Rajsthani Folk Dance Music the dances of Rajasthan are so inviting and engaging that they are bound to induce you to tap a foot or two along with the dancers. Rajasthani dances are essentially folk dances tracing their origin to rural customs and traditions. What is more interesting is that keeping alive the numerous dance forms are not the professional dancers but the ordinary rural men and women of Rajasthan. The dancers practicing these dance forms are, till date, religiously following the age old traditions and that’s where, the beauty of these dances lies. Apart from the simple expressions and daring movements that add beauty to the dances, there are the vibrant and colorful costumes adorned by the dancers. For the dancers of Rajasthan, the Thar Desert is the centre stage which enhances the beauty of the dances at the backdrop of the setting sun. Some of the folk dances of Rajasthan are illustrated herein.
Expositions of stillness of the desert evening and the upsurge of life in the short-lived rainy season or helix are filled with rhythmic dance found in almost limitless variations in Rajasthan. The colourful people of Rajasthan live life to the hilt. After hard work in the remorseless, harsh desert sun and the rocky terrain, they seek a relief from their exhausting work by letting themselves enthrall in gay abandon. Their evocative and soulful music provides the perfect accompaniment to their vigorous and unsophisticated dancing.
The Thar Desert of Rajasthan comes animate when its dancers take the center stage. Rajasthan has great variety of dances, which are simple expressions of jollity and festivity. The dancers, the dances and costumes have made Thar the most colorful desert in the world. Each province adding its own form of dance styles and performer. There are a dance that follows a lineage of age old traditions, adhere to sacred consequence, display their daring attitude as well as complimenting various fairs and festivals.
Rajasthan’s Ghoomar Dance, a community dance for women performed on auspicious occasions. Gair Ghoomar, Raika, Jhoria and Gauri are particularly of Bhil tribe. Gair is performed on Holi but only by the men folk. Chari dance, with pots on the base and a lighted lamp, is popularly performed on marriage occasions or on the birth of a male child. Kalbelia dance is of the kalbelia tribe, the snake charmers. With numerous pots on the head, women surpass the balancing act in the Matka-bhawai. Terah taali, is a ritual for Baba Ramdev, a dance with thirteen manjiras. Other dances are Kachhi-Ghodi, Kathputli (the puppet dance), Fire dance, throb dance and various others pertaining to the particular tribes. Kathhak, a popular dance form being imported from Uttar Pradesh have been rejuvenated by the rajputana courts, with a style and theme of its own.
Simple, spur-of-the-moment, dancing is seen in their fairs and festival in the ‘kudakna’ of the ‘meena’ boys, the dancing, which goes with the ‘rasiya’ songs of ‘Braj, and the dancing by women and men where the women lug a pot or a lighted lamp on their head. In the ‘charkula’ dance of ‘Braj, an intricate lampstand replaces the single lamp.
Traditionally, out of bound of men, this dance form was performed solely by Rajput women on auspicious occasions. Only the women perform it with their faces covered by a veil. They dance while singing traditional songs and perform circular movements gracefully and charmingly.
The popular ghoomar is the characteristic dance of the Bhils although it is especially associated with the royal ladies now.
As Bhils have remained loyal to the side of the Kachhwahas.The ghoomar dance is one of the legacies that they passed on to the Rajput royalty. Derived from the word ghoomna (pirouette), this is a very simple dance where the ladies, dressed in resplendent voluminous ghagras, move smoothly and gracefully in circles. The accompanying songs are sung alternately by both men and women, as the dancers move both clockwise and anti-clockwise. The effect of the free play of the folds of the ample and colourful ghagra is dazzling.
Although this is essentially a group dance, sometimes performers show-off their skill by dancing independently also.
The Ghoomar dance is a very famous and a community dance of women in Rajasthan. It is performed on various auspicious occasions like fairs & festivals. It is called as `Ghoomar`, from the `ghoomna` of Ghaghra i.e. the flowing of Ghaghra, a long skirt of the Rajasthani women. There is an amazing grace as the skirt flair slowly while the women folk twirl in circles, their faces covered with the help of the veil. The performers in Ghoomar dance sway their colorful ghagras that are rich in embroidery work and it is also embellished with mirror-work.
