From the dawn of human civilization, man has always felt keenly the colours of pulsating life and enjoyed the rapture of life to the brim in the bosom of nature. From that inchoate stage of civilization, man has always contrived of different rhythemic dances to give outlet to their exuberance - while building the tempo for a hunting expedition for instance or while trying to propitiate the demoniac forces in nature. In the antiquity when primitive man dwelt in jungle, life was savage and they had to be always on the qui vive to counter the hostile animals who would prey on them.
It is very natural then that the dance forms conceived by early man were aggressive in nature and depicted either a hostile attitude or the gestures of defence and retreat. Gradually men came down to the plains and settled down. Thus, nomadic men became gregarious creatures. They built houses and learnt the art of cultivation. In this new and changed pattern of life, dance forms and styles also underwent a significant change. In the new social life and ambience, folk dance evolved as a natural process with its simplified, supple but emphatic form.
So, folk dance was very much the brainchild of civilized and gregarious human society. Some hold the opinion that ‘primitive dance’ and ‘folk dance’ are but the same category which is actually a gross delusion. Folk dance was evolved in a developed and civilized society by some more advanced class or groups of men. It was based on their ways and attitudes, beliefs and customs, rituals and prejudices and their spontaneous reactions to the sights and sounds of nature.
In the primitive society, dance was born for satisfying the needs of the early man. With the progress of civilization, man’s intellect and consciousness increased to a great extent. Conflicts increased in life and social relationships became more complicated. Consequently, all art forms assumed some distinctive characteristics. Dance became refined and plushy. Thus, primitive dance gave way to folk dance.
Folk dances do not quite reveal the utilitarian values of the primitive dances. But they do resemble the style of expressing different emotions. Some conspicuous utilitarian aspects of primitive dance underwent several changes and became symbolic. The impact of the primitive society and its conventions and rituals is very much felt in the several folk dances that have evolved in course of time. Folk dances become more to life and reflected the colours of life like never before. In a nut shell, it can be said that the joint effort put up by a coherent society to express the manifold hues of life find its best expression in folk dance. In course of time, several branches of folk dance were born on the grounds of regional differences and variety of form and culture.
Folk dance is the brainchild of an integral society which celebrated all social festivals with pomp. This dance form manifests the gaiety, exuberance and above all the creative zeal of our progenitors. Hence, this form of dance is often called “the collective creation of the folk.” Generally, folk dances do not quite reveal individual talent, grace or an isolated pose. Rather, there is least scope for any individual to show his/her prowess as a dancer in a folk dance. However, it is incorrect to say that individual expressions and feelings are totally ignored in folk dance. Individual awareness and ideas are adequately represented in the totality of the form and theme and in the group dance pattern.
Classical dance was conceived by a developed and refined human society. In reality, folk dance underwent several changes and got highly refined to give birth to classical dance form in course of time.

In the preface to the book “ Folk Dances of India,” an apt description is given about the differences between folk dance and classical dance. It says, “The differences between folk dancing and classical dancing, of which the former is the mainspring, is largely one of attitude. There is no deliberate attempt at artistry in the folk dance. The very existence of the dance is adequate justification for it, unless it be the pleasure of the dancers. No audience, in the usual sense of the term, is implied, and those who gather round to watch are as much a part of the collective self-expression as the dancers themselves. Moreover, the concept of the portraying emotion is generally speaking, foreign to the folk dance in as much as what is expressed is natural and original. What is important is not the grace of the individual dancer or virtuosity of the isolated pose, but the total effect of overwhelming buoyancy of spirit and the eloquent, effortless case with which it is expressed. It is clear, therefore, that here the question of a cleavage between the entertainer and the entertained does not arise as in the more sophisticated classical dance forms.”
When a creative artist becomes conscious of his art and its expression, it gives birth to a superior art form which is rich and refined in quality. When such consciousness is found in the sphere of dance, it transcends the limits of folk dance and transmogrifies into classical dance. Hence, individual process of the dancer gets more priority in classical dances. Conventional tastes and attitudes of a conscious mind are best reflected in the gestures, techniques and styles of classical dance forms. However, these classical dances have evolved on the basis of several aboriginal tribes, class or communities and on the folk dances prevailing in difficult in different regions. Again, it should be born in our minds that with the passage of time, some folk dances have also blossomed and burgeoned drawing nourishment from the classical dances. Folk dance is always imbued with a new life and vivacity.
