Origin

These Assamese tribes have been recognized as the initial inhabitants of this region. Their origin dates back to the time the Alpines, Dravidians and the Negritos lived here. The Aryan race and the Tibeto Burmese people who used to travel through this region, settled  down here and together formed the tribal population of Assam.

Assam is largely inhabited by the Tibeto Burmese tribal which are the mainstay of the Bodo tribe and the Mishing tribe which so much are a part of the region. the Chakma, the Garo, the Hajong, Dimasa, the Hmar, Khasi, Khamti, Jaintia , Kuki, Barmans, Lakher , Boro, Deori, Borokochari, Kachari, Lalung, Sonwal, Miri, Mech, Rabha are some of the tribal communities in Assam.

Deori

Assam is majorly dominated by the Deori tribe who are one of the main tribal groups of Assam. Settled in the Tinsukia, Dibrugarh, Lakhimpur and Sisagar There are three categories for the Deoris and they are the Borgias, the Tengapanias and the Dibongias.

Karbi

Karbi tribes also form a major part of the Assamese tribal community. They are found in the hilly regions of this state. lying along the Karbi Anglong district they are also found in the North Cachar Hills, Golaghat, Nagaon, Kamrup, Sonipur, Jorhat, and Lakhimpur. Originally belonging to the western part of China in the hills of the Khasi and Jaintia, they slowly came to Assam. These tribes generally live like villages with one village head and they have their own subdivisions. These tribes are subdivided into the Amri, Ronghon, and Chintong tribes. These are further subdivided into five families called Kur. These five families are Terang, Timung, Enghee, Teron and Ingti.

Mishing

Then you have the Mishing tribes who are also called by the name Miri by the people locally living here. They are considered to have branched out from the Adi tribes from the state of Arunachal Pradesh and they settled in Assam after a series of inter tribal feuds. These tribes are found in Dibrugarh, Tinsukia, Jorhat, Sibsagar, Darang, Golaghat, North Lakhimpur and Sonaghat. They speak a language that is more like Tibeto Burman. Some of them also speak Assamese. They are thus a bilingual tribal community.

Dimasa

The Dimasa tribes in Assam are another group of tribal community representing the Patri matrilineal pattern. Found in the district of North Cachar they are also found in the Karbi along Assamese districts. These tribes speak the Dimasa language and they belong to the Bodo group of the Tibeto Burman language culture.

Bodo

The Bodo tribes are supposed to be the earliest Assamese tribes. They are found scattered all over the state of Assam today and found as working in the tea plantation zones. They are the oldest amongst the tribals and have a distinct culture that separates them from the rest.

Phake

The Phake tribes of Dibrugarh are another Assamese tribal lot. They are believed to have come here from Thailand sometime in the 18th century. They speak Phake and Assamese language.

So the state of Assam with its tribal wealth is surely the unexplored heaven that is waiting for you to experience its charm and beauty with the most fascinating tribe population.

Classical dance in India represents Natya which is the religious and melodious modes of theatrical representation, in the Hindu culture. This concept is an age old concept and goes back to the times of the Natya Shastra which was written by Bharata Muni sometime in 400 BC.

The Sangeet Natak Akademi in India classifies nine categories of dance out of which Andhra Natyam and Vilasini Nrityam are the Telugu forms of classical dance.

Vilasini Nrityam

This dance represents the dance culture of the Andhra Pradesh temple dancers. These dancers also called Kalvantulu, have evolved their style over the years and have been categorized as ritual specific or Gudi Seva, ceremonial specific or kacheri Ata and dance operatic or Ata Bhagavatam. These form a great part of the Vilasini Nrityam. This is a unique form of expression and has retained all the arts practiced for presentation on stage today.

A very great form of dance that has evolved over the years this has also been enhanced by the imagination of all the exponents of Vilasini Nrityam. This dance has been extensively researched by one major artist Swapnasundari with the help of Maddula

Lakshmi Narayana a great exponent of this form of classical Indian dance.

The Vilasini Nrityam basically has three kinds of presentation:

The Alaya Sampradaya is the temple tradition which has rituals that are linked to the temple worship and are in total agreement with the aagama shastras.

