Understanding life, beliefs and stories of the Rathwas through 'Gayana'– the Song of Creation
- CIKS Anaadi
- May 4, 2025
- 9 min read
Updated: May 4, 2025
CIKS fellow and researcher Nidhi explores the culture of the Rathwa tribe residing in eastern-central Gujarat- focussing on their art, culture, traditions, festivals, beliefs and values in this long essay rich with insights from months of the author's fieldwork. This piece explores the oral Gayana tradition of the tribal communities in Chhota Udepur.
Backdrop
In the previous two blogposts, I attempted to provide an overview of the various storytelling traditions of India and an introduction to the artistic and cultural heritage of the Rathwa community residing in Chhota Udepur district of Gujarat. This is essential to understand and appreciate the oral storytelling tradition, Gayana, discussed in this write-up. The Gayana tradition and numerous other surviving oral traditions that we encounter are part of India’s long-standing heritage of storytelling. These must be acknowledged from the vantage point of India’s knowledge systems and civilizational legacy. Examining Gayana or any other indigenous form of storytelling as separate, distinct from other Indic traditions will not serve the purpose of recognizing India’s position as a civilizational entity and her contributions to the world. Oral traditions of the various Bhil communities (of which the Rathwas are a part) are found in Gujarat’s eastern belt. Indigenous stories in these oral traditions do not exist in isolation, rather they are always a part of a rich web of practices that comprise the ritual life of the tribal people (Choksi, 2009). The Gayana/Gayanaro (ગાયણા in Gujarati) thus represents the beliefs, ideas, world views of the Rathwas and their connection with nature/spirits.
Adivasi Art
Discussing the nature and characteristics of Adivasi music, Vaidya-Dublay (2017) observes from an ethnographical account in Tejgadh, Chhota Udepur and other tribal regions of India, that “Adivasi music” comes out of the body without any kind of stress” (Vaidya Dublay, 2017, p. 81). Adivasi songs contain the very complex nature of human behaviour and help us understand the internal existence and daily routines of the community. In my several visits to Chhota Udepur, one aspect that was constantly reinforced through observation, is that tribal art is not merely ‘art’, ‘entertainment’, ‘leisure’ or an act meant to invoke fun and pleasure. Tribal art and culture are deeply intertwined with religion, spirituality and experiencing a sense of oneness and connect with the divine, with nature. Post the field visits, I have ceased to trying to understand tribal art and culture in a regular, mundane manner. I have also understood how it emerges from a broader Indic/IKS context since the Bharatiya understanding of art is not confined to popular, appealing presentation of culture but is means to connect with oneself and a higher power which facilitates contemplation and good of society. Vaidya-Dublay also remarks that for tribals, art is a phenomenon, an organic experience through which they share happiness, relieve pain, explore mysteries of nature, celebrate traditions/festivals and internalize the existence of their ancestors and the divine (Vaidya-Dublay, 2017, p. 83). Among the tribals; songs, stories, poetry, dance, literature, crafts are all rooted in the oral tradition, signifying dependence on human memory over any written literature or script.
Songs of the Rathwas
A plethora of oral literature is found among the Rathwa Adivasis. On religious occasions and rituals such as Ind pooja, Kunwariyo, Pithora pooja, Holi, Diwali etc, one finds an enactment of song, dance, stories and natyavesh (different theatrical forms). Their tradition has songs dedicated to pleasing the rain god, songs relating to farming/agriculture (ખેતી સંબંધી ગીતો), songs on festivals like Holi, Diwali, Divaso (Divaho- દિવાહો), important occasions in human life such as – arranging marriage (લગ્ન જોડતી વખતનાં ગીતો), death (મરણ પ્રસંગનું સાહિત્ય), taking a vow (બાધા માનતા નાં ગીતો) and songs about liquor/alcohol (મહુડા અને દારૂ સંબંધી ગીતો). These are collectively referred to as geet, bol, Gayana. Each of these songs narrate stories about Gods and Goddesses, rituals, life, nature and thus are an expression of what the community is about, the beliefs they hold dear, their values and ideas about the world, their existence, relationship with nature, life after death etc. These songs and stories thus provide meaning to what community life is all about. It is through these expressions that they pass on their cultural heritage to the next generation, assert their identity, cherish and preserve their traditional way of life while navigating concerns of contemporary existence [Reference – Rathwa Natyavesho and Geeto provided by Sejal Rathwa].