Despite its transformation and development in a more civilized and advanced society, this dance form never lost its spontaneity and the central feeling of a community life. The following remark which was made about folk-music is also applicable about folk dance: “It is like a forest tree with its root deeply buried in the past which continually puts forth new branches, new leaves, new fruits.”
The genealogical study of all tribes and class from time immemorial, show that various forms of folk dances existed in their society and was very popular. It cannot be ascertained exactly when these dances had evolved and who were the original founders of these dance forms. Down the ages, man has inherited these dances have, for long, been the medium of man’s cultural improvement and have literally led to the origin of classical dances. However, the fullest manifestation of folk dance is not possible in the classical dance forms. Hence, the style, gestures and expressions of the classical dances have undergone radical change and assumed more refined and subtle forms.
A striking resemblance is found between the different folk dances that prevail in India. This trend is not only found in India but in several parts of the globe where the similarities between folk songs and folk dances are markedly conspicuous. On several occasions, such clans or communities living in different parts of the globe, have been found to have a common bond of kinship in the remote antiquity. Even if there was no kinship, the resemblances in folk dances of different clans are quite astonishing. Researchers say in this regard that under similar social and natural conditions in any given time, the human psyche thinks and acts in very similar ways. Hence, the various art forms like dance, music etc. devised by them are also akin to each other.
Folk Dances have their roots in religions beliefs and conventions, poetic fancies, belief of early man in supernatural forces and his desires, dreams and passions which he could not otherwise give outlet to. It is a candid fact that the human clans in different countries, gingerly make progress through several stages of evolution. Hence, folk dances often reflect the conventions and superstitions prevalent in the ancient ages. This is particularly conspicuous in the folk dances of many tribal communities.
Although folk dances show the vestiges of the hoary antiquity, they are not merely reflections of the by gone days. Contemporary life and society and the flow of pulsating life from the womb of history till date, enriched by human experience, have been transformed into scintillating folk dance forms. It is very unfortunate that due care has not been taken in our country for the resuscitation of folk dances except some sporadic incidents. Systematic research work and analytic study of folk dances have not been carried on in a wide scale. This should have been done extensively because folk dances do not depend for their existence, on memorabilias or items preserved in museums. They had expressed the hopes and aspirations of the society in the past and are also capable of building the foundations of a great future under proper care and assiduous practice.
Santidev Ghosh had an intimate affinity with Indian rural folk dance. He once remarked that among all the important Indian folk dances, the most popular and widely practiced one is the customary group dance form in several areas. Man always wishes to beautify himself. Similarly, the human society as a whole, wants to embellish itself by all possible means. If the society is beautiful, it maintains balance and integrity among the individuals who comprise it. It brings a harmonious rhythm and discipline in the social life. Man has to obey the law and abide by certain principles and decorum while living in a village, for instance for the sake of this rhythm and integrity. The roads in the village or for that matter the houses have to be arranged in such a systematic way that it looks organized, disciplined and tidy instead of giving an amorphous, unkempt and haphazard look. Everything should look balanced and coherent.
Creative art forms viz., song, dance and music are the ideal mediums which boost unite and integrate a society. Naturally social dances serve this purpose in a unique way. This is the primary motto of the social dances. In the Indian villages, social dances have always been an integral part of rural life and contributed immensely for all round social welfare.
However, things changed fast after the advent of the British. In the new social, economic and cultural setting during the British regime the popularity of folk dances gradually diminished and went to the verge of extinction. This is mainly because the new awareness and culture in the nineteenth century was very much influenced by European culture and civilization. It was totally alien to the set up of the rural life - rural culture, education, beliefs, customs etc. The villages were not focused to the new accidental culture and refinement because these were mainly for the urbanites and enlightened the cities. Consequently, all cultural ties between the urban and rural lives got truncated.
The robust elegance, spontaneous outbursts, innocence and vivacity of Indian folk dance is based on agricultural rural life. The lack of proper vibes with the city stemmed the further growth of rural creativity and particularly the folk dance forms.
