The

official Sanskrit name for India is Bharat.

The

number system was invented by India.

was the scientist who invented the digit zero.

Aryabhatta Chess India

was invented in India.

is the Largest democracy in the world and one of the most ancient and living civilizations.

India
The The

has the most post offices in the world !

largest employer in the world is the Indian railway system, employing over a million people! World's first university was established in Takshila in 700 BC

Sushruta

is regarded as the father of surgery.

Classical & Folk Dances of India

Classical Indian Dance: Origin

The Nayta Shastra is the principal work of dramatic theory in the Sanskrit drama of classical India. It was written by the sage Bharata Muni. It is a set of precepts on the writing and performance of dance, music and theatre. While the Natyashastra primarily deals with stagecraft, it has come to influence music, dance, and literature as well. The Natya Shastra was created in the beginning of Treta Yug by Brahma on the request of Indra and other devas as an object of diversion (Kridaniyaka). As the lower castes (Shudras) were not entitled to listen to the four Vedas (Sama, Yajur, Rig and Atharav), Brahma created the Natya Shastra as the fifth Veda which was open to all, irrespective of caste and creed. Prior to the creation of the Natya Veda, Brahma entered a yogic trance in which he recalled the four Vedas. He drew the recitative (Paathya) from the Rig, songs (Geeta) from the Sama, histronic representation (Abhinaya) from the Yajur and sentiments (Rasa) from the Atharv. When the Natya Veda was ready, the Gods expressed their inability to practise it, and Brahma passed it to Bharata Muni and his one hundred sons who were asked to practise it. The dance was first seen at the Flag Festival of Indra to celebrate the victory of the Devas against the Daahavas. Shiva learnt the Tandava (masculine) form of the dance, whereas Parvati, his consort learnt the Lasya (feminine) form.

Elements of Indian Dance

Abhinaya: Abhinaya is common to all Classical Indian dances. Abhinaya is the expressional aspect of dance, or nritya . In contrast to this, Nritta is composed of only pure dance and feature striking and aesthetic poses, but have no expressional meaning and symbolism. Abhinaya has been analysed in the Natya Shastra and has been categorised into four types: Angika - or physical, using movements of every part of the body to convey meaning, with hastamudras (hand gestures), mandis (postures) and even the walk of the dancer. Vaachikabhinaya - or vocal/verbal, used formally today by members of the orchestra or supporting, non-dancing cast. Ahaaryabhinaya - or external, expression, mood and background as conveyed by costume, make-up, accessories and sets. Saatvikabhinaya - or psychological, shown by the eyes in particular and as a whole by the entire being of the performer, who feels the mood, the character and the emotion as emanating from the self, not as an act or practical presentation.

The Navrasas
In addition, the navarasas, or nine emotions, give all dance a completeness that allows the dancer and the rasikas (audience) to experience the full beauty and meaning of the lyrics and the movements they are portrayed by. These emotions are expressed in the eyes, the face, subtle muscle shifts and the body as a whole. They are: hasya (happiness), krodha (anger), bhibasta (disgust), bhayanaka (fear), shoka (sorrow), veera (courage), karuna (compassion), adbhuta (wonder) and shanta (serenity).

There are many types of dances in India, from those which are deeply religious in content to those which are danced on more trivial happy occasions. Classical dances of India are usually always spiritual in content, although this is often true also of Folk dances.

Indian Dance
Dance

is a form of art, where the body is used as a medium of communication. The dance heritage of India is at least 5000 years old. The wall paintings of Ajanta and Ellora, the sculptures of Khajuraho stand ample evidence for popularity of Indian dances from ancient times. Nataraja, the dancing Lord Shiva, is the supreme manifestation of Indian dance.

Dance Forms of India

o o o o o o o o

Classical Dance Forms Bharatnatyam - Tamil Nadu

Kathakali Kerala Kuchipudi- Andhra Pradesh Manipuri Manipur Mohiniattam Kerala Odissi Orissa Sattriya - Assam Kathak - Uttar Pradesh

Bharata Natyam from Tamil Nadu.

Widely appreciated dance form of Tamil Nadu. The contemporary form of Bharata natyam evolved during the late 18th or early 19th century. Bharata natyam dancers are predominantly women.

