When star crimson in colour,
Appear in the midst of the lake
As if the fire of the Rudra stares
With a sight as sharp as one could make!
Tremble the universe is His dance school
Where he only the dancer and observer too
Har Har MahaDev
Nataraj plays the role of bringing about activity in the universe through the commencement of His dance and merging the visible and invisible Creation into Himself when He stops it. Thereafter, He remains alone, engrossed in Anand. In short, Nataraj is the manifest form of all activity of God. Nataraj’s dance is considered to represent the five actions of God, namely Creation, Sustenance, Dissolution, the covering of the Great Illusion and initiation, Lord Shiva has been credited with many dance forms; of these foremost is Tandava dance. According to ‘Shivopasnadak’, Shiva after killing the demon ‘Tripurasur’ went into rapture (ullas) and danced. This dance form was re-enacted by his disciple, ‘Tandu’ Muni who popularized it. This dance form, practised by Tandu Muni, came to be known as ‘Tandava’. This dance form involves expressions reflecting Courage (Veerta), Extreme anger (Roudra), Hatred (Vibhatsa), Enjoyment (Anand) and Anger born out of grief and sympathy (Karuna Janit Krodh). To express these rasas, tne dancer twists his limbs aggressively, which is not considered appropriate for the women. In the course of this dance, the fire of anger seems to peak, the earth seems to tremble as if the whole world is going through a process of destruction.
Famous Actor Thakur Anoop Singh, Gold winning performace for Mr World in Bodybuilding 2015
Such stories enacted by kshatriya warrior in dance forms include those from the Hindu epics the Ramayana and the Mahabharata, the Puranas and including other modern Indian literature. Such warrior dance form is traditionally an all males troupe, regionally celebrated particularly during spring every year, and may be a syncretic dance form that emerged from a fusion of classical Hindu dances and the traditions of ancient kshatriya regional tribes. Such dance acts is amazing and brings together people from diverse socio-economic backgrounds in a festive and religious spirit. We find many such dance forms in souther parts of india as ancient classic dance forms also survived there, for example fusion of classic dance form with martial arts like In Kerala, we found Kalaripayattu martial art dance which has evolved from the fighting techniques of Kerala's kings. This martial art dance form includes animal posture, fighting techniques posture, styles of weapons use, and body fitness yoga posture, stapes Surya-Namaskaram.
In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as finger movements in the nata dances, were incorporated into the fighting arts. A number of Indian fighting styles remain closely connected to yoga, dance and performing arts.
Some of the choreographed sparring in kalaripayat can be applied to dance and kathakali dancers who knew kalaripayat were believed to be markedly better than other performers. Until recent decades, the chhau dance was performed only by martial artists. Some traditional Indian classical dance schools still incorporate martial arts as part of their exercise regimen. In addition to the major division between north and south, martial systems in the Indian subcontinent tend to be associated with certain states, cities, villages or ethnic groups.
Martial arts in northwest India and adjacent Pakistan were traditionally referred to by several terms but the most common today is Sanatan shastar-vidiya or “science of edged weapons”. Swordsmen practiced their techniques either in routines using real swords, or freestyle sparring with wooden sticks, a form of stick-fighting is associated with the Kshatriyaa Rajputs history and an integral part of an array of Sanatan Shastar Vidiya.
As a Kshatriya community of Hindu warriors, Rajpoots cherish their weapons and worship them (Shastra Puja) on Dussehra. In former times, when a Rajput boy became fit to bear arms, the ceremony of kharg bandai, or sword binding, was performed to mark his attainment of manhood.
A description of weapons worship from Mewar, the premier ancient Rajpoot state in Rajputana: At the start of the Dussehra festival, after fasting, ablution, and prayer on the part of the Maharana of Mewar, the double-edged khanda is delivered to the temple. On the Dussehra day itself, nine days later, the Maharana advances and receives the sword with due homage from the hands of the Raj Jogi....The elephants and horses again receive homage, and the sword, the shield, and spear are worshipped within the palace.
Another occasion of weapons worship was during the installation of a new ruler. An example from Marwar: Ganesh, Shiva, Vishnu, Brahma, and other deities are propitiated in the presence of the prince. Afterwards weapons of war: swords, shields, and guns, also the royal insignia, umbrella, sceptre, and standard, and the war horse and elephants, are worshipped. This ceremony is termed Bajesar. The Maharaja arrayed in his State dress, takes his seat on the gadi, which is placed on a raised marble platform known as Singhdar Chauki. The thakur of Bagri then comes forward and binds on the sword of State....Meanwhile the priest places the tilak (or mark of inauguration) on the forehead of the Maharaja.
