૫
An Artistic Journey

Bhavnagar’s Garba Heritage

મારું વહાલું ભાવનગર

Maru Vahalu Bhavnagar — my dear Bhavnagar

Bhavnagar. Shared by Poyani Oza on her own Threads account on 14 May 2026, with the words ‘Maru Vahalu Bhavnagar, Happy Birthday.’A tall clock tower stands beside a domed old building over a wide square with a round garden, auto-rickshaws and scooters on the road. Colour.Photographer unknown. If this is your photograph, please tell us so we can credit you.
Social media post: @poyanioza, Threads, 14 May 2026

Social media post: @poyanioza, Threads, 14 May 2026

૧

At home and in the street

Bethak garba in Nagar homes; bhavai at Haluriya Chowk, Atabhai Chowk and the Barton Library square; street garba begun in Vajirwali Sheri; the 27-hole garbo and its 108 rounds; the working women of Karchaliya Para, who sang garba all year round.

Book (Shri Garba-Raas Puran, pp. 187–188)

Book (Shri Garba-Raas Puran, pp. 187–188)

Women did not sing garba in public in earlier times; they gathered at home to worship the Mother Goddess. Bethak (seated) garba began with Nagar Brahmin women.

Book

Book

About 70 years before the book, bethak garba was held in Nagar homes:

  • Durlabh Lakshmiba, Mangal Mahal, Diwanpara
  • Rama Lakshmiba, opposite the Bahucharaji temple
  • Bala Ba, Nagar Pol
  • Madhurikaben's home at Ram Jharukha opposite the rubber factory, later continued by her son Pinakinbhai Mehta (who also began Sai bhajans)
  • Yogendrabhai and Upendrabhai Sarabhai Shukla at Bhagatalav
  • Dinkarbhai Shukla at Astar ni Ambli
Book

Book

Men sang garba at the village chowk and staged bhavai drawn from the Ramayana and Mahabharata. In Navratri, bhavai ran every night after midnight at the Mahadev temple in Haluriya Chowk, and also at Atabhai Chowk and Barton Library Chowk.

Book

Book

The garbo has 27 holes for the 27 nakshatras; four quarters of each make 108, the number of rounds danced.

Book · Video 2021

Book · Video 2021

The working women of Karchaliya Para danced garba so powerfully that nails rose out of the wooden stage. The Ka. Para Kamdar Kalyan Kendra was known across India for vigorous prachin garba.

Yagnesh Acharya · Book

Yagnesh Acharya · Book

Props of prachin garba: samelu, valonu, supdu, tippani, mandvi, garbo, divda.

Video 2021

Video 2021

૨

Onto the stage

Saptakala (founded 1953 by Jagdipbhai Virani); the 1955 opening of All India Radio Rajkot, where Pragnaben Oza and Kunjlataben Mehta choreographed the garba; Nupur Zankar's twelve garbas on stage in 1960; and Guru Dharamshibhai Shah's Kathak at Kalakshetra.

Yagnesh Acharya · Family

Yagnesh Acharya · Family

1953: Saptakala is founded by Kalaguru Jagdip Virani (“Motabhai”) at Shri Chamanbhai Mehta’s house on Diwanpara Road. It grew with the support of Williambhai Virani, Shrikantbhai Virani, Nainibhai, Kalaguru Mohammadbhai Dekhaiya, Ushakantbhai Mehta and Bhargavbhai Pandya, and taught dance, light music, tabla, harmonium, violin, mandolin, sitar and painting.

Book

Book

4 January 1955: Saptakala's team at the opening of AIR Rajkot, with the garbo choreographed by Pragnaben Oza and Kunjlataben Mehta. The article leaves unclear whether they or Jagdipbhai Virani wrote the words.

Yagnesh Acharya

Yagnesh Acharya

1958–60: the street garba of Diwanpara becomes Nupur Zankar; first Baar Garba on stage in 1960.

Yagnesh Acharya · Book

Yagnesh Acharya · Book

Nupur Zankar’s choreography is credited to Shobhanaben Oza (Poyani Oza’s elder sister), Sohiniben Virani, Bhartiben Pandya and Poyaniben Oza.

Book

Book

Venues that nurtured stage garba: Shishuvihar, the Theosophical Lodge, the stage behind Gandhi Smriti, Manekwadi Akhada, Sanskar Mandal, Salt Research.

Book

Book

Classical dance: Guru Dharamshibhai Shah's Kathak at Kalakshetra Dance and Music School.

