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competitions". The theme of the competing team's performance is assessed, including the creativity of the theme and the execution in regards to the set, props and various gimmicks a team may perform. The rubric includes prompts such as: "Does the theme incorporation seem to naturally fit with the team's performance without taking away from the dance or does it seem forced?" Additionally, music is assessed regarding its tempo, rhythm and appeal within the performance. Historically, thematic judging is more nuanced than other elements because of personal opinions a judge or elder members of the Garba-Raas community may have.
275:, dandiya-raas, and tran tali. All dancers are required to be college students but may attend a different college from which they represent. Teams are expected to be in traditional Garba-Raas clothing. Routines are commonly constructed with a theme presented throughout the dance through props and special effects. On stage the dance is described as "very intense and high-energy: (1) the music is usually at a faster tempo than the other forms of Garba-Raas discussed previously, (2) dancers are taught a form of fast head-bobbing, (3) manic smiles are pasted on each dancer in order to emphasize enthusiasm to judges".
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audition video of the team displaying a dance to three songs. Eight teams are then selected and invited to compete by the board of each individual competition. Each competition awards the top three teams, 1st, 2nd, and 3rd place with 4 bid points, 2 bid points, and 1 bid point, respectively. The 8 teams with the highest cumulative bid point total are invited to the national RAS competition.
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next to each other, but two choreography judges must be sitting separately.) The judges will also avoid any use of electronic devices, such as cell phones or laptops. During competing performances, the judges will score teams using the Raas All-Stars judging rubric. The judges may consider writing any qualitative notes on scratch paper for use in deliberation." Judging
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and movements throughout an approximately six-minute dance piece. Throughout the piece, dancers either do choreography facing the audience or interact with other partners on stage for short periods of time in a reference to the traditional roots of Garba-raas. Unlike traditional dandiya-raas or Garba, collegiate Garba-raas do not have a set centre focal point.
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in the following manner: on the first beat, your own sticks are hit together, followed by right sticks with your partner, then left sticks (or the same stick if using one). Each one then turns away to the left to hit their own sticks together before turning back to the partner to hit the right sticks again, and before moving on two places to a new partner.
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The competition season for Garba-Raas takes place at the beginning of each calendar year (January to April). In order to compete under the RAS organization, teams must submit applications to the certified competitions, known as Bid
Competitions, by a set deadline. The application commonly includes an
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Male and female students typically perform competitive Garba-raas with 12-16 dancers on stage at a time and always in even numbers if possible, even though the routine itself is not completely based on partner interactions. Dancers take up an entire auditorium stage with different types of formations
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Similarities between the traditional and competitive styles are the clothing, the music, and the basic moves. Jessica
Falcone points out that dancers prefer to identify the new dance style as a branch of Garba and Dandiya-raas but in reality, she states that intercollegiate Garba-Raas is transforming
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Garba-Raas is traditionally a recreational social dance form that is done in large groups. The competitive form is described as ā...competitive sport, rather than an inclusive, ritualistic dance form, the need to "entertain" has become increasingly paramountā by
Falcone. In order to turn this social
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The lines move clockwise, and each person steps forward to hit sticks with their partner, then moves on two people. At the end of the line, each turns and joins the line opposite, so the movement is continuous. The music starts very slowly It is an eight-beat time cycle called
Kaherva and performed
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Garba-Raas performances are judged on three elements: Artistic
Elements, Choreography and Execution. Bid competitions are required to have at minimum five judges (two Choreography, two Execution and one Artistic Element) but ideally have more than one judge per category, with the highest number of
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During the competition itself, there are strict guidelines the judges must follow: "During the show, the judges will sit separately to avoid any discussion of performances. This means that judges from the same category cannot sit next to each other. (For example, choreography and execution may be
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Choreography is judged via a similar rubric, however the judges for this element are required to have significant experience and are vetted properly by the RAS Executive Board prior to being given the position. A team's choreography is judged by the opening and closing sequences, formations,
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Artistic elements include many elements of the performance that do not involve choreography, but are crucial nonetheless and ranked by judges using a rubric standardized by the RAS organization. "As the regulatory body, RAS creates and executes the criteria for choosing and judging these
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college students. Furthermore, a cohesive national organization for Garba-Raas was established in 2009 called Raas All-stars (RAS). As of 2023, the organization consists of almost 50 actively competing collegiate Garba-Raas teams nationwide, out of a total of 66 recorded teams.
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Raas All-Stars (RAS) is the national organization under which the collegiate Garba-Raas competitions and teams function. RAS was established in 2009. They are responsible for certifying eligible competitions and hosting the national championship at the end of each season.
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judges being nine per panel (three per category). All three elements are judged on their respective "WOW" factors (term coined by the rubric), and team captains receive comments on their team's performances from the judges after every team has competed and been ranked.
