‘Gondhalees’ described in this chapter form an important constituent of Maharashtriyan folk culture. Their invocation through dance has assumed the form of an important family ritual. A story or moral presented both in musical verse and prose and the ability of enacting it  to the accompaniment of percussion instruments impresses the audience. The form also facilitates promotion of social reforms,

Gondhalees are devotees of Goddesses Renuka and Tulja Bhavani. They believe they originated from the Rishi Jamadagni and Renuka. They regard Mahur as their first place of origin. Their genesis, as expounded in the ‘Renuka Mahatyma’ is presented in this chapter.
However, as described elsewhere in this portal, this folk tradition originates from the Bootamata (an in auspicious goddess) festival in the 12th Century.

Although a team of eight Gondhalees was considered to be ideal, the present day ‘Gondhal’ has only four performers. One plays the ‘Sambal’, another the ‘Tuntune’ (a string instrument), while the third acts as  narrator of both prose and song,  and the fourth provides some humerous interludes  in between to maintain audience interest. The chapter describes details of the  ritual associated with ‘Gondhal’ and the altar / stage arrangement. The main Gondhalee is referred to as ‘Naik’.

Many Saints also seem to have utilized the ‘Gondhal’ as a metaphor to disseminate their thoughts. The chapter presents the opinion of Mr. S.T. Shaligram, a collector of ballads, about the tradition. The frequent incidence of Gondhal performances in the Peshwa period indicates that the tradition was at its peak in those times.

From this, Dr. Dhere opines that Gondhaless must have been performing a dual role of a Bard and a Purohit. The author points out that another collector of ballads,  Ackworth, had chosen to differ with  the (then) Bombay Gazeteer which classified them as beggars.

Further in the chapter, original verse of some Gondhalee songs is reproduced. The openting song (the Gan) is also given here. The Gondhalee then appeals to one and all the gods and goddesses to participate in this invocation of goddess Bhavani; the faithful believe that the divinities are present at the Gondhalee’s performance. The play lasts all night long.

The chapter also gives some original Gondhalee songs, narratives about Krishna, contemporary social life and certain humorous verses.

Dr. Dhere opines that the role of Gondhalee as a ‘Bard’, has a significant contribution in the origin and development of the ‘Powada’ – ballads praising the valour of Marathas. He further touches upon  Rama Gondhalee an artist who had earned much  fame in the final days of the Peshwa regime –.