Family

Family

Pragnaben Oza, her mother, co-founder of Nupur Zankar.Close portrait of Pragnaben Oza in later life: grey hair drawn back, round gold-rimmed glasses, a red bindi, and a lilac sari with a woven gold border. Colour.
Family

Family

Pragnaben Oza and Kunjlataben Mehta, who planted the pillar of garba culture in Bhavnagar. Article by Yagnesh Acharya, City Anchor page, 4 October.
Press: City Anchor, Yagnesh Acharya, 4 October

Press: City Anchor, Yagnesh Acharya, 4 October

The full text of this clipping is Yagnesh Acharya’s article, reproduced in his own words on Yagneshbhai’s memories.

Read the full Gujarati text

Nupur Zankar, in full

Members as remembered by Poyani and Maulesh Oza, recorded by Yagnesh Acharya

Older group

Trusha Oza, Yamini Oza (Poyani Oza’s elder sister), Shrimati Shobhana Oza-Mehta (Poyani Oza’s elder sister), Sadhana Mehta, Sohini Virani, Rohiniben Vora, Vishakhaben Desai, Kinnari Oza, Rajaniben Desai, Mahilaben Vora, Mandakiniben Mehta, Iraben Buch, Harshadaben Mehta, Varshaben Desai, Bhavnaben Mehta, Bhartiben Bhargav Pandya.

શ્રીમતી તૃષા ઓઝા, શ્રી યામિની ઓઝા, શ્રીમતી શોભના ઓઝા-મહેતા, શ્રીમતી સાધના મહેતા, શ્રી સોહિની વિરાણી, શ્રીમતી રોહિણીબેન વ્હોરા, શ્રીમતી વિશાખાબેન દેસાઈ, શ્રીમતી કિન્નરી ઓઝા, શ્રી રજનીબેન દેસાઈ, શ્રી મહિલાબેન વોરા, શ્રીમતી મંદાકિની બહેન મહેતા, શ્રી ઈરાબેન બૂચ, શ્રીમતી હર્ષદાબેન મહેતા, શ્રી વર્ષાબેન દેસાઈ, શ્રી ભાવનાબેન મહેતા, શ્રીમતી ભારતીબેન ભાર્ગવ પંડ્યા

Choreographed by Shobhana Oza (Poyani’s elder sister) and Sohini Virani.

Yagnesh Acharya

Yagnesh Acharya

Younger groups

Poyani Oza, Urmi Desai, Kshama Acharya, Viraj Mehta, Krupa Desai, Shambhavi Desai, Meera Mehta, Bhavna Vora, Manisha Mehta, Shailaja Mehta, Ketki Mehta, Madhavi Vaidya, Ashvina Shah, Meena Anjaria, Jagruti Desai, Darshana Desai, Bhavna Desai, Smruti Buch, Swarupben Virani, Shambhavi Mehta (Shilpa), Jagruti Oza, Sandhya Mehta, Matangi Dholakia, Kusum Bhatt, Meena Bhatt.

પોયણી ઓઝા, ઊર્મિ દેસાઈ, ક્ષમા આચાર્ય, વિરાજ મહેતા, કૃપા દેસાઈ, શાંભવી દેસાઈ, મીરા મહેતા, ભાવના વોરા, મનીષા મહેતા, શૈલજા મહેતા, કેતકી મહેતા, માધવી વૈદ્ય, અશ્વિના શાહ, મીના અંજારિયા, જાગૃતિ દેસાઈ, દર્શના દેસાઈ, ભાવના દેસાઈ, સ્મૃતિ બૂચ, સ્વરૂપબેન વિરાણી, શાંભવી મહેતા (શિલ્પા), જાગૃતિ ઓઝા, સંધ્યા મહેતા, માતંગી ધોળકિયા, કુસુમ ભટ્ટ, મીના ભટ્ટ

Choreographed by Poyani Oza.

Yagnesh Acharya

Yagnesh Acharya

Singers

Trusha Oza, Varna Mehta, Yamini Oza (Poyani Oza’s elder sister), Matangi Dholakia, Madhavi Vaidya.

તૃષા ઓઝા, વર્ણા મહેતા, યામિની ઓઝા, માતંગી ધોળકિયા, માધવી વૈદ્ય

Yagnesh Acharya

Yagnesh Acharya

Musicians

Kalaguru Mohammad Dekhaiya, Bhargav Pandya, Pradip Bhatt, Balvant Gohel, Ambrish Mehta, Suresh Vaghela, Balvant Parmar, Narendra Parmar, Tarun Mehta, Kamal Virani, Harihar Kapadi, Harshad Shah, Yagnesh Acharya.

