KalabotiMudra is working in the Kanthalguri Tea Estate(KTE)in the field of documentation and dessemonation of tribal culture with active association with Poschim Bongo Yuva Kalyan Mancha(PBYKM).
The KTE facing closure during last 7 years, from 2002. Various necessary public utilities like water supply, healing system, electricity are not available there. The workers are living like at hell.
PBYKM is working there to facilitate various services to the KTE workers, women self-help groups and the OMC(Operating Management Committee). The intervention of the PBYKM helped a lot to the beneficiaries of the KTE beneficiaries. It is a fact that the movement of the PBYKM helped the state government to formulate a pension scheme for the workers not only of the KTE but all the closed tea gardens.
They are now planing to revitalize the income generation plan for the s-h groups with active help from the OMC and other state government agencies. They are now planning to organise some active groups who will organize kitchen garden and nursery beds to make tea bush seedlings from mother bush. The garden have the capacity to do this.
In the contrary Kalaboti Mudra is working to document and dissemination of tea garden culture which is part and parcel of Bengali culture and still a neglected area. So Kalaboti Mudra with active infrastructural help from PBYKM started a base work there. It is a fact that some years back Kalaboti Mudra surveyed some tea gardens for this purpose but could not do more because of scarcity of fund.
This time PBYKM giving Kalaboti Mudra a positive support of their infrastructure to do the work once more.
we are asking a meager fund to support this initiative which is not more than Rs, 1,00,000 for a year.
Tuesday, April 28, 2009
Monday, April 27, 2009
Aalkaap
Aalkaap a regional folk performance(theatere), popular in the districts of Murshidabad, Birbhum and Maldaha. It is a composite performance comprising acting, dancing, singing, recitation. An Aalkaap group consists of ten to twelve artistes, led by a sarkar (master) or guru. The group also includes two or three young men called chhokras and one or two gayens or singers. The rest comprise dohar, choristers, and musicians. Aalkaap performances take place at night on an open stage, which is lit by hanging lanterns, popularly known as hyajak bati. The audience stand or sit around the stage, leaving a narrow passage for the performers.
There are two main parts of an Aalkaap performance: songs and witty dialogue in prose or verse. Usually, the themes of the songs are drawn from mythological tales, particularly the story of Radha and Krishna, while the subjects of the dialogue relate to contemporary social events. Sometimes the audience also joins in. The main attraction of Aalkaap performances, however, are the chhokras who dance, dressed as girls, between the singing and acting. Handsome boys are trained to become chhokras and become quite expert in performing the salacious dances known as khemta and jhumur. There are also clowns to make the audience laugh.
The singers sit on the stage while the musicians sit below the stage, on one side. The instruments that accompany the Aalkaap performance are the drum, harmonium, tabla, tambourine, flute etc. The musicians sit throughout the performance. The sarkar enters first, singing a vandana or hymn. He then recites verses that introduce the main theme of the drama. Then he and the main singers start the Aalkaap , while the choristers help them by repeating the burden of the song.
Aalkaap is closer to a play. In the Aalkaap , however, the performers have a notion of the storyline and, mostly impromptu. Though the western educated scholars do not like peoples’ language, they brand it as vulgur, sexually motivated. But these scholars are uprooted from their community. They do not know how the rural communities communicate each other.
At present, when television and films have reached the remotest villages, the social realities are changing rapidly, the production process of agriculture are in the verge of the corporates, the popularity of the Aalkaap has decreased and it is on its way to extinction.
There are two main parts of an Aalkaap performance: songs and witty dialogue in prose or verse. Usually, the themes of the songs are drawn from mythological tales, particularly the story of Radha and Krishna, while the subjects of the dialogue relate to contemporary social events. Sometimes the audience also joins in. The main attraction of Aalkaap performances, however, are the chhokras who dance, dressed as girls, between the singing and acting. Handsome boys are trained to become chhokras and become quite expert in performing the salacious dances known as khemta and jhumur. There are also clowns to make the audience laugh.
The singers sit on the stage while the musicians sit below the stage, on one side. The instruments that accompany the Aalkaap performance are the drum, harmonium, tabla, tambourine, flute etc. The musicians sit throughout the performance. The sarkar enters first, singing a vandana or hymn. He then recites verses that introduce the main theme of the drama. Then he and the main singers start the Aalkaap , while the choristers help them by repeating the burden of the song.
Aalkaap is closer to a play. In the Aalkaap , however, the performers have a notion of the storyline and, mostly impromptu. Though the western educated scholars do not like peoples’ language, they brand it as vulgur, sexually motivated. But these scholars are uprooted from their community. They do not know how the rural communities communicate each other.
At present, when television and films have reached the remotest villages, the social realities are changing rapidly, the production process of agriculture are in the verge of the corporates, the popularity of the Aalkaap has decreased and it is on its way to extinction.
Monday, April 20, 2009
Gaajan-AnotherAddendum
The word GAAJAN is from garjan– the soul-stirring cry of the mendicants. It is the roar of the lion – the spine chilling call of the mythical God Siva. The festivals continue for a month starting from the last month of the traditional almanac, Chaitra and ends with the beginning of the New Year in the month of Baisakh. Summer is then is at its peak. Another name for the festival is Charak coming from chakra or the wheel – the circle of the movement of the Sun. It is symbolized by the setting up of a high pole from which hangs a devotee. With the help of a strong rope he swings himself in space going round and round the pole. It is a difficult and dangerous feat.
Sociologists opine that this festival, which can be seen even in some pockets of an urban jungle like Calcutta, is predominantly linked to the agricultural community. The farmers are being baked in the sun. So they pray for the rains. Siva is said to be very close to the tiller of the soil. Both Hindu and Buddhist influences have left their stamp on the bloody festival of Gaajan.
In mythological tales Bali was the King of the Asuras (demons). His son Baan was a devotee of Siva and together with his subjects offered blood to appease the god. According to legend Usha, the daughter of Baan, fell in love with the grandson of Krishna, Anirudha. A bloody feud ensued. Finally Krishna negotiated and brought about an amicable settlement by which Baan came to be recognized as one of the first ranking disciples of Shiva.
According to historians when during the middle ages the Buddhists came to be cornered in India and specifically West Bengal, they sought shelter under the banner of Hinduism. But they brought with them certain Tantric rituals of Buddhism, which involved bloodletting as well as mendicancy. Buddha laid great stress on monasticism and that is why during Gaajan, ordinary householders become mendicants for a month, put on ochre robes and beg from door to door. Dharmaraj is the Lord of the Buddhists. In some places the Gaajan offerings are divided into two with a drawn line – one side is for Shiva and the other for Dharmaraj.
Most of the villages of across Bengal the mendicants go early in the morning to the cremation ground to collect the skulls of the dead(This is apecial ritual at the villege Kurdmun). Sometimes they collect it from the morgue of suburban government hospitals. After dancing around with these, the skulls are again returned from where they were brought. From other sources it is learnt that dakinis and yoginis (female witches) would dance naked with their bodies smeared from top to toe with vermillion.
Today they wear saris bordered with red. Others walk over nails or hot coals and some have their nostrils and tongue pierced with rods. Alternative versions of the same theme are observed in festivals stretching from Myanmar to Japan speaking of a strong Buddhist influence.
The Gaajan festival was a great social leveler. The humble downtrodden peasant who are called Bhaktaa(the worshipers) acquired Shiva-hood(Shiva Gotra), for one day to one month depending on the traditions and rituals. When he appeared in the sitting room of the Landlord with holy bel (wood apple) leaves in his ears and his palm the landlord had to get up and touch his feet. Such was its force and impact. The farmer, the oil-maker, the fisherman, the potter, the cobbler, the barber, the scavenger, the undertaker – all became intoxicated for a month and were given due respect.
In 1012 King Dharmapal II after being defeated in war went into hiding. His wife Queen Saphula cut off her two breasts during Gaajan praying for the welfare of her King and Kingdom.
The bloody aspect of inflicting self-injury greatly disturbed British rulers. In 1864 the government banned some gory acts. In due course the festival lost its ferocity but retained its strength in observing a month of austerities and discipline, which is always good for the body and mind. A question arises today – in bygone days the blood that flowed was self-inflicted; the roar was that of the self-sacrificing mendicants and not the guns of self-seeking political hoodlums staining the green villages red right across the globe.
Sociologists opine that this festival, which can be seen even in some pockets of an urban jungle like Calcutta, is predominantly linked to the agricultural community. The farmers are being baked in the sun. So they pray for the rains. Siva is said to be very close to the tiller of the soil. Both Hindu and Buddhist influences have left their stamp on the bloody festival of Gaajan.
In mythological tales Bali was the King of the Asuras (demons). His son Baan was a devotee of Siva and together with his subjects offered blood to appease the god. According to legend Usha, the daughter of Baan, fell in love with the grandson of Krishna, Anirudha. A bloody feud ensued. Finally Krishna negotiated and brought about an amicable settlement by which Baan came to be recognized as one of the first ranking disciples of Shiva.
According to historians when during the middle ages the Buddhists came to be cornered in India and specifically West Bengal, they sought shelter under the banner of Hinduism. But they brought with them certain Tantric rituals of Buddhism, which involved bloodletting as well as mendicancy. Buddha laid great stress on monasticism and that is why during Gaajan, ordinary householders become mendicants for a month, put on ochre robes and beg from door to door. Dharmaraj is the Lord of the Buddhists. In some places the Gaajan offerings are divided into two with a drawn line – one side is for Shiva and the other for Dharmaraj.
Most of the villages of across Bengal the mendicants go early in the morning to the cremation ground to collect the skulls of the dead(This is apecial ritual at the villege Kurdmun). Sometimes they collect it from the morgue of suburban government hospitals. After dancing around with these, the skulls are again returned from where they were brought. From other sources it is learnt that dakinis and yoginis (female witches) would dance naked with their bodies smeared from top to toe with vermillion.
Today they wear saris bordered with red. Others walk over nails or hot coals and some have their nostrils and tongue pierced with rods. Alternative versions of the same theme are observed in festivals stretching from Myanmar to Japan speaking of a strong Buddhist influence.
The Gaajan festival was a great social leveler. The humble downtrodden peasant who are called Bhaktaa(the worshipers) acquired Shiva-hood(Shiva Gotra), for one day to one month depending on the traditions and rituals. When he appeared in the sitting room of the Landlord with holy bel (wood apple) leaves in his ears and his palm the landlord had to get up and touch his feet. Such was its force and impact. The farmer, the oil-maker, the fisherman, the potter, the cobbler, the barber, the scavenger, the undertaker – all became intoxicated for a month and were given due respect.
In 1012 King Dharmapal II after being defeated in war went into hiding. His wife Queen Saphula cut off her two breasts during Gaajan praying for the welfare of her King and Kingdom.
The bloody aspect of inflicting self-injury greatly disturbed British rulers. In 1864 the government banned some gory acts. In due course the festival lost its ferocity but retained its strength in observing a month of austerities and discipline, which is always good for the body and mind. A question arises today – in bygone days the blood that flowed was self-inflicted; the roar was that of the self-sacrificing mendicants and not the guns of self-seeking political hoodlums staining the green villages red right across the globe.
