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Hatako jholi bimukha boli kun desha puginchha ||
Asare masko pakeko cheeja pakeko amchura |
Tyo jaane ko ho farkera hera ma pani aauchhu ra ||

Activity ASARE GEET SINGING PRACTICE WITH NOTATION

The notations of Asare song is given below. Try to sing the song with the
help of your music teacher.

Scale : Sa (C-scale)
Taal : Asare, Maatra : 6


Practise solo song in Damfu with the help of given lyrics. The vocalists

of the song were Gopal Yonjan and Gyanu Rana
Boy: Chyangba hoi chyangba, suna suna hai chyangba
Damfule aaja kya vanchha, jam kata jam jam
Kata jam jam , kata jam, jam jam

Girl: Maichyang hai maichyang, suna suna ho maichyang
Damfule aaja kya vanchha, dhum pak dhum dhum
Pak dhum dhum , pak dhum, dhum dhum

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Musical notations:
Scale: dha (Am)
Rhythm (taal): Solo

12.3 Playing the Musical Instruments

Music is a very important part of different moments of human life. It
spreads happiness and joy in a person’s life. Music is the soul of life and
gives immense peace to us. Music helps us in connecting with our souls
or real self. Music is a pleasant sound that is a combination of melodies
and harmony. The music consists of Sargam, Ragas, Taals, etc. Music
is not only what is composed of men but also which exists in nature.
Have you ever heard the sound of a waterfall or a flowing river? Could
you hear music there? Thus, everything in harmony has music. Music
is known as the universal language because it flows freely beyond the
barriers of language, religion, country, etc. Anybody can enjoy music
irrespective of his age. Music is set in some specific rhythm.

Rhythm (Taal)

Rhythm, in music, is the placement of melodious sounds in a pre-
designed alternation of time. Rhythm, thus, manifests music or songs
into a melodic, harmonious and pleasant sound for us to listen. Rhythm
facilitates a seamless flow of emotions and ideas that further keeps us
relieved from the daily circumstances of monotony.

It plays a substantial part in dance and a performance can appear both
lifeless and disconcerting without music. Artists spend years perfecting
the sense of rhythm with ease and infuse it within their daily lives.
Technically, tempo beat and body movement communicate rhythm from
one individual to the next.

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In dance, coordination with music and body accentuates the quality of
performance. Different dance forms apply separate space with rhythm;
however, irrespective of the genre, an artist should have a sense of rhythm.
Instructors always introduce the idea of rhythm on the very first day to
help learners perfect it with rehearsals and errors. The rhythm influences
how a dancer is interacting with the audience and what message he or
she is conveying through the art form. The process of sharing something-
emotion, feeling, or a story- through the implementation of rhythm is
highly esteemed in any work of art. Therefore, a rhythm not only helps
one with improved coordination skills but also facilitates communication
overcoming possible hurdles. Some of the common types of rhythm in
Nepal are Jhyaure and Khyali.

Activity-1

Practice of musical notation:

Play any one of your favourite songs in your available music player.
Try to clap according to the rhythm of the music. Find out the rhythm
included in the music. That may be Jhyaure, Khyali or other rhythm.

PRACTICE OF PLAYING JHYAURE AND KHYALI RHYTHM (TAAL)

Jhyaure rhythm

Jhyaure rhythm is one of the most popular traditional rhythm. It is
believed that Jhyaure was invented by Gorya Siras and Manabhir Khatri
in the nineteenth-century. The term 'Jhyaure' may refer to a wide variety
of song genres, a variety of poetic metres, and the 6-beat musical Taal
known as 'Jhyaure Taal'. It has the following pattern of Bol, beat and
Taali.

Bol (Theka) Ghin s Ti Na Ghin Na
Beat (Maatra) 1 23 4 56
Strong Beat (Taali) X (X)

Nepali folk poetic metres are syllabic. Jhyaure has 6 syllables in a line.
The placement of caesuras or pauses helps identify the rhythmic pattern.
A strong beat in the rhythmic pattern falls on a strong beat in the Taal. A
Jhyaure always has a 6-beat Taal and the rhythmic pattern must easily fit
within this Taal.

