It is interesting to have a look into the basic structure of some of these instruments as it reflects a great deal on the musical ingenuity of the folks.
 

  The ghoomar is an exclusive dance of the Rajput ladies in which they whirl and move in a circle to the accompaniment of a kettledrum. Moving round, sometime anti-clock-wise and sometime clockwise, also gyrating at times individually, they unite hands, and with measured steps and various graceful inclinations of body, beating palms or snapping fingers at particular cadences, sing some lilting songs. With the rising tempo of the drum and the accompanying music towards the climax, participants separate themselves into pairs and swirl swiftly about their axis, their swaying colorful garments adding much to the great spectacle.

A new bride, on being welcomed to the home of her husband, too is expected to dance the ghooma as one of the rituals of the new marriage.The ghoomar is performed generally in the privacy of homes (rawala).
 

 This most sensuous dance performed by the Kalbeliya (Snake-charmar`s community). The sapera dancers wear long, black skirts embroidered with silver ribbons. As they spin in a circle, their body sways acrobatically, so that it is impossible to believe that they are made of anything other than rubber. As the beat increases in tempo, the pace increases to such a pitch that it leaves the viewer as exhausted as the dance.





 

Terah thirteen cymbals are used to give rhythm to the intricate movements of the performer and to provide a synchronous pulse to the accompanying musical instruments as well as the devotional singing, is a bewitching performance. Nine cymbals are fastened on the right leg, seven between the knee and the ankle, one on the instep, one on the big toe, and each on both the arms, while the performer or sometimes two, sit in front the heroon housing the image of the legendary Ramdeoji along with the accompanists playing on chutara and khartla, singing songs in adoration of the saint. To begin with, the accompainsts chant in slow rhythm and the performer streching the right leg a little, starts striking the cymbals in hands against those tied up at different places. With the increase in the tempo, the performer stirred into rapid lively movement weaves some intriguing patterns by changing the sequence of the strikes and embellishments in the rhythm. The magnificence of this grandiose spectacle lies in the simultaneity of the swift and elegant rocking motion of the performer- leaning, inclining and swaying back and forth of the torso, while striking tinkling cymbals with great precision, as if in a hypnotic trance.
 

 The folks also enjoy a dance, largely associated with marriage festivities called kachchi- Ghodi. Performed mainly by the men-folk of the Bavariia, kumhar and Sargara communities, it has its roots in the martial traditions of Rajasthan. Four to five persons in the attire of a bridegroom are presented as if riding horses. The body of the dummy horse is made up of two bamboo sticks and two baskets covered with trappings and a tastefully decorated wooden head, while a little jute fibre makes its tail. The rident riders in flowing colorful garments move on the stage majestically from one end to the other, enact a battle scene elegantly brandishing their swords in the air; and make the toy horse seem sometimes as galloping or cantering, and sometimes rearing and prancing to the accompaniment of the dhol, jhalar, bankia, or to the songs by the women. The dance concludes with some vigorous movements synchronal with the gallopadic tunes of the musical aids.