Comes from the words: Bhava (expression), Raga (music), Tala (rhythm) and Natya (classical theater) Performance Consists of Nritya pure dance movements Abhinaya dramatic art of story telling

Bharata Natyam from Tamil Nadu.

Bharata Natyam dance has been handed down through the centuries by dance teachers (or gurus) called nattuwanars and the temple dancers, called devadasis.

The four great nattuwanars of Tanjore were known as the Tanjore Quartet and were brothers named Chinnaiah, Ponnaiah, Vadivelu and Shivanandam. The Bharata Natyam repertiore as we know it today was constructed by this talented Tanjore Quartet.

BHARATA NATYAM

Kathakali from Kerala.

Originates from Kerala state Attractive make-up of characters and elaborate costumes. Kathakali is embedded in stories from the epics of Ramayana and Mahabharata.
Elaborate masks are used by the performers. They wear huge skirts and head-dress. Performance is based on combination of 5 elements: Natyam (expression), Nritham (dance), Nrithyam (enactment), Geetham (vocal) and Vadyam (instruments)

Kathakali from Kerala.

Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood.

A striking feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters are superbeings from another world, and their make-up is easily recognisable to the trained eye as satvik or godlike, rajasik or heroic, and tamasik or demonic.

KATHAKALI

Kuchipudi from Andhra Pradesh

Originated from a hamlet in Andhra Pradesh called Kuchelapuri or Kuchelapuram in the 3rd century B.C. Presented at temples. In a Kuchipudi performance, each principal character introduces himself or herself on the stage with a daru.
A daru is a small composition of dance and song specially designed for each character to help him or her reveal his or her identity.

Kuchipudi from Andhra Pradesh

The dance drama that still exists today and can most closely be associated with the Sanskrit theatrical tradition which is also known as Bhagavata Mela Natakam. Bhagavata mela natakam was always performed as an offering to the temples of either Merratur, Soolamangalam, Oothkadu, Nallur or Theperumanallur.

Unique Kuchipudi danceTarangam- dancer dances on plate with diyas in the hands and vessel of water on the head.

Kuchipudi from Andhra Pradesh

Costume Katcham (long fold) at the back of the costume Jewellery Female characters wear ornaments and jewellery

Manipuri from Manipur

This dance style was originally called jogai which means circular movement. In ancient texts it has been compared to the movement of the planets around the sun. It is said that when Krishna, Radha and the gopis danced the Ras Leela, Shiva made sure that no one disturbed the beauty of the dancing. Parvati, the consort of Lord Shiva also wished to see this dance, so to please her he chose the beautiful area of manipur and reenacted the Ras Leela. Hundreds of centuries later, in the 11th century, during the reign of Raja Loyamba, prince Khamba of the Khomal dynasty and Princess Thaibi of the Mairang dynasty re-enacted the dance and it became known as Lai-Haraoba, the most ancient dance of Manipur.

Manipuri from Manipur

Origin: Manipur state Performance: Movements are subtle and aim at devotion and grace. Rounded movements without jerks and sharp lines. Dancers feet never strike the ground hard. Music provided by singer, Pung (drum), cymbals (majira) and flute. Female Costume: Dress called patloi and lehenga called kumin. Transparent odhni is worn on the head and covers the face Male Costume: Usually saffron dress depicting Lord Krishna. Dancers do not wear ankle bells.

Manipuri from Manipur

Mohini Attam from Kerala

The theme of Mohini attam dance is love and devotion to god. Vishnu or Krishna is most often the hero. The spectators can feel His invisible presence when the heroine or her maid details dreams and ambitions through circular movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find adequate space for improvisations and suggestive bhavas or emotions.

Mohini Attam from Kerala

The basic dance steps are the Adavus which are of four kinds: Taganam, Jaganam, Dhaganam and Sammisram. These names are derived from the nomenclature called vaittari. The Mohini attam dancer maintains realistic make-up and adorns a simple costume, in comparison to costumes of other dances, such as Kathakali. The dancer is attired in a beautiful white with gold border Kasavu saree of Kerala, with the distinctive white jasmin flowers around a French bun at the side of her head.