Sunday, April 19, 2009
Saturday, April 18, 2009
WBHandiCraftsMela2
These are Shola Pith/Sponge Wood products from the district of South 24 Paraganas.
Nathism
Nathism an obscure religious cult, founded by MATSYENDRANATH, a fisherman from Chandradwip (BARISAL). He wrote a number of books, five of which have been found in Nepal. Other prominent Nath mystics were Minanath, the father of Matsyendranath, Chauranginath and Jalandhari Pada. Goraksanath was a disciple of Matsyendranath. Jalandhari Pada, also known as Hadipa, was a disciple of Goraksanath and the spiritual guru of King Gopichandra of Mainamati. The Naths practise Hatha-yoga and Kaya Sadhana (culture of the body) with a view to making the body fit, perfect and immutable, thereby attaining an immortal spiritual life.
When we are working to document Ojapali and Deodhani Tradition with Guru Lalit Chandra Nath Oja(Oja = Odhyapak = Teacher), In Assam we asked him if he is the decedents of the great Nath traditions who are a traditional healers. And I saw a boy came to him to bring medication on Basanta(Pox). He gave him a DhagaTabij(CottonThong) and assured him that he will visit his place in the afternoon. Till that time no one asked him about this ancestry of Nathism. He asserted us and shows us some of the Punthis belong to him of his forefathers.
I have an at length interview with him. This is not a place to publish the interview. If any one wants to see it can contact biswendu@yahoo.com of Lokfolk@yahoo.in
The Naths, who belong to a low or SHUDRA weaving caste of Bengal, are very often called yugis. Besides weaving, they also live by singing. Some of them serve in low-level posts in various government and non-government offices. Many Naths migrated to West bengal after partition. In West Bengal the Nath’s are belongs to two casts Jugi or Dhunuri and other Kabiraj, traditional healers. They are the Bhumiputra of Northern Belt of Bengal.(Rf. Binoy Ghosh- PoschimBonger Sonskriti- Prakash Bhaban- Kolkata)
The Naths follow Hindu marriage customs and rituals. Infant marriage is in vogue among them. Divorce is not formally recognised. A second wife may be taken if the first wife is barren or suffering from an incurable disease. Widows are not allowed to remarry. The Naths bury their dead, but perform some Hindu ceremonies.
In Arjunpur, near DumDum(Nagerbazar) Kolkata, a Moth or Worship place can be seen in the Goroksho Basi Road. NathPanthi Sadhus from various sects and clans use to visit this moth when they came to Bengal.
When we are working to document Ojapali and Deodhani Tradition with Guru Lalit Chandra Nath Oja(Oja = Odhyapak = Teacher), In Assam we asked him if he is the decedents of the great Nath traditions who are a traditional healers. And I saw a boy came to him to bring medication on Basanta(Pox). He gave him a DhagaTabij(CottonThong) and assured him that he will visit his place in the afternoon. Till that time no one asked him about this ancestry of Nathism. He asserted us and shows us some of the Punthis belong to him of his forefathers.
I have an at length interview with him. This is not a place to publish the interview. If any one wants to see it can contact biswendu@yahoo.com of Lokfolk@yahoo.in
The Naths, who belong to a low or SHUDRA weaving caste of Bengal, are very often called yugis. Besides weaving, they also live by singing. Some of them serve in low-level posts in various government and non-government offices. Many Naths migrated to West bengal after partition. In West Bengal the Nath’s are belongs to two casts Jugi or Dhunuri and other Kabiraj, traditional healers. They are the Bhumiputra of Northern Belt of Bengal.(Rf. Binoy Ghosh- PoschimBonger Sonskriti- Prakash Bhaban- Kolkata)
The Naths follow Hindu marriage customs and rituals. Infant marriage is in vogue among them. Divorce is not formally recognised. A second wife may be taken if the first wife is barren or suffering from an incurable disease. Widows are not allowed to remarry. The Naths bury their dead, but perform some Hindu ceremonies.
In Arjunpur, near DumDum(Nagerbazar) Kolkata, a Moth or Worship place can be seen in the Goroksho Basi Road. NathPanthi Sadhus from various sects and clans use to visit this moth when they came to Bengal.
TiE,KolkataChapterSeminerInWestBengalHandiCraftsMela
In the West Bengal Handicfats Mela, TiE Kolkata Chapter organised a seminar on the problems in the micro enterprises, mainly in the handicrafts sector on 9th Frbruary, 2009. President, TiE, Kolkata Chapter Mr. Shoummo K Acahrya presided over the event.
Mr. A K Talukdar, Asst. General Manager, State Bank of India, Mr. O P Prahladka, MD, Hitachi-kk, Dr. G D Gautama, IAS, Principal Secretary, Department of Micro & Small Scale Enterprises & Textiles, Government of West Bengal, Mr. S C Panja, Addl. Director, WB State Export Promotion Society & Joint Director of Industries, Govt. of West Bengal spoke to and communicated with the participants.
A well attend crafts-persons asked various questions to the distinguished panelists.
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Mr. A K Talukdar, Asst. General Manager, State Bank of India, Mr. O P Prahladka, MD, Hitachi-kk, Dr. G D Gautama, IAS, Principal Secretary, Department of Micro & Small Scale Enterprises & Textiles, Government of West Bengal, Mr. S C Panja, Addl. Director, WB State Export Promotion Society & Joint Director of Industries, Govt. of West Bengal spoke to and communicated with the participants.
A well attend crafts-persons asked various questions to the distinguished panelists.
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HillCraftsOfDerjeeling
The state of tea gardens has Lepchas as their true inhabitants. People from Nepal, Sikkim, Tibet, Bhutan and West Bengal have also settled here. The tea garden workers are mainly tribals from Central India and Chota Nagpur, local people called them Modeshiya i.e., people came from middle country.
The handicrafts of Darjeeling are quite different from the crafts existing in the rest of West Bengal and it expresses cultural heritage of Buddhism prevailing in the eastern Himalayas. Traditional hill craftsmen prepare the sculptural model of bronze figure using direct wax for each bronze figure. Bhutia villages have skilled musicians, painters and authentic artists who take pride in representing the folk cultures of the hill people.
People living in the foothills of West Bengal practice a lot of bamboo and cane craft. Craftsmen of West Bengal are skilled at making beautiful cane baskets of various designs and shapes. These baskets have multi uses. Craftspersons also prepare ceremonial baskets, cages and fishing traps which are made with lot of effort and requires skilled technique. Bamboo dowry boxes are very intricately woven and play a very important role in the marriage ceremonies.
At Bhutia basti, the traditional scroll paintings are made which are known as Thankas. These paintings have the Budhist Jataka tales from the Buddhists scriptures. These are made in the most traditional way by the craftsmen using the paper form Tibet or Nepal. Grounded stone and earthen colors are used. Lapis Lazuli, a blue stone colour, is obtained by grinding semi precious stones form Tibet. These paintings are hung on the home as well as on the walls of the monasteries. Sacred value attached to each Thanka which are bordered with Buddhists motifs in fine brocade. Powdered gold is also used to beautify the Thanka and enhance the value of the painting. The technique used is a closely guarded secret. The Thankas are used in all Buddhists household shrines and monasteries.
Kalimpong, another hill station tucked in the vicinity of Darjeeling is famous for weaving of Tibetian woolen carpets. The wool for the same is spun by the Tibetian women of Darjeeling on the traditional spinning wheels known as Chassba. Generally, bold colours and geometric patterns are used. The most common of all carpets is the dun a small bedside carpet which has upto sixty knots to a square inch.
The handicrafts of Darjeeling are quite different from the crafts existing in the rest of West Bengal and it expresses cultural heritage of Buddhism prevailing in the eastern Himalayas. Traditional hill craftsmen prepare the sculptural model of bronze figure using direct wax for each bronze figure. Bhutia villages have skilled musicians, painters and authentic artists who take pride in representing the folk cultures of the hill people.
People living in the foothills of West Bengal practice a lot of bamboo and cane craft. Craftsmen of West Bengal are skilled at making beautiful cane baskets of various designs and shapes. These baskets have multi uses. Craftspersons also prepare ceremonial baskets, cages and fishing traps which are made with lot of effort and requires skilled technique. Bamboo dowry boxes are very intricately woven and play a very important role in the marriage ceremonies.
At Bhutia basti, the traditional scroll paintings are made which are known as Thankas. These paintings have the Budhist Jataka tales from the Buddhists scriptures. These are made in the most traditional way by the craftsmen using the paper form Tibet or Nepal. Grounded stone and earthen colors are used. Lapis Lazuli, a blue stone colour, is obtained by grinding semi precious stones form Tibet. These paintings are hung on the home as well as on the walls of the monasteries. Sacred value attached to each Thanka which are bordered with Buddhists motifs in fine brocade. Powdered gold is also used to beautify the Thanka and enhance the value of the painting. The technique used is a closely guarded secret. The Thankas are used in all Buddhists household shrines and monasteries.
Kalimpong, another hill station tucked in the vicinity of Darjeeling is famous for weaving of Tibetian woolen carpets. The wool for the same is spun by the Tibetian women of Darjeeling on the traditional spinning wheels known as Chassba. Generally, bold colours and geometric patterns are used. The most common of all carpets is the dun a small bedside carpet which has upto sixty knots to a square inch.
Kansari
Miniature images of gods, goddesses and decorative figures which are cast solid are also made by these artisans. The technique used is a fine-oiled, sand casting method where metals used are brass, copper, bronze, silver, and octo alloy (an alloy of eight metals --- gold, silver, copper, tin, nickel, zinc, lead, and iron). The metalsmiths of West Bengal who work with copper and its alloys are known as kangsakars or kansaris and while one group originates from the karmarkars or blacksmiths, the other originates from the pasana branch of sutradhars, the carpenter and wood-carving caste. Traditional metal ware is made by casting, forging, hammering or shaping. The metals used are copper and its alloys.
MukhaKhail/MaskDance
Practiced in the Tarai Region of Jalpaiguri district of Northern parts of Bengal. Mask dance practiced by the rural people representing various ethnic groups. Masks are made locally using locally available wood. Kushmandi Block is the main centre at present. Masks of animals like monkey, Tiger, Gods & Goddesses such as Kali, Shiva, and also of some fictitious comic characters Bura-Buri are made. Male dancers wear these masks with suitable attire and perform. The dancers are accompanied by drummers and local flute players.
StoneCarving
The main centre for traditional stone carving in West Bengal is Simulpur in Sildah areas of Paschim(West) Mednipur and the carvers here are known as Sildah. Phyllite, a semi-soft blackish-grey stone, is sculptured into a large variety of utensils with the help of indigenous hand operated lathes to make bowls, cups and plates of various shapes and sizes.
Bardhaman with Patun and Dainhata are the other important centers for stone carving in West Bengal and the stone carvers of this area are also known as Bhaskars or Sutradhars. Figures are carved here for temples and home. The use of brick-red stone is predominant here out of which the Sutradhar sculptors have carved panels and plaques for the temples in the region.
