Folk Expressions of India : Songs and Music

Name : Prachi Mali

Std : Tyba
Roll no : 212
K. C. College.
 Content
1. Introduction
2. Folk Songs of Kashmir
3. Folk Songs of Himachal Pradesh
4. Folk Songs of Punjab
5. Folk Songs of North East India
6. Folk Songs of Bihar
7. Folk Songs of Jharkhand
8. Folk Songs of Rajasthan
9. Folk Songs of Gujarat
10. Folk Songs of Maharashtra
11. Folk Songs of Karnataka
12. Folk Songs of Kerala
13. Folk Songs of Tamil Nadu
14. Bibliography
 Introduction
Music has always been an important aspect in the lives of Indian people. India’s rich cultural
diversity has greatly contributed to various forms of folk music. Almost every region in India
has its own folk music, which reflects the way of life. From the peppy bhangra of Punjab to
Garba of Gujarat to Bhavageete of Karnataka, the tradition of folk music in India is indeed
great. Folk music is closely associated with farming and other such professions and evolved
to alleviate the hardship and break the monotony of the routine life. Even though folk music
lost its popularity with the advent of contemporary music like pop and rap, but no traditional
festival or celebration is complete without folk music. Like many other aspects of India, folk
music too is diverse because of the cultural diversity. While the reason behind its origin and
the method of usage remains more or less the same throughout India, the style in which it is
sung and the way in which it is perceived differs depending upon the culture of different
Indian states. Many of these folk songs were composed by great poets and writers belonging
to different parts of the country. For instance, the Rabindra Sangeet or Tagore songs of
Bengal are a collection of songs that were originally written by eminent poet Rabindranath
Tagore. Folk songs also played a crucial role in socio-religious reforms in many parts of
South India. Religious leaders like Adi Shankaracharya used many such songs to spread his
message throughout the country. Similarly, folk songs sung by other religious leaders gave
identity to the villages they originally came from and gradually, these songs were cherished
and celebrated by the people of their respective areas as their own. Also, many folk songs are
associated with a dance form, which is usually performed while singing these songs. Today,
almost every Indian state/region has a folk song of its own and some of them are associated
with a dance form as well.
 Folk Songs of Kashmir
Kashmiri music reflects the rich musical heritage and cultural legacy of Kashmir.
Traditionally the music composed by ethnic Kashmiris has a wide range of musical
influences in composition. Due to Kashmir's close proximity to Central Asia, Eastern Asia
and Southern Asia, a unique blend of music has evolved encompassing the music of the three
regions. But, overall, Kashmiri Valley music is closer to Central Asian music, using
traditional Central Asian instruments and musical scales,[1] while music from Jammu is
similar to that of North India and Ladakhi music is similar to the music of Tibet.[2]

Few forms of Kashmiri Music are as follows :

Hafiz Nagma, a famous classical dance form, is performed by Kashmiri women wearing
traditional attire. It is performed on the basis of the Sofiyiana Kalam, the classical music of
the state. With separate ragas (music) called Muquam, the Sofiyiana Kalam is used as a part
of sofiana music and is very popular among the music lovers. Main dancer of Hafiz Nagma is
known as Hafiza. A wide range of instruments are used including santoor, sitar, Kashmiri
saz, tabla and wasool.

Hafiz Nagma is one form of Sofiana mosiqui. In, Hafiz Nagma, a dancer is a female while
her accompanist on various instrument are  male. The instrument used in Hafiz Nagma is
santoor, sitar, Kashmiri Saz, wasool and tabla. Hafizmoves her feet on music notes.

 Many of these dancer stayed and worked in Shalimar garden.The bungalow, lit by candles

and lanterns, was used for performance and entertaining visitors.

  In Mughal era, in which this dance was introduced, Hafiz Nagma was very popular.

Azeezie was one of the most popular Hafiz dancer in 1860’s and appeared in Baker & Burke
catalogue.
Surma
Surma is a song in Dogri that reflects the agony of a newly married girl whose husband is
away in the Army. Various instruments like Flute, Pump Organ, Tabla and other percussion
instruments are used. Sung in Dogri language, ‘Surma’ narrates the anxiety of a woman,
whose husband serves in the Army.

Ladishah

Ladishah is one of the most important parts of the Kashmiri music tradition. Ladishah is a
sarcastic form of singing. The songs are sung resonating to the present social and political
conditions and are utterly humorous. The singers move from village to village performing
generally during the harvesting period. The songs are composed on the spot on issues relating
to that village, be it cultural, social or political. The songs reflect the truth and that sometimes
makes the song a bit hard to digest, but they are totally entertaining.

Ladishah is a sarcastical form of singing. The songs are sung resonating the present social
and political conditions and are utterly humorous. The singers move from village to village
performing generally during the harvesting period. The songs are composed on the spot on
issues relating to that village, be it cultural, social or political. The songs reflect the truth and
that sometimes makes the song a bit hard to digest, but they are totally entertaining

Ruf Dance
This is one of the most famous dance forms that is practiced in J&K. The dance has been a
part of Kashmiri life from ancient times. In the capital city, it is pronounced as 'Row' but in
villages, it is pronounced as 'Ruf'. This dance is performed as a welcoming dance for the
spring season. You will see most number of performances during the prelude of spring
season. The dance is clearly inspired by bee and it is the lovemaking of the bee that is
portrayed in the dance. In the dance, two or four groups are formed consisting of 2 to 3
charming women. They stand facing each other and hold the hand of the adjacent partner.
The women together sway their feet forward and then to back. The song that is sung during
the performance is in the form of question and answer form where one group questionand the
other respond to it in a rhythmic way. Practised with gaiety in both villages and cities of
Jammu and Kashmir, it is performed to welcome the onset of the spring season. The bee
lovemaking process is portrayed in the dance. The lyrics of the musical tradition are in the
form of question and answer, where one side questions and the other replies.
Bachha Nagma Dance: The term literally means ‘adolescent melodious voice.’ This dance
form is practised normally during the auspicious wedding ceremonies and has now become
an inseparable part of it. Boys perform this spectacular dance, consisting in 6-7 numbers..
The dance is clearly inspired by bee and it is the lovemaking of the bee that is portrayed in
the dance. Rouf is the most popular traditional dance of Kashmir performed at every festive
occasions, especially Id and Ramzan days. The dance is performed by a group of women
facing each other. The simple footwork of Rouf is both a visual as well as an artistic treat.

Bachha Nagma Dance

Bachha Nagma, also known as 'Bachha gyavaun' means 'adolescent melodious voice. The
dance is quite famous among people here and is an important cultural event during marriage
ceremonies or any cultural celebrations. The dance is performed only by boys or by men
dressed as boys. The attire of the dancers has a resemblance with the dress that is worn by
Kathak dancers. The dance group has six to seven members consisting of one lead singer.
Generally, the dancers themselves are the singers and since most of them are boys, the songs
are quite soft sounding and create a soothing environment.

Dandaras Dance
Performed mostly during the time of Lori festival, this is a highly professional dance that asks
for high levels of skills and practice. A model of peacock that is made of bamboos and
colored paper is carried by every group and every member has a stick in his hand. During the
dance, the performers hit the stick in the hand of other person in different postures that is not
as simple as it looks. The dance is really very energetic and one must surely witness it when
he is in Jammu and Kashmir.

Chakri
Chakri is one of the most popular types of traditional music played in Jammu & Kashmir.
Chakri is a responsorial song form with instrumental parts, and it is played with instruments
like the harmonium, the rubab, the sarangi, the nout, the geger, the tumbaknaerand
the chimta. It is performed in folk and religious spheres, by the Muslim and Hindu kashmiris.
[3]
 Chakri was also used to tell stories like fairy tales or famous love stories such as Yousuf-
Zulaikha, Laila-Majnun, etc. Chakri ends with the rouf, though rouf is a dance form but few
ending notes of Chakri which are played differently and on fast notes is also called Rouf. [4] It
is a very important part of the Henna Night (Ma'enzi raat) during weddings. Once performed
with the help of only Garaha, Sarangi and Rabab, Chakri has included harmonium also in its
presentation. It is one of the most popular forms of the traditional music of Kashmir.  Chakri
is played with musical instruments like the harmonium, the rubab, the sarangi and the nout.
Chakri was also used to tell stories like fairy tales or famous love stories such as Yousuf-
Zulaikha, Laila-Majnun, etc. Chakri ends with the rouf, though rouf is a dance form but few
ending notes of Chakri which are played differently and on fast notes is also called Rouf. It is
a very important part of the Henna Night during weddings for Kashmiri Pandits and the
Kashmiri Muslims.

Sufiana Music
Kashmiri Sufiyana Music adds to the glory and grandeur of the region. Sufi Music Introduced
in the 15th century in the Kashmir valley from Iran, with the passage of time, a number of
Indian ragas was added to this music form. Accompanied with traditional folk musical
instruments of Saze- Kashmir, Tabla, Kashmiri Sitar and Kashmiri Santoor.
Sofians musiqui (Sufi Music) owes its introduction in Kashmir to Iran. Introduced in the 15th
century in the Kashmir valley, Sufiana music continues to enthrall its audience till date. With
the passage of time, a number of Indian ragas were added to this music form. This classical
music form of Kashmir makes the use of Santoor, Sitar, Kashmiri Saz, Wasool or Tabla..
.

Songs of Habba Khatoon

This classical song based on the lover story of princess Habba Khatoon and Yousuf King.
Habba Khatoon was a princess of Kashmir. This song reflects her feelings at the time when
she was separated from the Yousuf King. Surma Surma is a song in Dogri that reflects the
agony of a newly married girl whose husband is away in the Army.

Bakhan
There are certain songs which are independent of instruments. “Bakhan” is such a best
example. “Bakhan” are in verse. This folk song is a widely prevalent form of mass
entertainment in our region. The haunting Melody of Pahari songs add to the beauty and joy
of daily life.

Bakhan Geetru
A dance-song of Dogra Pahari region of Jammu being performed at the occasion of feasts,
festivals and marriages by the rural folk parties of this region. Male and female both
participate in this dance-song in their traditional costumes.

Kashmiri Santoor Music

The classical music of Jammu and Kashmir, the melodious Kashmiri Santoor compositions
enchants and enthralls the audience with its captivating songs.

Benthe
The Bakerwal and Gujjar tribal groups are known to have founded the lyrical tradition of
Benthe. A group of people that commonly ranges form five to seven sing the benthe song in a
chorus.

