Ragni is a distinctive form of performative Art that is practised in the northern parts of India especially Haryana, Rajasthan. It involves stage performance by the artist who is usually accompanied by traditional musical instruments which includes harmonium and a percussive instrument for example Dholak (see picture 1).
Picture 1 – Artist – Rajesh Meghotya
Usually, people from nearby villages gather for relishing Ragni (See picture 2). It is meant for everyone, for all gender, all age.
Picture 2 – Villagers enjoying Ragni
The artist sings and performs in the local dialect. In order to keep the audience spell-bound, artist sometimes introduces funny elements or dances enthusiastically (see picture 3).
Picture 3 – Artist introducing enthusiastic dance moves
Why is it important? Case for Recognising Ragni as ICH of the World
Ragni is like a festival where the whole community gathers together at one place. It preserves, promotes and protect the intangible cultural heritage including the local language. For example, in Haryana, Ragni is in Haryanavi (including regional dialects). It safeguards and promotes these languages and local dialects which are facing homogenising pressure from the dominant languages of the bourgeoisie. It rekindles the interest of younger generation towards their local culture and language. Ragni besides the artistic value, transmit important social messages like ending gender discrimination and social malaise that plagues the society (which are usually ignored and people don’t openly speak about). It helps in creating awareness about the ongoing social problems that needs to be addressed. It promotes community harmony and lays foundation for tolerant society. The socio-cultural fabric of the region is kept alive by these oral traditions and in a way passed on to the younger generations. Pandit Lakhmi Chand, is famous for his soulful Ragni through which he addressed various social issues which affected the society.
A question can be raised whether it is same/similar to Opera and other performative arts. Well, it is not. To comprehend its distinctiveness in the true sense, one needs to partake in it or witness it in reality. In Ragni, the artist talks, sings, dance and it may sometime be in form of a satire or sometimes in form of a poetic expression. Focus is on passing valuable social message thereby endeavour to make the society better.
The importance of Ragni gains further prominence especially in the light of the fact the UNESCO in its ‘World Atlas of Endangered Languages’ observes that India has the highest number of endangered languages in the world. These include the indigenous and the tribal languages. Ragnis are conducted in the indigenous languages which are not protected, as of now, in the framework of the country. Thus it can be used as a means to revitalise the endangered languages.
Therefore, it can be seen that Ragni is an Intangible Cultural Heritage worth preserving and should find itself in the UNESCO List of ICH.
Online sources-
Please find below few of the examples of Hariyanavi Ragni –
- Community harmony – funny elements being used in the Ragni (https://www.youtube.com/watch?v=TAyfu_MtbHU)
- Ragni addressing the issues of gender discrimination in the society and creating awareness to restore dignity and ensure equal respect (https://www.youtube.com/watch?v=RdYZ2Kzvkqo)
- Pandit Lakhmi Chand’s Ragni – https://www.youtube.com/watch?v=NBlOhSrlcW4
- The Mwomboko Dance of the Kikuyu Community in Kenya
The mwomboko dance of the Kikuyu ethnic community of Kenya is a traditional dance that is characterized by a pairing dance style, the kinanda kia mugeto (accordion) and the karing’aring’a (the metal ring). Over the years, the Kikuyu have had a variety of traditional dances including ngucu, kibaata, gichukia and mugoiyo which were more popular among the younger people and muthongoci which was a favorite among the older folks. However, mwomboko stands out as a special type of dance because it cuts across the generational divide and is appreciated by both the young and the old. The name mwomboko is derived from the Kikuyu word kwomboka which means ‘eruption’. The dance was adopted by the Kikuyu community in the early 1940s after the British colonial administration banned the existing dances such as murithingu which was purported to have been used to spread anti-colonial messages. The colonialists were more tolerant with the mwomboko dance because it was believed to resemble their fox-trot dance. The two dances are similar in that they both involve couples dancing rhythmically while making well-coordinated steps in a graceful and unhurried circular manner. It is performed mainly for entertainment and for the preservation of culture and particularly in community ceremonies and commemorations associated with childbirth, initiation, weddings and burials. Kenya is a land of diverse cultural heritage and traditional dances form a great part of this heritage that needs to be preserved. For the mwomboko dance for example, inspite of its great significance in propagating the Kikuyu culture, its rate of performance is slowly dwindling over time as the younger generation prefer the more popular and fast-paced music and especially that from the West. The preservation of the mwomboko dance is significant to the extent that it will help to affirm the identity of the Kikuyu community and protect the immense wealth of knowledge, history and skill that is transmitted through it from one generation to another.
- Abaluhya Circumcision Rituals
The Abaluhya people are the second largest ethnic group in Kenya and account for 30% of the population. The ethnic lives mainly in Western Kenya in the counties of Kakamega, Bungoma, Busia, Vihiga, and some parts of Trans Nzoia and Nandi counties. Although they can also be found in other parts of Kenya as well. The Abaluhya community is composed of various dialects which include Bukusu, Maragoli, Banyala, Banyore, Batsotso, Gisu, Idakho, Isukha, Kabras, Khayo, Kisa, Marachi, Marama, among others. The Bukusus and Maragolis are the largest groups in terms of population. In August and December, during the school holidays, the Abaluhya people are known to take their young sons through circumcision ceremonies. The ceremonies are spectacular and involve a display of cultural festivities which include songs, dances and feasting. On the day of the ceremony, the young sons from this community begin their journey early in the morning by going to their uncle who would offer them presents – usually a calf, chicken or a piece of meat from a sheep which they hang around their shoulders. The presents received acts as a form of authorization to be initiated to manhood by their uncles. Later, they are taken to the river where they are dipped in chilly water both as a sign of courage as well as for the purpose of numbing their bodies in readiness for the cut. At the river, they are adorned with decorations on their body with mud including the face, and a hide skin wrapped around their waists.
The most important thing in this ceremony and which is important for this context is the song and dance that is performed in this ceremony. The dancers, who comprise of young men who have undergone the rituals, and girls slightly older than the son undergoing the ritual. The songs are accompanied by drums called Isikhuti which in most cases is a set of three drummers beating the drums in a certain style. The songs and dances are meant to encourage the son undergoing the ritual to be strong, for strength is a sign of manhood. Also, facing the cut is a sign of great strength and manhood.
While this is such an important cultural ritual in the Abaluhya community, if faces extinction due to various factors. First, there is cultural erosion caused by intermarriage, integration, urbanization, assimilation into other communities and of course the digital age which demonizes such cultural practices. Some of the parents of these sons of these parents prefer their sons to be taken to the hospitals to face circumcision. Such sons would essentially not be considered courageous or “men enough” later in their lives because they failed to face the circumcision ritual. As a result, the songs, and the dances also face distinction. It is for these reasons that this cultural practice should be considered in the list of UNESCO intangible cultural heritage for it to be safe guarded. One important thing is to make the ceremony safe for the sons of the Abaluhya community but retain the cultural aspects in danger of extinction.
While I do not have original photos for this cultural practice, the following links are youtube videos for this ceremony.