Puru!
Dholida Dhol Re Vagad Tara Heet Laher Se.....
In mythology, the credit for promoting garba goes to Usha, the great granddaughter-in-law of Shri Krishna. Earlier known as Lasya Nritya, the word garba comes from the root word 'garbhadip', meaning lamp inside the earthen pot. In the olden days, Gujaratis would gather at the temples of Jagdamba Ma and perform traditional garbas around perforated matlis lit with oil lamps; silver coins, betel leaves and a little water would be put within – ‘Pawan Sapata Thay Toe Maa No Garbo Ghumto Jaey.’
Prachin garbas were sung in praise of the nine goddesses, often inviting them to come and dance with mortals. ‘Amba aavo toh ramiye, Maa maney ramta nahi aavde’; at times devotional, sometimes playful, they built a friendly rapport between devis and devotees.
Dholida Dhol Re Vagad Tara Heet Laher Se.....
In mythology, the credit for promoting garba goes to Usha, the great granddaughter-in-law of Shri Krishna. Earlier known as Lasya Nritya, the word garba comes from the root word 'garbhadip', meaning lamp inside the earthen pot. In the olden days, Gujaratis would gather at the temples of Jagdamba Ma and perform traditional garbas around perforated matlis lit with oil lamps; silver coins, betel leaves and a little water would be put within – ‘Pawan Sapata Thay Toe Maa No Garbo Ghumto Jaey.’
Prachin garbas were sung in praise of the nine goddesses, often inviting them to come and dance with mortals. ‘Amba aavo toh ramiye, Maa maney ramta nahi aavde’; at times devotional, sometimes playful, they built a friendly rapport between devis and devotees.