Where to see traditional dance in Gilgit festivals?
Gilgit Baltistan, with its robost cultural diversity, is home to some 2 million people. It is amazing to see that every kilometer of Gilgit Baltistan has a cultural variety that has evolved throughout the past.
A place where the people hold the message of peace for the whole world through their values, folk tales, hospitality, music, and dance.
Dance and music have taken on different forms in every era of human evolution. Where nature has embedded in man the intelligence to cope with the changing environment, it has also given him enough tactics to express his feelings through dance and music. Without diving into the vast realm of dance and music in the world, let’s get to the dance, music, and their different forms that have evolved in various regions of Gilgit Baltistan.
Traditional dance
The four most renowned categories of dance that exist in the region of Gilgit Baltistan are the following:
1. Sword dance:
The most famous dance of Gilgit Baltistan is the sword dance. It is where highly skilled dancers perform their acrobatics through different intricate sword gestures. The dance begins when the drummer starts beating his drum with highly organized and repeated patterns to produce music that is both soothing to the ears and helps the performers act according to the music.
Sword dance is mostly performed at occasional moments like marriages or at different regional festivals.
2. Cowboy dance( payaloo)
This dance resonates with the earlier nomadic life of the people of Gilgit Baltistan. The word Payaloo means shepherd in one of the local languages of Gilgit Baltistan. The cowboy dance is getting into the attire of a shepherd to perform a few acts that actually copy the actual shepherd (Payaloo), who, while going to the pasture with his cattle, sings songs and dances for his audience, “the nature and the cattle.
3. Old man dances
Another famous dance is the old man dance, which involves getting into the attire of an old man and dancing like an old man.
4.Shaman dance. (Dayaal).
Shaman dance has been restricted to a few regions of Gilgit Baltistan. It is quite unique and vanquishing with the passage of time.
The performer begins the shamanic dance by inhaling the smoke of Cedrus deodara (Qahqer in Brushaski). It is believed that the dancing person speaks with the spirits (ارواح) of the dead elders of the community. This dance reflects the Smanic way of praying and the connection with the spirits of the dead elders of the community for guidance. It also reflects their respect for their dead ones. The dance is rigorous, and it is assisted by the shamanic drum beating and the melodies of the flute.
The performer of this dance follows intricate steps, and he also pronounces words in the local language as an act of speaking to the spirits.
Because of the uniqueness of the Shaman dance, it will always be invaluable.
Moreover, the discourse goes on when it comes to the indigenous music of Gilgit Baltistan. Throughout history, Gilgit Baltistan has remained isolated and disconnected from the outside world, which is why the local music has been preserved in its original shape.
The types of indigenous music in Gilgit Baltistan are the following:
1.Ajoli( Sushtowar)
This tune is played on occasions of marriage. It is played during the departure of the bride from her father’s home to her new home. It is a tune for the most occasional and happy moments. This dance is led by the groom, and afterwards he is joined by many other dance performers.
2.Souse
This music is played in sword dancing. This dance resonates with martial arts rhythms and stunts to assist the sword dance performer. It is fast, rhythmic, and full of rigor.
3. Dani
Dani is a unique tune for a unique form of dance. In the beginning, when the tune is played, the dancer starts with a sprinting style. The performer, before properly getting into the rhythm of the dance, comes in front of the musicians(ustad), and then he starts making his moves.
This type of tune is most famously played during marriage ceremonies, in polo, and in football too.
4. Bulla
Bulla is a Brushaski word that means polo. As polo is called the “game of kings, and the king of games,” it is very famous in Gilgit Baltistan and Chitral. The people of Gilgit Baltistan love the game, and freestyle polo is mostly played here. Polo without music is unimaginable for the people of these regions.
While playing on the field, when a polo player scores a goal, the musician plays a certain music with their musical instruments, mainly the flute and drum (Dadang). This particular hareep or tune is played to pay tribute to the player who scores a goal. To add on, before the commencement of the game, the players train their horses to do some stunts parallel to the tune played.
5.Yudaani
Yudaani is a tune that is played to encourage the soldiers on the battle field. This music is also played to pay tribute to the bravery of soldiers on the battle field. In the past, Yudaani was said to be played in reverse order to confuse the opponents on the battlefield.
Today, this tune has lost its relevancy, but it’s still liked and played at marriages and various social gatherings.
6.Bazmi
Bazmi tune assists the performer to get into the highly energetic rhythm of the dance. It shows some electric and fast moves by the performer(s).
7.Tajwar/Bakhtawar
ajwar is a Persian word that means king or ruler. Before 1947, Gilgit Baltistan and Chitral were ruled by different princesses, and many wars were fought among these princely states. Bakhtawar is found in the local Brushaski and Khowar languages, and it means “lucky,” “fortunate,” or “blessed.” This tune is played to show the pomposity of a local ruler or king on different occasions or to welcome him to a particular place.
Nowadays, it has been drawn beneath the curtains of history because of its irrelevancy. After 1948, Gilgit Baltistan was under the rule of Pakistan, and the princely states were ultimately vanquished.
The evolution of music in the
Northern areas have been a notable aspect of the lives of the indigenous people. Apart from the tunes and music mentioned above, there are many other musical tunes, which include Alghani( Alghaniwar), Lolo, Tambhal, Razm, and Danyal/Bitten. Gilgit Baltistan’s culture is rich in music, dance, and poetry.
Forward to the indigenous musical instruments of Gilgit Baltistan.
1.Suranai and Rabab
Many of the indigenous musical instruments are brought to the region from Central Asia, i.e., Rubab. Rabab/Rubab is smaller in size as compared to a guitar, but it is considered to be a pivotal instrument in indigenous music. There is a flute-like instrument called the Suranai.
Suranai is comparatively bigger in size than the flute.
2.SITHAR(Guitar)
SITHAR is made of locally available mulberry wood. The base of Sithar is bulged on one side and flat on the other. The body of SITHAR is just like that of a guitar, but it is purely made of wood. There are five strings in a SITHAR, and it consists of two bridges( KHEREK in Brushaski).
3.Dadang (Drum)
Dadang is a local word for drum, and it’s cylinder-shaped. Either side of the dadang is made of leather, and the inner part is hollow.
4.Damal( Percussion)
Damal, or damama, is a combination of two small percussions with two little drumsticks that are used to beat the damal. In addition, damal ismade of mulberry wood and the leather of cattle.
5.Daff (a circle-framed drum).
Daff is bigger in size as compared to that of Damal. The shape of daff resembles that of a damal, but it differs in size.
