ghungroo
A ghungroo, also known as ghunghroo, ghunghru, ghungur or ghungura in Northern India, and chilanka, salangai, sadangai or gejje in the South, is one of many small metallic bells strung together to form ghungroos, a musical anklet tied to the feet of classical Indian dancers. • Illustration — A pair of ghungroos • Illustration — Kathak dancer Namrata Rai performing with 400 ghungroos
Also recorded as ghunghroo · ghunghru · ghungur · ghungru
ghungroo
Suyash Dwivedi · CC BY-SA 4.0
- Field
- musical instrument · anklet · jingle bell
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In this article
Name
Name
The bell anklet is designated in nearly each Indian language by a term slightly different from the other: ghuṅghrū ghuṅgrū ghuṅgrū ghuṅur ghuṅgura ghugurā cilaṅka [t͡ʃilɐŋɡɐ] calaṅkai [sɐlɐŋgɐj] or cataṅkai [sɐdɐŋgɐj]
Use
Use
The pitch of sounds produced by ghungroos varies significantly depending on their metallic composition and size. Ghungroos serve to accentuate the rhythmic aspects of the dance and allow complex footwork to be heard by the audience. They are worn immediately above the ankle, resting on the lateral malleolus and medial malleolus. A string of ghungroos can range from 50 to greater than 200 bells knotted together. Novice children dancers may start with 50 and slowly add more as they grow older and advance in their technical ability. Ghungroos are worn in traditional performances of classical Indian dance forms such as Bharatnatyam, Kathak, Kuchipudi, Mohiniyattam, Lavani, and Odissi.
Nepal
Nepal
The anklet or rhythmic instrument (talbaja) is also used by folk-dancers in Nepal, where it is called the chap (चाँप). Its Nepalese form consists of 9 to 27 small "curling" bronze bells, sewn onto a cloth about 23 cm long x 7.5 cm wide, tied around the ankle, as ornaments. The Nepalese may choose different chaps, according to the lyrics of the song, choosing ones with smaller or larger arrangements of bells. The bells are called Ghunguru (घुँघुरा).
Ghunghroo vadan
Ghunghroo vadan
Ghunghroo vadan is a music style evolved by V. Anuradha Singh, an Indian classical kathak exponent. She developed bells as a main musical instrument and performs in many pure music festivals where dance is not allowed. Ghunghroo vadan focuses solely on foot movement as percussive art (100 minutes, non-stop in one place).
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The biographical narrative on this page is based on the Wikipedia article Ghungroo, revision 1346334557 (EN edition), by its contributors. VALÉORINE has edited that text and built its own documentary record around it. The reused material is available under CC BY-SA 4.0, and this page's reuse of it is offered under the same licence. Everything else on this page — the chronology, the holdings, the evidence, the plates and the connections — is VALÉORINE's own record. Sources and licences.
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
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- 19.A. V. Naik, 1940, S. 90
- 20.Ekaterina Viktorovna Smirnova: Some Notes on Traditional Maratha Jewellery. In: Etnografia, Nr. 4, 2019, S. 172–180, hier S. 173, 178
- 21.Arthur W. Ryder (Übersetzer): The Cloud-Messenger. Übersetzung von Meghaduta, 1914, s. v. „Latter Cloud, XI“
- 22.Ghungroo. In: Late Pandit Nikhil Ghosh (Hrsg.): The Oxford Encyclopaedia of the Music of India. Saṅgīt Mahābhāratī. Band 1 (A–G) Oxford University Press, Neu-Delhi 2011, S. 364
- 23.Norbert Beyer: Indien. VIII. Musikinstrumente. 2. Idiophone. In: MGG Online, Juli 2021
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- 26.Pichu Sambamoorthy: Catalogue of Musical Instruments Exhibited in the Government Museum, Chennai. (1955) The Principal Commissioner of Museums, Government Museum, Chennai 1976, S. 23f
- 27.Meera Varghese: Ascending the Canadian Stage: Dance and Cultural Identity in the Indian Diaspora. (Masterarbeit) University of Alberta, Edmonton 2008, S. 10
- 28.John D. Smith: Metre and Text in Western India. In: Bulletin of the School of Oriental and African Studies, University of London, Band 42, Nr. 2 (In Honour of Thomas Burrow) 1979, S. 347–357, hier S. 349
- 29.Subhash Kak: The Indian Epic Song Tradition. In: The 7th International Conference and Festival of Asian Music, Busan, Korea, 26.–30. September 2002, S. 1–18, hier S. 8f
- 30.Mekhala Devi Natavar: India. Music and Dance: Northern Area. In: Alison Arnold (Hrsg.): The Garland Encyclopedia of World Music. Band 5: South Asia. The Indian Subcontinent. Garland, New York 2000, S. 506
- 31.Alastair Dick: Nūpur. In: Grove Music Online, 20. Januar 2016
- 32.The Music as an Art: Folk Artists of Bengal, Series 6. Youtube-Video (Bauls mit der viersaitigen Zupflaute dotara, der Zupftrommel ektara und einem Bündel ghungru)
- 33.Chilambu, male anklet from Kerala on display at IGRMS. Star of Mysore, 16. April 2018
- 34.Large South Indian Temple Priest’s Anklet (Kal Chilampu). Michael Backman Ltd
- 35.Katrin Binder: A World of Many Colours: yakṣagāna rangabhūmi. In: Cracow Indological Studies, Band 18, 2016, S. 3–21, hier S. 16
- 36.Alastair Dick: Ḍaṇḍā. In: Grove Music Online, 2001
- 37.Dandiya Gair dance by folk dancers of Rajasthan. Youtube-Video
- 38.Dandia Gair. Gauri Jog's Indian Dance School
- 39.Instruments of Pakistan. American Institute of Pakistan Studies
- 40.P. Sambamurthy: A Dictionary of South Indian Music and Musicians. Band 1 (A–F) (1952) 2. Auflage: The Indian Music Publishing House, Madras 1984, S. 217, s. v. „Gunguru“
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