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originality, musicality, proximity to traditional Garba-Raas, complexity, structure and pacing. Execution is judged by a third rubric, which includes categories such as recovery, synchronization, transitions, energy, grace and overall impression.
242:. Garba-Raas emerged as a competitive dance style due to the efforts of the Federation of Gujarati Associations of North America (FOGNA). The Garba-Raas competitive dance style was further developed in the early 2000s by first generation
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dance into a competitive activity, many aspects of the dance, such as the formations, the moves, and structures, have changed. The new evolved style is described in further detail below under ā The Garba-Raas
Competitive Dance Styleā.
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for all RAS Bid
Competitions are created and curated by the Executive Board of Raas All-Stars. All three rubrics are standardized each year so that judging criteria across all competitions and teams are consistent.
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too. The etymology of
Dandiya-Raas is in Sanskrit. Dandiya-raas exists in the different forms, including the collegiate competitive form. The dance style is now in a competitive format and a traditional format.
230:, Raas is performed by the men and the dance performed by women is called as Raasda. Element of dance is more prominent in the Raas while music is more prominent in Raasda.
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and the dance operates in pairs, meaning the group must contain an even number. Generally, two lines are formed, with partners facing each other:
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Falcone, Jessica Marie (February 2013). "'GARBA WITH ATTITUDE': Creative
Nostalgia in Competitive Collegiate Gujarati American Folk Dancing".
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The structure competition dance consists of 12-16 dancers who perform 8-9 continuous dances which are a combination of
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Garba-Raas, more commonly known as Raas, is a combination dance style consisting of mainly
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Dandiya Raas, Gopgunthan Solanga Raas and Mer Dandiya Raas are the popular forms of Raas. In
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Collegiate Garba-Raas Team Performing for National-Level Competition
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Dandiya Raas dance by children during Navratri in Bangalore
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405:(in Hindi). MarubhÅ«mi Åodha Saį¹sthÄna. 2002. p. 240.
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KhyÄta: itihÄsa, kalÄ, evaį¹ saį¹skrĢ„ti kÄ« Åodha patrikÄ
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340:References
228:Saurashtra
172:region of
158:folk dance
119:March 2009
89:newspapers
1285:Veeragase
1230:Puli Kali
1200:Oyilattam
1120:Khual Lam
1115:Keisabadi
1075:Hulivesha
1020:Duffmuttu
915:Bagurumba
877:Rasa lila
786:Kuchipudi
781:Kathakali
756:Classical
503:145669630
495:1096-8598
292:Structure
194:Etymology
174:Rajasthan
166:Navaratri
1408:Ghungroo
1355:By state
1220:Phulpati
1210:Padayani
1130:Kolattam
1100:Kalbelia
1080:Jhijhiya
1070:Hojagiri
1060:Gombhira
1000:Dhunachi
975:Chholiya
960:Chang Lo
867:Nataraja
806:Sattriya
791:Manipuri
327:Criteria
208:Sanskrit
1413:Silambu
1392:Tripura
1280:Tippani
1265:Tertali
1180:Mussoll
1145:Lahasua
1090:Jhumair
1055:Ghumura
1050:Ghoomar
1010:Domkach
985:Dalkhai
935:Bhangra
872:Tandava
842:Gotipua
837:Gaudiya
741:Theyyam
714:Ancient
548:1 March
516:David.
320:rubrics
301:Judging
202:Dandiya
162:Gujarat
103:scholar
18:Dandiya
1382:Punjab
1377:Odisha
1346:Mudras
1316:Nautch
1240:Rasiya
1195:Oppana
1140:Lavani
1125:Kikkli
1085:Jhumar
1045:Giddha
1035:Garadi
1025:Dumhal
965:Cheraw
847:Mahari
832:Deknni
815:Others
801:Odissi
776:Kathak
731:Koothu
501:
493:
429:
383:
210:word "
170:Marwar
105:
98:
91:
84:
76:
1367:Assam
1250:Saang
1185:Nacnī
1170:Matki
1155:Maach
1150:Lezim
1135:Kummi
1110:Karma
1065:Grida
1040:Garba
1030:Fugdi
1015:Domni
995:Dhalo
955:Chang
905:Alkap
882:Lasya
827:Chhau
499:S2CID
273:Garba
240:Garba
222:Forms
110:JSTOR
96:books
1190:Nati
940:Bihu
896:list
892:Folk
642:2023
617:2023
576:2023
550:2021
491:ISSN
427:ISBN
381:ISBN
212:Rasa
150:Raas
82:news
483:doi
152:or
65:by
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661:16
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633:.
607:.
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566:.
541:.
526:^
497:.
489:.
479:16
477:.
473:.
441:^
411:^
365:^
898:)
894:(
699:e
692:t
685:v
644:.
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578:.
552:.
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389:.
132:)
126:(
121:)
117:(
107:Ā·
100:Ā·
93:Ā·
86:Ā·
59:.
34:.
20:)
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