Female Folk Dances
Dances of Punjab
It was in the jungles of Punjab where the first rays of civilization had appeared. In this respect Punjab is considered the motherland of dances. From tribals to the kings and eventually republics took shape. These changes left their seals on the sands of time and caused changes in culture also.
The exuberance and vitality of the people of Punjab are vigorously displayed in their folk dances. With the drum beat or to the tune of some other instrument of folk music, the energetic feet of the people of Punjab are spontaneously set in motion to give birth to a folk dance - an expression of the soul triumphant, an outburst of emotions.
Punjab's folk dances are replete with foreign influences. It is only in Punjab where there is no common dance for men and women.
MALE FOLK DANCES1.
Bhangra 2.
Jhummer 3.
Luddi 4.
Julli 5.
Dhankara 6.
DhumalFEMALE FOLK DANCES1.
Sammi 2.
Giddha 3.
Jaago 4.
Kikli 5.
Teeyan
Bhangra
The Bhangra is perhaps the most virile form of Indian Folk Dances. Springing from the land of five rivers, it abundantly reflects the vigor, the vitality, the leaven of exuberance, and the hilarity permeated among the rural folk by the promise of a bumper crop. The Bhangra season starts with the wheat sowing and then every full moon attracts teams of young men in every village who dance for hours in open fields. The dancers begin to move in a circle around the drummer, who now and then lifts the two sticks, with which he beats the drum, to beckon the dancers to a higher tempo of movement. They start with a slow movement of their feet. As the tempo increases, the hands, the feet and in fact the whole body comes into action. They whirl round and round bending and straightening their bodies alternatively, hopping on one leg, raising their hands, clapping with their handkerchiefs and exclaiming Bale Bale! Oh Bale Bale to inspire themselves and others to the abandon of the dance.
At intervals the dancers stop moving, but continue to beat the rhythm with their feet. One of the dancers come forward near the drummer and covering his left ear with his palm sings a boali or dholla, derived from the traditional folk songs of Punjab. Picking up the last lines, the dancers again start dancing with greater vigor.
In addition to a drum, chimta-musical tongs and burchu and sound of the beats from earthen vessels are used as accompanying instruments. The costume of a Bhangra dancer consists of a bright, colored Patka on the head, a lacha or lungi of the same color, a long tunic and a black or blue waistcoat and ghunghroos on the ankles. Some dancers also wear small rings (nuntian) in their ears.
When the wheat crop is nearing ripening, the breeze softly touches the surface of the golden crop creating a ripple and reckoning the sickle, when the hard labor of the farmer is about to bear fruit, it is time of rejoicing and merry making and through Bhangra their emotions find uninhibited and spontaneous expression of genuine happiness. The Bhangra season concludes with the Baisakhi fair when the wheat is harvested.
Bhangra is considered the king of dances. There are several styles of dancing Bhangra.
Sialkoti, Sheikhupuri, Tribal, Malwa, Majha. One of the Bhangra's moves is also akin to the moves of Shiv-Tandav dance, which is danced on one leg. Damru, hand-drum is also used in Bhangra which shows that folk dances and war dances have similar parentage.
Jhummar The Jhummar is a dance of ecstasy. It is a living testimony of the happiness of men. Any time is Jhummar time especially during Melas, weddings and other major functions and celebrations. Performed exclusively by men, it is a common feature to see three generations - father, son and grandson - dancing all together. There are three main types of jhummar, each of which has a different mood, and is therefore suited to different occasionally, reason of its predominating mood.
This is also performed in a circle. The dancers dance around a single drummer standing in the center. It's costumes are the same as that of Bhangra. It is danced to the tune of emotional songs. The dance is without acrobatics. The movement of the arms only is considered its main forte. Toes are musically placed in front and backwards and turnings are taken to the right, sometimes the dancers place their one hand below the ribs on the left and gesticulate with the right hand. This dance does not tire out its performers and it is normally danced on moonlit nights in the villages away from the habitation. It is mostly danced by tribal Sikh professional acrobats and has yet not been owned by all Punjabis. The dancers of this dance let-off a sound, "dee dee" in tune with the beat of the dance which adds to its grace. This dance has also been integrated into Bhangra.
Luddi This is also a male dance of Punjab. It is danced to celebrate a victory in any field. Its costumes are simple. Only a loose shirt (kurta) and a loincloth are used. Some tie a turban, other the Patka which is somewhat like a scarf tied across the forehead, while still others join in bareheaded. This is also a dance of gay abandon. The performers place one hand at the back and the other before the face copying the movement of a snake's head. This is also danced with the drummer in the center but sometimes the dancers dance before a throng of people and keep moving forward also. This dance is more popular across the Sutlej and in Pakistan it is almost as popular as the Bhangra. This dance has an historical background and pertains to that moment in history when Punjabi Sardars had begun to rescue Indian women that used to be forcibly taken in the direction of Basra in Middle East.
This dance is also the dance of slow movements and some teachers by integrating it into Bhangra have finished its individual identity.
Jalli It is a religious dance associated with Pirs and recluses and is generally danced in their hermitages (khangahs). This dance is performed mostly in a sitting posture; sometimes it is also danced round the grave of a preceptor. A single dancer can also perform this dance. Toes are tensed in this dance. The dancer holds a thick staff in his hands and he dances by revolving it. Normally black clothes are worn by the dancer, so is his head covered with black scarf. Sometimes, the murids (followers) also the tie ghungroos (Jingling bells) around their waists like the Bhangra dancers of yore. This dance is fast disappearing.
Dhankara At least two persons are required to perform this dance, though there is no upper limit. Like other male dances it is danced in circles. The dancers hold staffs of various colors in their hands. They dance as they ply their staffs in rhythm crossing them, with each other's. This dance is either performed at the common yards or in the vanguard of marriage processions to exhibit joy. Sometimes it is also called gatka dance (dance of the dum swords). Women also dance this dance but they do so separately and not in company with men. No special costumes are worn with it; only, sometimes the dancers tie a band around their waist. It is based on only a few movements but these movements are rather impressive. Its high point is achieved when dancers sit down and cross batons. Old people, young children and flexible young men all perform this dance.
Dhumall This folk dance also has not been able to achieve the popularity of Bhangra. Of course it is a male dance and, likewise, is danced in a circle. Drum is used as the accompanying instrument; its costumes are akin to Bhangra and Jhumar.
Female Folk Dances