Now this is an idea whose time has come! Recently some one left a messege wanting me to advise them about starting a Raas competition in U.K.
I can talk about Raas in UK since I personally have seen Raas Garba in Lester (I mean Leicester) and I know two musicians who frequently do Garba programs in UK (Leicester and Liverpool). I cannot talk about how to start a competition unless I know what type of competition. If it is something similar to what we do here in USA for colleges, I think there are far more qualified people in "desidanceteams.com" web site, where I frequently contribute under title of Raazmaster (a name they assigned to me). Ask Freaks or other people who post frequently. Call GWA (Garba with attitude) or Maryland Masti or Dandia dhamaka.
If you are looking for some ideas about a more general competition, I will give you a mouthful. I would say write to me (Raazmaster) at desidance team website or send me your e mail on this blog (I will not publish it). this would be a very long topic.
I will take this opportunity to comment about Leicester Garba done by Sona Rupa people. They have a small place and getting a "pass" to get in is not easy. Last time I went there Asheet and Hema Desai were singing with a Shehnai player, and total of 12 people on the stage. NOT A SINGLE ELCTRONIC INSTRUMENT. NOT A SINGLE DRUM SET. Mr. Mattani was singing along with the Desais and their son, who now goes to Liverpool with his own group.
Participants were required to follow traditional steps and wear traditional clothes. No open abck blouses for women. I was told that if they did not followed the rules they would be politely but firmly asked once. Then they would be forced to leave. Aarti was done with a variety of songs. There was a 20 minute Raas just for children. I have never had such a great experience in India (except for 1960's in India and now when we have private garba with my musician friends in Baroda).
I hope U.K. does a traditional competition. I am ready to help. For air fare and a bottle of good British port wine or whatever they make, I will come there in person!
Monday, June 2, 2008
Tuesday, May 20, 2008
"Sticking of the tongue"
I never said anything about relevance to the theme. My point is that sticking out your tongue is a gesture to ward off evil spirits in some Polynesian cultures, but in context of Raas it would be and should be considered an obscene gesture, and most judges that have any understanding of traditional Raas would take off points for that just as they would for using Hindi Bollywood songs (as UCLA did in 2007). I do understand their reason for using it, but I think it goes to show their lack of understanding of the basic traditions.
Sunday, April 27, 2008
Now that it is over 2008
I view the 2007-2008 historical Raas season (for me) with a great deal of satisfaction. Both our children participated in BOB and won. My wife, who is a dancer is particularly pleased because of the level of dedication that is evident.
I was pleased to see how professional BOB was at running their program. I was pleased to see how participants interacted. I was even pleased that I found a Taco Bell in downtown Chicago without getting mugged or getting a ticket.
My usual tirade about GWA also came true. I got to view all the videos of MM, DD, attended GWA, and Dallas R2B2.and some from Garden state. Things are changing fast. I hope that BOB is judged the same way next year as this may lead to more uniformity in what wins and what does not. I personally do not like the idea of "viewers choice' as it becomes a matter of how loud someone can scream or how many SMS can be sent in a short time by a team and its well wishers.
I could not go out "on the limb" this year as my daughter was participating in BOB but I did feel that it was between NYU and BU, but it was obvious that BU out shined when the dust was settled. I was vindicated about my rantings on Desidanceteam.com bulletin boards about GWA winner not winning BOB.
I wish all of you the best and Ihope that you will stay involved with Raas.
I was pleased to see how professional BOB was at running their program. I was pleased to see how participants interacted. I was even pleased that I found a Taco Bell in downtown Chicago without getting mugged or getting a ticket.
My usual tirade about GWA also came true. I got to view all the videos of MM, DD, attended GWA, and Dallas R2B2.and some from Garden state. Things are changing fast. I hope that BOB is judged the same way next year as this may lead to more uniformity in what wins and what does not. I personally do not like the idea of "viewers choice' as it becomes a matter of how loud someone can scream or how many SMS can be sent in a short time by a team and its well wishers.
I could not go out "on the limb" this year as my daughter was participating in BOB but I did feel that it was between NYU and BU, but it was obvious that BU out shined when the dust was settled. I was vindicated about my rantings on Desidanceteam.com bulletin boards about GWA winner not winning BOB.
I wish all of you the best and Ihope that you will stay involved with Raas.
