Gujarati Folk and Garba

About the Blog Series

When thinking of ‘world music’, one often associates the term with the sound of obscure, cultural music, conjuring up images of exotic, foreign landscapes, in continents far away from Western Europe and Anglo-American civilisation. Yet, one would be forgiven for making this assumption, as many people don’t take into consideration the production and consumption of world music in many of our own towns and cities. In England, ethnomusicologists are in a privileged position in that, as a country, there are a number of culturally diverse boroughs that harbour the traditions and ideologies of various nationalities. For it’s in these multicultural areas that the music of indigenous or ethnic origin has an essential role in not only, the self-expression of ethnic identity, but also in demonstrating common-ground and commerce among numerious other social groups. In other words, world music is tremendously important for many of these towns across England, as it allows different communities to intermix, interact, and integrate their culture into conventional society. However, despite this, musicologists continuously seek to discover music that being played across the world, when we’ve yet to discover what music is being played across the road.

Therefore, in a series of blogs, I will explore and examine the various styles of world music that inhabit my hometown of Luton, utilising a combination of both, analytical work (i.e. interpreting the music and its connotations) and factual research (i.e. demographic statistics, cultural relevance, social role etc.). In doing so, each blog will analyse a relevant genre of world music, endeavouring into its musical characteristics and interpreting its social function upon local society. The fundamental purpose of these blogs is not just to have ethnic music documented in Luton, but rather to have this information utilised, so that the relationship between the town’s music and its population, is able to act as a case study for other comparable and measurable towns across England.

Although, I know what you’re thinking; why write a blog about Luton? And what’s so special about a small town in Bedfordshire anyway? Well, there are two predominant qualities that make Luton and its population, unique. The first is that, while the town is geographically small in size (43.35km1), it has a deceivingly large and dense population. The 2011 Census showed that Luton was England and Wales third densest district/unitary area outside Greater London with a population of 203,2012 and an average of 46.93 residences to every hectare. Since then, mid-2015 estimations have predicted Luton’s population to have risen to 214,7104 residents, which coupled with the estimated population of neighbouring towns such as Dunstable (38,1865) and Houghton Regis (18,4596), totals the estimated population in and around Luton to 271,355; a population similar to that of a small city. The second and perhaps, most important quality of Luton, is that it harbours one of the most culturally diverse populations in the whole of the UK. The 2011 Census reveals that Luton is one of only three other Districts/Unitary areas, outside Greater London where those who identify themselves as ‘white British’ are the minority7 (44.6% of the population).

[Figure one] Luton, Dunstable, & Houghton Regis.


This cultural diversity in Luton’s population can be attributed to the economic and industrial nature of the town. From the 20th century onwards, Luton has been the home of corporate establishments such as Vauxhall Motors, TUI UK (Thomson Holidays and Thomson Airways), EasyJet, and Monarch Airlines, to name a few. These kinds of semi-industrial jobs have attracted immigrants from various different continents which subsequently, has had an effect on the town’s cultural and therefore musical diversity. Meanwhile, the sheer density of the town's population has meant that world music is almost unavoidable, with it commonly being heard in concerts, nightclubs, ceremonies, shopping malls, public festivals, traditional events, and in council-run initiatives. In other words, ethnic music is simply part and parcel of everyday life in Luton and because of this, local musicians have in some form or other been influenced by it or have immersed their own influences into it. Therefore, in this series of blogs, I will explore these influences, and in doing so, analyse a diverse range of music that derives from backgrounds such as, the Caribbean, South Asia, Eastern Asia, and Africa. Meanwhile, in the following section of this blog, I will examine the traditional music of Gujarati Folk. 

[Figure Two] Vauxhall, Osborne Road, Luton.

[Figure Three] Luton Airport, Airport Approach Road, Luton.

Musical Diversity In Luton

[Figure Four] A performance of traditional Ghanaian music and dance by the Osagyefo Theatre Company. As a group, they perform around the whole of England and in doing so, provide educational workshops that aim to teach people about the culture and customs of Africa. As a company, they are based in the Marsh Farm area of Luton and have recently performed in the town's yearly celebration of Ghana’s independence (organised by Gye-nyame Entertainment) and at the Kwanzaa event, which is held every winter.

[Figure Five] A traditional performance of Bhajan (a form of Gujarati Folk music) held at the Shree Sanatan Seva Samaj, Hindu mandir (temple) in the Lewsey Farm area of Luton. In this picture, the Bhajan is being performed with Mandal (group singing) and recited using Ram Nam (lyrics associated with the devotion of the avatar of Vishnu, or Brahman). This event was held in tribute of the 40th Anniversary of Saint ‘Shri Hirji Bapa's Nirvan Tithi’ (a man named, Hirji Ghela Gokani) of whom was born Gujarat, and helped pioneer and promote Bhajan through the 20th century in India, Africa and the UK.

