Grooving to garba
Kavita Kanan Chandra
At Alembic Ground in Vadodara, the United Way of Baroda Garba is in full swing these days. One of the largest venues in Vadodara, it can accommodate around 30,000 dancers at a time. Come Navratri and most open spaces of the city — be it the several grounds of every club, housing society, schools, or even narrow lanes of the old walled city — turn into dance floors. The city reverberates with music and the enthusiasm among the participants and onlookers is infectious. The biggest draw at garba venues are the mellifluous local singers, who have always ruled the roost in Vadodara. Ask any local, and he would say, dancing to the live songs of Atul Purohit is an experience in itself. Achal Mehta, Nisha Upadhyay, Paritosh Goswami, Vatsala Patil, Sachin Limaye and Falguni Bhesania are other popular singers. The fund collected from the event is used for the welfare of the underprivileged, says Pratik Pandya, an officer-bearer of the United Way of Baroda.
The practice sessions at several dance classes start well in advance. As Akash Kansara teaches garba to non-Gujarati women at a public sector club, he patiently explains them the nuances of the dance form while making these first-timers adept at the popular six-step ‘dodiyu’. Their enthusiasm becomes palpable as they throng Nava bazaar and Mangal bazaar for the Navratri shopping.
The term ‘garba’ derives from Sanskrit word ‘garbha’ (womb), which is the source of life. A prayer to Goddess Amba is followed by playing garba in concentric circles around a perforated earthen pot with light within known as ‘garbo’. A coconut is placed atop the earthen pot filled with water, containing betel nut and silver coin that symbolises the universe. The circular dance around it signifies the cycle of creation, maintenance and destruction.
The prachin (ancient) garba is performed to songs, which are more devotional in content. Revellers throng old localities like Nyay Mandir, Amba Mata ni Pol at Mandvi and Dandia Bazaar.
No DJs, no Bollywood music and no western wear. Tradition is the key to Vadodara’s garba, willingly adhered to by its youngsters. The campus garba of the Faculty of Fine Arts in Maharaja Sayajirao University (MSU) has retained the essence of Navratri. It attracts many visitors who come there to watch the visual spectacle. Here, only students and the alumni are allowed to dance. Their garba is different from anywhere else. Unlike the popular ‘dodiyu’, here the dance steps start from eight, then followed by 10 and 14 steps sequence. No mike is used. The garba dancers themselves sing prachin (ancient) songs and play traditional instruments.
As singer Atul Purohit invokes the blessings of Goddess Durga and sings Gujarati garba songs, dancers swirl in circles. Performing the most popular six-step ‘dodiyu’ that make dancers go forward, then backward, clapping at intervals presenting spectacular rhythmic footsteps. The ‘do-taali’ and ‘teen-taali’ variations are also common.
The garba anthem of Gujarat, the soulful ‘tara vina shyam mane’ wafts through the ground lending a feel of divinity. Based on Raag Ahir Bhairav, the song composed by violinist Vinod Iyenger became an instant hit when released in 1983. The dancers appear to go in trance. Some seem to get lost in the moment as “Mor Bani Thangat Kare”, Leeli Lemdi Re”, “Chapti Bhari Chokha” and “Taara Naam Ni Chundadi Odhi” follow. When a timeless song like “Lagyo Chundiye Rang Lagyo” composed by stalwart Avinash Vyas is sung, you could understand why Barodians just do not need any outside singers or music.
As the night advances, one can feel the energy of the dancers as the music reaches its crescendo around midnight. Complying with their wishes, Purohit belts out the fast beat “Ke Hove Hove”, which is lapped up by upbeat dancers, who lifted their arms in unison and chant in chorus “Hove Hove” while clapping intermittently.
The graceful dancers are attired in ethnic chaniya-cholis (women) and kediyu-kafnis, aangrakha-dhotis or kurta churidar with bandhani dupatta (men). Vibrant colours seem to splash all around with dancers glittering in attractive outfits. The outfits are adorned with intricate Kutch embroidery, aabhla mirror work, colourful pagris, caps, mojris and junk jewellery.
With all the dancing, hunger can strike anytime, and the Gujaratis are never short on food. The foodies have a fantastic time as they feast away in food stalls at venues or even post-midnight Ratri Bazaar to tuck local farsan (snacks) like sev-usal, dabeli or handvo.
Vadodara aces its garba celebrations by ensuring safety for the women participants. Adequate safety measures are taken so that women from all economic strata enjoy the much-awaited event of the year. Seeing the women leave the venues in their two-wheelers well past midnight is a sight to behold. At some big grounds, there is a free entry or a nominal fee for women. Social organisations like NGO Swades have been giving lessons in traditional garba to the underprivileged women. Garba exponent, Jayshree Dani, who founded the Sanskruti theatre 25 years back, has taught prachin (ancient) garba and also arvachin (contemporary) to these women. As one talks to this impressive dancer, she explains eloquently as her expressive eyes speak volumes about the emotions expressed while singing devotional ‘Mataji garba’, lively ‘Krishna raas’ to playful ‘lok garba’.
From professionals to novices, she offers classes to anyone who cares to dance. She earnestly desires that prachin garba would exist parallel to the modern one. Differentiating the two, she says, “the prachin garba uses props that include household items used in village homes. Dancers balance earthen lamps, embellished pots, mandavi, manjira, dandiyas, sieve, grinding sticks, supada and umbrellas as they sway to the beats of garba.
Though with time garba steps and songs have evolved, keeping ethos of the present generations yet tradition still holds its grip in Vadodara. The nine nights of Navratri pulsate with positive vibes and high energy.
