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Gorbai is a colourful and one of the most important festivals of the people of Diu, India and is observed throughout the district with great fervour and devotion by womenfolk who worship Gauri, the consort of Lord Shiva. Gauri symbolises saubhagya (marital bliss).
Gorbai is also celebrated in the United Kingdom with utmost devotion by the womenfolk of our community residing in different locations like the Greater London and its outskirts, Basingstoke, Bracknell, Bristol, Cheltenham, Farnborough, Leicester and Reading.
The worship of Gorbai is held from the first day of Phalgun’s Krishna paksha until the tritiya of Chaitra’s Shukla paksha. It is believed that observing this fast strengthens the bond between married couples while single girls are certain to receive marriage proposals from suitable grooms. This fast is of great significance and should be observed properly as per the established procedures.
Often, girls begin observing the fast when they are just 5-7 years old. No food can be had until after the morning puja.
At the time of the puja, unmarried girls should wear shades of red and yellow, and bedeck themselves well with bangles, necklaces, rings, etc. Newly-weds should also wear their bridal finery, the mangalsutra and other ornaments worn at the time of their marriage. Other married women should wear red and saffron-coloured clothes, and jewellery.
Items required for the puja
A small wooden platform, a lota (pitcher) of water, betel-nuts, a turmeric pod, kesar and seashells. Besides these, kumkum (red powder), kohl, henna, gehuaan goli, abeer, gulaal, mauli (red thread), flowers, betel leaves, cardamom, clove, dhro (a variety of grass), pomegranate, hayda, kamal kakdi, (seed of the lotus plant), dhaani (parched grains of jowar) and dry fruits like khajur, kharik, aloo, dry coconut, walnut, almond and cashew-nut, are also needed.
In this photograph, one can see the items required for the Puja and the Puja Sthal. Photo courtesy Miss Khiloni Dhirendra.
The puja
A day after Holi, unmarried girls make a clay image of Goddess Gauri. A wooden platform is placed in the puja spot. The clay idol of Goddess Gauri is placed on the wooden platform. The ritual is made colourful and joyous with the traditional folk songs sung in praise of Goddess Gauri. These images are beautifully adorned with bright clothes and dazzling jewellery. Goddess Gauri is worshipped everyday with utmost devotion. The puja begins with the singing of Gorbai songs. A tikka of kumkum, abeer, gulaal and gehuaan goli is applied on the idol of Gauri and she is offered water. On the wall behind the wooden platform, a square is drawn. Unmarried girls apply tikkas with kohl, kumkum and henna inside this square. In this manner, tikkas are applied in the square every day during the puja. The kohl, kumkum and henna are associated with the marital happiness and bliss. This ritual worships the ten manifestations of Goddess Gauri. A rangoli of colours is drawn on the wooden platform. Every woman of the household worships the idol with water, kumkum, kohl, henna, flowers, betel-nuts, clove, cardamom, pomegranate, hayda, kamal kakdi and dry fruits like khajur, kharik, aloo, dry coconut, walnut, almond, and cashew-nut. Seven seashells are placed near the idol of Gauri and kesar and haldi are applied onto them. Dhaani is offered to Goddess Gauri inviting her to attend the festival. The sweet smelling incense sticks are burnt during the puja. A lit diya is placed in front of the idol and an aarti is recited. This puja is performed twice a day until the third day of Chaitra’s Shukla paksha.
In this photograph, one can see the puja being performed to Goddess Gauri, inviting her to attend the occasion. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see Miss Kashish Urmil performing puja to Goddess Gauri. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see Shreemati Jasmi Dines and Miss Kashish Urmil offering prayers to Goddess Gauri. Photo courtesy Miss Khiloni Dhirendra.
From the the first day of Phalgun’s Shukla paksha, unmarried girls carry perforated earthen pots with a lit lamp inside on their head, and go around the neighbourhood singing songs of Gorbai and collecting bajri and oil as presents. The festivities continue for sixteen days.
Mehndi
Decorating the hands and palm with mehndi or a paste of heena is popular among women during any auspicious ritual. It is mainly done when a girl is getting married. It is a symbol of marital life. As Gorbai is a festival that celebrates marital status and bliss, it is mandatory for girls to decorate their hands with heena paste. They also decorate their feet with this paste. Fine designs are drawn. According to a popular belief, the deeper the colour of the mehndi, the more husbands will love and respect their wives.
