are 51 schools in the country, all placed under the Ministry of Culture’s supervision, directed by Reeta Poonith, and created on the initiative of Dr Sarita Boodhoo, president of the Bhojpuri Speaking Union. “In 2012, when I took over as director of the BSU, I realised that Geet Gawai was declining and becoming poorer. Traditional songs and practices were threatened by Bollywood and modernity. I was afraid that it would all disappear. I met Reeta and the singing ladies from Petit Raffray, and together, we opened the first school,” says Sarita Boodhoo, 82, who dedicated her life to the fight for recognition of the Bhojpuri language, the “vehicle” of Geet Gawai, and who made the rite and its repertoire of songs part of the UNESCO World Heritage List. A PURIFICATION RITE “Sanskar geet (traditional songs) accompany key moments in life, from birth to death. In Mauritius, they are required on a wedding’s eve, as part of the prenuptial rite – the purpose of which is to purify the future bride, the guests and place of the celebration, and to bring joy and fertility to the new couple.” This evening, Sneha, 28, summoned the geetarines in Quatre Bornes, to the room where her official wedding ceremony will be held on the following day, Sunday. Sneha’s family, that of her future husband (he himself will not appear until Sunday) and her friends all take part in the ceremony. Once the purification rituals have been completed, the celebration of Sindoor begins, during which all married women in the room apply orange turmeric powder to the roots of their hair, as a sign of alliance. Durga, Kali and Palhavati are invoked in turn. The guests dance around the chosen one, the songs acting as a vehicle through time and space. Without respite, the dance continues. Hands strike the drums to maintain the tempo and an extraordinary energy emanates from the scene. “Geet Gawai is not to be taken lightly. It is a sacred practice. From this rite, a vibration is born and is transmitted. It is the sound of the universe, its own cosmic dance. Often, the raga (melody) moves me to tears,” admits Sarita Boodhoo. RESPECT In all four corners of the island, the tradition is perpetuated, and with it the reinvigoration of the Bhojpuri language, oral vector of a rich and vibrant culture. It also serves to transmit key and immemorial gestures to the younger generations, and testifies to the essential role of women in the community – even if today, men can also take part in the ritual. At work, in the privacy of Devi’s house, surrounded by her young nieces and their dadi (paternal grandmother), in the Doorga Maa temple in Cottage, in a wedding hall in Quatre Bornes, or in the Petit Raffray school, assemblies of women like that formed by Reeta and her ladies keep memory alive and identity strong. “It is of the highest importance to us. This art not only protects history, but also women, by encouraging emancipation. The road has been long and difficult. I know many women who have regained a taste for life thanks to Geet Gawai. They feel stronger, and they are: they play a decisive role in the transmission of our culture. Today, the geetarines, paid to perform at a wedding, for example, are more independent. But what they gained above all was self-esteem, and the respect of the whole population,” concludes Reeta. Every Friday in the school in Petit Raffray, Reeta Poonith’s “ladies” rehearse the songs and dances, to the beat of clapping hands. Chaque vendredi, dans l’école de Petit Raffray, les « Dames » de Reeta Poonith répètent les chants et les danses, scandés par le claquement des mains.
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