Folk Songs of Himachal Pradesh

The Himachal folk music is the greatest solace to the poor people living in the remote areas.
The Junju Sukrat Bhunkh and Roopshu songs echo through the Chamba valley. The Mohna
of Bilaspur, the Jhoori of Sirmaur, the Laman of Kullu, Gangi, Tappe are commonly sung as
love songs. Dholru is a seasonal song. Bare-Haren is ballad about warriors. Soohadiyan are
songs sung at Childbirth. Losi and Pakkahad and Suhaag songs are all family songs. Karak
are songs of praise in honour of the deities and Alhaini is a song of mourning. All these songs
follow a specific style of singing and the geographical facts have a deep effect on these. The
songs are sung in harmony and the singer decides the way the notes and syllables are to be
pronounced. They make changes in lines and substitute or replace words. No matter what it
is, the folk songs of Himachal Pradesh ultimately come out from the core of the heart of these
simple people.

The music of Himachal Pradesh is synonymous with the various events and happenings in the
day to day life of the people. There is no classical form of music, but they have the folk kind
that you will surely want to be a part of. However, while mentioning the songs of the state
one cannot miss the Samskara song, that is a special song that belongs to the genre of Indian
classical form of music. The subject of these folk lores shift according to the seasons and
there is a song for almost all the occasions. The main subject of these songs are romance,
stories of war and gallantry, seasonal variation, to name a few. Child birth as well as
mournings too are common. Some of the commonly sung songs are Chhinj, Laman, Jhoori,
Gangi, Mohana and Tappe, that are love songs. Dholru is a seasonal song while Bare – Haren
are ballads about warriors and Soohadiyan are the songs that are sung at Childbirth. Losi,
Pakkahad and Suhaag are all family songs and Karak are songs of praise in the honour of the
deities. Alhaini on the other hand is a song of mourning.

Sung in unison, these songs do follow a pattern as per the singer who decides how and which
way the notes and syllables are to be pronounced. Further, he can even change and replace
the words. The songs of Himachal Pradesh are the specialty and identity of tribal culture that
reside in the people of the state.

Jhoori Song

It is a typical song of Himachal Pradesh and is sung with fun, joy and merriment. It is
basically a theme of extra-marital romance. The word ‘Jhoori’ itself literally means lover,
beloved or sweetheart. These folk songs are very popular in Mahasu and Sirmaur. Jhoori is
accompanied by a folk dance form called Jhoomar and are entirely danced by women only.
Though Jhoomar is danced only by the women folk, both men and women together sing
Jhoori. The songs and dance are performed only in the open space and attracts lot of
gathering as the people assemble together to enjoy the interesting subject.

Each piece is sung in four lines and the last syllable of the first line is pronounced in a long-
lasting fashion. This is a peculiarity of Jhoori songs and this part of the songs is greeted with
cheer among the spectators and rhythm invariably plays the most important role in such
songs.

Jhanjhoti Song

The Jhanjhoti songs are based on Ragas like Brindabani Sarang, Durga, Tilang and Desh. The
Gidda songs are based on Raga Durga. The songs sung by professional singers have very
attractive classical overtones. The famous love-lyrics in Himachal areas are Phulmu-Ranjhu,
Kunju-Chanchalo and Raja-Gaddan. The Phulmu-Ranjhu lyric tells of a tragic episode. In
Kunju-Chanchalo the song takes the form of a conversation between the lover and his
sweetheart. The Raja-Gaddan song records the wooing of gaddan Nokhu by Raja Sansar
Chand of Kangra.

There are also songs which recall some important historical events like the sacrifice of Rani
Suhi for a public cause, like bringing drinking water to Chamba town. The song called Sukrat
is soulfully rendered and depicts the great story of the sacrifice of the Rani, famous for her
feeling of love for the people and her deep human sympathy for them. Another tragic story
telling the love of a brother who takes upon himself the blame for the murder his brother
committed and thereby goes to the gallows in Bilaspur is depicted in one of the saddest song
called Mohana. Ceremonial lyrics such as Bhayi, Suhag, Suhagare and Vidayi are sung on
special occasions like birth, betrothal and marriage. Seasonal song like Chhinj is sung only in
Chaitra (March).

Laman Song

Laman singing is popular in the Kullu valley. These songs are related with the romantic love
between men and women. The first line is only for rhyming with the second and it is the
second line which furthers the theme. Syllables like Oa, Aa form the ‘Tek’ or the note which
is prolonged at the end of the line. These syllables help the singers to create a certain
resonance and a definite rhythmic pattern.

Samaskara Song:

The Samskara songs are folk songs of the state of Himachal Pradesh with the distinct tune
that is reminiscent of a distant mountainous land. These songs are mainly sung at family
festivals, gatherings and other similar moments for celebration. The Samskara songs of
Himachal Pradesh have their base in classical Ragas. This bound the songs by intricate
detailing that needs a considerable amount of expertise on the part of the Samskara singers.
They are sung with great fervour by women who only belong to certain higher castes.

The Samskara songs are sung either in the morning or may be at the fall of night. Samskara
songs that are foilk music.enjoyed as morning songs usually bear traces of Raga in them.
Samskara songs can also be sung in gatherings that centre on weddings. In such instances the
songs are set in old Indian classical Ragas like Durga, Malkauns, Bhoopali etc.

Ainchaliyan

These are religious songs popularly sung with great gusto in the state. These songs are similar
to ballads in essence. Though they are religious songs, they are sung centering a family that
has recently been through marriage ceremony. The custom of singing Ainchali or
Ainchaliyan of Himachal Pradesh in the house of the bride is common in farming society.
The singers comprising of males visit the house of the newly married couples and sing the
Ainchaliyan songs. The subject matter usually centres on the auspicious marriage of Lord
Shiva and Lord Rama. They are romantic songs depicting stories from the conjugal life of
these two stalwarts of the Hindu pantheon. The Ainchaliyan singers also sing songs from
episodes in Ramayana and Mahabharata. String puppets are common and are very attractive
as accompaniments to these types of songs

The professional singers of Ainchaliyan are accompanied by drum sounding in a particular

way. When Ainchaliyan is sung by the womenfolk, it is usually in the home of unmarried
girls that are bride-to-be, immediately preceding marriage. Tambourine or Khanjari, as it is
locally called, are common musical instruments used along with the songs. The people flock
around to listen to these romantic songs as they continue to enjoy the way Gods are presented
as enjoying the marital pleasures just like the human beings. Sometimes these songs become
means of spreading awareness as to the needs of life. During the singing of this song, often a
pitcher is placed on a platter and played with an iron bangle to give a typical metallic sound.
On such occasions, khadtal or wooden castanets along with the sounds of bells are also used
in conjunction. Together the musical instruments complement and supplement each other to
bring out the music that is so unique to Ainchaliyan songs.

Musical Instruments

The Musical instruments which are frequently used by the folk artists of Himachal Pradesh
are Ranasinga, Drums, Karna, Turhi, Flute, Ektara, Kindari, Jhanjh, Manjara, Chimta,
Ghariyal and Ghunghru.
Drums: This is one of the main instruments for the Himachalis. A variety of drums are played
like Dhol, Dholku, Dolki, Nagara, Damama, Damanght, Nagarth, Gajju, Doru, Hudak and
Dhaunsa. In the Kinnaur, Lahaul, Pangi, Sirmaur and Kullu areas, drums of different shapes
and sizes are played at different festivals. These are stored with great care in holy spots
especially in temples, Gomphas and Madhis. Before they are played, flowers, turmeric paste
and rice is offered to them and prayers are chanted. In the plains large drums known as
‘Tamaka’ are played at fairs. People belonging to the Bharai community perform the ritual
playing of this drum at the fair site and then all the young ones sing and dance together to the
beat of these drums. Playing upon these instruments it gives the signal to the beginning of a
fair drumsor a festival.

Among the Gaddis small round drums known as Dafale are played at weddings. These are
slung round the necks of the players and rhythms like Dhamal and Lahauli are played upon
these. Drums are made with locally available material. Their shapes and the methods of
playing upon them reveal local traditions. The Dhol of Kulu, the Damangtu and Nagartu of
Sirmaur are all played differently in the tribal areas. As soon as the drums sound, the entire
community gathers together and lose itself in vigorous singing and dancing. Earlier the Baren
(martial ballads) of Ram Singh Pathania were sung to the accompaniment of Dafale by
singers known as Adavale. These songs are sung in the Sirmaur area. The largest of the
drums is Dhaunsa which is played standing. Tung Yung is a similar instrument.

Percussion Instruments: Percussion instruments like Jhanjh (large cymbals), Manjira (small
cymbals), Chimta (tongs). Ghanta (gongs), Ghariyal (large gong), Thali (platter), Ghunghru
(bells), Kokatha Percussion InstrumentsMurchang (a stringed instrument played with a bow
with bells) are very popular in folk dramas like Jagarata, Bhagat and Kariyala etc. The folk
singers of the Chamba valley known as Ghurai sing to the accompaniment of cymbals.

Wind Instruments: Rana Singha, Karnal, Turhi and Flute or Bishudi, Algoja (twin flutes),
Shehnai or Peepni are popular wind instruments. Rana Singha, Shehnai and Bin are usually
played at wedding and on the beginning of any auspicious occasions. At the time of ritual at
the temples, Rana Singha, Karnal, Conch shells and Shehnai are played. These instruments
accompany the processions of Gods at festivals.

String Instruments: Ektara, Kindari Davatra, Gramyang or Rabab, Sarnagi, Jumang and
Ruman are some stringed instruments, commonly used by professional singers. Gramyang,
Rumals, Jumang are tribal instruments of the Lahaul and Kinnaur areas.

Folk Songs of Punjab

Folk music is often seen as the traditional music of Punjab. It has catered to various types of
occasions by having songs for every genre, be it on a happy note or a sad one.

The primary musical instruments used in Punjabi music includes Tumbi, Dhadd, Chimta,
Algoze, Sarangi and so on, even though the folklore is vocal and can give the same essence
without being accompanied by any musical instrument.
It is seen that Sufi music also has a lot of popularity in Punjabi music. Some such famed Sufi
musicians and poets are Baba Farid, Shah Hussain, Mian Muhammad Baksh, Waris Shah and
Qawwali.

People all over the world know of the famous Bhangra dance to go with the beats of the dhol
in Punjabi folklore. For instance, no North Indian wedding is complete without the guests
grooving to this kind of music. It is seen how depths of each emotion, which is otherwise
subjective, is expressed beautifully through the lyrics of the songs.

