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Art Form | Tribe | Key features | Place |
ChadarBadar | Santhal |
Performing Art – Puppetry that tells stories of Santhal way of life and migration |
Terai region of himalayas |
Saura | Saura |
Painting – Similar to Warli but larger and elongated. Natural colors are used |
Odisha |
Kalaripayattu |
Martial art – One of the oldest fighting systems in existence |
Kerala | |
Silambam |
Martial art – Weapon based martial art. Uses animal movements of tiger, snake, eagle forms and foot work patterns plays an important role; |
Tamilnadu | |
Pari-Khanda | Rajputs |
Martial art – Sword and shield fighting. Techniques are also used in chau dance |
Bihar |
Kondapalli dolls |
Sculpture – Made from soft Poniki wood – light, flexible and strong. made piece by piece and are stuck together using an adhesive paste made of tamarind seeds, followed with a coating of lime glue. |
Andhrapradesh | |
Channapatna toys |
traditional craft that is protected as a geographical indication (GI) under the World Trade Organisation. Natural dyes are used to colour the toys and are blended with lac to make lac sticks which are then applied to the finished wooden objects. This age old traditional art dates back to the reign of Tipu Sultan who is said to have invited Persian artists to teach his artisans the craft. |
Karnataka | |
Marapachi dolls |
A male-female/raja-rani dolls usually gifted to bride in marriage. Made from kongu trees. known for their intricate carvings and the elaborate attires that people dress them in. Made in Tirupati |
Andhra Pradesh | |
Tanjavur dolls |
Included in the Government of India Geographical Indications Registry, the dancing dolls made of wood pulp or papiermaché or clay. They are called so because of their bobbing head and body, that are made separately and balanced such that the parts oscillate. |
Tamilnadu | |
Matka silk | In towns of Malda and Murshidabad |
Matka is an Indian term for rough handloom silk fabric made from very thick yarns spun out of pierced cocoon in the weft and organzine in warp. The yarns are obtained from short ends of silk from Mulberry silkworms (Bombyxmori) and spun by hand without removing the gum (sericin) |
West Bengal |
Aari Embroidery |
Handicrafts – needle work with beads or muthai and chain stitch; inspired by the floral motifs of Mughal period |
Kutch, Lucknow, Uttar Pradesh, Rajasthan, and Delhi |
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Baluchari Saree |
Weaving -It is a hand woven saree using richly dyed silk, with intricate motifs depicting Indian mythology woven onto its large ‘pallu’. |
Baluchar, Murshidabad, West Bengal |
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Lavani / Tamasha | Dhangars or shepherds of Sholapur
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Maharashtrian folk including song and dance |
Maharashtra and konkan coast. |
Kalbelia | Kalbelia tribe |
The dance form consists of swirling, graceful movements that make this dance a treat to behold. Women dance while men provide music for the performance. Kalbelia dance and songs are a part of UNESCO’s representative list of Intangible Cultural Heritage of Humanity. |
Rajasthan |
Bhavai dance |
It involves tricky balancing acts, right from balancing seven to nine brass pots on the head to balancing oneself (along with the pots) on narrow and unstable objects like a glass bottle, brass plate or the edge of a sword. The brass pots can, and are often, substituted by an even greater number of earthen pots. |
Rajasthan | |
Bhangra |
Harvest dance – energetic and rhythmic – performed by both men and women |
Punjab | |
Dandiya |
Dance using bright colored bamboo sticks where participants strike the bamboo sticks in rhythmic fashion. Dancers go round a drummer usually at the centre of the stage |
Gujarat | |
Garba |
Dance form also originated in Gujarat but uses hand and feet movement; traditionally performed around a holy lamp |
Gujarat | |
Giddha |
Performed only by women in Punjab. Female counterpart to Bhangra |
Punjab | |
Ghoomar | Bhil |
A traditionally passed folk dance of Mewar of Rajasthan includes rhythmic swirling. Women’s dance performed in women gatherings. |
