Rhythms of the Hills: Folk Dances and Music

The folk dances and music of Himachal Pradesh are vibrant expressions of the state’s cultural soul, reflecting the joy, beliefs, and communal spirit of its people. These traditions are deeply intertwined with religious rituals, festive celebrations, and the social fabric of Himachali life.

A. Detailed Exploration of Major Folk Dances

Himachal Pradesh boasts a plethora of folk dances, each with its unique charm, regional flavor, and socio-cultural significance. These dances are not merely forms of entertainment but are often integral to religious ceremonies, agricultural cycles, and social milestones.

1. Nati

• Description and Significance: Nati stands as the most iconic and widely performed folk dance of Himachal Pradesh, often regarded as the state’s principal folk dance. It is a joyous community dance, characterized by its inclusive nature, with both men and women participating, adorned in colourful traditional attire. Dancers typically form circles or lines, executing movements that range from slow, rhythmic sways to more energetic steps as the tempo of the accompanying music increases. A testament to its widespread appeal and community involvement, Nati holds a Guinness World Record for being the largest folk dance in terms of the number of participants, with 9892 women performing together in Kullu in 2015. This mass participation underscores the dance’s role in fostering social cohesion and collective expression.
• Origin and Themes: The origins of Nati are often traced to ancient traditions, with some believing it to be similar to the Raas Lila, a dance developed in honour of Lord Krishna and his Gopis. It is also said to represent the entertaining plays of Chandravali. The themes of Nati performances are diverse, often involving storytelling, as seen in the Kullu Nati’s depiction of the Ras-Lila. Furthermore, Nati is performed as an act of devotion to invoke local devi devtas (deities).
• Occasions: Nati is an indispensable part of Himachali celebrations, gracing occasions such as family marriages, the advent of new harvest seasons, major festivals like Dussehra and Diwali, local fairs, and various community gatherings.
• Regional Variations: The adaptability and popularity of Nati have led to the emergence of numerous regional variations, each with subtle differences in costume, music, and steps. Prominent forms include the Sirmauri Nati, Kullu Nati (also Kullvi Nati), Shiv Badar Nati, Shimla Nati, Mahasuvi Nati, Kinnauri Nati (characterized by mime-like and languid sequences), Jaunpuri Nati, Barada Nati, Bangani Nati, Seraji Nati, Karsogi Nati, and Chauhari Nati. While some sources list a Lahauli Nati , others suggest that Nati is not traditionally part of Lahauli culture, which has its own distinct dance called “Garphi”. This diversity reflects the varied cultural micro-climates within the state.
• Costumes:
  • Men: Participants wear decorated caps, famously known as the Himachali topi (often adorned with flowers), sashes, churidars (tight-fitting trousers), suthan (tight woollen pants), and cholas (swirling tunics) that are tied at the waist with a dora (a string of cloth).
  • Women: Their attire includes traditional clothing like the ghagra (long skirt) and chola (blouse/tunic), complemented by silver ornaments such as chanki and tunki, decorated scarves known as dhatu to cover their heads, and handmade footwear called pullas. Women performing the Kullu Nati variation are often seen in a shirt and churidaar, with a distinctive one-piece drape called pattu worn over it. Their jewelry includes elaborate silver pieces like the Chandra Haar (a multi-stringed necklace), bumni (earrings), and jhanjhar (anklets).
• Musical Instruments: Nati performances are traditionally accompanied by the rhythmic beats of Dhol-Damau (a pair of drums). A range of other instruments enriches the musical ensemble, including the Dholak, Karnal (a longish horn), Narsingha or Narsinghe (another type of horn), Shehnai (oboe), Nagara (kettle drums), and Flute. The musicians, locally known as ‘Tunis’ , play a crucial role, with the Shehnai, often played by the Hesis community, considered the lifeblood of the Nati dance.

