 As I dig into my earliest memories, it is difficult for me to think about the days of Navratri (nine days of worship and dance) without associating it with garba and raas. Garbas show up in weddings too. It has grown in popularity beyond the Gujarat region where it originated. Although the majority of garba songs are still sung in Gujarati, Hindi movie songs often show up in between - a simple change in their rhythm converts them into Garba!
The traditional garba is danced around a circle by both women and men as they move to the beats of the music. Women normally wear bright and colorful chaniya-choli accentuating the gracefulness of the dancers. Although elaborately embroidered kedia is more traditional for men, they are more often seen in kurta suits.
The beat of the garba is of paramount importance, as it determines the steps and tempo to which the dances are performed. Although most of them are based on the four beat cycle, it is the distinctive rhythm which gives garba its unique individuality. Even the Cha-Cha and Tango are based on four beat cycles - with very different results. Moving a beat or two and changing their emphasis changes the whole personality of the music. These beats are traditionally provided by a dhol, dholak, or sometimes tablas. We are also beginning to see the presence of drums as the main percussion instrument. Although a western instrument, they blend into the songs very seamlessly.
An evening of garba typically starts with what is called the three-taali (the three-claps dance). This is the simplest form of garba in terms of steps and moves. Grave gives this simplicity a beauty that is almost inexpressible. The feet follow and match the beats of the drums. The first three beats of the four-beat cycle are also accompanied by a clap. The claps allow artistic interpretation and creativity. The fourth beat is used up to move forward, turn, or just swing the arms. As time progresses, the tempo of the beat increases. It is not unusual at this point (which can often be more than an hour after the garba started) to see dancers taking breaks, waiting for the next section of the event, which is the be-taali (two-claps).
Now, the two-clap dance is an altogether different matter. For a good many years I had to relearn it from my wife, Rupal. The complication here arises from the fact that it is made up of a three-step forward, two-step back basic cycle, which also has a full turn and two half turns. It looks difficult, but only for the first few minutes. It is both fun to do, and fun to watch - just like the Olympics synchronized swimming events. It is a true display of a collective expression and spirit.
Garba performances are a little different than the other garba events, since it incorporates props (like pots) and what purists would call non-standard steps. The entire garba is choreographed to the same rhythm and beats (which is really the defining characteristic of a garba) and a particular song.
In recent garba programs, we have seen more and more creative formations and steps. The most fascinating are 'breakaway' groups of two to six people who weave their way playfully and gracefully around the hall instead of dancing in circles. Garba thus, is still full of excitement and lends itself to creative ideas.
In this issue, we talk to Shawn Bhajman, who is an accomplished musician and a professional recording engineer who plays various instruments. He has played with live garba audiences for many years. Most recently, he has played with Hari Om Sharan and the IRCC Idol (Hindi song competition in South Florida).
He can be reached at shawnsangeet@hotmail.com or through amit@deshvidesh.com.
Amit: How come Trinidad has so much Indian music?
Shawn: We are third generations Indians. The music is part of our culture and we have kept that. We have been listening to Indian music since babies with our parents, and grandparents.
Amit: You play along with garbas, bhangras, and bhajans - many of which are in different languages. How does that affect your playing and how do you adjust?
Shawn: When I was young, I did not know the difference between Hindi, Gujarati, or Punjabi songs - we had the same love and appreciation for all the songs. We never labeled a song as Punjabi or Gujarati. In fact, when I was young, I did not even know that India had so many languages! But the music is universal, since they are mostly raga-based music, sharing similar styles, melodies, and rhythms.
Amit: How does it feel when you play to a song that is in a language you do not understand, like Gujarati or Punjabi?
Shawn: Music is very expressive - you can relate to the mood and type of song. In the case of movie songs, since we always watch the movies, it gives us context and insight.
Amit: How is playing for a dancing crowd (like during a garba) different from playing for a listening crowd?
Shawn: When performing for people who are listening, you have to be more precise. You have to choose what you are going to do and what you are going to sing - depending on the mood and environment. Since people are just listening, you have to be very good. In garba, where everybody is dancing, the beat is more important. Garba also has a lot of energy, since it is very upbeat and festive. They have their own feel and expression.
Amit: Sometimes you accompany a singer singing a garba that you have never heard. How do you blend in?
Shawn: The first thing you do is get the notes that they are using to sing. With experience, it comes naturally. When you have learnt different ragas, distinguishing one song from another becomes easier. Once you have the notes and the tune in your mind, you can be creative without throwing the singer off. It is important that you really listen to what is happening. I think this is what makes a person a professional.
Amit: What kind of musical training do you have?
Shawn: In Trinidad, I did not have any formal training. I was mostly self-taught. My brother taught me a few things, and then it was practice. I have been playing since I was 13, and played for one of the biggest groups in Trinidad. When I moved to New York in 1989, I started learning vocal Indian classical music from Shri Ajay Jha. I also took audio engineering and live systems training in NYC. I have done nearly 30 recordings for others, and have a few of my own.
Amit: What advice do you have for youngsters who want to learn?
Shawn: I teach harmonium, vocal, and keyboard, but there is no such thing as overnight learning. Students must love what they are learning, have dedication, and give time to practice. I think music is something good to learn - it gives you peace of mind. It also allows you to entertain yourself. Music is an excellent activity that keeps kids focused and involved in our culture.
