The paper analyzes the current socio-cultural outlook of Nayak, Vyas and Bhojak groups, jointly known as Targala caste, whose traditional profession was a performance of Bhavai, traditional theater of northern Gujarat and Saurashtra. There is certain duality in the social status of Targalas: although they claim themselves to be Brahmins (they trace their origin to Asaita Thakkar, an Audichya Brahmin of 14th century, wear janeo, a sacred threat, and follow a number of typical Brahman customs), there is a certain resistance from the other communities to verify it. The members of some other Brahmins groups are not consider them to be equal and say, Targala be of the “low” social origin. Yet, the artists perform not only the theater, but also several ritualistic duties for the villagers. The subject of the study is also Bhavai theater as one of the most important cultural institutions in Gujarat. It played several functions, both ritualistic and secular, such as information, entertainment, ceremonial, didactic; it was a tool for the social integration and social criticism. Bhavai still exists today, although it is one of the vanishing art forms of India. The number of the traditional troupes (mandalis) diminished considerably, due to the crucial social and economic changes. Yet, there is a certain interest towards Bhavai, expressed by professional theatrical directors and several NGO. Based on the ethnographic fieldwork conducted in Gujarat in 2015, 2016, 2018 and 2023, the author explores the socio-cultural profile of Bhavai’s traditional performers, their position in today’s’ Gujarat, as well as possible scenario of the future of this art form. The study of Bhavai and its hereditary community has both academic and practical relevance: it will provide us with anthropological information about the current situation, as well as it could figure out their social and artistic potential.