Then you have the kacheri Aata which is according to the court tradition and is inclusive of  Pallavis, Padams, Varnams, Salam Daruvus, javalis, Keertans etc. The Andhra Kalavantulus had the culture of extensive and elaborate representations of abhinaya to the Padams and Javalis in the sitting posture . This sitting posture was called the “Meyzuvani”. This is actually a chamber style of presentation.

Also there is the Aata Bhagavatham which is the theatrical presentation which has the story of Lord Krishna and his wife Satyabhama. This is normally done in a presentation of nine nights in the nine different Janardhana Swamy temples in the entire region of Andhra Pradesh. So the presentation is also called the Nava Janardhana Parijatam.

The Golla Kalapam is another kind of representation here which is a conversation between a milk maid and a Brahmin. For these one can be in a Krishna Veysham, Sutradhara or Brahmana Veysham. These operas of Vilasini Nrityam are popular across the state and are great patrons of classical dance.

Classical dances in India have been there since ancient times. Dance was one of the main sources of entertainment along with music in India. There were many dance forms that were restricted to a particular region and these used to express the best values, traditions and culture of that region well. Vilasini Nrityam is one such classical Indian dance form which has been existent since long but is gaining a lot of popularity in the recent years.

Vilasini Nrityam is thus a form of classical dance form of India which is predominantly found in the state of Andhra Pradesh in India.

From the very many dance forms of India, Andhra Natyam is a kind of traditional dance that has its origins as a temple dance form and goes back to the Buddhist era. The Classical Dances in South India are of two kinds:

Natya Melamu which is performed by men.

Nattuva melamu which is performed in a solo performance by the women.

The Nattuva Melamu includes dances like Mohiniattam, Bharatanatyam, and Odissi etc. The Kathakali, Kuchipidi and the Yakshaganamu are of the Natya Melamu tradition. Andhra Natyam is a form of Nattuva Melamu which is performed by the women and is showcased as a classical dance form. The name might sound as a novel one but it is not and has been existing in the Telugu culture since ages.

In fact Andhra Natyam is a dance that goes back to around 3000 years. mainly performed by the women it was actually disallowed for many years due to the social pressures, financial troubles and other existing circumstances. Then around 50 years back, this dance form got renamed and started flourishing under the name of Andhra Natyam. This is a very typical dance form of Andhra Pradesh and has Padmasri Acharya Dr. Nataraja Ramakrishna as a very important exponent. It was due to his efforts that this dance form has been revived in the state and it still is a popular dance in its own circles. Earlier known as Kaccheri, this dance form also was known by the names of Kelika Darbaru, Mejuvani etc. The main performances in the dance form of Andhra Natyam are the various dance forms that are performed in the King’s court, temples etc. It is also seen as being performed in the local gatherings. This dance form got into the main stream of dances due to the absolute efforts of Dr. Nataraja Ramakrishna.

In the state of Andhra Pradesh, the Andhra Natyam developed in various styles. There were three main styles that it was seen. These are:

Aradhana Nrityam: In this Andhra Natyam dance form, the main idea is to consider dance as a major form of worship in the temples. The tradition of classical dance is a very common thing in temple worship so Aradhana Nrityam is a way of offering dance as a form of worship here. When worship is demonstrated in the form of dance and music then it is known as “Rangabhoomi”. So in this form, the Devanartakis or the temple dancers would dance from early dawn till the temple closes in the night.

Asthana Nrityam is the other kind of Andhra Natyam here which is depicted in the form of dancing in the King’s courts. So while the poets, scholars, visitors, critics watch, these dancers exhibit their dancing talents and the Raja Narthakis as they are called keep their skills in dancing honed very well. But court dancers stopped after the monarchy stopped in India.

The third type is the Prabhandha Nrityam where the dance is for the public. These dances are performed during the important festivals and celebrations in the country.

The “Bhama Kalapam: and the “Golla Kalapam” are two popular dance forms which are very importantly exhibited and enjoyed by people today. This romantic and melodious performance is a wonderful exponent of Andhra Natyam.