In the city, a fake attempt is made to resuscitate folk dances and the dances performed there are but distorted forms of original folk dances. Here, the fundamental characteristics of folk dance are overlooked. Regional differences and distinctive features are also not taken into account. Rather, they have been reformed according to the tastes of the modern psyche and the gestures, style and mood have also changed accordingly. Hence, folk dance in the city is mechanical, spurious and devoid of spontaneity. On several occasions, folk dances have been presented in the films, and theatres as mere forms of entertainment which cross the limits of decency and border or perversion. The endeavour to revitalize folk music have never followed any scientific and logical method which have made the modern ‘city-bred’ folk dances look spurious and ludicrous. The attempt to modernize folk dances and conceive fictitious dance patterns to bring ‘freshness’ and ‘variety,’ has spoiled the essence and spontaneity of folk dances, which is indeed pathetic.
It should be borne in our minds at the very outset that a mere study of the facts is net enough for rejuvenating folk culture or folk dance. Before an extensive research work on folk dance of a particular area, it is necessary for one to comprehend thoroughly the social lives of different clans or tribal communities of that place. It is absolutely necessary to analyse critically their conventions, customs, prejudices beliefs and the umpteen social and religious festival which they observe. Otherwise, it is very difficult to discern the pure, untainted and original form of a folk dance.
In order to preserve our rich cultural heritage play the pivotal role in national integration and build up harmony among the people. In the new age, the vital role of folk dances must be reviewed and given their due recognition. 90% of the nation’s population live in villages. This leviathan power should be properly utilized for constructive purposes utilized for constructive purposes - to build the nation and other creative works. In a nut shell, it can be said folk dances should be resteemed and resuscitated not only to rediscover and assess the old values and traditions but also to construct the future of the nation and usher more promises.
Generally, folk dance is divided into three categories:

• Group dances which are performed in different religious and social festivals.
• Community dances of different tribes to celebrate different age-old family customs and personal occasions like birthdays, wedding ceremonies etc.
• Tribal dances prevailing since time immemorial which are based on black magic, sorcery, witchcraft etc.

Whatever be the form, folk dances, in most cases are spontaneous expressions of religious and social festivals. They are generally group dances drawing inspiration from folk culture and lives of the hoi polloi. However, refined and dramatic folk dance forms are also found in certain cases which have purely classical flavour.
In Bengal, umpteen festivals, small and big, take place through out the year. They are rich in variety and content. Hence, folk dances in Bengal also assume colourful dimensions. Among those, ‘Trinath Dance’ and ‘Baul Dance’ in Bengal deserve special mention. The Baul dance was evolved in the seventeenth century as a unique fusion of several religious norms and social customs. Although it is a form of folk dance, its gestures and expressions follow the rules of refined classical dances. The Baul songs are very melodious and have pastoral fervour and are usually played with ‘Ektara’ (one stringed musical instrument) or ‘Dotara’ (two stringed musical instrument). The foot-tapping music requires an apt dance form to intensify the effect. The Baul songs express and explore different philosophies like ‘Guruvaad’ (the datrine preaching the greatness and importance of ‘Guru’ (spiritual teacher believed to be the protector of his disciples and initiate him by divine methods leading to the path of salvation), ‘Sadhan Marg’ (the means to attain Moksha and realize God by devotion and meditation) and physiology. While expressing these philosophies and moods, a Baul dancer performs certain gestures and steps of the eyes, head, forehead and the lower limbs which resemble those of classical dance forms to a great extent.