Rajasthan |
Chari | Gujjar |
Women’s dance form depicting collecting of water. Women dance by balancing brass pots which are kept ignited with the cotton seeds dipped in oil |
Rajasthan |
Gawari | Bhil |
A dance drama performed by both men and women. Usually performed by troupes which travel from one village to another |
Rajasthan |
Kath Puthli | Bhati |
World famous wooden puppetry of Rajasthan. Wooden puppets are controlled by metal strings Made of single piece of wood and are colorfully dressed |
Rajasthan |
Teratali | Kamar |
Worship of baba ramdev. Bhajans are sung during the performance |
Rajasthan |
Walar | Gharasia |
Prototype for ghoomar. Performed by women |
Rajasthan |
SutaKhandeiNacha / Kundhei |
String puppet show from Ganjam Strings are attached to a triangular wooden prop Costumes are similar to Jatra performances. Puppets have no legs and have long skirts Have more joints and are therefore more versatile, articulate and easy to manipulate |
Odisha | |
Baunsa Rani |
Baunsarani literally means “The Bamboo Queen”. Mainly little girls exhibit various acrobatic postures on the crossed bamboo bar as well as on the floor with exquisite scintillating movement synchronized with the beat of drums and songs. |
Odisha | |
KommuKoya | Kommukoya tribe |
Dance form of Chintoormandal, east Godavari district |
Andhra Pradesh |
Daminda | Apatani |
Performed by girls during Dree festival |
Arunachal Pradesh |
Guravayyalu | Kurava |
Performed by priests. Famous in Kurnool. Influenced by shaivism |
Andhra Pradesh |
Chikankari |
Needlework – White thread is embroidered on cool, pastel shades of light muslin and cotton garments. Fabric is usually thin else the needle would not pierce. Geographic indication provided in 2008 |
Lucknow,UP | |
Phulkari | Believed to have been introduced by Jats but practiced by Punjabi women |
Needle work -use of darn stitch on the wrong side of coarse cotton cloth with coloured silken thread. Punjabi women created innumerable alluring and interesting designs and patterns by their skilful manipulation of the darn stitch. Bagh – Work covering the entire fabric Adhabagh – scattered work all along the fabric |
Punjab |
Kantha |
Needle work – Running stitch all along the cloth. |
Birbhum, West Bengal | |
Patola |
Intricate tie and dye process where the yarn is dyed before weaving. Also called double ikat PatanPatolaof Gujarat has GI |
Originally in Gujarat, also famous in Odisha | |
Kashida |
Needlework – Kashmiri embroidery – It draws inspiration from nature. Birds, blossoms and flowers, creepers, chinar leaves, ghobi, mangoes, lotus, and trees are the most common themes. |
Kashmir | |
Kasuthi |
Believed to be brought to Karnataka by the Lambani tribe followed by women courtiers of Mysore dynasty. |
involves embroidering very intricate patterns like gopura, chariot, palanquin, lamps and conch shells on traditional silk and Ilkal sarees. The work is laborious and involves counting of each thread on the cloth. The patterns are stitched without using knots to ensure that both sides of the cloth look alike. |
Karnataka |
Jamdani |
Jamdani is a fine muslin cloth on which decorative motifs are woven on the loom, typically in grey and white. Often a mixture of cotton and gold thread were/was used. Traditionally woven in Dhaka, Bangladesh Venkatagiri in Andhra Pradesh is famous for this form of weaving In news as PM Narendra Modi presented a tapestry depicting Kamadhenu and Kalpavriksha to Bangladesh PM Sheikh Hasina |
Venkatagiri, Andhra Pradesh | |
Pattachitra | Artists known as chitrakaras with title Mohapatra or Maharana |
Painting – cloth based scroll painting. Woman members prepare the glue, the canvas and apply colours what we call the fill-in, and give the final lacquer coating. The master hand, mostly the male member, draws the initial line and gives the final finishing. Patta paintings are done on small strips of cotton cloth |
Odisha |
Kalighat paintings |
Simple painting form developed around Kalighat under British patronage by artists called patuas Uses water colors Painted with bright colors on clear background |
West Bengal | |
Mithila / Madhubani |