[Figure Six] A modern performance of Jamaican 'Dancehall' music. This deejay-ing set was performed on a makeshift stage, in backstreets of Bury Park (an area of Luton) during the Luton Carnival in 2016. The Luton Carnival is held every year in the centre of town and is Europe’s largest one-day festival. It attracts people from all over England and in doing so, brings together a range of musical acts both, local to the area and overseas. The music that is heard at this festival, tends to vary in diversity, with each stage representing a particular nationality and a specific genre of music. However, in recent years, African and Caribbean music have been the most prevalent at the festival, with there being a number of fully dedicated stages for reggae, soca, calypso, dub, traditional African music, and dancehall to name a few. Dancehall is very popular in Luton and is commonly heard in various nightclubs, music venues, and at celebratory occasions. The picture above displays the dancing and deejaying style that is associated with the music of Dancehall. It is for this reason, that the term dancehall is often referred to as a ‘culture’ because of its intrinsic relationship between the music, dancing and deejaying style, all of which have their own unique characteristics.

[Figure Seven] A traditional Polish folk performance from the group, Promethidion. Promethidion is a band that consists of several members from the Luton and Dunstable Polish community, despite being based in the city of Bedford. While this band is young, don’t be fooled by their age; the group have traveled around the whole of England performing traditional polish folk and dance, and have recently have performed at various events in Luton, such as the town’s, Polish Day festival (organized by the Luton Irish Forum), St Patrick's day event, and at number of churches during the Christmas festivities.


Areas of Luton

[Figure Eight] This is the Sundon Park area of Luton and it has a fairly large population of Italian and Irish diaspora. 

[Figure Nine] This is the Bury Park area of Luton, and it has a very large population of Pakistani and Bangladeshi diaspora.

[Figure Ten] This street is in the Leagrave area of Luton and is very near to the Marsh Farm area of Luton, which has a large population of Jamaican and Ghanaian diaspora.

[Figure Eleven] This is the High Town area of Luton, which harbours a large population of Polish diaspora and a fairly small population of Romanian diaspora.


Gujarati Folk and Garba

Gujarati folk music is a genre that has its roots in the West Indian state of Gujarat. It is a category of music that encompasses a number of different stylistic forms, each with their own pallet of traditional Gujarati instruments, varying compositional traits, and differing social purposes. The ‘Bhajan’ for example, is characterised as a Hindu and Sikh devotional song for eulogising Indian Gods and Goddesses. It has no prescribed form or set of rules, although many of the songs are based on the ‘tala’ (rhythms) and the ‘sthyaii’ or ‘antaraa’ (melodic phrases) of ‘raags’ (compositions) in northern Hindustani music. Meanwhile, another form of Gujarati Folk is taken from the preserved and enriched traditions of the ‘Barot’ (an Indian caste) and is called the Doha. This is a traditional style of poetry that is composed in Mātrika metre (a syllabic measurement system) and is characterised by its stanzaic form. In detail, each line of poetry utilises rhyming couplets to make two phrases of 13 and 11 ‘matras’ or syllables, and this can then be recited with or without accompanying music. Besides this, other forms of Gujarati folk consist of wedding songs like the Lagna-geet; musical theatre songs such as the Bhavai and the Akhyana; songs for children like the Baal-Geet; and story-telling songs such as the Dayro and the Lokvarta, of which are designed to give a social or religious message to a large congregation of people.

[Figure Twelve] This picture shows Bhajan being performed during a tuition session, at the Shree Sanatan Seva Samaj, Hindu mandir

[Figure Thirteen] This is another picture of Bhajan being performed in honour of Guru Purnima Mahotsav (an important Guru who is known worldwide for his contribution to the Hindu region) at the Shree Sanatan Seva Samaj, Hindu mandir (temple) in Luton. This celebration happens during the Guru Parnima, which is a one-day festival that is dedicated to spiritual and academic leaders of the faith (Guru). At the event pictured above, the Hindu’s celebrated by performing a Bhajan Mandal that was dhun (light music or music that doesn’t require too much skill) in nature and was a kirtan (a devotional song, typically about Krishna)   

These stylistic forms have been played for centuries and have been heard in every part of Indian society, from the poorest of civilians in local villages, to the richest of royalty in luxury palaces. Through the centuries, these stylistic forms been used for many different social purposes in Gujarat, ranging from being used as a platform to teach its people about the history, traditions, and moral values of the region; to being used as a way of conveying messages at a time where obtaining information was difficult. However, as time has progressed, many of these stylistic forms have gradually evolved in order to stay relevant outside of their traditional means. As a result, nowadays much of the music in Gujarati Folk has been contemporized to include changes to topical themes and musical structures that relate to current affairs.