In this photograph, one can see a colourful display of Mehndi cones. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see hands beautifully decorated with Mehndi designs. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see hands beautifully decorated with Mehndi designs. Photo courtesy Miss Khiloni Dhirendra.
Vevishaal and Gharena
The puja is performed in this manner every day until dooj (the second day) of Chaitra’s Shukla paksha. During this period, if there happens to be a Sunday, the Vevishaal is performed. On the wall behind the wooden platform, a swastika is drawn. This swastika represents Lord Shiva. The puja is performed and offerings are made throughout the puja, including incense, lighted lamps, betel leaves, betel-nuts, a coconut, sugar, a red cloth, dhaani (parched grains of jowar), gehuaan sutar, and a garland of flowers.
On Thursday, the Gharena ceremony is performed. In pairs, ladies offer sugar to each other and also exchange kumkum from their pots with one another. The puja is performed with flowers, betel leaves, betel-nuts, a coconut and gehuaan sutar. A green cloth and a garland of flowers are offered to the idol. An aarti is recited and the garbas are performed.
In this photograph, one can see Miss Khiloni Dhirendra offering sugar to Miss Nilam Dhirendra. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see Miss Purni Bharat offering sugar to Miss Meerali Jayesh. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see girls and womenfolk dancing Garba. Photo courtesy Miss Khiloni Dhirendra.
Mandap muhurat
In the morning of Amavasya, mandap muhurat is performed by the observer of Gorbai puja. She is accompanied in this ritual by the unmarried girl who proposes to be the worshipper of Gorbai puja in the following year. In this ritual, the observer of Gorbai puja acts as the mother of Lord Shiva and the unmarried girl who proposes to be the worshipper of Gorbai puja in the following year acts as the mother of Gauri. The observer of Gorbai puja is known as belonging to Sathiya paksh (the family of Lord Shiva). This ceremony starts with Ganesh Sthapan which is an invitation to Lord Ganesh to be present at this occasion. His presence is believed to ensure the smooth running of the ceremonies and to remove any obstacles, bringing happiness and prosperity.
Ganesh sthapan
For Ganesh Sthapan, the following items are used: water, panchamrut, betel-nuts, ghee, kumkum, abeer, gulaal, dhro, betel-leaves, fruits, flowers, an idol of Ganesh, a wooden platform (bajot), and a janoee.
First and foremost, a wooden platform is placed in the puja sthal. Betel leaves are spread out on the wooden platform. The idol of Lord Ganesh is bathed with panchamrut and water. The idol is then placed along with a betel-nut on a betel-leaf on the wooden platform. The sacred thread, janoee, is tied around Lord Ganesh’s torso. Puja is conducted. Mantras are chanted and offerings are made throughout the puja, including incense, lighted lamps, kumkum, abeer, gulaal, dhro, fruits and flowers, especially red ones.
In this photograph, one can see the Ganesh Sthapan. Photo courtesy Miss Khiloni Dhirendra.
Following this is the ceremony of “Mandvo” or Mandap Ropan. This is a solemn procedure where the ground location of the proposed mandap is worshipped to clear it of all evil influences, to seek the blessings of Mother Earth, and to ask for permission to commence with the digging of the soil to erect the mandva or mandap (a platform covered with a canopy).
Mandap ropan
For Mandap Ropan, the following items are used: a pot containing sand, kumkum, abeer, gulaal, panchamrut, water, betel-leaves, a stambh with seven nods, ghee, khajur, seashells, betel-nuts, a coconut, mauli (nadacchadi, a red thread), a mindhol and gehuaan sutar.
Mindhol and five peepul-leaves or betel-leaves are tied to the stambh with a mauli (nadachhadi, a red thread). The stambh is then placed on a thali and it is given a ceremonial bath with panchamrut and water. Tikkas of kumkum are applied to the seven nods of the stambh and abeer and gulaal are sprinkled on it. Seven betel-nuts and seven seashells are placed into the ground that has been dug. The stambh is sowed into this ground and it is covered with soil. (In the UK, seven betel nuts and seven seashells are placed into the pot containing sand. The stambh is inserted into this pot, expressing the sign of good luck and wealth). Then a triangular pattern of 28 dots is made with kumkum on the wall. Ghee and khajur are placed on the first dot, a gehuaan sutar is offered and kumkum is sprinkled. A coconut is cracked and opened and is served with khajur to the unmarried girls.