The Ghoomar dance is the characteristic dance of the Bhils and a community dance of the Rajputs, also which only the women traditionally perform. It is considered as one of the traditional rituals among this community. So, on the occasion of marriage, a bride is expected to dance Ghoomar after being welcomed at her husband`s home.
The ochre expanse of the Thar Desert of Rajasthan comes alive with the visual relief of its brightly dressed inhabitants; and when its dancers take the center stage, you just cannot stop tapping your feet. The Ghoomar Dance Rajasthan is one of the most popular folk dances in Rajasthan.
Rajasthan’s Ghoomar DanceThe performing arts of Rajasthan are in fact very rich in their traditional background and speak of a race that have passed through stages tribal primitiveness to move on to a valiant feudalism triggered by the rise of the Rajputs as a class of royalty.
Rajasthan has great variety of dances, which are simple rustic expressions of celebration and festivity. The dancers, with their vibrantly colored costumes have make Thar the most colorful desert in the world with each region adding on to the tradition, its own form of dance styles and performers.
The dances of Rajasthan trace religious traditions, royal legends and myths, while some other are performed with the simple idea of celebrating a particular festivity or fair.
The popular Ghoomar Dance in Rajasthan India is the characteristic dance of the Bhil tribe. However, it is largely associated with the royal ladies of Jaipur, who perform it on certain auspicious occasions. The Kachhwaha Clan of Rajputs who ruled Jaipur, defeated the Bhils and later acceded to a peaceful coexistence. It is therefore normal that the royalty would pick up some of the Bhil traditions and practices. The Ghoomar dance is a essentially a women’s dance performed by the women for exclusively ladies’ gatherings. The women performing the Ghoomar Dance Rajasthan dance in circles.
Rajasthan’s Ghoomar DanceThey are dressed in the traditional ghaghra and choli with chunaris. They deck up in traditional silver jewelry and glass bangles. The Ghoomar is performed during women’s gatherings like the ritual of haldi during a wedding, or to entertain a queen in her personal quarters, etc.
The Bhils were an indomitable war-like tribal race. Initially they made the highways and roads a dangerous place for Jaipur’s traders and commoners. Whenever the Kachhwahas tried to discipline them, they simply disappeared into the nooks and corners of the Aravallis which have been their home for centuries. Realizing the futility of this exercise, the Kachhwahas sued for peace and exempted the Bhils were from paying tribute which was however, not a very big deal since the Bhils were most unlikely to pay. In any case, after this incident, the Kachhwahas accepted the Bhils as friends of the royalty.
Women from any age group, may it be the young or old can participate in Ghoomar dance. There are simple swaying movements with special kind of footwork, to convey the spirit of any auspicious occasion. Sometimes this dance may continue for hours or the whole night. While dancing, the dancers move in a circular direction with clockwise and anti-clockwise steps. The performers sometimes unite their hands and even clap their hand in-between. The performers move gracefully on the beat of the songs in synchronizing steps. As the tempo of the dance increases, the dancers swirl fleetly.
This traditional dance form requires lots of skill and patience as this dance is performed with pots on the head and lamps in the hand of the dancers. In such a state, the dancers perform several flexible and graceful movements of the body. This dance is performed on gay occasions, like marriage or birth of a child.
“This is a famous dance of females belonging to gujjar community of Kishangarh. These ladies carry brass pots on their heads balancing it to perfection. Often these pots are kept ignited with the cotton seeds dipped in oil. These lit pots display beautiful effect in the dark night.
This dance does not have any particular movements except balancing the pots on their heads. These ladies dance like ghoomar. Instruments played are dhol, bankiya and thali. This dance is a significance of goodness and is known as a welcome dance also.
Gujjar ladies wear big nose rings, on top of their heads they wear khol(define) of coconut. Sampan ladies wear gold ornaments, Hansli, timniya, mogri, punchi, bangdi, gajra, armlets, karli, tanka, navr are the main ornaments. “
Dancers choreograh deft patterns with their hands while balancing brass pots on their heads. The performance is made more picturesque with the flames from cotton seeds set a alight, so that the bobbing heads create streaks of illuminated patternsRajasthan’s Chari Dance as they move effortlessly around the floor.