This is an example of young Kshatriya Rajputs simulating battle where they would have wielded the sword with both hands and swung it over their head when surrounded and outnumbered by the enemy. During the colonial period, the term was extended to mean northwestern martial arts in general. Some aspects of the art, such as the unarmed techniques or fighting in armour. Sanatan Shastra Vidya incorporates several forms, each with their own set of weapons, strategies and footwork.
SHASTRA PUJAN
The Rajput warrior's love for his weapony is strong, and many Rajput households had a tradition of worshiping weapons on the occasion of Dussera, the traditional Hindu festival of martial celebrations.
From the ancient times Kshatriya Rajputs use to cherish their weapons and worship them (Shastra Puja) on the occassion of Vijaya Dashmi . On Vijayadashami or Dussehra will be celebrated where once again by burning the effigy of Ravana, Meghnath and Kumbhakarana—the message will be loud and clear—the victory of good over evil.
जिस तरह ब्राह्मण के हाथ में शास्त्र जीवन को व्यवहारिक ज्ञान प्रदान करते हैं उसी प्रकार क्षत्रियो के हाथ में शस्त्र दुष्टों का सर्वनाश कर रक्षा करते हैं।
On Dussehra, weapons of the goddess are worshipped. The ritual is called Shastra Puja or Ayudha Puja. It is celebrated in various parts of the country and the name might differ, depending upon each region. The Ayudha Puja falls on the tenth day of the bright half of Moon's cycle of 15 days (as per Almanac) during September or October. It is part of the Dussehra, Navratri, Durga Puja or Golu festivals.
In Karnataka, it celebrates the killing of demon king Mahishasura by goddess Durga. There is a belief that after the goddess took the demon's life, her weapons were worshipped by the gods.
During Shastra or Ayudha Puja, Goddess Laxmi, Saraswati and Parvati are worshipped. There are various legends associated with the puja ranging from the Kurukshetra war to Tamil Nadu' version of the Mahabharata epic. The tales might vary but the essence of worshipping the weapons remains the same.
GUJRAT - MER - SWORD RAAS ( Kshatiya Rajput Warrior Dance)
Maniāro Raas
Maniaro raas, performed by Maher community of Saurashtra takes its name from the unique tal of 11 matras (metres) known as maniaro. An all-male performing tradition, it can be classified as Shaurya raas or martial dance of Kshatriya Rajputs of Ghed and Barda region (Porbandar and Junagadh districts), with viraasn postures and masculine movements to celebrate victory over enemies or to express joy during festivals of Holi or weddings.
Maniaro raas is a stylized Hallisaka raas evoking the characteristic Kshatriya link of the Maher Rajput. The dance of tall and handsome Maher men dressed in pure white kediya and choyani, white paghadi (turban) and a red belt across the shoulder, dancing to the unique maniaro beats with the accompaniment of sharp shehnai and high notes present a very arresting picture. Anthropological sources trace the origin of Mahers in Medes or Meds from Medea in south-eastern Europe and link their ancestors to the later Median Empire in ancient Persia. According to historians, Mahers came from the north-west passes (Khyber) into Punjab, Rajasthan, Madhya Pradesh and Gujarat. Others maintain that they came from Sind, fleeing the invasion of Mohamed-Bin-Kasim in the early eighth century AD. Scholars link them with the Mihirs, that is, the Maitrakas of northern Saurashtra who lived in the first millennium AD and formed a relationship with the Jethawa Rajputs. They moved with Jethawas to Ghumali in the foothills of Barda near Porbandar, sometime after 800 AD. living in Porbandar and Junagadh, both for Maher princely states, in the western end of the Saurashtra peninsula. Traditionally a warrior community that turned settled agriculturist, Maher, in the past danced to celebrate holi, to celebrate victory over cattle raiders or opponents in war. Warrior like movement and display of masculine prowess, therefore is a distinctive feature of Maher raas.
Maher raas preserved as an oral tradition for many generations has no written accounts to support its antiquity. Though festive dancing was a common practice among Mahers, the first organized troupe, Chhaya Maher Raas Mandali was formed in 1967.This forty-eight year old troupe has third generation of professional dancers. Ranabhai Shida, the troupe leader, gives credit to Natwarsinhji, the King of Porbandar state (1901-1977) who during his visits to villages encouraged and rewarded good dancers when Maher community as ryot, presented raas to entertain royalty. A remarkable feature of Maher Raas Mandali is the continuity of choreography for over five generations.
