Abstract Garba (or clap dance), a folk form from Gujarat, is performed across the world during the nine nights of the goddess festival Navaratri. Building on research by Ann R. David (2007, 2012, 2014),1 this article compares garba from two different time periods (i.e., pre-1990s and post 1990s) to consider its shift in meaning from a religious folk dance to Anthony Shay’s concept of ethno-identity dance (2016).2 To note recent choreographic revisions that are influenced by selfies, commercialization, and Bollywoodization, I employ an auto-ethnographic approach from my experience among British South Asian Gujaratis. A consideration of these changes in garba allows us to reflect on the effect of the role of contemporary life on a traditional dance form.

中文翻译：

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表演加尔巴舞（拍手舞）：编舞和商业变化

摘要 Garba（或拍手舞）是古吉拉特邦的一种民间形式，在女神节 Navaratri 的九夜期间在世界各地演出。基于 Ann R. David (2007, 2012, 2014) 的研究，1 本文比较了两个不同时期（即 1990 年代之前和 1990 年代之后）的加尔巴舞曲，以考虑其意义从宗教民间舞蹈到 Anthony Shay 的转变民族认同舞蹈的概念（2016 年）。2 为了注意最近受到自拍、商业化和宝莱坞化影响的编舞修订，我根据我在英国南亚古吉拉特人中的经验采用了一种自动民族志方法。对加尔巴舞的这些变化的考虑使我们能够反思当代生活对传统舞蹈形式的影响。