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Khyali rhythm

Khyali Taal is one of the most popular rhythm played in Nepali music. It
consists of eight beats, which are further divided into two Bibhag.

Beat (Maatra) 1 2 34 5 678
Bol (Theka) ghin
Strong Beat (Taali) - fat tan tak ghin ghin tang
X
0 or X

There are other various Taals in Nepali music with eight beats like this.
Some of them are Kaharwa Taal, solo Taal, Sama Taal, Chhoti Taal, etc.
They have equal number of beats but due to the different positioning of
Bol, caesuras and rhythmic stress, they sound different from each other.

THE PRACTICE OF HOLDING INSTRUMENT FOR MUSIC

In order to perform better with the musical instruments, we need to
have good holding skills. We can develop such skills with a regular
practice under the guidance of teachers/instructors. While holding the
musical instruments, we should make a comfortable posture for précise
movements of our hands and fingers.

Activity-2

Holding the Instrument: Sitting position: Look at the picture and
practice holding the instrument under the guidance of your teacher.


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Activity-3 Setting the Position of Hand on Madal

A Madal has two sides called male and female. The male side is often
placed on the right side and the female is on the left.

Female Side

Male Side

While practising Madal, different Bol or Theka are produced with the
following techniques

S.N. BOL/THEKA ILLUSTRATION
1 Dhin: Use your left hand on the female
side of Madal as shown in the picture
2 here. Release the fingers quickly after
hitting the surface so that the sound
3 resonates.

Fat: Use your fingers of the left hand on
the female side of the Madal as shown
in the picture here. The fingers remain
intact with the surface after hitting so
that the sound does not resonate.

Tat or tak: Use your fingers of the right
hand on the male side of the Madal as
shown in the picture aside. The fin-
gers remain intact with the surface af-
ter hitting so that the sound does not
resonate.

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4 Tam or tang: Use your fingers of the
right hand on the male side of the
Madal as shown in the picture aside.
The fingers do not remain intact with
the surface after hitting so that the
sound resonates.

Activity-4 PRACTICE OF PLAYING THE INSTRUMENT

Practice all the above-illustrated Taal with the Madal several times for
your perfection.

Look at the following rhythm and practice it with a Madal carefully
a.

| ghin tang ghin tang | ghin tang ghin tang |
| ghin ghin ghin ghin | tang tang tang tang |
| tang tang tang tang | ghin ghin tang tang |
| ghin ghin tang tang | ghin tang ghin tang |
| ghin -- ghin -- | tang -- ghin -- |
| ghin ghin tang -- | ghin tang ghin tang |

b. | fat tang fat tang | fat tang fat tang |
| fat fat fat fat | tang tang tang tang |
| tang tang tang tang | fat fat tang tang |
| fat fat tang tang | fat tang fat tang |
| fat -- fat -- | tang -- fat -- |


| fat -- tang -- | tang -- tang -- |

Practice the taal several times as you evaluate yourself getting better-
skilled. Taals like Jhyaure and Khyali are also composed of the above
notations. Study and explore how do they generate the Jhyaure and
Khyali taal.

Kaharwa rhythm

Kaharwa is an 8-beat rhythm pattern used in our music system. It has
eight beats in two equal divisions called Bibhag. The first beat out of 8
beats is called "Sama" and the fifth beat out of 8 beats is called "Khaali".

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The period between every two beats is equal. In Kaharwa, the audiences
clap on the first beat (Taali) and then the fifth beat is waved or not clapped,
called Khaali. The following notations represent Kaharwa rhythm.

Beat (matra) |1 2 3 4| 5 67 8|
Bol (theka) | dha ge
Strong Beat (taali) X (taali) na ti | na ka dhi Na |

0 (khali)

Activity-6 PRACTICE OF SINGING IN KAHARWA RHYTHM

Look at the following notations to practice Sargam in Kaharwa rhythm.