Maniaro raas opens with a metre-less doha. The moment doha ends, the percussionist strikes his dhol and the shehnai joins in. Dancers with speed and gusto enter the performance area, holding parona and forms a circle to hinch tal. Once circle is formed, maniaro tal is played on dhol and raas geet begins. Mahers use parona, a pair of thick and long sticks of solid bamboo whereas all other communities of Saurashtra use dandiya, a pair of wooden sticks. After raas geet is complete, chhand in chalati (double speed) follows when dancers move doubling their speed as if in a frenzy and then exit creating climax. The choreography in Maher is simple but the difficult postures of viraasn are repeatedly performed very gracefully and with great ease. The Maher raas is a smooth yet rare synchronization of graceful movements in vilambit tal with fast movements in chalati that builds up a climax.
The most unique feature of this raas is the tal of eleven matra - maniaro tal. No other community of Gujarat uses this tal in raas. If the speed of maniaro is increased it becomes hinch tal according to Ranabhai Shida, a noted exponent and troupe leader of the oldest Maher Raas Mandali. Dancers perform fast as well as slow movements, stylized gestures resembling sword fight in both fast hinch and slow maniaro rhythm. Maher raas is a unique example of smooth integration of lasya with masculine movements. Striking parona with pair resembles attacking the opponent with a sword. A very peculiar movement of this raas is chabakhi - a swift whirl, jump bending knees and landing on toes, to stand up again with in a fraction of second and jump again to a height of three to four feet bending knees. Entire group of dancers for few second stays suspended in air creating a mesmerizing scene. The forceful swift swirl chabakhi translates as whip verbally expressing speed and impact of forceful swift swirl movement.
Mahers’ costumes are stark white with a red belt worn across shoulders. Angani, without any embroidery is a frock like garment that covers the torso. The lower body is covered by choyano, tight on calf and loose above knees, a garment similar to horse riding breeches. This design allows free movement of legs. The head is covered in a white turban. Maher style of tying turban is very different from other communities of Sauraashtra. Bhet, a white cloth with a knot on one side covers lower abdomen. A red cloth belt bhalpato from right shoulder to waist adds to the elegance of a Maher dress. The Rajput dancers look gorgeous with gold earrings and a necklace of golden beads.
Raas, popularly known as dandiya raas is one of the most popular folk dances of Gujarat. Associated with agricultural activities, it can be termed as occupational dancing of farmers. Dandiya raas takes its name from dandiya, a pair of wooden sticks, used to mark time. It is performed during Navratri, Satam-atham (Janm Ashtami) fairs, and weddings in Kathiawar and Saurashtra region of Gujarat. Originally a dance tradition common for all communities of Saurashtra, it became popular in Gujarat after merger of Saurashtra with the state of Gujarat in 1960. Over time, it has gained a global appeal because of Gujaratis who have migrated across the globe. And, they celebrate these events with all fanfare wherever they are. Although origin of raas is traced back to legends connected with the life of Lord Krishna, as recorded in Puranas, it is essentially associated with sowing and harvesting of agricultural crops.
Traditionally raas is performed only by males. A typical raas mandali (troupe) comprises of 16-20 dancers and musicians. Men, holding dandiya (wooden sticks), weave complex choreographic formations in a circle, and dance to songs that are accompanied by several musical instruments viz. harmonium, dhol (a kind of drum), naragha (tabla), zanz, pavo, shernai. Songs are characteristic of Saurashtra region and those which are sung in praise of Lord Krishna follow a proper protocol. Of late, the performing troupes have also picked up ballad songs and songs with social themes. Raas begins on a slow pace and gradually develops into a fast rhythm with dancers weaving complex choreographic patterns in a manner such that when a dancer performs solo he dances simultaneously with both his partners on either side. There is a great deal of freedom in the way movements are organized.
Raas is performed by diverse communities across Saurashtra from various walks of life. It is interesting to observe the way activities related to a particular profession and geographical conditions of the habitat play a decisive role in influencing folk dance traditions. Though the common nomenclature is raas, body movements, postures, choreography, music and costumes of each community are noticeably different. Based on occupational backgrounds of the communities, it can be broadly classified as:
Raas of the Agrarian Community - Kanabi raas
Raas of the Warrior Community - Maher raas
Raas of the Seafaring Communities or Fishermen - Padhar raas
Raas of the Pastoral Community (specially the Shepherds) - Hudo raas
Raas of the Muslim Maldhari community (cattle herding nomadic tribe) of Kutch - Jat raas
Performed by men and women (not based on criteria of caste or profession) - Mishra or Gop raas
A group of 2,126 Rajput Women came together in a display of culture, art, and valor of Rajputs by performing sword dance on Tuesday, Jan 28 in Gujarat.