કલા ગુરુ મહમદ દેખૈયા, ભાર્ગવ પંડ્યા, પ્રદીપ ભટ્ટ, બળવંત ગોહેલ, અંબરીષ મહેતા, સુરેશ વાઘેલા, બળવંત પરમાર, નરેન્દ્ર પરમાર, તરુણ મહેતા, કમલ વિરાણી, હરિહર કાપડી, હર્ષદ શાહ, યજ્ઞેશ આચાર્ય

Yagnesh Acharya

Yagnesh Acharya

Is your name, or your mother's, here? Share a memory.
A performance in motion: women and young girls on stage. Undated. Do you recognise anyone?Women and young girls dancing across a stage, bending low with arms swept out, large white props at the edges. Black-and-white.
Family

Family

Do you recognise anyone?
Poyani Oza (centre, bending forward with one arm stretched out, in a dark skirt with a light border, a white odhni and jasmine in her hair) dancing garba on stage with her group. Singers and musicians sit on the floor at the back. Undated. Do you recognise the other dancers?Poyani Oza at the centre, bending forward with one arm stretched out, in a dark skirt with a light border, a white odhni and jasmine in her hair, dancing garba on stage with her group; singers and musicians seated on the floor at the back. Black-and-white.
Family

Family

Do you recognise anyone?
Dancers on stage, arms raised in a single movement. Some wear saris and some wear ghagra-odhni with jasmine in their hair. One dancer at the centre faces away from the audience towards the backdrop. Framed portraits hang above the stage curtain. Black-and-white. Undated. Do you recognise anyone, or the hall?Dancers on stage, arms raised in a single movement. Some wear saris and some wear ghagra-odhni with jasmine in their hair. One dancer at the centre faces away from the audience towards the backdrop. Framed portraits hang above the stage curtain. Black-and-white. Undated. Do you recognise anyone, or the hall?
Family

Family

Do you recognise anyone?
૩

Groups and experiments

Nupur Zankar · Ghogha Circle Mitra Mandal · Kala Sangam (1973, Jitu Bhatt) · Khushboo Kala Vrind (Poyani Oza) · Venunad · Amateur · Neptune · Kalapath · Active Kala Vrind (Mahendrabhai Bhadiyadra).

Yagnesh Acharya · Book · Family

Yagnesh Acharya · Book · Family

Ghogha Circle Mitra Mandal

Famed for prachin dandiya raas. Members included Jayrajsinh Sarvaiya, Sonalben Shah, Ashaben Shah, Muraliben Meghani, Jitubhai Bhatt and Josnaben Upadhyay. Jayrajsinh Sarvaiya, Kirit Vyas and Upen Mehta prepared the hudo raas of the Tarnetar fair: a raas of strong claps, stamping feet and the cry “ho, ho, huda”, danced by men of the Bharwad, Rabari, Ahir and Koli communities in circles of 50–100, shoulder to shoulder, to dhol and double flutes (jodiya pava). Hudo means spirit and strength.

Book · Yagnesh Acharya

Book · Yagnesh Acharya

Share a memory about this group

Kala Sangam

Founded 1973 by Jitu Bhatt. It joined Gujarat’s dandiya raas with Assam’s bamboo dance. Its “Trio” combined the tippani dance of working women, raas, and the garbi danced around the Mother’s image in Bhavnagar’s temples, using keherva as well as the traditional hinch taal. Each new idea first needed the approval of folklorist Khodidas Parmar.

Yagnesh Acharya

Yagnesh Acharya

Share a memory about this group

Kala Sangam in Ahmedabad, 1973

Invited by Chandrakant Master. Ahmedabad dancers were struck by the Bhavnagar dancers’ smiling faces. Chitraben Shah of the Kankan group, originally from Bhavnagar, asked for a tip for her serious-faced girls. At the second show that night Mahendra Patel (“Bhanabhai”) tore cardboard from a Havmor ice-cream box beside the Town Hall, wrote “Jara haso” (smile a little) on it, tied it to a dandiya, and held it up from the wings.

Yagnesh Acharya

Yagnesh Acharya

Share a memory about this group

Gof gunthan

A braided-rope raas performed at a competition on the Krishnanagar Sanskar Mandal stage. Dancers’ dandiyas are tied by ropes to a rotating wooden disc, and the steps braid the ropes. It held for three rounds, then one braid came loose and the curtain had to come down. Choreographer: the late Jagdish Pandya (“Jaga”), author of five books on raas-garba. The dhol player, the late Suresh Vaghela, titled the episode “Jaga na Bhaga”.

Yagnesh Acharya

Yagnesh Acharya

Share a memory about this group
૪

Today

Only echoes of remembrance remain; this section exists to gather them.

Family

Family

Bhavnagar stayed at the forefront of Saurashtra's raas-garba culture until about 2015.

Yagnesh Acharya

Yagnesh Acharya

Yagnesh Acharya writes that only echoes of remembrance now fill the space where it stood. This page exists to gather them.