One form of Gujarati Folk that has yet to be mentioned and is often heard in venues around Luton, is a particular style of song that is used to accompany a ceremonial dance, called Garba. This is a traditional performance that infuses three different art forms – dance, music, and poetry – in honour of the Mataji, which is a collective term to describe Gujarati’s many mother goddesses. Traditionally, this has been associated with the celebration of female fertility, and therefore it’s common in Gujarat, to have the friends and family of an individual, sing and dance Garba in celebration of a girl’s first menses or on the evening prior to a female’s marriage. However, Garba is most frequently performed during the Navratri Festival, in which Hindu women (and some men) all over Gujarat, celebrate the growth of crops and the mother Goddesses of the Hindu religion. During this festival, every Gujarati neighbourhood provides an open space that is decorated with an arrangement of colourful lights, and where clay pots (called a garbo) are lit, to symbolise ones ‘atman’ (soul). Then, during the evenings, this space is given to the musicians and dancers where they’re able to congregate and perform Garba.

[Figure Fourteen and Fifteen] The ‘Garbo’ (a clay pot) is often worn on the top of heads of the dancers, as shown above. This pot has traditionally been made of clay, although in recent times, participants have worn metal pot due to it’s sustainability.

[Figure Sixteen] Here is another picture that was taken from the Shree Sanatan Seva Samaj, Hindu mandir, during the Navratri festival in Luton. It shows a garbo being placed on the head of a dancer in symbolisation of her ‘atman’ (soul).

[Figure Seventeen and Eighteen] The ‘garbo’ (a clay pot) is also placed on the floor, next to religious shrines, as these pictures from the Shree Sanatan Seva Samaj, Hindu mandir in Luton, show.

[Figure Nineteen] This is a depiction of Durga. Durga is a mother goddess or a Mataji, who is described as a warrior against evil and demonic forces that threaten peace, prosperity and the good in life.

The music that accompanies this dance is unique in comparison to other ceremonial dances such as, Garbi, and Dandiya Raas. Garba music tends to be structurally circuitous, like the dancing. These songs usually start with one or two vocalists that sing a fixed refrain until the lead vocalist begins a verse, which tends to be in a higher tessitura, although this isn't sticktly the case. Then, as the lead vocalist sings each line, the backing vocalists repeat it, and this is continued throughout the piece in a call and response fashion. After the first ‘Garba’ is complete, the remaining songs are often performed without stopping, reflecting the nature of the event. Meanwhile, the lyrics of these songs have typically been based on the subject of worship and devotion to Hindu goddesses both, specific to Gujarat, such as Becaraji, and those of national recognition, such as Durga, all of whom come under the term, Mataji. The style of drumming in Garba is, at its most basic level, played around a duple against treble polyrhythm that provides the music with a driving, repetitive motion. At the end of every rhythmical cycle, the dancers will clap on the first beat of cycle, and this usually starts a speeding process in the tempo of the song. Then as each song progresses, the style of dancing changes from moving steadily into a dance which is at a faster pace, and an increase in the clapping will occur, with the dancers adding two, three or four claps at the end of each rhythmical cycle depending on the tempo.

In a typical ensemble, there are two percussive instruments that have traditionally been utilised by musicians in the performance of Garba. The first instrument is a large, double-headed, barrel-shaped drum called the dholak, and the other is an even larger, double-head, cylindrically shaped drum called the dhol. Other percussive instruments include the tambourine, and various types of metallic idiophones, such as the ‘jhanjh’, (a pair of flat symbols) and the ‘manjira’ (a small pair of cup-shaped symbols). In the past, instruments like the ‘sahnai’ (an oboe-like, double-reed, woodwind) would have led the singing during performances, but nowadays, this role has been taken by the synthesiser or the harmonica, especially when Garba is performed in more affluent areas of society. In addition to this, it’s also very common in a modern-day performance to have some of the percussion section, replaced with a full drum-kit.

[Figure Twenty-one] A Dholak, with a combination of both, traditional cotton rope lacing and screw-turnbuckle tensioning.
[Figure Twenty] A Dhol, with traditional lacing.

[Figure Twenty-two] This is a typical, modern ensemble for Garba music. This picture was taken during the Navarti festival in 2012 and was hosted by the Shree Sanatan Seva Samaj, Hindu mandir in Luton. In this picture, it shows a Dhol (with screw-turnbuckle tensioning) being played at the centre of the image; a synthesiser being played on the soft left-hand side of the image; and a type of taal, called a khartal block (similar to a tambourine stick with crotales) being played on the hard left-hand side of the image. Meanwhile, on the soft right-hand side of the image, there are three vocalists; behind the vocalist, there is a tambourine player; and on the hard right-hand side of the picture, there is another type of ‘taal’ being played, called a khartal symbol (two small symbol blocks). On the floor, there is a Dholak. This is constructed with the screw-turnbuckle tensioning feature and has no traditional cotton rope lacing attached to it; and behind the Dholak, there is a tabla.