Look how beautiful and colorful it is 💕
Women dressed in colourful dresses performed 'talwar raas' (sword dance), under the flagship of the former royal family of Rajkot to create a new Guiness book of world record by playing 'Talwar Ras' today at Historical Bhuchar Mori ground ,Dhrol in Jamnagar.
Jamnagar district (former Navanagar State) have developed two different types of raas and have been performing these for generations, Kanabi raas and Talwaar Raas, Talwar raas was created to commemorate Rajput war heroes who died in the historic war of Bhuchar Mori (July 18, 1591).
And the best moment would definately be the sword celebration by Jadeja for People who used to think celebrations in cricket were boring compared to football but that sword celebration was on a whole different level. Never seen such a thing before on such grand aage
Rajasthan - Gair
Some traditional one from Marwar
Gair dance is one of the popular, famous folk dances from Rajasthan in India which is mostly performed by the Bhil community but found in all over Rajasthan, It is also known as Gair Ghalna, Gair Ghumna, Gair khelna and Gair Nachna. This dance is famous and performed mostly by all the communities but it is more famous in Mewar and Marwar regions of Rajasthan. Gair is not similar of all the places. Every place has its own rhythm, style of forming circle, costume etc. It is performed during occasions like in month of Holi and Janmastami.
Colourful costumes, traditional instruments and captivating dance steps are the highlights of this dance. To enjoy this folk art form various viewers from different corners of the world flock to the state every year. Gair dance is performed by both men and women. Usually, the dancers dance in a big circle with wooden stick in their hands. There are numerous variations to this pleasing dance form that is performed by both men and women. The men wear long, pleated tunics that open out into full-length skirts Both men and women dance together, dressed in traditional costume. Sometimes, it is performed exclusively by men folk. At that time, a series of half-swirls make up a simpler version of the dance depending on the dancer`s ability & proficiency, it is danced with a series of intricate pattern steps. The striking of sticks gives the dance a vigorous character & consistent tempo. Gair dances by Bhil folk are performed with wearing colourful dresses and carrying swords, arrows and sticks. The sticks used in the dance are called Khanda. It is danced with a series of intricate pattern steps. The striking of the sticks gives the dance a vigorous character and a consistent tempo. When they are dancing it seems as if they are depicting a scene from war front.
Gair dance with swords (Mewar)
Not very common nowadays but good to see Geriyas with swords. (Credits @Dhani_Marwar)
It is believed by the locals that this dance must have got some significance to war as In some places instead of sticks swords are used .In one hand the dancers carries the naked sword and in the other hand is occupied with Khanda(a name of sword in Rajasthan) or the stick. Apart from this Gair is also of third type in which the dancers carry sword in one hand and in the other hand they carry the wooden sword.
Guns and colour at Holi of valour in Menar
Menar me aadhi raat ko mewadi poshak me dahad rahe ran- bankure... Holi par Jamra Bij ke utsav par..
Gair rame Ghamrol ri, le nangi Talwar |
Shakti Bhakti ri Dhara, Mardaan ro Menar ||
The only festival of its Type in the whole world where holi becomes dipawali with guns , canons and swords to honour Brahmins devtas of Menar in Mewar celebrate Holi in unique way.
3rd night of Holi is played with gunfire all night. This 400 year old tradition is practiced to celebrate victory of Menaria Brahmins who had attacked and destroyed the Mughal post !
Purbiya Rajputs - Pari Khanda
“Pari-khanda” is a fighting form created by Rajputs and is still practised in many parts of Bihar. “Pari” means shield and “khanda” means sword according “Chhau” region, therefore this art uses sword and shield for fighting. This fighting form has given birth to a local dance form named “Chhau” dance and its martial elements have been fully absorbed by this dance. It is even practised in some parts of Jharkhand and Odisha. Chhau is the name of the traditional dance- drama of the eastern regions of India and is of three types. The three forms of “Chhau” are named after the district or village where they are performed, i.e. the Purulia Chau of Bengal, the Seraikella Chau of Bihar and the Mayurbhanj Chau of Orissa.
