Und3rgr0und J4tt1
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Women have a different but no less exuberant dance called gidda. The dancers enact verses called bolis, which represent folk poetry at its best. The subject matter of these bolis is wide ranging indeed – everything from arguments with the sister-in-law to political affairs figure in these lively songs. Aside from the drums, the rhythm of this dance is set by the distinctive hand-claps of the dancers Giddha is a very vigorous folk dance and like other such dances it is very much an affair of the legs. So quick is the movement of the feet in its faster parts that it is difficult for the spectator even to wink till the tempo falls again. The embroidered -duppattas- and heavy jewelry of the participants whose number is unrestricted further exaggerate the movements. The vitality of Bhangra can also be seen in the Giddha dance of the women of Punjab. This dance translates into gestures, bolian-verses of different length satirizing politics, the excesses committed by husbands, their sisters and mothers, loneliness of a young bride separated from her husband, evils of society or expressing guileless deep love.
The dance is derived from the ancient ring dance. One of the girls plays on the drum or -dholki- while others form a circle. Some times even the dholki is dispensed with. While moving in a circle, the girls raise their hands to the level of their shoulders and clap their hands in unison. Then they strike their palms against those of their neighbors. Rhythm is generally provided by clapping of hands.
Giddha is a very vigorous folk dance and like other such dances it is very much an affair of the legs. So quick is the movement of the feet in its faster parts that it is difficult for the spectator even to wink till the tempo falls again. The embroidered -duppattas- and heavy jewelry of the participants whose number is unrestricted further exaggerate the movements.
During the dance -giddha- songs called -bolis- are also sung. One participant generally sings the -bolis- and when the last but one line is reached, the tempo of the song rises and all start dancing. In this manner -bolis- alternate with the dance sequence which continue for a considerable period of time.
Mimicry is aso very popular in -Giddha-. One girl may play the aged bridegroom and another his young bride; or one may play a quarellsome sister in law and another a humble bride. In this way Giddha provides for all the best forum for giving vent to one-s emotions.
The dance is derived from the ancient ring dance. One of the girls plays on the drum or -dholki- while others form a circle. Some times even the dholki is dispensed with. While moving in a circle, the girls raise their hands to the level of their shoulders and clap their hands in unison. Then they strike their palms against those of their neighbors. Rhythm is generally provided by clapping of hands.
Giddha is a very vigorous folk dance and like other such dances it is very much an affair of the legs. So quick is the movement of the feet in its faster parts that it is difficult for the spectator even to wink till the tempo falls again. The embroidered -duppattas- and heavy jewelry of the participants whose number is unrestricted further exaggerate the movements.
During the dance -giddha- songs called -bolis- are also sung. One participant generally sings the -bolis- and when the last but one line is reached, the tempo of the song rises and all start dancing. In this manner -bolis- alternate with the dance sequence which continue for a considerable period of time.
Mimicry is aso very popular in -Giddha-. One girl may play the aged bridegroom and another his young bride; or one may play a quarellsome sister in law and another a humble bride. In this way Giddha provides for all the best forum for giving vent to one-s emotions.