With some of the best ways of showcasing the old Indian traditional dances, the Andhra Natyam is certainly a wonder in Indian traditions.

Tribal festivities are observed greatly in the Nicobar Islands and the more the merrier. The Nicobarese Dance is actually performed in a particular way. It is usually performed during the Ossuary Feast or the Pig Festival. This is normally dedicated specially to the head of the family. This festival is normally celebrated with a lot of dancing in the light of the moon and with the sight of the beautiful coconut palms waving here it is difficult not to come back here just to enjoy this sight. With colourful dresses, the dancers in their colourful coconut fronds perform very graceful steps and dance to the traditional songs. There is a pig fight that follows the feast that is given and the entire occasion is a great celebration for the Nicobarese.

India is a land of culture, tradition, dance and folk dances. These form a major part of the social life here in these regions of India. Folk dances in India depict the community’s feelings and the camaraderie that exists amongst them. These tribes make up a major part of the Andaman & Nicobar Islands. These are the initial people who used to live here in these pristine islands. The dances here from this region actually showcase the absolute distinct culture of the tribes that are so typical of this region. The Nicobarese dance is one of the most important dances from this part of India. The Nicobarese live in the Car Nicobar Island and the Nicobarese dance is a major folk dance of this region.

The Nicobarese tribes make up the major portion of the tribal population living here in the Nicobar Islands. The Nicobar Islands is where the Shompen tribe live and these semi nomadic tribe are found living in these regions of the Great Nicobar Island.

As the Nicobarese step gracefully to the bet of the traditional songs it is a sensuous sight to see the leader move around in a certain movement. The dancers make a movement to the left and then to the right. They follow the leader. The entire group jumps in total unison and they jump down on both the heels. The guitar is the accompanying instrument. The most important feature of the Nicobarese dance is the feast that follows the dance.

Andaman & Nicobar Islands is the most popular tourist spot that is located in the south Eastern part of Asia. This land with its natural picturesque scenes looks absolutely heavenly and has the best sights of clean waters with ideal surroundings. With the various tribes and the varied religions living together here, Nicobar Islands is a place which is paradise incarnate. This is one of the most beautiful regions which has a lot of interaction with the various kinds of religion.

Nicobarese islands is one of the place where dance  is very important in this part of the world. The culture here is a different kind and the traditions that the people observe is something very unique. It is in a glorious manner that the Nicobarese dance this very special dance is danced. The whole sight of the dancers with their coconut leaves dress, look resplendent and graceful.

There are many references which propogate the presence of various dance forms in the ancient parts of the state of Bengal and they are found in the literature also. Behula is the story of a housewife in Bengal who dances in the court of the king of gods Indra. This is mentioned in the Manasa Mangal Kavya. In the Manasa Mangal of Vijay Gupta there is a description of the dance of Shiva – The Ananda Tandava.

In the times of the Palas we learnt from the Ramcharit Kavya about the devdasis dancers of Gauda Banga. Jayadeva was the court poet during the rule of King Laxmanasena. He wrote the Gita Govinda in which he propagated these art forms too. The dancer Padmavati was Jayadeva’s wife . The 12th century heralded the times of the books which detailed on such dance forms prevalent in this region.

Gaudiya Nritya is thus one of the classical dances of Bengal. This mixture of poetry, history, drama, dance and sculpture besides painting and other art forms is a good classical art and this class of dancing shows many other fine art forms. This is a guru parampara dance and has a lot of discipline and rich and cultural background. This unique combination of art, music and dance is what makes up the Gaudiya Nritya which is today a well known and popular dance form.

Gaudiya Nritya has a lot of colour and rhythm and Gaudiya means old and Nritya means dance. So the roots of Gaudiya Nritya come from the natyashastra where the four Pravrittis are mentioned very clearly. The four Pravrittis are the Punchali, the Audramagadhi, the Avanti and the Dakshinatya. During the time of the British, the traditional dance forms had declined. The 20th century saw the revival of this dance form again. This dance has all the facets of the devotional cult that Bengal saw then. The aspects of the Shringara rasa was also depicted here. The University of Rabindra Bharati is still having a group for the Gaudiya Nritya even today. It is Dr.Mukherjee who is being revered for this as he as the Head of the Dance Department in this University has kept it alive. Today it is a temple art form and is also recognized as a greatly popular classical dance form of West Bengal.