What is Gayana?
As discussed in the second blog, the Badva is a central figure to the Gayana tradition. He may be thought of as a tantric, magician, healer, diviner, or an intermediary between the people and the Gods. He is an exceptionally gifted person who is able to interact with the spirits for the benefit of his kin in order to help and heal (Ratnagar, 2010, pp. 66-69). For example, his role is to inform why a person has fallen sick and which deity or spirit is to be pleased to effect a cure (Tadvi, 1997, p. 18). During the Gayana, words uttered by him, in certain ways and contexts, are the words of one or the other deity. He is in an altered state of consciousness, wherein he shivers, shakes and speaks not of his own will but that of the deity. This is referred to as – “Badvane pavan aave che” (one or another God has entered in the body of the Badva) (Ratnagar, 2010, pp. 69-71).
Gayana is an integral part of all religious (dharmic) rituals for the Rathwas like Ind pooja, Pithora pooja, Pongu etc. It is sung as part of the ritualistic traditions undertaken at different occasions. One or more Badvas (shaman) sing the Gayana, either alone or in a group. At times, they may be accompanied by a group of people called gayaniyo (the ones who sing along). The Badvo carries a dhak (drum) and is usually accompanied by a group of young men/boys who sing along with him. Gayana singing and narration goes on for the entire night during the Indal pooja (April/May) and during the Divaso (July/August). It is accompanied by rhythmic dance steps in which men and women of the village partake. The singing happens in front of the branch of a tree which is worshipped as part of the ritual. The Badvo is required to be knowledgeable in the Gayana tradition. The Gayana contains many interesting details such as – the origin and existence of the earth, origin and coming of rain, the making of the plow (હળ – સાદા હળ બનાવવાનું ગાયણું), the story of Pithoro dev etc. Gayana is thus a narration and description with details. For instance, a Gayana about the Ind Raja mela (fair) describes the people in attendance, buying and packing of colours from shops for Pithora.
Examples of Gayana
Gayana describes the creation of nature/earth and how the responsibility of the earth’s functioning was handed over to different Gods and Goddesses by a divine, all-powerful entity; how the Gods and Goddesses were given their respective names and the decision about their responsibilities for the smooth functioning of the cosmos. E.g. – the sun (God of Light), the moon and its role, cows and their milk giving role, stars etc find a mention in several Gayanas. Let us take for example Gayanas dedicated to Pithoro dev during the ceremony. These talk about colour preparation, whose pictures will adorn the Pithora painting. Several Gods and Goddesses are invoked with reverence during the religious ceremony for painting Pithora as well as after it. The Gayana is sung as part of/along with the ceremony. Hence, if there is a God who is worshipped as a remover of illnesses and sorrows, his mention is found in that particular rendition of the Gayana. During the Pithora ceremony, the Badvo goes into trance, moves and sways with a kalash (urn) in one hand and a sword in another. His speech becomes incomprehensible as he conducts the ritual while in trance. He names and invites Gods, his ancestors, ancestors of the householder. Doing this correctly is an essential part of the process. He then puts his sword on a particular part of the wall and names a deity, which is where the God manifested is painted. Each deity is thus believed to manifest in the house (હાજર થઈ છે). The river Narmada also finds significant mention in the Gayana. It is seen as a life giver of the community, making the places where it flows sacred. She is benevolent and nurturing, embodying a timeless, continuous flow of faith, an eternal belief and cultural investment into the forces of nature (personal communication with Shri P S Chari, veteran theatrist).
