Saurashtra's dance forms

Rasa

A form of dance which is supposed to belong to Kutch and Suarashtra is performed all over Gujarat. The rasa traditions are as old as the Puranic period. In various parts of the country, Rasa are danced in different manners. The main feature of Rasa is dancing in a circle by men and woman, to the accompaniment of musical instruments and keeping time either by clapping or beating of two sticks. The number of dancers go from 8,16, 32 up to 64 couples, who also sing the song. There are three varieties of Rasaka described.

Danda Rasaka-Rasa dance where Danda or sticks are used.

Mandala or Tala Rasaka-Rasa dance where clapping is used.

Lata Rasaka-Rasa dance where dancers cling to each other and dance like a creeper to a tree.

Most of the art traditions of Gujarat trace their origin to the mythological times of Lord Krishna. He is said to have been an exponent of art of dancing. Raas Nritya is a form of dance performed by lord Krishna with Gopikas. The Dandia variety of the Raas Nritya of Gujarat is generally performed by a group of youthful persons, both males and females, who move in circles to measured steps, beating time with small sticks (called dandia) singing to the accompaniment of Dhol, Cymbals, Zanz, flute or Shehnai. When the time beat is given by the clapping of palms and performed males or femals, it is called Garbi.

The Gof variety of the raas is an intricate performance wherein the performers holding coloured strings attached to a top, move in circles weaving and unweaving different patterns.

The Mers of Saurashtra are known for their folk dance called the Mer Raas. White shepherds perform what is called the Gher Raas. The Gheria Raas is a dance performed by the agriculturists of south Gujarat.

All these dance forms preserved by hundreds of years, though not having any contact with their homeland by Tamil Nadu Sourashtra community's people migraters from Saurashtra.  A small variation in dance name is found comparing with above name to Tamil Nadu's Sourashtra language.

More at : http://www.webindia123.com/gujarat/ARTS/dance.htm

Atharva Veda speaks about Sourashtra Land

Aatharva Veda

     A book released by Sri Buvaneswari temple, Pudukottai on the occassion of Sri Bhakala Mukhi Gayathri samputita Brahmastra Swarupini Sri Bhakala mukhi Yagna.  This book narrates the Avatar of Godess Bhakala mukhi.

" अत वक्ष्यामि देवेशि भकलोत्पत्ति कारणं

पुरा किरुथयुगेदेवि वातक्षोब उपस्तिते

चराचर विनाशाय विष्णु चिन्तापर

तपस्यायसा संथुष्ट महातिरिपुर सुन्दरी

हर्थ्राग्यं सरो दृष्ट्वा जलक्रीदपरायणा

महाबीथः रतास्यान्ते सौराष्ट्रे भकलांबिके

स्रिविद्य संबवं तेजः विज्रुम्बति इतस्थ :

चतुर्तासि भोउमयुता.........

तस्यामे वार्थ राथ्रोउतु भीतःअरतनिवासिनि

ब्रह्मास्त्र विद्या संज्ञात थ्रिअलोग्य स्तंबिनि परा "

These above details found in Sankayana rishi tantra, and Bhakala mukhi Kavacham.  In these slokas, " On the PraLaya time, when earth covered with full of sea water, Infant Lord Hari sleeps on a floting leaf on sea water.  Thus the infant affraid with big waves of sea, the mother came as avatar on thursday night, at a pond of yellow water situated at Sourashtra.  She sung a lullaby for Lord Infant Hari and she make the sea stable.
She is called as mother with Stable Power (Stambanam).

