We Provide Langa Party Artist (Rajasthani Singer ) For Any Type Of Wedding Event In All Over India. We also provide Rajasthani folk music singers, dancer, lok dance artist booking services in all over India. Rajasthani Langa Songs Jugalbandi, Fire Shows, Puppet Shows, Wedding, Camel Elephant Horse Riding, Welcome Girls, Mehandi Girls, Caricature, Rice Painting, Magic Shows, DJ Services Semi classical Like kawali, Gazals. Udaipur Event Management Provide Langa Party booking, Langa Manganiars , Langa Instrumental Music, Rajasthani Langa Songs,Jugalbandi . Langa Folk’s party group has a mixture of traditional hereditary caste musicians of Langa and Manganiar community. Langa literally means ‘song giver’. An accomplished group of poets, singers, and musicians from the Barmer district of Rajasthan, the Langas seem to have converted from Hinduism to Islam in the 17th century. The Langa community is renowned for its musicians. Their entire team consists of members of the family, uncles, cousins, brothers, nephews; all men. The women were not allowed to perform traditionally and still are not. The women who are part of their team are professional dancers of other communities who team up with them to provide variety to the repertoire at programs. The Langa community whether in Rajasthan or Kutch has produced musicians of great acclaim. Living in a small village, formal education was not available to him.
The 17-string khamaycha is a bowed instrument. Made of mango wood, its rounded resonator is covered with goatskin. Three of its strings are goat intestine while the other 14 strings are steel.
The khartaal is a kind of castanet made of teak. Its name is derived from “Khar”, meaning hand, and “Taal”, meaning rhythm.
The dholak is a classical North Indian, Pakistani and Nepalese hand drum similar in timbre to a bongo. A dholak may have traditional lacing or turnbuckle tuning. The dholak has a simple membrane and a handle on the right-hand side. The left-hand membrane has a special coating on the inner surface. This coating is a mixture of tar, clay, and sand (dholak masala) which lowers the pitch.
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The Langas and Manganiars are groups of hereditary professional musicians, whose music has been supported by wealthy landlords and aristocrats for generations. Both sing in the same dialect, but their styles and repertoires differ, shaped by the tastes of their patrons. The monarchs of the courts of Rajput and Jaipur maintained large music and dance troupes an in an environment where the arts were allowed to flourish. Though both communities are made up of Muslim musicians, many of their songs are in praise of Hindu deities and celebrate Hindu festivals such as Diwali and Holi. The Manganiar performers traditionally invoke the Hindu God Krishna and seek his blessings before beginning their recital. At one time, the Manganiars were musicians of the Rajput courts, accompanying their chiefs to war and providing them with entertainment before and after the battles and in the event of his death, would perform at the ruler’s vigil day and night until the mourning was over.
Langa literally means song giver. An accomplished group of poets, singers, and musicians from the Barmer district of Rajasthan, the Langas seem to have converted from Hinduism to Islam in the 17th century. Traditionally, Sufi influences prevented them from using percussion instruments, however, the Langas are versatile players of the Sindhi Sarangi and the Algoza (double flute), which accompany and echo their formidable and magical voices. They perform at events like births, and weddings, exclusively for their patrons (Yajman), who are cattle breeders, farmers, and landowners. The Langa musicians are regarded by their patrons as ‘kings’.
The Sindhi Sarangi used by the Langas is made up of four main wires, with more than twenty vibrating sympathetic strings that help to create its distinctive haunting tones. The bowing of these instruments is a skillful exercise, often supported by the sound of the ‘ghungroos’ or ankle bells that are tied to the bow to make the beat more prominent.
The word Manganiyar means those who ask for alms. On different occasions, they would go to patrons’ houses and sing appropriate songs and in turn, would be rewarded. The Manganiyar community is divided into two parts, one whose patrons are Hindus and the other who have Muslim patrons. The Hindu patrons mostly belong to Bhati and Rathore communities of Rajputs while the Muslim patrons are Sindhi Muslims.
Even though the Manganiyars are Sunni Muslims by birth, their lifestyle and the way of dressing up reflect the Hindu or the Ganga-Jamana culture. They present a perfect example of communal bonhomie as for generations they have been closely linked to both Muslim and Hindu families for their livelihood. For generations, the tradition of singing and composing for occasions is going strong. Singing at their jajmaans house on various occasions is their traditional profession. Describing their jajmaans illustrious history which is full of honor and pride, is their specialty. The description of jajmaans Genealogy with the support of artists is known as Shubhraj. Such is the ability of these people that they could recite all the names of the last few generations of the jajmaans within the space of a single breath. This also includes a description of their achievements. In exchange for the above, the manganiyars were rewarded handsomely in the form of grain, wheat, goat, camel, sheep, horse or cash.
Khamaycha is the most significant instrument of Manganiyar community. It is like an ancient niche amongst string instruments which is linked with Manganiyar community for ages. Khamaycha is made up of mango wood. The big, round, hollow part on one end of it is covered with goatskin. This instrument has 17 strings out of which three special strings are made from goats intestine and the rest of the 14 strings are made up of steel. When they touch those three special strings with their special bow made from the horsehair, it produces some soul-stirring music.
Other than Khamaycha the instruments that they play are Dholak and Khartaal. Dholak is a hollow drum tapering at both ends. Both ends are covered with leather (animal skin). They use loops of rope to tighten the animal skin at the two ends. Sometimes they use traditional Dhol also.
Khartaal produces melodious musical sounds with the special movements of the hands. The four pieces of Khartaal are made up of Sheesham wood. When the Manganiyar artist plays Khartaal, it evokes a delightful combination of rhythm and the musical notes. Khartaal. The word means Khar and Taal. Khar means hand and Taal mean Rhythm. Rhythm of Hands. Khartaal is a kind of castanets, made of teak wood, and the artists hold them in both hands and perform with tremendous ease. A young man Karthal play holding it in his hands was a thrill to watch for the way he created complex percussion sounds, while his partner was playing the dholak.
The dholak is a classical North Indian, Pakistani and Nepalese hand drum. A dholak may have traditional lacing or turnbuckle tuning. The dholak has a simple membrane and a handle on the right-hand side. The left-hand membrane has a special coating on the inner surface. This coating is a mixture of tar, clay, and sand (dholak masala) which lowers the pitch and provides a well-defined tone. The wood used for the membrane is usually made of teak wood, also known as “sheesham” wood. The process of hollowing out the drum is the determination of the sound and quality of the dholak A dholak has 2 heads a small part for the high pitch, and the large part is for the low pitch and it’s pitched depending on size and tuning sounding like a bongo in playing mode.
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