History of American Raas
Like any folk dance form, American Raas changed as it moved from India to USA, especially from Saurashtra to Gujrat to USA via Mumbai. The male domination of the Raas scene went through a subtle change. Most men who migrated in 60’s and seventies from Gujrat did not know how to perform Raas. If they did know, they did not know it well enough except for the basic steps. Most were incapable of teaching anyone, but having married women who went to colleges in Baroda and Ahmedabad, they brought young women to this country who had learned something about Raas and a great deal about Garba. When these women became “aunties” and started teaching their children or children in their towns, the seeds of American Raas were sawn. In mid and late eighties one started seeing Raas teams of some substance showing up at FOGANA meets with good energy. Many were disqualified if they did not keep circles or if they borrowed from Gujrati movies. Raas took a back seat on the FOGANA. Garba and innovative folk dances were the staple where as Raas was in the junior or minor category. U.T Austin team performed on a sort of “mix in early ninties” in traditional style and won first prize but they were choreographed by a seasoned FOGANA choreographer. They could not hide their energy but they were restricted to traditional moves and formations. They one first prize and this was probably the origin of what I refer to American Raas in competitive form.
Characteristics of American Raas:
1 Music: As some one who has managed to create music for last two winning items at BOB, “freaks” readily admits that his roots are not from Gujrat and that he has extensive background of hip hop. He is obsessed with the “native steps” of raas seen at local Navratri festivals. He is fascinated by the whole music form. In some ways American Raas does not acknowledge two important aspects of traditional Raas; variation in music and “Lasya” (sensual grace). It goes more for the “gusto”, the energy and virility that raas is famous for. This is partly because almost all the music used for remixes comes from cd’s and tapes made by a handful of artists with very strong rhythm, mostly of “non sto” variety where indivisual song is sacrificed in favor of the over all tempo and rhythm. A sa result the Raas remix becomes a “non stop” on steroids. Often additional pieces from Bollywood and other genre are thrown in. No one dares to do anything slow. At the manifest level the concern is that the audience will not appreciate slow dancing, but at another level there appears to be a strong need to deny anything “slow” that remotely resembles the taste of the parents of college student who perform American Raas. Total number of songs used between most teams are probably no more than 100 or 200. Rarely do you hear a song that has not been used elsewhere. Songs take a back seat but rhythm does not as it is the universal language. There is little connection between the meaning of the songs and actions. If the Raas involves a theme, the theme does not match the content of the song. Words serve as a background. Tempo rhythm and visual images take the fore stage.
I will be the first one to admit and to some extent predict that the music will change in next few years. I am quoting a participant and a mix maker; “It's like going to a dance club and the DJ makes a solid transition with the music, but you still keep on dancing without any interruption. Also Tempo of the music is very important because that sets the pace of the team's dance. You have to find a unique way to go from Slow to Fast or Fast to Slow, I think it's called the Breakdown beat or Prep beat. I use it to switch up the music.”
I hope that Bollywood will stay out of this form altogether although the Gujrati movie music has already entered the American Raas (Odhni Odhu Odhu Ne Udi Jay is one such number, although we do not hear it as often lately). Use of Live Dhol has been tried. Recently we have seen live singing (probably borrowed from Bhangra) but it would not surprise me if these innovations flourish further, although I have to say that most live music I have heard is minimalist at best, done by players and singers who cannot create the variations and intensity that well recorded and remixed music does.
Participants: Most college age girls seem to initiate the team activities. It is often hard to find guys on college campus who have time or interest in Raas. Most team captains are young women who have learned some thing from a local teacher from there home town, although there are exceptions such as the choreographer of 2005 GW team who was from Lahore And had no experience and persons who do not know the language but have special talent at mixing music or understanding the dance process.
Choreography: While many of the basic Raas steps can still be visible from the past, many non Gujrati steps have also been added often. The high stepping and keeping Dandia by the side of the shoulders, stunts, pyramids and use of non round formations are more typical of American Raas. Squares are often used just like the cheer leaders and Bhangra teams would use. Skipping is some what limited. Dandia twirling is a norm and more variations of twirling are evident although the type of “double twirling” that was seen in Saurashtra is not yet evident.
What really differentiates this form is the fact that these dances are for indoor performance on a stage. Props and lights are getting more importance, some times at the expense of the basic solid choreography. Audiances like stunts, and stories although original Raas had three stories; Krishina/love, Godess Ambika and praise of a warrior or a person. American Raas is not thus limited. Themes can wary from Lord Krishna stealing Dandia (Rutgers played to pink panther music) star wars and Disney to rice farming. Lack of continuity of music is often compensated by having a theme but the theme and the wordings of the music do not match as most participants seem to see the wordings as a backdrop. There is historical evidence to support this. Back in the old days Raas was danced to a Dhol or two. Wordings may appear here and there. If you go to a village fair and see Raas being done, there was not much singing. There were no microphones, Rhythm carried the dance.