pictures using vegetable colour and a few earthen colours Finished in black lines on cow dung treated with paper Mostly depicts Hindu mythology Marks seasonal festivals and life events Intricate flora, animal and bird motifs are used to fill the gap Passed on from mother to daughter |
Mithila of Bihar | |
Kalamkari |
Colors – Vegetable dyes, plant roots, leaves, salt of iron, tin, copper, alum Gets the name from “kalam” – pen as intricate designs are made using pen Includes Hand painting as well as block painting Patronised by Vijayanagar kingdom Legacy from father to son Scenes from mythology are usually depicted with floral decorative patterns for embellishments Influence of Persian motifs and designs |
Andhra Pradesh | |
Phad |
Scroll painting of Bhilwara district Themes include heroic figures, rural life, animals and birds 2D depiction in Bold lines Art form is approximately 700 years old |
Rajasthan | |
Warli | Gond and Kol | Made mostly by women
Predominantly religious Geometric patterns like circles, triangles, rectangles White color/ rice flour is used on dark background |
Maharashtra |
Minakari | Sonar or Sohail caste of Kshatriyas |
Jewellery designing using enamel work Art of coloring and ornamenting the surface of metals by fusing over it brilliant colors that are decorated in an intricate design Gulab mina is famous in Benaras |
Jaipur
Delhi Lucknow Kangra Benaras Kashmir |
Bandhni | Started by Khatri, a kshatriyacommunity in Gujarat | Tie and dye art for cotton fabrics
Called Chungidiin Tamilnadu |
Rajasthan
Gujarat Tamilnadu |
Bidriware | Persian art brought to India by Bahamani rulers |
Metal art – striking inlay artwork, important export handicraft of India prized as a symbol of wealth. The metal used is a blackened alloy of zinc and copper inlaid with thin sheets of pure silver. This native art form has obtained GI |
Bidar, Karnataka |
Igu Dance | Idu Mishmi tribe |
meaning ‘dance of the Priest’, a unique ritual dance.
Igu dance is performed on Reh festival, different ritual acts etc with an aim of appeasing various spirits for family and social well-being and prosperity. Arunachal Pradesh’s tableau for RD parade 2015 |
Arunachal Pradesh |
Daang | Dangis |
Kahaiya and Dholki – the percussion instruments besides short shehnai are used in the dance. The men hold their arms round the women’s shoulders and women clasp the men by their waists forming circular formations moving in clockwise and anti-clockwise directions. The women climb on the shoulders of men and form a human pyramid. Performed in RD parade and won first position in 2015 |
Gujarat |
Lezim Dance |
Named after a wooden idiophone to which thin metal discs are fitted which produce a jingling sound and the dancers use this while dancing. Dholki, a drum instrument is used as the main percussion music. Very rigorous movements |
Maharashtra | |
Mand |
Folk singing style neither accepted as Raga nor reckoned among freely rendered folk songs |
Rajasthan | |
Bhatiali |
a boat song, sung by boatmen while going down streams of the river, the word Bhatiyali comes from Bhata meaning ebb or downstream |
West Bengal | |
Ragini | Folk song form | Haryana | |
Gulraj | Folk song form | Kashmir | |
Theyyam |
popular ritual form of worship of North Malabar in Kerala Colourful costumes and awe inspiring head gears with strong colours of turmeric,wax and arac Head gears are upto 5 -6 feet high |
Kerala | |
Padayani | Tinta subsect of Ganaka community |
Performance using masks In honour of bhadrakali Performed in bhagavati temples – southern variant of theyyam blends music, dance, theatre, satire, facial masks, and paintings |
Kerala |
Koli | Koli – a fishermen tribe |
Fishermen dance Includes both men and women. Men dance with fishing oars |
Maharashtra |
Dhumal | Wattal |
Only the men folk perform this dance on specific occasions and at set locations. Generally performed with wearing long colourful robes and tall conical caps, studded with beads and shells. |
Jammu and Kashmir |
HuyenLanglon |
Martial art – consists of 2 forms Thang ta – armed version – uses sword, spear, axe and shield Saritsarak – unarmed version – uses kicks, hand strikes and grappling Closely associated with Burmese Bando or bandshay |
