>Beraniladri19 mNo edit summary |
CleanupBot (talk | contribs) m clean up, add source tag |
||
| Line 1: | Line 1: | ||
{{Use dmy dates|date=October 2017}} | {{Use dmy dates|date=October 2017}} | ||
'''Kamrupi Dhuliya''' are traditional folk [[ | |||
[https://www.nezine.com/info/cTN5UVppNUswNmpTc1hYbXlVVDRIUT09/resonating-sigh-on-bordhol--a-photo-story-by-dasarath-deka.html] | |||
[https://www.nezine.com/showpicture/photos/DHULIA%20PERFORM%207.jpg/800/800] | |||
'''Kamrupi Dhuliya''' are traditional folk [[drummer]]s from [[Undivided Kamrup district|Kamrup]] who play large and wide big drums called ''Bor Dhul'' mostly in ethnic festivals, traditional [[wedding]] or especially [[Folk religion|folk religious]] traditions of [[Indigenous peoples|aboriginal]] Saivitie or Sakti cults mostly. [https://www.nezine.com/info/cTN5UVppNUswNmpTc1hYbXlVVDRIUT09/resonating-sigh-on-bordhol--a-photo-story-by-dasarath-deka.html#] | |||
Though associated with playing the ''Bor Dhul'', they are also known for mixing [[acting]] and [[Acrobatics|acrobatic]] skills with same during some acts. Spontaneity of expressions and quickness of mind and feet were the hallmarks of Kamrupi Dhuliya's. Drumming is accompanied by songs and acting skills sometimes. | Though associated with playing the ''Bor Dhul'', they are also known for mixing [[acting]] and [[Acrobatics|acrobatic]] skills with same during some acts. Spontaneity of expressions and quickness of mind and feet were the hallmarks of Kamrupi Dhuliya's. Drumming is accompanied by songs and acting skills sometimes. | ||
The ''Bor Dhul'' make a deep low-pitched tribal drumming sounds and mostly are played by marginalised indigenous ethnicities especially the Kaibarta along with Rabha, Koch, Sarania and some Boros etc. | The ''Bor Dhul'' make a deep low-pitched tribal drumming sounds and mostly are played by marginalised indigenous ethnicities especially the Kaibarta along with Rabha, Koch, Sarania and some Boros etc. [https://www.nezine.com/info/cTN5UVppNUswNmpTc1hYbXlVVDRIUT09/resonating-sigh-on-bordhol--a-photo-story-by-dasarath-deka.html#] | ||
[https://www.nezine.com/info/cTN5UVppNUswNmpTc1hYbXlVVDRIUT09/resonating-sigh-on-bordhol--a-photo-story-by-dasarath-deka.html#] | |||
<ref>{{cite book |title= Socio-religious life of the indigenous ethnic groups of Lower Assam:a study of the fasts and festivals of Kamrup District|last= Śarmā|first=Hemantakumāra|year=1992 |publisher=Daya Pub. House|pages=262 }}</ref><ref>{{cite book |title=Proceedings of the 7th session of Indian Art History Congress, Kanyakumari|last=Sinha,Dwivedi|first=Chitta Ranjan Prasad, Umesh Chandra|year=1998|publisher=Indian Art History Congress, and Sundeep Prakashan, New Delhi|pages=126}}</ref> | |||
==See also== | ==See also== | ||
| Line 25: | Line 30: | ||
{{India-music-stub}} | {{India-music-stub}} | ||
{{en-Wikipedia}} | |||
Revision as of 10:16, 2 June 2021
[1]
[2]
Kamrupi Dhuliya are traditional folk drummers from Kamrup who play large and wide big drums called Bor Dhul mostly in ethnic festivals, traditional wedding or especially folk religious traditions of aboriginal Saivitie or Sakti cults mostly. [3]
![[2]](https://www.nezine.com/showpicture/photos/DHULIA%20PERFORM%207.jpg/800/800){kind=link}
Though associated with playing the Bor Dhul, they are also known for mixing acting and acrobatic skills with same during some acts. Spontaneity of expressions and quickness of mind and feet were the hallmarks of Kamrupi Dhuliya's. Drumming is accompanied by songs and acting skills sometimes.
The Bor Dhul make a deep low-pitched tribal drumming sounds and mostly are played by marginalised indigenous ethnicities especially the Kaibarta along with Rabha, Koch, Sarania and some Boros etc. [4] [5] [1][2]
See also
References
- ↑ Śarmā, Hemantakumāra (1992). Socio-religious life of the indigenous ethnic groups of Lower Assam:a study of the fasts and festivals of Kamrup District. Daya Pub. House. p. 262.
- ↑ Sinha,Dwivedi, Chitta Ranjan Prasad, Umesh Chandra (1998). Proceedings of the 7th session of Indian Art History Congress, Kanyakumari. Indian Art History Congress, and Sundeep Prakashan, New Delhi. p. 126.
{{cite book}}: CS1 maint: multiple names: authors list (link)
Further reading
- Goswami, Basanta Kumar Deva (1994). A critical study of the Rāmāyaṇa tradition of Assam, up to 1826 A.D. Punthi Pustak. p. 311.
 | This article about the music of India is a stub. You can help Bharatpedia by expanding it. |