Jointly Organised by The Lakshadweep Administration and South Zone Cultural Centre, Thanjavur.
Following Dance forms from LAKSHADWEEP will present in connection with Attolu Eidu 2009 from various Islands.
PARICHAKALI (Dance with sword and shield)
This is the most popular dance item among men in the islands. The dancers use wooden sword and shield to perform this dance. It reminds us of a martial art and some formations reiterate dual combats of ancient warriors. The accompanying song describes the valour of the war heroes of the past. This dance also begins with a slow note. But it gradually develops and culminates in a crescendo or agile physical movements.
KOLKALI
This is the second most popular folk dance in the islands. Only males participate in Kolkali. The forms pairs and dance in a circle according to the synchronous beating of the sticks they hold in their hands. Rhythmic folk songs accompany the dance. The dancers form different alignments slowly at first and finish in a brisk and frenzied tempo.
ULAKAMUT (Striking of the poles)
The art form demands split record accuracy and precision. Dancers sit in pairs of the floor with two long and sturdy poles, which they beat horizontally to the rhythm of a song. Two or more persons dance in between them. It is a very risky feat. A slight distraction can cause disaster. Constant and arduous practice is required to make one proficient in this dance.
KATTUVILI(Prayer to wind)
In earlier days, the only means of transport between the islands and the mainland was sailing craft called ‘Odam’. It required steady wind for taking out its journey. During lull, the crafts would drift in accordance with ocean current and fail to reach their destination.
On such occasions, ladies would assemble on a beach and sing and dance requesting the wind to come in the right direction. The wind will then fill up the beats of the women about the missing men folk who are destined to bring them bread, jewels and costumes. This has developed into ritual in the islands.
ATTAM(Free style dance)
This is a collective form of an art which is displayed without the accompaniment of any musical instrument. The kurikkal starts the dance with a song. They exhibit marvelous rhythmic body movements. This is also ends in a frenzied tempo.
KAIKOTTIPATTU
Kaikottipattu is usually performed by women inside the house or on the verandah. The participating women wear colorful dresses and ornaments to suit the occasion. The action is limited to clapping of hands to the rhythm of a song sung by one of them.
VAZHINEELAM / PURAPPAD
In connection with the marriage ceremony the bridegroom is lead to the bride’s house
by singers, his friends and relatives. On reaching the bride’s house there will be another party waiting ready to invite the bridegroom’s party singing the praise of the bride. Boththe groups continue singing alternately for a long time. Afterwards, the bride’s will welcome the bridegroom’s party to the decorated panthal / house.
BANDIYA
Bandiya Dance:- Compared to other folk dances, Bandiya is a much recent one which. was newly introduced. Women exclusively perform this. A group of young women dance to the tune of a “lava” (song) carrying a “Bandiya” (pot), which has great relevance to the social set up of Minicoy island. As per the traditional custom, the young women carry drinking water in such Bandiya to the houses of their bridegroom’s and their close relatives. This custom is still existing in Minicoy. The dress for this dance consists of a “Maulibaasw” (gown), and “Undharumundu” (blue or green dhoti worn under the gown) and a “Maudholi” (Shawl).
DOLIPPATTU
A group of men sing sitting round with musical instruments ‘Doli’ and ‘Kaimani’. Atleast 8 to 12 member will be in a team. They sing Kessu Pattu of Arabi Malayalam, Hindustani songs etc. This art form is usually performed at the ceremonies like marriage, sunnath kalyanam etc.
Silambattam
This is a very old
Martial Art Form of Tamilnadu, played by men folk, for self defence from
enemies and wild animals. The Ancient Tamil Kings used “Silambam Staves”
for attacks during war. The soldiers of foot regiments were called
“Thandu Padai” meaning - a regiment armed with Silambu Staves.
Chari Dance
In
the desert, water symbolizes survival and gathering water is an
important everyday ritual for the women, the Chari dance reflects this
simple yet all important part of their life. The dancers choreograph
deft patterns with their hands while balancing brass pots on their
heads.
Kalbelia dance
This
fascinating kalbelia dance is performed by the women of Kalbelia
community, age-old occupation being catching snakes and trading snake
venom. Hence the dance movements and the costumes bear resemblance to
that of the serpents. ancers are attired in traditional black swirling
skirts, sway sinuously to the accompaniment of pungi, dufli and
plaintive notes of the 'been' - the wooden instrument of the snake
charmers.
Maruni
It
is the most famous and oldest dance of Nepalese community residing here.
Earlier, this festival was related to the festival of Tihar, which is
the same as Diwali in North India. This festival also celebrates the
return of Lord Rama to Ayodhya after 14 years of exile. With time,
Maruni was performed even during many personal events, especially
marriages. Maruni is performed by both men and women who dress
themselves in colorful clothes, shining ornaments and and nose rings.
The dancers are usually accompanied by a clown who is called 'Dhatu
Waray'. In of the many forms of Maruni, nine unique instruments are used
with the dance and this is called the 'Naumati Baja'. The dance is still
most common during the Tihar Festival.
