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Folk music
Folk songs are mostly sung by Bihari amateurs all over
the state. The Thumar or Barahmasa is sung by female in groups when
they are engaged in paddy plantation. When grinding corn in Jata or Chakki,
they sing Jatusari. Sohar is sung on the occasion of child-birth and Sumangali,
when marriage rites are to conclude.
In early nineteenth century Bihar, music was cultivated by
certain professional classes alone and rich men extended generous patronage to
musicians, especially to superior female artistes who were allowed small
endowments.
The Hindu Kathaks went about in-groups of three or four
and sang with Tamburu, Sarangi, Majira and dholak accompaniment,
mostly from Jaideva's 'Geet Govinda'. They sang common songs and
love songs of Bengal. The Yajaks were employed at funerals, the Bhajaniyas
and Kirtaniyas were employed by Brahmans to sing holy songs after the
morning prayer, > Roshan Chouki parties were employed to play on pipes
and drums and also to accompany Muharram processions. The Pamarias, men
and women, who were mostly Muslims, thronged to sing where marriages were
being held and birth has taken place and were satisfied only when they
were given a handsome remuneration. Most women sang at marriage ceremonies.
There was also a class of dancing boys called Bhakliyas.
These dancers had no fixed abode. They came to Bihar to celebrate Holy
in the month of Chaitra.
Folk Dances
The folk dance tradition in Bihar has three distinct streams. One of them
is the folk dances of Videha, the present Mithila which is mainly rooted
in the songs of poets, the second stream is those of the Adivasis which
are closer to nature, social institutions and rituals. The third stream
relates to the Chhau dance of Seraikella and other regions of south
Bihar.
The folk dances of Mithila are religious,
social or sectarian. In the religious type, gods and goddesses are invoked
through dance, performed to the rhythm of folk songs and such musical
instruments as the dhol, pipahi, pakhwaf, and danka. The Ram-leela nach,
Bhagat nach, Kirtaniya nach, Kunjvawt nach, Naradi nach, Vdypat nach and puja
Arti nach are all religious folk dances of Mithila. Folk dances for men
are accompanied by songs and musical instruments and the footwork of the dancers
is in tune with the swar and tal of the music. The dances exclusively for
women are Jhijhiya nach, Jatajutia nach, Sama Chawka nach. The only mixed group dance is
Saturi dance of Mithila. In the family dance called Bakho nach,
the husband and wife participate on the
occasion of the birth of a child or a similar joyous occasion. The different lower-caste
groups have their own exclusive dances such as Chamar natua, Kanala mai nach,
Dampha-Basuli nach. There are such popular dances as Pamariya nach, Videshia
nach and Kathputli nach.
Chhau Dance
 This
is a folk dance of Seraikella Kharsawam region. The word Chhau signifies
a mask. Originally a war dance to perfect fighting techniques, it has
over the years evolved into a narrative ballet. The dancer's identity
and sex are concealed on account of the mask he wears when performing
the Chhau. On the eve of the spring festival, every year, people in Seraikella
celebrate with the colourful show of 'Chhau' performance. The Seraikella
royalty preserves, projects and participates in Chhau, in the month of
Chaitra Paru, April in the venue of the kings palace.
The Adivasi version of the Chhau is called Sastriya Nritya. In the performance
of Sastriya Nritya, the dancers sometimes do not use the mask. The use of songs, a common feature of all folk dances is wholly
absent in the Chhau. The dancer expresses mood or theme through the medium of
varied gestures, all of the exquisite artistic appeal to the accompaniment of
the veena, flute, drum. All there folk dances have their roots in the traditions
of the region in the past.
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