Another folk dance which is very popular in Bengal is the ‘Gajan’ dance. It has a religious fervour and is considered by the hoi polloi in Bengal as a form of worship. ‘Gajan’ is usually held in the month of ‘Chaitra’ (Bengali calendar). The Gajan dancers often assume the disguise of different deities (usually as Lord Shiva), Dashavataar (ten incarnations of Lord Vishnu), ‘Kalikoach’ or Goddess Kali (the swarthy Goddess with a protruded tongue believed to have stained the demons) etc. Apart from the religious dances, there are also other forms viz., mask dance, fairy dance, horse dance and ‘Buda Budi’ dance (Dance of an aged couple). The last two forms of Gajan are very funny and mainly aimed to exude laughter from the spectators. Gajan is primarily a dance dedicated to Lord Shiva. The dances are usually accompanied by a rhythmic tom tomming of drums and most of them do not have any fixed pattern. However, the ‘Kalikaach’ dance shows some influence of the classical dance forms. Then there is the ‘Gambheera’ festival, when Lord Shiva is worshipped ceremoniously with an electrifying performance of song and dance. Through the means of dance, the dancers convey their regards to Lord Shiva and let Him know their agonies and grievances. In the ‘Gambheera’ festival, the dancers wear masks and dance in a frenzy. It is a very popular dance form in Malda.
The ‘Alkaap’ songs and dances in ‘Gambheera’ are in reality vehement protests against malpractices and corruption in the society. Their main weapon is satire and burlesque. But the exposition of Alkaap songs and dances are very coarse, unrefined and devoid of the sense of decency. The mask dance is not in vogue in Alkaap.
The ‘Dashavataar’ dance is usually performed by the dancers in casual attire. A sort of dance drama is performed here along with ‘Dashavataar’ songs which follow some classical and Tantrik gestures and rhythms.
These folk dances reveal a unique fusion of religion, politics, culture, education etc. Lord Shiva is the object of worship in these dances. Even the Muslim artistes in Gambheera and Alkaap. The bold approach of folk dance is manifested clearly in the dialogues, songs, acting, gestures and expressions. Some other popular folk dances in different regions are ‘Kalikapatari,’ ‘Dhaichandeer Nritya,’ ‘Gridhini Vishal Nritya,’ ‘Sabkhela Nritya’ and ‘Ravankata Nritya’. They are based on different social and religious festivals.
Another salient feature of folk dance is the gallant spirit which makes the dances so virile. Dhali dance, Rai veshe, Paikaan etc. were dances which were used for exhibiting sheer power and force. The Dhali dance form comprises a team of three members who used to wear dhotis and were assumed with spear and shield. In those days, the ‘Dhali’ dance form became very popular and were patronized by the zamindars or landlords in Bengal.
The Paikaan dances used to have sticks in their hands. This dance was popular in Midnapore and Bankura. The Raiveshe dance form in Birbhum create a divine harmony with the recital of dhak and dhols. It is a vigorous form of dance and is very fast in rhythm.
Another form of folk dance which is popular in Bengal is ‘Brata Katha,’ which is feminine in essence. It is usually performed to observe certain social functions, wedding ceremonies, different feminine customs and rituals etc. There is a loose and carefree beauty about this form of folk dance and there is something wild about it. Like a natural river which gurgles as it flows spontaneously and creates a unique rhythm or like that jungle flower which emanates a natural beauty and emits a beautiful fragrance to captivate the others, the feminine festivals and customs in rural Bengal have an untainted beauty and freshness about them and have given birth to several interesting folk dances. During reaping and harvesting of crops, seasonal festivals, worship of the rural Gods, wedding ceremonies of children, several auspicious family festivals and ‘Pujas,’ such folk dances were usually performed.
During the months of Bhadra and Paush (Bengali Calendar), the villages in Bengal used to have a festive time while gathering in of harvest and several folk dances are performed to celebrate the big occasion. This trend continues even today in the form of ‘Bhadu’ and ‘Tusu’ festivals. Although songs form the major part of Bhadu and Tusu, but spontaneous and sprightly dance forms are also performed to intensify the effect.
The ‘Chhow’ dance is another extremely popular form of folk dance which is mainly seen in Puruliya. In this regard, it should be borne in our minds that the Chhow dance which is performed in Mayurbhanj and Seraikella are markedly different from Chhow dance in Bengal. The tradition of Chhow dance in Bengal is very old and has a rich and colourful background. In those days, dances were performed along with songs while acting on stage. The dance dramas comprised two main parts viz., ‘Patra Nritya’ and ‘Preran Nritya.’ In the former dance, masks of different types along with varied colourful dresses were provided to the action according to their suitability. However in the latter form of dance, ordinary and casual dresses were used. Following the rules of ‘Patra Nritya,’ different masks, dresses and ornaments are used in Chhow dance. Chhow dance takes place in the year several times to celebrate the various festivals in rural Bengal. But it is during Gajan festival in the sultry months of Chaitra-Baisakh (Bengali calendar) that dance competitions are held among different tribal communities. These dances are not accompanied by songs. The background music is created by the drums, bells etc. The males generally play the female roles. Patanjali has described these dances and mimes as ‘Sauvik’ in his writings (Mahabhasya). Some people even hold the opinion that the word ‘Chhow’ has been derived from ‘Sauvik’ because of the phonetic resemblance.
