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.