Apart from the utensils and temple architecture, the most common subject for stone carving in West Bengal are the intricately carved elephants and Goddess Durga.
Bardhaman with Patun and Dainhata are the other important centers for stone carving in West Bengal and the stone carvers of this area are also known as Bhaskars or Sutradhars. Figures are carved here for temples and home. The use of brick-red stone is predominant here out of which the Sutradhar sculptors have carved panels and plaques for the temples in the region.
Apart from the utensils and temple architecture, the most common subject for stone carving in West Bengal are the intricately carved elephants and Goddess Durga.
PotteryOfBengal
Hand-made pottery is predominantly a woman's art and rituals in West Bengal. Women in most of the folk communities generally make variety of dolls and toys. These hand made figures, small dolls and toys are done by pressing and moulding methods. Some important and interesting items are :
Mangol Ghot
Mangol Ghot is a kind of small vase which is commonly used all over Bengal in all kinds of rituals. In birth initiation and marriage ceremonies, in the festivals and rituals of all Gods and Goddesses these auspicious vases of various shapes and sizes are counted as essential requisites. These are mostly painted.
Lakshmi Ghot
These are auspicious vase of the Goddess of wealth. There is fairly a large variety of Lakshmi Ghot in West Bengal, mostly done in pairs, one for Lakshmi and another for Ganesh. Of these, Tamluk Lakshmi - ghats are most decorative and beautiful. Lakshmi's face is shaped on the upper fringe of the vase, with sharply drawn eyes and crest and the trunk of Ganesh in the other vase is also fine. In Raghunathbari, the vases are placed like bowls on an earthen stand. The Jhargram type, is the simplest one with a little long neck marked with two dots for eyes. It has a look of tribal simplicity.
Manasa - Ghat (Bari)
The most conspicuous type of Manasa ghat is found in Bankura and Garbeta area of Midnapur. Based on earthen jars turned upside down, the face of the serpant-Goddess, along with the attached snake-hoods, give the vase a peculiar shape and form. The number of snake-hoods varies from one, three, five, seven, to more than hundred arranged in ascending tiers according to the size of the vase.
Tulsimancha
One of the finest unique specimens of potter's craft is the Tulsimancha of Midnapore. Tulsimancha is generally a raised pedestal, either brick-built or earthen. The terracotta tub - like Tulsimancha with decorative motifs (mainly of Gods and Goddesses) are hardly found outside Midnapore. . It may be placed on the ground anywhere and filled with earth. Then a tulsi plant or any other small plant may be planted on it.
Dakshin Roy's Head - 'Bara - Murti'
Another interesting piece of pottery which is basically a Ghat or vase, shaped into the figure of a local village deity is Bara-Murti. This is also a vase upside down. The upper part is elongated into the form of a leaf with painted leaves and flowers on it and below it on the round surface the face of Barathakur is drawn. It is commonly worshiped in pair and also sold by potters in pair, of which one is God Bara and the other, his consort Narayani. In the Narayani ghat the moustache is absent. Eyes, eyebrows, moustache and beard are all sharply painted by brush. The worship of this Bara - murti is widely prevalent in the south of 24 Parganas district, where almost in every village the rituals are observed on a mass scale during the last day of Bengali month Pous and the first of Magh, corresponding to 14-15 January. The painted terracotta heads of Bara is placed under trees in pairs. Locally Bara is popularly known as the severed head of 'Dakshin Roy' who is a tiger-god. It is one of the most popular people's God in south 24 Parganas, associated with an environment of forest, which is likely to be the Sunderbans.
Marriage - Ritual vessels (Harhi)
In marriage ceremonies, vessels of different shapes and sizes are necessary for sending gifts to bride's and bridegroom's houses, especially varieties of sweets. Earthen vessels were used in the past because it were considered more sacred and auspicious than glass-pots or metal-pots. Of these earthen vessels some interesting varieties are found in Bankura, Midnapore and Murshidabad, which are painted and decorated. Harhis are not painted in all places and even where these are painted, the painting is not done by the professional potters of Kumbhakar caste, but by Patuas or scroll-painters, as in Midnapore (Narajol). In Bankura, the vessels are not painted by brush, but etched and engraved with pointed needles by potters (generally women). The designs are geometric and symbolic. Fish is a common subject in all drawings on these auspicious vessels. The Patuas paint flowers and leaves with fish. The other designs are of trees and flowers, symbolically executed.
Putul (Dolls)
The dolls are usually made by pressing and moulding methods. Now-a-days these are mostly prepared in mould. The mould may be prepared in parts and on each mould - piece the required quantity of clay is firmly pressed to get the intended shape and look. Clay paste is used for joining together the moulded parts. Then the object is dried, burnt and painted by brush. Mica - coated Red Dolls are made by moulding method. It is found in Howrah district : Puilya, Tantiberai, Tulsiberai and Sariyala - Balipota and in Midnapore.
Pressed - nose Dolls
The size of this doll is 1-2 inches to 4 -5 inches. It is found in Tulsi - berai, Tantiberai, Sariyala - Balipota, Antila and Kalikapur, Patihal and Jagatballavpur in Howrah district, in Midnapore town and in Berachampa - Debalaya. The dolls of Jagathballavpur and Midnapore town have blue and red stripes on white coating.
Horse - riders with and without wheels : Average height of the dolls is 4 to 5 inches.
Wheeled type is made in Tantiberai and Bantul in Howrah district and in Berachampa. Mother - Dolls :
Of all the mother - dolls the most interesting and unique types are made by Bankura potters. The types vary in different centres. Panchmura, Rajagram and Sonamukhi which are the three principal centres of Bankura pottery produce different type of mother - dolls. The dolls of Sonamukhi have red colour but the Panchmura dolls are generally black. Dolls of Sonamukhi and Rajagram have 'bonnets' also.
Dolls with Hip Jars
These are popularly known as 'Kalasi Kankhe Putul' or dolls with hip - jars.' Housewives on the village roads with water filled earthen jars on their hips in pleasant relaxing mood ' has been captured by the women potters and shaped perfectly into the hip-jar dolls. There are numerous representations of village life in dolls. The different types of these dolls are hair - caring, milk - maid (Goalini), wheat-crusher, horse - rider and elephant - rider. All these dolls are done by pressing method and by women potters. Of these, hair-caring is a peculiar type of doll which depicts a woman sitting in front with her child sucking her breast and another woman from behind is caring her hair. The size of the doll is about 5" x 6"x3". It has all the qualities of sculpture and looks like a piece of wood-carving or stone-carving.
Patua-made dolls
Patuas or Chitrakars are scroll-painters. Some types of clay dolls, figures of deities and animals are made by women of Patua-caste in West Bengal in Midnapore, Bankura, Howrah and 24 Parganas. Silate (slate-like) dolls: These are like plaques with holes for fixing on walls. These are coloured dolls and the favourite colours are green, red and blue.
Krishnanagar Pottery
Krishnanagar clay-modeling is about 250 years old and the potters of Krishnanagar did not originally belong to their present locality. In Krishnanagar pottery the social scenes of our country and the people, the different castes and racial types are reproduced realistically in clay-models. For example social scenes like collectors court, tea garden, Pandit-Sabha, Charak festival etc are used in clay modeling. This pottery is very popular and in most of the international exhibitions held since 1851, Krishnanagar clay-models have won medals and certificates and also great admiration from the people of Europe. The prices were very high even one hundred years ago and one can easily imagine its possible clientele today. The customers of these models used to be mainly Europeans.
Bankura Pottery
The principal centres where the terracotta horses and elephants are produced are Panchmura, Rajagarm, Sonamukhi and Hamirpur. Each of these four centres has its local style. Bankura horse is very popular. The Bankura pottery is mainly used for ritualistic purposes. The rituals are almost all exclusively associated with local village gods and folk-festivals in the worship of various kinds of tribal, semi-tribal and folk deities. The Panchmura-style of pottery is the best and the finest of all the four types. The symmetry of shape, the rhythm of the rounded curves of the body, especially of the horse, have lent a dignity and charm to it's form which is incomparable. Simplicity and dynamism are the chief components of Panchmura-style. It is more sophisticated than the other three types-Rajagram, Sonamukhi and Kamirpur types are a little less sophisticated and more massive. In Jhargram and Gopiballavpur areas in Midnapore district, within the tribal belt, the terracotta horses assume a crude near-primitive form and are fully hand modeled.
Mangol Ghot
Mangol Ghot is a kind of small vase which is commonly used all over Bengal in all kinds of rituals. In birth initiation and marriage ceremonies, in the festivals and rituals of all Gods and Goddesses these auspicious vases of various shapes and sizes are counted as essential requisites. These are mostly painted.
Lakshmi Ghot
These are auspicious vase of the Goddess of wealth. There is fairly a large variety of Lakshmi Ghot in West Bengal, mostly done in pairs, one for Lakshmi and another for Ganesh. Of these, Tamluk Lakshmi - ghats are most decorative and beautiful. Lakshmi's face is shaped on the upper fringe of the vase, with sharply drawn eyes and crest and the trunk of Ganesh in the other vase is also fine. In Raghunathbari, the vases are placed like bowls on an earthen stand. The Jhargram type, is the simplest one with a little long neck marked with two dots for eyes. It has a look of tribal simplicity.
Manasa - Ghat (Bari)
The most conspicuous type of Manasa ghat is found in Bankura and Garbeta area of Midnapur. Based on earthen jars turned upside down, the face of the serpant-Goddess, along with the attached snake-hoods, give the vase a peculiar shape and form. The number of snake-hoods varies from one, three, five, seven, to more than hundred arranged in ascending tiers according to the size of the vase.
Tulsimancha
One of the finest unique specimens of potter's craft is the Tulsimancha of Midnapore. Tulsimancha is generally a raised pedestal, either brick-built or earthen. The terracotta tub - like Tulsimancha with decorative motifs (mainly of Gods and Goddesses) are hardly found outside Midnapore. . It may be placed on the ground anywhere and filled with earth. Then a tulsi plant or any other small plant may be planted on it.
Dakshin Roy's Head - 'Bara - Murti'
Another interesting piece of pottery which is basically a Ghat or vase, shaped into the figure of a local village deity is Bara-Murti. This is also a vase upside down. The upper part is elongated into the form of a leaf with painted leaves and flowers on it and below it on the round surface the face of Barathakur is drawn. It is commonly worshiped in pair and also sold by potters in pair, of which one is God Bara and the other, his consort Narayani. In the Narayani ghat the moustache is absent. Eyes, eyebrows, moustache and beard are all sharply painted by brush. The worship of this Bara - murti is widely prevalent in the south of 24 Parganas district, where almost in every village the rituals are observed on a mass scale during the last day of Bengali month Pous and the first of Magh, corresponding to 14-15 January. The painted terracotta heads of Bara is placed under trees in pairs. Locally Bara is popularly known as the severed head of 'Dakshin Roy' who is a tiger-god. It is one of the most popular people's God in south 24 Parganas, associated with an environment of forest, which is likely to be the Sunderbans.