Ascending: saregama regamapa gamapadha mapadhani padhanisa dhanisare
Descending: resanidha sanidhapa nidhapama dhapamaga pamagare magaresa |
Ascending: saremaga regapama gamadhapa mapanidha padhasani dhaniresa
Descending: resadhani sanipadha nidhamapa dhapagama pamarega magasare |

Dadra rhythm

This is a very popular Nepali classical rhythm or Taal consisting of six
beats in two equal divisions. Each division (Bibhag) consists of three
beats. The most commonly accepted Theka or basic pattern for this Taal
is dha dhi na, dha tu na. There is a higher emphasis laid on the first beat
in comparison to the other two beats.

The first division (dha, dhi, na) The second division (dha, tu, na)
dha - higher emphasis dha - higher emphasis
dhi na – lower emphasis tu, na – lower emphasis

Beat, Bol, Taali and Khali in Dadra rhythm

Beat (matra) | 1 2 3 |4 5 6

Bol (theka) | dha dhi na |dha tu na

Strong Beat (taali) X (taali) 0 (khali)

Teen-taal rhythm

Teen-taal is the most common rhythm of Nepali music system. It is a
musical rhythm with fast-tempo or Drut structure of music. Teen-taal
has sixteen (16) beats in four equal divisions called Bibhag. They begin
with Sama division, the first Bibhag with Taali. The 5th beat has another
Taali and there is waves on 9th beat. The third Taali or clap is placed on

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the 13th beat. The name of ‘Teen-taal’ is given for the occurrences claps
(Taali) for three times in a rhythm.

Beat, bol, taali and khaali in dadra rhythm

Beat (matra) |1 2 3 4| 5 6 7 8| 9 10 11 12 | 13 14 16 16 | 1

Bol (theka) |Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha Dha

Strong Beat X (taali) X (taali) X (taali)
(taali)

Activity-7 PRACTICE OF SINGING IN DADRA RHYTHM

Look at the following notations and practice saragam in Dadra rhythm
Ascending: sarega regama gamapaa mapadhi padhani dhanisa
Descending: sanidha nidhapa dhapama pamaga magare garesa |
Ascending: sagare regama gamapa mapadha panidha dhasani
Descending: sadhani nipadha dhamapa pagama marega gasare |

Local/Folk musical instruments

The musical instruments which are old by existence or practice, prepared
with locally available materials and those with some tradition or culture
connected to them are called local or folk musical instruments. They are
mostly used in folk songs and traditional functions such as Jaatra, fairs,
ceremonies and festivals. Some of the common local musical instruments
in Nepal are Madal, Damfu, Sarangi, Murchunga, Jhyali and Khaijadi.

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Madal

The Madal is one of the mostly used and very
famous of folk musical instruments of Nepal.
It is used mainly for rhythm-keeping in Nepali
folk music. The Madal consists of a cylindrical
wooden body with a slight bulge at its centre.
Two ends of the Madal are unequal by their
circumferences. The larger end is called
female side and the smaller end is called the male side. The Madal is
usually played horizontally in a seated position, with both heads played
simultaneously.

The Madal is held around the waist, positioned horizontally. Playing
techniques involve rhythmic strikes on either ends with fingers of both
hands. Both ends of the Madal vibrate to produce peculiar sounds when
struck with the fingers.

It is used in a wide variety of songs like folk songs, Dohori Geet, Jhyaure,
Maruni, Teejgeet, Asare Geet, Balan, Tappa and Tamkuli songs.

Damfu

A Damfu is a traditional or folk musical
instrument of Nepal, mainly used by the
Tamang people to play the melodious
Tamang Solo. Its name is given after Nepal's
national bird the lophophorus which is
called ‘Daphne’ in Nepali. Tungna is another
folk musical instrument that is very often
played together with Damfu.

Tamang people use Damfu in their religious and cultural events like
weddings, funerals, special occasions, rituals and festivals. They express
happiness, sadness, remember ancestors and tell their history through
songs accompanied by the Damfu. It is made up of a hollow wooden
base with a thin piece of circular animal leather set on one side. It is
played by hitting with fingers and palms. It produces melodious sounds
like dhum, pak, trak, dhin etc. These special sounds are produced with the
use of following set of fingers.