In this photograph, one can see a triangular pattern of 28 dots being made on the wall with kumkum by Miss Khiloni Dhirendra. Miss Khiloni Dhirendra is accompanied at her side by her aunt Shreemati Dinita Badracim in this ritual. Photo courtesy Miss Khiloni Dhirendra.
Womenfolk fetch soil for muhurat
Seven betel-nuts, seven seashells and seven small stones are placed on the ground. Tillak marks are then made on all of them with kumkum. Kumkum is sprinkled on them, and a gehuaan sutar and a coconut are offered. The womenfolk form a procession and go to a field to get a few spadesful of earth. Upon arrival, the owner of the field is presented with akhiyanu, consisting of wheat, a rupee and twenty five paisa and a betel-nut, in the lap of her saree. In exchange, the owner of the field places a handful of wheat grains and seven handfuls of soil in their thali, which they take home.
The soil is made wet and thin with water and applied onto the wall in the pattern of a swastika. Kumkum tikkas are applied onto the wall and a gehuaan sutar is offered.
In this photograph, one can see seven betel-nuts, seven seashells and seven small stones placed on the ground immediately before the girls leave to fetch soil from the field. Photo courtesy Miss Khiloni Dhirendra.
The earthen pot
On Amavasya, the womenfolk assemble in the evening and sing songs while making their way to a nearby potter to get a small earthen pot. The potter is presented with akhiyanu, consisting of wheat, five rupees and twenty five paisa and a betel-nut. The potter and the observer of Gorbai puja each apply a tillak of kumkum to one another. Afterwards, the potter provides the observer of Gorbai puja with a pot and two clay diyas. A tillak of kumkum is made on the pot and a garland of flowers is placed around it. It is then covered with the two clay diyas and a small piece of cloth, and has a canopy made out of four small wooden sticks. The unmarried girl and the womenfolk bring the pot home. Each one of the womenfolk takes turns carrying it on their head, while singing songs on their way back home.
In this photograph, one can see girls and womenfolk returning with the earthen pot, dancing and singing songs of Gorbai. Photo courtesy Miss Khiloni Dhirendra.
Welcoming the observer of Gorbai puja
At the entrance of the house, the observer of Gorbai puja is received with a ceremonial ritual by the unmarried girl who proposes to be the observer of Gorbai puja in the following year. She holds a pitcher with water and greets the observer ceremoniously, pouring water on top of the two clay diyas which had been placed near the right foot of the observer of Gorbai puja. The observer then breaks the clay diyas with her right foot and enters the house, first stepping in with her right foot. The pot is then placed down, with the help of the seven unmarried girls, on the wooden platform next to the idol of Gorbai. The idol of Gorbai is worshipped with kumkum, abeer, gulaal, and dhaani, and by having colours sprinkled on her. An aarti is offered and the Gorbai dances are performed.
In this photograph, one can see Miss Khiloni Dhirendra with the pot on her head at the entrance of her house where she is being approached by Miss Nilam Dhirendra to welcome her. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see girls offering aarti to Goddess Gauri. Photo courtesy Miss Khiloni Dhirendra.
The puja on the teej
On the day of the teej, the married women as well as the unmarried girls worship the idols twice. The first time, they follow the normal ritual and the second time, they follow the ritual that is as per with the traditions of the respective households.
In the morning of the teej, the married as well as the unmarried girls offer eight or ten biscuits that they had made out of flour into various shapes, to the idol. These offerings are shaped into four puris, two akhaliyas, two diyas, and two chotlas. Along with these, they also offer sixteen ganaa (sweet biscuits) to the idol. The girls and the newly wedded women pick up the ganaa (sweet biscuits), one in each hand, and bring them in contact, first with the decorated idol of Gauri, and then with their closed eyes. In this way, the puja is performed with all the sixteen ganaa (sweet biscuits) and offerings. Once the puja is done, the girls take back half of the offerings and all of the ganaa (sweet biscuits) as prasad.
In this photograph, one can see Miss Risha Divyesh offering fruits to Goddess Gauri. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see Miss Neely Anup offering fruits to Goddess Gauri. Photo courtesy Miss Khiloni Dhirendra.
In the evening of the teej, the idol of Gorbai along with the wooden plaform is placed on the shingasana or a swing. The idol is clothed in beautiful dresses. It is decorated with fresh flowers, and sweet smelling incense sticks are burnt during the puja. Seven fafadas on a string are tied to the swing. An aarti is offered and the Gorbai songs are sung, and thus jagaran is observed up until mid-night.