Manipur | |
RasiyaGeet |
Folk song – flourished in Braj Praises of Lord Krishna’s charming leelas |
Uttar Pradesh | |
Alha |
Ballad of Bundelkhand Heroic stories of Alha and Udal who served Raja Parmal of Majoba Highlights the moral principles of morality, chivalry and nobility |
Uttar Pradesh | |
Hori |
Songs based on love pranks of Radha-Krishna Sang during Holi celebrations only |
Uttar Pradesh | |
Sohar |
Songs sung during the birth of male child Influenced the Muslim families and the tradition is now found among Muslims too Depicts the mingling of two cultures |
Uttar Pradesh | |
Kajri |
Sung by women in rainy season on third day of bhadra Associated with a dance involving steps in semi circular motion |
Uttar Pradesh | |
Shakunakhar -Mangalgeet |
Prayers for good health and long life during religious and auspicious occasions of child-birth, baby-showers, ganeshpooja etc. Sung only by women without any instrument |
Kumaon | |
Barahmasa |
Songs depicting twelve months of the year Different natural entities represent different months of the year |
Kumaon | |
Basanti |
Spring/ Harvest song which accompanies the celebrations of Basant Panchami |
Garhwal | |
GhasiyariGeet |
Sung by women of hilly areas when they go to forests to collect grass for cattle Emphasis on importance of labour along with entertainment |
Garhwal | |
Pankhida |
Literally means lover Sung by peasants working in fields |
Rajasthan | |
Lotia |
Sung by women during the festival of Lotia |
Rajasthan | |
Teej |
Sung during the festival of Teej on third day after new moon in the month of sharavana Songs revolve around union of Shiva and Parvati |
Rajasthan | |
Pandavani |
Songs on tales of Mahabharata Singer assumes all the characters during the ballad accompanying it with his powerful singing |
Chhattisgarh | |
SukarkeBiah |
Portrays the picture of common folk Associated with story of Shukra who calls off his marriage for the sake of his mother |
Bhojpuri region | |
Mando |
Slow verse and refrain composition dealing with love, tragedy and both social injustice and political resistance during Porutguese presence |
Goa | |
Chhakri |
Group song performed using musical instruments like noot, rababs, sarangi, tumbaknari |
Kashmir | |
Bhakha |
Harvest songs Regional music with most melodic and harmonious elements |
Jammu | |
Laman |
A group performance where girls singing on peak of the hill seldom see the group of boys who give a reply to them in a song seated on another peak of the hill. |
Himachal Pradesh | |
Tappa |
Semi classical vocal music inspired by camel riders Characterised by jumpy and flashy tonal movements |
Punjab | |
Powada |
Literally means “narration of story in glorious terms” Odes in praise of individual heroes, incidents or place Chief narrator is known as Shahir |
Maharashtra | |
Qawwali |
Originally sung in praise of god Brought from Persia Qawwali performance presents a fascinating, interchanging use of solo and choral modalities |
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Burrakatha |
Highly dramatic form of ballad Singer plays a tambura while reciting the story A famous exponent of the form DarojiEeramma passed away in august 2014 |
Andhra Pradesh | |
Daskathia |
Name is derived from a unique instrument called “kathi” or “Ram thali” or wooden clappers It is a form of worship and offering on behalf of “das”, the devotee |
Odisha | |
Sana Lamok |
Sung by a priest at the time of coronation of King or to welcome the King Also sung to evoke the spirit of Pakhangba, the presiding deity |
Manipur | |
SaikutiZai | Mizo |
Mizos are known as singing tribe SaikutiZai are songs composed by a poetess Saikuti in praise of warriors |
Mizoram |
Chai hia | Mizo |
The songs that accompany chai dance performed during ChapcharKut Festival |
Mizoram |
VilluPattu |
“Bow song” Lead singer handles an instrument which is bow shaped Themes are usually theological and emphasise conquest of good over evil |
Tamilnadu | |
Ammanaivari |
Song sung in praise of Chola Monarch Ammanai is wooden ball. Women folk sing appropriate songs while playing the ball. |
Tamilnadu | |
BhandPather |