Following the rules of ‘Preran Nritya’ (described earlier), the custom of puppet dance has been prevailing in Bengal since antiquity. In those days, the dancers often performed as ‘Panchalika’ or dolls. In Sanskrit, ‘Panchalika’ implies dolls made of wood, clothes, leather, ivory etc. In the ‘Vrihat Dharma Puran,’ composed in the 14th/15th century, there is a vivid description of another form of dance with lilting songs. It was known as Panchali. The dolls of the puppet dance prevalent today, are 2-2.5ft in length. Block strings are tied to the hands, feet and months of the dolls. A separate man is employed for controlling the dance movements of every doll. The men usually conduct the show from behind a certain by pulling the strings. The puppet dance is usually held with musical extravaganza like drums, sehnai, bells etc.
Some other forms of folk dances are Jhumur, Khemta, Ghatu, Leto etc. which are very popular in Midnapore, Manbhoom, Birbhum, Bankura and other areas. The Santhal dance has many resemblances with the Jhumur dance form. The love songs which are romantic and spontaneous are accompanied by splendid flute recital and beating of drums (Madal) while the dance is being performed.
‘Khemta’ dance is very akin to ‘Baiji’ dance. The ‘Baiji’ community comprised the lithe and attractive dancers during the Mughal era. Different branches of this community spread out in different parts of country and popularized the Khemta dance. The gestures and expressions of this dance have a levity and are very sensuous at times.
Ghatu dance is a unique form of dance where the males play female roles wearing sarees, jingling anklets and other ornaments. While dancing, the dancers play on the tabla and harmonium and the musical impact intensifies the dance effect. This dance was very popular in Tripura, Srihatta and Mymansingh. Leto dance is similar to Ghatu but unlike the latter, it has lengthy songs and high-pitched dialogues. Au reste, Sari, Jari, Pata, Dholi, Mecheni and several other colourful folk dances take place in different parts of Bengal.
Folk dances show a rich and colourful variety in Assam and Manipur. The most popular and widely spread folk dance in Assam is Bishu. It is a festival in Assam and is celebrated with pomp and grandeur. People from all strata of the society participate in the Bihu festival. On the 31st day of Chaitra (last day of the Bengali calendar), the Bihu festival starts in Assam and continues for about a month.
Bihu dance has two parts viz., Bihu and Huchari. The Bihu dance is generally performed in the lush green fields under the shadow of the trees. The supporting music is composed with dhol, ganga, flute, blowpipes etc. The children also participate with takes (made from sliced bamboos) and maintain an overall balance. The dancers stomp and gyrate with the music and make round, spontaneous movements in a uniform rhythm.
The Huchari dance is performed in the courtyards of the rural aristocrats. Only the young men of the village participate in this dance. The first part comprises devotional songs (Huchari Kirtan). Thus, God’s benedictions are seeked for the forthcoming new year. Next, the Bihu songs are sung by the singers with gusto. Among the traditional war dances, Dhulia and Bhawaria are very popular. The dance is accompanied by drums, flute and blowpipes and the dancers pretend as two several fighters pitted against each other and make hostile gestures while dancing.
Another importance dance form worth mentioning is the Deodhwani or Nagkanya dance. The Nagkanya dancer has to remain spinster for ever. This dance creates a wild passion. The dancer dances in a frenzied mood with disheveled hair cascading down with the wild beating of drums, flute, blowpipes and other musical instruments. According to the custom, she has to drink the blood of a dove before the dance starts. The music and the frenzy gradually picks up until it reaches the climax and the dancer does not stop until the gasps for breath and faints. In the Goalpara district of Assam, several folk dances are very popular which re a kin to Bhatiali, Dhamail and Jhumur dances in rhythm and style.
