Ras Garba : Fusion of Art, Music and Culture

In pre-medieval antiquity, 'Gujarat' was respectively known as 'Gurjar Pradesh', 'Anup', 'Lat', 'Shuparak Pradesh' and 'Gurjarvamandal' etc. But about six and a half hundred (650) years ago, some kings of the Solanki Dynasty reformed the 'Gurjarvamandal' or Gurjarpradesh. Named with a word like 'Gujarat'.

The good fortune of Gujarati language-literature is that its cultural, social, historical or mythological handwritten materials or literature are still extant today. Medieval Gujarati literature is written in verse. However, the tradition of Gujarati language has come from poetry in the same way that only poetry form has been written in the literary world as well. Gujarati literature is written in the monotonous or rhythmic structure of narrative circles, although the biographical genre of Jainism was also created during that period. But the contribution of the Vaishnava community and the Jain community through the medium of music-poetry has been high to enrich the Gujarati literature and culture and enrich the rituals. Compositions like 'fagu' - perennial 'kakka (alphabet) vivahala, prabandha', 'dhaval', 'stavano', 'sajjayuni' (sarju)r and rasa also came into existence in large numbers. Even before that time, it can be imagined that the gopis of Vraja would be playing rasa to the sound of Lord Krishna's bansi in the events of Lord Krishna's 'Krishna Leela'! In this way, the practice of playing ras must have been manifested in an artistic form by the incarnation of Shri Krishna.

But in terms of music, Rasa means a beautiful poem. Can be considered a type of Urmikavya. Over time it was transformed into a story. All the compositions were written in one bandh, 'kadva' and rasas were written in different verses in small sections of the language. A metaphor that can be played and sung in rhythm and rhythm by combining the special name of rhyme, cadence, jati etc. is also given the name 'Raas'. In the allegory, Srikrishna's form of Rasalila appears to be the ancestor of the Gujarati Garba-Garbio type with Tali and Dandiya tal. 'Fag-fagu' is also a type of rasa while 'Barhamasi' is a seasonal poem representing Pranaya Bhakti Rasa. Stavno 'haveli music is very popular even today, while 'Sajjayoni' (Sarju) is played by the Maldhari-Rabari community living on the border of Ranavav village at the foothills of Bardan Dungar in Junagadh district (now Porbandar district) sometimes sitting in front of the Vrind during festivals or auspicious occasions to the beat of Pakhwaj. They respond by singing, dancing and going round and round with the tones of ... Ho.. which still exists today. When verses like Chopai, Doha, Chand, Subhashit were written from the letters 'Ka Kakka' (Barakhdi- alphabet) the Jain monks expanded it a lot. From that, the word 'Ras' came into vogue in Jain literature in Akhyana Paddhati poetry.

Among the medieval Bhakta Kavigana mainly Kavishri Bhalan, Narasimha Mehta, Thobhan, Premasakhi, Manbhatta, Girdhar and Dayaram composed Garbi type of poetry. Poets of that time were writing and singing too. Based on basic information, a Shakti worshiper named Vallabh Mevada popularized the poetic composition by singing it, so Ras-Garba has a special relationship with Shakti worship. The worshipers of Shakti fast for nine days and perform divine worship especially in the evening or at night by going round in a circular motion with men and women as well as young people singing and playing which existed then and still exists today.

But Brahmin Dayaram Prabhuram Bhatt i.e. poet Sri Dayaram of Chanod village on the banks of river Narmada achieved real achievement in creating Garbi type of songs/poems. Poet Mr. Dayaram was popular for performing vocal poems to the accompaniment of music. In his Garbi-poems, he had a lot of popularity due to the use of words, use of words and a high level of eloquence and mastery over language. Especially in the garbi type poems of Dayaram, the sweet melody of raga-raginis was imprinted on the public mind only because of the response of the devotion expressed in Krishnalila and the power of imagination full of sringararasa. Then came the variety of poems and writings written till '47 in the archaic era. And to some extent chivalry also appeared in the poems. Poems with colors of love and tenderness could touch the hearts of the people.

'Let's all go to win the war where the bugle sounds', 'Dhwaj prakase zahal kasumbi prem shaurya ankit, tu bhanav-bhanav nij santati saune prem bhakti way - Jai Jai Garvi Gujarat (Narmad),' Abhaam Ugel Chandlo Ne Jijabaine Aya Bal Ray',' Pidho Pidho Kasumbinoe Rang Re Whalidaan Mein To' (Zaverchand Meghani) 47 Then again the development of the Ras-Garba region gave music and singers a platform and players a rhythm and music.

Now, from Saurashtra-Gujarat to England, America, other countries or other provinces of India, many people play Ras Garba or Dandiya Ras! Film composers and directors have also composed many songs of ras type rhythms and music somewhere in dances close to ras garba which can be seen or heard through various media. 'Ho Main To Bhu Chali Babulka Desh Piyaka Ghar Pyaara Lage' (Saraswatichandra) is a raas-stilted song that is an inspiration for married women. Enthusiastic people also play honshe honshe during the festival of Navadivas. Especially the garbis of Kalavrind of Bhavnagar, the garbis of artists of Mer caste living in the surrounding villages of Barda Panthak and the diversity of Dandiaras have become known abroad. In rural areas, Ras Garba Loko is played by Ras artists to the sound of dhol, sharnai and pakhwaj music and to the melodious singing of singers, which also gives a glimpse of Bhatigal history. can be felt. Sr. who performed Ras Garba with duha-chand in melodious voice. Many ras garba are known in the tunes of Hemu Gadhvi and colleagues. The contribution of the Garhvi community in presenting art and culture in vivid song is invaluable. That is why they are remembered as Deviputra (sons). You must have heard 'Hey maru vanaravan (Vrindavan) hai roodu re vaikunth nahi re soo' (poet Dayaram, singer Vrind Late Hemu Gadhvi) 'Man Mor Bani Thanganat Kare' (Lt. Gadhvi - Pushpa Chaya). But it can hardly happen that garvi ne narvi (healthy) Gujarati women cannot play Ras Garba or Dandiaras. When the ras garba or dandiaras are going on in Sur and Taal, the little boy-chaiya stands on the side and rushes to play, to believe that Shakti has been irrigated! Even the audience of shy nature gets involved in the performance by catching a glimpse of Ras Garba or Dandiya Ras and his inner strength comes out.

Every year in Maharashtra and Gujarat different organizations and Kalagurjari organize 'Ras-Garba' competitions in which various glimpses of artistes playing Ras Garba or Dandiyani Raas are seen.

Directly and indirectly, Ras Garba is also an art, a cultural heritage that includes literature. Music is also a symbol of Shakti-Upasan which keeps life vibrant, pulsating, happy ie self. Kalapi has said - 'Art is food sweet and consuming food is not art.

The main lines of the poem-song (Mukhud-Sthani) in the composition and composition of 'Ras Garba' are as follows:

1. Hey my Vanaravan Hai Rudu Vaikuntha Nahi Ray Ao...

2. We are from Mahiyara Ren Gokul village...

3. Shobha Salona Shyam's Re...

4. We came with hope...

5. The same ray is seen in Amba Bhavani in dreams.

6. Khamma Mara Nandji's Lal, Morli when played...

7. Chanothi Ray I in the green end....

9. Four horsemen rode out in the dark night...

10. O Rangarasia, where did you play Ras Jo....

11. He planted henna in the garden, its color went away, Gujarat re...

12. Anjar is a big city in Kutch Hoji Re...

13. Let the mind become a peacock.