the
other, enact a battle scene elegantly brandishing their swords in
the air; and make the toy horse seem sometimes as galloping or
cantering, and sometimes rearing and prancing to the accompaniment
of the dhol, jhalar, bankia, or to the songs by the women. The dance
concludes with some vigorous movements synchronal with the
gallopadic tunes of the musical aids. |
|
|
|
|
|
|