No other state in India has such a colourful variety of tribes and people as Assam. As such, several religions, creeds, tribal conventions and practices took birth in Assam and folk culture naturally flourished. Among the hill tribes as well as those in the plains like Lusai, Jaintia, Khasia, Miri, Sardukpen, Kacheri, Abar etc., it is seen that their folk dances are influenced to a great extent by war dances and have violent gestures and expressions. Then there are some other social festivals which have their separate forms of folk dances.
The religious festivals of the Nagas are inextricably linked with dances. These are performed on vast stretches of lush green fields with the tremendous tumult of large drums, blowpipes and jarring songs. The dance costumes are very colourful and eye-catching. The dancers wear metallic crowns on their heads which contain birds’ feathers on them. They also wear bizarre ear rings and cover themselves with a crimson piece of cloth tied round their waist. The dancers carry big scythes or spears in their hands. They have several designs tattooed in their hands and faces. The Naga dancers also wear necklaces made of beer-teeth and beads. They have a unique rhythm of dance and robust dance steps which make it look not only wild and frenzied but also vigorous and soothing. Faikithlum, Mygenah, Bagromba, Hurairangili, Afilakule, Tapukikhile, Mirri, Khualametc. Are some popular folk dances in different regions of Assam.
When it comes to folk dance, Bihar cannot be far behind. In the tradition of folk dances in Bihar, the religious dances of the aboriginals and the people of Mithila are of utmost importance. Among the religious folk dances, Rambela, Kirtaniya, Kunjabasi, Naradi, Bhagata, Vidyapata, Pujarati etc. are worth mentioning. Then there are some dances which are exclusively for the females viz., Jhijiya, Jata-Jatin, Sama-Chakua etc. Besides, some other forms of dances viz., Bansileela, Kadamleela, Nagleela are also very popular. They are religious in essence. Some dances which are prevalent among the poor background classes are Chamar Natua, Kamalamai Naach, Damphabasooli etc. The Jharni dance is popular among the Muslims.
Among the dwellers in South Bihar, some extremely popular folk dances are Chhow, Shikar, Jhummur, Lajhuri, Paika, Jhika and Danga Naach, Jadur, Lurimbarai etc. Au reste, there are other dances which have a levity and light hearted spirit like Rasik, Natua and Naachni. They are similar to Baiji dances (mentioned earlier) and are sensuous in essence, bordering at times on the erotic. The folk dances of Seraikella and Kharsoan are also spectacular but their beauty, variety and artistic excellence give impression of positive influence by classical dances.
Folk dances in Gujarat can be generally classified into three categories - Garba, Garbi, Raas and Dadhibela. Gabra dance is exclusively for the females. The dance is dedicated to Goddess Amba. There is no restriction about the number of artistes in Garba.
Garbi dance, on the other hand is exclusively for men. This is performed on the eve of Navratri and is dedicated to Goddess Amba.
Roas is generally a men’s dance but at times females do take part in this dance. Raas dance is again subdivided into three categories viz., Dandaraas, Talraas and Lalit Raas.
Some remarkable folk dances in Andhra Pradesh are Dappuvadyam, Mathuri, Bathakamma, Kmnmi, Kolattam etc. In Himachal Pradesh, some notable folk dances are Dangi, Deepak, Jhanjhar, Pangi, Sangha etc.
The lively land of Punjub has some popular folk dances like Jhumar, Bhangra, Ludi, Giddha etc. In Rajasthan we find some sprightly folk dances like Geedar, Rasia, Jhumar, Dandia, Bhallar etc. In Uttar Pradesh, some spectacular folk dance forms Nautanki, Nachua, Kajari, Jhula etc. All the other states have their individual and exclusive folk dances. These have come down the ages not only as a means of entertainment and recreation but have played the pioneering role in the spread of mass education. All these folk dances from the other states of India are also relevant in context of Bengal, because the latter has always been known to be the land of the connoisseurs of art and culture. Hence, Bengal has definitely drawn inspiration from the others and subsequently enriched her own colourful world of folk dances.