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during opening invocations in the opposite direction as the dancers to seal in and protect the energy field they are generating; patrolling the arena perimeter during dance drama sequences to prevent audience members from entering the players' area or shaman circle unless they are clearly entranced; and periodically holding court at the arena's edge with his Rai escorts to accept offerings on behalf of the troupe and confer blessings.
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some villagers with a sense of wonder, grace and bliss. Entranced villagers may be welcomed into the shaman circle or approached for healing and blessings by other members of the crowd. Those possessed often later report feelings of great exhilaration and selfless unity with all surrounding life. Such experiences reinforce Bhils' belief in Gavari's power, their own inalienable equality, and the sacredness of the natural world.
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are only performed by a particular troupe once on four or five years. The flexible and intuitive improvisational method encourages a wide range of creative expressions, leading to diverse interpretations of the same stories across various villages. Players strive to perform in a receptive trance known as
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Gavari is righteously egalitarian and disrespectful of unjust authority. Its dramas vividly depict and celebrate the dispatching of powerful officials, gurus and merchants either by the mocking scorn of villagers or the sword of the
Goddess in a protective maternal rage. No authority figure is spared
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is the tale of a composite leader representing five centuries of Bhil resistance to intrusions of all kinds. The play compresses and conflates the armed might of Turkic, Mughal and
British invaders and depicts Goddess-inspired Bhil warriors finally driving them all away with daring ambushes, sabotage
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over rehearsal and memorisation. The beginnings and ends of Gavari dramas are known, but how things transpire in between is highly mutable. There are no scripts and many players are illiterate farmers and labourers. Individual plays can continue for hours, contain long soliloquies and dialogues, and
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A Gavari troupe repertoire may include 10-15 classic traditional tales and new ones are still evolving, but the overarching themes are the sacredness of the natural world, radical human equality, and the feminine nature of the divine. These values are reflected in traditional Bhil society where the
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Successful invocations have several visible effects. First they connect the village shaman(s) to the
Goddess spirit so they can audibly articulate Her concerns, requests and will. Second, they infuse the Gavari players with creative inspiration to ably enact their roles. Finally, they can overwhelm
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Gavari tightens inter-community bonds with its month of itinerant village visitations and solidifies Bhils’ sense of responsibility for a world far beyond their neighboring fields. Although only Bhils play roles in the ceremony, Gavari performances also internally solidify communities by involving
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communities petition the
Goddess to permit their villagers to perform the Gavari ritual and to accompany them for the weeks of touring. The average wait time for her consent is about 4–5 years, and once the ritual cycle begins, she must also be successfully invoked before each daily ceremony. Only
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The
Rediscovering Gavari program invited 12 rural troupes to perform the ceremony on different days in iconic Udaipur settings. These unprecedented events exposed thousands of tourists and townsfolk to Gavari for the first time and sparked a rare blaze of media attention. This was followed by the
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Budia embodies a powerful fusion of
Shaivite and demonic energies and is a vital protective Gavari figure. He is distinguished by his dramatic horse hair-fringed mask, sacred staff and twin Rai consorts. In each day's Gavari ceremony the Budia character has three main duties: circling the arena
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Daily confirmation invocations are performed around an altar in the center of the Gavari arena where shamans, musicians and senior players gather in a tight circle. The rest of the players and occasionally villagers dance counterclockwise around this core to create a welcoming energy field. A
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Each of the 25-25 participating communities forms and dispatches its own Gavari company of 20-80 members. The troupes crisscross Mewar performing more than 600 day-long village ceremonies in all. In total, Gavari troupes in total can play to over a quarter of a million people annually.
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Gavari's itinerant format continues to closely network and promote solidarity among Mewar's scattered rural villages as well as their constituent castes and religious communities. Its rich mythic and historical repertoire also helps keep tribal youth aware of their heritage.
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In Gavari, the beauty and power of the natural world are the ultimate expression of divinity. Wilful or heedless damage to its diversity, health or future is thus regarded as not only short-sighted and suicidal, but also criminal and blasphemous. Such views are the seed
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Depending on the day and the plays selected a single Gavari troupe can present dozens of different characters - goddess avatars, gods, demons, historical figures, sacred animals, corrupt officials, etc. The only constant roles, which exist outside the dramas, are the
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sisters are outraged at this desecration and slip into his court disguised as acrobatic dancers to exact revenge. They lure the king close with their artistry, reveal their true nature, indict him for cowardice and sacrilege, and mortally terminate his reign.
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Gavari troupes perform two distinct invocation rituals. The first is used to ask the
Goddess to permit a village to perform the Gavari cycle. This invocation is held in every Mewari Bhil community on or shortly before the full moon in the Hindu month of
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In the final days, each troupe returns to its home village for a last performance and closing ceremonies. The cycle ends with an immersion rite to return the
Goddess's fertility to their waters and all night raucous celebrations.