The Singhbhum and Saraikela areas are situated on the Chota Nagpur plateau, now a part of Jharkhand State. The tribes of these areas practice a martial art from time antiquity which later came to be known as Pari phari Khanda. Singhbhum was ruled by Darp Narayan Singh in 1205 AD and he inducted the tribesmen into his army and all the soldiers were trained in the Martial Art. Adivasi version of the Pari Khanda dance is called Sastriya Nritya. The dance portrayals are mostly enactments of hunting scenes and self-defense. It is believed that the existing martial art form of the Singhbhum soldiers was called Pari Khanda. Many Gurus such as Upendra Biswal and Banmali Das who started imparting Pari Khanda training to soldiers also kept on improvising on its techniques. The mughals, the British and even the Marathas tried to conquer this region but in vain. During the 1760, Orissa and Bengal was ceded to the East India company by the Mughals, the kings who had never acceded their territory to the Mughals opposed this fiercely and the British met with little success.
In 1857, Raja Arjun Singh fought with his Pari Khanda experts and gave the British a tough time for several months and was never captured. Later in 1900 Birsa Munda, a 25 year old Pari Khanda warrior revolted against the acquisition of land of the tribes by the Zamindars. In the 18th century few soldiers started to entertain their fellow soldiers by performing the movements of Pari Khanda that became the basis of the Chau Dance. The decline of the practice of the martial art began as the monarchy ended and modern firearms came into practice. However, the martial art has managed to survive in the guise of a dance form.
Dogra Rajputs - Kud (Dhekku)
( This video was shot and edited by ANIRUDH THAKUR )
Artists performing Dogri 'Kud' dance of Jammu region (INDIA) at Amar Mahal Palace (Hari Niwas Palace) in Jammu, India.
The Kud dance is one of the most famous dance forms in Hilly regions of Jammu like Bhaderwah , Reasi , Ramban , Kathua , Udhampur , Bani , Basholi , Doda , Kishtwar , Poonch , Rajouri and some parts of Himachal Pradesh as well.
Kud dance is of much importance in Bhaderwah region. It is also known as Dheku dance in Bhaderwah, Jammu. Kud in Bhaderwahi means " group festival " or " mela " in hindi where a large number of people gather and dance together to please the local deities... Though, originally the dance is known as "Dheku" but after being popularised in the whole Jammu region, it has got the name of "Kud" dance....
(Here Bhaderwahi Sword Dance Dhekku On Dhol)
The dance exhibits swaying & rhythmic movements.This is a kind of thanksgiving ritual performed mostly during nights. As characteristic of all folk dances, spontaneity is also a feature of this dance. People of all ages and sexes participate in this dance form which involves use of musical instruments like Narshingha, Chhaina, Flute and Drums ( locally called "dhouns" ). It is the rhythm of music that directs the movement of all participants.
Mostly during the harvest season, this dance is performed. When the maize and other local crops are harvested, the villagers gather and come down from the nearby hills in the vicinity of their local deity- The Gramdevta temple. Their feeling behind these rituals is to express their gratitude for protecting their crops, cattle and children from any natural calamities. So, mostly who participate in this dance are farmers. Men, women and children; attired in their best dresses gather around a bonfire for the night long festivities ( Kod/Kud ).
Sometimes, this dance continues for the whole night. Total number of participants dancing generally range from 20 to 30 but as such there is no limit who can ( the more, the better ). The dance is performed in concentric circles depending on the space and number of those participating.
KUMAON RAJPUTS - CHOLIYA
Originating in the Kumaon region of Uttarakhand, Choliya dance is also known as sword dance and is related to the martial traditions of the Kumaoni people.
More than a thousand years old, this art form is mainly performed by the Rajput community in their marriage processions. Still alive in Rajput weddings in Kumaon region, the dancers carry equipment such as pairs of swords and shields, pairs of regional brass instruments like Turi and Ransing, pairs of percussion instruments like dhol and damau and pairs of Masakbaaj or Bagpipe.
Attired in the traditional costumes of ancient Kumaon Rajput Warriors, the dance form is perfectly synchronized and marked with jumps and turns of the body. The dancers also engage in mock sword fighting.
Choliya Dancer, inspired by Aipan painting style
https://youtu.be/bLaQTTcaCPA
तिरबीडी An art of attack and defense performed by Chand's of village Jalturi in asthami (अष्टमी) of saathu aathu festival. This is a dance style performed in the beats of damru where both the opponents show their sword skills by attacking and defending.