-dhum- with the forefinger, middle finger and ring finger

-pak and trak – nail tips of forefinger, middle finger and ring finger

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Activity-8 Practice solo rhythm in Damfu with the help of

following notations.

Look at the following rhythm scale and practice solo with the guidance
of your teacher.

Beat (Maatra) |1 2 3 4| 56 7 8|
Bol (Theka) | dhum - pak dhum
pak dhum | dhum -
|
Strong Beat (Taali) x xx x

Activity-9 Practice solo song in Damfu with the help of given

lyrics. The vocalists of the song were Gopal Yonjan and Gyanu Rana

Boy: Chyangba hoi chyangba, suna suna hai chyangba
Damfule aaja kya vanchha, jam kata jam jam
Kata jam jam , kata jam, jam jam

Girl: Maichyang hai maichyang, suna suna ho maichyang
Damfule aaja kya vanchha, dhum pak dhum dhum
Pak dhum dhum , pak dhum, dhum dhum

Musical notations:
Scale: dha (Am)

Rhythm (taal): Solo

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Summary

• Music produces harmony, melody and expression of emotion. Music
is a good source of entertainment. It may be vocal, instrumental or
their combined sounds.

• There are 7 main musical notes represented with ‘sa, re, ga, ma, pa,
dha, and ni’. Each of them represents a different frequency or pitch.

• A systematically arranged  pattern  of sound that is composed with
changing pitch and rest or silence in a song is called rhythm.

Exercise

A. Answer the following questions.
1. Define music. What are the uses of music in human life? Give
examples.
2. Give a short introduction to Bhatkhande notation system with an
example.
3. What is ‘Sargam’ in music? Why is it important?
4. Define rhythm. Why is it important for music?
5. Define a musical octave. How does an octave help in identifying
musical characteristics? Explain.
6 What is rhythm? How many types of rhythm are there? List them
with their short introduction.
7. Musical scale helps in learning and understanding music. Justify
this with an example.
8. How can we practice Sargam in C-major scale?
9. Why does a dancer need a sense of rhythm? Explain briefly with an
example.

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10. Give a short introduction to:

a. Jhyaure Taal b. Teen-taal c. Khyali Taal

11. Why is it necessary to hold the Madal properly to play it with
perfection? Give reasons.

12. Differentiate between the Madal and Damfu.
13. What is a solo? Give a brief introduction.

B. Match the following: • 16 beats
Damfu •

Madal • • 8 beats

Khyali Taal • • Male and female sides

Dadra • • Lophophorus

Practical evaluation

Take your available music player and play any one of your favourite songs.
On the basis of your understanding of the basics of music, find the rhythm,
notations, and scale used in the song. Try to sing the song in a systematic order
complying with the notions of musical notations and scale.

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13 Dancing and
Acting

13.1 Dancing

Every person on the earth possesses a hobby they like to enjoy with and pass
their free time. Many people have dancing as their favourite hobby and they
like to dance whenever it is possible. People love dancing on various types of
music and songs as per their preference, culture, and circumstances.

The movement of feet and body in the rhythm of a song or music in a pleasing
way is dance. It is a learned cultural practice. Societies create dances. A culture
of specific society is embodied in the forms of special practices that develop in
the form of dance. Dance is often presented as a universal cultural phenomenon
that is so basic to human nature that every human being can relate to it.

Nepali dances are very important in our life, culture, and tradition. They
are also a good source of entertainment as well as effective refreshers. The
complement of dance is song and music. Mainly we can classify Nepali dance
into two kinds, ‘classical and folk dances.’

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Nepali classical dance is the type of dance which is performed with the help
of music but not played with any electronic instrument. The people choose a
particular type of costume for performing a particular type of classical dance.
It describes the particular classical songs or music and requires the particular
types of steps for the dance. Some of the examples of Nepali classical dance are
Kumari dance, Manjushree dance, Panchabuddha dance, Bajrayogini dance, etc.