Mohini Attam from Kerala

Odissi from Orissa

Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play, Geet Govinda are used to depict the love and devotion to God. The form is curvaceous, concentrating on the tribhangi or the division of the body into three parts - head, bust and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are replete with lores of the eighth incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath, whose temple is in Puri. On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly visible.

Odissi from Orissa

Schools of OdissiCostumeMahari, Nartaki & Gotipua Sari- beautiful cloth wrapped around body in traditional style Bright shades of orange, purple, red or green Tikka (forehead ornament) Allaka (headpiece where tikka hangs) Ear covers in intricate shapes with jumkis (bell shaped earrings) hanging from them Chains Two sets of bangles (thin bracelets) worn on upper arm & wrist.

Jewelry-

Odissi from Orissa

Sattriya from Assam

Sattriya dance is a classical dance form of Assam. The word Sattriya is derived from the word Sattra, because till then the dance recitals were exclusively practiced within the compounds of a Sattra, a monastery like institution which was the epicentre of the Vaishanvite culture. It is devotional in character and 'Bhakti Rasa' (spiritual aspect) is predominant in this dance form. To spread this art form, Sankardev used as a tool the style of story telling through drama called the Ankia Naat which depicted the life of Lord Krishna & Lord Rama and numerous dances were included in those Ankia Naats created by Him. The sattriya dance can be classified into two styles namely Paurashik Bhangi i.e Tandav or masculine style & Stri Bhangi i.e Lasya or feminine style.

Sattriya from Assam

Recognized as one of the classical dance forms of India in November 2000. Music: Devotional songs called borgeets. Instruments: Khols (drums), taals (cymbals) and flute Costume: Made of pat (type of silk) Ornaments: Based on traditional Assamese designs Dr. Bhupen Hazarika is noteworthy in the field of Sattriya Dance.

Sattriya from Assam

Kathak from Uttar Pradesh

This north Indian dance form is inextricably bound with classical Hindustani music, and the rhythmic nimbleness of the feet is accompanied by the table or pakhawaj. Traditionally the stories were of Radha and Krishna, in the Natwari style (as it was then called) but the Moghul invasion of North India had a serious impact on the dance. The dance was taken to Muslim courts and thus it became more entertaining and less religious in content. More emphasis was laid on nritta, the pure dance aspect and less on abhinaya (expression and emotion). 3 main gharanas or schools: Lucknow, Jaipur & Benares

Kathak from Uttar Pradesh

Costume: Ghungroos or bells on the ankles. Female: Lehenga-choli or chudidar and kameez. Male: Bare chest and dhoti or kurta and chudidar

Kathak from Uttar Pradesh

RENOWNED PERSONALITIES IN INDIAN CLASSICAL DANCE

Sonal Mansingh
An eminent classical dancer and choreographer of Odissi dancing style, also proficient in Bharatnatyam, Kuchipudi and Chhau Born on April 30, 1944 at Mumbai. Started learning Manipuri dance at the tender age of 4 years Later on learned Bharatnatyam from various gurus including Kumar Jayakar in Mumbai At 18 years, moved to Bangalore to learn Bharatnatyam from Prof. U.S. Krishna Rao and Chandrabhaga Devi. Later on learned Odissi from Guru Kelucharan Mohapatra in 1965

Sonal Mansingh
Dancing Career started in 1962 in Mumbai She founded Centre for Indian Classical Dances (CICD) in New Delhi in 1977 She won the Padma Bhushan in 1992, Sangeet Natak Akademi Award in 1987 and Padma Vibhushan in 2003 Also won the Kalidas Samman from Madhya Pradesh Government in 2006 A documentary film on her life titled Sonal also won a National Film Award She has been an active dancer for the last 46 years

Mallika Sarabhai
A renowned Kuchipudi and Bharatnatyam dancer Born on April 5, 1954 at Ahmedabad Daughter of classical dancer Mrinalini Sarabhai and space scientist Vikram Sarabhai She started to learn dancing at a very young age and also acted in parallel cinema. She played the role of Draupadi in Peter Brooks movie The Mahabharata She studied at St. Xaviers College in Ahmedabad and later on did MBA and doctorate from IIM Ahmedabad

Mallika Sarabhai
She won several awards for her acting talents Won the Sangeet Natak Akademi Award for Creative Dance in 2001 She was conferred with the Knight of the Order of Arts and Letters by the French Government in 2002 She also won the Kala Shiromani Puraskar in 2004

Kalamandalam Kalyanikutty Amma

An epoch making Mohiniattam dancer from Kerala Born in 1915 in Mallapuram District of Kerala In 1937, Amma went to kalamndalam to take reference from sanskrit manuscripts and become a teacher. There she got interested in the classical dance and took training in Mohiniattam from Krishna Panicker Asan. She married to legendary Krishnan Nair, a Kathakali artiste and teacher. She started teaching Mohiniattam from 1941.