Marriage - Ritual vessels (Harhi)
In marriage ceremonies, vessels of different shapes and sizes are necessary for sending gifts to bride's and bridegroom's houses, especially varieties of sweets. Earthen vessels were used in the past because it were considered more sacred and auspicious than glass-pots or metal-pots. Of these earthen vessels some interesting varieties are found in Bankura, Midnapore and Murshidabad, which are painted and decorated. Harhis are not painted in all places and even where these are painted, the painting is not done by the professional potters of Kumbhakar caste, but by Patuas or scroll-painters, as in Midnapore (Narajol). In Bankura, the vessels are not painted by brush, but etched and engraved with pointed needles by potters (generally women). The designs are geometric and symbolic. Fish is a common subject in all drawings on these auspicious vessels. The Patuas paint flowers and leaves with fish. The other designs are of trees and flowers, symbolically executed.
Putul (Dolls)
The dolls are usually made by pressing and moulding methods. Now-a-days these are mostly prepared in mould. The mould may be prepared in parts and on each mould - piece the required quantity of clay is firmly pressed to get the intended shape and look. Clay paste is used for joining together the moulded parts. Then the object is dried, burnt and painted by brush. Mica - coated Red Dolls are made by moulding method. It is found in Howrah district : Puilya, Tantiberai, Tulsiberai and Sariyala - Balipota and in Midnapore.
Pressed - nose Dolls
The size of this doll is 1-2 inches to 4 -5 inches. It is found in Tulsi - berai, Tantiberai, Sariyala - Balipota, Antila and Kalikapur, Patihal and Jagatballavpur in Howrah district, in Midnapore town and in Berachampa - Debalaya. The dolls of Jagathballavpur and Midnapore town have blue and red stripes on white coating.
Horse - riders with and without wheels : Average height of the dolls is 4 to 5 inches.
Wheeled type is made in Tantiberai and Bantul in Howrah district and in Berachampa. Mother - Dolls :
Of all the mother - dolls the most interesting and unique types are made by Bankura potters. The types vary in different centres. Panchmura, Rajagram and Sonamukhi which are the three principal centres of Bankura pottery produce different type of mother - dolls. The dolls of Sonamukhi have red colour but the Panchmura dolls are generally black. Dolls of Sonamukhi and Rajagram have 'bonnets' also.
Dolls with Hip Jars
These are popularly known as 'Kalasi Kankhe Putul' or dolls with hip - jars.' Housewives on the village roads with water filled earthen jars on their hips in pleasant relaxing mood ' has been captured by the women potters and shaped perfectly into the hip-jar dolls. There are numerous representations of village life in dolls. The different types of these dolls are hair - caring, milk - maid (Goalini), wheat-crusher, horse - rider and elephant - rider. All these dolls are done by pressing method and by women potters. Of these, hair-caring is a peculiar type of doll which depicts a woman sitting in front with her child sucking her breast and another woman from behind is caring her hair. The size of the doll is about 5" x 6"x3". It has all the qualities of sculpture and looks like a piece of wood-carving or stone-carving.
Patua-made dolls
Patuas or Chitrakars are scroll-painters. Some types of clay dolls, figures of deities and animals are made by women of Patua-caste in West Bengal in Midnapore, Bankura, Howrah and 24 Parganas. Silate (slate-like) dolls: These are like plaques with holes for fixing on walls. These are coloured dolls and the favourite colours are green, red and blue.
Krishnanagar Pottery
Krishnanagar clay-modeling is about 250 years old and the potters of Krishnanagar did not originally belong to their present locality. In Krishnanagar pottery the social scenes of our country and the people, the different castes and racial types are reproduced realistically in clay-models. For example social scenes like collectors court, tea garden, Pandit-Sabha, Charak festival etc are used in clay modeling. This pottery is very popular and in most of the international exhibitions held since 1851, Krishnanagar clay-models have won medals and certificates and also great admiration from the people of Europe. The prices were very high even one hundred years ago and one can easily imagine its possible clientele today. The customers of these models used to be mainly Europeans.
Bankura Pottery
The principal centres where the terracotta horses and elephants are produced are Panchmura, Rajagarm, Sonamukhi and Hamirpur. Each of these four centres has its local style. Bankura horse is very popular. The Bankura pottery is mainly used for ritualistic purposes. The rituals are almost all exclusively associated with local village gods and folk-festivals in the worship of various kinds of tribal, semi-tribal and folk deities. The Panchmura-style of pottery is the best and the finest of all the four types. The symmetry of shape, the rhythm of the rounded curves of the body, especially of the horse, have lent a dignity and charm to it's form which is incomparable. Simplicity and dynamism are the chief components of Panchmura-style. It is more sophisticated than the other three types-Rajagram, Sonamukhi and Kamirpur types are a little less sophisticated and more massive. In Jhargram and Gopiballavpur areas in Midnapore district, within the tribal belt, the terracotta horses assume a crude near-primitive form and are fully hand modeled.
Naachni
Practiced in Tribal areas of Bangla. The Bhumija kings of Jharhkandi areas of Bengal introduced courtyard dance. Later disintegration of king’s court let the women assimilated in the folk community and developed a different style on their own. They are social outcast. But most of them like PostoBala, BimalaDevi are most popular in this area. One can find at least 50000 people in a naachni programme. A group of women use to dance and then the Rasik use to play madal or harmonium or other instruments and sings Jhumurs accordingly.
Rasiks are the guardians of the Naachnis. They are the trainers and singers. Naachnis use to stay with Rasiks in his house with a separate arrangements. Naachnis are social out casts, but they are the stars of Jharkhandi belt.
Rasiks are the guardians of the Naachnis. They are the trainers and singers. Naachnis use to stay with Rasiks in his house with a separate arrangements. Naachnis are social out casts, but they are the stars of Jharkhandi belt.
Friday, April 17, 2009
BrataNritya(RitualDance)
Brata Dance a form of folk dance performed on the occasion of a brata(ritual), a Hindu ritual vow, undertaken in order to attain some wish or desire.
Generally Hindu women observe this vow. Bratas belong to two classes: those related to the scriptures and those related to folk religion. While there is a conspicuous absence of songs and dance in religious bratas, women spontaneously express their material desires through dance and song in folk worship.
Adolescent girls participate in most of the brata dances. Generally, married women take part in Surya (Sun) Brata, Kartik Brata and Meghranir Kulanamano Brata (literally, the brata of the Cloud Queen lowering the kula or winnowing fan). Brata dances are performed in groups by both unmarried girls and married women. The dances are performed softly and slowly in an anti-clockwise movement. Married women, their heads modestly veiled, perform the Kulanamano Brata dance to invoke the rain clouds. Holding a corner of their saris in their right hands, they raise their kulas above their heads with their left hands. They then go round the brata-site several times, chanting rhymes.
Brata dances mainly depend on the movements of legs, hands and waist. But the postures of adolescent girls are markedly different from those of married women who swing and swirl their waists and bosoms in a display of sexuality. The brata dances of married women are an expression of their maternal urges.
Generally Hindu women observe this vow. Bratas belong to two classes: those related to the scriptures and those related to folk religion. While there is a conspicuous absence of songs and dance in religious bratas, women spontaneously express their material desires through dance and song in folk worship.
Adolescent girls participate in most of the brata dances. Generally, married women take part in Surya (Sun) Brata, Kartik Brata and Meghranir Kulanamano Brata (literally, the brata of the Cloud Queen lowering the kula or winnowing fan). Brata dances are performed in groups by both unmarried girls and married women. The dances are performed softly and slowly in an anti-clockwise movement. Married women, their heads modestly veiled, perform the Kulanamano Brata dance to invoke the rain clouds. Holding a corner of their saris in their right hands, they raise their kulas above their heads with their left hands. They then go round the brata-site several times, chanting rhymes.
Brata dances mainly depend on the movements of legs, hands and waist. But the postures of adolescent girls are markedly different from those of married women who swing and swirl their waists and bosoms in a display of sexuality. The brata dances of married women are an expression of their maternal urges.
BolanGan
Bolan Gan a special type of regional folk song sung on the occasion of Shiva's GAJAN (a festival associated with the worship of the god SHIVA). These songs are widely sung in Nadia, Birbhum, and Murshidabad districts in West Bengal. Performers move in groups from house to house dancing, singing and playing different roles.
The bolan gan group comprises singers, dancers, and musicians and is led by an ustad (teacher). Teenaged boys play the roles of women and sing and dance. Thus it is similar to ALKAP GAN, though alkap is performed on the stage while bolan gan is not.
Bolan gan was usually composed in the form of a narrative play based on mythological stories. However, the themes of these songs have expanded to include social and contemporary issues. Bolan gan may be both light and serious: songs based on serious issues are known as khanda giti, while light and humorous songs are known as ranpanchali.
The songs are prefaced by a bandana or hymn followed by the main song in Panchali. The main theme is then presented through dialogue, argument and counter argument. The final part of the song consists of ranpanchali which is aimed at amusing the audience through jokes, dances and songs.
The performers of bolan gan are non-professional. Usually village youths form bolan gan groups when there is no work in the fields. They then get someone to compose a song for them. Musicians are hired if they are not available in the group. However, the whole arrangement is temporary.
Like other folk culture, Bolan gan is gradually losing its popularity due to lack of patronage and changes in lifestyle, aspiration, culture.
The bolan gan group comprises singers, dancers, and musicians and is led by an ustad (teacher). Teenaged boys play the roles of women and sing and dance. Thus it is similar to ALKAP GAN, though alkap is performed on the stage while bolan gan is not.
Bolan gan was usually composed in the form of a narrative play based on mythological stories. However, the themes of these songs have expanded to include social and contemporary issues. Bolan gan may be both light and serious: songs based on serious issues are known as khanda giti, while light and humorous songs are known as ranpanchali.
The songs are prefaced by a bandana or hymn followed by the main song in Panchali. The main theme is then presented through dialogue, argument and counter argument. The final part of the song consists of ranpanchali which is aimed at amusing the audience through jokes, dances and songs.
The performers of bolan gan are non-professional. Usually village youths form bolan gan groups when there is no work in the fields. They then get someone to compose a song for them. Musicians are hired if they are not available in the group. However, the whole arrangement is temporary.
Like other folk culture, Bolan gan is gradually losing its popularity due to lack of patronage and changes in lifestyle, aspiration, culture.
Bhawaiya
Bhawaiya a genre of north Bengal folk song, believed to have originated in RANGPUR and Cooch Bihar, West Bengal, India,. The name of this folk song, generally about love between man and woman, derives from bhava (emotion). Bhawaiya songs, however, may also be spiritual in theme as in 'fande pariya baga kande re' (The heron cries entrapped in a net), 'chhar re man bhaver khela' (O my mind, leave earthly games), etc.