In Luton, one can hear the traditional sounds of Garba when the Navratri festival begins in which thousands of Hindu residents (3.3% of the town’s population8) from the area and from neighbouring boroughs, travel to the town’s Inspire Sports Village to celebrate the Navratri festival. This festival is usually held every year in September or October and lasts nine days in celebration of how the Goddesses triumph over the evil demons. This event is organised by the ‘Luton Navratri Association’ who receives private funding from a number of different non-profit organisations. These include national organisations like the ‘Sewa Day Charitable Foundation’, and locally based, Hindustani temples such as the ‘Shree Sanatan Seva Samaj’ (Universal Service to the Community) and BAPS Shri Swaminarayan Mandir. The Shree Sanatan Seva Samaj in particular, not only helps to fund the Navratri festival, but also organises various other Hindu related ceremonies in Luton, such as the Maha Shivratri, the Holi Festival, Ram Navami Festival, Krishna Janmashtami Festival, and not least, the Karva Chauth. In addition to this, the Shree Sanatan Seva Samaj also hosts ‘Gujarati and Hindi Classes’ that aim to teach local residents the language and dances associated with the region.

[Figure Twenty-three] This is the Shree Sanatan Seva Samaj, Hindu temple. It is based in the Lewsey Farm area of Luton, and is where most Hindu's from Luton and Dunstable, worship, celebrate, and learn.

[Figure Twenty-four] This is the Luton Inspire Sports Village. It is based in the Stopsley area of Luton and is the venue for the Luton Navratri festival which takes place every year and is organised by the Luton Navratri Association. In the past, this festival was held only a mile down the road, at the Wardown Swimming and Leisure Centre, but this was subsequently closed for the construction of this building pictured above.

[Figure Twenty-five] The 2016 poster for the Luton Navratri Association Festival 

In the Navratri festival, Hindu women from the town will often wear a traditional 3-piece dress consisting of a choli (blouse), a Lehenga (bottom half of the dress), and a Dupatta (head scarf). In India, these dresses are worn as a way of displaying wealth and social class among other festival goers, and this is exemplified through not only, the vivid colours of the dress, but also in the sparkling bangles, necklaces, waist belts and long oxidised earrings, that accessories upon its material. However in Luton, this perception doesn’t seem to be as prevalent, as it’s almost as common to have Indian diaspora dress in casual western clothing, then it is to have them to dress in traditional attire. The male attendees of the festival will usually dress in an elaborate outfit that’s called a Kafni pyjama, and like the female outfits, this is also accessorised with various items such as a bandhani dupatta (a patterned cloth), a number of men’s kada’s (bracelets), and a pair of traditional mojiris (shoes). However, the main purpose for both, the highly stylised clothing and the energetic music, is ultimate to enhance and intensify the dancing experience.

[Figure Twenty-six] The traditional and highly accessorised clothing that is worn by people in Gujarati as an expression of their wealth and class.

[Figure Twenty-seven] This picture was taken at Luton Navratri Association's festival. It shows that the style of traditional clothing that is usually worn in Luton is far more understated and therefore has far less of an emphasis on displaying class or wealth.

[Figure Twenty-eight] This picture was taken at the Luton Navratri Associations festival and it shows that men (and rarely women) will often wear standard western clothing.

The Dancing of Garba is, on one hand, highly structured, but on the other, it’s semi-improvised insofar as it allows for one to creatively emphasise or deemphasize certain moves. This dance involves participants forming a circle and going counter-clockwise, adding in spin moves whenever it’s necessary and clapping during the responsorial singing. If there are too many people to form a single circle, then a secondary one can be created around the outside or inside, of the first. If this happens, dancers will often move in the opposite direction and in doing so, surround the shrine of a particular mother goddess.

Further Watching

Garba Dancing and Musical Instrumentation



The Sound of Garba Music


Further Reading

Luton Statistics

Music

Dance

Navratri Festival

Glossary


References

Statistics:

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25.   Facebook, 2016. Luton Navratri Association, Photos: Profile Pictures. [Online]
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26.   The New Indian Express, 2016. Navratri Celebrations Embraced with Flowers, Dolls and Sheer Joy. [Online]
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27.   Facebook, 2012. Luton Navratri Association, Photos (Facebook, 2014): Navratri Celebrations 2012. [Online]
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[Accessed 19 April 2017].

28.   Facebook, 2014. Luton Navratri Association, Photos: Navratri Celebrations 2014. [Online]
Available at: https://www.facebook.com/pg/LutonNavratriAssociation/photos/?tab=album&album_id=409696945846489
[Accessed 19 April 2017].
Location: Newcastle upon Tyne, UK

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