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mobilized local agencies and NGOs to create "Rediscovering Gavari", a multi-year program to promote "Gavari as an ancient folk art miracle... spiritually arousing, artistically surprising and historically mysterious."
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recounts how the
Goddess re-greened the Earth after a life-erasing flood and fiercely defends it thereafter from greed, stupidity and harm. The playlet features a powerful guru who loses his disciples beneath a sacred
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There are also positives. Local Bhil organizations are also becoming more active in promoting Gavari and its core values. The first
English language introduction to Gavari is now available; lobbying is underway for
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to accompany their village Gavari troupes on their month-long pilgrimages. This alone is potentially lethal since Gavari has no scripts or schools and the only way to learn its ceremonies, arts and stories is as an
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Gavari's comedic skits on farm finance, greedy middlemen and corrupt merchants offer villagers wry lessons in real world commerce and economic self-defense, especially with regard to crop brokers,
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Bhilurana: on left the British invaders, on right Bhils preparing to resist. The green parasol marks the Empress of India, Queen Victoria; the red Goddess Kali, the Bhils’ secret power source.
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guardian Budia figure circles the dancers in the opposite direction to seal in their energy and protect it from misuse. The Goddess spirit's arrival and presence is signaled by one or more
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participant. Add to this the accelerating exodus of working age youth to metro centers in search of employment and the average size and number of rural Gavari troupes continues decline.
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According to one hypothesis, it may have begun in rural Mewar at the end of the 16th century, when Mewaris largely regained control of their lands and lives from the Mughals in
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utilized to emphasize and convey the dynamic energy of possession, as well as sturdy saankal chains that trance-induced participants frequently use to strike their backs.
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tree and demands that the local king destroy it as an illicit source of power. The unnerved king complies and has the tree cut down. The Goddess and her
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has started presenting films and samples of Gavari artistry; and local eco-festivals are also introducing the tradition to urban audiences. In 2016 the
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shamans, village elders and veteran Gavari players. Other villagers gather outside to await Her decision which is delivered by a possessed trembling
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Both plays end with celebration, salutations to the Goddess, and clear warnings to interlopers to never violate Nature or their sovereignty again.
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During the 40-day Gavari season, all players practice strict austerities to maintain reverent contact with the living earth and the
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Every Gavari village has its own iconic Budia mask, which is treated as a sacred object and often handed down for generations.
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among many indigenous tribes and their current widespread battles to safeguard water resources, endangered ecosystems and
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The second is to confirm Her presence and participation at the start of each day's performance. Both invocations require
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environment is revered, hierarchy is abhorred, and women enjoy greater rights and status than in communities outside.
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The Gavari tradition at home has fallen on hard times Rajasthan's government schools now forbid Bhil students to be
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first Gavari presentation in Delhi at the 2016 National Tribal Carnival, which was attended by Prime Minister
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when she visibly possesses one or more troupe members can the dance dramas begin and the ritual proceed.
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1390:"Year of Clout: 10 Stories of Indigenous Environmental Influence in 2015 - Indian Country Media Network"
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Additional ritual instruments employed following the manifestation of the deity include peacock feather
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1503:. Claus, Peter J., Diamond, Sarah, 1966-, Mills, Margaret Ann. New York: Routledge. 2003. p. 239.
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There are many speculative theories about Gavari's genesis, but its true age and origin are unknown.
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Initial sanction invocations are usually held in a darkened sanctuary attended by a small group of
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1082:"Going global: Mewar's tribal folk opera 'Gavari' ready for international stage - Times of India"
580:, which has been hailed as "the most significant change to Indian democracy since Independence"
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788:. Tribhuwan, Robin D., Tribhuwan, Preeti R. New Delhi: Discovery Pub. House. 1999. p. 106.
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and Japanese scholars have initiated innovative economic studies of Gavari's societal benefits
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1660:"Shakti Sunday resonates with World Music Day & honors Gavari tradition | UdaipurTimes.com"
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1605:"Creative Economy study on Mewar's Gavari tradition by Japanese Researchers | UdaipurTimes.com"
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611:"Rediscovering Gavari" program stages rare urban evening performance at Udaipur's Gangaur Ghat.
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Bhil women observe each month. Consequently, all female characters are portrayed by men.
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Disappearing Peoples?: Indigenous Groups and Ethnic Minorities in South and Central Asia
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Mitra, Aparna (1 June 2008). "The status of women among the scheduled tribes in India".
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Among Gavari's many mythic dramas, two of the most popular and often repeated are
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all castes, communities and age groups in the preparations and audience delight.