2. Chhanak Chham Dance

• Origin and Significance: The Chhanak Chham is a sacred masked dance predominantly performed by Lamas (Buddhist monks) within the precincts of monasteries. It is particularly prevalent in the regions of Lahaul-Spiti, Ladakh, and Kinnaur, reflecting the strong Tibetan Buddhist influence in these areas. This dance serves as a memorial to Lord Buddha and is a key feature of religious festivals such as Chakhar, which is held every three years. The Chhanak Chham symbolically enacts the death of the Evil King (representing demons, malevolent spirits, and natural disasters), thereby driving away evil influences; it is also referred to as the “Devil Dance”. The performance is considered a form of meditation and an offering to the deities.
• Costumes and Props: This dance is renowned for its visually spectacular costumes, typically made of fabrics in shades of red, yellow, and gold, often adorned with glitter or intricate patchwork. Performers wear enormous and elaborate masks crafted from materials like plastic, paper mache, or wood. A distinctive headpiece, known as the ‘Chhanak’, gives the dance its name. Dancers may also brandish swords and knives, their appearance resembling soldiers. In some variations, the dancers cover half of their mouths with black cloth, adding to the mystique.
• Movements: The Chhanak Chham is characterized by slow, graceful, and circular movements. These movements are symbolic, representing the harmony and balance central to Buddhist philosophy.
• Musical Instruments: The dance is accompanied by the resonant sounds of long pipes called ‘Tangchim’ (a long, straight trumpet) and the rhythmic beats of ‘Ghhan’ drums (barrel-shaped drums). The musicians themselves are attired in traditional Lama dress, often with yellow feathered caps.

3. Dangi Dance

• Region and Occasion: The Dangi is a popular and energetic folk dance form primarily associated with the Chamba district. It is performed with great devotion in the Naina Devi Temple and is also a feature of harvest seasons, festivals, weddings, and Jataras (local fairs or religious processions).
• Performers and Style: The Dangi is predominantly performed by female dancers dressed in traditional attire. They typically form a semicircle, holding hands, and execute rhythmic steps and jumps, with an emphasis on lower body movements.
• Themes: The dance draws its inspiration from the traditional folklore of the state. It commonly explores two main themes: the timeless and eternal quality of love, often narrating tales such as a king’s affection for a common girl, and the theme of commerce, illustrating the fundamental process of exchanging goods and services.
• Musical Instruments: The Dangi dance is accompanied by the captivating tunes of the ‘Dangi small drum’.

4. Rakshasa (Demon) Dance / Chhambha Dance

• Region and Origin: This striking dance form originates from the Kinnaur region of Himachal Pradesh. It is also known as the Chhambha dance and is reported to share some similarities with the Bhangra dance of Punjab.
• Occasions: The Rakshasa dance is performed during joyous occasions and festivals such as Chaitol and Bishu. It is also performed during Diwali in some areas.
• Costumes and Props: A key feature of this dance is the use of formidable demon masks, often appearing in sets of three, five, seven, or nine. These masks represent the forces of benevolent deities chasing away malevolent demons that threaten agricultural fields and crops. In some depictions, kinsmen are portrayed as animated deer.Performers don primitive costumes and ornaments, vividly enacting exorcism rituals and encounters with demonic forces.
• Performers and Style: Both men and women frequently participate in the Rakshasa dance, often holding hands. The dance troupe has a leader known as the “Ghure,” whose steps and movements are followed by the other dancers. The dance serves a ritualistic purpose of protecting crops and ensuring prosperity.
• Musical Instruments: Specific instruments for the Rakshasa dance are not consistently detailed across sources. While some general sources list a variety of Himachali instruments , the precise ensemble for this dance is not clearly specified.

