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.
Sunday, April 27, 2008
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.
Monday, December 17, 2007
World space radio interview
Yes! I have been invited to be interviewed on the Indian Satellite radio "World space" as a guest. They want to know about Gujarati culture in USA. You know I am going to open my big mouth and talk about American Raas (as I call it) and other dance forms that our kids (young adults) are performing in colleges and keeping the culture alive. I plan to talk about Rutger's use of "pink panther theme, BU's use of Boston tea party theme, Batata nu Shak etc. along with the usual serious stuff about how our culture is evolving in the west. I will try to get a voice recoding and post it here if they would let me.
India is crazy as ever. Mumbai is exploding with wealth. Now Bollywood defines Indian culture. It used to be the other way around. Culture used to define Bollywood.
Congrats to BU (my daughter's team). They were second, but I heard that the Boston competition was not terribly well organized. No comments on judges since my daughter is the captain.
I will attend Maryland Masti. I have heard that it is a good up and coming program, well organized. See you there. This will be my first Raas competition to attend this year.
India is crazy as ever. Mumbai is exploding with wealth. Now Bollywood defines Indian culture. It used to be the other way around. Culture used to define Bollywood.
Congrats to BU (my daughter's team). They were second, but I heard that the Boston competition was not terribly well organized. No comments on judges since my daughter is the captain.
I will attend Maryland Masti. I have heard that it is a good up and coming program, well organized. See you there. This will be my first Raas competition to attend this year.
Saturday, June 16, 2007
Where is the real A.R. Rehman?
June 16 2007
I went to See the A.R. Rehman concert held in Dallas TX last night. I had seen one other concert here at the Nokia theater two years ago.
Remember I am talking about A.R. here, not some fly by night Bollywood concerts of drunks and concubines. I expected great sound, great singers singing their hearts out, and some serious live music.
I was very disappointed. Here is why. If you plan to plunk down one hundred bucks to see this guy, take this into consideration.
1 Sound: Local sound guy is a reputable one and has always done well. He has done many a Bollywood concerts, but the way he was asked to sit, he could not see the artists. Results were disastrous. When ever female singers were singing, their mike volume was too low for first five seconds. Volume would be raised and then in the next stanza it was properly adjusted. You would think that A.R. would get upset and do something as he was sitting right near the sound board. The ushers who have worked at the venue for a long time commented that these guys adjusted their own sound and it was not good. (Many of them were wearing their ear plugs that day. Several commented that this was bad and the previous week's Asha concert was worse.) Mind you, I have attended my share of Indian concerts and other concerts. Being an A.R. fan, I would have thought that his sound engineer would have done a better job. I know the local sound man they had hired and he has a high standard. I have used him for fairly complex situations and he tends to be precise, but he will not leave any microphone on that is not being used. May be it was his fault.
2 Music: Here is the real problem. There was no orchestra, which makes A.R. what he is. There was too much recorded music. You would hear large drum sounds when shiv Mani was not moving his hands? May be I am ignorant but some thing was not right. There was one violin and one cello player but the "violin sound" was so rich that it can only be produced by an prchestra or a synthesizer. Volume of the music was not proportionate to the singing (instruments being too loud), base was out of control. Some thing was not right. He brought in some "local" talent, which was really no talent to speak of and I did not pay to listen to some local talent of low quality.
3 Dances: Horrible.
I went to See the A.R. Rehman concert held in Dallas TX last night. I had seen one other concert here at the Nokia theater two years ago.
Remember I am talking about A.R. here, not some fly by night Bollywood concerts of drunks and concubines. I expected great sound, great singers singing their hearts out, and some serious live music.
I was very disappointed. Here is why. If you plan to plunk down one hundred bucks to see this guy, take this into consideration.
1 Sound: Local sound guy is a reputable one and has always done well. He has done many a Bollywood concerts, but the way he was asked to sit, he could not see the artists. Results were disastrous. When ever female singers were singing, their mike volume was too low for first five seconds. Volume would be raised and then in the next stanza it was properly adjusted. You would think that A.R. would get upset and do something as he was sitting right near the sound board. The ushers who have worked at the venue for a long time commented that these guys adjusted their own sound and it was not good. (Many of them were wearing their ear plugs that day. Several commented that this was bad and the previous week's Asha concert was worse.) Mind you, I have attended my share of Indian concerts and other concerts. Being an A.R. fan, I would have thought that his sound engineer would have done a better job. I know the local sound man they had hired and he has a high standard. I have used him for fairly complex situations and he tends to be precise, but he will not leave any microphone on that is not being used. May be it was his fault.
2 Music: Here is the real problem. There was no orchestra, which makes A.R. what he is. There was too much recorded music. You would hear large drum sounds when shiv Mani was not moving his hands? May be I am ignorant but some thing was not right. There was one violin and one cello player but the "violin sound" was so rich that it can only be produced by an prchestra or a synthesizer. Volume of the music was not proportionate to the singing (instruments being too loud), base was out of control. Some thing was not right. He brought in some "local" talent, which was really no talent to speak of and I did not pay to listen to some local talent of low quality.
3 Dances: Horrible.
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