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’

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.