Composed and sung in the main by cart drivers (or gaarhials) are a parallel, obviously, to the Bhatiali songs. Bhawaiya is more prevalent in the dryer northwest of parts of Bengal - where ox-driven carts are more common as transport vehicles than boats. The themes are similar if a little distinct. Here, the cravings of the separated and lonely hearts; metaphorically, often a newly-wed daughter missing her parents (or alternatively her lover) asks for gaarhial bhai's (a common kin=brother) favour to take her message of loneliness to her parents (alternatively to her lover) saying she is fine at her new home but she is terribly missing them (alternatively him). This gaarhial is not unlike the cloud messenger (Meghdoot) depicted in the immortal poetry of famous Indian poet Kalidas.
Bhawaiya may be of two types: one draws out the voice in melancholy notes, while the other has a chatka or skipping tone. The first type is emotional in theme and usually about a young woman's tender feelings of love and separation. Some popular songs on these themes include 'oki gariyal bhai' (Hey, cart-driver), 'je jan premer bhav jane na' (He who does not know the feelings of love), 'kon dyashe jan maishal bandure' (Which country are you off to, oh buffalo rider, my friend?), 'nauton piritir baro jwala' (New love is highly painful), etc.
The fast paced chatka is comic and light. It is about expectations and ambitions, about conflicts between husband and wife as well as about the ups and downs of family life. A few of these songs include 'ore patidhan bari chhariya na yan' (O dear husband, please don't leave home), 'ore kainer myayar thashak beshi/ byaray shali tari tari' (The girl who has a superior gait/ Goes roaming), etc. A third type, called kshirol, is a combination of these two tunes. The two-stringed DOTARA is the main musical accompaniment.
Late Narayan Ray, his wife Sumati Ray, Harimohon Ray, Dinesh Ray, Garjan Dhimal, Sukhobilas Barma, are some contemporary artists. Late Kali Dasgupta collected and worked extensively.
Abbasuddin Ahmed popularised bhawaiya songs. But he is more a urban artist than a community singer.
Composed and sung in the main by cart drivers (or gaarhials) are a parallel, obviously, to the Bhatiali songs. Bhawaiya is more prevalent in the dryer northwest of parts of Bengal - where ox-driven carts are more common as transport vehicles than boats. The themes are similar if a little distinct. Here, the cravings of the separated and lonely hearts; metaphorically, often a newly-wed daughter missing her parents (or alternatively her lover) asks for gaarhial bhai's (a common kin=brother) favour to take her message of loneliness to her parents (alternatively to her lover) saying she is fine at her new home but she is terribly missing them (alternatively him). This gaarhial is not unlike the cloud messenger (Meghdoot) depicted in the immortal poetry of famous Indian poet Kalidas.
Bhawaiya may be of two types: one draws out the voice in melancholy notes, while the other has a chatka or skipping tone. The first type is emotional in theme and usually about a young woman's tender feelings of love and separation. Some popular songs on these themes include 'oki gariyal bhai' (Hey, cart-driver), 'je jan premer bhav jane na' (He who does not know the feelings of love), 'kon dyashe jan maishal bandure' (Which country are you off to, oh buffalo rider, my friend?), 'nauton piritir baro jwala' (New love is highly painful), etc.
The fast paced chatka is comic and light. It is about expectations and ambitions, about conflicts between husband and wife as well as about the ups and downs of family life. A few of these songs include 'ore patidhan bari chhariya na yan' (O dear husband, please don't leave home), 'ore kainer myayar thashak beshi/ byaray shali tari tari' (The girl who has a superior gait/ Goes roaming), etc. A third type, called kshirol, is a combination of these two tunes. The two-stringed DOTARA is the main musical accompaniment.
Late Narayan Ray, his wife Sumati Ray, Harimohon Ray, Dinesh Ray, Garjan Dhimal, Sukhobilas Barma, are some contemporary artists. Late Kali Dasgupta collected and worked extensively.
Abbasuddin Ahmed popularised bhawaiya songs. But he is more a urban artist than a community singer.
Rupchand Pakshi(Rupchand The Bird)
Rupchand Pakshi(Rupchand The Bird) (1815/1818-1890) composer and singer born in Kolkata, where his father, Gour Hari Das Mahapatra, resided. Their ancestral home was near the Chilka Lake in Orissa.
Rupchand grew up in Kolkata and studied at Hare School. A natural singer, he learnt music from Chhotey Miah, Chhoti Khan, Ramchandra Banerjee, Golam Abbas Tabalchi, Shetari Pannu Miah and others. He had a melodious voice and became popular from PANCHALI, Kabigan, and Dhap. He was also famous for his devotional songs based on the Radha-Krishna stories as well as for funny and satiric songs on contemporary events. In fact he was more skilled in composing this second group of songs which greatly attracted audiences. A collection of his songs, Sangit Rasakallol published in his life time include 211 songs including Panchali, Half-Akhdai, Dhap, JATRA, Kavigan, GAJAN's song etc.
At the beginning of his singing career, he used the names 'Pakshi(Bird)', 'Khagbar(King of Birds)', 'Khagraj' etc. He also formed a panchali group with the name of 'Pakshir Jatimala'. Accordingly, he was popularly known as the 'Rupchand Pakshi'.
Rupchand's songs reveal his poetic ability, depth of knowledge of Bangla, and high aesthetic sense. At the same time he composed amusing songs in a mixture of English and Bangla; for example, 'Let me go ore dvari, I visit to Bangshidhari', and 'Amare friend kare, kaliya ram tui kotha geli'.
Rupchand grew up in Kolkata and studied at Hare School. A natural singer, he learnt music from Chhotey Miah, Chhoti Khan, Ramchandra Banerjee, Golam Abbas Tabalchi, Shetari Pannu Miah and others. He had a melodious voice and became popular from PANCHALI, Kabigan, and Dhap. He was also famous for his devotional songs based on the Radha-Krishna stories as well as for funny and satiric songs on contemporary events. In fact he was more skilled in composing this second group of songs which greatly attracted audiences. A collection of his songs, Sangit Rasakallol published in his life time include 211 songs including Panchali, Half-Akhdai, Dhap, JATRA, Kavigan, GAJAN's song etc.
At the beginning of his singing career, he used the names 'Pakshi(Bird)', 'Khagbar(King of Birds)', 'Khagraj' etc. He also formed a panchali group with the name of 'Pakshir Jatimala'. Accordingly, he was popularly known as the 'Rupchand Pakshi'.
Rupchand's songs reveal his poetic ability, depth of knowledge of Bangla, and high aesthetic sense. At the same time he composed amusing songs in a mixture of English and Bangla; for example, 'Let me go ore dvari, I visit to Bangshidhari', and 'Amare friend kare, kaliya ram tui kotha geli'.
Tuesday, April 14, 2009
Bangabda/Bengali Era
The Bengali Era or Bangabda is used in Bangladesh, West Bengal and Tripura. It is also used in Assam where it is called the Bhaskar (Sun) Era, The era is an adaptation of the solar calendar that was introduced by Emperor Akbar in 1584 AD. Netters will recall that the Hijri era is based on the lunar calendar where the month of harvest keeps shifting from year to year. This had made it awkward to assign a fixed date for collecting taxes which became due after harvest. Akbar's calendar was the Emperor's solution to the problem.
Persians, unlike the Arabs, follow a solar calendar where the year begins on the day of vernal equinox (21st March). Akbar's calendar was based on the Persian model. Though introduced in 1584 AD, Akbar had the calendar backdated to start on 21st of March of 1556 AD which was the year he had ascended the throne. This was the year 963 in the Hijri era.
Bengal adopted Akbar's calendar with certain modifications. In 1556 AD, the Bengali calendar was assigned the year 963 to coincide with the year in Hijri era which today reads 1418. It is 1416 in the Bengali year.If we recall that a solar year is about 11 days longer than the lunar year, it is not difficult to figure out why the Hijri era has marched ahead by: [11 X (1998 - 1556)] days = 13 years in the 442 years since 1556 AD.
There is one other significant difference with Akbar's calendar which, like the Persian calendar and the Christian calendar, had months of fixed number of days. The Bengali month, on the other hand, is based on the ancient Sanskrit treatise, "Surya Siddhanta" where the months are assigned by the zodiac sign. The sun's stay under a zodiac sign varies from year to year. That is why any Bengali month can vary in length anywhere from 29 to 32 days. The sun enters the Mesh Rashi (Aries) on 15th of April, give or take a day.This marks the beginning of the Bengali year and is celebrated as the first of Baishakh.
The Bengali calendar is a prime example of the eclectic spirit that had prevailed during the rule of Emperor Akbar. It was a synthesis of features from ancient Indian calendars based on "Surya Siddhanta" with those of the Hijri calendar and the Persina calendar.
No wonder that the Bengali calendar is catering successfully to the needs of a quarter billion Muslims and Hindus of Bangladesh and Eastern India.
KalbotiMudra is ending this posting with a SHUBHO NABABARSHA (Happy New Year) greetings to all the netters. May it herald the beginning of an era of harmony in the strife torn subcontinent.
Persians, unlike the Arabs, follow a solar calendar where the year begins on the day of vernal equinox (21st March). Akbar's calendar was based on the Persian model. Though introduced in 1584 AD, Akbar had the calendar backdated to start on 21st of March of 1556 AD which was the year he had ascended the throne. This was the year 963 in the Hijri era.
Bengal adopted Akbar's calendar with certain modifications. In 1556 AD, the Bengali calendar was assigned the year 963 to coincide with the year in Hijri era which today reads 1418. It is 1416 in the Bengali year.If we recall that a solar year is about 11 days longer than the lunar year, it is not difficult to figure out why the Hijri era has marched ahead by: [11 X (1998 - 1556)] days = 13 years in the 442 years since 1556 AD.
There is one other significant difference with Akbar's calendar which, like the Persian calendar and the Christian calendar, had months of fixed number of days. The Bengali month, on the other hand, is based on the ancient Sanskrit treatise, "Surya Siddhanta" where the months are assigned by the zodiac sign. The sun's stay under a zodiac sign varies from year to year. That is why any Bengali month can vary in length anywhere from 29 to 32 days. The sun enters the Mesh Rashi (Aries) on 15th of April, give or take a day.This marks the beginning of the Bengali year and is celebrated as the first of Baishakh.
The Bengali calendar is a prime example of the eclectic spirit that had prevailed during the rule of Emperor Akbar. It was a synthesis of features from ancient Indian calendars based on "Surya Siddhanta" with those of the Hijri calendar and the Persina calendar.
No wonder that the Bengali calendar is catering successfully to the needs of a quarter billion Muslims and Hindus of Bangladesh and Eastern India.
KalbotiMudra is ending this posting with a SHUBHO NABABARSHA (Happy New Year) greetings to all the netters. May it herald the beginning of an era of harmony in the strife torn subcontinent.
Monday, April 13, 2009
Dotara
The dotara (or dotar) is a two or four stringed musical instrument resembling a small guitar. It is commonly used in West Bengal, and dates from the 15th-16th century when it was adopted by the ascetic cults of Bauls and Fakirs.
