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