Nepali folk songs are performed in various festivals, events, ceremonies,
Jaatras, marriages, Bratabanda, and many other social and traditional rituals.
A peculiar community may have specific type of folk dances

Community Folk Dances
Limbu Dhan naach
Gurung Sorathi
Magar Kaura
Sherpa Syabru
Rai Chandi
Tamang Solo

Basic skills of dance

It is believed that dance evolved in the human society from the basic
connections of body movements and their associated expressions of
feelings. Several things are expressed with our body gestures and
movements. Looking at the postures and motions of body parts, we can
guess the internal thoughts of people to a meaningful extent. It is believed
that the concept of dance and acting for the expression of feelings begins
even with the act of crying and exhibiting limb-motions by a neonate.
The following basic skills are required for fine performance of dance.

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i. Exhibit appropriate motions of limbs i.e., the hands and the legs
according to the song’s wordings and rhythm.

ii. Listen/watch audio-visual recording of the song, if available, to
catch the basic ideas of dancing steps.

iii. Be careful in following rhythm of the song and hand gestures.

iv. Design your steps according to the musical instruments used and
the beats produced from them.

v. Take considerations on the type of song and music on the ground
of its cultural and traditional dress-ups, styles, anticipations and
ornaments

Folk dances of Nepal

A folk dance is a dance developed in the community itself by people
that reflect the life of the people of that particular community. Because
of dance, we can connect ourselves with our cultures, and know more
about how people have lived in the past.

Nepal is very rich in ethnic and cultural diversity. A vivid and wide
geographical diversity has created a significantly wide cultural diversity
in Nepal in terms of dress-up, food, language, and lifestyle of people.
Various folk dances represent the vividness of indigenous Nepali culture
in our country. The following are the major folk dances prevailing in
Nepal.

Jhyaure dance

It is very popular among young boys and girls in
the middle or eastern hilly parts of Nepal. Jhyaure
songs and dances are not restricted to any time.
During the ropain (rice-planting) season in the
villages, Jhyaure songs and dances are popular.
Jhyaure dance is the characteristic dance that fits in
with Jhyaure songs. Among girls and boys, a party
sings the Jhyaure song and another party replies in the same manner.

There are some varieties of Jhyaure song and dance based on the culture
and practices at different places. They include 6-beat Jhyaure and 8-beat
Jhyaure songs. The dress-ups in the Jhyaure dance for girls and boys
basically include:

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For girls: Chaubandi Choli, Fariya, Patuki, Tick-mala, Chandrama, Pote (red
and yellow), Tilahari, Chepte Sun, Naugedi, Sirful, etc.

For boys: Daura, Suruwal, Patuka, Khukuri, Rumal, waistcoat, Dhaka Topi, etc.

Activity-1

a. Practice Jhyaure dance in the given 6-beat Jhyaure rhythm

Bol (theka) Ghin - Ti Na Ghin Na |

Beat (matra) 1 2 3 4 5 6. 6.

Strong Beat (taali) X (0)

a. Practice Jhyaure dance in the popular Vailini song, with acting, according
to the lyrics given below.

bhailini aayau aagana badali kudali rakhana
he ausiko dina, gai tihara bhailo
Haami tesai aayenau, bali hai rajale pathako
he ausiko dina, gai tihara bhailo

Hariyo gobarle lipeko, laxmi pooja gareko
he ausiko dina, gai tihara bhailo

jasale dinchha maano, usako sunako chhano
he ausiko dina, gai tihara bhailo

jasale dinchha muri, usako sunako dhuri
he ausiko dina, gai tihara bhailo

Notations:
sare pa - | maga re sa | sare pa - | mapa dha - |
bhaili ni ∫ | aa∫ yeu ∫ | aa ∫ ga ∫ | na ∫ ∫ ∫ |
mapa ma pa | gare sa dha | sa saga rega | sa - - |
bada li ∫∫ | kuda li ∫∫ | ra kha∫ ∫∫ | na ∫ ∫ |
ma pa - | ga re sa | re ma - pa | gaga resa rega |
he ∫ ∫ | au si ko | di ∫ na ∫ | gai tiha ro ∫ |
re sa - | sa - - |
bhai lo ∫ | ∫ ∫ ∫ |
x0

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Tamang solo

Tamang Solo is a cultural genre of
Nepali folk dance song sung specially
by the people of Tamang community
in eastern and western hilly areas
and around the Kathmandu valley. It
is usually accompanied by the special
musical instruments of Tamang
people, the Madal, Damfu and
Tungna. Hira Devi Waiba is regarded
as the pioneer of Tamang solo in
Nepal as she has sung around 300 songs with the main contribution on
Tamang solo.