Kalamandalam Kalyanikutty Amma

She won several titles and awards for her outstanding work in Mohiniattam Won Kerala Sangeetha Natak Academy and Central Sangeet Natak Academy awards in 1974 She was given Keerthi Shanku title by Kerala Kalamandalam in 1980 Her book, Mohiniattam-History and Dance Structure, is considered as elaborate and authentic documentation on Mohiniattam She passed away on May 12, 1999 at the age of 84 Her grand daughter Smitha Rajan is noted Mohiniyattam artist

Birju Maharaj
He is a leading exponent of Kathak dance. Born on February 4, 1938 at Lucknow. His father was a noted Kathak exponent, Jagannath Maharaj. Birju Maharaj gave his first recital at the age of seven He started teaching dance at a young age of 13 at Sangeet Bharti in New Delhi He also taught at Bharatiya Kala Kendra, Kathak Kendra where he was the Head of Faculty He also composed music and sang for two dance sequences in Satyajit Rays Shatranj Ke Khiladi and choreographed a song in Devdas movie (2002)

Birju Maharaj
Birju Maharaj has won many accolades Conferred Padma Vibhushan in 1986 Also won Sangeet Natak Akademi Award and the Kalidas Samman. He has received honorary Doctorate degrees from the Banaras Hindu University and Khairagarh Universty He was the recipient of Lata Mangeshkar Puraskar in 2002 He has three daughters and two sons of whom Mamta Maharaj, Deepak Maharaj and Jai Kishan Maharaj are Kathak dancers

Shovana Narayan
Shovana Narayan is known as one of the best Kathak dancers in the world. She started learning dance from Sadhana Bose at an early age of 4 years. Completed her Masters degree in Physics from Miranda House Delhi. Married to Dr. Herbert Von Traxi, Austrian Ambassador to India. She has worked in collaboration of a number of prominent national and international musicians as well as dancers. Her notable work include Moonlight Impressionism and The Dawn After.

Shovana Narayan
She won Sangeet Natak Akademi Award and also the Rajiv Gandhi Puraskar for her contribution in the field. She was given Padma Shrin in 1992. She has worked in movies like Akbars Bridge, Das Gehimnis Des Tanz and operas such as Ghalib ki Dilli and Wicchare Pani. She performs in India and around the world and has helped in spreading the dance to all corners of the globe.

Folk Dances of India

Dumhal of Kashmir
Dumhal, the traditional folk dance of Jammu and Kashmir. Dumhal is a devotional dance form, which is performed on special occasions by Kashmirs Wattal tribe to invoke divine blessings. The performers wear long colourful robes, tall conical caps which are studded with beads and shells. The party moves in a procession carrying a banner in a very ceremonial fashion. It is dug into the ground and the men begin to dance, forming a circle. The musical accompaniment comprises a drum and the vocal singing of the participants.

Hikat of Himachal Pradesh

This is danced by women, and is a modification of a game played by children. Forming pairs, the participants extend their arms to the front gripping each other's wrists and with the body inclined back, go round and round at the same spot. With wide range and variety of the ethnic groups, Himachal Pradesh is blessed with natural beauty and artistic history. People living in this natural beauty, adorn themselves for the dance at all times of the year, in all regions, and continue to express themselves through music and dance.

Namagen of Himachal Pradesh

Namagen dance is performed in September to celebrate the autumnal hues. The costumes are largely woollen and richly studded ornaments of silver are worn by women. The most picturesque amongst these are dances of Gaddis. All the dancers hold swords and dance in a circle. The movements are virile and reminds one of the hunting dances of the Nagas on the eastern borders of India.

