Category Archives: Music and dance

“In Kongthong, every time a baby is born, the mother composes a lullaby that becomes a unique identity of the child for life. Moreover, the lullaby has no words and is just is a tune, a kind of hum that only the villagers are able to recognise and remember. […] The village’s practice of whistling to each other also makes a lot of practical sense.” – Sanchari Pal in “In The Whistling Village of Meghalaya, Every Child Has a ‘Unique Lullaby ID’!” (The Better India, 1 February 2018)
https://www.thebetterindia.com/129583/unique-whistling-village-kongthong-meghalaya-lullaby/
https://indiantribalheritage.org/?p=22477

“The tribes and castes in India are communities apart. Those who belong to castes belong to no tribes, and those who belong to tribes are outside the caste pyramid. What brings them together is probably their love for songs.” – Ganesh [G.N.] Devy in “What unites Indians is a love for songs” (The Telegraph, 1 November 2019)
https://www.telegraphindia.com/opinion/the-musical-legacy-of-kabir-mira-nanak-tukaram-akka-mahadevi-what-unites-indians-is-a-love-for-songs/cid/1716091
https://indiantribalheritage.org/?p=3488

“Within villages around Dang [in Gujarat], traditional instruments and artists are waning. Cultural music and dance forms among the adivasis have evolved over centuries. Beautified by elements and nuances of their surroundings, these forms depict their very lifestyles. Played for hours together in the same tempo, music is an integral part of celebrations and mourning. […] Each instrument has a purpose and belief related to it.” – Ashleshaa Khurana in “The ailing art of adivasi music” (Times of India, 30 January 2014)
https://indiantribalheritage.org/?p=13780

“The old villagers who have imbibed our traditional knowledge and normally make and play the Banam [fiddle] are unable to transmit their skills and knowledge to [youngsters] busy preparing school lessons and therefore get little time to sit with the elderly people of their village and learn from them. Another reason is [an] attraction to the fast and loud music from Bollywood and from other modern sources.” – Boro Baski on the purpose of organizing instrument making workshops at the Museum of Santal Culture (Bishnubati village near Santiniketan, West Bengal)
https://indiantribalheritage.org/?p=30075

“Musical knowledge is transmitted through a collective oral-aural, participative method, in which memory and tradition are the basic principles. Music skills are acquired by listening and repeating, by assimilating formulary materials, and by participation in a kind of communal retrospection.” – Ruchira Ghose in “Cadence and Counterpoint: Documenting Santal Musical Traditions” (A virtual exhibition on Google Cultural Institute 2016)
https://artsandculture.google.com/exhibit/DwISi2xsSQFgKA
https://indiantribalheritage.org/?p=19487

“The great diversity of music in India is a direct manifestation of the diversity and fragmentation of the population in terms of race, religion, language, and other aspects of culture. The process of acculturation, so accelerated in modern times, is still not a very significant factor in many areas of the country. There remain remote pockets where tribal societies continue to live much as they have done for centuries. Even though some of these may show evidence of borrowing from higher cultures, they nevertheless manage to assimilate these elements into their own culture in such a way as to enhance their own identity.” – NA Jairazbhoy in A Cultural History of India (Oxford University Press, 1975, Chapter XVI “Tribal, Folk and Devotional Music”), pp. 212-242
https://indiantribalheritage.org/?p=3488

“Many of the modern day gypsies can be traced back to the nomadic tribe called Roma. In Europe, they were referred to as the goddess-worshippers. This goddess was none other than Kali. They were later referred to as gypsy, as they believed that they came from Egypt before spreading to European countries. The tribe Roma also make a claim that their ancestors were an ancient warrior class in Punjab. […] While suspicions have led to wide scale persecution, the world also acknowledges their amazing contribution, especially to music and dance. From guitar to violins in places like Hungary, the flamenco dances in Spain and Oriental dances in Egypt is said to originate from them.” – “Where do gypsies come from?” (The Times of India, Life, 14 May 2013)
https://timesofindia.indiatimes.com/where-do-gypsies-come-from/articleshow/18791132.cms
https://indiantribalheritage.org/?p=20310

Video | Marriage customs of the Santals: A large mural created by village artists to express their cultural identity – West Bengal

Marriage Reception A Santal marriage takes five days and involves various, often complex, rituals. On the day of the Gidi-chumara (Marriage Reception) the women arrive to bless the bride and groom with grass and grains of rice which are kept … Continue reading

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Garo Drums: Symbols associated with specific regions and social occasions – Meghalaya, Assam, Tripura, Nagaland, West Bengal & Bangladesh

Garos are a tribal group from Meghalaya, predominantly residing in the Garo Hills region. Though found in the three (now five) Garo Hills districts, they also reside in the adjoining states of Assam, Tripura, Nagaland, and West Bengal in the … Continue reading

Posted in Crafts and visual arts, Customs, Economy and development, Government of India, Music and dance, Musicology, Names and communities, Performing arts, Quotes, Revival of traditions, Seven Sister States & Sikkim – North Eastern Council, Social conventions | Tagged | Comments Off on Garo Drums: Symbols associated with specific regions and social occasions – Meghalaya, Assam, Tripura, Nagaland, West Bengal & Bangladesh

Documentation of tribal music of India by Bhasha and Adivasi Academy, Tejgadh – Gujarat

VADODARA: Now, you will be able to peep into the life of tribals and even hum some of their songs. The Bhasha Research and Publication Centre (BRPC), which has taken up a project for documentation of tribal music of India, … Continue reading

Posted in Literature and bibliographies, Modernity, Museum collections - India, Music and dance, Musicology, Names and communities, Organizations, Performing arts, Press snippets, Resources, Seasons and festivals, Women | Tagged , | Comments Off on Documentation of tribal music of India by Bhasha and Adivasi Academy, Tejgadh – Gujarat

Poetry on the beauty of nature and its close association with mankind: “Tribal literature is as rich as any other literature in the world”

Mizo writer Darchhawna, who was awarded the Padmashree recently, praised tribal literature at a conference here today. He spoke on the concluding day of the Tribal Literary Conference and said tribal literature is as rich as any other literature in … Continue reading

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Learn more about tribal communities in Madhya Pradesh

When it comes to protein and calorie counts, milk and bananas do not match up to eggs, particularly for [Madhya Pradesh], where development indicators are among India’s worst: Almost 51% of children under five years of age are underweight, and … Continue reading

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