| GARBI |
| |
| Garbi is a form of Garba. The main difference between Garbi and Garbo is that mostly women participate in Garbo whereas Garbi is sung and played by men only, with vigour and gusto. Circular movements with mainly actions of speed and grace are the main attractions. The noted Indian poet Zaverchand Meghani has mentioned that around Garbi (Wooden Mandavdi) men dance rhythmically in measured steps.
Dandiya, Dhol, Nargha and manjira are used in Garbi. It is mostly held on religious festivals such as Janmashtami , Navratri etc. Garbi is one kind of Raas, and its songs have force and rhythm also ! |
| |
| TIPPANI NRITYA |
| |
| This dance belongs to koli women of Chorwad region of saurashtra a westrn part of India. Tippani was an equipment having square wood or iron piece at the bottam of a stick known as Tippani a long stick which was used for beating and pressing lime into the foundation of a floor or house floor under construction in old times. This Tippani was used by the women for the purpose of removing tedium of toil of this arduous job. They Set and and tighten their soil through this rythmic dance with musical process.
Each woman would have a Tippani and would dance in two rows opposite to each other and would sing. Musical instruments like Zanz, Manjira, Dhol and Shenai are used to control the tempo and pace of the dance movements.
This dance has rhythm varying from five to six up to fifteen to twenty. A special characteristic of the dance is the vigorous swiftness and rhythmic cadence of footsteps and Tippani stepping. The invention of cement and tiles has diminished the use of Tippani but this dance form is still vague and much admired on the stage. |
| |
| HUDO |
| |
| Hudo is a folk game of people of Saurashtra played by men and women at Tarnetar-religious village place in Surendranagar area of Gujarat state of India.The many other fairs and festivals also have introduced this HUDO” dance for celebrating festivals or events. The young men and women try to match their gut and strength with each other. While playing Hudo they sing songs of love and a tradition is to select a life partner also. |
| |
| DHOLI NRITYA |
| |
| Originally the drummer who hailed from the scheduled Caste-less privileged had the sole monopoly to play the drum on marriage occasions in a village.
The Dhol-drum players of Chorwad turned this into an organized form of folk dance. There are three players in which the middle player dances with the drum and the other two supply the rhythmic beats in all variations. The rhythm changes from a slow tempo to a faster and what three of them dance together the drums produce a thunderous rhythm. The stick is tied with which they nimbly tone the movement of the feet with which they keep time. The audience is held spellbound by sheer tempo, rhythmic roar of the drums and fast footwork. |
| |
| MANJIRA NRITYA |
| |
| Manjira Nritya is a peculiar type of folk dance of Padhaar community of Bhalnalkantha region of Gujarat state. They entice us with heart rendering display of Raas played along with jingling music of Manjira with precision and skill.
In this dance, padhaars sit in circular position with legs stretched. Musical instruments like Ektaro, Tabla, players give "Tal" to other instruments. Dancers continue playing with Manjira with varieties of actions and modes by getting up, sitting, standing, turning, taking fudadi- a circular movement dance and playing Manjira-Brass musical instrument with feet fingers by raising legs vertically.
In Saurashtra, Bhajanika have mastery over the art of playing manjira. They play manjira while singing Bhajans and get absorbed in singing.
In Rajasthan this type of dance is known as “Tera Tal”. Here, four to five women sit with streched legs, tie thirteen manjira right from toe to feet fingers up to arms covering all limbs and play Manjira and dance with “tal”- the rhythm. |
| |