 I still remember the first time I was introduced to a compass - shiny white metallic. They were not available in the different colors we see them now. First, I used it to make circles, but then realized that it could also be used to form intricate designs - rudimentary forms of geometric rangoli. Later on in art class, as many who studied in India would remember, we had freehand drawing. Half of a drawing, typically the kind of design we would see in a rangoli or mehndi would be given, and we had to draw the mirror image. The shapes were often traditional mango-like or versions of peacocks and elephants. These were exercises in symmetry as well as appreciation of the wonders that would be made once the drawing of curves was mastered. This also taught the fundamentals of rangoli.
Rangoli is the art of drawing designs, patterns, and motifs on a plane surface - typically at the entrance, in a courtyard, or the floor a house. They are also seen on walls, though this is less common given the traditional materials that are used to create them. Rangolis are common through India, though in some places they are known by different names such as alpana (in Bengal) or kolam (in South India).
Rangolis are made from natural raw materials like colored rice, colorful flour, pulses, turmeric pastes, and sometimes even leaves and sand of different colors. The final beauty of the rangoli is enhanced by the use of these natural elements. Recently in the US, rangolis are also being drawn and painted using roadside chalk of many colors. Purists may vehemently disagree in calling the final result a rangoli. This is just one of the ways things are changing, and traditions morphing.
Popular designs include natural elements like the sun, moon, lotus and other flowers, fish, peacocks, elephants, and conch shells. A seemingly simple lotus takes on eight leaves, 24 leaves or even triangular leaves through the creative hands of the designer. Geometric circular and angular patterns are also very popular, as are diyas with flames and the Om symbol. The whole design can be embedded in a square or a circle. Circular patterns reflect the endlessness of time, with no definite beginning or ending. This philosophical concept is deeply entrenched in Hinduism. We also see borderless patterns, where patterns unwind to form a central theme, petals from a flower, or branches from a tree.
The real season of rangolis, where we see them magically appear on the doorsteps of so many Hindus, is during Diwali. This is the time when everybody is wearing their best or new clothes (always fun as a kid!), and visiting relatives, many of whom will not be seen for another year. Apart from Diwali delicacies, each house normally invites us in with its own distinct rangoli. These decorations and lighted houses are also invitations for Lakshmi, the goddess of wealth, to grace the house. It is symbolic of prosperity entering the home.
Rangolis are not exclusive to Diwali, but are created on major festivals and auspicious occasions like weddings. The art of making rangolis and filling them with colors are generally learned and passed on as a family tradition, especially among women.
In this issue, we talk to one such artist who has picked up the art of rangoli and mehndi from her family at a young age. Kittu Bhatia is a professional mehndi artist, who also has her own fashion boutique in South Florida.
Amit: How and when did you learn the art of mehndi and rangoli?
Kittu: I learned mehndi by myself when I was around 12 or 13. In events like weddings and Karva Chaud, everybody wants mehndi on their hands. I started putting them on my Mom's and Aunt's hands, and then slowly others also wanted me to put it on their hands. Initially there were no complicated designs but just flowers and such things, but over time I started doing complex designs.
Amit: What kind of designs do you like?
Kittu: My preference is for designs of traditional Indian designs.
Amit: What do you think makes a design Indian?
Kittu: I like designs that are Rajasthani in origin, with paisleys as one of the main motifs. These are droplets or mango-shaped patterns. Indian designs cover the full hand.
Amit: What kind of rangoli do you do?
Kittu: The latest one that I did was a 5 x 5 feet rangoli. Since I use water colors, I did it in a covered patio to protect it from the rain. If it rains, it goes away, and then you have to do it again if you want it back. Creating that piece took a long time - hours.
Amit: What kind of colors did you use?
Kittu: I used three colors - yellow, red, green. These colors show very nicely since I did them on white tiles. The contrast adds to the beauty. This allows me to be creative and makes me happy.
Amit: How popular do you feel are the arts of mehndi and rangoli?
Kittu: Rangoli is a very personal thing. But Mehndi is growing in popularity among American and Spanish populations. I see a lot of them wanting Indian tattoos. Moreover, when they see Indians with henna, they inquire and want it too. The popularity in the Trinidadian community, where I do a lot of mehndi, is very high. Although they have been out of India for more than we have, almost 200 years, their roots seem to be stronger. In some ways, they are more traditional than Indians who come from India.
 Amit: How do the stick-on tattoos compare with real mehndi?
Kittu: Both of them are temporary, and not everybody can put on mehndi, either because of convenience (mehndi needs to be kept on the hand), expense, or availability of mehndi artists. However, mehndi comes with a whole culture of its own, especially when put in a group. There are also lots of songs that go with it.
Amit: What is the requirement for kids wanting to learn mehndi and rangoli? What is your advice to them?
Kittu: Mehndi and rangoli are folk arts and the best way to learn them is by doing. You need to have an artist's hand to do all these things. For example, if you are making flowers, it has to be even. If you make 10 petals in a flower, you cannot make one very big and one very small - the flower should look like a flower. The hand has to be steady to achieve this.
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