The songs of religion, cult and sacrament sang by the Punjabis are those which represent the
mode of prayer and worship that is acceptable to all Punjabi communities alike. Some little
aspects of Nature worship can still be seen from these songs, especially that which shows tree
worship. The famous gurus like Guru Nanak, Guru Gobind Singh, Farid, Gopi Chand and so
on are also eulogized through the songs.

The songs of rituals and ceremonies, too, describe those which the community as a whole
culturally responds to. These are mostly sung in groups on various occasions. The wedding
songs are the most interesting ones, they are subdivided as well.

When the girls come from their husband’s house to parents to attend the marriage of their
brothers it is called ‘sohile’, the songs sung by the women accompanied by a dholaki a few
days before the marriage – in the bridegroom’s house it is called ‘ghorian’, in the bride’s
‘suhag’. ‘Ghorian’ expresses what the ladies look forward to in the marriage while ‘suhag’
echoes the feelings of the Punjabi girl.

The songs that are sung during the departure of the girl to her husband’s home is known as
‘doli’ and they are generally very touching.

Love lyrics are the best part of the Punjabi folklore. From the ecstasy of the union to pangs of
separation, all of it is expressed here. They vary from famous love stories like that of Heer
Ranjha, Sohni Mahiwal and so on to genres like Tappe, Boliyan, Dhola, Kafiyan and so on.

Lohris are sung for children, which are a part of the folklore tradition..

Regional Variations

Punjabi folk music is highly rhythmic, and very diverse. The western region is the home of
styles like dhoola and mahiya, while the popular boli style is performed differently across the
region. The vocals are another integral part of Punjabi music, as are instruments such as the
dhol, tumbi, dhad sarangi, algoza and Ektara.

A glimpse into the lives and culture of the people of Punjab can be gained through the folk
idiom of Punjab. There is a great repertoire of music and songs, celebrating birth, daily life
and including death; songs of love and separation of dance and rejoicement; of marriage,
fulfillment and disappointment. Culturally Punjab can be divided into three main regions,
Malwa, Majha and the Doaba. Today Malwa represents the true spirit of Punjabi folk
traditions.

The Changing Seasons

Not only the music, even the food changes with the seasons. Lohri is the time after which the
biting cold of winter begins to taper off. In the olden days, it was more of a community
festival, where the birth of a son or the anniversary of the first year of marriage was
celebrated all through the village in front of the sacred fire. Songs like 'Sunder mundriye, tera
kaun vichara, Dulla Bhathi Wala.' were sung to the beat of virourous clapping. Groups of
little children would go singing round the village collecting 'gur' and 'rewari' for themselves.
'Lohri' was preceded by Maagh and the famous Maaghi Da Mela.

'Lohri' was followed by Baisakhi when the Bhangra, was danced by the men of the village, an
energetic dance associated with the ripening of crops. The dance manifests the vigour and
vitality and exuberance of the people, in anticipation of money coming in after the cutting of
a good harvest. For the process of washing and cleaning the grain, of making new clothes,
and household items, songs are sung by the women in the family as they work through the
night, the 'dhol' or 'Dholik' is not used to avoid disturbing the sleeping men folk of the house.

Then comes the season of the monsoon, or 'sawan' when the married girls return to their
parents' homes for a vacation, meet their old friends, wear their colourful Phulkaris, swing
under the trees, adorn themselves with 'mhendi patterns', glass bangles and exchange news
between singing songs. 'Ni Lia De Mai, Kallean Bagaan Di Mehandi'.

Anytime is a fine Time for Music

No occasion passes without the association of music in Punjab. There are songs which tell
about the love of a brother or a sister. Once a marriage is finalized, and preparations of the
marriage start in the boy's and girl's family. And then the numerous songs associated with the
wedding. On the girls side 'Suhag' is sung, and on the boy's side, while he mounts the mare,
'Sehra' and 'Ghodi' are sung. When the two sides meet 'Sithaniyan' are exchanged. A kind of
raunchy humour which makes it easier for both parties to show off their wit with repartee
which provides an opportunity to get to know each other. After the Barat is received 'Patal
Kaavya' is sung after tea and while the 'Barat' is eating food together.

Jugni, Sammi are basically songs centering around love, in the Jugni normally the bachelors
gather together and sing about their beloved. The Sammi is more a gypsy dance, which is
performed as an expression of joy and victory, around the fire at night. Sammi is an
imaginary female character of folk poetry, belonging to the Marwar area of Rajasthan who
fell in love with the the young prince, and it is around their love story that the music and
dance is set to. In the list of happy songs are included, Luddie, Dhamal and of course the
Giddha and the Bhangra, which is all set to music, which is typical of Punjab.

Along with the 'Dhol' primarily 'Bolis' are sung, which can be divided into two categories,
'singly boli' and' lengthy boli'. Centering around mother-in-law, father-in-law, sister-in-law
and other characters from everyday life; the music of these two lively traditions is extremely
enervating.

Punjab the Western Gateway to India

Being a frontier state the western entrance to India; war played, all too often, a part in the
lives of the people of Punjab. With wrestling being a major traditional sport in the Punjab
there were wrestlers living in every village, and while they practiced at the 'Akhara' a musical
tradition grew around their practice called 'akhara singing'.
The sixth Guru Hargobind gave patronage to a sect of singers who sang only martial songs.
Called ‘Dhadis’, they sang at shrines and festivals, ballads, vars, and about the heroic feats of
the Sikhs. Along with the "Dhad" the ‘dhadi’ a sarangi is used, as a musical accompaniment.

The drum plays a very important part in the folk music of Punjab. It provides the basic
accompaniment to most folk music. The 'Dhol' and 'Dholik', the male and female drum, had
it's own relevant use. The information of an impending attack was communicated by the
sound of the 'Dhol', passing information from village to village through a particular beat. The
other instruments used in Punjabi folk often vary from one region to the next. The 'toombi',
'algoza', 'chheka', 'chimta', 'kaanto', daphali', dhad' and 'manjira' are some of the popular
traditional folk instruments.

There are songs which are related to death. Called 'Siapah', there are different kinds of
'siapah'. Special to individuals, the song of mourning deal with the loss of a brother, sister,
mother, father, mother-in-law, father-in-law, and are sung in a particular format.

Music an Intregal Part of Sikhi

Rabab

As in the the other religions of the Punjab music is deeply connected with the Sikh religion.
In fact a glossary of music and Ragas are given at the end of the Guru Granth Sahib, the
tradition started with Mardana, who accompanied Guru Nanak on his travels who sang the
bani of Guru Nanak with an ‘ektaara’ and the ‘rhubarb’. Classical ragas are used in the
‘shabad kirtan’, gayaki of Punjab.

Star Crossed Trajic Loves

A strong tradition of the ‘kissa sahity’ of Punjab is very much part and parcel of Punjabi folk
music. The legends of Heer Ranjha , Sohni Mahiwaal, Sassi Punnu and Puran Bhagat are
sung more in a semi classical style. The Punjabi ‘kaffi and kali’ are part of this genre. Related
to this is the ‘sufiana kallam’ of Punjab as a result of a strong Sufi tradition in the state. The
'Heer' in particular has a strong sufi base.

Later in the eighteenth and nineteenth century there started in Punjab a strong school of
classical music centering around Patiala known today as the Patiala Gharana. The founders of
this gahrana were Ustaad Ali Bux and Ustaad Fateh Ali who were great singers in the Patiala
Darbar. Their disciples and admirers were numerous. Notable amongst them were Ustad
Bade Ghulam Ali and his brother Barkat Ali who brought the Patiala Gharana to the forefront
of Khayal gayaki.

And thus started the ‘chau-mukhia’ style, which included dhrupad, khyal thumri and the
taraana. Each of these styles too have their particular flavour, the energy and zest of the soil
of Punjab. Highly decorated, Ustaad Bade Ghulam Ali Khan composed numerous
‘bandishes’ or compositions under the penname of Sabarang. Parallel to this was the growth
of a gharana of tabla playing which is also known as the Punjab style, to which Alla Rakha,
the great tabla maestro, belongs..
A folk song is essentially a subjective expression of the emotions walling up from the depths.
It borrows its metamorphous imagery from the simple things in life. Punjabi folksongs are
varied and colorful. Laughter, happiness, pain, sorrow, all form ingredients of these songs.
They are simple, charming, and full of the sincerity of emotion, and the purity of feeling.

The entire Punjabi culture, so to speak, is reflected in them.

The Suhag and Vidai Songs

The suhag and vidai songs are intertwined with each other. Love and the loss of love, a
meeting and a separation, anticipation and farewell were all an integral part of a girl’s
marriage, at least in the traditional context. Most of the vidai songs are sung at the suhag
gatherings.

Suhag is that stage in a woman’s life when her husband is alive; a state of marriedness, if you
will. This is considered to be a blest and auspicious state, a time of abundance and
fruitfulness, emotionally dense with the love and companionship of a mate.

The suhag and vidai songs are a reflection on the passage of time. The end of childhood, the
mourning for the past, the nature of our bonds with our parents and siblings, the desire to love
and be loved, anticipation and excitement about the changes ahead – all these feelings are
expressed. Thoughts and feelings that cannot be put into words easily in ordinary life, are
expressed in poetry and song. In each of these songs lies a recognition that one stage of life is
coming to an end and another is about to begin, Furthermore these momentous changes must
be described, dealt with and finally, celebrated. As the women sing, their own experiences are
revived, their feelings stirred. The entire group has a shared memory and as they sing, it is as
though they are pouring this shared knowledge and understanding into the young bride.

The suhag songs are sung at the home of the bride during the days prior to the marriage when
the house is filled with family and friends. A number of the songs start with a daughter asking
her father for a husband or reminding him of his duty to her of finding the ideal match. She
describes the kind of husband she would like. She reminds her father of her childhood
occupations. She is shy, mischievous, vain, a loving sister, a tearful daughter, an eager bride.

