ABSTRACT
The frequency of musical events within the story line of the pawå®å of Kirthipal and Kunjepal is hardly surprising. Musical ‘scenes’ give Bhag Chand the opportunity to use the imagery of music to elide the space and time of the story with that of his performance such that the audience may mingle figuratively with the characters of the story. Dancing becomes the outward physical realization of musical imagery within both the story and its performance. Characters and audience dance to celebrate a pregnancy. They dance while singing praises to Rama. They dance with the wedding party as Khetrapal plays his magical and dangerous flute. They dance with Khetrapal as he dances to the song sung by the oil-press woman. They dance as victory songs are sung in Thati Silla Kot at the end of the story. Music invokes dancing amongst heroes, gods and audience alike.
