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FOLK MUSIC & DANCE INTRODUCTION

Culture of Rajasthan also includes Folk Dance and Music. The folk dance and music of Rajasthan are lively, exhilarating, hypnotic and compelling. A part of the eternal appeal of this strange and wondrous land, Rajasthan folk dance and music is a part of life in Rajasthan. Indeed Rajasthan has a very vibrant, highly evolved tradition of performing arts carefully nurtured and sustained over the centuries.

The voices, both male and female, are strong and powerful. The numerous songs sung by the women reflect the various feminine moods and strong family ties that govern their lives. Peepli and Nihalde are songs imploring the beloved not t leave her or to return to her as soon as he can. Men and women of Rajasthan sing devotional as well as festive songs. Songs by the saint-poets like Kabir, Merra and Malookdas are part of the folk repertoire.

The melting pot of cultures, Rajasthan also has a unique brand of music has been cradled by the desolation of the state and its shimmering sands. Communities of hereditary musicians sing full-throated songs on universal themes: love, marriage, separation, seasons and festivities. The haunting strains of the sarangi characterize desert music, making it popular worldwide.

There is a great tradition of popular poetry, which is written under the rival banners of Turru and Kalangi. This is a sung in groups in Jikri, Kanhaiyya or Geet (of the Meenas), Hele-ke-khyal and Bam Rasiya of Eastern Rajasthan. Group singing of classical bandishes, called the Dangal or taalbandi is also unique to this region. Bhopas are singing priests of various deities or warrior saints. The Bhopas of Mataji Wear costumes and play the Mashak.

Dance is often part of the musical tradition and the Theories or Nayaks, who are Pabu Bhopas, have a female accompanist; together they recite the phad (a painted ballad). The phad itself is an elaborately painted work of art and deeply venerated. The Chipas of Joshis are famous phad painters. The Jogis were well-known for their recitation of the great ballad Nihalde Sultan, Shivji-ka-byawala and songs about Gopi Chand and Bhartrhari. Most of these musical communities live a rural base and function as wandering minstrels traveling from village to village. There are many other artists in deferent art forms that use music as an accompaniment. The Dholies, also known as mirasis specialize in percussion instruments. Manganiyar and Langas are from the desert region and are known for their distinct musical styles.

State and royal patronage elevated some of these musicians into Kalawants in the royal courts. Their music had acquired a sophistication that was absent from the rustic tones of the other. The famous Maand of Rajasthan, which is a unique style of singing and a core melody, is their creation. True to its desert environment, the Maand speaks of love, professional repertoire and Dhola Maru, Moomal-Mahendra, Doongji-jawarji, Galaleng, Jala-Boobna, Nagji-Nagwatnti are the most popular ones. The mahabharat and the Ramayan are popular themes for ballads an the Mirasis and Jogis of Mewat have a delightful folk version of the former, while Hadoti has the Ramayana of Dhai kadi.

Folk opera is another field, which has been made immensely popular by the professionals, often in association with amateurs. The Chairawi and Kuchamani Khyals, Maarch of Chittorgarh area, Tamayha of Jaipur and Rammat of Bikaner are famous. The Nautanki and Rasleela are also seen in western Uttar Pardesh, but sadly, the Alibakshi Khyal, the original Bhawai plays and the musical traditions of the Rasadharies and Rawals are now extinct.

Festivals are the best times to see musicians and singers performing