People sing and dance on this song on particular occasions, at feasts,
festivals and religious/cultural ceremonies. They require special cultural
dress-up for boys and girls. Boys wear Daura-suruwal, waistcoat, Patuka,
Dhaka Topi etc. while girls wear Makhmal Choli, Fulbutte frock, Ghalek,
Patuki, etc.

An example of Tamang solo song
Chyangba hoi chyangba, sunasuna hai chyangba
Dampu le aja kya bhancha, jam kata jam jam kata jam
Maichyang hai maichyang, sunasuna hai maichyang
Dampu le aja kya bhancha jam, kata jam jam kata jam jam jam

Choli ma ramro kya bhanne, kanchi ko naka mukha ramro kanchhi ko
Sindhuli tika kya bhannne, kanchi ko nidar jhan ramro
Guneu ma chola kya ramro, guneu ma cholo (bhanara)
Kan chi ko jiu jhan ramro, kanchi ko jiu (hehhe)
Timi ra hami milera hide timi, ra hami
Dunia le dekhada ni jhan ramro, dunea le dekhda ni jhan ramro

Swayama ful ko phul devata, sallan ful ko mul devata
Ama ko chori ma euta, babu ko chora ta euta
Jyan gaye talai choddaina, jyan gaye talai

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Rakheko bachan tod daina, rakheko bachan
Talai hamro chora ko, talai hamro !!!
Aapa Nabanai Chodhdaina, Aapa Nabanai Chodhdaina..

Maichyang hai maichyang, sunasuna hai maichyang
Maichyang hai maichyang, sunasuna hai maichyang
Dampu le aja kya bhancha jam, kata jam jam kata jam jam jam
Chyangba hoi chyangba, sunasuna hai chyangba
Chyangba hoi chyangba, sunasuna hai chyangba
Dampu le aja kya bhancha, jam kata jam jam kata jam

Activity - 2
Practice singing Tamang solo and learn a solo dance with the help of
your teacher/instructor.

Hand Gestures (Hastamudra)

Hand gestures are very important in expressing the internal feelings
of the dancer to the audience. The gestures depend upon the lyrics,
circumstances and cultural/traditional background of the songs. Hand
gestures can represent flowers, water, ways, birds, animals, activities,
celebrations, joy, pity, grief, love, affection, tragedy and several such
other feelings. Gestures can be made with a single hand or both hands
depending upon the need. A gesture with a single hand is called
Asamyukta Hastamudra and when both hands are used, it is called
Samyukta Hastamudra.

a. Pataka: It is a leaf-like gesture made with joined
straight fingers and plain palm. It is used for
representing blessings, oath, ban and closed door
or windows.

b. Shikhara: This mudra has a raised thumb over the
closed fist. It may represent questions, lust, weapons
and embarrassment.

c. Suchi: This gesture with erect forefinger and others
bent to touch each other's fingertips may represent
indication, Sudarshan Chakra and warning.

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d. Alpadama: This is a gesture that looks like
blooming lotus on water. It may represent
questions, beauty, and the illustration of local
circumstances.

e. Kapota: It is an example of Asamyukta
Hastamudra where both hands are used for
illustration. It may represent respect, bow,
obedience, respect, etc.

f. Utsanga: Utsanga Hasta is one of the very
common items of Samyukta Hastamudra.
In Sanskrit language, 'Utsanga' means an
embrace. We can use this Mudra to depict an
embrace and other similar expressions during
a dance performance.