In this photograph, one can see Miss Gracy Udae accompanied with her mother Shreemati Nita Gentilal offering fruits to Goddess Gauri. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see Shreemati Jasmi Dines and Miss Kashish Urmil tying the fafadas on a string to the swing. Photo courtesy Miss Khiloni Dhirendra.
In this photograph, one can see Miss Tanvi William and Miss Hency William accompanied with their mother Shreemati Dinita Bhadracim tying the fafadas on a string to the swing.
Gorbai udhyapan
During the puja, traditional folk songs are sung every day. On the last day of the Gorbai festival, the idol is worshipped by the observer of Gorbai puja along with other unmarried girls. The garland of fafadas is untied from the swing and the idol of Gorbai along with the wooden platform is brought down from the swing and placed in the puja sthal. In the evening, the idol of Goddess Gauri along with the wooden platform is taken for a ceremonial bath at the nearest water body, and the chunari is immersed into the water. Before the sun sets, the women come back home with the clay idol and they sing the praise of Goddess Gauri. And thus, the entire Gorbai puja is completed.
Importance and correlations of certain marriage and religious rituals with Gorbai puja
Symbolism of the various objects which are used in puja
The offerings that are mainly made to the deity are prayers and chants (dhyanam), a ceremonial welcome (ahvanam), a seat (asanam), cleansing water (arghyam), drinking water (achamaniyam), a sweet drink (madhuparkam), a bath (snanam), clothes (vastram), sacred thread (upavitham), sandal paste (gandham), sacred grains (akshitam), flowers (pushpam) and songs (kirtanam). Collectively, they represent the objects of the five senses. In other words, in the performance of a puja we engage all the five senses in addition to the mind and the body. The offerings are meant to declare one’s allegiance to God and establish a direct relationship with him on a personal level. We discuss below the symbolic significance of a few important offerings which are made during a puja ceremony.
Ahvanam, the invitation; Asanam, the seat
The invitation marks the beginning of a puja. It represents the formality and the dutifulness with which the ritual needs to be conducted by the host. The puja is not a mere mechanical ritual. It is like a sacrament (samskara), which demands sincerity, discipline and respect. In a puja, you do not merely worship the gods in the heavens with prayers. It is not a remote exercise. Instead, the worshipper invites the deity to his house, treats him like an honourable divine guest, offers him a seat and directly worships him as if he is seated in front of him. This is a unique approach, which is not found in any other religion.
Purna kumbha or Purna kalasa, the kalash
The kalash is generally placed as the chief deity or by the side of the chief deity before starting the puja. Symbolically, it stands for mother goddess in general, or goddess Lakshmi in particular. It consists of an earthen or a metal pot, with either water or rice in it, with leaves (of generally five specific kinds) on its rim, and with a bowl of rice, flowers and a coconut adorning its top. The pot represents the mother earth, the flowers represent the ornamentation, the rice in the bowl represents either the material wealth or the powers of the goddess or both, and the coconut represents the divine consciousness.
Naivedyam, the cooked food
The food which we offer to the deity stands for the elements and the gross body, which is only made of food. We offer food to God as a sacrifice, because we believe that all the food in the world belongs to God and is created by him. We also consider him the devourer or the lord of Death, whose hunger is never satisfied. By offering him food in a puja, we appease his hunger and earn his protection from the impurities of death, decay, ignorance and delusion. Food also represents materiality and worldly possessions, which we have to renounce to achieve liberation.
Pushpam, the flowers
Flowers have fragrance, colour, beauty and tenderness. They symbolise selflessness, self-sacrifice, detachment, surrender, faith and positive emotions. By offering them to God, a devotee declares the purity and sincerity of his devotion and the tenderness of his feelings, and earns his reciprocal love. Flowers also represent whatever that blossoms in you, be it good or evil, intelligence or delusion, and knowledge or ignorance. By offering them to God, you cleanse yourself.
Phalam, the fruits
The fruits which are offered in worship represent the sweetness of the soul or the devotion of the devotee. By offering them to God, one earns the right to experience the blissful state of liberation. Phal also means result, consequence, or whatever that ripens or is accomplished. By offering the fruit to God, we symbolically offer him the fruit of our actions and achievements. As the Bhagavad Gita declares, one should perform actions as a sacrifice and offering to God without desiring their fruit. By offering fruit in the pujas, we symbolically make this gesture. Overtime, it washes away our sins.
