Hope Less For Heritage

Tombstone to kitchen slabs:

The SMC (Surat Municipal Corporation) is all set to sell Surat’s heritage-Hope Bridge as scrap. Should we be surprised? In a sheer case of neglect by the local governing body, Surat’s heritage sites seem to have slight hope of surviving. Here is another such story:
GRAVE DANGER

In 2000 years of its existence in India, the now minuscule Jewish community has never faced anti-Semitism

Holding on to their own identity; the Jews in India have Christian neighbours, Hindu colleagues and Muslim caretakers.

They celebrate with equal zest Durga Puja, Diwali, Rosh Hashanah and Christmas. Their synagogues here often resound with incantations in Hebrew echoing recitation from Talmud and Torah.

Our superstars and celebrities sport Star of David tattoos, our gourmands relish delicatessen from kosher cuisine, prime areas in metros such as Mumbai and Kolkuta are till date known after icons such as Sassoon and Ezra.

It was in Surat that the Baghdadi Jews first step foot on when they arrived in India .A prosperous merchant community from Aleppo, descendants of which migrated to Calcutta. They were cosmopolitan businessmen who extended their trading and financial network around the globe, dealing in Arabian horses, precious gemstones and rosewater.

The Encyclopedia of Jewish Diaspora‘s earliest record states,’ In 1730, Joseph Semah arrived from Baghdad to Surat and set up the Surat Synagogue here.’ When it comes to Jewish cemeteries however, Surat stands not much better off than Pakistan. As land sharks, vandals and garbage encroach upon and shatter the sanctity of their final place of rest, the last surviving tombs of Baghdadi Jews in Surat, struggle to protect their proof of life.

While the city’s English and Dutch cemeteries are now protected by the ASI and are the pride of the city’s ancient past, an 18th century Baghdadi Jewish graveyard is surprisingly, part of a private industrial estate ! Its present owners, the Asarawallas, chase off any visitors who try to enter the premises which faces the main road on Katargam.

Miscreants often climb over the 10 foot wall to use this unique burial ground as a urinal, garbage dump or sit around the graves to enjoy locally made alcohol, bottles of which they dump around this graveyard.

“In general, the cemetery is in a terrible state of neglect, this is clearly a legacy looted.” says Dr. Shalva Weil, Senior Researcher-Research Institute for Innovation in Education, Hebrew University of Jerusalem, Israel

One of the graves within is that of Moseh Tobi, buried here in 1769, he was considered an elder leader. In his book ‘A History of the Jews in Baghdad’, David Solomon Sassoon has mentioned “In the year 1769 Moses Tobi, who is styled ha-Nasi ha- Zaken [The Elder Prince] died in Surat”

In the urban mess of the city, while this heritage site is on the verge of extinction, another Jewish cemetery has already disappeared. In February 2003, Dr.Sara Manasseh from London, visited and reported the dire straits of two Jewish cemeteries in Surat, to the then Municipal Commissioner, Mr.Aloria.

Ms Manasseh’s report stated how these burial sites of historical, communal, national and archaeological importance were infested with wild pigs and garbage, urging the local governing body to take action and save them.

No action was taken, as a result of which, the Bene Israeli Kabrastan, which was in the vicinity of the SMC offices at Mugalisara, now longer exists. ”There are no more Jews left in Surat, in the absence of caretakers, their graves have disappeared too. The entire area was encroached upon by slum dwellers who converted marble tombstones into kitchen platforms.” Says Jolly Wellington, who resides in the vicinity.

“Jewish graves have beautiful cupolas and marble gravestones. But often, Jewish graveyards are not preserved by the civic authorities as part of the city’s heritage and history. In this context, the Vadodara Israeli Kabrastan is a very good example, as to how, a citizen’s initiative could preserve it”says writer Esther David.

In 2004, the Israeli Kabrastan at Nizampura in the Banyan city was saved by an awareness drive run by TOI and prominent denizens who lent support.

Can we hope to save our heritage? Or is that too much to ask from us Surtis; a business minded community whose prosperous present exists due to its glorious past.

9 Divine Prachin Garbas

9 Divine Prachin Garbas

With the return of popular Prachin (traditional) Garbas this year, raas revelers within Surat’s sheris have been swinging to pious ancient prayers.

