Panchali

Panchali a genre of narrative folk songs. The word, panchali, originates from panchal or panchalika, meaning puppet. Others believe that the word refers to the five elements of this genre: song, music, extempore versifying, poetic contests, and dance. In earlier times it also included a puppet dance. In the 18th-19th centuries, the puppet dance was dropped. Instead, the main singer would dance, wearing nupur (anklet bells), and holding a flywhisk and cymbals. At times he would act the part of different characters. The ramayana, mahabharata, mangalkavya and similar narrative verses were often recited in the style of panchali. Some legends also used to be recited in a similar fashion.

Panchali subjects include ancient legends and folk tales as well as contemporary topics. One principal singer would enact the main story with recitation, rhymes and songs. In course of the evolution of the panchali, more singers joined the principal singer to play such instruments as mrdanga (tabor), dhol (drum) and kanshi (bell-metal gong).

The panchali underwent some changes towards the close of the 18th century when poetic contests, physical gestures and acting were introduced. In the 19th century dialogue for the principal singer was added as was the character of a clown who used to generate laughter by mimicking different social oddities through songs, recitation of rhymes or dances. Most popular among the social issues were remarriage of women, income tax problems, and the members of Young Bengal who were opposed to idol worship. The panchali later gave birth to the popular jatra songs.
dasharathi roy was a famous panchali composer. He used to be a professional kaviyal or versifier. Dasharathi Roy's panchali helped make the common people interested in education, literature and religion as well as to become socially conscious. The influence of kavigan may be noticed in the panchali of manomohan bose. Some other famous panchali composers of the time were Thakurdas Dutta (1801-1876), Rasikchandra Ray (1820-1892), Brajamohan Ray (1831-1876), Rasikchandra Goswami, Nandalal Ray and Krishnakamal Goswami. Famous panchali include Shitalar Panchali and Satyanarayan or Satyapirer Panchali.

Gazir Gaan

The Fokire Paala of the Gazir Gaan (The Ascetical Drama of the Gazi Song) Dudhshar, a village in Shailkupa thana in Jhenaidaha district. There resides Rowshan Ali Jowardar, one of the lead singers or narrators (Gayen) of the Gazir Gaan (Gazi's song). The all time involvement with his performance keeps this man away from his home most of the time.
Gazir Gan songs to a legendary saint popularly known as Gazi Pir. Gazi songs were particularly popular in the districts of faridpur, noakhali, chittagong and sylhet. They were performed for boons received or wished for, such as for a child, after a cure, for the fertility of the soil, for the well-being of cattle, for success in business, etc. Gazi songs would be presented while unfurling a scroll depicting different events in the life of Gazi Pir. On the scroll would also be depicted the field of Karbala, the Ka'aba, Hindu temples, etc. Sometimes these paintings were also done on earthenware pots.
The Gazir Gaan singers and the instrumentalists took their seats facing north on the square shaped mat. Then commenced the starting ritual. As the lead singer implanted the symbolic icon, Gazir Asha (Hope of Gazi) north of the audience, music played on. Among the musical instruments were flutes, harmonium, juri or Mandira (a small hollow pair of cymbals) and the dhol (instrument of percussion which is not so much in width as a drum but longer in size). After the group instrumental, the lead singer presented a devotional song with his troupe accompanying him in stages.
If you come, Oh Merciful to rescue the destitute / (Merciful) Please take and make me cross
(I) do not offer my prayers, nor do I fast / Please have mercy and make me cross
(I) coming into this world / about you I have forgotten/ under the spell of infatuation . . .
Each individual has the knowledge of good or bad and for the singers and the spectators or the audience of Gazir Gaan, the performance is as recreational as it is of devotion. Some show their devotion by praying, some by worshiping (Puja), some by offering a particular sacrifice to the deity on fulfillment of a prayer (Manot) and some may look for some other way to express their devotion. Gazir Gaan, whatsoever includes humour or even obscenity, ultimately it is something of sheer devotion.
There are altogether 7 Paalas (episodes) in the Gazir Gaan performance:
• 1. Marriage
• 2. Didar Badshah
• 3. Dharma Badshah
• 4. Erong Badshah
• 5. Taijel Badshah
• 6. Tara Dakait
• 7. Jamal Badshah

But the performance commences with the “Fokre Paala" depicting the story behind Gazi and Kalu's becoming ascetics after which continues seven episodes. Gazi is very serious and sincere in his work, while the character of his brother Kalu is more comical and he is the one who creates the humour through his role. Through his jeers and meaningless dialogue and activities he very skillfully takes the audience into the embedded sorrow and depth of the story. Here are some quotes from the "Fokre Paala". After the dance performed by the "Chukris", the lead singer stands up and delivers some introducing words in his local accent.

After the introductory words of the narrator, starts the instrumental and then the Dhua or starting chorus of the narrative passes from the lead singer to his members of the chorus.

Singer starts the main narration of the Fokre Paala of Gazi and Kalu and at the beginning he requests Kalu earnestly to become Gazi's companion in his quest of becoming an ascetic leaving behind the earthly pleasures and luxury. As this song ends Kalu comes up and takes part in dialogue (in verse and prose)based drama with the lead singer. The statements and their replies are rather nonsense, comic in nature and sometimes with the use of indecent words.

Gazi answers satisfactorily and at one stage Kalu points out the asha of the Gazi. [The asha is one of the most holy ritual accessories that play an important role in the performance of the miracles of the saints (Pirs). It indicates the symbolic representation of a saint's supernatural power. During the Gazir Gaan performance, the asha is implanted in the ground and is not used in the performance. Other ritual accessories are used in Gazir Gaan and the offerings made to the saints in the performance are usually taken by the lead-narrator or singer himself on behalf of the saint.

At the end of the performance of each episode of the Gazir Gaan, the narrator asks the crowd which episode would they like to watch. The troupe performs accordingly because it is the mood of the crowd that matters to really feel the beat of the performance

GhatuGaan

Ghatu Gan a kind of folk song, also known variously as ghetu, ghantu, gantu, or gadu, song. Etymologically, ghatu is derived from the word ghat, or riverbank. At one time the GHAT was not just the place where villagers bathed and fetched water, but also the place where boatmen anchored their boats, where merchants displayed their wares, and where people congregated. Different forms of entertainment arose, including what are known as ghatu songs because they were sung at the ghat.
A gay culture underlies ghatu songs and dances, which are predominantly erotic and usually based on the relationship of RADHA and KRISHNA. According to tradition, ghatu songs originated in the early sixteenth century, when a Vaishnava (follower of CHAITANYA) of Azmiriganj village in the district of SUNAMGANJ renounced domestic ties and began to spend his days in the guise of Radha separated from Krishna. Gradually, the number of his disciples increased. The boys among his disciples dressed like the companions of Radha and danced and sang songs expressing emotions of love and separation. In time, these boys formed the first ghatu group and composed ghatu songs.
The part of Radha would be played by an adolescent youth in woman's clothes, his girlish beauty and feminine gestures and mannerisms attracting and entertaining the mainly male audiences at the ghat. In general, the desk of boats on rivers, lakes and canals in the rainy season when village people have ample leisure, provided the most appropriate setting for ghatu songs. Subsequently, ghatu songs were also performed in places other than ghats. Sometimes ghatu groups competed with one another in performing a dialogue between Radha and Krishna.
The chief of a ghatu group is called the sarkar. The MUSICAL INSTRUMENTS used in ghatu songs are dhol, violin, vina, flute, HARMONIUM, etc.