Water vessels topped with lighted lamps are balanced on the head. This dance is performed by women of the Mali caste to celebrate a marriage or the birth of a male child. Gentle head movements are a must in this dance.
As the name resembles, Chakri, means ‘Chakkar’ (Circle) rotation in hindi lang. Chakri is one of the most popular folk dance of Kanjar tribe. Kanjar tribe inhabited in some parts of Kota and Baran district of Rajasthan.
Chakri Dance is performed in almost all the marriages and festival in the Haroti region of Rajasthan. Chakri dance is performed exclusively by the womenfolk of Kanjar tribe and it is also their main source of livelihood.
Bhavai is one of the traditional folk dances of Rajasthan. This is a very difficult form of dance and can only be performed by skilled artists. This dance basically involves women dancers balancing 8 to 9 pitchers on their heads and dancing simultaneously. This nail biting , suspenseful dance, the well skilled dancers balance a number of earthen pots or brass picthers and then sway with the soles of their feet perched on the top of a glass and also sometime on the edge of a naked sword or on the rim os a brass thali (plate) during the performance.
As one can see a woman puts on vertically arranged vessels on head and skillfully balances them while executing dances movements in various ways. This act was traditionally performed as a vow for some sort of mediation by god or goddess by individual male or woman in villagers. But now it has become a skill for dance and moved to little acrobatics. There are particular groups which traditionally attached to this from of dance.
The songs sung with the dance comes from general repertoire of folklore. Desire for fast tempo, rhythm makes it interesting
One of the most spectacular performing arts of Rajasthan, Bhawai Dance Rajasthan is a traditional folk dance that can be traced to the feudal era. A thrilling pot balancing dance of the snake charmer tribe, Bhawai or Bhavai is performed with immense skill. This dance form showcases the art of dancing and gyrating even while balancing many articles and items on one’s head.
Bhawai Dance Form Rajasthan India is mainly performed by veiled women dancers balancing as many as seven or nine brass pitchers on their heads as they dance nimbly, often pirouetting and swaying with their feet resting atop a glass or on the edge of a sword.
Bhawai or Bhavai is the traditional folk dance of Rajasthan and is one of the nail biting, suspenseful dances of the state. Performed with great skill it is the art of dancing and gyrating even while maintaining a fine balancing act and poising many articles and items on one’s head. Jats, Bhils, Raigars, Meenas, Charmars and Kumhars are the tribes and clans that promote the growth of this folk art. The Kalbelia tribe of the snake charmers is especially adept in this skill of balancing and he womenfolk of this clan perform a sprightly saltation while holding as many as seven to eleven earthen urns on their head.
Rajasthan’s Bhawai DanceThe women folk of these tribes are used to such balancing precision due to their endeavor in the parched desert areas. A number of such urns and pots are easily carried across a distance in this fashion by the Rajasthani women who transport water from the wells/oases to their homes. Believed to have originated in the neighboring state of Gujarat, Bhawai was soon picked up and adapted by the local tribal men and women who imparted the dance a distinctive Rajasthani essence.
To give the dance a climactic turn, the performer not only balances the pots on her head but also climbs atop a plate (thali) placed on brass tumblers. The thrill comes from the fact that even a slight asymmetry can easily upset the show. The more venturesome dancers take to performing the jig on broken glass or a sword. Sometimes a dancer also balances a ‘puja thali’ (a plate holding the common items of worship) on her head.
The accompaniment to the dance, Bhawai is provided by the men singing melodious songs and by instruments like dholak, manjeera,pahkwaja, sarangi and the bhungal.
This fast dying out folk tradition, Bhawai, has been revived by the Government’s constant promotion and by the efforts of private institutions such as the Aarangan Theatre Group and the Bhawai Lokkala Sansthan of Rajasthan. bhawai combines the nimble fineness of the Rajasthani women and their exemplary skill in such balancing acts and dance.