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Udaipur ke adivasi: Udaipur ke bhili kshetra ka shodh evam sanskrutic sarvekshan
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Gavari - Mewar's electrifying tribal dance-drama: An Illustrated Introduction
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Tribal culture, continuity, and change : a study of Bhils in Rajasthan
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Tribal culture, continuity, and change : a study of Bhils in Rajasthan
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Women are not allowed to tour as actors with the troupe due to the 4-5 day
1449:"Tribal Dance-drama Gavari : Theatre of Subversion and Popular Faith"
1126:. Tribhuwan, Robin D. New Delhi: Discovery Pub. House. 2003. p. 57.
1019:(Revised ed.). New Delhi: Har-Anand Publications. pp. 121–122.
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Encyclopaedia of Sociology of Religion: Sociology of religions in India
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shamans. The healthy skepticism such skits reflected and encouraged in
1711:"Administration will lay emphasis on Gavari festival. | Daily Udaipur"
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1364:"11 Indigenous resistance movements you need to know | rabble.ca"
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Satiric skit mocking fat traders who come to fleece the villagers
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40-day long festival held in the Mewar region of Rajasthan, India
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Brower, Barbara; Johnston, Barbara Rose (17 September 2016).
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1635:"Aarnya Parva Enthralls Audiences - Event Review @ Creanara"
1762:"National tribal festival at new delhi, mewars gavri dance"
966:"Bhils - Dictionary definition of Bhils | Encyclopedia.com"
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Kali avatar shows magic power by spitting out red-hot coals
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and some playlets happily lampoon kings, Hindu gods like
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Masked Gavari Budia figure from rural Jaisamand troupe
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1339:"Mewar Gavari – Mewar's ecstatic tribal folk opera"
885:. Behavioral Dimensions of the Firm Special Issue.
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1017:Medieval India : from Sultanat to the Mughals
1418:. Westport, Conn.: Greenwood Press. p. 156.
736:. Westport, Conn.: Greenwood Press. p. 141.
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636:recognition of Gavari as a globally significant
1575:. New Delhi: Mittal Publications. p. 150.
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1225:. New Delhi: Mittal Publications. p. 63.
1109:Rajasthan State Gazetteer: History and culture
1471:"The invisible history of people's movements"
668:who offered lavish praise and encouragement.
1686:"Rediscovering Gavari – 2016 – Mewar Gavari"
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215:Gypsy trader being blocked by Meena bandits
68:Learn how and when to remove these messages
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104:. Please do not remove this message until
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197:Learn how and when to remove this message
179:Learn how and when to remove this message
124:Learn how and when to remove this message
991:"The Many Faces of Budia – Mewar Gavari"
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657:Rajasthan Chief Minister Vasundhara Raje
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100:Relevant discussion may be found on the
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769:. Udaipur: Bharatiya Lokakala Mandala.
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638:Intangible Cultural Heritage treasure
1547:"Keeping history alive dramatically"
1258:"Gavari Introduction – Mewar Gavari"
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1611:. 19 September 2016. Archived from
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1200:. Cosmo Publications. p. 161.
1194:Nayar, V. G.; Nayar, M. G. (2000).
944:. India: Tuneer Films. p. 24.
595:, and urban conceptions of wealth.
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1170:"Gavari – A Dance Drama of Bhils"
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49:This article has multiple issues.
1571:Majhi, Anita Srivastava (2010).
1221:Majhi, Anita Srivastava (2010).
1049:"mughal-mewarconflict - airavat"
539:Social and cultural significance
161:guide to writing better articles
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57:or discuss these issues on the
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883:The Journal of Socio-Economics
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433:Religious and shamanic aspects
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1394:indiancountrymedianetwork.com
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578:2005 Right to Information Act
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1860:Religious festivals in India
1416:Culture and customs of India
1414:Henderson, Carol E. (2002).
1283:"'Gavri' the Opera of Mewar"
856:ethnoflorence.skynetblogs.be
734:Culture and customs of India
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1447:Chandalia, Hemendra Singh.
895:10.1016/j.socec.2006.12.077
858:(in French). Archived from
765:Bhanavat, Mahendra (1993).
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106:conditions to do so are met
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1835:Indigenous culture of Asia
1790:Mewar Gavari Facebook page
653:Udaipur District Collector
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909:"Bhil tribal communities"
732:Henderson, Carol (2002).
649:West Zone Cultural Centre
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284:
1015:Chandra, Satish (2005).
486:, and the kindling of a
19:Not to be confused with
1820:Folk festivals in India
940:Agneya, Harish (2014).
512:falling into trembling
305:(The Banyan Swing) and
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309:(King of the Bhils).
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1059:on 24 September 2016
970:www.encyclopedia.com
913:www.indianmirror.com
840:. 27 September 2007.
709:Religious naturalism
398:master of ceremonies
1795:Gavari.info website
1289:. 28 September 2010
405:menstrual isolation
93:of this article is
1855:Rajasthani culture
1845:Indigenous theatre
1810:Community building
1370:. 13 November 2014
1086:The Times of India
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684:Guerrilla theatre
388:figure, his twin
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