Dalkhai of Orissa
Dalkhai of Orissa is performed by women of the Sambalpur tribes at the time of seasonal festivals. The dance is quite vigorous, and is accompanied by a set of particular musical instruments, played by men, of which the drummers often join the dance. A dummy horse version is the Chaiti Ghorha, danced by a community of fisher folk. The performers are all men. Apart from dancing, the performers sing, deliver homilies of sorts, and offer brief dramatic enactments peppered with wit and humour.

Bihu of Assam
Bihu of Assam is the most widespread folk dance in the state and is enjoyed by all, young and old, rich and poor. The dance is part of the Bihu festival, that comes in mid-April, when harvesting is done, and continues for about a month. The participants are young men and girls, who gather in the open, in daytime. They dance together, but there is no mixing of the sexes. The dance is supported by drums and pipes. In between, the performers sometimes sing, usually of love. The most common formation is the circle or parallel rows.

KAIKOTTIKALI (Thiruvathirakkali)
KERALA

Thiruvathirakali also known as Kaikottikali is a dance performed by women, in order to attain everlasting marital bliss, on Thiruvathira day in the Malayalam month of Dhanu (DecemberJanuary). The sinuous movements executed by a group of dancers around a nilavilakku, embody 'lasya' or the amorous charm and grace of the feminine. The dance follows a circular, pirouetting pattern accompanied by clapping of the hands and singing.

Karakattam (Tamil Nadu)

One of the most essential parts of a ritual, dedicated to Mariamma, the goddess of health and rain. It is performed by men, wherein they balance pots filled with uncooked rice, surrounded by a tall conical bamboo frame covered with flowers. Drums and long pipes form the musical instruments accompanying the dance. Karakattam is popular in villages during temple festivals.

Chhau, West Bengal

The Chhau dance of West Bengal has originated from the Purulia distrct . Chhau dance is mostly performed in the open space or ground field during the night. The Chhau dance is a mask dance performed only by the male dancers. The masks are made up from the clay and paper. The Chhau dance is mythological, as it is mainly based on various episodes of the epics Ramayana and Mahabharata. As the singer complete the invocation song, a host of drummers and musicians start beating the Dhol and the Dhamsa.

Bhangra (Punjab)

One of the most popular dances of India. Performed during Baisakhi usually by the men in Punjab. It includes tricks and acrobatic feats. The songs include recitation of meaningless 'bolis', words, such as hoay, hoay. The drummer usually in the centre of the circle, is surrounded by men dressed in lungis and turbans. The dance performed by the women folk of Punjab is called the 'Gidha'.
In the Gidha, at a time a woman or a pair of women dance while the others clap in rhythm. The dance is performed in the festival of Teeyan to welcome the rains.

Ghoomer Dance (Rajasthan)

The Ghoomer dance is a very famous and a community dance of women in Rajasthan. It is performed on various auspicious occasions like fairs & festivals. It is called as `Ghoomer`, from the `ghoomna` of Ghaghra i.e. the flowing of Ghaghra, a long skirt of the Rajasthani women. Women from any age group, may it be the young or old can participate in Ghoomer dance. While dancing, the dancers move in a circular direction with clockwise and anti-clockwise steps.

Garba Dance (Gujarat)

This dance form has connection with ShaktiPuja. It is played in a circular form performed by ladies on the nine nights of Navaratri festival, Sharad Purnima, Vasant Panchami, Holi etc. The word Garba is derived from the word `Garbha Deep` (a lamp inside a perforated earthen pot). In this folk dance, the women place the pot known as Garba with the lamp on their heads and move in circular direction, singing and clap at the same time.

Dandia-Ras (Gujarat)
Dandia -Ras is also known as the `stick` dance. This dance is also a feature of most welcomed festival, Navratri. The Ras is simple and is generally performed by a group of young people who move in typical style in measured steps around a circle, accompanied by a singing chorus and a host of musical instruments like the dhol, cymbals, zanz and shehnai.

Cheraw (Bamboo) Dance (Mizoram)

the most popular and colourful dance of the Mizos. Long pair of horizontal bamboo staves are tapped open and close in rhythmic beats by people sitting face to face on the ground. Because bamboos are used for the dance, people sometimes call it the BAMBOO DANCE.