West Bengal has always been a land of culture, tradition and art and dance forms. With the best kind of mix of cultures and the ideal amalgamation of art in the classical form, the Gaudiya Nritya surely is a great way of expressing the innate artistic inclination of this region and has the richness of past culture, ancient practices and predominant values. Today this ancient art has been a part a cultural exposure only due to the endeavors of those artists who still perform this dance and thus keep it alive.

India is a land of traditional dances so the various dance forms of India come in myriad varieties. Such an Indian classical dance, the Sattriya dance is one from that has taken birth in the northeastern state of Assam in India.

Sattriya comes from the word “Sattra” which means a monastery like institution. In olden days, the dance performances were practiced in the compounds of such institutions which used to be the fulcrum of the Vaishnavite culture. It was in the 15th and the 16th century that Srimanta Sankardev brought about a rebirth of talent and art in Indian society when the society bonded well with the social and cultural atmosphere that was prevalent then. This sudden resurgence in the society is what is reflected in the Indian culture and is what makes the Indian heritage so rich and replete with the treasures of traditional values and cultural history dating back to more than 5000 years.

Mahapurush Srimanta Sankardev used all his charm and capability in the Indian art arena and brought about a vivid change in the culture in society. He fused his philosophy of Vaishnavism or monotheism and used art to interpret his teachings and principles. Sankardev thus used art as a major tool to tell stories and tales of the past and created a drama which was then called the Ankia naat. Such dramas showcased the life and stories of Lord Krishna and also Lord Rama. There were many dance performances which were a part of this Ankia Naata that were performed by this great guru. Then it was Sri Sri Mahadev who later created more such performances. This dance art form then came to be known as the Nadu Bhangi, the Behar Nach, the Jhumura Naach, the Sutradhari, the Chali Nach, the Ojapali Nach, the Gopi Pravesh and the Gosain Pravesh and finally came to be known as the well known Sattriya dance of today. It was Dr. Maheswar Neog who gave this identity to this Indian classical dance form which is today very well known.

This dance style has two forms – the Lasya or the feminine dance called the Stri bhangi and the Tandav or masculine style called the Paurashik Bhangi.

Dating back to the times when the dance form was performed in Sattras, this dance form has Late Raseswar Saikia Borbayan and Late Moniram Datta Muktiar Barbayan as the main exponents of this Indian classical dance form.

With a greatly matured way of performance this art form does share the same platform with other Indian dance forms. This is because it is not so greatly popular as it is a dance performed within the Sattras thus limited only to the disciples in the late 20th century. It was only in the year 2000 that the Sangeet Natak Akademi of India gave it the status of the classical dance form.

Today this dance form is slowly gaining a lot of recognition and is a major path breaking art form for most of the youth who now show a lot of interest to learn this form of dancing with great eagerness. There are innumerable exponents of the Sattriya dance who are composing newer pieces and breaking the monotony of the older versions thus enthralling the youngsters’ psyche.

With its origins from God’s Own Country Kerala, the palm laced region has brought out this beautiful expression of dance at its best. Kerala is known for its splendid scenic beauty and exquisite landscape. The backwaters here are a sight to be seen and amidst these flowing trees and crystal clear waters took birth Mohiniattam – the divine graceful dance form in South India.

Almost reaching a point of extinction, the Mohiniattam has survived the tumultuous twentieth century and today has come out as a greatly flourishing dance in South India. Today the Mohiniattam is the most graceful and the most fascinating Indian style of dance.

Actually meaning “The Dance of the Enchantress” this dance form has a certain hypnotizing aspect to it. The beautifully clad female in her white and gold attire and a lovely hairstyle with here tepid, petite movements lends the best aesthetic appeal ever.

The swaying movements of the dancer are a sight to be cherished forever and as the upper body moves with the legs positioned in a particular stance the whole dance form begins to take effect. The eyes form an important expression in Mohiniattam and it is arresting to see the dancer dart her eyes and express herself so realistically.