Rajasthan’s Bhawai DanceRajasthani tribes and clans like the Jats, Bhils, Raigars, Meenas, Charmars and Kumhars promoted the growth of Bhawai Dance. The Kalbelia tribe of snake charmers is the most proficient in the skilful balancing act of Bhawai Dance Rajasthan. The womenfolk of this clan can perform a sprightly salutation even while balancing up to seven to eleven earthen urns on their head. It is believed that these womenfolk are adept at such balancing precision mainly because they have to venture out a lot in the parched desert areas. Quite a few such pitchers and pots are effortlessly carried across a distance in the same fashion by Rajasthani women in order to carry water from the wells or oases to their homes.
Originally believed to have originated in the neighboring state of Gujarat, Bhawai Dance Rajasthan was soon mastered by the local tribesmen and women in Rajasthan, who further added to the dance a distinctive Rajasthani essence.
An absolute thrilling act to watch for viewers, Bhawai Dance in Rajasthan India is often given a climactic turn when the performer not only balances the urns on head but also climbs atop a plate placed on brass tumblers. There is a sense of cutting edge suspense involved with Bhawai Dance Rajasthan because, even a slight asymmetry can spoil the show. Some more adventurous dancers even perform the jig on broken glass or a sword. Sometimes a Bhawai dancer can also be seen balancing a ‘puja thali’ (plate holding common items of worship) on her head.
Rajasthan’s Traditional Dance Bhawai is accompanied by melodious songs sung by the men folk to the beats of instruments like dholak, manjeera,pahkwaja, sarangi and the bhungal.
The Terah Taal dance is a beautiful musical dance in which the dancers place manjeeras (little brass discs) on their waist, legs, hands and forehead, at least thirteen places on their body. This dance is performed as a kind of ritual to please Baba Ramdeo, a local deity of Rajasthan.
Teratali is a devotional dance form related to the phenomena of Ramdeo’s worship. Ramdeo lived in 16th century and emerged as god for down-trodden and hierarchically low castes. He is worshipped in large tracts of Rajasthan, Punjab, M.P. and Gujrat.
Teratali dancer tying Manjiras on her leg & she is dancing while sward in mouth
Teratali is a dance form where women tie good number of Manjiras on their body and play them with dexterity with hands. They sing in praise of Ramdeo and his miracles.
The group of Teratali dancers is known as Kamad. The families of the Kamad community of Nagore district have decided not to dance and that has barred many female dancers from performance skills. They continue to sing devotional songs for their patrons.
They presently work as priests of Ramdeo shrines and temples in the villages.
They use Tandura or Chautaro as drone and rhythm instruments. Manjira and Tal are their main dance instruments. Dholak provides them with rhythm. The songs are always of devotional nature.
Performed by the members of the Kamada tribe, Terah Taal Dance, Rajasthan is one of the ancient performing arts of Rajasthan. Performed with Manjeeras and other metallic instruments, Terah Taal Dance, Rajasthan is one of the most entertaining dance forms of Rajasthan and attracts tourists from all over. Indianholiday.com gives online information about Terah Taal Dance, Rajasthan and other tourist attractions of Rajasthan and other parts of India.
Terah Taal Dance in Rajasthan in India is one of the beautiful folk dance performances that attract tourists from all over. The Terah Taal Dance, Rajasthan is performed by the Kamada tribe who are traditional snake charmers. Besides this it is also performed by the tribes of Mirasi, Bhand, Dholi, Bhat and Nat. The Terah Taal Dance in Rajasthan however is also an important ritual in the Baba Ramdev temple at Runecha.
Terah Taal Dance in Rajasthan is one of the excellent folk dances of Rajasthan. The beats of Terah Taal Dance in Rajasthan remind us of Rajasthan’s rich cultural heritage and folk traditions. The Terah Taal Dance, Rajasthan generally performed along with Manjeeras and other metallic discs which are made of bronze, brass, copper and zinc.
Rajasthan’s Terah Tali DanceDuring the Terah Taal Dance, Rajasthan the music of the Ektara accompanies the dance performance. Manjeeras are tied to thirteen different parts of the parts of the body. The sounds of these Manjeeras produce the Terah Taal or the thirteen beats.
