The Baloch has a rich musical
culture. His interest in music
was profound. It is possible
that like other civilizations,
music among ancient Baloch had
functions connected with
religion. However, its ecstatic
and secular possibilities
nevertheless had relation with
some form of magic. The Baloch
treated persons suffering a type
of disease similar to hysteria
or chronic indigestion through
music. They were called Gwaati.
Minstrels played music on sorouz
and tamboorag and repeated often
one particular rhythm. When the
music reached its climax the
Gwaati started a relentless
movement in a dancing pattern.
This would continue for many
hours till late at night. It was
believed that music would
construe some magical effect,
and that disease which had been
caused definitely by some evil
forces would end.
Music had its importance on all
occasions except death when the
ceremonies were of a more solemn
nature. Other occasions were
marked with much singing and
dancing.
The Balochi sur or raags which
could be termed Zaheerag because
of their general
characterization of melancholy
pattern, could be categorized
under two main heads: Balochi
and Kurdi. All others which may
be as many as twenty come under
these heads. Under Balochi,
comes its various branches:
miedi gor-obam, mianag, asrap-e-durra
and janozam. Kurdi included
baskard jalawani kurdi, sahr
kurdi, salat and tat. It may,
however, be noted that the
entire Balochi musical structure
is based on Zaheerag. Some of
the folk-music appears to be
somewhat different from it, but
in their formal structure all
musical derivatives have their
base in Zaheerag. Among the
musical instruments nal-sur,
tamboorag and surouz were
important.
As regards dances, there are few
traces if any, of weather,
harvest or thanks-giving dances
among the Baloch. Dances were
always collective and associate
with groups. There was no fiery
manner of dances.
Religious dances were not
prevalent. However, in the more
recent past, Zigry sect, among
the Baloch, practiced a kind of
religious dance called chogan.
It, however, varied much from
classical temple dances of most
ancient cultures.
The main dance was do-chaapi
when men gathered and danced,
clapping hands with the movement
of foot, neck and head on
rhythmical music on drum, dohl.
Any knid of dance apart from do-chaapi
was not universal. Basically it
was for the enjoyment of
performers and was not a
spectator dance. On many
occasions women moved in a
circle, clapping hands but
without any body movements such
as do-chaapi.
Lewa, hambo and latti were also
prevalent mostly through foreign
influence. Lewa is supposed to
be of Arabian origin, while
Latti and Hambo were clearly
dances of the ancient indigenous
people of Balochistan.