Dating back to the 18th century, the dance form was brought back during the time the king maharaja Swati Tirunal who ruled over Kerala successfully. He patronized arts and dance forms to a great extent and was in fact responsible for making this solo dance a kind of tradition in Indian arts. This dance to the accompaniment of Carnatic Music slowly grew into the most graceful Indian dance form. In the twentieth century there were great patrons of this dance, especially poets like Vallathol who were instrumental in establishing the Kerala Kalamandalam which is today a great exponent of art in the state of Kerala. Mohiniattam over a period of time was revived and brought back to society as what we see it as today.

A MohiniAttam dancer reminds us of the scenic beauty around and has a certain charming tone to it. Just as the palm trees sway in the wind in Kerala, similarly the graceful movements of the Mohiniattam dancer seem to sway in the wind.

The simplicity of dressing style in Kerala is another factor that is showcased in the Mohiniattam dance form. White is the colour of Kerala as it is a very hot and humid place. So you would find the Mohiniattam dancer clad in a white costume with either a red or a golden border. With the hair tied up in a bun, a bunch of jasmine flowers adorn the head. Then they wear a choker in the neck and a Kasimala or a coin chain which is typically a Mohiniattam accessory. Then there is the jhumka or the earring and the elaborate eye make up all of which make up the total look of Mohiniattam.

It is indeed a feast to the eye to attend a Mohiniattam performance.

Kathak dance has three major important Gharanas – the Jaipur Gharana, the Lucknow and Banaras Gharana and the Rajgarh Gharana. The Gharana of Lucknow and Banaras was found in the Kachwaha Rajput king’s courts and also in the kingdoms of the Nawab of Varanasi, Oudh etc. the Rajgarh Gharana is a merged version of the techniques from the other two Gharanas.

Kathak comes from the word katha which means story. Katthaka in Sanskrit refers to the person who tells the story. Kathak thus means a saying that teachers pass on to their students. It could also mean that which tells a story. One of the major forms of Indian dances, the patronage for this dance shifted from the temples to the royal court arena. So Kathak gradually became a source of entertainment more and a means of telling stories less. Today the dance form has only rhythm and movement and the story telling aspect has got eroded from the entire performance.

Initially associated with an institution called the tawaif, the term began to get misconstrued greatly and took the form of the geisha tradition in Japan. This profession needed a lot of civility, high training techniques and royalty normally sent their children to the tawaifs for learning etiquette and for understanding the instructions. When the British took over India, the dance form became branded as one of prostitution and was in a way outlawed. Thus the downward trend of Kathak dance form occurred and it wasn’t recorrected even after our independence.

Today Kathak is a much pursued dance form, in spite of all its mixed past, and has instruments like the dilruba, bansuri or flute, esraj, ghungaru, harmonium, santur, pakhawaj, sarod, sarangi, surmandal, sitar and tabla to accompany. The tanpura forms the main background of a Kathak dance.

Today the Kathak technique is one that has great footwork which is timed to a set of time cycles. The footwork is then matched with the accompanying instruments like the pakhawaj and the tabla and there is generally a great compatible display of talent from the instrument player and the dancer. The tales of Radha and Krishna are told and depicted in the dance forms, and the entire performance is enthralling and memorable.

The Kathak dance can be thus incorporated as part of a cultural activity in India today and the stylized gestures coupled with the expressive movements of the dancers make that dance a great aspect of the art and heritage of India. Patronized by the rulers who love art, Kathak works at making the movements perfect and the expressions heavenly.

The Kathak dance form is indeed an intriguing and special part of Indian culture.

Sometimes referred to as plays in Tulu and Kannada, Yaksha gana means the song of the Yaksha. A Yaksha is a kind of ancient Indian tribe.