Often during the Terah Taal the dances with swords are also performed. The Terah Taal Dance, Rajasthan requires accuracy and precision which can only be done by the professional dancers who participate in this beautiful dance performance. On your tour to Rajasthan, you can get a glimpse of the Terah Taal Dance, Rajasthan and attracts tourists from all over.
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.
Rajasthan’s Terah Tali DanceTo 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.
This ancient dance form is performed by women of the Kalbelia community who, by profession, are snake charmers and trade in snake venom. This ancient dance form has dance movements similar to the movements of the serpents and hence, even the costumes are black colored. Interestingly, women dance on the music produced by the ‘Been’, an instrument used to charm the snakes. This is an extremely sensuous dance form which completely enthralls the onlookers.
Kalbelia is a nomadic community who sometimes introduces themselves as Naath, Jogi, Sapere and Sadhu. Their family business is to catch snakes. This comes in handy as they showcase a number of tricks using these snakes while giving spectacular shows in nearby villages and qasbas and at their Jajmaan’s place and thus earn livelihood for themselves. As the time changed they have made permanent lodgings outside the cities.
Pungi is a special instrument of Kalbelia community. They catch snakes with the help of pungi. They enchant the snake by playing this instrument and then catch it. They believe that the snake can never bite them and they also make ‘Surma’ using the snake’s poison . Due to the use of Surma they believe that they will never lose their eye sight.
The Kalbeliyas, is a snake-charmer community from Rajasthan, which performs the Kalbeliya dance. They rely heavily on this dance performance for their living. The Kalbeliya women dancers wear long, black coloured, drindled-skirts heavily worked with embroidery and light-coloured thread along with small pieces of mirrors. This costume draws the attention in a somewhat strange way.
Kalbeliya is one of the opulent dance forms of Rajasthan. It is performed by the snake charmers community. Kal means snake and beliya means friend. Snakes are really friendly to them and one cannot see any fear in the people belonging to this community regarding snake catching. They are expert in catching all types of snakes, removing the poison from the snakes, removing the skin , carrying them on their shoulders. These are all daily routine jobs for them. At the time of wedding along with the other items snake is one of the important gift items which is given as a souvenir. No marriage is complete without it.
Rajasthan’s Kalbeliya DanceFemale folks of this community are excellent at performing the dance. Their flexible bodies are compared to the sleek and flexible bodies of snakes. As the snakes don’t have any bones in them and this is what makes them so flexible in their movements so are the movements of the kalbeliyans. They are too excellent in their performances. Spinning around is the main act which they do with all their flexibilities and their speed works on the beats.
The dance costume is very attractive. They wear long black skirts decorated with silver ribbons or gota (local language word for the silver ribbon), danglers, bead strings, traditional bangles. . They dance with their wale covering their face but then also the dancers please the viewers with all their movements. “
The dance is usually performed by a group of two women standing in the center of the stage. After this pair, another pair of women Rajasthan’s Kalbeliya Dancecome & dances in the same way. As the women dancers move in a circle, while dancing, their body sway acrobatically, leaving an impression that they are made up of some flexible material like rubber. The beat of the dance increases in tempo and also there is an increase in their pace of the dance. This dance performance leaves viewer as exhausted as the dancer. The overall performance consists of many fearful actions performed by dancers. The performance relies heavily to the music of `been` and `duff`. The actual fun of their performance can be enjoyed at the gatherings somewhere around the festival of Holi.
The dancers are required to constantly decrease the tempo of their gyrations and move to the corners to catch their breath while two other dancers would spin around to take their places in the center. The specialty of this dance is that the dancers perform it in a beautiful synchronized rhythm that for a moment the audience feels they are the same dancers that continue throughout the performance.
The Mayur or peacock dance is created from an episode in the love lore of Radha and Krishna: Radha, pining for Krishna after a brief separation, decides to console herself by the sight of peacocks, whose feathers Krishna wears on his crown, at the Mor Kuti pavilion. Krishna, knowing her mind from afar, playfully causes the peacocks to disappear, leaving Radha distraught. He eventually yields to Radha’s entreaties and himself appears in the guise of a peacock to dance with his beloved.