5. Kayang Mala Dance (Garland Dance)

• Region and Popularity: The Kayang Mala, or Garland Dance, is one of the most popular and visually captivating traditional dances in Himachal Pradesh, with strong roots in the Kinnaur region.
• Formation and Style: The name of the dance derives from the unique garland-like formation created by the dancers, both men and women. They weave their arms in a criss-cross pattern, with each dancer metaphorically becoming a “bead” in this living garland. Participants form a semicircle with the Bajantri (musician or musical ensemble) taking a central position. The dance progresses gracefully in a complete circle, with each dancer holding the hand of the person to their right. As the circular group gradually spins, the leader often punctuates the dance with lively shouts, while the enchanting rhythm is maintained through song.
• Costumes and Rituals: Dancers are adorned in beautiful, traditional dresses and are intricately embellished with heavy jewelry, adding to the visual allure of the performance. A customary part of the tradition is to commence the dance with a glass of Chhang, a local rice brew, which is believed to enhance the celebratory spirit.
• Forms: The Kayang Mala dance is characterized by several forms, each with its nuances:
  • Nagas Kyang: This form mimics the graceful, coiling movements of a snake.
  • Herki Kyang: Performed at a faster tempo, this variation is typically danced to romantic songs and often features young men and women.
  • Shuna Kyang: This form is danced in most villages in the Kinnaur area and combines both slow and fast movements, depicting scenes from life in the village as well as the surrounding forests.
  • Jataru Kayang: A popular dance at festivals, where the leader of the dance performs with a traditional Chamar (fly whisk) in hand. The Chamar itself can sometimes become a source of playful resentment and mock fights among the dancers.
• Musical Instruments: While the rhythm for Kayang Mala is often maintained through song , the Jataru Kayang variation is accompanied by musical instruments. General Himachali instruments like drums and Shehnai are likely used.

6. Cholamba Dance

• Origin and Occasion: The Cholamba is considered one of the oldest and most ancient dance forms of Himachal Pradesh, with a strong presence in the Ropa Valley. It is uniquely performed upon the death of a tiger, an event that likely held significant cultural and ecological meaning for the community. The dance was reportedly presented even during the British era.
• Props and Performance: During the performance, the hide of the deceased tiger is stuffed and adorned with gold trinkets. The local community then dances in front of this effigy. The dance movements are said to enact the coiling of a snake, adding a layer of symbolic complexity to the ritual.
• Musical Instruments: Specific instruments for the Cholamba dance are not explicitly mentioned in dedicated descriptions. While clarifies that instruments like Dhol, Bugjal, Karnal, and Ransingha are associated with Losar Shona Chuksam rather than Cholamba, it is probable that general Himachali percussion and wind instruments would form the accompaniment.

7. Martial Dances: Kharait and Ujagjama

• Region and Performers: Kharait and Ujagjama are traditional martial dances performed by the men of Himachal Pradesh. Kharait is particularly associated with the Kullu district. Ujagjama is also a traditional folk dance of Kullu.
• Performance Style: Kharait is characterized by its performance with swords and hurdles, executed in circles at a fast tempo. There appears to be some ambiguity regarding the use of swords; while one source identifies both Kharait and Ujagjama as famous sword dances, another part of the same source suggests they are not typically categorized as “sword dances” but are more about general celebration without specific sword involvement. This discrepancy may point to regional variations or an evolution of the dance form over time, where the martial aspect might be more symbolic in some performances.
• Occasions: These martial dances are performed on various celebratory occasions.

8. Other Significant Dances

Himachal Pradesh’s terpsichorean landscape is rich with numerous other folk dances, each reflecting the unique traditions of its region or community:

• Lahauli Dance: This is a group dance performed by women, particularly prominent during the Lohri festival. The dance emphasizes the performers’ movements and expressions, typically without specific props. It is important to note a potential point of confusion: while some sources list a “Lahauli Nati” , another source asserts that Nati is not part of Lahauli culture, which instead features its own distinct dance called “Garphi.”
• Jhanjhar: A famous folk dance originating from the Chamba region. It is primarily performed by women and is known for its grace, elegance, and charming movements that narrate stories of joy and celebration.
• Kiang and Baakyaang: These are recognized as other famous folk dances of Himachal Pradesh. Described as “hidden gems,” they reflect the deep-rooted traditions and beliefs of their respective regions, offering a glimpse into a less commonly seen facet of Himachali cultural heritage.
• Losar Shona Chuksam (Kinnaur): This dance is performed in the Kinnaur district during Losar, the Tibetan New Year, which usually falls in April or May. It is primarily performed by farmers as a tribute to agriculture, with knee movements that replicate the action of sowing seeds. The dance is accompanied by instruments such as Dhol, bronze cymbals known as Bugjal, Karnal, and Ransingha.
• Gee Dance and Burah Dance (Sirmaur): These are notable dances from the Sirmaur region. The Burah dance is particularly known for its energetic and spirited performances that foster a sense of unity.
• Chadhgebrikar (Kullu): A folk dance form specific to the Kullu region.
• Shunto (Lahaul & Spiti): Originating from the cold desert region of Lahaul & Spiti, the Shunto dance embodies the resilience and indomitable spirit of its people, reflecting the harsh yet beautiful landscape.
• Dulshol, Dharveshi, Drodi, Dev Naritya, Nagas: These are names of dance forms that are reportedly danced all over the region, suggesting they might be broader categories or styles with widespread prevalence. They are described as providing a “welcome break in the monotony of life”.
• Sirmaur Dances (Jhoori, Gi, Swang Tegi, Rasa, Thadair, Draudi, Padua):
  • Jhoori: An outdoor dance performed to question-and-answer songs delivered in musical tones, with each line ending in “Hoo Hoo” sounds. It is particularly popular in Shimla, Solan, and Sirmaur and often celebrates themes of extramarital romance, accompanied by a female dance called jhoomar.
  • Gi: Performed to an intricate beat structured in three divisions. Singers form a circle while dancers rotate in the middle with outstretched arms.
  • Swang Tegi: A free-form dance that imitates the gestures and movements of animals. It is notably performed during the Diwali festival, with dancers wearing tiger masks carved from wood.
  • Rasa: In this dance, performers step back and forth, alternately sitting and leaping up. The Rasa dance is symbolic of the unity of the people.
  • Thadair (or Dhadair): Danced to the Rudra Tal (rhythm). Performers hold weapons such as bows, arrows, knives, or sticks and often yell as they move towards imaginary adversaries. The accompanying songs frequently recount scenes from local history.
  • Draudi (also Dharvedi or Droondu) and Padua: These are religious dances typically arranged during Jagaras (night-long vigils) or Shant (peace-invoking rituals). They depict scenes from battlefields or form shapes resembling temples and stupas. Key features include dancing in circles, suddenly lying down on the ground, and striking various poses with great fervor. These dances are often seen during the Dussehra season in Kullu.
• Women’s Dances (Laaldi, Ghooghati):
  • Laaldi: A popular female folk dance that is distinctive for its reliance solely on clapping to maintain rhythm and beat, eschewing instruments like Dhol, Nagada, or Shehnai.
  • Ghooghati: In this dance, performers form a chain, with the lead dancers singing the song and the rest of the group repeating the lines in unison.
• Jhamakada (Kangra): This dance is primarily performed by young girls and is characterized by its strong lyrical content and percussion-based musical accompaniment. It is an integral part of marriage ceremonies in the Kangra district. Dr. Gautam Vyathit is credited with nationally and globally popularizing this dance form.
• Bilaspuri Giddha: A dance performed by women in Bilaspur, typically when a barat (groom’s wedding procession) departs for the bride’s house, as an expression of happiness.
• Dandras Dance (Gaddi tribe, Chamba): An art form exclusively performed by the men of the Gaddi tribe, a nomadic shepherd community from the Bharmaur region of Chamba. The dance involves graceful movements executed with small sticks and can extend for several hours.
• Shan and Shabu (Lahaul Valley): These dances are performed in the Lahaul Valley, particularly in Buddhist monasteries, in honor of Buddha. The Shan dance, meaning a song of prayer for Buddha, is especially significant and often takes place after the harvest. Musical instruments accompanying the Shan dance include drums, shehnai, and a stringed instrument resembling a violin.
• Sinhtoo (Sirmaur): An ancient mask dance from the Hatti community of Sirmaur’s Giri region. “Sinhtoo” means lion cub. It features elaborate animal-themed costumes (lion, bear etc.) made from wood, sawdust, kidney bean dough, and historically, pattu (sheep wool) and tree bark. The dance promotes wildlife conservation. Renowned artist Joginder Habbi has worked to preserve it. It received national recognition at the 76th Republic Day parade.