Suhag Songs

Bibi Chandan De Ohle Ohle, Saahdda Chiddiyaan Da Chamba Ve, Ae Mere Baabul Ve Mera
Kaaj Racha, Uchhi lammi maaddi, Baabul Nu Maen Aakheya, Gaddo Chaare Thambiyaan,
Ni Tu Aangan Aa Pyaari Raadhika, Deyin Ve Baabul Os Ghare, Baabul Ik Mera Kehna
Keejiye, Maaye Ni Mera Ajj Muklaava Tor De, Kadd Ni Ammaddi Kuj Sajjeya Sajaaya

Vidaai & its Songs

These are songs which sings during vidaai i.e Post Wedding Rituals or Doli. The Vadaai
ritual marks the end of the marriage ceremony. It is a very emotional episode for the bride's
family members, friends and relatives as she leaves her parents home and goes to her
husband's home to start a new life with new dreams and hopes. It is a new beginning for her
as she bids farewell to her parents and goes to build a new life with her husband and his
family. She leaves her parent's home with tears of joy and sorrow. The bride's father gives her
hand to her husband and tells him to take care and protect her loving daughter.
There is an abundance of heroic, devotional and romantic tales in Punjabi folklore. Tales of
Puran Bhagat, Gopi Chand and Hakeekat Rai belong to the devotional type whereas Raja
Rasalu, Sucha Singh Surma and Jeuna Mor belong to the heroic category. Heer Ranjha, Sassi
Punnu, Mirza Shahiban and Sohni Mahiwaal are popular as tales of romance. These
sentimental tales are always sung in typical strains. For every tale, the popular tune is
different.

Mirza Shahiban is sung in long wistful notes and the tune is known as Sad (call). It is a
mournful tune and the singer generally puts one hand on his ear and makes gestures with the
other while he sings.The tune used for Heer Ranjha is different form the one used for Puran
Bhagat. The notes of Sindhu Bhairava raag can be traced in Heer Ranjha while Puran Bhagat
is sung in the musical notes of Asavari and Mand. Sohni Mahiwal and Yusaf Zulaikhan are
sung in Bhairavi raag but the tunes are different.

Mahiya, Dhola and Boli are the popular folk tunes prevalent in the Punjab. Today Mahiya is
sung all over the Punjab. A triplet of Mahiya is called Tappa because it throbs with the heart-
beat of the singers. Mahiya comprising triplets has its own special structure. The first line
contains a pen-picture, a description or an illustration but sometimes it has no special
meaning or relevance. The real substance is contained in the second and third lines. These
two lines are very expressive and overflow with the most deeply felt longings of the people.
They are very effective because they are deeply-felt emotions put into words. Every Tappa is
an entity in itself.

Originated from the folk songs of

Tabla, Dholak, and
Tappa ancient Punjab, ‘Tappa’ often
wind instruments
depicts the plight of a lover.
Bhangra is the most popular folk
Dhol, Tumbi,
music of Punjab. It is also one of the
Dholak, Sarangi,
Punjab Bhangra oldest forms of music in India. The
Flute, Harmonium,
music is often accompanied by the
Tabla
famous Bhangra dance.
Jugni is an ancient form of folk
Wind instruments,
Jugni music, which is often used in
dholak, cymbals
Punjabi weddings

Folk Songs of North East India

Quite honestly, the whole of India is the cultural capital of itself, but one could say the east is
a bit ahead of everyone. The eastern states of India have explored music like nobody before.
It is not only folk music that it gives you, but also genres like rock and metal. The states like
Bihar and Jharkhand are the least explored states when it comes to music, while the states of
West Bengal and the 7 sisters of North-East India have too much to offer to a traveler who
comes in search of folk and western music.
Assam

Assam is home to a few gatherings and tribes like Mongoloid, Indo-Burmese, Indo-Iranian,
Aryan, Rabha, Bodo, Kachari, Karbi, Mising, Sonowal Kacharis and Mishimi, which is the
reason the state appreciates a range of assorted music. Additionally, the impact of this
differing qualities can be found in the way of life and traditions, particularly in the music of
Assam. The perfect time to witness the diverse musical structures can be amidst the different
festivals and fairs in the state. The Assamese music’s essential trademark is its plunging scale
which makes it unique in relation to the raga-based or folk music from whatever is left of
India. The indigenous music of Assam incorporates Bihu melodies, Bodo, Karbi and Mising
tunes. These are altogether organized and sung to the Pentatonic scale very like the
conventional music of China; demonstrating a solid impact of Chinese music on Assamese
culture. The music of Assam can be extensively partitioned into Regional Folk music, Ethnic
Eolk music, Bihu tunes, Allied styles, Bhakti music and Modern music.

Musical Instruments Used :

1. Dhol

2. Madol

3. Khram

Where to Find Music :

1. Guwahati – (Café Hendrix, The Lounge Bar, Silver Streak, Topaz, Urban Mantra,
Reign, Night Cap, Ambrosia, Zero Mile)

2. Jorhat

3. Dihpu

4. Tezpur

Folk Music Festivals :

1. Ambubachi Mela : Mid-June, Venue : Kamakhya Temple, Guwahati

2. Bihu : Mid-April, Venue : Throughout Assam

3. Baishagu : Mid-April, Venue : Throughout Assam

4. Deodhani : Mid-August, Venue : Guwahati

5. Brahmaputra Beach Festival : January, Venue : Guwahati

6. Metropolis Asia : January, Venue : Guwahati

7. Goodstock : March, Venue : Panikheti, Guwahati

 8. Euphony : January-February, Venue : Guwahati

Music and Dance of Tripura

Famous Music and classical dance are an essential part of the Tripuris. Garia dances are held
for the wealth & welfare of the people; dances of the Reang community; 'Bizu' dances
performed the Chakma community denoting the end of the Bengali calendar year; 'Hai Hak'
dances of the Halams and the Cheraw dance related with the confinement of Lusai woman,
are examples. 'Basanta Raas' is the enchanting dance of the Hindu Manipuris, residing in
Tripura.

Music and Dance of Manipur

Manipur presents a wide spectrum of music and classical dance form, which are best way to
revive and refresh the daily monotonous lifestyle of the people. Both hill and valley people of
Manipur are very fond of songs and music. Mostly, all the folk dances are accompanied with
songs, which are supported by distinct traditional musical instruments of Manipur

Book a tour to North East India

The Music & Dance of Mizoram

The music and dance of Mizoram are basically performed during the religious festival time.
Most of the dance and music of Mizoram are performed in groups. Both men & women
participate in the performance of Dance and Music. The cheerful mood of the Mizos are
expressed through their love for music. The drum and the gong are two traditional musical
instrument of the Mizos in the state of Mizoram. The theme would mostly be narration of
some events or praise of some hero or former villages, description of some hunt or simply of
love. Bamboo Dance is the most colourful and distinct dance of the Mizos. 

Music and Dance of Sikkim

Folk dances and songs are an ingrained part of Sikkimese culture. Most of the cultural dances
related to the amazing beauty of the natural surroundings, some signifies the harvest season
and others are performed for welfare. Many of the musical instruments that accompany the
dances are unique to Sikkim. Almost all the dances are accompanied by the musical
instruments. 

The Music & Dance of Meghalaya

Meghalaya is the home of famous music and dance forms of North East India. The dances are
associated with their festivals or seasons and hence enjoyed round the year. The dances are
social, religious, agricultural, funeral and recreational. The land resounds the sound of perfect
tempo, beautiful songs and traditional instruments. The dances of Meghalaya are mostly held
under the open sky. The Garo community usually sing folk songs associating to birth,
festivals, marriage, love and heroic deeds along with the beats of various types of drums and
flutes. The Khasis and Jaintias are generally fond of songs praising the nature around them. 

Music & Dance of Arunachal Pradesh

Music & dance are an integral part of every festival and occasion, taking place in Arunachal
Pradesh in the northeastern part of India. Every festival is ceremonialised with much fun &
fair, which also includes music and dance. The fold dance of Arunachal Pradesh are generally
accompanied by traditional musical performed in groups. The people of Arunachal dance on
 important rituals, events, during festivals and also for recreation. Both men and women
participate in the dance and music performances.

Folk Songs of Bihar

The region's folk songs are associated with the various events in the life of an ordinary
person. The historical ballads dealing with the heroic deeds of the freedom fighter Kunwar
Singh have also been immortalized through folk songs in the plain tracts of Bihar. Religiosity
is the pivot around which the music and amusements of the village folk of Bihar revolve.
There are songs like sohar - performed during childbirth, sumangali - associated
with wedding, ropnigeet - performed during the season of sowing paddy, katnigeet -
performed during the paddy harvesting season.
The influence of Bihari music is seen in regions such as Mauritius, South Africa and
the Caribbean, where a large number of Bihari indentured labourers were taken during the
nineteenth century as well as Pakistan and Bangladesh where many Bihari Muslims migrated
to after the partition of India.
There is a great tradition of folk songs started by Bhikhari Thakur, an artist from the Bhojpur
region. In the field Bhojpuri Music and Songs, there are notable works done by Mahendar
Misir, Radhamohan Chaubey 'Anjan', Laxman Pathak Pradeep, Sharda Sinha Other
wandering folk singers include the Kathaks, who travelled in groups and performed
accompanied by dholak, sarangi, tamburu and majira. Other musician classes
included Roshan Chouki, Bhajaniya, Kirtaniya, Pamaria and Bhakliya.
An example pf a very popular & unique folk dance is the Launda (Babua) Dance, in which
male persons dress themselves in female attire and dance in the female role. This is
accompanied by folk song. This art is dying because artists do not get proper money and they
do not get proper social respect. They never get any Awards.
There are many small groups who go to village and sing folk songs and play Dholk,
Harmonium etc. . They are called by some 'STREET SINGERS'. They are the real Folk
Singers today who are waiting for recognition, respect and money.
Small theatres are also important who give opportunities to small unrecognised artist. They
are real entertainer, but some time they become vulgar.
'BABUA MANDALI' is working for development and restoration of the rich heritage of Folk
Songs and Music of Bihar. Popular Male dancers are called 'Babua Dancer' not Launda
Dancer. Female dancers are called 'Babuni Dancers' not Bar Dancers. 'Babua Mandali' have
sung a popular 'CHAITA' song about the Great Tribal freedom fighter 'NILAMBAR-
PITAMBER' of Latehar District of Jharkhand State which was earlier in Bihar State . Chero
and Kharwar tribe of Palamu comissionory sing 'CHAITA' folk Song in the month of chait.

Bihar Sohar Dholak, Bansuri Performed mainly by the women

folk, ‘Sohar’ is usually sung during
childbirth
 Performed in groups during
weddings. It is believed that these
Sumangali Tabla, Harmonium
folk songs have a positive impact on
the groom.

Folk Songs of Jharkhand

harkhand music is largely tribal in nature. It shares many points of commonality with the folk
music of Bihar and the music of the neighboring districts of West Bengal with a wide tribal
populace like Purulia and Bankura. 
Like most forms of tribal art, most of the music of Jharkhand is not merely entertainment,
although that aspect always remains there, but have great ritualistic and social significance to
it. Songs and dances both go hand in hand in Jharkhand musical art. 