This dance belongs to the Braj region of Uttar Pradesh with its core at Mathura and Vrindavan, places associated with Lord Krishna.
|MATHURA MAYUR DANCE|
– Vrindavan Is Existed In The Centre Of That Great Land Which Inspire Many Great Saints And Philosophers And Has Also Kalidah The Place Where He Enslaved The King Of Poisonous Snake (Naga) In The Midst Of Kalindi (Yamuna River) Besides Making Each One Of The Thousands Of Gopikas To Think Themselves As Radha.
Braj Holi is slightly different where celebrations start a week earlier than the rest of India. This is the season where the men from Nandagaon (Krishna’s village) raid Barsana (Radha’s village) to raise a flag on Shri Radhikaji temple. Women from Barsana greet them while beating them with long wooden sticks and colored water where the men have to be well padded as they cannot retaliate. Their only ammunition is water guns which they use to drench ladies and distract them. This Holi festival is also called Lathmar Holi of Mathura.
The land where Lord Krishna was born and spent his youth, has today little towns and hamlets that are still alive with the Krishna- legend and still redolent with the music of his flute. Mathura, a quiet town on the River Yamuna was transformed into a place of faith after Lord Krishna was born here. Vrindavan, a village – once noted for its fragrant groves, is where he spent an eventful youth. There are numerous other little spots in the area that still reverberate with the enchantment of Lord Krishna.
Uttar Pradesh’s Mayur DanceThe city of Mathura, in Uttar Pradesh, the nucleus of Brajbhoomi, is located at a distances of 145 km south- east of Delhi and 58 km north-west of Agra. Covering an area of about 3,800 sq. km. today, Brajbhoomi can be divided into two distinct units – the eastern part in the trans-Yamuna tract with places like Gokul, Mahavan, Baldeo, Mat and Bajna and the western side of the Yamuna covering the Mathura region that encompasses Vrindavan, Govardhan, Kusum Sarovar, Barsana and Nandgaon.
The land of Braj starts from Kotban near Hodel about 95 km from Delhi and ends at Runakta which is known specially for its association with the great poet Surdas, an ardent Krishna devotee.
The embodiment of love
Revered as the most endearing of the Hindu gods, Shri Krishna is fondly remembered for his charm, his mischievous pranks and his extraordinary exploits. As the charioteer and preceptor to Arjun in the famous battle of Kurukshetra, he revealed to the world the supreme truths of life. Shri Krishna, an incarnation of Lord Vishnu, was born in the Dwapara Yuga as the eighth son of the Yadava prince Vasudev and his wife Devaki. To save him from his maternal uncle Kansa wrath, the infant Krishna was spirited away soon after birth to Gokul, the village of the gopas (cowherds) in Braj. It was here that he grew to manhood, in the tender care of his foster parents Nand and Yashoda in the happy company of the cowherds.
A long line of picturesque Ghats – with their steps leading to the water’s edge, archedUttar Pradesh’s Mayur Dance gateways and temple spires extending along the right bank of the River Yamuna, emphasis the sacred character of the town of Mathura. The birth place of Lord Krishna, “the best known, best loved and most complex of Lord Vishnu’s manifestations” – Mathura is today an important place of pilgrimage. The city stretches along the right bank of the Yamuna and the continuous line of Ghats along the river makes a splendid spectacle when viewed from the opposite bank.
Today, Mathura is a city of temples and shrines abustle with the thousands of devotees who come to visit the city of Lord Krishna. A splendid temple at the Katra Keshav Dev marks the spot that is believed to be the Shri Krishna Janmasthan – the birthplace of the Lord, by his devotees. Another beautiful shrine, the Gita Mandir, located on the Mathura -Vrindavan Road has a fine image of Shri Krishna in its sanctum. The whole of the Bhagwad Gita is inscribed on the walls of this temple.
The most popular shrine at Mathura is the Dwarikadhish Temple to the north of the town, dedicated to Shri Krishna. This was built in 1815 by a staunch and wealthy devotee, Seth Gokuldas Parikh, Treasurer of the State of Gwalior.
There are about 25 Ghats in Mathura today, of which the most important is the Vishram Ghat. Where according to legend, Shri Krishna took his rest after killing Kansa.