The dotara is the singlemost important folk instrument used in various genres of folk music throughout the land of Bengal. It has two main forms, the Bangla and the Bhhawaiya. The Bangla form originated in "Rahr Bangla" where it is still predominantly played. It has metal strings, which give it a brighter tone than other instruments played in the area.
The Bhhawaiya form dotara is almost extinct in contemporary times and has a more primeval beginning than its Bangla cousin. Again the strings are its striking feature, being either made of thick cotton strings or more popularly of catgut, giving it a more bass timbre. This instrument is widely used in the Bhhawaiya, Goalparia and Mahishali forms of folk music prevailing in and around the Bengal Province (which makes this instrument trans-regional, as this includes areas in Assam and East Bihar).
The dotara is a stringed, pluck instrument, played in an open note combination, widely accompanying the beat and rhythm structure of folk percussions such as Dhhol, Khhol or Mandira.
It is made out of neem or other species of hardwood, with an elongated, roundish belly for a sound box, tapering to a narrowish neck culminating in a peg box which is elaborately carved in the shape of peacock-head, swan-head or other animal motif. The narrow neck serves as the finger-board (albeit without frets)—this is made of brass or steel (as in a sarod) and particularly lends the liquid form to the tonal quality (as opposed to the discrete quality of a fretted instruments). The sound box of the instrument is covered with a tightly stretched kid-skin or lizard-skin, as in a rabaab or a sarod. In fact, the dotara is a simpler folk version of sarod.
The name of the instrument itself suggests two-strings—Bengali “Do”=Two, Bengali “Tar”=String—which suffices both as an octave for a complete set of notes in a scale as well as the bass and treble of the percussion (the low strung string serving as bass and the higher one as treble). However, the contemporary instrument can have as many as four strings or more (which gives a little more than two and a half of an octave) and increases the versatility of the instrument in terms of both music and rhythm. With four strings, the tuning structure is as follows (from top to bottom)—Do(lower)-Soh(lower)-Do-Fah, with Do being the dominant/root note of the song.
The dotara is the singlemost important folk instrument used in various genres of folk music throughout the land of Bengal. It has two main forms, the Bangla and the Bhhawaiya. The Bangla form originated in "Rahr Bangla" where it is still predominantly played. It has metal strings, which give it a brighter tone than other instruments played in the area.
The Bhhawaiya form dotara is almost extinct in contemporary times and has a more primeval beginning than its Bangla cousin. Again the strings are its striking feature, being either made of thick cotton strings or more popularly of catgut, giving it a more bass timbre. This instrument is widely used in the Bhhawaiya, Goalparia and Mahishali forms of folk music prevailing in and around the Bengal Province (which makes this instrument trans-regional, as this includes areas in Assam and East Bihar).
The dotara is a stringed, pluck instrument, played in an open note combination, widely accompanying the beat and rhythm structure of folk percussions such as Dhhol, Khhol or Mandira.
It is made out of neem or other species of hardwood, with an elongated, roundish belly for a sound box, tapering to a narrowish neck culminating in a peg box which is elaborately carved in the shape of peacock-head, swan-head or other animal motif. The narrow neck serves as the finger-board (albeit without frets)—this is made of brass or steel (as in a sarod) and particularly lends the liquid form to the tonal quality (as opposed to the discrete quality of a fretted instruments). The sound box of the instrument is covered with a tightly stretched kid-skin or lizard-skin, as in a rabaab or a sarod. In fact, the dotara is a simpler folk version of sarod.
The name of the instrument itself suggests two-strings—Bengali “Do”=Two, Bengali “Tar”=String—which suffices both as an octave for a complete set of notes in a scale as well as the bass and treble of the percussion (the low strung string serving as bass and the higher one as treble). However, the contemporary instrument can have as many as four strings or more (which gives a little more than two and a half of an octave) and increases the versatility of the instrument in terms of both music and rhythm. With four strings, the tuning structure is as follows (from top to bottom)—Do(lower)-Soh(lower)-Do-Fah
Chalchitra
"Chalchitra" or "Devichal" is the painted background of an Idol, especially used with Durga. Chalchitra is a metamorphosed form of halo found in the Indian sculptures of ancient period. Primarily these were used to give proportion to the structure.
Gradually narrating the associated myth of the figure gets its place on this halo which then took the form of a slab, known as "Prabhamandali" or halo of the idol. This tradition has been carried forward to the idol of Durga also.
According to some this tradition was to put up a resistance to the tide of Buddhism. So decoration to depict the glory of the Hindu gods and goddess in its background has become an important part of the worshipping. According to some this may also be a display of the general familial bonds that a Bengali shares.
Though generally Chalchitra or commonly called Chali is painted on perishable materials like, course canvas of "Patas" or paper a few varieties engraved on ivory, wood, stone or sculptured out of metals (Ashtadhatu) are also found.
Originally the artists of Chalchitra are potters but name of two other section are found to be involved in this drawing, surprisingly called "writing". First of them is "Grahabipra" (they are idol makers and might be Brahmanas by caste), the other is called the "Patuas" or "Sutradhar" (the painter of scroll patas, who are often its narrators). These people are often referred as artisans. It might be possible that they are part-timers.
While tracing their religion these artists or writers cannot be clubbed into a single section as they came from both Hindu and Muslim community. Mysteriously some are found to be followers of both the religions as they had to draw "Gaji" patas for the Muslim locality and Kalighat and other mythological patas for the Hindu locality. They are found to have changed names for serving their purpose.
Gradually narrating the associated myth of the figure gets its place on this halo which then took the form of a slab, known as "Prabhamandali" or halo of the idol. This tradition has been carried forward to the idol of Durga also.
According to some this tradition was to put up a resistance to the tide of Buddhism. So decoration to depict the glory of the Hindu gods and goddess in its background has become an important part of the worshipping. According to some this may also be a display of the general familial bonds that a Bengali shares.
Though generally Chalchitra or commonly called Chali is painted on perishable materials like, course canvas of "Patas" or paper a few varieties engraved on ivory, wood, stone or sculptured out of metals (Ashtadhatu) are also found.
Originally the artists of Chalchitra are potters but name of two other section are found to be involved in this drawing, surprisingly called "writing". First of them is "Grahabipra" (they are idol makers and might be Brahmanas by caste), the other is called the "Patuas" or "Sutradhar" (the painter of scroll patas, who are often its narrators). These people are often referred as artisans. It might be possible that they are part-timers.
While tracing their religion these artists or writers cannot be clubbed into a single section as they came from both Hindu and Muslim community. Mysteriously some are found to be followers of both the religions as they had to draw "Gaji" patas for the Muslim locality and Kalighat and other mythological patas for the Hindu locality. They are found to have changed names for serving their purpose.
Sunday, April 12, 2009
Raibense
The Raibense dance of Birbhium district is a traditional system with a martial motif. Dance is a series of vigorous physical exercises, in which the erect torso has a Raibense are trained for long periods before letting them practice it alone. The dance requires strict codes and discipline to be followed to become a successful Raibense dancers important part to play. The dancers begin in a single file and then make a circle. Hops, jumps and circles are characteristic. Skills with the shield and the spear and the trishul are common. Sophisticated moves with these weapons are also performed simultaneously. A percussion instrument accompanies the dance.
A group called SHOROBHUJ(Six Hand) indeed developed and revitalized this dance form and doing a regular performance.
A group called SHOROBHUJ(Six Hand) indeed developed and revitalized this dance form and doing a regular performance.
Sapuriya/SnakeCharmers
Sapuriya or Snake Charmer group of people who handle the snakes by music and other activities. However, the snakes usually do not respond to any aerial sound. Snake-charming is a full time profession for some and a part-time job for others. It is traditionally a family business and the art of snake charming is passed on from one generation to the other. The secrecy behind it is well-guarded.
Most people belonging to the ethnic group of bedey or gypsy are known as snake charmers. These people lead a life on boat. In some families bedeyni (women bedey) do the job. There are others whose only profession is snake charming. They keep a number of snakes in boxes, gunny bags and earthen pots, carry these from one weekly market place to another or get stationed in one town market for months and then move to a new destination where there is always congregation of people. Average snake charmers do not catch the snakes on their own but buy it from the professional snake-catchers. All of them are likely to keep a number of snakes in their possessions. The most favoured species are the cobras and pythons. In addition they keep many non-venomous snakes.
There will be no snake charming without cobra mainly because it can raise its head to an appreciable height and inflate the hood displaying its spectacular pattern. As the charmer plays his flute and keeps chanting 'mantra' at the same time moving either his head, elbows or knees the cobra sways its raised hood and body to fix its vision towards the moving object and not to the music. The cobra is teased to attack the snake charmer. Once the snake fixes its attention to the object it dares attacking it either with open mouth or amidst production of loud hissing noise.
Most snake charmers exhibit those snakes whose poison fangs have been removed so that the charmers can receive bites without the risk of getting venom. Such snakes also fail to eat their usual diet of live food because they can not utilize their poison gland for paralyzing the preys and die within 6 months or so. This is the reason snake charmers must get replacement snakes every couple of months. It may be noted that often the successive teeth behind the uprooted poison fangs of cobras some how get attached with the poison gland. Therefore, these so called 'fang-less' cobras' bites become fatal for the snake charmers themselves. Most snake charmers ultimately die from the bite of such 'fang-less' snakes. A few extremely daring and professional snake charmers will keep poisonous snakes with fangs. Some of them sell amulet (Tabiz) or herbal medicines as protection against snakebite.
Most people belonging to the ethnic group of bedey or gypsy are known as snake charmers. These people lead a life on boat. In some families bedeyni (women bedey) do the job. There are others whose only profession is snake charming. They keep a number of snakes in boxes, gunny bags and earthen pots, carry these from one weekly market place to another or get stationed in one town market for months and then move to a new destination where there is always congregation of people. Average snake charmers do not catch the snakes on their own but buy it from the professional snake-catchers. All of them are likely to keep a number of snakes in their possessions. The most favoured species are the cobras and pythons. In addition they keep many non-venomous snakes.
There will be no snake charming without cobra mainly because it can raise its head to an appreciable height and inflate the hood displaying its spectacular pattern. As the charmer plays his flute and keeps chanting 'mantra' at the same time moving either his head, elbows or knees the cobra sways its raised hood and body to fix its vision towards the moving object and not to the music. The cobra is teased to attack the snake charmer. Once the snake fixes its attention to the object it dares attacking it either with open mouth or amidst production of loud hissing noise.
Most snake charmers exhibit those snakes whose poison fangs have been removed so that the charmers can receive bites without the risk of getting venom. Such snakes also fail to eat their usual diet of live food because they can not utilize their poison gland for paralyzing the preys and die within 6 months or so. This is the reason snake charmers must get replacement snakes every couple of months. It may be noted that often the successive teeth behind the uprooted poison fangs of cobras some how get attached with the poison gland. Therefore, these so called 'fang-less' cobras' bites become fatal for the snake charmers themselves. Most snake charmers ultimately die from the bite of such 'fang-less' snakes. A few extremely daring and professional snake charmers will keep poisonous snakes with fangs. Some of them sell amulet (Tabiz) or herbal medicines as protection against snakebite.
