Back in the 14th century, there lived a Brahmin named Asait Thakar in Unjha of present-day Gujarat. Along with farming, he used to tell stories, do pujas, sing and dance to earn his livelihood. Once, the daughter of the local village headman, Ganga Hamada Patel, was held captive by the ministers of Allahuddin Khilji in a Chavdi (big tent) meant for their entertainment. Upon hearing about this, the Hamada Patel family asked for Asait’s help. Asait agreed to help them.
Later, Asait appeared before the ministers. He then performed in front of the ministers and impressed them. In return, he asked them to grant his request of freeing Ganga. When questioned, he claimed her to be his sister. Meanwhile, the minister’s guards informed the minister about the caste difference between them. During that time, the Thakars were considered to be of a higher caste than the Patels, and they would not even sit with them. So, the ministers put forth a condition that Asait will have to have the food prepared by Ganga for her to be released. Asait accepted it and had the food prepared by Ganga. Although he was successful in rescuing Ganga, he attracted the loathing of his community and was stripped of his position as a Brahmin.
Upon hearing this and as a token of appreciation for freeing Ganga, Hamada Patel gifted some land to Asait. Asait then started writing short plays condemning social evils and taboos, which became the foundation for Bhavai. It is said that Asait composed approximately 360 vesha, of which around 60 survive till date.
The Basics
Bhavai is said to be a derivation of a combination of two words – bhav meaning emotion, and vahini meaning carrier. So, the art form is considered to be a carrier of emotions. Most of the plays are based on social evils, and it aims to spread mass awareness of ongoing issues along with entertainment. On the night of performances, various small skits are performed. These small skits are called veshas. Music, dance, and vernacular humor are highlights of any Bhavai vesha. It is purely a male art form.
Back in the time, the Bhavaiyya community, also known as Vyas or Nayak, were the sole performers of Bhavai. They used to largely depend on their performances for their living. Today, men from different backgrounds learn the art form and perform. It is considered to be the best platform for community gatherings and inspiring spiritual consciousness in rural areas.
Elements of Bhavai
Troupe
Every Bhavai troupe is usually allotted a village where they would perform regularly. Typically, a troupe consists of nine to twenty members. Each member would be allotted different roles to play and categorized into different types. The types of members include the Nayak, who is the chief. Second, is the Veshacharya, who plays the leading male role. Third, Kanchallyo plays the leading female role. And then the Rangla and the instrument players.
Vesha
The Vesha in Bhavai has two different meanings to it. One is to denote ‘to wear the character through costumes and actions, and the other is used to refer to the playlets that form a Bhavai performance. The oldest vesha written by Asait is the Ramdev vesha. This vesha alone lasts three and a half days, and it narrates the story of the Earth from its birth to its death.
There are over 30 veshas that have been preserved by the community and passed from generation to generation orally. They are predominantly categorized into the following based on their central theme:
Historical Events and Characters – The skit is based on folk tales or their local history and figures. Some plays include Viko Sisodia, Sadhra Jesang.
Religious Themes and Characters – It is based on religious themes and characters like Ganpati, Raval, Ardhanarishwara, etc.
Social Issues – It is based on ongoing social issues and is usually performed in a way to raise awareness about the same. Juthan, Chhel Batau, Zhanda Zhulan, Purabio are some of them.
Plot Structure
The opening act is the Ganpati vesha to invoke the blessings of Lord Ganesha. It is per the usual Hindu practice of worshipping Lord Ganesha before starting any task or function. After that, multiple Veshas are performed throughout the night based on the audience and sponsor's preferences, time of the year, and occasion.
Bhavai Music
Music is really important during the performances because it is what sets the mood. It ensures that the environment is lively and the performers have the audience’s attention. The principal instruments used during the performances are – Dholak, Cymbals, Harmonium, Pavo (an instrument similar to a flute), and Nagar (a single small drum played with two sticks). The artists are usually delivering the dialogues precisely and rhythmically in a high-pitched tone.
The songs are composed in six basic rhythms. Based on the scene and the mood of the scene, the specific rhythm is chosen. Mand, Paraj, Desh, Sorah, Sarand, Sameri, Sohni, Purvi, Prabhat, Ramkeli, Bilawal, Kalingda, Asavari, and Maru are the principal ragas used during the performances.
Bhavai Dance
The Veshas in Bhavai start and ends with the performers dancing. The most intriguing part is that the dance itself portrays various characters in the veshas. Each vesha has different dance movements to be performed. Various incidents (like romance, tragedy, etc.) in these veshas are connected through dance. Sometimes, even Garbha is performed in Bhavai.
Costume and Make-up
The performers usually wear colorful costumes and wear bold makeup to enhance various aspects of the performance. Their make-up includes applying Kajal and Kumkum. Since most of the roles of women are played by men, these men have clean-shaved faces, lean bodies, and thin voices.
Training and Initiation
The boys usually get involved with their clan’s Bhavai troupe by the age of eight years. They are initially made to observe how it’s performed and learn the basics. After some time, those who show interest in performing are given small roles to enact in the veshas, and the others are encouraged to master musical instruments or manage and organize the event based on their interest.
At present, even though the families take great pride in their heritage, the parents aren’t encouraging their sons to take up Bhavai as a family profession. It is mostly because of the financial constraints and less audience interest. Due to this, the art form is battling for survival. The only few possible ways to revive the art form lie in the hands of contemporary theater artists. They should teach and train youngsters in Bhavai. The government should provide grants to Bhavai troupes or make provisions for more opportunities for them.
Note: If you found the article helpful, kindly share it with your friends and family. Thank you! <3333
References:
*The pictures are not owned by me. It is purely for educational purposes only.
Comments