Although this dance is
associated with the festival of Tihar(Tyohar) or Diwali meaning
"Festival of Light", because of its popularity it is performed even on
occasions like marriages. Tihar is celebrated to mark the return of the
Hindu god Rama from exile. During this festival Maruni dancers richly
dressed in colourful costumes and resplendent with ornaments and nose
rings ceiled "dungris" go on a house to house visit. The dancers are
usually also accompanied by a clown called "Dhatu waray". Sometimes
Maruni dances are performed to the accompanist of the nine instrument
orchestra known as "Naumati Baja".
Bagrumba dance:
The
most important and attractive is the Bagrumba Dance.
This is mainly a formation dance with slow steps and outstretched hands.
About a score of girls dressed in colourful attire perform this dance
to the accompaniment of Bodo traditional musical instruments. Tourists
can see this dance in the Bodo inhabited areas of Kokrajhar, Bongaigaon,
Nalbari, Darrang and Sonitpur districts. There are other folk dances,
which indeed are part of some delightful festivals
Tibetan Dance: Singhi Chaam
The associate five peaks of the scared Mount Khangchendzonga looks like the legendary snow lion, which is considered an important cultural symbol of the State and is elaborately depicted in the Singhi Chaam or the Snow Lion Dance. It is a masked dance of Sikkim, depicting snow lion - the cultural symbol of the state. (Snow lion was decreed the guardian deity of the people of Sikkim by Guru Padamsambhava). The third highest mountain in the world - Kanchenjunga(Khang
-Chen Dzong Pa), standing sentinel over the state of Sikkim, is believed to resemble the legendary snow lion. The natives display their cultural symbol by dressing up in furry costumes and performing this majestic masked dance
Kalashi Fugdi Dance
One of the favorite dances of the Goans, this
traditional dance is very popular among girls and women. This dance does
not require a special occasion or a festival. Fugdi dance is performed
in the praise of Lord Ganesha, the Elephant God of the Hindus. This
dance is enjoyed by all age groups and requires immense swirling until
one sits down exhausted. It is one of the most common dances performed
by the women.
Cheraw Dance (Mizoram)
Cheraw dance is a combination of rhythm and skill. Four people hold two pairs of long bamboos across one another on the ground. As the bamboo sticks are clapped together, the main dancers in traditional attires weave patterns through them in time to the rhythm. Cheraw is a major attraction during all festive occasions in Mizoram. Cheraw is believed to have a foreign origin. Similar dances are popular in the Far East and the Philippines. The Mizos may have brought the dance with them when they migrated to their land in India
Kalbelia (Rajasthan)
The dance is performed by the
women of Kalbelia community. The main occupation of the community is
catching snakes and trading snake venom. Hence the dance movements and
the costumes bear resemblance to that of the serpents. Dancers attired
in traditional black swirling skirts, sway sinuously to the plaintive
notes of the 'been' - the wooden instrument of the
Dol cholam (Manipur)
The drum, by itself, enjoys a privilege in the dances of Manipur. There are several kinds of drums, each intended for a particular occasion. The festival of Holi, in spring, is the real time for drum dances, such as Dhol Cholom.
Thang Ta (Manipur)
Thang Ta is the martial art form exclusive to Manipur, with 'Thang' meaning sword and 'Ta' meaning spear. In this amazing display of the traditional art of warfare, performers leap and attack each other and defend themselves. Encouraged by the kings of the earlier times, Thang Ta is an ingenuous display of skill and creativity. The art has a ritualistic aspect with some movements of sword intended to ward off evil spirits, while other postures indicating protection. All the dance forms of Meiti people are believed to have originated from Thang Ta.
Bihu(Assam)
The
folk dance of Assam is called 'Bihu'. Every Assamese, young or old, rich
or poor, takes delight in the dance, which forms a part of the Bihu
festival. The festival comes in mid-April, during the harvesting time
(which lasts for a month). During the day, all young men and young girls
gather and dance together (though they do not mix-up much), to the tunes
of drums and pipes, along with love songs. The dances are performed
either in circles or parallel rows
Bratachari/Raibense, West
Bengal
The
Raibense dance which is performed by a group of male dancers is a part
of the repertoire of the ‘Bratachari’ tradition of West Bengal. The
Raibense dance of ancient Bengal, is a significant and authentic
reminder that the Bengalis were once renowned for their military
prowess. The dance belongs to a living tradition of the war dances of
ancient Bengal. Rai means royal, kingly and bansh or bansha means
bamboo. This was used by the infantry soldiers in the middle ages. This
vigorous dance form includes mock fighting and acrobatics. It speaks
volumes about the valour of the people of ancient Bengal. The Dhol and
Kanshi are the main instruments used. The strident rhythmic notes of the
Dhol and the clanging of the Kanshi generate courage and daring in the
hearts of the dancers. No songs are sung or verses recited during this
martial dance. Instead, vigorous yells mark the various sectional
movements. The simplest costume, a dhoti (which is the traditional dress
of Bengali men) is worn with a strip of red cloth signifying spirit and
valour. Shri Gursasaday Dutt, ICS, was responsible was resurrecting this
ancient group dance and modifying it to its present form.
The Bagdi, Bauri and Dom communities of Burddhaman, Birbhum &
Murshidabad districts, perform the dance