Saturday, April 11, 2009
Gitika
Gitika a form of oral narrative poetry, often referred to as ballads. Like western ballads, gitika narrate a single event or a dramatic story, often through dialogue. They are marked by a well-knit plot and compression of detail. They achieve their effect by focusing on dramatic events rather than on chronological and narrative accounts. The narrative is not interrupted by other episodes or sub-plots, and the themes are sometimes suggested rather than clearly stated.
Typed characters generally tend to predominate in gitika. INSTRUMENTAL MUSIC accompanies the recital, but the focus is more on the story than on the music. Because gitika are oral, certain mnemonic devices, such as a dhuya, or refrain, are adopted to aid the memory.
There are two types of gitika: PURBABANGA-GITIKA and Nath Gitika. DINESH CHANDRA SEN compiled 54 purbabanga (East Bengal) gitika in Purbabanga-Gitika, published from Calcutta University in four volumes. Prachin Purbabanga Gitika, edited by Kshitish Chandra Maulik and published in seven volumes, is a revised version of the volumes edited by Dinesh Chandra Sen.
Thirty-nine of the poems in the volumes edited by Dinesh Chandra Sen and Kshitish Chandra Maulik are from MYMENSINGH. The remaining poems are from SYLHET, CHITTAGONG and NOAKHALI. The most popular gitika are 'Mahuya', 'Maluya', 'Chandravati', 'Dewana Madina', Kanka O Lila', 'Kamala', Dewan Bhabna' etc. The bhanita (prefatory narration) to some of the pieces give the names of their writers: Dwij Kanai in Mahuya, Nayan Chand in Chandravati, CHANDRAVATI in Dasyu Kenaram, and MANSUR BAYATI in Dewana Madina. Dinesh Chandra Sen also brought out an English translation of the poems in Eastern Bengal Ballads.
Nath Gitika focus on Prince Gopi Chandra and the Nath guru. These poems may be divided into two groups: those focusing on the miracles of the Nath Guru (GORAKSAVIJAY, Minchetan) and those on the religious conversion of Gopi Chandra (Manik Chandra Rajar Gan, Govinda Chandrer Git, Maynamatir Gan, Gopi Chandrer Sannyas, Gopi Chander Panchali etc.) The genre was popular in Northern part of West Bengal where it was known as Yugiyatra.
ASHUTOSH BHATTACHARYA classified gitika into two categories. In addition to the East Bengal gitika, he classified some as belonging to South-East Bengal. Nizam Dakater Pala (The Story of a Pirate Named Nizam), Chowdhurir Ladai (The Fight between the Chowdhurys), Bheluya, Kafan Chor (The Shroud-thief), Ayna Bibi, Kamal Saodagar (Merchant Kamal), Nurunnessa O Kabarer Katha (Nurunnessa and the Stories of a Grave) are, according to Ashutosh Bhattacharya, examples of ballads of South-East Bengal, that is, the Noakhali and Chittagong regions. These gitika describe the occupations, adventurousness and cruelty of the people living in the coastal belt. Compared to these, the poems in Maimansingha-Gitika and Purbabanga-Gitika are more humane and gentle.
According to Dinesh Chandra Sen Gitika’s are the oldest traditions of literature of Bengal.
The BANGLA ACADEMY has published a number of volumes of regional gitika: Momenshahi Gitika (Ballads of Mymensingh, 1971), Sylhet Gitika (Ballads of Sylhet, 1972) and Rangpur Gitika (Ballads of Rangpur, 1977). From Kolkata, Chittaranjan Dev published a book called Banglar Loka-Gitikatha (Stories of Ballads of Bengal, 1986); most of the nine ballads in the book are collected from the FARIDPUR region.
The predominant theme in the gitika is that of love, licit and illicit, as in the following gitika: love ('Mahuya', 'Maluya', 'Kamala'), spiritual love ('Chandravati'), post-marital love ('Dewana Madina'). Other poems feature historical characters and episodes ('Isha Khan Masandali'), stories of adventure ('Kena Ramer Pala'), stories of pilgrims ('Baro Tirther Gan'), or descriptions of the six seasons ('Bagular Baramasi'). Some gitika are allegorical ('Kajal Rekha').
Typed characters generally tend to predominate in gitika. INSTRUMENTAL MUSIC accompanies the recital, but the focus is more on the story than on the music. Because gitika are oral, certain mnemonic devices, such as a dhuya, or refrain, are adopted to aid the memory.
There are two types of gitika: PURBABANGA-GITIKA and Nath Gitika. DINESH CHANDRA SEN compiled 54 purbabanga (East Bengal) gitika in Purbabanga-Gitika, published from Calcutta University in four volumes. Prachin Purbabanga Gitika, edited by Kshitish Chandra Maulik and published in seven volumes, is a revised version of the volumes edited by Dinesh Chandra Sen.
Thirty-nine of the poems in the volumes edited by Dinesh Chandra Sen and Kshitish Chandra Maulik are from MYMENSINGH. The remaining poems are from SYLHET, CHITTAGONG and NOAKHALI. The most popular gitika are 'Mahuya', 'Maluya', 'Chandravati', 'Dewana Madina', Kanka O Lila', 'Kamala', Dewan Bhabna' etc. The bhanita (prefatory narration) to some of the pieces give the names of their writers: Dwij Kanai in Mahuya, Nayan Chand in Chandravati, CHANDRAVATI in Dasyu Kenaram, and MANSUR BAYATI in Dewana Madina. Dinesh Chandra Sen also brought out an English translation of the poems in Eastern Bengal Ballads.
Nath Gitika focus on Prince Gopi Chandra and the Nath guru. These poems may be divided into two groups: those focusing on the miracles of the Nath Guru (GORAKSAVIJAY, Minchetan) and those on the religious conversion of Gopi Chandra (Manik Chandra Rajar Gan, Govinda Chandrer Git, Maynamatir Gan, Gopi Chandrer Sannyas, Gopi Chander Panchali etc.) The genre was popular in Northern part of West Bengal where it was known as Yugiyatra.
ASHUTOSH BHATTACHARYA classified gitika into two categories. In addition to the East Bengal gitika, he classified some as belonging to South-East Bengal. Nizam Dakater Pala (The Story of a Pirate Named Nizam), Chowdhurir Ladai (The Fight between the Chowdhurys), Bheluya, Kafan Chor (The Shroud-thief), Ayna Bibi, Kamal Saodagar (Merchant Kamal), Nurunnessa O Kabarer Katha (Nurunnessa and the Stories of a Grave) are, according to Ashutosh Bhattacharya, examples of ballads of South-East Bengal, that is, the Noakhali and Chittagong regions. These gitika describe the occupations, adventurousness and cruelty of the people living in the coastal belt. Compared to these, the poems in Maimansingha-Gitika and Purbabanga-Gitika are more humane and gentle.
According to Dinesh Chandra Sen Gitika’s are the oldest traditions of literature of Bengal.
The BANGLA ACADEMY has published a number of volumes of regional gitika: Momenshahi Gitika (Ballads of Mymensingh, 1971), Sylhet Gitika (Ballads of Sylhet, 1972) and Rangpur Gitika (Ballads of Rangpur, 1977). From Kolkata, Chittaranjan Dev published a book called Banglar Loka-Gitikatha (Stories of Ballads of Bengal, 1986); most of the nine ballads in the book are collected from the FARIDPUR region.
The predominant theme in the gitika is that of love, licit and illicit, as in the following gitika: love ('Mahuya', 'Maluya', 'Kamala'), spiritual love ('Chandravati'), post-marital love ('Dewana Madina'). Other poems feature historical characters and episodes ('Isha Khan Masandali'), stories of adventure ('Kena Ramer Pala'), stories of pilgrims ('Baro Tirther Gan'), or descriptions of the six seasons ('Bagular Baramasi'). Some gitika are allegorical ('Kajal Rekha').
Kumar(Potter)
Kumar (potter) also known in Bangla as kumbhakar, is a traditional occupational group engaged in clay modelling and making earthenwares and various household items and toys from clay. Kumar is a caste name, which indicates that POTTERY as a profession was almost exclusively in the hands of Hindus in the past. The innumerable domestic wares prepared by kumars include Bhanr(Earthen cup), kalshi (household water vessel), handi (cooking pot), jala (big water jar), shara/dhakna (pot covers), shanki (dish), sharai (jug), plates, cups, badna/garu/lota/ghoti (water pot) and dhupdani (vessel for scented sulphur) and many more. Clay made dolls and toys and clay fruits like palm, banana, jackfruit or mango, are popular sale items in traditional fairs and festivals.
All kumars, whether of ancient or modern times, employ a simple technology in making the earthenware. The clay dug from the earth's surface is prepared by beating and kneading with the hands, feet or simple mallets of stone or wood. The steps usually followed include: (1) clay collection and preservation, (2) preparing the clay for production, (3) modelling the shape and size of the wares, (4) drying the ware in the sun and finally, (5) firing and colouring it. In ancient pottery, the clay well tempered with water was invariably used without any additional material. Vessels were shaped by scooping out or cutting a solid lump or ball from this pure clay, by building up piece by piece, or by squeezing cakes of clay on to some natural object or a mould or form. The potter's wheel (chaak) is a comparatively later invention. Kumars now use wheel with which they fashion various kinds of pottery, which then dried in the sun and later are heated in the kiln (panja). The wheel in its simplest form is a heavy disk pivoted in a central point to be set going by the hand of the workman squatting on the ground. After the processing in rotation is complete, the piece is removed from the wheel and set aside to dry. The neck and shoulders of all globular vessels are made with the wheel, but the body is fashioned by hand, often by women. A round ball of hardened clay (boila) is held inside, while with a wooden mallet (pitna) the material is beaten from the outside into requisite shape and thinness.
Kumars use two kinds of earth: baali (sandy soil) and kalamaati (blackish sticky soil). The former is mixed with the latter in a proportion of 1:2 for production of strong pottery. The red laterite earth from Bhowal is used for making the common red earthenware vessels. The cheap red and black earthenware are both prepared with the same clay, the latter being blackened by covering up the kiln at a certain stage and by adding oil-cake to the fire. Many potters cannot glaze or fix the colours on the wares, but are content to paint the vessel after it has been baked. The colours are always made from different chemicals and metals such as copper, manganese, lead, arsenic etc. Red paint are prepared with red leads, yellow with arsenic, green by copper, blue from manganese, and black with the mixture of different chemicals.
Many kumars manufacture bricks and tiles, along with earthenware of all shapes and sizes, and idols and toys. The manufactories of kumars well repay a visit. Beneath the same thatched roof are the kiln, storehouse and dwelling house, while a free space in front of the door is used as a place to prepare the clay.
The pottery made at Krishnanagar, Nadia is well known throughout the country for its fineness. Ghurni is one of the bulls eye of the traditional pottery in India. From the British Raj days potters, mainly the Pal’s are the best in this business. Potters of Bankura has a tradition of their own.
In the rainy season boats laden with earthenware from these places travel to neighbouring districts through river ways.