Penned centuries ago, the essence of these folklores in song format is about the miracles of Mataji in all her Nav Durga incarnations

All garba evenings commence with the Jay Aadhya Shakti Aarti , post which garbas are sung out in praise of individual goddesses

1.Padvey thee pehlu Ma nu nortu jee rey- Officially sung out as the first garba of Navratri, this song comprises of the importance of the nine nortas in accordance to the nine goddesses, describing the strength of each avatar - Śhailaputrī, Brahmachārini, Chandrakaṇṭā, Kuṣhmāṇḍā, Skandamātā, Kātyāyanī, Kālarātrī, Mahāgaurī and Siddhidātrī

2.Aadhya shakti tujne namu re bahuchara – Penned by Vallabh Dholabhai Bhatt,this is known as ‘Vallabh no garbo’. Mythology mentions that Bhatt was born deaf and dumb but was gifted the boon of Saraswati, the Goddess of knowledge and miraculously cured, after which he spent his life penning devotional songs like ‘darshan gyani aanand no garbo’. Legend also has it that Vallabh’s faith in the unseen Goddess led him to be imprisoned by the then Mughal ruler and his prayers to Aadhya Shakti Ma resulted in her promise of showing her presence to humans. The goddess appeared at Nathdwara, within the idol of Shrinathji, which is why, since then, Shrinathji, who is a male God has been adorned with a ‘nathni’ (nose ring.)

3.Maa no garbo re ramey raj ne darbar –Known as ‘Virat no garbo’ this one goes all out to describe the sheer splendour and magnitude of the Goddess’s might.

4.Maa Pava te gadh thi utarya Mahakali re ( Goddess Mahakali descended from the Pavagadh hills)

5.Tu Kali re ne kalyaani Maa ( Thou ,goddess Kali are the miracle maker )

6.Patayee raja garbadiyo koravo

7.Tu Pava ma ‘pragtani’ re Maa

These four songs sung in praise of Ma Kali Pavagadh wali are arguably the most popular and also the most controversial. While the first two speak of her divine prowess, the latter two are about the story of king Patayee of Pavagadh, notorious for having misbehaved with Kali Ma by trying to hold the helm of her sari pallu and inviting her to spend a night at his palace, which is why ,many singers belt out the lyrics as ‘Tu Pavani Patrani re Ma “ ( you are the queen of Pavagadh) which is incorrect. Rajkot’s music composer Utpal Jivrajani argues this theory and points that,”Historical granths have clearly stated that king Patayee was in fact Maa Kali’s great devotee.”

8.Vishwambhari stuti akhil vishwa-This devotional song with authentic chhand matra ek taal is phonetically pronounced in Sanskrit. The charm of this classic composition lies in the fact that it is sung out in perfection, at every home, crossroad and garba venue, even by people who do not know Sanskrit and are neither trained in music.

9.Amba aavo to ramiye Maa maney ramta nahi aavde- A friendly teaser to Amba Maa ,inviting her to teach and play garba with mere mortals, its lyrics are endearing and childlike.

It is through songs such as these that the bond between goddesses and devotees has strengthened since ages. As the baton of tradition is passed on down generations, the ‘Garbhdeep’- lamp within earthen pot stays illuminated forever even as believers soulfully belt out ,’Pawan sapata thay,toye Maa no garbo ghoomto jaay’

Layman's Quickie Dodhiyu Guide

Layman’s Quickie Dodhiyu Guide


All right people, its time to sway and it don’t matter if you think you are not up to it. You need to be out there in the swirling circle as hearts and feet go scampering, trying to out do each others beats.

You have tried your hand at fencing the simple raas dandiya and returned home with a swollen finger or two. You managed to maneuver within human circles that swung to the humble two taali and three taali garbas, but now, dread dandiya season’s big bad daddy - the Dodhiyu.

A’ Dodhiyu’ in Gujarati means ‘one and a half’. It consists of a ménage-`a-troi of hop, skip and jump. One needs to hip hop, skip a beat or two and then jump in victorious delight. Often, the hands do not climax in a clap, even as one’s head sways in smooth surrender.

Invented by Amdavadis in the early eighties, the Dodhiyu is dependant on rhythm alone .It allows independent expression of one’s major body parts, as limbs, abdomen, hips, eyes and neck gracefully groove to an unchained melody. Instructors describe it as, ‘a dizzy drill which makes you forget whether you are going to or fro, while you crave for more.’

