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Pandit Jawaharlal Nehru also said “The People of the tribal area and the hills attracts me greatly and they deserve our special care, but I am anxious that they should advance, but I am even more anxious that they should not lose their artistry and joy of life and the culture that distinguish them in many ways “ . Tribals are only people who can sing freely while working. They sing and dance in the forest, festival, fairs and in the evening hours in the village. This performance gives expression to their inner feelings. Thus it would be an exaggeration to call the tribal folk songs the encyclopedias of their culture.

Tribal Folk songs are partially influenced by globalization as they have not lost their true spirit, yet the impacts of globalization on tribal folk songs are quite clear. Some tribal songs have adopted English words in their original forms sometimes the reflex that now the tribals have extended their boundaries, sometimes they express the view that they are not only familiar with modern objects but also they use them.

There are healthy folk traditions and prosperity of nature is seen in dances of the Bhil tribe. Each and every festival and fair and celebration of the Bhils has songs and dances. During the Holi festival they dance continuously for twenty- four hours. These dances are generally called “Ghumara” which are of two types.

Their dances are natural and simple. Some of the salient features of their dances are as follows:-

Dances are very easy and natural. The rhythm of the dances are so simple that one can learn them very easily and they dance in a circle or in a wide Circle, one line or two lines facing each other, Both men and women can participate in these dances, Dresses are usually very attractive and casual with  the classic jewellery the Bhil dances are also called as “Ramna” which means “Games”. The body movements are fast and Swift.

Types of Bhil Dances:-

Marriage Dance:-

Marriage calls for enjoyment and pleasure in the Bhil community. On this occasion even old members of the society participate in dances and reconstruct their coloured memories. In marriage dances the groom is lifted to Shoulders of the dancers. This is called Vari Dance.

Holi Dance:-

This is the main dance of their life .Holi marks the beginning of spring. To welcome spring they perform this seasonal dance. Bhil dance ‘Gher’ is performed after consuming alcohol. In different parts of Rajasthan this dance is performed differently. In Shekhawati it is called ‘Ginder dance’ in Mewar ‘Dandiya’, in Bhomer it is called ‘Gher Bhomer’ and in Bhilwara it is called ‘Gher’ only. These all are different forms of Gher dance, in Vagher region of Rajasthan.

In Vagher this dance is performed ten days prior to Holi Purnima and performed for five days after Holi- this five days period is called Rang Panchami.

Bhils staying in urban areas visit their villages participate in dance and go back.

Lathi Dance:-

Only men of the Bhil community participate in this dance. They hold a long stick in their hands. The drummers stand in a circle and make the dancers dance on their dhol beats. The dance starts with slow speed but gradually picks speed. 7 dancers beat their stick on land attacking expressions. Sometimes they dance with Swords too. This dance mostly performed in Dhariyawad area of Udaipur districts in Rajasthan state.

Dhol Dance:-

In Vagher areas there are so many dances which are performed using the dhol. In these dances Dhol player plays key role and provides speed and rhythm of dancers.

Gavari Dance:-

Mewad has been identified as a tribal area wherein the Gavari dance of the Bhils is very popular. The Gavari dance dance is not only traditional folk dance, but has got a colourful oral tradition. To the Bhils, this dance is a big ceremony, where they take an oath to celebrate Gavari dance to appease their goddess Goraja.The main participants in the Gavari dance are Bhudhia,Raia Bhopa and Kutia.

It is the tradition of some families to participate in Gavari dance. If a Bhil who participated in the Gavari dance dies, then his role will be played by his sons or his grandsons. For instance if the deceased played the role of Raia. Similar is the Case with other characters, but interestingly anybody can play the role of KutKutia.

All the characters that participate in Gavari, remain outdoors during the entire period of the celebration. During the period they perform their shows at various places. A number of people came to attend this dance-cum-dramas. Gavari is basically a dance drama. The dialogues in these performances are lyrical in nature. They are termed as “Bharat”and”Jhamtado” of Gavari.

There are certain traditional taboos for the participants of Gavari:-

Those who participate in Gavari dance do not eat any green vegetables for forty days and they spend their nights in the temple during the entire period of celebration. They do not untie the Ghungroos during the celebration, and they do not bathe during the celebration, and they also deny the consumption of alcohol during that period and do not hunt any animal.

This form of dance as stated earlier is performed to appease the goddess Goraja. All the villagers including non-tribals come to see the dance. Members of both the tribal and non-tribal communities give either cash as an act of kindness to the dancers, musicians and the artists of the dance-drama.

The practice of Gavari dance may be classified as a traditional communication pattern or process of socialization, wherein elderly members of the tribe enculturate the youngsters about the great epics, myths, tribal heroes and ancestors and so on. The village temple or a central place serves as platform, where their cultural oral history is repeated.

Due to the influence of modernization and urbanization, these traditional practices are diminishing. Earlier this dance drama was performed continually for forty days, these days it is only formed for only 15-20 days. Today the youngsters show little interest about their cultural heritage. Thus, there is an urgent need to preserve this fast vanishing tradition. 

1. Robin D. Tribhuwan & Tribhuwan; Tribal Dances of India, New Delhi, 1999. 2. Ghurye, G.S.; The Scheduled Tribes Popular Prakashan, Bombay, 1962. 3. Srinivas, M.N.; Caste in Modern India, Las Angles, California, 1966. 4. Nehru, J.L.; The Tribal Folk in the Adivasi, The Publication Division, Ministry of Information & Broadcasting, New Delhi, 1955. 5. Singh, Yogendra; Modernization of Indian Tradition, Rawat Publication, Jaipur, 1994. 6. Jain and Trivedi; Aadivasi Vikas Yojanaye, Shiva Publishers & Distributors, Udaipur, 1996. 7. Saini, S.K.; Rajasthan Ke Aadivasi, Unique Traders, Jaipur, 2003. 7. Vikas Jharokha, Manikya Lal Verma Aadim Jaati Shodh Aur Prashikshan Sansthan, Udaipur.