The entertainers moved to the thumps of drums, cymbals and the music of woodwinds, channels and different instruments — their moves celebrated nature, the period of spring, wedding functions and reap celebrations. Clad in straightforward and brilliant ensembles, wearing leaves and blossoms with the ladies adjusting various pots on their heads, they performed with energy and happiness. At the same venue one saw numerous momentous move types of Jharkhand, for example, Chhau, Paika, Khaira, Jhumar Lathi Ghora, Karma, Lagan and Sarul. Heraon Chhau artists made their difficult life known through tunes, which depicted chasing, collecting and relational unions. The tribes from Kalahandi in Odisha performed Ghumura and retold a story from legend about the usurpation of the move by an asura called Karttabiya. Odisha possesses large amounts of tribal move structures and Gubukudu was one such lively frame that was showcased. Not just do they move amid cheerful times, the Natua Dan is performed at the season of death. At that point there was the Kabui Rongmei or a Naga move from Manipur. With drums as shifted as the customs, they moved to the backup of khong, shenmu gong, shenkheng and cow horn. Then again, the Deori-Bihu move of Assam was brimming with power and life as the entertainers spun with gay surrender. In like manner, the Bodos of Assam showcased the Bagurumba-Bishuba Sankranti, which is a move generally performed amidst April. At the point when gotten some information about the contrast between plays written in the past and those from the present, Thiyam answered that the ones to have withstood the rigors of time are still viewed as contemporary while "great theater has no present", it is immortal. A contemporary play is the cognizant manager of the general population, encouraging their capacity to think. Awesome plays fundamentally dislike business as usual like Tagore's Rakta Karabi as refered to by Thiyam
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