Bihar - Art, Culture, Heritage @ whatisindia.com

In early nineteenth century Bihar, music was encouraged by certain professional classes alone. The rich & powerful extended generous patronage to musicians.

Hindu Kathaks were performed in groups and the songs were mostly from Jaideva's 'Geet Govinda'. The musical accompaniment used were Tamburu, Sarangi, Majira and Dholak. The Yajaks were employed at funerals, the Bhajaniyas and Kirtaniyas were employed by Brahmans to sing holy songs after the morning prayer, Roshan Chouki parties were employed to play on pipes and drums and also to accompany Muharram processions. The Pamarias, men and women, who were mostly Muslims, thronged to sing where marriages were being held and birth has taken place. A class of dancing boys called Bhakliyas come to Bihar to celebrate Holi.

Folk songs are mostly sung by Bihari amateurs all over the state. The Thumar or Barahmasa is sung by female in groups when they are engaged in paddy plantation. When grinding corn in Jata or Chakki, they sing Jatusari. Sohar is sung on the occasion of child-birth and Sumangali, when marriage rites are to conclude.

Folk Dances

The folk dance tradition in Bihar has three distinct streams - Videha (based on poems), Adivasis (closer to nature, social institutions and rituals), and Chhau (of the Seraikella region). All there folk dances have their roots in the traditions of the region in the past.

Videha

In the religious type Videha dance, gods and goddesses are invoked through dance, performed to the rhythm of folk songs and such musical instruments as the dhol, pipahi, pakhwaf, and danka. The Ram-leela nach, Bhagat nach, Kirtaniya nach, Kunjvawt nach, Naradi nach, Vdypat nach and puja Arti nach are all religious folk dances of Mithila. The dances exclusively for women are Jhijhiya nach, Jatajutia nach, Sama Chawka nach. The only mixed group dance is Saturi dance of Mithila. In the family dance called Bakho nach, the husband and wife participate on the occasion of the birth of a child or a similar joyous occasion. The different lower-caste groups have their own exclusive dances such as Chamar natua, Kanala mai nach, Dampha-Basuli nach. There are such popular dances as Pamariya nach, Videshia nach and Kathputli nach.

Chhau

This is a folk dance of Seraikella Kharsawam region. The word Chhau signifies a mask. Originally a war dance to perfect fighting techniques, it has over the years evolved into a narrative ballet. The dancer's identity and sex are concealed on account of the mask he wears when performing the Chhau. On the eve of the spring festival, every year, people in Seraikella celebrate with the colorful show of 'Chhau' performance. The Seraikella royalty preserves, projects and participates in Chhau, in the month of Chaitra Paru (April) at the King's palace.

Adivasi

The Adivasi version of the Chhau is called Sastriya Nritya, in which the dancers sometimes do not use the mask. Also songs are not used in the Chhau. Instead, the dancer expresses mood or theme through the medium of varied gestures, all of the exquisite artistic appeal to the accompaniment of the veena, flute, drum.

Tribal Folk Dances

With music and dance being inseparable part, most of the tribal communities well-organized institutions for providing training in these arts to young men and women. There are exquisite folk songs based on varied themes and meant for different occasions. More than a means of recreation, these dances and music are closely interwoven with tribal courtship that they have often been described as an expression of stylized animality. Young men and women meet freely in the dancing ground of their village. The dancing ground provides a place of a rendezvous for court ship. Laden with themes of tender of love, their songs have highly seductive charm.

Rather than a means of amusement, dance is very essential part in the life of Adivasis of south Bihar. The songs are generally accompanied by dances, which is as per the season.

The Santhals are very talented in singing and dancing. Maghi parva, Dasia parva, Ba parva and Karma are the their important dance festivals.

The Birhors, Hos and Kisans have their special choreography expressive of their culture and art traditions.

The Oraons and Mundas have their dances - Jadur, Karma and Jatra dances. The Karma is the most important festival among these tribes. On the eleventh day of Bhadra they plant the branch of Karma tree quite ceremoniously and then after worshipping it, men and women dance. These dances continue for three days. The Jatra dance is performed after the rains. The Paika dance is part of the Munda culture and is performed on the occasion of a marriage. It is a mock-fight dance with swords and shields, performed by the men only. The Jadur is performed on the occasion of the Sarhul festival in April.

The Karma festival is also celebrated by the Mathos, Harijans, Napits, Mandals. Their womenfolk dance round the Karma plant.

There is also the Nachni and Natua dances that are not entirely related to festivals. The Nachni (female dancer) and her Rasik dance to the tune of the shehnai, magara etc., holding handkerchiefs in their hands and with sashes tied round their waists. Two male accompanists sing and clap. The Nachni performs her dance on different joyous occasions and seasons. Her song is sung in the pach-parganiya dialect, which is a mixture of Hindu and Kurmali. At Silli, a town-let in the Ranchi district, all Nachnis and Rasiks gather together and perform the Rasa on the Kartik purnima day.

The Natua dance is essentially a duet, in which the performers dance to the accompaniment of the dhol, shehnai and Nagara.

Reference:
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