13.2 Acting

Acting is the performance
of a person involving
physical expressivity with
gestures, voice and dress-
up to show an imaginary
environment and role with
dramatic presentations with
the purpose of entertaining
audiences. Acting is
about creating images and situations that are not in the present time.
Imagination is the basis of acting because it is all about mimicking real
life situations and an actor, therefore, must be highly imaginative. Acting
requires emotional knowledge, creativity, critical thinking and problem-
solving skills. Acting possesses a characteristic trait that it enables us
to assume information that we may apply in our behaviour in different
contexts. Hard work and dedication help us become a good actor.

Actors, sometimes, need to imitate special religious and cultural
characters like Gods and Goddesses and other characters of religious
myths and stories. Ram, Krishna, Sita, Draupadi, Rawan, Kansa, Arjuna

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are some of such characters that are well defined by their nature, dress-
up, accessories and lifestyle. We require special material to act on their
roles. Acting is, sometimes, taken as an integral part of dance. There are
four basic types of acting as described below.

Acting by body (Aangik Abhinaya)

Angika Abhinaya follows the methods of acting with the movements of
body organs - the hands, legs, head, face and waist. The accessory organs
also called Pratyangas like shoulder, upper arms, knees, thighs, elbows
and the sub-accessory organs called Upangas like forehead, cheeks,
eyes, eyelid, nose, lips and teeth are also used with special purpose of
illustrations. Natural gestures with the body-organs are commonly used
and they are easily understood as the feelings being carried.

Acting by speech (Bachik Abhinaya)

Bachik Abhinaya is also called verbal acting. It follows the methods of
acting with the voice that may represent the feelings of the actor and
song. Natural voice with correct tone and rhythm are commonly used
to express the feelings. Conversations, words used, imitation of sound,
precise statements of the literatures and poems, languages and the
associated facial expressions and bodily expressions are taken under
consideration for a good verbal acting.

Acting by dress-up (Aaharya Abhinaya)

It is a type of acting with proper focus on the dress-up, ornaments and
other accessories carried or worn by the character to be represented. The
means of representation of the play in this type of acting are costumes
and physical decorations of the actors. Decorations of the theatre and
lighting are also considered important in this acting. The dresses and
ornaments used in dance depend upon the nature, category and cultural
background of the song. For example, Gunyucholi, Patuki, Pauju,
Jhumka, Pote, ornaments, Sirful etc. are used for acting in Bhailo Geet.
Acting in religious dramas require garlands, yellow dress, Mukut, flute,
etc.

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Acting by true expressions of feeling (Saatwik Abhinaya)

In Sanskrit, 'satwa' means something that is originated in mind. In this
light, Saatwik Abhinaya is the acting with the expressions originated
with mental message, emotion or image that is communicated with the
audience through the performer's own inner emotions.

13.3 Relations of Dance and Acting with Physical Activities and
Health of People

As dance and acting are integral parts of human life, we can get several
benefits from them. They keep our mind and body active with the
following interrelations.
i. Dancing and acting keep our body active and increase the blood
circulation. That is necessary for adequate supply of oxygen and
nutrients to the various parts of the body.
ii. Dancing and acting require special arts of motor coordination
between body organs and special gestures (Mudras). That increases
concentration and creative power.
iii. They are the good sources of entertainment. Therefore, they are
helpful in creating mental peace and freshness.
iv. It is believed that the special movements of body parts with special
skills can serve as acupressure and acupuncture for the treatment of
some diseases.
v. Dancers and actors have creative minds and hence they can become
good thinkers and problem-solvers.

 

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Exercise

A. Answer the following questions.

1. Define dance. Why do people dance? Describe.

2. What is a folk dance? Give an example with its brief description.

3. What is Jhyaure dance? How is it performed?

4. Give a short introduction to:

a. Tamang Solo b. Pataka c. Shikhara

5. List out any five basic skills required for a good dance.

6. What does Hastamudra mean? Differentiate between Alpadama
and Kapota Hastamudra gestures.

7. Give a brief introduction to Utsanga Hastamudra.

8. What is acting? Classify acting with a short introduction to each of
the classes.

9. Explain the interrelationships between dancing, acting and human
health, with examples.

B. Match the following

Chandi • • Limbu
Solo • • Gurung
Sorathi • • Magar
Kaura • • Sherpa
Dhan naach • • Rai

Syabru • • Tamang

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