Unique combination of dance, music and acting. Satire, wit and parody are preferred for inducing laughter |
Kashmir | |
Swang |
Theatre form known for softness of emotions and accomplishment of rasa Language in Rohtak – Haryanvi Language in Haatras – Brajbhasha |
Rohtak and Haatras | |
Nautanki |
Traditional theatre form of Kanpur, Lucknow and Haatras Initially performed by men only. Now women are also included Gulab Bai of Kanpur gave new dimension to old theatrical form |
Uttar Pradesh | |
Bhavai |
Theatrical performance which is partly entertainment and partly a ritual offering made to Goddess Amba. Subtle social criticism laced with pungent humour is the speciality of Bhavai. P.S. : a dance form of Rajasthan is also called Bhavai |
Gujarat | |
Jatra |
Musical plays during fairs in honour of gods, or religious rituals and ceremonies Born and nurtured in Bengal Krishna Jatra was popularised by Bhakti saint Chaitanya’s influence |
West Bengal | |
Maach |
Used for both stage and the performance Traditional theatre form with songs in between dialogues Dialogues are called bol Rhyme in narration is called vanag Tunes are called Rangat |
Madhya Pradesh | |
Bhaona |
Performance of Assamese classical plays called AnkiaNaat Sutradhar or narrator begins the story in Sanskrit and the play continues in Brajboli or Assamese |
Assam | |
Dashavatar |
Performers personify the ten incarnations of Lord Vishnu wearing masks of wood or papiermache |
Konkan coast and Goa | |
Krishnattam |
Started in 17th Century AD under the patronage of King Manavada of Calicut Cycle of 8 plays performed for eight consecutive days |
Kerala
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Mudiyettu |
Performed in the month of vrischika (November – December) in the Kali temples as an oblation to Goddess |
Kerala | |
Koodiyattam/ Kuttiyattam |
Oldest traditional theatre form of Kerala Believed to be the prototype for Kathakali Based on Sanskrit theatre traditions Vidushak alone delivers dialogues Emphasis on hand gestures and eye movements |
Kerala | |
Yakshagaana |
Theatre form based on mythological stories known for its costumes and make up |
Karnataka | |
Therukoothu |
Literally means street play Performed at annual temple festivals of Mariamman(Rain Goddess) to achieve rich harvest Cycle of eight plays based on life of Draupadi |
Tamilnadu | |
Gombeyatta |
String puppets(marionettes) styled and designed like characters of Yakshagana Have joints at legs, shoulders, elbows, hips and knees Puppets are manipulated by 5-7 strings tied to a prop. Sometimes more complicated movements are manipulated by two or more puppeteers |
Karnataka | |
Bommalattam |
Largest, heaviest and most articulate of all traditional Indian marionettes. Combine techniques of both rod and string puppets Puppets made of wood Strings for manipulation are attached to iron ring worn round the puppeteer’s head |
Tamil Nadu | |
TogaluBombeyatta |
Literally togalu – skin/leather bombe – dolls Shadow puppets made from treated leather Small in size and size varies with social status of characters the puppets portray – Larger for kings and smaller for common people and servants |
Karnataka | |
TholuBommalata |
Shadow puppetry Large in size with jointed waist, shoulders, elbows and knees Colored on both sides. Hence throw colored shadows on screen |
Andhra Pradesh | |
Ravanachhaya |
Shadow puppets of one piece and have no joints Not colored – hence opaque shadows Puppets are made of deer skin Props such as trees, mountains, chariots etc are also displayed along with main characters |
Odisha | |
PutulNautch |
Rod puppets made from wood – inspired by Bunrakupuppets of Japan Costumed like actors of Jatra and usually have 3 joints A bamboo made hub is tied to the waist of puppeteer on which rod holding the puppet is placed. Puppeteers manipulating the rods, move and dance imparting corresponding movements to the puppets |
West Bengal | |
Yampuri |
Rod puppets made of wood Have no joints and are made of a single piece |
Bihar | |
Pavakoothu |
Glove puppets costumed as kathakali performers Height varies from 1-2 feet Head and arms are carved of wood and joined together with thick cloth, cut and stitched into a bag |
Kerala |