From the above book's passage, it is evidenced that Atharva Veda describes Sourashtra desam.  After her avatar, the violant waves of sea and violant air became calm and Infant Lord Hari got relief from fear and starts to play and laugh.  She was called as "Brammastra rupiNi "

Indian Politics of Ancient Sourashtra Nation

ஐம்பத்தாறு தேசங்களின் அக்கால அரசியல் நிலவரங்களை கூறும் "புராதன இந்தியாவில் அரசியல்" என்ற புஸ்தகம் பொன்கொடி பதிப்பகம் சென்னை முதல் பதிப்பு 2000  இல் சௌராஷ்டிரா தேச அரசியல் நிலைமைகளை கூறி உள்ளது.  புராதன காலம் எனில் முஸ்லிம்கள் படையெடுத்து வந்து நிலை பெற்றதற்கு முந்தி இருந்த இந்தியாவை குறிப்பதாகும்.  இதனை புராதன இந்தியாவின் முற்பகுதி, பிற்பகுதி என்றும் இரண்டாகப் பிரிக்கலாம்.  அலக்ஸாண்டர் படைஎடுப்போடு முற்பகுதி நிறைவு பெறுகிறது.  அந்த முற்றுப் பெற்ற நிலையில் இருந்து தொடக்கி முஸ்லிம்கள் ஆதிக்கங்    கொள்ள  ஆரம்பித்தது வரை, கி. பி. பன்னிரண்டாம் நுற்றாண்டு வரை பிற்பகுதி என்று பிரித்து உள்ளார் நூலசிரியர்    சுவாமிநாத சர்மா.  இதில் சௌராஷ்டிரா தேச அரசியல் நிலவரம் பற்றி கூறுவதாவது :

" காம்போஜர், சுராஷ்டிரர் ராஜ்யங்கள் :  இந்த இரண்டு ராஜ்யங்களிலும், பிரஜைகளனைவரும் ராணுவப் பயிற்சி பெறவேண்டும் என்ற கட்டாயம் இருந்தாதகத் தெரிகிறது.  அதாவது பிரஜைகளெல்லோரும் போர்வீரர்களாயிருந்தார்கள் .  இதனால் இவர்கள் விவசாயத்தையோ    மற்ற தொழில்களையோ  புறக்கணித்து விடவில்லை.  அவற்றிலும் வல்லவர்களாகயிருந்தார்கள்.  இவர்களுடைய ராஜ்யத்தில் செல்வம் கொழித்து இருந்தது என்பதை நாம் சொல்லத் தேவை இல்லை.  "

உலகின் முதல் செயற்கை ஏரி - சௌராஷ்ட்ரத்தின்    சுதர்சனம் பற்றிய விவரங்களும், ஐம்பத்தாறு தேசங்களுள் ஒன்பதாவதாகவும்; சௌராஷ்டிரா தேசம் இப் புத்தகத்தில் குறிப்பிடப்பட்டுள்ளது.

Shakti Peeta of Saurashtra desi

51 Shakti Peethas

In Satya Yuga, Daksha performed a yagna with a desire of taking revenge on Lord Shiva. was angry because his daughter Sati had married Shiva against his wishes. Daksha invited all the deities to the yagna except for Shiva and Sati. The fact that she was not invited did not deter Sati from attending the yagna. But Sati, being an uninvited guest, was not given any respect. Furthermore, Daksha insulted Shiva. Sati was unable to bear her father’s insults toward her husband, so she committed suicide by jumping into the pyre. When Lord Shiva heard about her death he became furious. He went to the place where Daksha was performing his yagna and destroyed the area. Daksha was killed by Shiva’s ganas. Daksha


Lord Shiva then carried Sati’s body all over the world in a state of wild grief. At the request of all other gods, Lord Vishnu severed Sati’s body into 51 pieces with his Sudarshan Chakra, so that Lord Shiva could return to his sanity and once again take up his duties. Various parts of Sati’s body fell at different places which became known as Shakti Peethas. At all Shakti Peethas, the Goddess Shakti is accompanied by Lord Bhairava (a manifestation of Lord Shiva).

These Shakti Peetas are belongs to very old age and many shakti peetas forgotten or many shakti peetas in same name in various places.  On of the shakti peeta of Sati devi's thoracic body part fall at Somnath, Veraval, Saurashtra.  This is considered as the Eigth consonant letter / akshar of Sanskrit / sourashta language.  By order of Kanchi Kamakoti Sankaracharya Sri Chandrasekara saraswathi swami, a research made on 51 shakti peetas.  Finally, Vikatan prasuram (Ananda Vikatan weekly) the author Nagaraja wrote briefly of 51 akshar shakti peetas. 
 