The interconnectedness of dance, music, and ritual is a fundamental characteristic of Himachali performing arts. Many dances are not performed in isolation but are integral to religious ceremonies, festivals, agricultural cycles, and social events, serving as a medium for storytelling, worship, and communal expression.

Table 1: Major Folk Dances of Himachal Pradesh

Dance Name	Primary Region(s)	Occasion(s)	Key Features (Costumes, Props, Style, Performers)	Prominent Musical Instruments
Nati	State-wide (Kullu, Sirmaur, Shimla etc.)	Weddings, Harvest, Festivals (Dussehra, Diwali), Fairs, Community Gatherings	Joyful, circular/linear, slow to fast tempo, men & women. Costumes: topi, chola, suthan, dhatu, pattu, chanki, tunki, Chandra Haar. Guinness World Record holder.	Dhol-Damau, Dholak, Karnal, Narsingha, Shehnai, Nagara, Flute.
Chhanak Chham	Lahaul-Spiti, Kinnaur	Religious festivals (Chakhar), Memorial to Buddha	Sacred masked dance by Lamas. Costumes: red/yellow glitter/patchwork, large masks, ‘Chhanak’ headpiece, swords/knives. Slow, circular movements.	Tangchim (long trumpet), Ghhan (drums).
Dangi	Chamba	Naina Devi Temple, Harvest, Festivals, Weddings, Jataras	Mostly female dancers, semicircle formation, holding hands, lower body movements, rhythmic steps/jumps. Themes: love, commerce.	Dangi small drum.
Rakshasa (Chhambha)	Kinnaur	Joyous festivals (Chaitol, Bishu), Diwali	Demon masks (3, 5, 7, or 9), primitive costumes, animated deer depiction. Wards off evil from crops. Leader “Ghure”. Men & women.	General Himachali instruments; specific ensemble not clearly detailed.
Kayang Mala	Kinnaur	General traditional dance	“Garland dance,” dancers criss-cross arms. Beautifully dressed, heavily adorned. Starts with Chhang. Forms: Nagas, Herki, Shuna, Jataru. Men & women.	Rhythm often maintained by song; Jataru Kayang uses instruments.
Cholamba	Ropa Valley	Upon death of a tiger	Ancient ritualistic dance. Stuffed tiger hide adorned with gold. Dancers enact coiling of a snake.	General Himachali instruments.
Kharait & Ujagjama	Kullu	Various occasions	Martial dances by men. Kharait: swords, hurdles, circles, fast tempo. (Some sources differ on sword use).	Likely traditional martial music ensemble.
Losar Shona Chuksam	Kinnaur	Losar (Tibetan New Year)	By farmers, tribute to agriculture. Knee movements replicate sowing.	Dhol, Bugjal (bronze cymbals), Karnal, Ransingha.
Jhamakada	Kangra	Marriage ceremonies	Performed by young girls. Strong lyrics, percussion-based.	Percussion instruments.
Sinhtoo	Sirmaur (Hatti community)	Special festivals, deity courtyards	Ancient mask dance. Animal-themed masks (lion, bear etc.) & costumes (wood, sawdust, kidney bean dough, pattu). Depicts wildlife conservation.	Dhol, Nagada, Karnal, Shehnai.