Competitions: Teams are college level teams and numerous new competitions have started across the country in last three years. National competition is still part of a comprehensive competition, BOB (Best of Best).
Future: American Raas has a bright future. Students who performed and graduated are still trying to stay involved. New forms such as Sanedo are added very quickly. Priority of theme versus stunts versus formations versus other aspects is being worked out. To quote one enthusiastic ex choreographer and music mix maker: “Personally, I want to see more of slow graceful garba because I think these teams can do so much. I think slow garba is harder than fast tempo garba/raas. You can be really creative on garba then at raas. When I went to GWA, the only thing that was entertaining was the garba. I'm still a student at garba/raas dancing, and I want teams to look deeper into this culture because I've been hearing a lot of stuff that this style has more to offer. I think people should know the history of American Raas.”
Luckily the current generation is very busy making this history.
Characteristics of American Raas:
1 Music: As some one who has managed to create music for last two winning items at BOB, “freaks” readily admits that his roots are not from Gujrat and that he has extensive background of hip hop. He is obsessed with the “native steps” of raas seen at local Navratri festivals. He is fascinated by the whole music form. In some ways American Raas does not acknowledge two important aspects of traditional Raas; variation in music and “Lasya” (sensual grace). It goes more for the “gusto”, the energy and virility that raas is famous for. This is partly because almost all the music used for remixes comes from cd’s and tapes made by a handful of artists with very strong rhythm, mostly of “non sto” variety where indivisual song is sacrificed in favor of the over all tempo and rhythm. A sa result the Raas remix becomes a “non stop” on steroids. Often additional pieces from Bollywood and other genre are thrown in. No one dares to do anything slow. At the manifest level the concern is that the audience will not appreciate slow dancing, but at another level there appears to be a strong need to deny anything “slow” that remotely resembles the taste of the parents of college student who perform American Raas. Total number of songs used between most teams are probably no more than 100 or 200. Rarely do you hear a song that has not been used elsewhere. Songs take a back seat but rhythm does not as it is the universal language. There is little connection between the meaning of the songs and actions. If the Raas involves a theme, the theme does not match the content of the song. Words serve as a background. Tempo rhythm and visual images take the fore stage.
I will be the first one to admit and to some extent predict that the music will change in next few years. I am quoting a participant and a mix maker; “It's like going to a dance club and the DJ makes a solid transition with the music, but you still keep on dancing without any interruption. Also Tempo of the music is very important because that sets the pace of the team's dance. You have to find a unique way to go from Slow to Fast or Fast to Slow, I think it's called the Breakdown beat or Prep beat. I use it to switch up the music.”
I hope that Bollywood will stay out of this form altogether although the Gujrati movie music has already entered the American Raas (Odhni Odhu Odhu Ne Udi Jay is one such number, although we do not hear it as often lately). Use of Live Dhol has been tried. Recently we have seen live singing (probably borrowed from Bhangra) but it would not surprise me if these innovations flourish further, although I have to say that most live music I have heard is minimalist at best, done by players and singers who cannot create the variations and intensity that well recorded and remixed music does.
Participants: Most college age girls seem to initiate the team activities. It is often hard to find guys on college campus who have time or interest in Raas. Most team captains are young women who have learned some thing from a local teacher from there home town, although there are exceptions such as the choreographer of 2005 GW team who was from Lahore And had no experience and persons who do not know the language but have special talent at mixing music or understanding the dance process.
Choreography: While many of the basic Raas steps can still be visible from the past, many non Gujrati steps have also been added often. The high stepping and keeping Dandia by the side of the shoulders, stunts, pyramids and use of non round formations are more typical of American Raas. Squares are often used just like the cheer leaders and Bhangra teams would use. Skipping is some what limited. Dandia twirling is a norm and more variations of twirling are evident although the type of “double twirling” that was seen in Saurashtra is not yet evident.
What really differentiates this form is the fact that these dances are for indoor performance on a stage. Props and lights are getting more importance, some times at the expense of the basic solid choreography. Audiances like stunts, and stories although original Raas had three stories; Krishina/love, Godess Ambika and praise of a warrior or a person. American Raas is not thus limited. Themes can wary from Lord Krishna stealing Dandia (Rutgers played to pink panther music) star wars and Disney to rice farming. Lack of continuity of music is often compensated by having a theme but the theme and the wordings of the music do not match as most participants seem to see the wordings as a backdrop. There is historical evidence to support this. Back in the old days Raas was danced to a Dhol or two. Wordings may appear here and there. If you go to a village fair and see Raas being done, there was not much singing. There were no microphones, Rhythm carried the dance.
