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Rhythm Of Desert

Desert Arts presents Rhythm of  desert (Folk Music & Dance Show) The group has the mixture of traditional hereditary caste musicians of Langa and Manganiar community as well as the dancer from Kalbelia Gypsy community.

A group of acrobat & Other Professional performers like the Bhaats, Dholis, Mirasis, Nats, Bhopas and Bhands are omnipresent across the state. They are patronised by the villagers who participate actively in the shows put up by these travelling entertainers. Some of the better known forms of entertainment are: is composed of groups of musicians and dancer of western Rajasthan.

The Rhythm of Desert is the idea to create the exciting fusion of Traditional rhythms and melodies of these communities. The Langas and Manganiars are groups of hereditary professional musicians, whose music has been supported by wealthy landlords and aristocrats for generations. Both sing in the same dialect, but their styles and repertoires differ, shaped by the tastes of their patrons. The Manganiar has the patron from the Rajput community mainly Rathore and Bhati Rajput, and in the other hand the Langa has the patron from the Sindi Sipahi community of Western Rajasthan.

Though both communities are made up of Muslim musicians, many of their songs are in praise of Hindu deities and celebrate Hindu festivals such as Diwali and Holi. The Manganiar performers traditionally invoke the Hindu God Krishna and seek his blessings before beginning their recital.

Langa literally means 'song giver'. An accomplished group of poets, singers, and musicians from the Barmer district of Rajasthan, the Langas seem to have converted from Hinduism to Islam in the 17th century. Traditionally, Sufi influences prevented them from using percussion instruments, however, the Langas are versatile players of the Sindhi Sarangi and the Algoza (double flute), which accompany and echo their formidable and magical voices. They perform at events like births, and weddings, exclusively for patrons (Yajman), who are cattle breeders, farmers, and landowners. The Langa musicians are regarded by their patrons as 'kings'.

The 'Sindhi Sarangi' used by the Langas, is made up of four main wires, with more than twenty vibrating sympathetic strings which help to create its distinctive haunting tones. The bowing of these instruments is a skilful exercise, often supported by the sound of the 'ghungroos' or ankle bells that are tied to the bow to make the beat more prominent.

Manganiar plays the remarkable bowed instrument is the 'kamayacha', with its big, circular resonator, giving out an impressive deep, booming sound. The music of Rajasthan is driven by pulsating rhythms created by an array of percussion instruments, the most popular of them being the 'dholak', a double headed barrel drum, whose repertoire has influenced other Indian drums including the tabla. This recording also features the double flute, 'satara' , and the hypnotic Jewish harp or 'morchang'
The gypsies of Rajasthan, who hail from the Thar Desert, are known for their snake charming art, acrobatics (tight rope walking) and of course their folk dances and music

Marwari Khyal & Nautanki(Folk Theatre show)

Both the rural-based Nautanki and its urban counterpart, the Parsi theatre, remain part of the cultural scenario of modern India and continue to contribute to the ongoing negotiation of India's composite culture. Part of the appreciation of these older stylized theatre genres comes from awareness of their hybrid character. As emblems of composite culture, these theatrical traditions remind viewers of a popular secular outlook that is still within reach. Tf Amar Singh Rathor and Yahudi ki Larki, both canonical popular productions. It is argued that the revival of these plays owes much to their ability to serve as allegories within the current polarized cultural and political climate. The discussion suggests the continuing potential of the impulse to counter neo-nationalist ideology by means of popular media such as Nautanki and Parsi theatre


Kachhi Ghodi





This is a dance performed on dummy horses. Men in elaborate costumes ride the equally well decorated dummy horses. Holding naked swords, these dancers move rhythmically to the beating of drums and fifes. A singer narrates the exploits of the Bavaria bandits of Shekhawati.

Kathputli(Puppet Show)




Puppet plays based on popular legends are performed by skilled puppeteers. Displaying his skill in making the puppets’ act and dance, the puppeteer is accompanied by a woman, usually his wife, who plays the dholak, or drum and sings the ballad.


Pabuji Ki Phad

Pabuji Ki Phad is the traditional story-telling art of Rajasthan, India. Literally, it translates to two possible phrases, The Screen Of Pabuji or O, Read Of Pabuji!

The Phad is a 30 feet long sheet on which are painted (or sewn) miniature scenes depicting the life of Pabuji, a 14th century hero, on which his adventures are depicted. The singer has a stick with which he points out each scene and narrates the story. The light is provided by his wife who holds a lantern alongside him. The Bhopas are the community that carry this tradition, and are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha.

Pabuji Ki Phach:  A 14th century folk hero, Pabuji is revered by the Bhopa community. The phad, or scroll, which is about 10 metres long, highlights the life and heroic deed of Pabuji. The Bhopas are invited by villagers to perform in their areas during times of sickness and misfortune. The ballad is sung by the Bhopa as he plays the Ravan-hattha and he is joined by his wife who holds a lamp and illuminates the relevant portions at appropriate points.