GUJARAT ART ACADEMY An Institution for Dance, Drama & Music S / 12, Vasupujya Flats, T. B. Road, Mehsana – 384 002 Gujarat - INDIA Mobile : 00 91 - 78782 71134 e – mail : gujarat_art@hotmail.com gujaratart@gmail.com FOLK DANCES OF GUJARAT - INDIA Folk dances are the valuable product of our folk culture. Thousands of years ago, when civilization had its birth and cradle on the banks of the rivers, folk dances might presumably have its birth then. Amidst nature’s bounty, primitive human being might have started singing and dancing to express feelings of joy and rapture. Thus our folk dances varied and wondrous in tradition must be the product of harmonious expression of human beings having love for nature and affection to the soil. Folk dances have its powerful impact on human hearts ever since its birth and today folk dances of Gujarat are fill of varieties coupled with folk songs and folk instruments. GARBA AND GARBI Garba Garba is a kind of popular dance of the folk of Gujarat since ancient times. It is much more connected with Shaktipuja (worship of goddess having powers over all). Its origin is believed to be the worship of goddess Jagdamba. Symbolically Garbo means an earthern pot with many small holes around it. The word “Garbo” is derived from Garbh Dweep. Subsequent derivation “Garbho” and then finally “Garbo-Garba” means “Ghado” (pot) which imaginatively termed as Brahmand”. A lamp lit within Ghado is indicative of continuity of life. Thus garbo is a symbol of worship of and devotion to Aadya Shakti (Power Primordial) who is the mother of the universe: “Jagadmata”, “Jagadamba”. During nine night of “Norta” Navratri in village-streets as well as in the street squares of cities and urban localities, Garba are played beginning after hours of cow dust upto midnight. Jwara are sown in “daliya” made of dry Khakhar leaves as a symbol of Mataji-the goddess within the house. Ghee and oil lamps are lit, in front of Mataji’s Sthanak, which is put in the Chowk women play Garba in circle around the goddess. Mataji’s Pratishthapan is done on the first day of Norta with worshipping and religious ceremonies. Garba are the prayers in praise and devotion to Mataji. Musical instruments are not much used in Garba as in Rass. However use of Dhol, Khanjari, Manjira, Tabla and Harmonium has gained ground. Garbi Garbo and Garbi both being the types of dance are connected with Navratri festival. Both these relate to folk dance in-group. Mostly women participate in Garbo and some times men also join. Whereas Garbi is sung by men only. Zaverchanda Meghani takes note that around Garbi (wooden Mandavadi), men sing and dance rhythmically in measured steps. ‘Garbo’ means an earthen pot with holes around it whereas ‘Garbi’ means wooden Mandavadi being established as deity – the goddess. Dandiya, Dhol, Nargha and Manjira are used in Garbi. As in Raasda, varieties of dance are absent in Garbi, which is mostly held on religious festivals such as Janmashtami, Jalzilni Ekadashi etc. Garbi is one of the kinds of Rass and its songs have also force and rhythm as in case of Raasda. As an illustration: “Vaa Vaaya Ne Vaadal Umatyan,Gokulma Tahukya Mor, Malva Aavo Sundervar Shamalia” (Trans: Along with the wind, clouds have come, and peacocks sing in Gokul, Come to meet us, the most beautiful Shamalia – Krishna) RASS AND RAASDAA Rass is the distinctive dance of Saurashtra. Raas players and Rass observers both enjoy this artistry which historically relates to Hallisak, Kridaa or Dand Raasak as described in Mahabharat and this is the same Raas or Dandiya Raas, being the prime element of Gopculture. In ancient times, Gopas and Gopis together used to play Krishna – Lila Raas. Subsequently all the tribes have imbibed their own ideas or talents in the Raas. It was almost extinct during Muslim Rule. But after 14th or 15th Century A.D. under the influence of Narsinh Mehta and Mirabai and Vaishnavite’s culture, Krishna Raas revived again and took its roots in the folk culture. Dandiya Raas Among all types of dances of Saurashtra, the eye catching one is Dandiya Raas. On festivals of Sharadpunam, Norta, Jalzini Ekadashi, Satem-Aathem etc.; on the occasion of felicitations to Guru, on events such as ‘Fuleka’ or ‘Samaiya’ ; boys, youths and young men with wooden or metal Dandiya (sticks) having coloured flower balls or jingling small bells at its ends dance with rhythm in varieties of ways and manners such as ‘Hinch’, ‘Kervo’ etc. together with dance and singing, there would be musical instruments such as Nargha, Pavo, Zaaz, Sharnai. Dandya Raas includes several styles such as Dodhiya, Panchiya, Arthiya, Bariya, Bhetiya, Naman, Mandal. Dance itself creates varieties of symbols such as swastik, trishul, dhaja, being Mataji’s Shakti symbol. When a song of Kan-Gopi (Radha & Krishna) is sung: Krishna playing flute or Radha at churning curd-such shapes and designs are created by the dancers. Generally Dandiya Raas is played by men, but has also become popular among women. Koli, Aaayer, Kanbi and Rajipit of Kathiawad have mastery over this art particularly in forward, reverse and turning movements of foot steps and body and also rapid movements of bending or sitting down, getting up and gaining speed and rhythm. On Krishna Janma Ashtami Bharwad men and women play Raas together. Raas could be played with or without Dandiya,simply by feet stamping and hands moving up-down front-aside and in several fays. In Dandiya Raas of Bharwad and Rabarifolk, mostly songs are absent; but Raas is played with music of Dhol and Sharnai in Hinchtaal. Gallants having characteristic qualities of Kshatriya Culture are well versed in sword and shield playing Raas. Gofgunthan - Solanga Raas Gofgunthan – Solanga Raas is a popular dance of Koli and Kanbi community of Saurashtra. It is a charming and amusing one in which strings of varied colours are tied to a ring hanged at the ceiling. Each of other end of strings is handed over to each of the dancers who begin with Garbi and then play Dandiya Raas. During Raas several modes such as bethah, fudadi, tappa are played and then each one plays alternately, in which one coming out and other are going in the circle. The strings first get knitted and then released with reverse movements; while Raas is played with varieties of steps, slow or speedy, high or low. AIMS OF GUJARAT ART ACADEMY To promote art in all forms-drama, public speaking, dance, folk dance and folk songs, folk music etc. To give special attention to the development of cultural faculties in the children and youths who are our hopes of future. To search fresh talent and induct them in the field of drama, public speaking, folk dance etc. To provide opportunities to amateur artists to develop an all round personality. To provide opportunities to young amateur artists to display their talents at national and international levels. To bring people of our land on a common platform of culture and arts to form a common bond of love and understanding. To participate in similar activities in foreign countries to present aspects of our civilization and culture before other countries. To instill in our youth patriotism and an international outlook through travel and cultural exchange. Give the golden opportunity to youngsters to meet the whole world at one place in International folkdance and drama festivals.