Garhwal Rajputs - Pandav Nritya
Pandav Nritya is a form of dance, which depicts the birth and times of great Pandava king. It is directly related to the legend of Mahabharata and is very popular among the locals of Garhwal. Different incidents from Mahabharata are performed by the dancers who play the role of Pandavs and Draupadi. This form of dance is presented in a large open area so that many dancers can perform together. The dance is started by propitiating lords by lightening a lamp, which is requisite to be reserved burning until the end of the act. The 'Pandav Nritya' has kept animate the folklore of Mahabharata amongst the common man. This dance is mainly performs on the eve of Dussehra and Deepawali.
Himachal Rajputs - Nati
(Here a Lady From Upper Himalayas doing a Himachali Traditional Dance with Swords on Saraj " 9 Dethal ". In local dialect this Dance is known as playing Khanayat खणायत खेलना | This is a dance of Males, but in this video a beautiful Lady " Anupama Sharma ji " is playing this dance.)
The people of Himachal Pradesh are known for their love of colors and festivities. Forming a part of these festivities are folk dances of the state, with themes revolving around the scenes from the mythological epics such as Ramayana and Mahabharata. Folklores and chivalry tales of the local heroes and religious deities are some other themes on which the traditional dances of Himachal Pradesh are based. There are a number of dance forms popular in the state of which few are shared below:-
(यह गद्दी नाटी मणिमहेश यात्रा के दौरान चौराशी प्रागान मै की गई है)
Nati is a traditional folk dance practiced in the Western and Central Hills of the Indian subcontinent. It is primarily native to the states of Himachal Pradesh and Uttrakhand. Nati is traditionally performed in the Kullu, Shimla, Sirmaur, Chamba, Kinnaur, Uttarkashi, Dehradun(Jaunsar-Bawar) and Tehri Garhwal districts however, due to high immigration of ethinic paharis in the plains, this dance has been made popular in the plains too. Traditionally, locals dance to the beats of percussion instruments called Dhol-Damau. The dance is listed in the Guinness Book of World Records as largest folk dance.
( गिरिपार के हाटी समुदाय का पारम्परिक नृत्य )
HimAchali traditional sword dance 🔥❤️....(sirmour)
(Kulluvi Traditional Sword Dance Nati)
One of the most famous dances of the Kullu Valley, Kullu Nati is performed during festivals and fairs, especially Dussehra. Dancers clad in traditional dresses dance along with the procession, on the tunes of musical instruments such as Narsingha, Karnal, Shehnai, Dhol and Nagara. Earlier, Natti was performed for several hours and continued till dancers and orchestra got exhausted. The duration of the dance has been curtailed now.
(Here another video of Himachali Kullavi dance with sword)
Thoda Dance
(Thoda dance Jimmu (Jamal) At Jhina Chaupal)
In the past, Thoda dance was performed as a ritual before the battle. The performance and the quick movements seem to simulate the incidents seen during a real battle.
(Klasi vs Sihal)
Thoda,the impressive martial art form of Himachal Pradesh, relies on one's archery prowess, dating back to the days of the Mahabharata, when bows and arrows were used in the epic battles, between the Pandavas and the Kauravas.
The two sides that take part are named as SATHI and PASHI since they are believed to be descendantsof Pandvas and Kauravas.
Most interesting thing here is unlike the archery target of the competetor is opponents leg, below the knee.
In Himachal Pradesh, in earlier days, the game of Thoda was organised in a very interesting way. A handful of village folk would go to another village, and would throw tree leaves into the village well, before sun rise. They would, then, hide in the bushes nearby, just outside the boundary of that village. As soon as the villagers came to draw water, the awaiting youths would shout, and throw challenges to them for a fight. This would spark the preparations for an encounter.
The moment two groups reached to the ground, bothe parties dance on either side of the ground, waving their swords, khookries in the sun and dance to the stirring martial dance.
(Thoda game between Sartela (Balson) v/S Dronl. What a wonderful event. Enjoyed very much specially Mr. Laxmi Singh from Dronl impressed as expected.)
The defenders start shaking,kicking their legs to back and front with brisk movement.
lighting movements and agility are the sole methods of defence.Whole is conducted with rhythm of war dance , with one side furiously sidestepping,legs kicking in all the directionsand other side doing its best to place an arrow on the target. If a defender is hit on the wrong part of the body, negative points are awarded.
(Still under progress)
Jai Devabhumi
Jai Maa bharati
Jai Rajputana
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