Etchings and drawings by European show a great fondness for the Rajputs, depicted here as warriors who carry their everyday arms with a relaxed insouciance, while the parted beard and proud countenance of a
Rajput noble is captured with great dignity.

In the ensuing war, the hero is killed but referred to as journeying to the heavens. Thus, he lives forever. This cultural motif is available in practically every village. Folk gods such as Bhomia, Palyaar and Mamaji usually belong to this category.

It is amazing to see that such heroes have inspired oral epics and performing formats that include melodic forms. Goga's story is sung with the musical instrument deru, Pabuji's story accompanied by music from the ravanhatha, and Deo-Narayan's story with musical instruments like jantar, while the tales of ancestral gods are rendered on the dhak.

The hilly tracts of the Aravallis are inhabited by tribal groups such as the Bhils, Minas and Garasias who have been dependent on the forest and its produce. Again, agriculture was not a major economic activity for them, and tribal life helped enrich their culture through institutionalized group disciplines. A close-knit social organization was their basic unit of survival, and all aesthetic and performing skills were directed towards achieving this homogeneity and identity. Their dances and songs were performed by large groups of men and women. Their religio-social practices gave birth to the cult of ancestral gods and mother goddesses. All of their aesthetic life moved around these faiths.