There are two types of garba.
(1) Ancient pride (2) Modern pride
(1) Ancient Pride:
Ancient pride shines through folk music, folk music and folk dance. This dance needs to have rhythm and rhythm with the same speed, the same posture, the same rhythm, the same clapping of hands and the movement of hands. In ancient Garba, there is a special vibrancy of the slope of the slope, of the firat, the loudness of the vocals of the singer and the zilnar and the sound of a similar clap. There is a heartfelt mix of song, rhythm, melody and rhythm. The body and mind wandering in poverty, immersed in the song with joy and exhilaration, immersed in the melody, rhythm and rhythm, endlessly, wandering around, singing and dancing. It is called Talirasak or Mandalrasak, when women, men or women go round and round in a circular dance with only the clapping of their feet. Which is a type of hallucination. According to the book “Abhinaya Darpan”, Parvatiji taught lasya to Usha, the daughter of Banasur, Usha taught the gopis of Dwarka and the gopis of Dwarka taught the women of Saurashtra and thus lasya dance has traditionally become popular in folk life Removed men from it because if there are single women then lasya will be presented with special elegance, elegance and beauty. Tal, tali, chapati, lachak, thes, lasya and circular tali are the main organs of rasa. 9
One should be proud of Garba. In which the traditional ideal pride has been given an idea of how to sing and play.
Garba has one clap, two claps, three claps and clap, along with several types of chapatina ne sandhormi. Different types of clapping, pinching and kicking give it rhythm and rhythm. So there is no need for a tiger. Zazo has no room for musicians. The dance is complete round. Sometimes a knit of four, sometimes a knit of a bulb, sometimes a circle formed in a semicircle. Thus demonstrating its autonomy in various dance forms. While maintaining the circular form of this folk dance, the composition of its entry and departure is created by various rhythms, words and thoughts arising from it. Such an entry is not seen in any folk dance of the departing world. Garba has maintained its leading position for some time through various compositions of clapping and pinching. In ancient Garba, clapping is the main thing. In addition
With more than one Beda, Garbi, Mandwadi, Diwa, Divadi, Dandiya, Manjira, with various angmarod, there is variety of movement and singing.
The biggest uniqueness of Taliras is its rhythm. This is a dance based only on rhythm. It has no restrictions other than rhythm. The letter that falls above the main weight of the letter is always considered to be even. Sam is the main place where the rhythm is held on one of the contracts in each rhythm. The rhythm of the songs in folk dance is different from the rhythm of its rhythm. Often a syllable is used instead of a song or rhythm. It reveals the classical nature of folk music. The rhythm of the people comes from his action. Even after the oath, Garba, Rasada begins. The force used in the rhythm is used even after swearing. The rhythms of the people are based on the scriptures that cannot be accepted. Then the folk have three, four rhythms. The chords sung in Taliras can be delayed, middle and fast. One of the songs is usually taken in the middle and then in the kutalaya after the first delay while roaming in Taliras.
Content of Ancient Garba:
Ancient folklore, folk garba, folk songs or works of poets up to Dayaram are included in the ancient garba. The theme of the ancient garbas is devotional. The adoration of Shakti, the greens of Lord Krishna as well as the songs that touch the folk life of the common people can be sung easily by the general public.
(2) Modern Pride:
Considering man’s natural instincts, he has basically been one, yet his life’s ideals, his way of life, have changed over time. In the same way, the art forms associated with human beings remain basically the same, yet it is natural for their contexts to change.
From the square of the courtyard of the village house, Garbo came to the stage with the development of urban culture. The courtyard, the street, and the theater આ these three stages, which can be shown by finger-pointing, provide an indication of how Garbo has been going through the process of time. The house came to the street from the courtyard square. This is the first stage of Garba’s journey. The yard is left and yet not left because even in the street there was someone in the yard. From the very beginning, pride like a shared property has been moving from one yard to another, from one street to another and keeping pace with its internal dynamics.
Garbo did not come to the theater overnight from the street. Here now is the city street in front of the eye when we talk about the street. Garba, who sang in this street, had a unique personality. Someone’s good voice makes you proud, and other women sneer at you. There was apparently no arrangement in this. Garbo associated with a woman’s blood
Everyone knows that way. Anayase automatically formed a circle, no effort. There was no consciousness of doing anything unprecedented. Pride has been invented as an instinct. ‘
The place of applause in folk music was replaced by the stage of the theater. This resulted in the creation of creative modern pride. The brilliant art of Sorathi theater like Vaghji Asharam introduced the Garba-Rasada experiment on the stage to attract the audience and show innovation in drama. There was a good response from the audience, then other drama companies included Garba in their plays. In this way, the latest pride has emerged in the theater.
Girls became students of classical music in girls ‘schools, schools and colleges which promoted girls’ education. A new departure has started for the girls educated with the classical music to sing the songs of pure raga in Garba. As a result, a new type of garba came into existence, singing pure raga songs. It was known as Arvachin Garba.
Shri Nandkumar Pathak writes about the composition of Arvachin Garba that, in spite of being an ancient subject in terms of composition, there should be a new approach to the subject, not a religious spirit but a poetic spirit behind the composition, new ideas, symbols, ornaments.
Someone touches a tender feeling, a ring of a subtle feeling, a flash of a beautiful thought and all this goes through the creative process and takes shape and instinctively beautiful lyric pride is created. These symptoms are more pronounced in modern Garba. The elements of urmikavyo are heavy in it.
Arvachin Garbo is a dance of instinctive elegance, sweetness and creative beauty. The musician has a big responsibility in the recent Garba. In the recent Garba, Kalabhavana has become more prestigious than Dharmabhavana. Arvachin Garbo being an intelligent creative dance, it does not have bliss, it does not have continuity, it becomes creation. Arvachin Garbo does not become a classical dance with classical raga, tal, sargam, tan, but Arvachin Garbo is a creative dance form derived from labor. The modern Garba of Gujarat and Saurashtra are separated. There are regional differences. Everyone’s personal point of view is different as the process of reading Garba is creative. So everyone’s artwork looks different. Since special importance is given to the pleasure of the audience rather than the pleasure, there are constant experiments to make the new Garba artistic and heart touching.
The women gradually formed congregations to encourage Garba activity. Due to these congregations, some arrangements were made with Garba, externally Garba was specially equipped