Yesterday's brother.

- Today is yesterday-Bhagirath Brahmbhatt

This too was a form of drama known for entertainment at one time in folklore. Very popular..It was born in North Gujarat. Called folk drama. It had its charm in our village system. Bhavai is a type of drama associated with Shakti-Devi Puja. There were some special castes who did bhavai. The veil did not fall on Bhavai. Playing the torch light, Petromax light ... There was no issue in it .. The whole was 'disguise'.

The so-called disguise of brother. In it the lesson of woman was played by man. Bhavai's costume was played in the village. If Bhavai's congregation is made up of eight to ten people, he should come to the village.

No special theater was required to play Bhavai. In the village padar, in the chowk or in Mataji's chachar - it was played in the open and those who saw Bhavai used to sit around him. People enjoy and get enlightenment. Bhoongal vage means people gather. The tabla beats .. these desi instruments play .. there is no mic .. there is no script .. there is no painting .. the stage .. the arrangement of lights is nothing .. and yet .

Bhoongal and tha tha taiya tha tai .. tata thaiya ta tai .. these are its poles. Dancing was preferred. The dialogues in Bhavai are in prose and also in verse. Sometimes some dialogue is not even spoken naturally. It also happens that you have to speak with pomp. Artificiality seems eye-catching but tolerable. The brother-in-law's brother-in-law is wonderful. When the flag is in the guise of swinging, the flag speaks - which is called kundalio - especially sung.

Banda bahot na phuliye,

God forbid

Don't be cruel,

Mortal or female

Martalok or Mahi

Tujarba shows up immediately

If the male does arrogance

A hundred males eat manure

Says Deen Darwesh

Error vote negligent banda

God forbid

Wrong vote flower banda

One character speaks - the opposite character speaks of 'doing' - what to do? It doesn't matter if it is doubled. Studies have also been done on the influence of Bhavai on Gujarati plays.

Dance comes in all the costumes of Bhavai. The song comes. Occasionally there is a dialogue in prose to talk about the past - the performance is mostly in dance. If the man plays the role of a woman, then the audience will tolerate some shortcomings. The brothers were well-informed. He knew which one was wrong. So they could even make fun of him. He loved to find ridiculous points in life and satirize them.

Bhavaya's footsteps were special. Bhavai's job was to entertain the people. But the whole ‘disguise’ that conveyed the message was unique. The methodical training of giving lessons of such bhavai was given in Visnagar. The Bhavai Karna class is mostly found in North Gujarat.

Asait Thackeray, known as Bhavai's father, was originally a Brahmin from Siddhpur and Patel of Unjha was his host. The credit for rescuing Unjana Patel's daughter from the state goes to Asait. There are folklores that the word 'targala' came from the three periods when Asait was expelled from a meal with Patel's daughter - when the Brahmins of Siddhpur expelled him and Patel gave him three terms to Unjha's three brothers. And after being expelled from Nat, Asai started playing the role of Jai Bhavai from village to village. And three hundred and sixty disguised.

Even though the brother has become obsolete. But it should not be forgotten that some parts of it are still maintained in the Gujarati people.