Relevance of Garba, Dandiya Raas, Jagrata

Navaratri, the Hindu festival as per meaning signifies nine nights which are dedicated to the worship of Divine Mother or Shakti. It is celebrated twice an year, once in Spring season which is called Chaitra Navaratri, is also known as Ram Navaratri. The second one falls in September-October and is called Aswin Navaratri. Its festivities are filled with pomp and fanfare of Garba, Raas Dandiya and Jagrata. This Ashwin or Shardiya Navaratri culminates in Dusshera, with the joyous celebrations of the victory of good over evil, Ram killing Ravan.

            As perfume mingles in the air, so does joy knows no bound. The rich cultural heritage of our country stands a testimony to the fact, when Garba and Dandiya, a popular folk dance of Gujarat, resonate their presence across the length and breadth of India. These dance forms are performed as an offering of worship to appease Divine Mother for her blessings. Garba and Dandiya Raas are supposed to belong to Kutch and Saurashtra (Southern Gujarat).

The word Garba is derived from the word ‘Womb’. ‘Garbha Deep’ meaning a lamp inside the sanctum sanctorum of a temple. In the villages of Gujarat, a small lamp is placed in a perforated earthen pot which is placed in the center and brightly dressed ladies move around it singing and dancing. Garba songs are mostly in praise of the Creatrix (the feminine aspect of creator), Mother goddess Amba describing her power, form, beauty and invoking her divine blessings. Hence, this dance form of Garba is a regular feature during navaratri puja.

            The concept of Garba on a deeper level is related to microcosm and macrocosm. The earthen pot with holes, through which a flickering light shines, symbolizes the human body with the inner light of God. While the Universe representing the golden womb (Hiranyagarbha) with the light and energy of sun, the supreme reality shining through, symbolizes the macrocosm. Moving around in a circle in a Garba indicates the relationship of the microcosm with the macrocosm, the never ending cycle of creation of the supreme reality. It is believed that Lord Krishna popularized the Raas dance, while Usha the grand daughter-in-law of Lord Krishna gets the credit for popularizing the Lasya Nritya which came to be known as Garba.

It is a popular belief that Raas nritya was performed by Lord Krishna with Gopikas in Vrindavan on the night of Sharad Poornima. The main feature of Raas is dancing in a circle by men and women, to the accompaniment of musical instruments and keeping time either by clapping or beating of two sticks. The Dandia variety of the Raas nritya is very energetic form widely popular amongst the youth and occupies a very prominent place in the Navaratri festivities. While Garba is performed before aarti as devotional performances in the honour of the Goddess, dandiya is performed after, as a part of merriment. Also known as ‘Stick dance’ as performers use a pair of colorfully decorated sticks a props, the circular movements of Dandiya Raas are slightly complex than that of Garba.

 The Dandiya also has significance as it is nicknamed ‘The Sword Dance’. The sticks of the dance represent the sword of Durga. This dance portrays a mock-fight between the Goddess and Mahishasura. The women wear traditional dresses such as colorful embroidered choli, ghagra and bandhani dupattas dazzling with mirror work and heavy jewellery and men wear special turbans and kedias.

Another special feature during the Navaratri is Jagrata. Jagran is derived from the Sanskrit word ‘Jaagar’ meaning awake or a state of alertness. This refers to the period of wakefulness at night. The practice of Bhagwati Jagran or Jagrata by the devotees is observed all through the night amidst chanting of prayers, reciting shloks and singing traditional songs. The Divine Mother is invoked by singing aloud devotional songs and is invited to grace the gathering with her presence.

In Raipur the Navaratri festival is being celebrated with revelry. The idols of Durga in her myraid forms of Kamakshi, Mahalakshmi, Mahishasura Mardini, Parvati, have been placed at various places with due respect and devotion. The celebrations are marked with an increased number of Garba and Dandia raas organized on a grand scale by various committees sponsored by the leading newspapers and media. To name a few are the ones organized in Satti Bazaar, Gras Memorial Ground, Samata Colony, Sunder Nagar, Gujarati Bhavan, Patidar Bhavan which have received a huge response by the young and elderly alike.

While the whole city is vibrant with the worship of Shakti, the Creatrix energy of the Universe, few questions raise before us at the same time. Nowadays crime and atrocities against women are on the rampant, the elderly are neglected in their old age, and youth suicide cases are a cause of deep concern. Time immemorial woman has been the saga of tears and has borne injustice in silence. Gandhiji’s clarion call made the society accept the untouchables and equal rights in the society were given to them. Now in the 21^st century women are not allowed inside the inner sanctum of temple where the Divine Mother is worshipped. Why is it so? Are women considered untouchables? Woman who is created in the image of the Divine Mother, who will decide her right to enter the temple sanctorum?

Likewise when the Divine Mother is envisaged in every relation of a Mother, Sister, Wife, Friend, Colleague, Partner only then will all these celebrations prove their worth. In the words of Mahatma Gandhi -It’s only when the women can walk fearlessly the streets at midnight will we have attained true freedom!

Lalita Dwadashi 
above article was published in Hitavada 4.10.11