Here is a step by step breakdown to understand it a little better:
You begin in a circle facing outwards, step out with your right foot while your left hand shows the way, then step inwards half a circle with your left foot even as arms gracefully sway out in full swing, fore fingers pointing skywards, next, a sudden turn in the opposite direction,a full circle ensures that you are part of the merry go round, jerk your body as you skip a beat and take a heech before you take the next two steps forward, one inward and the other outwards to complete the routine of one permutation and reach the position you had begun from - a total of 6 moves if you please.

If you think that was complicated, remember, it’s just the first, basic step. One then upgrades to 8, 10, 12, 16, 22,26,32,36 steps which include innumerable variations of hand and footwork.

While Vadodara’s garba girls are renowned for their graceful gait in this art, in Surat, Dodhiyu is slick and spicy and has more ingredients to it than the Surti Undhiyu. This year Surtis are swaying to the Millennium Twist - a do it yourself 42 step Dodhiyu which makes the watchers swoon as revelers go in and out and all about, doing their thing in a peacock like prance.

Be warned that the Dodhiyu is extremely addictive and once you have mastered the art, nothing will manage to stop you from swinging.

Here Come The Hautesteppers......Ae Haalo

In Gujarat, it is one thing to celebrate Navratri for its religious purpose and completely another to live it up for its sheer glam quotient .These nine and a half nights bring along with them the haute stepping sultans of swing, out in full splendour with bare feet, barer backs. Backless cholis make sexy humjolis(companions)and Gujarati women hold their place in history for having invented the same. In his book’ Indian Dress: A Brief History’, author Charles Louis Fabri has noted how, ‘The first recorded examples of the choli, the bodice or blouse, are found, in the pre-Mughal miniature paintings of Gujarat, mostly Jain religious manuscript illuminations.’ Present fashion’s gravity defying tactful tailor technology not only manages to gracefully hold the shoulder boulder in place but also save face in stringy situations, even as the booty is held together by a mere fancy broach or semi precious stone. “Bollywood has a marked impression on Surat’s revelers this year. I have designed Kareena cholis with Bodygaurd movie colour themes, as well as Singham ghaghras. Surtis are swearing by locally made laces on brocade, jacquard crepes for ghaghras teamed with sheer chiffon or georgette dupattas .The look is heavy but light in weight .Only participants of competitions are sticking to traditional patch worked gear.” says Sangeeta Choksi, who designs for Surat’s suburbians.

The Jolie art behind the cholis too has undergone a new avatar. Younger girls are opting for tattoos on small of their backs and their waists, a la Deepika from Dum Maro Dum, shown off at the spot where the odhani is tucked in. Ahmedabad’s popular tattoo artist Jagruti Parmar points out that,” Youngsters want their tattoos to look permanent and so, this year, stickers and paint are passé. The in thing is translucent nail varnish and a transparent top up coat ensures that its sweat proof too. It’s easy to apply and quick to change. Girls have patterns like a base butterfly /dragonfly etched out in black ink and they come in to change the design and colour of their wings everyday, to match their outfit.” The boys meanwhile are getting temporarily inked on neck napes and behind ear lobes, to show off body art. Magnetic diamante ear studs for boys as well as push button navel studs and rings for girls are sparkling this season, and have replaced body piercing. Florescent coloured braids are making way within hairdos to match up to the magnetism of garba gear. Unlike Vadodara’s strictly traditional garba ramzhat, jhankaar beats are set to jazz up Mallika Sherawat’s ‘Jalebi Bai’ number at commercial venues within the state. Rajkot’s Racecourse grounds are offering pure Prachin and Arvachin Garbas sung out in the praise of the nine goddesses of Navratri.” The locals have demanded pure folk songs this year. Also making a big come back are Titodas, and remix Dhunki Daklas like ‘Ae Ma khamma khamma maadi’.Daklas are played to the beat of talking drums - an instrument known as Daklu.” Says singer Utpal Jivrajani. The only modern theme here is sneakers, as twirling troupes have matched chaniya cholis and kediyu dhotis with sports shoes for better stepping comfort. It’s the season of dancing, prancing and romancing and Gujaratis are putting their finest step forward.