Though a small state, Goa has a multitude of folk dances that have been performed in its villages since olden times. Ahead of International Dance Day, NT NETWORK provides a glimpse into this rich dance culture which is wrapped in faith and folklore
KALYANI JHA | NT NETWORK
India is a land where even the gods are known to dance. In fact, Nataraja, known as the Lord of Dance, symbolises the cyclical nature of creation, preservation, and destruction.
While the country has nine classical dance forms – bharatnatyam, kathak, kuchipudi, kathakkali, odisi, mohiniattam, sattriya, chau, and manipuri – recognised by the Ministry of Culture, each of its states also has a variety of folk dances. While the classical dances trace their roots to the ancient text of Natya Shashtra and these are learned and performed in a formal format, folk dances are integrated into common people’s daily lives, traditions, faith, and joy.
A rich tradition
In Goa, while many usually get a chance to see folk dances like the romta mell at Shigmo processions or curated Kunbi or dekhni performance at some events around the state, there is much more to Goan dances.
And indeed, understanding Goan culture is incomplete without knowing the dance traditions sewn into the lives of Goans. The village folk believe that rites and rituals are an inseparable part of dance and by observing these, calamities will be kept away and prosperity will enter into that area.
Understanding these varied dances requires a deep study of the village folklore, faith rituals, and celebrations.
“In Goa, almost every village is home to one or more folk performing art forms. It may be musical, narrative, dance or theatrical presentation. They can be seen at an event like the traditional village festival. These facets have made folk performing art forms repositories of long continuation of ancient traditions. These establish the linkage between the hoary past and present. In fact, they exemplify the complex interactions of life and establish time and again that art is an intrinsic part of life,” quotes folklore researcher Dr. Pandurang Phaldesai in his book ‘Typological Insights into Folklore of Goa’, which lists over 50 dance forms that are still thriving and practiced in different communities of Goa at different times in a year.
Padma Shri Vinayak Khedekar meanwhile lists Goan dances in four categories: festival dances, ritualistic dances, dances in theatre form, and occasional dances.
In terms of festival dances, one sees these being performed, along with worship of deities, on occasions like Intruz, Sao Joao, Dinya Zatra, Shigmo, and Dhalo. While Shigmo sees the active participation of men, Dhalo is celebrated only by women.
In his book, Khedekar points out that for a few festival dances there are no particular songs; instead specific words replace lyrics. In dance forms performed solely by women folk there is no instrumental support.
Theatre dance performances meanwhile were a part of Indian traditional theatre which was attended by people in large numbers coming from far off villages, writes Khedekar. These dance forms are also a way of pleasing the deity or fulfilling a vow. He notes that attending these was considered as the fulfilling of religious rites and duty, and earlier these performances were a source of recreation in the lack of any other entertainment.
Through the lens
Some documentary filmmakers from Goa have tried to depict the uniqueness of some selected dances through their lens and have managed to bring out some mystery for broader audiences who would like to understand Goan culture in its depth.
One such filmmaker is Rajat Chidankar who was inspired to bring out the story of katyo, an age-old dance from the village of Shiroda in his film ‘Katyo- The Celestial Dance’.
“Katyo is the closing chapter of the harvest season for the Adivasi community. It’s their way of giving thanks to nature before they rest for the year. There are rituals, symbolic offerings, music played with age-old instruments, and songs that haven’t changed for generations. What struck me was how invisible it was outside the village,” he says.
He adds that he was also surprised by how naturally the tradition has survived for years. “It’s never taught—but it’s always there. Children see their elders prepare for katyo, and over time, they begin to understand its rhythm, its meaning. Because there’s no attempt to commercialise it, the dance hasn’t lost its soul. It’s not treated as art—it’s treated as an inheritance,” shares Chidankar.
Documentary filmmaker Nalini Elvino De Souza’s film ‘Dances of Goa’ meanwhile focused on 13 traditional dances of Goa, with the aim of acquainting the younger generation with these and helping them connect with their cultural heritage.
Souza observes that the dances’ original meaning has not been lost, even if some changes have happened in the way they are performed. “For example, in dances like ghode modni, the costumes may change for the parade, but the movements and rhythm stay rooted in older forms,” she says.
She adds that festivals like Shigmotsav create a space where communities can come together and pass down traditions without needing formal training. “Dancers learn by observing, participating, and performing in these shared spaces. This keeps the dances alive in a natural way. The public setting also allows more people—especially children and young adults—to stay in touch with these traditions,” she says.
She points out the vital role that stylisation and modern staging of the performances have, particularly in festivals and public performances. “These adaptations help the dances remain relevant and accessible to contemporary audiences, ensuring their survival and continued appreciation across generations. Both approaches—the unaltered traditional and the creatively adapted—are essential in preserving and promoting the living heritage of Goan dance,” she says.
Moving into the future
Many dance groups perform folk dances at various events and festivals around Goa. Through these groups, many youngsters get a chance to learn and participate in these dances. Among these is Rachana Pednekar from Taleigao. “Since my childhood, I have been fascinated with the colourful procession which is part of the Shigmo festivities. This year, I decided to participate in it for the first time,” she shares. Pednekar learned the Romta mell dance with Shantadurga Sakalyai Shigmotsav Samiti in Vasco for almost two months and performed at nearly 10 venues during the Shigmo season.
The Romta mell is a dance performed in the Shigmo procession where group of people dance on dhol Tasha in traditional attire. “It is kind of victory dance that is done when warriors return after war,” says Pednekar adding that she didn’t know much about its story earlier, but her work a story teller in a experiential tourism company ignited her interest to learn more about Goan festivals in depth “I wanted to experience the energy and practice that goes into the these dances first hand. That is the reason I joined the group and I want to perform in future as well,” she says.
She adds that here are a lot of youth participating in Romta mel in Shigmo. “As a youth I hope this continues because if we are not the ones taking interest in taking it forward then who will? If we don’t keep in touch with our culture and tradition it will be lost,” says Pednekar
And in an attempt to further open the doors for youth to develop an understanding of these dance forms and for broader access and understanding choreographer Sudesh Salgaoncar is aiming to introduce these in schools and colleges.
“Nowadays most schools practice western dances or other forms of dances and the competitions they organise are also in similar disciplines. So we do not have scope left to learn, practice and perform our Goan folk dances. Secondly there is no provision from the state government to promote and preserve these,” he says.
The founder of Nirbhaya Bhav Academy of Performing Arts, Salgaoncar has represented Goa at national and international level with Goan folk dances five times and also has won gold, once at national and twice at international level.
As part of his efforts to broaden the reach of folk dances, he is working on a pilot project which will inculcate folk performing arts into school and college curriculum.
Under this project he will be covering some less known folk dances.” There are many performances that are already outdated so we are trying to revive them like the Dhangar (areligious dance form that the shepherd community does for the deity Bhira deva), which is almost at the verge of extinction. We see these performances only during traditional festivals. We are trying to bring these into the limelight them along with the costumes, their background, and the theory behind this particular dance. Why was it performed? What is the scientific significance? So everything will be taught in the process,” shares Salgaoncar.
“I will be signing an MoU with the university first. Then I will present that project to the government,” says Salgaoncar.