It is at Vishram Ghat that the traditional parikrama (circumbulation of all the important religious and cultural places of the city) starts and ends. The 12 Ghats to the north of Vishram Ghat include the Ganesh Ghat, Dashashwamedh Ghat with its Neelakantheshwar Temple, Saraswati Sangam Ghat, Chakratirtha Ghat, Krishnaganga Ghat, Somatirth or Swami Ghat, Ghantagharan Ghat, Dharapattan Ghat, Vaikuntha Ghat, Navtirtha or Varahkshetra Ghat, Asikunda ghat and Manikarnika Ghat. To the south, there are 11 Ghats – the Guptatirth Ghat, Prayag Ghat marked by the Veni Madhav Temple, Shyam Ghat, Ram Ghat, Kankhal Ghat, the site of the Janmashtami and Jhula festivals, Dhruva ghat, Saptrishi Ghat, Mokshatirth Ghat, Surya Ghat, Ravan Koti Ghat and Buddha Ghat.
The Vishram Ghat is lined with elegant temples and some of Mathura’s most important shrines are found here – the Mukut Temple, Radha-Damodar, Murli Manohar, Neelkantheshwar, Yamuna-Krishna, Langali Hanuman and Narasimha temples. The baithak of the great Vaishnava Saint, Shri Chaitanya, is also near by.
The aarti held at the Vishram Ghat each evening is not to be missed, for the little oil lamps that are floated on the river set the placid water as sparkle with a myriad flickering lights.
No pilgrimage to Mathura is complete without a visit to its kunds. Tradition has it that there were 159 ancient kunds in all. Of these only four survive and can be seen. There is the elegant shiv Tal, the more famous Potara Kund associated closely with Lord Krishna besides the Balbhadra and Saraswati kunds.
The town has a number of Shaivite temples as well. The chief among them being the Bhuteshwar Mahadev Temple to the west of the town, the Gokarneshwar Temple in the north, the Rangeshwar. Mahadev Temple to the south and the Pipaleshwar Mahadev Temple to the east.
Mayur dance is created from an episode of love between Radha and Krishna. This dance belongs to the Braj region of Uttarpradesh. In that Radha , pinning for Krishna after a bried sepration, decides to console herself by the sight of peacocks, whose feathers, Krishna wears on his crown, at the Mor Kuti pavillion.
Krishna Knowing her mind from afar, playfully causes the peacocks to disappear, leaving Radha distraught. He eventually yields to Radha’s entreaties and himself appears in the guise of a peacock to dance with his beloved.
– From Many Years In All Parts Of India. This Is Cultural Organ Of Mathura In The State Of Up Many Trained And Experienced Artist Of Dramatic Art Presents The Live Shows Of Following
– Worshiping Of Brij Bhoomi, Krishna And Radha Through Musical Songs In Brij Bhasha (Spoken In Brij).
– When Radha Ji Wants To See Dance Of Peacock, To Fulfil Her Desire, Lord Krishna Portrays Himself As Peacock And Performs Dance Like Mayur.
– Chakra Nritya Is A Representation Of Lord Vishnu’s Chakra (Sudarshana Chakra) Where A Heavy Brass Plate Is Revolved Only On Index Finger And Thrown 15-20 Feet Above In The Air And Rebalanced Similar To Its Previous State And Same Action Is Repeated Many A Times.
– It Is A Folk Tale Of Uttar Pradesh In India Of Times When Radha (Paramour Of Shri Krishna) Was Born About Five Thousand Years Back In The Village Of Barsana. The People Of That Place Put Many Lamps On The Flat Wheel Of Chariot. Then They Danced With The Chariot Wheel On Their Head. Even Today The Farmers Of The Area Enjoy Similar Tradition Just Before The Harvesting Season. Please Note The Wheel Is Called Charkula In The Local Dialect And It Usually Weighs About 40 Kgs, Hence The Name Of Charkula Dance.
This is an extremely difficult dance to perform which is carried out by the Banjara community. The dance involves breathtaking fire stunts wherein the dancers perform by holding fire rods in their hands and filling up their mouths with kerosene. The fire rods are also moved on their heads and legs by the dancers.
