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134 Franck Bernéde exclusively used in the context of the jdgar ritual, while the second one is used in the epic ballads. Thus, the very notion of musical rhythm clearly distinguishes these two repertoires of the bard. The rhythmic structure of the jagar must, therefore, be approached and understood in terms of “move- ments”, and not just rhythms, in the common sense of “metric structure”. This point is essential for understanding the ja@gar rhythmic structure since, in addition to marking a stylistic boundary with the second repertoire of the bard, that is, the ballads, the term chal “movement” characterises the princi- ples on which the entire ritual is conceived. In fact, in the jdgar, almost everything is conceived in terms of “movements”.

Figure 3 134 Franck Bernéde exclusively used in the context of the jdgar ritual, while the second one is used in the epic ballads. Thus, the very notion of musical rhythm clearly distinguishes these two repertoires of the bard. The rhythmic structure of the jagar must, therefore, be approached and understood in terms of “move- ments”, and not just rhythms, in the common sense of “metric structure”. This point is essential for understanding the ja@gar rhythmic structure since, in addition to marking a stylistic boundary with the second repertoire of the bard, that is, the ballads, the term chal “movement” characterises the princi- ples on which the entire ritual is conceived. In fact, in the jdgar, almost everything is conceived in terms of “movements”.

Related Figures (7)

1. nadubat 2. bhanau 3.jagar 4. autar hina 5. dsis
1. nadubat 2. bhanau 3.jagar 4. autar hina 5. dsis
The shen chal gives rise to some variations, ranging from simple modifica- tions of rhythmic accents to more elaborate patterns that are not repeated later on during the ritual. Figure 7.5 presents three examples of rhythmic variations found commonly played by the bards of the Almora region.
The shen chal gives rise to some variations, ranging from simple modifica- tions of rhythmic accents to more elaborate patterns that are not repeated later on during the ritual. Figure 7.5 presents three examples of rhythmic variations found commonly played by the bards of the Almora region.
IGURE 7.8 The god awakens in the body of the medium.
IGURE 7.8 The god awakens in the body of the medium.
a aa The first one, called dydptai-ki nachneravali chal, “the movement of the dancing gods”, is peculiar to the style of Pratap Ram (see Figure 7.10). This movement is used in alternation with the tirchhi chal in the accompaniment of the dances of incarnation. According to him, this rhythmic pattern encour- ages the “hiccup” movement of this ecstatic dance. It should be noted that the particular footsteps executed in this fast rhythmic movement require long jumps in a constrained space. — 1f 1 aed 14 401 1 . wee - =| Oe OS
a aa The first one, called dydptai-ki nachneravali chal, “the movement of the dancing gods”, is peculiar to the style of Pratap Ram (see Figure 7.10). This movement is used in alternation with the tirchhi chal in the accompaniment of the dances of incarnation. According to him, this rhythmic pattern encour- ages the “hiccup” movement of this ecstatic dance. It should be noted that the particular footsteps executed in this fast rhythmic movement require long jumps in a constrained space. — 1f 1 aed 14 401 1 . wee - =| Oe OS
segments, and acts as a musical bridge between the end of the preliminaries (ndubat) and the beginning of the song of praise (bhanau). This formula is mainly associated with the awakening of the mediums, and their passage from their initial seated meditative position to the standing one, prelude to the first dance illustrating the tale of the divinity they incarnate. The three segments of the sydmpai-ki jai chal correspond to the different stages in the awakening of the medium. As shown in the notation in Figure 7.11, the three
segments, and acts as a musical bridge between the end of the preliminaries (ndubat) and the beginning of the song of praise (bhanau). This formula is mainly associated with the awakening of the mediums, and their passage from their initial seated meditative position to the standing one, prelude to the first dance illustrating the tale of the divinity they incarnate. The three segments of the sydmpai-ki jai chal correspond to the different stages in the awakening of the medium. As shown in the notation in Figure 7.11, the three
-IGURE 7.12 Strategic processes involved in the manifestation of the incarnation.
-IGURE 7.12 Strategic processes involved in the manifestation of the incarnation.
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