Pandaun
Nachan (Pandava Dance ) By Bhishma
Kukreti
Dr. Shiva
Nand Nautiyal explains that though Pandaun and other dance-songs are very
similar to dance-songs of Nagrja etc. but because apart from worshiping the
deities and Devis, these dance-songs are more entertaining in nature, having
more of community feeling acts. He segregates this type of dance-songs and
excludes from dance-songs related to Nagraja, Nanda Jat etc.
In
Pandaun Nachan (Pandava Dance ), there are common factors all over
Uttarakhand-Kumaun and Uttarakhand-Garhwal. The dance-song is performed in
Mandan -a flat community place or country-yard- where hundreds of dancers
perform and there is sufficient place for audience too. Pandav Nritya is
performed anywhere in carnival, marriage procession or at festival time. When,
pandav Nritya is performed, a campfire is arranged at the centre place of
Mandan and dancers dance around the campfire.
Pandav
dance-and songs are always, vibrant, with high order of enthusiasm, with
chivalry, lyrical, inspirational and bring highest degree of community feeling
The Das
(A community who plays musical instruments-Dhol Damau, Sinai and sing mangal
too) first worship agni (fire), vastuk, and calls the deities-goddesses through
Chauras Baja or Chauras tones for benefits of all. The das sings the stories of
Mahbharat, which are adapted or transformed according to
Uttarakhand-Garhwali-Uttarakhand-Kumauni habits and habitats and this story
telling is called ‘ Pandoli’. The das also asks ‘Chal mangan’ means to request
dancers for dancing in discipline way and as per the music, story, characters
and emotions of the story.
The
starting stanzas of Pandav dance-song after deity-goddess worship are :
"Pargat
hwai jan, pargat hwai jan, pargat hwai jan Kunti mata, pargat hawai jan rani
dropata
Konti
mata holi padon ki mata, nagon ko bister dedee, bhukon ko ann,"
The story
has all raptures and emotions -Chivalry, love, pathos, wrath, abhorrence,
wonders, laughter, fear etc and make the dance-song attractive to all. There
are following dance-songs or of Pandaun dance-songs:
B1-Kunti
Baja Nritya-Geet : This dance-song is with full of tenderness, rapture of
pathos and sadness of separation. The tone of musical instruments is “
Gija-Gijadi,Gija -Gijadi” .A song starts as
"
Pragat hwai jan pragat hwai jan, pragat hwai jan panch bhai pandaun
Kunti
mata supni hwai ge tachhum tachhum, pandu ka saradh tain chand gaindo tachhum
tachhum "
B-2-Yudhistar
Baja Nritya: The dance and tone of music is always peaceful, happiness, penance
in Yudhister baja Nritya and the tone of music is “ Jaikta tu Jak, Jaikta Tak’,
on which the dancers dance at one place and there is lowest kind of speed in
the dance. The song is like:
"
Dharma ka khatir dharma baun geni, dharma ka kahtir taun kasha uthai
Dharma ka avtar hwai dharma yiddisher, jaun ki
chhap podin cha sara sansar par"
B-3-Bhim
Baja Nritya: Bhim is synonym of enthusiasm, bravery, anger, wrath, fear to
enemies, speed, wonder and the dance of Bhima Baja is full of rhythms speed,
ups and downs, forwardness-backwardness , somehow free for dancers, full of
laud chivalry cries of dancers. The tone of music is always fast as “ Gija
Gijadi Ghinta, Gija Gijadi Ghinta” . The words are as :
"
Bala daini hwai jaini teri daini hwai jaini jodha tyari,
Partigya
ka danI bala, sau man ki gada bala tyaro holu sau man ki dhal "
B-4-Arjun
Baja Nritya: Arjun is synonym of brevity, agility, wiseness, focus but always
firm and courageous. However, anger when he knows the killing of his son
Abhmanyu. The dance initiates slow, with tenderness, dancers perform their act
by vibrating their heads according to story and musical tones. At the time of
fight by Arjun, the dance becomes vibrant as of Bhim Baja Nritya. Arjun being
the central hero of ‘Pandauni’, there tens of rhythms, styles, speeds, bodily
performances of dancers, changes in musical tones and total atmosphere of
Mandan. The main tone of music is “ Jaikta tu Jadak Jai na Tak .The example of
words is:
"
Krishna ab paeechhe aige he arjun, dekhi taun he arjun, janto bar man vilap he
arjun
Jaydrath
tai mee mari dyonlu he arjun,nthar suraj duban par bhol he arjun, chita man
pdalu he arjun"
B-5-Nakul
Baja Nritya: The dancers dance at low vibrancy level in Nakul Bjaja Nritya and
dance evenly. The sound of Dhol-Damu (drumming) is “ Jaikta tu Jade”
B-6-Sahdev
Nritya: The Sahdev Baja dance is sober and with tenderness. The tone or sound
of Dhol is “ Tu Jadak Jaikta jai nat”
B-7
Abhumanyu Baja Nritya: The dance is combination of chivalry’s vibrancy when
Abhimanyu fights with opponents in the story and pathos when Abhimany was
killed by Kauravas.
B-8
Draupadi Bjaja Dance: The dance and performance is full of love, pathos,
tenderness and chivalry too.
In Pandon
dance the following aspects are important:
1-Mandan
2-Saron:
When the Pandavas fight
3-Varta:
The story telling by Das
4-Draupadi
Chandon: When Draupadi comes in rage for killing the opponents.
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