In India dance was nurtured, refined and made intricate and classical to portray various emotions and longings. As time passed it became difficult for those not accomplished in classical forms of dance to take part. In due course, in Gujarat, folk dances such as garba, which had it's origins in the Lasya creeper dance, came into being to allow the mass of people to enjoy the benediction of dance, and to allow them to express and realise differing moods and passions
These dances arose by an interplay of philosophy, theology, social conditions and needs of the population, and as a consequence they slowly evolved to reflect the values and concerns of the age, whilst resting their faith and belief on solid devotional foundations
In Gujarat, the Garba dance was evolved out of the Raas dance and associated with the worship of various manifestations of divine mother goddesses, hence its form and structure is different from Raas. Garba is believed to have been evolved and nurtured into its now current traditional form, between the fifth and fifteenth centuries of the western era
The Raas dance is of older origin than Garba and was first believed to have been performed by the divine deity known as Shri Krsna, also spelt as Krishna. The Divine Krsna played and performed a dance, known as the Raas Leela with village girls, known as Gopis, on the banks of the River Yamuna in the forests of Vrandavan. The antiquity of this dance is as old as Krsna and he is believed to have played and performed the Raas Leela from about three thousand to five thousand years ago
The Raas dance was later adapted and evolved by the worshippers of the Goddess Durga to be performed with sticks to evoke the staging of a mock fight between the Goddess Durga and the demon Mahishasur
It ( Garba and Raas ) has become an inseparable. permanent and outstanding part of Gujarati culture and has been carefully preserved and handed down from generation to generation as Gujarats most prized cultural heritageDr Kalhans PatelRaas
CAPTION
There are various different styles and form of garba and raas, and many variations on common steps, with styles developed over time, changed and adapted. The origins of any vast and significant belief are not always easy to explore, especially in the case of devotion through dance, given its temporary and transient nature and the above is just a brief note. We examine these origins and developments in greater detail in our book on garba and raas