Rajasthan’s Fire Dance the Jasnathis of Bikaner and Chum are well known for their tantric powers throughout Rajasthan and this dance is the marvelous example of their lifestyle. The dance takes place on a large ground, which is spread with live wood and charcoal. On this ground, the Jasnathi men and boys jump on to the fire with the accompaniment of drum beats.
These drumbeats give a tempo for the performance. This music gradually rises & sets a dance in a fast tempo. At a certain point, it reaches at a crescendo, where the dancers seem to be in a trance like state. The dancers perform their actions as if they are blessed with a divine protection. The performance on a large bed of flaming coals is considered as a specialty of this region. These devotional & exciting performances are usually seen during the late nights of winter.
Some of the traditional folk dance of Rajasthan by the Banjara Community is also called the same. But this dance is completely different from the above-mentioned performance. Here, the dance is performed around the Fire. The person dancing usually takes two flamed sticks in his hands and fills up his mouth with kerosene oil.Rajasthan’s Fire Dance With the accompaniment of some dancing steps, he throws the oil over the lamps.
There is divine protection to be offered, the Jasnaiths of Bikaner and Churu must be responsible for cornering most of it. These dancers perform on a large bed of flaming coals, their steps moving to the beat of drums that rises in crescendo till the dancers appear to be in a near-hypnotic state. And no, they’re not likely to have any blisters to show for it. These devotional performances are usually to be seen late on a winter’s.
Gavari dance of Rajasthan is a tribal dance of the famous Bhil tribe. This is mainly a tribal dance drama and is beautifully expressed by its troupe having many different characters. Gawari tribal dance is a running dramatical dance which go from village to village for a month. Its is great entertainment for rural population.
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– Raslila Is A Famous Art Form Originating In Braj In Uttar Pradesh In North India. This Folk Art Has Elements Of Classical Music, Dace And Drama. Raslila Is Associated With Radha And Krishna And Their Divine Love. It Is A Joyous Circular Dance Of Sri Krishna And His Playmates. Today We Have Villagers In India Taking Part In Raslila And Depicting Various Stories Of Radha And Krishna Through Dance, Music And Drama.
It Also Portrays Krishna’s Association With The Milkmaids Or Gopis Of The Village. It Shows How Krishna Casts A Spell On The Gopis Who Wanted Him To Be Their Dance Partner. Raslila Has A Basic Script Which Has To Be Followed, But It Has Enough Scope For Improvisation As Well. Though The Emphasis Of Raslila Is On ‘Darshan’ Or The Visual Appeal, It Is Important To Capture The ‘Bhava’ Or The Sentiment. This Is Done Through Music, Dance And Drama Enacted By The Actors.
The Various ‘Raasas’ Or Dramatic Flavors Like Friendship, Conjugal Love, Parental Love, Amazement, Compassion, Humour, Chivalry, Fury, Fear And Dread Are Expressed Through This Traditional Folk Form.
– “Dandiya Raas”, Which Is Performed During Navratri. In Fact, It Holds A Significant Place In Navratri Celebrations. It Is Known For Setting The Festive Mood. Dandiya Raas Is The Featured And Most Popular Dance Of Navratri Evenings In Gujarat. The Dance Form Is Not Just Restricted To Gujarat. It Is Performed In Many Other States, During The Festive Season Of Navratri. Dandiya Raas Is Performed In The Honor Of Goddess Durga. Attach Photo
– In Brij, People Enjoy Holi With Danda (A Form Of Bamboo Which Is A Little Bit Short But Very Stout), Colors (Abeer, Gulaal) And With Flowers. This Festival Is Quite Famous And Popular And Played With Great Enthusiasm. The Women Try To Strike Men With These Dandas And The Men Try To Escape And This Goes On As A Play. In Nandgaon And Barsana Holi Is Played With Sweets (Laddoo’s).
– Krishna And Radha Play Holi With Flower Petals. Several Qunitals Of Flower Petals Are Used In This Leela.
Kacchi-Ghodi, or the dummy horse dance, originated from the bandit regions of Shekhawati. The dancers are elaborately dressed, and so are the dummy horses, which perform sword fighting sequences with utmost vigor. A ballad singer usually sings the tales of chivalrous men. This dance form is generally performed on gay occasions.