Garbis are a cycle of 25 hymns, each comprising of 15-25 verses, that are part of the vast corpus of ginans, religious compositions of the Shi’a Imami Ismaili Muslims of South Asian origin. They are attributed to the Muslim saint, Pir Shams Sabzawari who hailed from Iran and preached in the Indian subcontinent around the twelfth century. A remarkable feature of the ginans is their poliglottic language and use of religious and cultural symbols indigenous to the subcontinent. These included Gujerati, Hindi, Sindhi sprinkled with Farsi and Arabic words. Myths, symbols and theological ideas found in Hindu, Sikh, Sufi, Nathpanthi and Sant traditions, among others, are prevalent in the ginans. This paper argues that the Garbis offer insights into the theological position of the Imams of Ismaili Muslims who take center stage in their narrative. It shows the Pir preaching in a town whose inhabitants are performing the songs and dances (both called Garbi) in worship of the goddess Mata Bhavani, or Durga. Briefly, the Pir enters a town where he witnesses this scene of celebration during Navratri, a festival devoted to the goddess Durga, is angered by what he sees and begins to sing his own Garbis. A close analysis of the structure, language and religious symbolism of these songs reveals the theological underpinnings in the Ismaili Muslim interpretation of the Imams as living guides who disclose the secrets of the Qur’an and other Indian scriptures such as the Vedas and Puranas. Using the conception of guru and swami in the Indic tradition, and drawing from the Vaishnavite notion of avatar, the Pir presents the Imam as a salvific figure who, in contrast to the silent idol of Mata Bhavani, can utter the truths of religion. Drawing on other ginans composed by Pir Shams, the study will illustrate the masterful way that he has woven Indic themes and theological concepts to preach what he describes as Satpanth, the True Path, synonymous with the Quran’ic notion of Sirat al-Mustaqeem. It will demonstrate the judicious ways that the Pir utilized vocabulary drawn from the Islamic tradition to appeal not only to the local population of Hindus addressed in the Garbis, but also other religious groups. While exclusionary on one hand, the Garbis formulated a new theological structure to accommodate previous scriptures and existing religious and cultural symbols and practices.