Jharkhand Tribal Music

Tribal music plays a very important role in the overall scenario of the music at Jharkhand.
Some of the major forms of tribal songs from Jharkhand are: 

 Dohari Domkach

 Janani Jhumar

 Jhumta

 Pratkali

 Daidhara

 Mardana

 Janani

 Dohari Domkach

The forms of tribal music in Jharkhand are absolutely indigenous and have continued in the
same way for time immemorial. The musical instruments, the dancing steps, the vocal
inflections all have their unique flavours. However it should be remembered that most of
Jharkhand musical performances are group performances, since solo performances are
virtually unknown within the tribal musical aesthetics. 

Janani Jhumar: It is admired music form performed by both men and women. The music is
accompanied by Jhumar dance. Dhol, Madaal, Cymbals, Flute, Tulia, Harmonium are the
instruments. Like many other folk songs of Jharkhand, Jhumar too, is always accompanied by
a dance performance.

Dohari Domkach : Dohari means from two sides or debate. It is rhythmic and involves quick
and witty poems. The song is started with a question by boy’s side followed by girls. Sarangi
and percussion instruments are used. Often accompanied by a dance performance,
‘Domkach’ is one of the most popular music forms of Jharkhand.

Pratkali : It is a folk music performed early morning.

Fugawa : It is well loved and performed in the month of Fagun.

Adhratiya : It is generally supposed to be performed in mid night.

Folk Music of Rajasthan

The people of Rajasthan live life to the hilt. After hard work in the harsh desert sun and the
rocky terrain whenever they take time off they let themselves go in gay abandon. There is
dancing, singing, drama, devotional music and puppet shows and other community festivities
which transform the hardworking Rajasthani into a fun-loving and carefree individual. Each
region has its own folk entertainment, the dance styles differ as do the songs. Interestingly
enough, even the musical instruments are different.

Of considerable significance are the devotional songs and the communities who render these
songs. Professional performers like the Bhaats, Dholis, Mirasis, Nats, Bhopas and Bhands are
omnipresent across the state. They are patronised by the villagers who participate actively in
the shows put up by these travelling entertainers. Some of the better known forms of
entertainment are:

Ghoomar Dance: This is basically a community dance for women and performed on.
auspicious occasions. Derived from the word ghoomna, piroutte, this is a very simple dance
where the ladies move gently, gracefully in circles.

Gait Ghoomar: This is one of the many dance-forms of the Bhil tribals. Performed during
Holi festival, this is among a few performances where both men and women dance together.

Gait: Another Holi dance but performed only by men. This becomes Dandia Gair in Jodhpur
and Geendad in Shekhawati.

Chart Dance: This is popular in the Kisherigarh region and involves dancing with a chari, or
pot, on ones head. A lighted lamp is then placed on the pot.

Kachhi Ghodi: This is a dance performed on dummy horses. Men in elaborate costumes ride
the equally well decorated dummy horses. Holding naked swords, these dancers move
rhythmically to the beating of drums and fifes. A singer narrates the exploits of the Bavaria
bandits of Shekhawati.
Fire Dance: The Jasnathis of Bikaner and Chum are renowned for their tantric powers and
this dance is in keeping with their lifestyle. A large ground is prepared with live wood and
charcoal where the Jasnathi men and boys jump on to the fire to the accompaniment of drum
beats. The music gradually rises in tempo and reaches a crescendo, the dancers seem to be in
a trance like state. Drum Dance: This is a professional dance-form from Jalore. Five men
with huge drums round their necks, some with huge cymbals accompany a dancer who holds
a naked sword in his mouth and performs vigorously by twirling three painted sticks.

Teerah Taali: The Kamad community of Pokhran and Deedwana perform this dance in
honour of theft deity, Baba Ramdeo. A rather unusual performance where the men play a
four-stringed instrument called a chau-tara and the women sit with dozens of manjeeras, or
cymbals, tied on all over their bodies and strike them with the ones they hold in their hands.
Sometimes, the women also hold a sword between their teeth or place pots with lighted lamps
on their heads.

Kathputli: Puppet plays based on popular legends are performed by skilled puppeteers.
Displaying his skill in making the puppets act and dance, the puppeteer is accompanied by a
woman, usually his wife, who plays the dholak, or drum and sings the ballad.

Pabuji Ki Phach: A 14th century folk hero, Pabuji is revered by the Bhopa community. The
phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji.
The Bhopas are invited by villagers to perform in their areas during times of sickness and
misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by
his wife who holds a lamp and illuminates the relevant portions at appropriate points.
Ravanahatha and percussion instruments ‘Pabuji Ki Phach’ honors Pabuji, who was a
historical hero of the Bhopa community. It also narrates the splendor and tradition of
Rajasthan

Maand: Rajasthans most sophisticated style of folk music and has come a long way from the
time it was only sung in royal courts, in praise of the Rajput rulers.  This is neither accepted
as a full-fledged Raga nor is it reckoned among the freely rendered folk songs. It is quiet
similar to the Thumri or the Ghazal. Maand singers contribute a lot to the classical music of
India with their Rajasthani folklore. It is the Rajasthan’s most sophisticated style of folk
music and is most exclusive contribution to the classical music of India.

Professional singers still sing the haunting ballads of Moomal Mahendra, Dhola-Maru and
other legendary lovers and heroes.
List of singers and performers also includes the Mirasis and Jogis of Mewat, Manganiyars
and Langas, Kanjars, Banjaras and Dholies. Performances like the Kuchamani Khayal,
Maach, Tamasha, Rammat, Nautanki and Raasleela are no less popular. The musical
instruments of Rajasthan are simple but quite unusual. Handcrafted by the musicians
themselves they are rather unique and include instruments like the Morchang, Naad, Sarangi,
Kamayacha, Rawanhattha, Algoza, Khartal, Poongi, Bankia and Da There are dozens of other
instruments which are exclusive to Rajasthan only.
 Folk Music of Gujrat
Gujarati folk music, known as Sugam Sangeet, is a hereditary profession of the Barot,
Gadhvi and Charan communities. The omnipresent instruments in Gujarati folk music
include wind instruments, such as turi, bungal, and pava, string instruments. The ravan
hattho, ektaro, and jantar and percussion instruments, such as the manjira and zanz pot
drum.

Gujarati folk music consists of a wide variety. Bhajan, a devotional song type poetry
are categoriz by theme of poetry/lyrics and by musical compositions such as Prabhati,
Katari, Dhol etc. The Bard traditions of Barot, Charan and Gadhvi communities has
preserved and enriched the folk tradition of story telling with or without music. This
includes the forms of Doha, Sorathaa, Chhand, etc.

The songs and music accompanying traditonal dance forms such as Garba, Dandiya
Raas, Padhar, Dangi and Tippani are unique in nature.

Dayro and Lokvarta are music performances where people gather to listen performer
who delivers religious as well as social message through it. Marasiyas are elegiac
form of music originat from Marsiya. Fattanna or Lagna-geets are light form of song
and music play during marriages.

Bhavai and Akhyana are folk musical theatre perform in Gujarat.

A form of devotional music, which is

Bhajan String instruments sung to seek the blessings of gods
and goddesses.
‘Garba’ songs were introduced in
Dhol, Harmonium,
Garba order to accompany the famous dance
Drums
Gujarat form of the same name.
Much like ‘Garba,’ ‘Dandiya’ songs
are usually used as an
Dandiya Dhol, Dholak, Tabla accompaniment to the popular dance
form, ‘Dandiya Raas,’ which is
performed during festivals.

Folk Songs of Madhya Pradesh

The Magnificent Tribal Music

Madhya Pradesh probably has the longest musical lineage among the Indian states, both
classical and folk. With songs to mark every occasion these people truly seem to sing their
way through life. The tribals in fact can make music from anything you hand them: leaves of
trees, seeds of fruits, animal horns, sticks, pots, pans and so on. The tribals of Bastar for
instance swish around the dried pod of a tree, the rattling seeds of which produce the most
enchanting music.Surprisingly, none of them are trained musicians. They are farmers,
blacksmiths or shepherds by day, but when the sun disappears into the horizon, they
transform into ace drummers, flautists and singers. Preserved among these ancient
communities are some of the earliest and most primitive instruments devised by man. 

Wind Instruments : The flutes and trumpets used by the tribals of Madhya Pradesh are of the
simplest kind, played as part of religious ceremonies or for the sheer pleasure of it. The
singha could well be the first aerophonic instrument invented by man. It is simply the horn of
a dead animal, the tip of which has been sawn off. The ansingha is an S-shaped trumpet of
brass, copper or even silver used as an accompaniment to music performances. Pungi or been
is synonymous all over India with the community of Jogis or snake charmers. It has two
parallel bamboo pipes fitted into a gourd, one of which gives the drone while the other has
the finger holes. Even Margot Fontaine cant beat the grace of a cobra dancing to a Jogis
pungi. But you must be cracked silly if you think the snake is swaying to the music of the
snake charmer. Snakes are stone deaf and cant hear a thing. The dance is actually defensive
postures adopted by the snake fearing an attack from us humans.  The Marias use a richly
ornamented brass trumpet called the binnoor. A horn-shaped variation of this is played in
religious processions and temple ceremonies. Mohuri is a cylindrical bamboo flute with
seven holes that produces shrill, piercing notes. Almost all the communities in the region play
it.  The modern flute is called bansuri. Usually with six finger holes, it is an integral part of
every music and dance performance.  An older cousin of the modern flute, the bansari is a
cylindrical bamboo tube with four finger holes used by the folk singers. 

Percussion Instruments : Almost every self-respecting north Indian can claim to play the
dholki (a kind of drum). During marriages, the women of the house gather together and sing
songs to the lively beats of the dholki. But you can find innumerable variations of the drum. 
The khanjari is a small hand drum used by the folk musicians of Madhya Pradesh. Using the
thumb, fingers, knuckle and palm the drummers produce the most amazing number of
sounds. Madal belongs to the cows tail shape of drums (called gaupucha vadya). The conical
clay shell is stretched over with monkey skin and is struck with bare hands. Used by the
tribals, it gives a lively rhythm and linear beauty to their dances.  But nothing can drown the
thunderous roar of the dhol, a mighty single-face drum beaten with two sticks. Smaller
versions of the dhol are slung around the neck with leather thongs by dancers and theatre
performers.  The dholak is a cylindrical wooden drum stretched with animal skin and beaten
with sticks. It is especially common among the Pradhans and Achalpurs. The small bowl-like
timki is also slung around the neck and played with long thin sticks. The timki is usually
played in company with the dhol or any other main drum.  Pakhawaj, an asymmetrical
horizontal drum played with both hands, is an integral part of Hindustani or north Indian
classical music. Its deep, resonating sound is said to possesses a sobriety and dignity that no
other drum can match.  The pakhawaj is these days being replaced by the more common
tabla, a two-piece drum. The right one (called dayan) resembles a wide-mouthed vessel and is
taller than the left one (bayan) which looks like a giant teacup. 

