The Ghost Dance was a spiritual movement that arose among Western American Indians. It began among the Paiute in about 1869 with a series of visions of an elder, Wodziwob. These visions foresaw renewal of the Earth and help for the Paiute peoples as promised by their ancestors. This followed a period when many people had died as a result of contact with European diseases. A typhoid epidemic in 1867 may also have influenced the birth of this movement. Initially Wodziwob said that he saw some great cataclysm removing all the Europeans leaving behind only Indians, but in later visions he saw an event that removed all people from the continent, after which those who faithfully practiced the spirituality of their ancestors would be miraculously returned. Later still, his vision no longer predicted the destruction of Europeans, but an immortal and peaceful life for those who practiced his spiritual teachings. A ceremony that featured a communal circle dance was central to the spiritual practice suggested by these visions. Wodziwob passed away in 1872.

On January 1, 1889, a Northern Paiute named Wovoka (born Quoitze Owalso, he also took the name Jack Wilson) had a dream during the eclipse of the sun. His prophesy was similar to that of Wodziwob. He said that he saw the European settlers leaving or disappearing, the buffalo returning, and the land restored to Indian peoples all across the continent. In this vision, ancestors would be brought back to life and all would live in peace. Wovoka had been raised by the European American family of David Wilson after the death of his father. His teachings emphasized maintaining a peaceful relationship with white Americans. He had had some exposure to Christianity and so it is not surprising that there are mentions of Jesus or a messiah in his teachings. He said that by practicing the circle dance ceremony his vision of a peaceful world would be made to come about.

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Hearing of the new prophet among the Paiute, representatives from many different tribes traveled to speak with him. Letters were sent by leaders of the movement to other Indian peoples to explain the vision and the ceremony that would help bring about the transformation of the Earth. Leaders of the movement also visited various Indian nations to help teach them about the vision and the dance.

Dancing is common among many Indian spiritual practices. The Ghost Dance was based on the round dance that is common to many Indian peoples, used as a social dance as well as for healing practices. Participants hold hands and dance around in a circle with a shuffling side to side step, swaying to the rhythm of the songs they sing. In a traditional round dance there is a drum played in the center of the circle. But the Ghost Dance ceremony did not typically use a drum. Instead there was often a pole or a tree in the center of the circle, or sometimes nothing at all. The details of the dance varied somewhat among the peoples who performed it.

According to Mooney, the dance induced an hypnotic state in some dancers, with some making an effort to achieve a trance. To help this process, someone would stand in the circle waving a feather or a cloth for dancers to watch. Songs with a faster rhythm were sung to help the dancers wishing to achieve a trance and perhaps experience visions. Those experiencing a trance might leave the circle of dancers and dance on their own or lie on the ground.[1] In the print by Frederic Remington at the top of this article, the circle of dancers are in the background. In the foreground are people who have dropped out of the dancing as Mooney described.

The Ghost Dance ceremony to spread rapidly to many different Indian peoples, mainly in Western states. This interaction between Indians distant from each other and the spread of the dance became alarming to European Americans and so became a concern for the United States Army.

Mooney traced the beliefs of the Ghost Dance movement to earlier spiritual prophesies among many Indian groups that predicted a restoration of their land and the return of life as it was lived before Europeans settled the Americas. These emerged not long after the first settlements were established and conflicts between Europeans and Indians began.[3] So although the Ghost Dance seemed to emerge suddenly, the ideas found in it had a long history among many different Indian groups.

Mooney gives a detailed account of the events leading up to the conflict, the conflict, and its aftermath. He includes first-hand accounts of the conflict and accounts from Indians who went to the site of the conflict shortly after to look for survivors. He attributes the differing figures on the number of people who died in a failure to account for the people who did not die at once in the battle. He estimates that about 300 people were killed, died later of their wounds, or died of exposure.[4]

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Owing to India's vastness and diversity, Indian music encompasses numerous genres in multiple varieties and forms which include classical music, folk, rock, and pop. It has a history spanning several millennia and developed over several geo-locations spanning the sub-continent. Music in India began as an integral part of socio-religious life.

The 30,000-year-old paleolithic and neolithic cave paintings at the UNESCO world heritage site at Bhimbetka rock shelters in Madhya Pradesh show a type of dance.[3] Mesolithic and chalcolithic cave art of Bhimbetka illustrates musical instruments such as Gongs, Bowed Lyre, daf etc.[4][5]

Chalcolithic era (4000 BCE onward) narrow bar shaped polished stone celts like music instruments, one of the earlier musical instrument in India, were excavated at Sankarjang in the Angul district of Odisha.[6] There is historical evidence in the form of sculptural evidence, i.e. musical instruments, singing and dancing postures of damsels in the Ranigumpha Caves in Khandagiri and Udayagiri at Bhubaneswar.

Dancing Girl sculpture (2500 BCE) was found from the Indus Valley civilization (IVC) site.[7][8][9][10] There are IVC-era paintings on pottery of a man with a dhol hanging from his neck and a woman holding a drum under her left arm.[11]

Starting from the earliest known work Tholkappiyam (500 BCE), there are several references to music and Panns in the ancient pre-Sangam and Sangam literature starting from the earliest known work Tholkappiyam (500 BCE). Among Sangam literature, Mathuraikkanci refers to women singing sevvazhi pann to invoke the mercy of God during childbirth. In Tolkappiyam, the five landscapes of the Sangam literature had each an associated Pann, each describing the mood of the song associated with that landscape. Among the numerous panns that find mention in the ancient Tamil literature are, Ambal Pann, which is suitable to be played on the flute, sevvazhi pann on the Yazh (lute), Nottiram and Sevvazhi expressing pathos, the captivating Kurinji pann and the invigorating Murudappann. Pann(Tamil: ) is the melodic mode used by the Tamil people in their music since the ancient times. The ancient panns over centuries evolved first into a pentatonic scale and later into the seven note Carnatic Sargam. But from the earliest times, Tamil Music is heptatonic and known as Ezhisai ().[25]

rgadeva composed Sangita-Ratnakara, one of the most important Sanskrit musicological texts from India,[28][29] which is regarded as the definitive text in both Hindustani music and Carnatic music traditions of Indian classical music.[30][31]

Assamese poet Madhava Kandali, writer of Saptakanda Ramayana, lists several instruments in his version of "Ramayana", such as mardala, khumuchi, bhemachi, dagar, gratal, ramtal, tabal, jhajhar, jinjiri, bheri mahari, tokari, dosari, kendara, dotara, vina, rudra-vipanchi, etc. (meaning that these instruments existed since his time in the 14th century or earlier).[32] The Indian system of notation is perhaps the world's oldest and most elaborate.[33]

In the early 1960s Jazz pioneers such as John Coltrane and George Harrison collaborated with Indian instrumentalists and started to use Indian instruments such as sitar in their songs. In the late 1970s and early 1980s, rock and roll fusions with Indian music were well known throughout Europe and North America. In the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground. In the new millennium, American hip-hop has featured Indian filmi and bhangra. Mainstream hip-hop artists have sampled songs from Bollywood movies and have collaborated with Indian artists, such as Timbaland's "Indian Flute" 152ee80cbc

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