The subdivisions within the kumar caste in Bengal include Bara Bhagiya, Chota Bhagiya, Rajmahalia and Khatya. Historically, Vaishnava has been the favourite deity of the caste. Their religious observances do not appear to differ materially from those of other Hindu castes of similar social standing. The social standing of the caste is respectable. They are recognised as members of the Navashaka group and BRAHMANs would drink water from their hands. The profession of kumars run through family lineage and both women and men work together.
Pottery points to the existence of clay work in the country. Earthenware and utensils found in different old TERRACOTTA point to the existence of superb quality pottery in olden times. Pottery adorned with artistic subtly and creative design has made their way into art exhibitions and museums. With the passage of time, the development of wares of other materials ie, plastic and metal wares brought changes in the usage of pottery.
In the rural areas only the poor use rudimentary and cheap earthenware while opulent members in urban areas use pottery as show pieces in drawing rooms or as items of interior decoration.
All kumars, whether of ancient or modern times, employ a simple technology in making the earthenware. The clay dug from the earth's surface is prepared by beating and kneading with the hands, feet or simple mallets of stone or wood. The steps usually followed include: (1) clay collection and preservation, (2) preparing the clay for production, (3) modelling the shape and size of the wares, (4) drying the ware in the sun and finally, (5) firing and colouring it. In ancient pottery, the clay well tempered with water was invariably used without any additional material. Vessels were shaped by scooping out or cutting a solid lump or ball from this pure clay, by building up piece by piece, or by squeezing cakes of clay on to some natural object or a mould or form. The potter's wheel (chaak) is a comparatively later invention. Kumars now use wheel with which they fashion various kinds of pottery, which then dried in the sun and later are heated in the kiln (panja). The wheel in its simplest form is a heavy disk pivoted in a central point to be set going by the hand of the workman squatting on the ground. After the processing in rotation is complete, the piece is removed from the wheel and set aside to dry. The neck and shoulders of all globular vessels are made with the wheel, but the body is fashioned by hand, often by women. A round ball of hardened clay (boila) is held inside, while with a wooden mallet (pitna) the material is beaten from the outside into requisite shape and thinness.
Kumars use two kinds of earth: baali (sandy soil) and kalamaati (blackish sticky soil). The former is mixed with the latter in a proportion of 1:2 for production of strong pottery. The red laterite earth from Bhowal is used for making the common red earthenware vessels. The cheap red and black earthenware are both prepared with the same clay, the latter being blackened by covering up the kiln at a certain stage and by adding oil-cake to the fire. Many potters cannot glaze or fix the colours on the wares, but are content to paint the vessel after it has been baked. The colours are always made from different chemicals and metals such as copper, manganese, lead, arsenic etc. Red paint are prepared with red leads, yellow with arsenic, green by copper, blue from manganese, and black with the mixture of different chemicals.
Many kumars manufacture bricks and tiles, along with earthenware of all shapes and sizes, and idols and toys. The manufactories of kumars well repay a visit. Beneath the same thatched roof are the kiln, storehouse and dwelling house, while a free space in front of the door is used as a place to prepare the clay.
The pottery made at Krishnanagar, Nadia is well known throughout the country for its fineness. Ghurni is one of the bulls eye of the traditional pottery in India. From the British Raj days potters, mainly the Pal’s are the best in this business. Potters of Bankura has a tradition of their own.
In the rainy season boats laden with earthenware from these places travel to neighbouring districts through river ways.
The subdivisions within the kumar caste in Bengal include Bara Bhagiya, Chota Bhagiya, Rajmahalia and Khatya. Historically, Vaishnava has been the favourite deity of the caste. Their religious observances do not appear to differ materially from those of other Hindu castes of similar social standing. The social standing of the caste is respectable. They are recognised as members of the Navashaka group and BRAHMANs would drink water from their hands. The profession of kumars run through family lineage and both women and men work together.
Pottery points to the existence of clay work in the country. Earthenware and utensils found in different old TERRACOTTA point to the existence of superb quality pottery in olden times. Pottery adorned with artistic subtly and creative design has made their way into art exhibitions and museums. With the passage of time, the development of wares of other materials ie, plastic and metal wares brought changes in the usage of pottery.
In the rural areas only the poor use rudimentary and cheap earthenware while opulent members in urban areas use pottery as show pieces in drawing rooms or as items of interior decoration.
Thursday, April 9, 2009
Balahari
Balahari a sect founded by Balaram Hari who belonged to the sweeper caste. Balaram was born in the village of Malopara in MEHERPUR district. Balaram died at the age of sixty-five in 1890 at his Meherpur residence, which was converted into an AKHDA (a resort for saints). He left behind his wife or seva-dasi (partner in faith) that took care of his akhda and his followers after his death.
As a young man, Balaram was a watchman of the Mallick family of Meherpur. When an idol belonging to the Mallicks was stolen along with some gold ornaments, Balaram was blamed for the theft. Balaram was greatly shocked at this and left Meherpur. After years of absence he returned to Meherpur with a few followers and turned his residence into an akhda.
Balaharis do not worship idols, and they recognise no caste distinctions. They are divided into two sub-sects: one group believe in family life; the other group are ascetics and do not marry. Balaharis are often considered to be a branch of Vaisnavites. Balaram composed a number of songs, which are sung by his followers as a part of their faith. Balaharis light candles at the akhda and perform certain rituals.
As a young man, Balaram was a watchman of the Mallick family of Meherpur. When an idol belonging to the Mallicks was stolen along with some gold ornaments, Balaram was blamed for the theft. Balaram was greatly shocked at this and left Meherpur. After years of absence he returned to Meherpur with a few followers and turned his residence into an akhda.
Balaharis do not worship idols, and they recognise no caste distinctions. They are divided into two sub-sects: one group believe in family life; the other group are ascetics and do not marry. Balaharis are often considered to be a branch of Vaisnavites. Balaram composed a number of songs, which are sung by his followers as a part of their faith. Balaharis light candles at the akhda and perform certain rituals.
Wednesday, April 1, 2009
SholaPith(SpongeWood)
SholaPith is a kind of very light pithy reed found in the marsh lands of Eastern India. The Craftsmen or 'malakars' work with their special iron knives or 'kath' to fashion intricate objects out of it. The core of this reed, which is pure white in colour, is exposed when the outer layer of the stalk is shaved. The core is light, porous, soft, and pliable and can be shaped to suit the imagination of the artisan. Skilled craftsmen shape this reed into many objects: scaled down models of temples, churches and mosques, carved images of Gods/Goddess (like Durga, Kali, Ganesh and so on), marriage headgear ("Topor" & "Mukut"), flowers and garlands, toys and mobiles are all crafted from this reed. Apart from toys and images, big and small, some shola-pith craftsmen also create items that form an integral part of most of the major religious rituals - mainly in the form of "Solar Saaj" - which is the ornamentation and decoration for sacred images. This latter form uses foils, sequins, beads or artificial pearls mounted on cupboard. Since these foils were once used to be imported from Germany by post or 'dak' the decoration came to be known as "Daker Saaj".
Bengal is famous for it's sholapith items for marriages & festivals and serve as decoration items for wall hangings etc.
The north Bengal sholapith workers mainly from the Rajbansi community use to curve monoshar monjusha during the auspicious Manosha Puja. There are another kind of Opodebotas(lesser-gods) are made at that time called Maashan.
Bengal is famous for it's sholapith items for marriages & festivals and serve as decoration items for wall hangings etc.
The north Bengal sholapith workers mainly from the Rajbansi community use to curve monoshar monjusha during the auspicious Manosha Puja. There are another kind of Opodebotas(lesser-gods) are made at that time called Maashan.
GubGubi(Anandalahari)
Is a stringed folk musical instrument. Also known as khamak. It is made of an earthen or wooden bowl covered with leather. A number of strings are brought out through the middle of the leather covering and tied to a small piece of clay or wood. The bowl is held under the left arm and the strings, stretched with the left hand, are struck with a pin or stick to produce a gub-gub sound. The sound can be varied by manipulating the tension of the string. Because of the nature of sound that the instrument produces, it is locally called gab gubagub or gubgubi. Its classical name, however, is anandalahari. Usually, the instrument is played as an accompaniment to baul and other devotional songs. The name khamak is used in mangalkavyas such as bipradas pipilai's Manasavijay, mukundaram's Chandimangal and Manik Ganguly's Dharmamangal.
GaajonUtsav/ChodokMela(Festival)
Gaajon a Shaivite mela(festival), held on CHOITRO SANGKRANTI (the last day of Choitro(the last month of Bangla year)) and on full moon nights up to the full moon of Asadh. The mela is associated with various gods. There may thus be SHIV's Gaajon, the Gaajon of DHARMO THAKUR, the Gaajon of Nil etc. The main object of this mela is to celebrate the marriage of the sun and the earth. The reason for this mela is perhaps to appease the sun and pray for rain during the hot, dry month of Choitro.
The mela is arranged on the premises of Shiv temples. Those who take part in the mela after making vows are called sannyasi or bhoktya. They take sacrificial food(mostly parboiled rice) and wear uttori (wrappers). Each one holds a staff of cane. They try to satisfy the god through different acts of penance, such as piercing their tongues with nails, jumping upon thorns(KaantaJhamp), walking on burning charcoal bed(AagunSannyas), juggling of burning charcoal(PhulKhyala) etc.
CHODOK PUJA is performed on the occasion of the Gaajon mela. During this mela, processions are brought out from the premises of the temple of Shiv and taken to other villages. A pair of processionists take the roles of Shiva and Gauri and render dances. Other bhoktyas take the roles of Nandi, Bhrngi, ghosts and spirits, monsters and demons and dance along with Shiva and Gauri. During this time different verses are recited narrating the story of how Shiv's sleep was disturbed and going on to his marriage, his agricultural activities etc.
This mela usually lasts for three days. During the Gaajon on Choitro Samkranti, Kali dances are also performed in some places describing how the goddess slaughtered the monster Asura.
The mela is arranged on the premises of Shiv temples. Those who take part in the mela after making vows are called sannyasi or bhoktya. They take sacrificial food(mostly parboiled rice) and wear uttori (wrappers). Each one holds a staff of cane. They try to satisfy the god through different acts of penance, such as piercing their tongues with nails, jumping upon thorns(KaantaJhamp), walking on burning charcoal bed(AagunSannyas), juggling of burning charcoal(PhulKhyala) etc.
CHODOK PUJA is performed on the occasion of the Gaajon mela. During this mela, processions are brought out from the premises of the temple of Shiv and taken to other villages. A pair of processionists take the roles of Shiva and Gauri and render dances. Other bhoktyas take the roles of Nandi, Bhrngi, ghosts and spirits, monsters and demons and dance along with Shiva and Gauri. During this time different verses are recited narrating the story of how Shiv's sleep was disturbed and going on to his marriage, his agricultural activities etc.
This mela usually lasts for three days. During the Gaajon on Choitro Samkranti, Kali dances are also performed in some places describing how the goddess slaughtered the monster Asura.
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