Autophonic Instrument : Clappers of various kinds struck to maintain the rhythm of the songs
are extremely popular all over India. The tribals of Madhya Pradesh have devised ingenious
ways of clapping two pieces of wood to produce the most complex beats.  The most primitive
of the wooden clappers is the tapri, a hollow disc with two wooden clappers used by the
tribals. The tapri was actually hung around the necks of cattle to help the herders locate
runaway cows.  The Saila dancers and Korku tribals have mastered the art of jangling the
chatkula, an oval clapper of wood or bell metal. Tiny bells attached to the two ends add a
tinkling melody to the clang of the chatkula.  Khirki is a bamboo rattle that the Gonds in the
tribal district of Mandala play dexterously. The triangular, crossbar thiski is another popular
rhythm keeper. It has four round pieces of wood that move along a wire frame and clash
against wooden discs or plates. 

Simple Stick Music : Even simple sticks are put to musical use by folk dancers. The Saila
dancers use a pair of sticks of equal length called danda which they either strike against one
another or with those of their partner. Gedi is a pair of bamboo stilts with footrests that the
Gedi Nritya performers use. The dancers strike the stilts on the ground while moving in a
circle, producing simple rhythmic beats. The shrill jangle of the manjira, a pair of circular
metal cups held by loops, leads the singing of devotional songs. The tribal women wear large,
hollow anklets with metal pellets called paijani which produce delicate sounds when they
walk. The grace of a young woman is believed to echo in the music of her anklets. The young
men of the countryside pride themselves in being able to judge the beauty of a maiden by the
very sound of her paijani. 

Stringed Instruments: The sculptures at Bharhut and Khajuraho portray musicians playing a
variety of stringed instruments. Though most of these have not made the journey of a
thousand years, variations of these can still be seen among the folk artists of the state.  No
performance is ever complete without the twang of the chikara, a seven-stringed instrument
played with a curved wooden bow attached with little bells. The Pradhans are especially
adept at playing the chikara. The mendicant singers all over India use the single-stringed
ektara. The string is plucked with the forefinger, a hollowed pumpkin or gourd acting as the
resonator. The tanpoora is essentially a classical instrument, providing the drone to the
singer. The veena has always been a deeply venerated instrument in India. It is played by
Goddess Saraswati, the Hindu goddess of learning, and the consort of Lord Brahma. (Check
Religion under India head for details.) The dhrupad singers of yore found the deep, sonorous
quality of the veena particularly suitable for their style of singing. These days the veena is
played solo as well as an accompaniment to vocal music and dance. 

Unlike folk music, which grew wild and unrestrained in the sal forests of this region, the
classical music of Madhya Pradesh was tamed and nurtured in the comfort of royal courts.
The Tomara rulers of Gwalior, along with valour and bravado, had in them a deep passion for
music. Raja Man Singh in fact played host to several music conferences, debates and duels
between doyens of the era like Baiju Bawra, Baksu, Mehmud and Lohang

Folk Songs of Maharashtra

From centuries, Music has been a string that connects together communities, and forges &
evolves their unique identity. The exquisite beats and sounds in any genre of music spawn the
unique sensations that manifest themselves into different reactions. It can be a potion to
soothe the tumultuous mind, or an envoy of love in the soundless tides. Music can be deeply
human and at the same time, deeply cultural as well, for – like languages – there are many
forms of music.  They are often recreated and restructured for different society, region, and
religion. So, how the state of Maharashtra could remain stripped of it?

Apart from the holy people and colorful traditions, since 12th to 18th century AD the state
belongs to a rich tradition of folk songs, poetry, and music, which are:
Natya Sangeet: Belonging to a legacy of almost 200-year-old tradition, it is a semi-classical
musical form that looks a lot like a Musical Opera in the western tradition. Its influx made
music accessible to the common man, which was formerly the cartel of crowned heads. The
themes ranged from romance, religion, bravery to Marathi legends. The consideration to raga
and theatrical elements grabs the interest of the addressees. 

Powada: Emerged in late 17th century, it is Marathi poetry written in the ballad style. It was a
popular entertainment source for the village folks. It started with the narration of a thrilling
episode of Shivaji assassinating his foe Afzal Khan, and other historical
events. Shahirs aka Powada singers later formed a guild called Gondhalis. The resonant
singing and histrionic acting are the quintessence of it. 

Tamasha: During Peshwa period of Maratha Empire in the 18th century, this theatrical

entertainment form came into being. Its amusing music and dance energized the spirits of the
locals. The music draws its influence from many Indian art forms and traditions such
as Kaveli, Ghazals, Kirtan, Lavani, Dashavatara, Kathak, etc. Performed in two styles
i.e. Dholki Bhaari and Sangeet Baari, this form was generally associated with traveling
theater groups called Kolhatis. Loud humor and suggestive lyrics are its soul. 

Keertan: Dawn of Bhakti Movement in Maharashtra under the headship of Saint Poets

like Dnyaneshwar, amdev, Tukaram, Jani and Soyara has given rise to this devotional form of
music. It believed in the fusion of Bhakti (devotion) with Jnana (knowledge) for oneness with
the God. Sung in solo and group, Keertan is generally practiced in 3 traditions i.e. Naradiya
Keertan, Waarkari Keertan, and Ramdasi Keertan. Unfussy rustic feel, utter frankness, and
self-revelation are its innate qualities. 

Community Songs: Bhaleri is uncommon tunes particular to a society that lightens the mood
of farmers at work, or, people in a social gathering. Town ladies croon Owi at daybreak to
narrate the tales of mother’s or spouse’s home. Palane, a lullaby is quite common to put
infants to sleep. Also, the unique songs are played at the halad and ghana ceremonies in
marriage by Suvasinis. The simple tunes linger in minds for long. Mangala Gaur dance is
performed by women during Shravan.

Instrumental Music: Sweet sounds of the world famous musical instrument, Sitar found its

origin in the ‘town of music’, Miraj from Sangli district of Maharashtra. Besides, the
trumpet-like instrument, Tutari is played in the convention of palkhi in Maharashtra to exhibit
the royal arrival or the message of triumph loudly. Owing to its flexibility, Tutari is viewed as
a political symbol nowadays.

Music Festivals like Banganga Festival, Pune Festival, Latur Festival, Ellora Festival,
Sangeet Shankar Darbaar, organized annually are a sight to catch. Besides, these festivals
prevent our traditional art forms from waning out.

When one comes to Maharashtra, the culture displays a significant shift. The Marathas have
always been proud of their agriculture and lifestyle. This pride is reflected in their music as
their folk music mainly focuses on daily life in the villages of Maharashtra and harvest
seasons. As their poets fathered verses telling the world about their unique lifestyle, these
poems became the stories among the common people and got played by their people.
Lavani and Povada are the most well known folk songs that engage the town folks in
Maharashtra. Bhaleri, another folk-song, is sung to cheer the farmers working in the field.
They likewise sing unique songs during the harvesting season. Folk music is defined by the
impact of it at remote levels like families and small communities. Palane is a children’s song
in Maharashtra to put a youngster to rest. Artya is the folk song that conciliates the anger of
gods to protect from maladies like smallpox, plague and so forth and the list goes on.

The most important festivals that a traveler should be present at are, Ganesh Chaturthi that
happens in August throughout Maharashtra and Nag Panchami that is celebrated in July in the
whole state. Apart from these, have you ever heard of the town called Miraj? It is the town in
Maharashtra (Sangli District) where the sitar is manufactured and the craftsmen of this town
have been practicing this art of making sitars for generations. No wonder it is called
the “Town of Music”.

Musical Instruments Used :

 Dholki

 Dilruba

 Ektara

 Sarangi

Folk Songs of Goa

Folklores bind the present with the past and keep the continuity of civilization. The
originality of folklores have pleasantly surprised even most erudite scholars and
litterateurs.Goa has a unique cultural heritage, rich and lively and it is known for several folk
festivals and performances. Many castes, sub-castes and tribes mingled in its social texture in
Goa's long history and this presents a wide diversity of folk arts that incarnate its traditions,
customs, convictions and culture. Goa has been inhabited by many racial stocks. No other
region in India perhaps has had such a wide variety of political regimes. The various rules
introduced their life styles and cultural influences of which, the marks are vividly to be seen
in the races and the rulers, there have been the in comers for trade and commerce and the men
of the armed forces drawn from different cultural groups. During the history spanning over
2,000 years of life, Goa has been shaped by the Bhojas, Shilaharas, Rashtrakutas, Kadambas,
Vijaynagar rulers, Adilshahi and finally the Portuguese. The changing colours of history have
left their multiple and lovely shades on the Goan life. And folk art has not been an exception
to it. The traditional folk music and dances have continued uninterruptedly, while the
influence of the Portuguese music and dance on the local culture has helped evolve new
forms. This happy blending and co-existence of cultural traditions gives a unique character
the music and folk dances of Goa..The diversity of these cultural influences makes Goa
distinctive although it shares in a general way the culture of the coastal Konkan strip. Among
the innumerable folk dances and forms encountered in Goa include Talgadi, Goff, Tonya
Mel, Mando, Kunbi dance, Suvari, Dasarawadan, Virabhadra, Hanpeth, Gauda jagar,
Ranmale, Fugadi, Ghode Modni, Lamp Dance, Musal Dance, Romat or Mell, Morullem,
Bhandap, Dhangar Dance, Dekhni and Dhalo.