     He wrote that " the Jaya @ Bhogada Devi peetam of Somnath, Sourashtra region is unforgettable by history ".  In the Somnath mandir premises, the Jaya Devi's Shakti peetam found.   The sanskrit book " Chitta Sabara tantram" narrats her idol as :
 

जो बोगता हिरक्तास्यात त्रिनेत्रा सिंहवाहना .

चाथुर्भुजा कडक केड वराभय करान्विता

 

     She is as red as blood, with three eyes, four hands.  She called in Saiva sect.  as ' Chaturana '  In Vaishnava sect. ' Sheeli '  In Saktha sect. ' Stirakala ' and in our body she placed Left Wrist and she born from victory, and called as Jayantha and Japa.  The book "Mathruka Nikandu" describes the above.

      This peetam called as ' Mathureswarm' by Meru tantram book and other books called this peetams place as Prabhas Patan. 
 
    From this temple, if we move southwards, we can reach southpole.  No other land in south side from this temple.   This shakti called ' Chandrabhaha devi '. 
 
     In this sacred place Lord Krishna came with citizens of Dwaraka kingdom, to observe last days of their life.  Lord Krishna from here throw away his body and went His abode Vaikundam.  This place was called as ' Dehotsarg'. 

BANDHANI-SILK-SAREES - Tradition Weaving of Saurashtra & Rajastan

BANDHANI

BANDHANI = A TECHNIQUE = TIE -DIE = TIE+DIE -> DIE IS A cast ..

BANDHANI – CALLED AS INDIAN-SHIBORI – BY THE JAP s has origins in ajanata and rajasthan -

bandhani =cool and famous – and popular and beautiful attire, especially for white-females and that too ISARELI.
 

NOW, SINCE ->Bandhani is a technique of tie and dye -> involves two stages:

[A] tye sections of a length of cloth (silk or cotton)
[B] Dump/pour the cloth in gobs of color
The rainbow-tinged turbans of the Rajputs and the odhnis of their women are shaded by this method of resist dyeing.

ETYMOLOGY OF BANDHANI :

“bandhani” = A NAME => hindi word Bandhan => means -> TIE THEM UP .

Bandhani is an ancient art practised by people mainly of Rajasthan and Saurashtra Gujarat.
Jaipur, Udaipur, Bikaner and Ajmer and Jamnagar are among the important centres producing odhnis, saris and turbans in bandhani.

With the use of blocks dipped in geru, a red mud color. The cloth is than pinched with the left hand, one knot follows another, using the same thread.

After the section which are to be retained in the background color had been tied, the dying is repeated and the process of tying is cried out.

The fabric is gradually dyed to the final dark color, which is either a brilliant red, purple, dark green a deep ultramarine blue or black. It is contrasting color border is to be created than the body of the saree is tied with the thick threads and then covered with a plastic sheet, which is tied firmly with thick threads.

The border is then dipped in another shade. This is the traditional technique for tying and dyeing, which is followed, in all the important centers of Saurashtra and Kutch of Gujarat and also in Rajasthan.

Rajasthan, which has developed a different range of colors, has mastered another technique in which the background is in light color while the patterns are in dark colors.

The red chundari, which is used as a veil by young married women in rural areas, is never dyed in fast colors bandhanis.

Kutch produces the finest bandhanis in India. Mandvi and Bhuj are important bandhani producing centers. The Khatri community of dyers are known for their fine quality of work. They control the trade and the craft, purchasing and processing the material themselves. The dress of the Khatri women, the aba, a long chemise, carries the finest bandhani.

It is tied and dyed at the neck, the side openings, the lover border and the sleeves. The end of the salwar and matching ordhnis are also worked with tie and die designs. The finest work is done on the wedding dress, which is enriched, with silver and gold thread embroidery.

Bandhani technique is worked in north Bihar to create bold patterns in single color. The same technique is also used at Madurai in Tamil Nadu for the production of Sungadhi sarees. These are made by a group of people who originally came from Saurashtra, but later shelted in the area. It was considered essential to wear a tie and dye saree at the time of marriage.
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Patan Patola :

Gujarat in western India is home to one of the famous "Ikat" tradition called "Patan Patola".