Competitions: Teams are college level teams and numerous new competitions have started across the country in last three years. National competition is still part of a comprehensive competition, BOB (Best of Best).
Future: American Raas has a bright future. Students who performed and graduated are still trying to stay involved. New forms such as Sanedo are added very quickly. Priority of theme versus stunts versus formations versus other aspects is being worked out. To quote one enthusiastic ex choreographer and music mix maker: “Personally, I want to see more of slow graceful garba because I think these teams can do so much. I think slow garba is harder than fast tempo garba/raas. You can be really creative on garba then at raas. When I went to GWA, the only thing that was entertaining was the garba. I'm still a student at garba/raas dancing, and I want teams to look deeper into this culture because I've been hearing a lot of stuff that this style has more to offer. I think people should know the history of American Raas.”
Luckily the current generation is very busy making this history.
Friday, February 1, 2008
Theme, Choreography and execution
When it comes to American Raas, "Theme" seems to take on a special meaning. In the early competitions (2004) theme did not seem to play a big role. Moon lit night, wedding (Stanford 2005) Mela Bataka Nu Shaak 2005), Boston tea party (BU 2006, and many others come to mind. Audiences really love themes. It appears to me that BOB judges have not given as much importance the theme as they have to other aspect of RAAS. I still remember the 40' plus Bollywood style back drop used by Stanford, the "Mela" props from Bataka Nu Shaak and some themes based on Lord Krishna. GWU moon light theme was less memorable but correctly done. It did not over power the dance itself.
Good choreography (what even that means) should be the most important aspect of the dance, followed very closely by execution. Imbalance of the two does not work well. If the choreography is "over done" (poor execution or poor quality of dancers), the flaws in execution become glaring and obvious. If the dance is "underchoriographed" the flaws are not as visible.
Over the years it has been my observation that well choreographed AND well executed items win. I am sure there are exceptions. I particularly don't like to see "props for the sake of props" where the dancers use them briefly like a rich man who rarely drives his Ferrari and leaves it outside his house just to show off. If a team uses "Ghada" (pots for water, they should be used properly and for more than 30 seconds. Some competitions (not the college ones) limit the number of props for this reason.
This years winners (thank you You tube and Bob tube) seem to be a nice mix, but good choreography and seem lees execution with great synchronization (where all dancers look like just one dancer with many forms) should win.
When Lord Krishna danced with Gopis) there was one Krishna for each Gopi (as depicted in Rajasthani paintings and mentioned in Puranas). Each Gopi felt close to Krishna as if she was the only one who was with Krishna. It reminds me of one story of Radha.
Once Lord Krishna invited Radha to the inner sanctum of his garden. No one was allowed there. Radha was very happy being so close to Krishna. Soon she thought that she was special and the only one who had this privilege. As she experienced a great deal of pride for being special, she felt very lonely and sad. She realized that this false pride lead to separation from her lover. Based on this Narsinh Mehta wrote the famous lines of Raas "Nagar Nandji Na Lal, Raas ramanta mari Nathdi Khovani (oh Krishna, while doing raas, I lost my precious nose ring"). Nose ring represents false pride. When she became one with Krishna and lost her false pride, she lost the nose ring. Lesson for modern day American Raas dancers? Don’t let pride of winning go through your head. Leave your rage, frustration, anger at judges aside and focus on the exhilaration that American Raas is supposed to bring! Winning and losing is based on fickle minds of judges and not on your performance!
(Picture courtsey of http://www.gaudiyadiscussions.com/index.php?showtopic=2014)
Good choreography (what even that means) should be the most important aspect of the dance, followed very closely by execution. Imbalance of the two does not work well. If the choreography is "over done" (poor execution or poor quality of dancers), the flaws in execution become glaring and obvious. If the dance is "underchoriographed" the flaws are not as visible.
Over the years it has been my observation that well choreographed AND well executed items win. I am sure there are exceptions. I particularly don't like to see "props for the sake of props" where the dancers use them briefly like a rich man who rarely drives his Ferrari and leaves it outside his house just to show off. If a team uses "Ghada" (pots for water, they should be used properly and for more than 30 seconds. Some competitions (not the college ones) limit the number of props for this reason.
This years winners (thank you You tube and Bob tube) seem to be a nice mix, but good choreography and seem lees execution with great synchronization (where all dancers look like just one dancer with many forms) should win.
When Lord Krishna danced with Gopis) there was one Krishna for each Gopi (as depicted in Rajasthani paintings and mentioned in Puranas). Each Gopi felt close to Krishna as if she was the only one who was with Krishna. It reminds me of one story of Radha.