Padyam, water to symbolically cleanse the feet of the divinity; Arghyam, water to cleanse the palm of the divinity; Achamaniyam, water used as a drink; Snanam, water to give a ceremonial bath to the divinity
During the puja ceremony, water is used as a drink (achamaniyam) and cleansing agent for cleaning the palm of the divinity, the feet of the divinity, and for giving a ceremonial bath to the divinity (arghyam, padyam and snanam). Water represents the purifying agent, the remover of physical and spiritual impurities. It also symbolises life (prana), consciousness, and the blood and water elements in our bodies. By offering it to God, we unburden ourselves from sinful thoughts and actions and cultivate sattva.
Gandham, the substances with fragrance
Sandal paste or fragrance substances are applied to the deity during worship. The type of fragrance used in the worship depends upon the nature and the preference of the deity. By applying it, we purify the image and impart to it divine fragrance. Symbolically, gandha represents desires, attachments (vasanas), likes and dislikes, latent impressions, properties, qualities or gunas, and pride and arrogance. By offering them to God, we purify ourselves and stay free from evil influences.
Dhupam, the incense
Incense is presented to God as a part of the offerings. It is meant to cleanse the air and drive away evil spirits. The smoke which arises from the incense represents our clouded consciousness, delusion and ignorance. We are subject to these impurities in the mortal world, which cloud our perception and consciousness and prevent us from achieving liberation or knowing the truths. By symbolically offering them to God, we cleanse our minds and bodies, and cultivate discerning wisdom.
Deepam, the light
Our world is one of light and darkness. Our minds and bodies are susceptible to evil influences, darkness and delusion. The light which is offered to the deity in the puja symbolically represents knowledge, wisdom, purity and divinity. By offering it to God, we remind him to endow us with these divine qualities and save us from the darkness of the mortal world and the negative consequences of our karma. We request him to show us the light and lead us in the right direction towards liberation.
Kumkum, the vermillion and kesar, the saffron powder
Both are used in worship to adorn the image or put a mark (tilak) upon our heads. In the worship of Devi and several gods, it is also used as an offering. Symbolically, the kumkum and the saffron powder used in the worship represent tamas and rajas respectively. By offering them, we seek the predominance of sattva. Kumkum also stands for the blood in the body. It is the symbolic alternative for the blood of humans or animals, while saffron powder represents the body vigor (tejas). By offering them to God, one seeks strength, vigor and longevity.
Prasadam, the food offered to God
During the puja ceremony, the food which has been offered to God is called prasadam, which is a combination of pra + sat, meaning that which fills the prana with light and truth (sat). The belief is that when we offer the food to God, it becomes suffused with the light and purity of God and thereby becomes sacred. By eating it, we become purified and suffused with his light and power. Symbolically, it represents the graciousness, kindness and serenity of God. Through the prasad, these qualities become transferred to the devotees. Lastly, by sharing it with others, the host of the puja engages in charity and good karma, which is beneficial to him as well as to those who participate in the ceremony.
Conclusion
The puja is a ceremonial declaration of love, devotion and allegiance to God. It is an opportunity to establish direct communication with the deity in which both the mind and the body wholly participate. It is also an act of offering, sacrifice and charity, which combines in a holistic approach the aspects of karma yoga, jnana yoga, buddhi yoga, sanyasa yoga and atma samyama yoga. By practising it regularly, one cultivates discipline, concentration, devotion, purity, and equanimity. It is the simplest and most straightforward way to earn the grace of God and achieve liberation.
Mandap Muhurat
The Mandap Muhurat ceremony commences with the performance of Ganesh Puja and Mandap Ropan. The ceremony symbolises the beginning of the wedding in the family, which may be three or five days prior to the wedding day.
This ceremony starts with Ganesh Sthapan, an invitation to Lord Ganesh to be present at this occasion. His presence is believed to ensure the smooth running of the ceremonies and to remove any obstacles, bringing happiness and prosperity. This is performed by a Brahman.
Following this is the ceremony of “Mandvo” or Mandap Ropan. The Brahman ties mindhol to the right hand of the betrothed, symbolising purity. Manek Stambh – the pillar of gem – is also bestowed at the ceremony, expressing the sign of good luck and wealth.
Reception of the pot brought by the womenfolk
This ceremony is important in cultural terms. On the day of the wedding, dinner is offered to relatives and friends. On this day, a new pot is brought from a potter, to the house of the bride and groom. After that, the brother and sister-in-law, accompanied by the Brahman, go to a well, singing and dancing, to fill the pot with water. With the pot on her head and a coconut on top, they head to the ceremony site and appeal, by singing, for the pot to be received. At present, some changes in this ritual are observed.