India has a rich and ancient heritage in fine textiles.Patola from the area of patan in North Gujarat Region of western india glorifies this heritage. With its unique gem like qualities, colors and designs.The peculiar quality has its origins in a very intricate and difficult technique of Tie dying known as "Bandhani Process" on the wrap and weft separately before weaving. Before world war-II Indonesia was major buyer of Patolas. Historically the art of Double Ikat patola weaving dates back to centuries.Paintings in ajanta caves resemble the tie-dye technique of patola. Legend indicates that sometimes in the 12th century AD, King Kumarpal of solanki dynasty invited 700 families of patola weavers from Jalna (South Maharashtra) to settle down in Patan.

Materials Used :

Traditionally pure silk and natural dyes were used. Since about last 100 years, tradition had given way to the use of fast to bleach and easy to dye chemical colours (dyes). Therefore the use of natural dyes in Patola is discontinued. But since last twenty years again the importance to use of vegetable dyes became the consideration of its eco-friendliness and to maintain the tradition of old natural dyes in Patola.

We have made many experiments and researches in redeveloping the old indigenous process of using vegetable ingredients to obtain different shades which are fast to bleach and sober and pleasing to eyes. The re-introduced, vegetable materials are: Turmeric, Marigold Flower, Onion Skin, Pomegranate rinds, Madder, Lac, Catechu, Cochineal, Indigo along with different mordant like alum, tinchloride, ferrous sulphate, copper sulphate, Tennic Acid, Oxalic Acid, Potassium Dichromate etc.

Dewelling on the fast colour of the patola, a Gujarat poet wrote; "Padi patole bhat faatey pan phite nahin" meaning the design laid down in the patola may be torn, but it shall never fade.

Salvi family is one of them who has continued this traditional art and has preserved it even today. This is our heritage art from four generations.

Master Weavers of Salvi Family :
Mr. Chhotalal M. Salvi
Mrs. Niranjana C. Salvi

Mr. Vinayak K. Salvi

Mrs. Vinita V. Salvi

Mr. Nipul V. Salvi

Mr. Rahul V. Salvi

Mr. Rohit K. Salvi
Mr. Bharat K. Salvi
Mrs. Kalpana B. Salvi
Mr. Kantilal L. Salvi
Mrs Sharada K. Salvi
For more information visit to : http://www.patanpatola.com/

NOTE : Please note that the Surname Salvi.  The word Salvi pronounced by Salem Tamil Nadu's dialect Sourashtra people exact as in Gujrat.  Whereas in Madurai, Tamil Nadu's dialect the word pronounced as Savli. Both Salem and Madurai Sourashtra people migrated from thousands year before to South India.

Folk Dance of Sourashtra ‘ koNangi ‘

Dance of Sourashtra ‘ koNangi ‘ ( கொணங்கி3 )   

Performance at Thirumalai Thirupathi Devasthanam by Sourashtra koNangi group

Each year when Ramanavami falls, a eleven day long celebration held to remember Lord. Rama and praising him with bhajan songs.

In Salem the a folk-dance celebrations performed at Panduranga Bhajana mhatam, Yekadasi bhajana mhatam, Saliar Street School, Sourashtra Krishnan koil and Panduranga temple of shevapet. The dance performed by our bhavtuls and koNangi ( கொணங்கி3 ) dancers. In olden days many groups of bhavtul and dancers available.


Today at 2010 only one group remaining. The celebration usually starts at night 8.00 p.m. Starts from one hour bhajan and then koNangi dance. Circling a light called ‘ Thandili divo ‘ the dancers used to dance dance according to song theme. The bhavtuls sings many songs on Lord Ramas life adventure and morals. Also one or two Dandi natan (Kolattam) the perform with songs.


The ship riding of Guha on River Ganga, is a very special song. The dancers, hanged a miniature of ship on a rope and moves to and fro. Dancers move with ship as it moves with homorous movings. The ship song describes not only sailing and how a human life goes towards God.

Each theme dance having a song and a humorous movements. Thus it attracts all category of people. All the songs describes one by one incidents of entire Ramayana ie. the Whole story of Lord Rama.