Gayana as Intangible Cultural Heritage
Respect for nature is profound and permeates all aspects of individual and community life among the indigenous. Their religious beliefs are centered around the natural and the supernatural. All natural phenomena are worshipped. They have shrines and sacred sites dedicated to them which play an important role in people’s lives. Baviskar (1992) observes that Gayana expresses Bhilala beliefs about nature. It is their myth/song of creation which is embedded in rituals. It demonstrates the religious affinity that people have to their village, land; establishing the relationship between community and nature. The Gayana changes every few miles, varies from region to region, village to village. The Gayana is about them and their Gods. It is not merely a story but a representation of the relationship between nature, people and Gods. Thus, the Gayana is referred to as a religious song, religious poem as religion is deeply integrated within the text and music of the Gayana. In the Gayana, it is necessary that rituals are done properly to obtain positive after effects. Baviskar (1992) also notices the absence of women in the ritual. She adds, however, that the stories of creation Gayana narrates are that of a world created by women (During my visit to Jamli village in Chhota Udepur for the Gamshahi ceremony, I observed women participating in the ritual, singing and dancing. Few young girls and boys were also involved in the process of preparing the feast meant for the ritual. During the ceremony, a Badva from neighbouring Madhya Pradesh was invited).
Shri P S Chari who has worked with tribal communities in Gujarat and has narrativized/ dramatized folktales from the state says, “Gayana is a story telling form practiced by the Rathwa communities of Kawant, Alirajpur, Badwani areas bordering Gujarat and Madhya Pradesh. It is sung as a thanks giving to the Gods. There are many different stories narrated in the Gayanaro. The story of Narmada is one, which is connected with the creation of the universe. The story is also known as the Song of the Bhilala, and is predominantly sung by the Badvas/Bhagats in the Narmada valley. Gayana showcases the richness and essence of Adivasi oral literature and traditions.” He further adds that by singing the Gayana; the community re-lives the creation of the world and all its living beings. Shorn of its religious content, the Gayana is an entertaining, though complicated, tale of magic and adventure in the Bhilali dialect of the Rathwas (personal interview with Shri P S Chari).
Conclusion
The oral story telling traditions of many indigenous communities in India are on decline under influence from modernity, globalization, rapid urbanization and technological advancements. Identity conflicts in the tribal belt are also on the surge as they cope with western education, social reform, and their own aspirations which may at times be in conflict with the traditions of the group. However, these stories are too precious to be lost in oblivion since they truly represent India and Indian culture. Our indigenous stories restore a connection to the past, are a gateway to the future and serve as a healing mechanism in wake of several challenges. Story forms like the Gayana and others must be preserved and celebrated as they can offer a lot to the world. Global indigenous story traditions, though different in terms of language and culture, have much scope and potential of interface and exchange as most indigenous cultures find common ground in their understanding and wisdom about life and the world.
Explore the photos and video from the fieldwork. Credits: Author.
References:
Baviskar, A. (1992). Development, nature and resistance: The case of Bhilala tribals in the Narmada valley. [Unpublished doctoral dissertation]. Cornell University, New York.
Baviskar, A. (1999). In the Belly of the River: Tribal Conflicts over Development in the Narmada Valley. New Delhi: Oxford University Press.
Choksi, N. (Ed.). (2009). Tribal Literature of Gujarat. Mysore: Central Institute of Indian Languages.
Rathwa, N., & Rathwa, V. (2016). રાઠવા સમાજમાં બાબોપીઠોરો. Vadodara: Bhasha Research and Publication Centre.
Ratnagar, S. (2010). Being Tribal. New Delhi: Primus Books.
Vaidya-Dublay, P. (2017, June 1). In Search of 'Adivasi Music': Travels in History, Culture and Politics. Studies in Humanities and Social Sciences, 24(1), 78-94. Retrieved from http://localhost:8080/xmlui/handle/123456789/4642
This blog has been created as part of the CIKS Summer Fellowship 2024. Each fellow will share a series of blog posts summarizing their projects from the fellowship. Keep an eye out for the exciting work the fellows are doing.
About the Author: Nidhi Shendurnikar
Dr. Nidhi Shendurnikar has a doctoral degree in Political Science from The Maharaja Sayajirao University of Baroda, Gujarat. She has close to a decade of teaching and research experience in media and communication studies and has supervised over sixty postgraduate dissertations.
For her fellowship at CIKS, Nidhi is working on tracing and documenting the Indic storytelling traditions, with a focus on the Gayana tradition of the Rathwas in Chhota Udepur in Gujarat.