Welcoming ceremony
At the entrance to the Mandap, the groom will be received by the bride’s mother who will perform a short welcoming ceremony called PONKHANA. Through this ritual and by her gestures, she tests the groom before she makes KANYADAN or gives away her daughter. “Are you sure you want to get married?” She holds up five small wooden objects, each with a symbolic message for the groom. The objects comprise of:
- I. A whisk (RAVAI) “Only hard work will make butter from curd. You will only achieve the fruits of your marriage if you are prepared to work at it.”
- A pestle (SAMBELU) “Marriage can be unclear; reality and truth in marriage will only be achieved by separating vanity from the person. Only by separating the husk with hard work with a pestle will one see pure rice”.
- A needle (TRANK) “To weave fine thread from wool you need a sharp needle. It is this very needle that will break the thread if you are not careful; take care, good marriage is always on a fine balance”.
- A yoke (DHUNSERI) “With a yoke, two oxen can plough the field efficiently side by side. Let this be a reminder that in marriage, and through life, you must both work together side by side with equality.”
- An arrow (TIR) “This is the arrow which protects my daughter. It will look after you both but if you cause harm to my daughter, it will be your enemy”.
With each gesture, the groom will smile as his reply. He is confident in his wish to get married. A final test awaits the groom; a small clay pot (SAMPUT) is placed underneath his feet and he has to crush it as acceptance of the contract with his mother-in-law. The aim is to test his strength.
For more information on each item used in Gorbai puja, its meaning and its importance in the scope of the ceremony, please read the footer in the Gujarati version of this article.
Post by Dipac Canacsinh
Gorbai Festival Celebration
Between the 13th and the 30th of March, 2017, Khiloni, the daughter of Shreeman Dhirendra Dulabdas and Shreemati Vrajni Badracim, celebrated the festival of Gorbai, during which the girls were blessed by older women. All the girls and ladies present prayed, danced, and enjoyed a light meal.
Acknowledgements
I would like to thank the experts Shreemati Arvinda Bagoandas, Shreemati Kirti Manilal and Shreemati Calpana Bhadrassene who were involved in providing me with the outline of the rituals of Gorbai Puja. Without their passionate participation and input, the writing could not have been successfully conducted. I would also like to quote their experiences of the Gorbai Festival as follows:
“We would go out with perforated clay pots, with a divo inside, and we would go to the place of Holi’s bonfire where, on top of a pile of sand, we would place the pot. With the palm of our hands, we would hit the sand, and the dust that rose would create a fascinating and luminous effect.” – Shreemati Arvinda Bagoandas
“A fortnight before Holi, we would come out with perforated clay pots, with a divo inside, above our heads. We would walk through the neighbourhood singing songs of Gorbai, and we’d collect bajri and oil, which we would receive as gifts. We would take the bajri and the oil that we collected to a store to be sold, and the money acquired in the sale would be distributed among all of us.” – Shreemati Kirti Manilal
“Ever since we came to live in the United Kingdom in the year 2000, I have always had the desire to celebrate the Gorbai festival. When I went to India in 2007, I managed to get a statue of Gorbai and took it back with me to the United Kingdom. So, with great enthusiasm, in 2008, in the month of Phalgun, we celebrated this festival, for the first time in the UK, at my residence in Bracknell. With the circumstances in the favour of the festival, we celebrated it with pomp and joy, with the presence of the majority of the girls residing in the United Kingdom.” – Shreemati Calpana Bhadrassene
My heartiest gratitude to Pradip Vassantlal, my Gujarati-coach and forever interested, encouraging and consistently enthusiastic cousin, because I owe it all to him for his involvement in proofreading and improving the Gujarati version of this article.
I would also like to acknowledge, with much appreciation, the crucial role of Miss Khiloni Dhirendra for providing me with the illustrative photographs for use in this article.
Furthermore, I would like to thank Shreemati Bileshvari Gocaldas, Shreemati Vidhya Gocaldas, Shreemati Bhavanti Dhirajlal and Shreemati Kirti Manilal, who provided me with the lyrics of Gorbai songs, Aarti, Garba and Stuti used in the Gujarati version of this article.
To listen to the Gorbai songs, the Garba and the Stuti please click on the link below.