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.