GHODE MODNI : This is the name of a splendid folk dance that is mainly performed in
Bicholim Taluka of Goa. The dances brangs back the memory of the great warriors in the
past. The dancers swing around with dummy horses tucked to their waists. They carry swords
in their hands showcasing bravery and at the same time they wear 'ghungrus'. The
background music is the music of dhol and tasha.
MANDO : Mando refers to the various love songs that are enriched by capturing each and
every emotion. These are folk songs that came into existence with the Goan aristocracy. The
starting of these songs reflect the sad state of mind but the rhythm they acquire in the end is
named as dulpod. A blend of Indian and Western traditions can be found in these songs. The
contemporary songs belonging to this category present varied and distinct emotions and
therefore, they are difference from the old compositions such as bhajan, arti, dasarwadem,
etc.
DEKHNI DANCE : Dekhni is referred as a song cum dance. This is because the song has
western bearings while the dance is of Indian form. It is only the women dancers who
conduct this beautiful dance. A film producer got so enchanted by a popular Dekhni song that
he made it familiar to every child of the country. Whenever this dance is performed, it is done
with ghumat.
GOFF TALGADI AND SHIGMO : They are awesome and beautiful folk dances that are a
part of Spring jubilation and they are basically performed to spread festive mood and
happiness among the peasants. These dances are mainly performed by peasants of Goa. The
peasants residing in Canacona Taluka perform the Goff dance. Goff consists of weaving of
braid with various tints. The entire dance is a symbol of extreme discipline. Talgadi is also a
folk dance that is performed on ghumat beats. It is quite identical to the dandiya dance of
Gujarat. Shigmo is a dance that is performed by wearing colorful dresses and is done of the
beats of dhol, tasha, cymbals, etc.
DHANGAR DANCE : Hangars form a community of shepherds who worship a folk god
named as Bira Deva. They believe in rituals and various celebrations. They celebrate with
dances on dhol and flute. The dances they perform are usually dedicated to Shri Radha and
Krishna. The costumes they were are named as Kathiawari white dress.
MUSSAL KHEL : This is one of the folk inheritances that involve a song cum dance done in
the praise of brave kings. An important aspect associated with this dance is that it is
performed by Christians to praise a Hindu King. The main day when the dance is performed
is the beautiful full moon day of falguna month of the Hindu calendar. It is basically
performed by the Cholas of Chandor who were defeated by the Harihar of Vijaynagar
dynasty.
ZAGOR : Zagor is a folk dance inherited from the Modern Marathi Theatre in Goa. It
consists of two formsone of which belongs to the Pernni community, while the other belongs
to the Christian Gawdas. Pernni Zagor concentrates on the philosophical topics based on the
origin of universe. On the other hand the Christian Gawdas has been taken from the
contemporary village life.
LAMP DANCE : This kind of lamps uses brass lamps and it is unique and difficult since it is
basically the art and skill of the dancer who keeps the lamp on his head and uses different
body movements without affecting the position of the lamp. The time at which this dance is
performed is the time of the Shigmo festival. The various instruments that are used for this
kind of dance are Cymbal, Ghumat, Haronium, and Samel. The songs used are the traditional
folk songs and the main regions wherein this dance is performed are the southern and central
regions of Goa.
FUGDI AND DHALO : These folk dances are basically performed by women and they are
quite common. The pace of Dhalo is slow while that of while that of Fugdi is fast. The pattern
followed by the Fugdi dance is circular and in Dhalo a dozen of women dance having their
faces in front of each other. Both these folk dances are performed on Marathi and Konkani
songs.
VEERBHADRA : Veerbhadra is known as the son of Lord Shiva and he is also referred as
the burning flame. This dance is actually performed on Dhalo Mand's fifth day. The dance is
performed while holding swords and and the instruments that are played include dhol and
tasha.
KUNBI SONGS AND DANCE : Kunbi songs and dances is actually played by the primitive
settlers in Goa that delineate ancient traditions. The songs belong to the Portuguese era and
they are basically for the enjoyment of the dancers.

Folk songs of Andhra Pradesh & Telangana

Andhra Pradesh is one of the important centres of music in South India. Four centuries- from
the 15th to the 18th - witnessed the golden age of musical literature in Telugu representing
compositions by celebrated "Vaggeyakaras" from "Annamacharya" to "Thyagaraja".

Annamacharya's Keertanas
Annamacharya is one the eminent poet saints of Andhra Pradesh. A passionate devotee of
Lord Venkateswara and a great personality whose literary work is storehouse of astounding
treasure. Sri Annamacharya composed several poems in Telugu and Sanskrit in praise of the
Lord Venkateswara.

Popularly known as "Praja Kavi", his compositions are rich in literary value and also for the
"Adhyatmik" (Spiritual) sense they are intended to impart to the masses. Annamacharya's
'Keertanas' (devotional songs) became the base for the "Manasa Kala Mandir". Telugu and
Sanskrit were the pillars of support, the chanting of 'Slokas' were the steps and 'Dharma'
(duty), 'Artha' (greed), 'Kama' (lust) and 'Moksha' (salvation) were the four boundaries. All
these inspired Annamacharya to render devotional compositions. 

Sri Annamacharya's pleasant renderings have a profound impact on the daily lives of the
people. For many generations, children in Andhra have been familiarised to music through
the lullaby of Annamacharya's famous composition "Jo Achutananda Jo Jo Mukunda".

Ramadas Keertanas
A legendary Telugu poet of Andhra Pradesh born in the 17th century in Nelakondsapalli, a
small village in Khammam district, 'Gopanna' was his real name.

He composed several Keertanas in praise of Lord Rama. His compositions have a touch of
intense devotion and refreshing fervour and are candid. His sheer transparency of the soul
compels the attention of many towards his songs. The passion and liveliness in his songs have
carved a niche for it in the tradition of devotional poetry. Ramadas' songs are a reflection of
the deeply felt bittersweet agonies and ecstasies of a devotee in distress. 

He disclosed his ardent devotional pining in the language he knew - the dialect of the heart -
simple, emotive and touching. His music is rightly described as mood music since it is clear,
unadorned, easily understood and touches the sensitive chord in the listener.

Carnatic Music
Music of southern India that evolved from ancient Hindu traditions and was relatively
unaffected by the Arabic and Iranian influences. It is also spelled 'Karnatic' Music. The very
word "Carnatic" means traditional or ancient. 

The Deccan region combining Andhra Pradesh, Tamil Nadu and Karnataka played the

important role in the development of Carnatic music down the centuries. Andhra Pradesh is
one of the chief centres for present-day Carnatic music apart from Tamil Nadu, Karnataka,
and Kerala . 

In contrast to northern styles, Carnatic music is more thoroughly oriented to the voice. Fewer
instruments are used in Carnatic music and there are no exclusively instrumental forms.

Compositions of Carnatic music constitute the most popular face of the art, while the ragas
work at another level. The 'Kritis' of Tyagaraja, Muthuswami Dikshitar, Shyama Shastri (all
18th century) and later composers, set within the Carnatic ragas, constitute over half of each
typical concert. To many listeners, the music of the south has a restrained and intellectual
character as compared with the music of the more secular Hindustani traditions.

Folk Songs
The true rhythm of India lies in its folk music. Andhra Pradesh is rich in its traditional folk
art forms, which have provided popular entertainment for the common folk, imparting
traditional education while providing entertainment. Folk life and Folk art are inseparably
intertwined with each other. Folk music is the music of the masses. Every event of life has a
unique folk song associated with it. They are sung in during festivals, advent of the new
season birth of a child, or day-to-day affairs like teasing one's loved one, admiring nature, etc.

The masses of Andhra Pradesh are fun lovers and the most favourite means of enjoying on
any occasions are folk songs. People gather at one place on any event either it may be a
happy or sad moment. They start singing and through these songs they express their
happiness or sorrow. 

There are also folksongs on pilgrimages, medicine, funeral, marriage, mythology, and
lullabies. The most famous among the village folk are songs on deities and satires of village
life, country songs, labour songs, and humorous.

Harvest Songs
Andhra Pradesh is predominantly an agricultural state. Harvest songs are most popular
among the farmers. During the harvest season, farmers working in fields sing to forget their
tiredness. They sing in happiness as their handwork is being rewarded.

Ksetrayya Padalu
The Padam is a poetic composition based on a theme from Hindu mythology or the theme of
courtly love, an allegory for the human soul yearning for union with the Divine. Shades of
feeling are conveyed by the delicacy of the facial expressions. Padams are often used in
dance.

An Expressive Song
Inspired by the south Indian 'Bhakti' cult, the genre reached its zenith in the hands of the
Telugu masters like "Ksetrayya" of the 15th century. Eroticism and god go together in the
Telugu poetry of Ksetrayya. The Padams of Ksetrayya demand the expression of a whole
range of human sentiment in a slow tempo and a melody that perfectly match the emotional
climate that is created.

Ksetrayya Padalu is very famous and these days many of these songs are sung at
Bharatanatyam performances.

Folk Songs of Karnataka

Folk music of Karnataka possess an attractive tradition in the realm of folk and classical
music. The rich heritage of music of Karnataka can be credited to the Vijayanagara and
Woodeyar kings who themselves were great supporter of music and literature. These
dynasties patronized the growth of traditional music and encouraged promising musicians. 
Music of Karnataka also bound a great variety of folk music. The folk music forms of
Karnataka are an integral part of the rural life and possess the distinctive characteristics of the
regions where they belong.

Karnataka has made substantial contribution to the evolution of the both forms of Indian
classical music, Carnatic and Hindustani classical music.  Gopala Nayaka traveled all the
way from the south to become the court musician of Allauddin Khilji (1295-1315) in the
north. He cultivated the friendship of the Persian musicologist, Amir Khusrau. These were
incorporated in the treatise on music by a South Indian composer of the 16th century -
Pundarika Vittala. The intermingling of the two cultures gave rise to the two modes of
singing- Uttaradi and Dakshinadi or Hindustani and Carnatic.

Carnatic music has a deeper understanding of ‘notal‘ values and their inter-relations. This
relation is established by Gamaka. So, taste for Carnatic music has to be cultivated.
Tyagaraja is the most popular among the composers of Carnatic music. The music
compositions, 'Tyagaraja Gana', ‘ Valmikiya Kavana' and ‘ Agumbeya Astamaya' are said to
be unique for delighting the human heart.

Ragas are the basic building blocks of both Carnatic and Hindustani classical music. Ragas
are characterized by their specific ascent (Arohana) and descent (Avarohana). Prominent
Hindustani classical musicians from Karnataka include Mallikarjun Mansoor, Bhimsen Joshi,
Basavraj Rajguru, Nagarajarao Havaldar and Gangubai Hangal.