Once Lord Krishna invited Radha to the inner sanctum of his garden. No one was allowed there. Radha was very happy being so close to Krishna. Soon she thought that she was special and the only one who had this privilege. As she experienced a great deal of pride for being special, she felt very lonely and sad. She realized that this false pride lead to separation from her lover. Based on this Narsinh Mehta wrote the famous lines of Raas "Nagar Nandji Na Lal, Raas ramanta mari Nathdi Khovani (oh Krishna, while doing raas, I lost my precious nose ring"). Nose ring represents false pride. When she became one with Krishna and lost her false pride, she lost the nose ring. Lesson for modern day American Raas dancers? Don’t let pride of winning go through your head. Leave your rage, frustration, anger at judges aside and focus on the exhilaration that American Raas is supposed to bring! Winning and losing is based on fickle minds of judges and not on your performance!
(Picture courtsey of http://www.gaudiyadiscussions.com/index.php?showtopic=2014)
Monday, January 28, 2008
Sanedo or Snehdo?
It is called Sanedo. It started some time in 1960's. He died young. When he came up with it, people criticized him a lot, but later it became part of the Garba culture. It was started by a single individual from Rajkot. "Sanedo" comes from "Snehdo". Sneh means love. Most of the original couplets were about love. They are two lines and then the singer bursts into the words "sanedo Sanedo Lal Sanedo Sanedo". This is not exactly Raas or Garba, often done at the end of a Graba program during Navratri. It was made popular by the Mumbai crowd and by Rupal Doshi here in USA.
During the "couplet phase, you just sit and relax.Drum rhythm stops.When the word Sanedo comes, you jump and dance has hard as you can. It is more or less a free for all. There is rhythm but you are not required to dance a certain way, but most people will do the same step.
Look up on You Tube and you will find some interesting "sanedo" pieces. Since the couplets are sung without the drum, there is lot of freedom in what is said and how it is said. Nothing obscene. It often involves names of a wedding party (custom Sanedo), if the Sanedo is done during pre-wedding Sangeet or Garba as most of you will do when you get married. We recently had the pleasure of planning Garba and Bhangra for a Malayali couple. They even served North Indian food. No Bharat Natyam or Malayali folk dance there! I guess that is the trend. Then again if you see a Guju wedding party doing dance you will See lots of Bhangra and some Garba. Young people to Bhangra on the street as the procession is moving, then the whole thing stops and Garba circle starts. Fire crackers go off. Traffic is disrupted. I guess all is fair in Love, so who cares for laws and rules!
During the "couplet phase, you just sit and relax.Drum rhythm stops.When the word Sanedo comes, you jump and dance has hard as you can. It is more or less a free for all. There is rhythm but you are not required to dance a certain way, but most people will do the same step.
Look up on You Tube and you will find some interesting "sanedo" pieces. Since the couplets are sung without the drum, there is lot of freedom in what is said and how it is said. Nothing obscene. It often involves names of a wedding party (custom Sanedo), if the Sanedo is done during pre-wedding Sangeet or Garba as most of you will do when you get married. We recently had the pleasure of planning Garba and Bhangra for a Malayali couple. They even served North Indian food. No Bharat Natyam or Malayali folk dance there! I guess that is the trend. Then again if you see a Guju wedding party doing dance you will See lots of Bhangra and some Garba. Young people to Bhangra on the street as the procession is moving, then the whole thing stops and Garba circle starts. Fire crackers go off. Traffic is disrupted. I guess all is fair in Love, so who cares for laws and rules!
BOB Chicago here we come
It finally happened. Boston University (BU) Raas team won Maryland Masti. My understanding is that they will be in BOB. This is a "traditional" based team. Why do I know this? The captain was trained by my wife. She happens to be our lovely child (Beta tu jiti gai, Wah!). That means both of our children will have competed in BOB.
I plan to attend the competition for the first time. I might attend GWA in two weeks as one other family member is dancing there and I will be in San Diego, so might as well drive to Irvine. This is my favorite competition because it is well organized and I get to see the California and Non California teams. I have attended for last three times. Normally California teams win there because of the nature of judging (don't get mad I don't mean the judges are biased or anything like that). That is just history.
I am looking forward to this season.May the best team win it all.
I plan to attend the competition for the first time. I might attend GWA in two weeks as one other family member is dancing there and I will be in San Diego, so might as well drive to Irvine. This is my favorite competition because it is well organized and I get to see the California and Non California teams. I have attended for last three times. Normally California teams win there because of the nature of judging (don't get mad I don't mean the judges are biased or anything like that). That is just history.
I am looking forward to this season.May the best team win it all.
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