Yagnesh Acharya

Yagnesh Acharya

Share a memory

Share a memory

Bhavnagar's wider heritage

Bhavnagar's architecture, living symbol of its rulers' welfare policies. Report of a lecture by Dr Lakshman Vadher, Shamaldas College, at the Rotary Club of Bhavnagar, Rotary Hall, Ghogha Circle. City Anchor page, 6 September.
Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

City Anchor page, Bhavnagar, 6 September (year not shown)

English translation

City Anchor

These buildings: a remarkable meeting of security, public welfare and artistry

Bhavnagar's architecture: living symbols of its rulers' welfare policies

Lecture by Dr Lakshman Vadher at the Rotary Club

Bhavnagar | 6 September

P1

The Rotary Club of Bhavnagar organised a special lecture on "Bhavnagar's Architectural Heritage" at the Rotary Hall at Ghogha Circle. In it, Prof. Dr Lakshman Vadher of Shamaldas College shed light on Bhavnagar's historic town architecture and its planning for the public good. He said that the buildings raised by Bhavnagar's rulers are not merely grand piles of stone but living monuments to their generosity towards their subjects and their concern for their welfare. The rulers put the public good and the people's safety before their own luxury. Whether it was the coastal works on Piram Bet island, built in the time of Mokhdaji Gohil, or the structures on the hills of Sihor, all were built to keep the people safe.

P2

With the public good at heart, Bhavnagar was given remarkable buildings such as Alfred High School, Majirajba Girls' School, the Jashonath Mahadev temple, Takhteshwar Mahadev, Gangaderi, Sir Takhtsinhji Hospital, Shamaldas College, Barton Library, Shri Gaurishankar Lake (Bortalav), the Nandkunvarba Orphanage for Girls and the lock gate at the port. Together these buildings show a matchless blend of Indian, Islamic and European styles. In shaping this historic architecture, Diwans (chief ministers of the princely state) such as Gaurishankar Oza, Shamaldas Mehta, Vitthaldas Mehta, Vijayshankar Oza, Sir Prabhashankar Pattani and Anantrai Pattani played a decisive part in turning the rulers' vision into reality.

P3

Private buildings in the city, such as Shailendrakumar Vidhutrai Desai's "Hari Bhuvan", Amrutrai Desai's house and the T.B. Jain Girls' School, also preserve the proud character of the traditional art of building. Bhavnagar State was known throughout the country for its architecture.

Credit for planning Krishnanagar goes to V. C. Mehta

P4

The credit for Bhavnagar's modern town plan, Krishnanagar, goes to the architecture expert Virendrarai Chandrashankar Mehta. Besides Bhavnagar, he also helped plan cities such as Rajkot, Morbi, Gondal and Wankaner. His book "Gruhavidhan" made him famous as the "Nagar Shilpi", the builder of towns. Bhavnagar's architectural heritage was further enriched by the work of Sir John Griffith and Professor Simson. In addition, Upendra Bhatt, a disciple of Sir Visvesvaraya, made a major contribution to the engineering of the city's underground drainage, its water filtration and lock gate, and the Victoria dam.

Transcribed from the printed page.

Bhavnagar's rulers built for public welfare rather than luxury, blending Indian, Islamic and European styles.

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Buildings named in the lecture:

  • Alfred High School
  • Majiraj Kanyashala
  • Jashonath Mahadev and Takhteshwar temples
  • Sir Takhtsinhji Hospital
  • Shamaldas College
  • Barton Library
  • Gaurishankar Lake (Bortalav)
  • Nandkunvarba orphanage
  • the port lock gate
  • Gangaderi
Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

The diwans who shaped the city: Gaurishankar Oza, Shamaldas Mehta, Vitthaldas Mehta, Vijayshankar Oza, Sir Prabhashankar Pattani and Anantrai Pattani.

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Gaurishankar Oza (Gaga Oza) is the ancestor from whom Poyani Oza's family traces its lineage.

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

See Roots

The planning of Krishnanagar is credited to architect Virendrarai Chandrashankar Mehta (V.C. Mehta), who also planned Rajkot, Morbi, Gondal and Wankaner and wrote "Gruhavidhan".

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Upendra Bhatt, a disciple of Sir Visvesvaraya, built the underground drainage, water filtration, the lock gate and the Victoria dam.

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

From the time of Mokhdaji Gohil: the sea fortifications of Piram Bet and the building on Sihor hill.

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Private buildings: Desai Shailendrakumar Vidhutray’s “Hari Bhuvan”, Amrutrai Desai’s house, and T.B. Jain Kanyashala.

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Sir John Griffith and Professor Simpson are named as collaborators.

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Press: City Anchor, report of Dr Lakshman Vadher’s lecture

Barton Library, named in the lecture, also gave its name to Barton Library Chowk, where bhavai was staged every Navratri night.

Book

Book

At home and in the street