But a interesting thing is there ! It is about the Dance ” When and how it developed ? ” A narrative dance with humorous movement.?

Well… It was at the time of Lord Krishna.. Kamsa the demon King sent a demon called ‘ Danta vakra ‘ to kill Krishna. Lord Krishna, attacked him with his Sudarshan chakra. The demon catched the Chakra-weapon by his big teeths. Chakra eapon is now on demon’s mouth but neither he is able to release that nor krishna can pluck from his mouth. Because, if demon opens his mouth the Chakra-weapon cuts his mouth. So the demon had a strong byte on the chakra and not able to release. Lord krishna knows that, only Chakra-weapon able kill the demon. So he started to play a tricky way humorous dance in front of the demon. Some time after the dance started, the humorous movement of Lord Krishna’s makes him laughter. He started laugh. The the Chakra-weapon released from his mough and killed the demon.

In remember of this incident, dancing with humorous movement is performed for long time by our people. All koNangi dance peace is in a unique way of humorous movement describes the life of Rama ! A programme of nine day dance and on tenth day called ‘ Vasanth ‘. On ‘ Vasanth ‘ day all bhavtul, (Singers) and koNangi dancers, childrens rally on every streets, areas to collect bath-oil and bath-powder (Sikaai, ushlam bhurgo, tel )and reach the mhatam and take holy bath. Then a day longer bhajan songs (Praising of God) continues till the eleventh day morning ! On eleventh day the end of koNangi – Ramanavami folk dance .

At the end of this dance, all are dreams about on coming one day celebration of Lord Krishna’s birthday (Janmashtami, Gokulashtami ) and Vittul – the adventure game performed after krishna’s birthday and engaging themself in livelyhood duties.

koNangi - Sourashtra folk dance

Vittingi - Rotating game of girls

விட்டிங்கி3

விட்டிங்கி3 - என்று சௌராஷ்டிர சிறுமிகள் முதல் பெண்கள் வரை விளையாடும் ஒரு நடனம் போன்ற விளையாட்டு உண்டு. இவ் விளையாட்டிற்கு விட்டிங்கி3 என்று சௌராஷ்டிர மொழியில் கூறுவர்.

 

எதிர் எதிரே நிற்கும் இருவர் தங்களின் கைகளை வலது கையை எதிரே நிற்பவரின் இடது கைக்கும், இடது கையை எதிரே நிற்பவரின் வலது கைக்குமாக கை குலுக்குவது போல் பிடித்துக் கொள்வர். பின் வேகமாக கையை ஒருவருக் கொருவர் எழுதபடி சுழலுவர். சுழலும் பொது அப்படியே பின் நோக்கி குனிவர். இந்த நடனம் போன்ற விளையாட்டின் பொது பல சௌராஷ்டிர பாடல்கள் பாடுவர்.

என் சிறு வயதில் பார்த்த ஞாபகம் இன்னும் இருக்கிறது. அப்போதே எந்த சௌராஷ்டிர பாடல்களும் முழுமையாக எவருக்கும் நினைவில் இல்லை. எனவே ' தி கோனே?, தி கோனே? ' என்று நினைவு படுத்தி சில வரிகள் நாணி கோணிக் கொண்டு பாடுவர். தற்போது எனக்கு அந்த பாடல்கள் எதுவும் நினைவு இல்லை. எனினும் அந்த விட்டிங்கி என்ற விளையாட்டு நம்மிடம் இருந்தது என்பதை நினைவு கூற எழுதுகிறேன்.

Vittingi is generally popular with the younger girls. They form pairs and then the two girls of each pair stand opposite each other holding each other's hands crosswise. Then they lift their heels and swing round and round on their toes. The movements gets faster and faster, the upper part of the body bends backward and the arms remain fully stretched. As the spinning gathers momentum, it creates an ecstasy and the girls go on and on till they reach the point of exhaustion. Even though they move very fast, they are very careful to maintain rhythm and keep singing various kinds of songs about the mother, the father, the brother, the mother-in-law and about various incidents connected with daily life.