There is a background group and a dialog group for the dance.The background group is called the himmela and the dialog group is called the mummela. Together these two groups form the Yakshagana poetry. There is a Bhagwata singer who invariably is the director of the play. He is known as the modalane vesha or the first actor. Then you have a maddale which is the harmonium and then the chande which are drums. Carnatic raga forms the basis of the music in Yakshagana and there are intermittent melodies called Mattu. Yakshagana tala is aid to be based in a structure that is very similar to the Carnatic Talas today. In fact, it is said that the Carnatic talas took birth from the Yakshagana.

Normally the Yakshagana performance starts in the twilight hours and has many drum beats as its accompaniments. These drum compositions are called abbara or peetike. Till the actors come on stage, the drum player keeps playing the drum. With vibrant costumes and magnificent head gears the participants look resplendent in their new look.

Normally a Yakshagana performance tells the story of some incident from the Puranas or the epics. There is a Bhagavatha who is a narrator, who tells the story to the audience . Sometimes he sings details of the event with the accompaniment of dialogues or music. Actors dance to the music and show actions depicting the narration. Improvisation is the key to the Yakshagana performance. Dance, dialogue and the music and all impromptu performances sometimes, thus giving the flavour to the whole thing. Sometimes the actors get into debates without leaving the character they are performing, making the programme more interesting.

The Yakshagana costumes reflects the character they play in great details. The costumes are called vesha and the Yakshagana style is called tittu. Ornaments usually are filled with mirror work, light wood, coloured stones, lighter materials like thermocol etc. The thermocol has been in use of late in modern days. Predominantly woodwork, the decorations are also a major feature of the Yakshagana programme.

The Yakshagana costumes consist of a headgear and a chest gear. The head gear is called the Kritia or the Pagade and the kavacha decorates the chest. There are armlets that are used to decorate the shoulders and belts called Dabu which are made up of light wood. These belts are covered with golden foil. The decorations are all found on the upper half of the body and the lower half is covered with a glittering kachche which is a shiny material and usually has a combination of orange, yellow and red checks. There are heavy pads used under the kachche which gives the actors a huge look.

Another important aspect of Yakshagana is the facial makeup which is called the Bannada Vesha and is done very elaborately.

Sometimes the dancers themselves sing, while other artists accompany them with  instruments or comply as side dancers. The skill and imagination of the dancers is seen to be believed when they give their impromptu performances during a festival.

Folk Dances from Goa involve a lot of energy and vitality. Dusshehra and Holi the prominent festivals in India are great occasions to celebrate here. The young boys and girls join in large numbers on the streets and they gather with a lot of gusto and energy with their flags and streamers. The streamers in Goa are called tarang. Everyone joins in this spirited festival  to the cries of Ho Ho , the dhol and the romut beat along with the Tasha adding to the background music. The dancers wear colourful rainbow costumes and enjoy their performance. The multi coloured flags and the tarang constitute the main steps in the dance thus giving the name Tarangmel to the festival and the dance. This is a visual delight and not many can keep themselves from getting seeped into the crowd. With complete enjoyment and merriment, the dancers in Tarangmel resemble a beautiful kaleidoscope of culture and colours. Other dances like Kunbi, Samayi nrutya, Koli, Ranmale, Gonph, Tonya Meli, Dekhni and the Jagar are famous in Goa folk dances.

In Kashmir, the Dumhal is a dance that is mainly done by the Wattal tribal men . They perform this on specific occasions. With long robes filled with colour, the caps hat they wear adds to the look of the dance. These conical caps are decorated with shells and beads. There is a procession in which the crowd moves and a banner is carried. All this is done with a lot of reverence and in a ceremonial way. Then the banner is dug into the ground and the dance begins. The men start dancing forming a circle. There is a lot of accompaniment of music and drum beating. Many people who are participating sing and join in the chorus. Dumhal is performed only at certain locations and at certain times.

While in Maharashtra, the Pavri Nach is very popular. This kokna tribal dance is danced with the tarpha or pavri providing the background. The pavri is a wind instrument and is made out of dried gourd. So the dance gets its name the Pavri Nach. The performers hold each other’s waist and dance in a unique formation. Men perform skills like forming a pyramid or revolve around a pole. A lovely dance with a lot of verve and energy.

With such kinds of dances and performances, the Indian folk dances certainly have come a long way in the arena of art and culture.