Indian Music & Indian Musical Instruments

In India, there is a vast profusion of folk music which varies according to locality. In Indian music, musical sound is called nada. Indian classical music is based on the ragas. Classical Indian music can be classified into two distinct styles: North Indian or Hindustani South Indian or Carnatic music.

Carnatic music originated in the fertile plains of the Cauvery delta.

Saint Thyagaraja, Muthuswamy Dikshithar and Syama Shastri were all born in Thiruvarur near Thanjavur

The Trinities of Carnatic Music

Sa Re Ga Ma Pha Dha Nee are the seven basic notations called the Sapthaswaras.

Indian Musical Instruments

In the Natya Shastra, compiled by Bharat Muni, musical instruments have been divided into four main categories on the basis of how sound is produced. (i) The Tata Vadya or Chordophones- Stringed instruments

(ii) The Sushira Vadya or Aerophones- Wind instruments

(iii) The Avanaddha Vadya or Membranophones- Percussion instruments (iv) The Ghana Vadya or Idiophones- Solid instruments which do not require tuning.

Pakhawaj

The North Indian version of the Mridangam

Used for Odissi and Kathak dancing

One side of the drum is larger than the other

Dhak

Percussion instrument

Double-sided drum
Vital part of Durga Puja

Tabla

A set of two drums

The drum for the right hand is a daayan

The drum for the left hand is called a baayan The bayan is typically made of metal, iron, aluminium, copper, steel, or clay The dayan is typically made of wood

CHIMPTA

The chimpta is actually a fire tong. It has evolved into a musical instrument by the permanent addition of small brass jingles. chimpta is popular in Punjabi folk music

Dhol

Used for formal Bhangra performances The drum is slung over the neck of the player with a strap usually made up of ropes or woven cloth You play with two wooden sticks double-sided barrel drum

Harmonium

Uses air to play music - a bellow

Keys are similar to that of a piano except smaller

You play with one hand, bellow with the other Accompanied by a tabla

Jal Tarang

Has many factors that affect the sound producedcups, amount of water and sticks Pitch is set by adjusting volume of water in a cup Cups can be made of porcelain, bronze, or China

Tanpura

Has many different names according to region Also known as Tambura (South India)

Resembles a sitar, but has no frets

Designed in three different styles: Miraj, Tanjore, and Tamburi In Miraj and Tanjore styles, the Tanpura is 3-5 feet long, but in the Tamburi style, it is 2-3 feet long

Sitar

Balanced between the player's left foot and right knee

Plucked string instrument

The surbahar is a larger sitar with a broader fret-board and thicker strings. Has frets

Sarod

Stringed instrument

No frets
Mohammad Hashmi Khan Bangash brought the Afghan rabab to India Over the centuries, the rabab evolved into the Sarod we know today

Ektara

String instrument
Played with one finger Traditionally used for Kirtan chanting, a practice of Hindu devotional singing A two stringed Ektara is called a dotara

The Bauls of Bengal were famous for playing the ektara

Shahnai

Believed to have originated in the Kashmir Valley

Created by improving the pungi- a woodwind instrument used by snake charmers

Derived from the Persian words Sheh (King) and Nai (Flute) to mean Kings flute Uses two sets of double reeds Thought to bring good luck-marriages and processions

Bamboo Flute

Two versions- Bansuri and Venu

Bansuri-six finger holes

Venu- eight finger holes Requires a specific type of bamboo

NADASWARAM

DAF

Violin

South Indian technique-instead of holding the instrument under the chin, the musician props it between the shoulder and the foot. North Indian technique is not as refined

Esraj

Has different variations depending on location

Dilruba is the northern variation

Has a sitar-like neck and 20 metal frets

Veena

Different variations-Saraswati, Mohan, Rudra, etc

Has frets
Connected with religion- Saraswati plays it and Narada was a veena maestro, and Ravan was a versatile player

Ghungroos

Used in dance, primarily in bharatnatyam, kuchipudi, odissi, and kathak. A novice may start out with 50 bells on their ghungroos, but may add more as their level of experience increases

the total number of bells on ghungroos can be >200

Made of small metallic bells

String Instruments

Thank You