Carnatic Music and Classical Music has a deeper understanding of 'notal' values and their
inter-relations. This relation is established by Gamaka. Thus, taste for Karnatic music has to
be cultivated. Tyagaraja is the most popular among the composers of Karnatic music. The
music compositions, 'Tyagaraja Gana', 'Valmikiya Kavana' and 'Agumbeya Astamaya' are
said to be unique for enrapturing the human heart. Tyagaraja has very respectfully mentioned
Sri Purandara Dasa as one of the great composers of Karnatic music.

The credit for starting the Dasa-Kuta system goes to Sripadaraya Swamy of Mulabagal. He
popularised Kannada songs all over the country as far as Maharashtra or Greater Karnataka.
It is said that Gnaneswar has incorporated three Kannada songs. This system was continued
by Sri Vyasaraya Swamy of Sosale. Purandara Dasa's compositions mark the crowning glory
of this system. He composed four lakh and twenty-five Kirtanas, besides hundreds of
peculiarly Kannada modes of songs known as Uga-bhoga and Suladi. The tradition so
gloriously established by him is being continued to this day by his admirers and disciples.

Karnataka has the unique distinction of being able to produce an unbroken succession of both
composers and exponents. Kannada Musicians like Basavaraj Rajaguru, Mallikarjuna
Mansur, Bhimsen Joshi, Hanagal Gangubai, etc have won an all-India reputation.

Folk Songs of Kerala

Kerala has enriched the  cultural heritage of India in the field of music, vocal and
instrumental, both in its art form and in its folk form. Music , like dancing , had its orgin in
the primitive dances and plays developed by the ancient people in propitation of the deities of
the hills and forests.The development of such art forms as Kuthu, Kudiyattam, Ashtapadi
Attam, Krishnanattam, Ramanattam, Kathakali etc gave impetus to music , for all these
performances singing had the pride of place.
 An indigenous classical music called “ Sopanasangitam” was developed in the temples of
Kerala in the wake of the increasing popularity of Jayadeva’s Gita Govinda or Ashtapadi.In
the singing of the Ashtapadi and musical compositions of Dikshitar, Swati Tirunal and others
to the  accompainment of the drum called Edakka the “ Sopanasangitam” in its traditional
form is seen at its best. Marars and Kurups who were hereditary experts in Sopana sangitam 
are now rare and only in a few places like Guruvayur, Vaikom, Ambalapuzha, Trichur,
Tripunithara, Chottanikara, Tripayar etc. The Kathakali padas composed by a galaxy of
scholars like Irayimman Tampi and the Thullal songs of Kunjan Nambiar also contributed
considerably to the growth of the musical culture of Kerala.
 The credit for having  given to Kerala an important place in the field of Karnatic music goes
to Swati Tirunal, the ruler of Travancore. His reign has been called the “Augustan Age of
Kerala Music”.Himself a musician and composer of high calibre , Swati was a generous
patron of music and musicians. His court was adorned by some of the most gifted musicians
of the age.Swati Tirunal composed a number of Karnatic and Hindustani songs in popular
ragas and tunes.
In the field of folk music and light music too Kerala has an enviable record . The Vadakkan
Pattukal, the Thekkan Pattukal, the Kalyana Pattukal and the Mapila Pattukal have enriched
folk music . Further , there are numerous songs composed to be sung in connection with the
performance of such arts as Kaikottikali, Kummi, Kolattam, Ayyappan Pattu etc. and the
celebration of such festivals as Onam, Tiruvatira, Pooram etc. All these are substancial
contributions to Kerala’s wealth in folk music. The boat songs or “ Vanchipattukal” sung in
connection with the boat regatta also come under this group. The songs composed for the
Malayalam cinema and the Malayalam theatre come under the category of songs called light
music. These have become immensly popular in Kerala in recent times.
 A number of musical instruments are used in Kerala namely percussion, wind and stringed
instruments. Mridangam, Dolak, Udukku, Chenda, Timila, Edakka, Takil and a few other
represent the percussion type . Instruments like Nadaswaram, Kombu, Kuzhal, Mukhaveena
etc. are wind instruments. The chief stringed instruments are Veena, Tamburu, Sarangi,
Swarabi and Violin.
 Some typical temple arts in which instrumental music plays an important part have evolved
in Kerala. Chenda Melam has become indispensable for all temple festivals. Tayambaka is
also a typical temple  vadya of Kerala. Panchavadyam is another unique  temple art in which
the sounds emanating  from five principal musical instruments – Maddalam, Edakka, Timila,
Kombu and Elathalam- and two auxiliaries  (Sankhu and Kuzhal) in variying pitches are
synchronised to the immense delight and excitement of the audience.
 

Folk Songs of Tamil Nadu

The music and dance of Tamil Nadu had their beginnings in the temples. From early times,
different groups of people were appointed to sing divine songs in the temple. Officers called
Thevara Nayakams or leaders of the world of music, arranged the private worship of kings
and group singing.

Odhuvars, Sthanikars, or Kattalaiyars offer short musical programmes in the temples by

singing the devotional Thevaram songs. Musicians had total reliance on divine grace. They
lead the chorus in the temple congregational prayers to the accompaniment of the Sarangi.
Sarangi was in use in the temples of Tamil Nadu till the end of the nineteenth century.

The temples at Madurai, Tirunelveli, Sucindram, and Alwar Tirunagiri have musical pillars.
Such pillars are found in the Artha Mandapam where the singing of Thevaram was
accompanied by the music from the stone-pillars.

CARNATIC MUSIC

What is Carnatic Music? : It is the classical music of Southern India. The basic form is a
monophonic song with improvised variations. There are 72 basic scales on the octave, and a
rich variety of melodic motion. Both melodic and rhythmic structures are varied and
compelling. This is one of the world's oldest & richest musical traditions. Why Carnatic
Music? "...I [Todd M. McComb] value Carnatic music first for the effectiveness with which it
can build positive mental discipline. It helps me to focus and organize my thoughts, and it
helps to eliminate negative mental habits..." 

Indian classical music is categorized under two genres. These are Hindustani and Carnatic.
Broadly speaking, Hindustani developed in the northern regions of the country, while
Carnatic music is indigenous to the south. 

Carnatic music is considered one of the oldest systems of music in the world. Imbued
withemotion and the spirit of improvisation, it also contains a scientific approach. This is
mainly due to the contributions of such inspired artists as Purandara Dasa, known as the
Father of Carnatic Music, and other scholars who codified the system and gave it a clear
format as a medium of teaching, performing, prayer and therapy. 

The basis of Carnatic music is the system of ragas (melodic scales) and talas (rhythmic
cycles). There are seven rhythmic cycles and 72 fundamental ragas. All other ragas are
considered to have stemmed from these. An elaborate scheme exists for identifying these
scales, known as the 72 Melakarta Ragas. 

Carnatic music abounds in structured compositions in the different ragas. These are songs
composed by great artists and handed down through generations of disciples. While the
improvised elaboration of a raga varies from musician to musician, the structured portion is
set. These compositions are extremely popular, with a strong accent on rhythm and lively
melodic patterns. Three saint composers of the nineteenth century, Tyagaraja, Muthuswami
Dikshitar and Shyama Shastri, have composed thousands of songs that remain favourites
among musicians and audiences. 

An important element of Carnatic music is its devotional content. The lyrics of the traditional
compositions, whether mythological or social in nature, are set entirely against a devotional
or philosophical background. 

The Nineteen Forties were a rather turbulent period for Carnatic Music in Tamil Nadu
because of the Tamizh Isai controversy. More than a controversy, it was a move by some well
meaning people to increase the number of Tamil songs being sung in concerts in Tamil Nadu.
Started by Raja Sir Annamalai Chettiar and spurred on by individuals like Sir
R.K.Shanmugham Chettiar and journalist Kalki Krishnamurthy, it tried to create a lot of
awareness among musicians and rasikas that language had a role in music.

Today after so many decades, without the existence of a formal movement, we do find
musicians and rasikas enjoying Tamil songs in Tamil Nadu, Kannada songs in Karnataka and
so on. Listeners do make fervent appeals to musicians about singing songs in the language
they are familiar with and musicians oblige them without much ado.

Intricacies of Folk Music

Tamil folk music is remarkable for the tala intricacies. Very ancient classical ragas or
melodies like Manji, Sama, Navaroz, Kalyani, Karaharapriya, Thodi, and Nadanam-k-kria 
are used in  the folk-songs. Many instruments are used in folk music.

Musical Notation Of Tribes

The hill-tribes have a natural fondness for music and they are known for the preservation of
ancient culture. The Pulayar tribe describe their melodies as talams. According to them, their
melodies are derived from the cooing of birds such as kanamayil, Kanakkozhi. Talam and
melodies are named after their deities. Karaganachi talam, Mangalanada talam, Kundhanada
talam, etc. are all specific melodies. The chaya of classical ragas like Sudhasaveri,
Saraswathi, Sankarabharanam, Andolika, Brindavanasaranga are to be seen in these beautiful
melodies. Their orchestra is known as Singaram (literally meaning beauty), consisting of two
small sized Nadhaswarams or Sathathakkuzhal, two drums or melam and a pair of cymbals or
Kaimani, Veelikuzhal (flute) and Maththali (a long drum) are played by them to invoke the
gods. They sing while they dance. Some of their music is rudimentary only serving as a
background for dance.

Melody of the Kulavai

The Kulavai sound is made by the women engaged in agricultural work with a turn of the
tongue which they move swiftly side ward. The Kulavai song is sung in beautiful melody,
particularly in Thanjavur where agricultural prosperity and music tradition alike have been
kept up. Women stand in knee-deep slush, planting the seedlings and they raise the Kulavai
sound to expedite work and to honour visitors. Anyone passing between paddy fields has to
make token payments or tips to these women, if they greet him in chorus.

Nayyandi Melam

Nayyandi Melam or Chinna Melam is a rustic imitation of the classical melam or

Nadaswaram and is intended purely as an accompaniment to folk-dance-drama to cater to the
tastes of the unlettered audience. This orchestra consists of two Nadaswarams, two tavels, a
Pambai, a Thammukku, and a pair of cymbals. The peculiarity of Nayyandi melam is that the
instrumentalists also dance while playing the instrument. The troupe is in demand as an
accompaniment to Karagam, Kavadi, Dummy-horse show, and gypsy-dance, popularly
known as the dance of the Kuravan and Kurathi.
 Bibliography
Media and Communication Management – C. S. Rayadu

Mass Communication in India – Keval Kumar

Official tourism sites of every states

Wikipedia

Wishberry.in

Culturalindia.in

Gktoday.in

Gostop.com

Blogspot.com

e-newspapers.