Orissa: Mayurbhanj, Keonjhar,
Sambalpur
and Sundargarh.
Chhow dance has a special position
in Mayurbhanj. As jhumar is inter-linked with Chhow, Jhumar enjoys distinctive position too. Unlike
Chhow Jhumar is performed by female dancers. Chhow is mainly in dance form
alongwith its music, but Jhumar is mainly in song form alongwith dances. When
the chhow dance reaches its climax the Jhumar 'Rangs' are played. There are two types of
dances in Jhumar dance. When a single lady dances, it is alled
'NACHUNI' and when dance is performed in a group it is called 'PANTA DANCE'. Jhumar songs are
tune based. Its main element is tune, that means SWARA PRADHAN and its rhythm
is typical of its own. Lyrics are descriptive mainly of Radha Krishna's love,
melody about separation from beloved one and from mythological stories. One of the main lyricists
in Jhumar-Kabi Bhushan Bhabaprita Nanda Ojha named his first edition of his book "JHUMAR RASAMANJARI", published
about 100 years back, contains mainly valuable famous Jhumar songs. He was from "MAUJE PHAGA" in old
Dancing in a circle to the rhythm of Jhumar Taal in a group of 10 to 15 maidens holding one another another side by side is called PANTA naach (Dance). Male folks sing and play Dhol, Maadal & Flute while female folks dance to the tune and taal putting their feet in unison to form a chaain like scenery which is beggar's description and throws the audience into trance. Maidens also sing Jhumar Songs while dancing. The dancers are so engrosed in their performance that they cannot know when evening passed by and night came and night made room for morning. Photographs of this heart and mind enthralling dance can be visualized also. |
The prevalence of Jhumar dates back to 18th century but not in organised form. Local folks of Orissa, Jharkhand, Bihar and West Bengal used to practise Jhumar songs and dance to beat boredom and monotony after days hard work which was energising for further work. Even when they were on their way to distant places in quest of work their lips were stuck with melo dious, lyrical and colloquial Jhumar Songs. Gradually a Nachuni group was introduced which consisted of eight to ten people, including one Rasika (the leader of the group) one Nachuni and instrument players for FLUTE, HARMONIUM, DHOL, CHAD-CHADI, MAADAL, MAHURI etc. 18th century downwards Raja (King), Maharaja (Emperor), Zamindar (Land Lord) noticed Jhumar and they became so charmed by the language, sweet tunes and dance that they could not but patronise it which helped remove the financial constraint of Nachuni Groups which further paved its way to earn recognition in upper level of society. A NACHUNI practically lives with RASIK, learning all types of Jhumar songs and dances performs with the professional group. They are frequently called for performance in festivities and marriages. The group moves from place to place for performance in return they charge certain amount. Just like 'Baijis' performing Ghazals, Thumaries, etc. the Nachunis perform specially Jhumar dances and songs. The Rasik (Leader) selects talented girls, and other interested artistes to form a group and they are imparted training for professional performances whenever they are called for. The calls are proportional to their efficiency
Each dance and songs are accompanied by some musical instruments but for which the real essence of that would not be enjoyed. Similarly Jhumar songs and dance are perfomed with instruments like 'DHOL', 'MAADAL', 'CHAD-CHADI', 'GHUNGROO', 'BAMBOO FLUTE', 'HARMONIUM', 'MOHURI', 'JUDI NAGRA', and 'TUILA'.
1. Mythological songs about Radha-Krishna's Sacred loce. |