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                  <text>&lt;h2&gt;&lt;b&gt;Patua&lt;strong&gt; Pala/ Pata Pala (Scroll Painting) of Bengal&lt;/strong&gt;&lt;/b&gt;&lt;/h2&gt;</text>
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                  <text>&lt;em&gt;Patua Pala&lt;/em&gt;/ Pata Pala (Scroll Painting) by the &lt;em&gt;Patua&lt;/em&gt; Artists of Bengal</text>
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                  <text>&lt;em&gt;Patua Pala&lt;/em&gt; or &lt;em&gt;Patachitra&lt;/em&gt;, commonly known as pata is one of the most popular yet endangered performing art forms of Bengal. It usually comprises painting and an adjunct folk song. Various mythical stories are depicted on a piece of cloth, known as ‘&lt;em&gt;patta&lt;/em&gt;’ and the Patua artists perform it in front of an audience with the accompanied song.</text>
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                  <text>UGC-SAP III, DRS Phase II, Department of English, Vidyasagar University&#13;
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                  <text>Chitrakar Community of Naya village, Pingla, Paschim Medinipur District of West Bengal</text>
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                  <text>UGC-SAP-DRS II, Department of English, Vidyasagar University</text>
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                  <text>Rani Chitrakar           9609066351&#13;
Swarna Chitrakar&#13;
Shyamsundar Chitrakar&#13;
Dukhushyam Chitrakar&#13;
Monu Chitrakar</text>
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                  <text>© Department of English, Vidyasagar University&#13;
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                  <text>Patachitra, Scroll Painting Performing Arts of Bengal, Performance Studies</text>
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                  <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Naya Village, Pingla on 26.01.2015 under the aegis of UGC-SAP III, DRS Phase II Project entitled "Translation, documentation, and conservation of Tribal Oral Folk Literature and Cultural Texts of West Bengal"</text>
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                  <text>Folk Performance/ Folk Drama of Bengal </text>
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              <text>The complete original Bengali text of the pala performance 'Sitaharan' ('The Kidnapping of Sita') by Prabir Chitrakar, accompanied by an IPA transcription of the same.</text>
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                <text>'&lt;strong&gt;&lt;em&gt;Sitaharan'&lt;/em&gt; ('The Kidnapping of Sita')&lt;/strong&gt; by Prabir Chitrakar</text>
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                <text>The complete original Bengali text of the &lt;em&gt;pala&lt;/em&gt; performance '&lt;em&gt;&lt;strong&gt;Sitaharan'&lt;/strong&gt;&lt;/em&gt; &lt;strong&gt;('The Kidnapping of Sita') &lt;/strong&gt;by Prabir Chitrakar, accompanied by an IPA transcription of the same.</text>
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                <text>Naya village, Pingla, Paschim Medinipur, West Bengal</text>
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                <text>Patachitra, Scroll Painting, Performing Arts of Bengal, Performance Studies</text>
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                <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Naya Village, Pingla on 26.01.2015 under the aegis of UGC-SAP III, DRS Phase II Project entitled "Translation, documentation, and conservation of Tribal Oral Folk Literature and Cultural Texts of West Bengal"</text>
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                  <text>Night of Theatre n°10</text>
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                  <text>Night of Theatre n°10</text>
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                  <text>Night of Theatre n°10 (French La Nuit des Idées), an amazing night-long open air theatre of contemporary performing arts and inventive thought, will take place in collaboration with Trimukhi Cultural Centre on March 20 2018 at Vidyasagar University Campus. Directed by Jean-Frédéric Chevallier, of the University of Sorbonne, Paris, this performance combines the tribal myth of creation and inventive philosophical ideas. All interested are invited on behalf of UGC SAP III, Phase II, Department of English, Vidyasagar University to attend this theatrical performance on the evening of 20 March 2018 in the open air theatre in front of the varsity library.</text>
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                <text>Review of &lt;strong&gt;&lt;em&gt;Jol &lt;/em&gt;&lt;/strong&gt;i&lt;strong&gt;&lt;em&gt; Jibon &lt;/em&gt;(Water is Life) &lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Between the Avant-garde and the Traditional: The Question of Re-vitalizing Tribal art&lt;/strong&gt; &lt;br /&gt;&lt;br /&gt;                                    Debashis Bandyopadhyay</text>
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                <text>&lt;strong&gt;Between the Avant-garde and the Traditional The Question of Re-vitalizing Tribal art&lt;/strong&gt;</text>
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                <text>&lt;p&gt;It began after sundown in Borotalpada, a remote Santhali village in the district of Jhargram in West Bengal, India. It seemed one has come to the end of the world. A dusky path lined on either side with &lt;em&gt;sal&lt;/em&gt; and &lt;em&gt;mahua&lt;/em&gt; trees opened onto a sort of escarpment. A pool of water stood on its edge and beyond it a long weir slope rose sharply from the ground. It was the setting for Trimukhi Platform’s avant-garde production, “Jol i Jibon” (Water is Life), with all Santhali cast, on January 27, the tenth anniversary of the ensemble’s project called “Night of Theatre”.&lt;/p&gt;
&lt;p&gt;Trimukhi is the brainchild of Jean-Frederic Chevallier, a professor of Philosophy at the University of Sorbonne, Paris. It is imperative to reflect upon the objective of the project. Is it an attempt to initiate a community of people to a different culture altogether, or a quest to revitalize the cultural life of an indigenous community by adopting experimental artifices primarily developed in the West? The socio-economic fallout on the life of the affected community hinges on finding an answer to the question. Of course the benefactor too is benefited, not in any financial way but in the form of qualitative enrichment of his experiences.&lt;/p&gt;
&lt;p&gt;The place, play-method, the cast and the director’s engagement are good indicators to go by. Upon the water of the pool, that barely rises to the heel, a flat wooden table flanked by footstools on either side comprise what can be called the centre of performance. On the escarpment close to the water line sit the stage hands, doubling as a multilingual (Santhali, Bengali, English and French) chorus. The decor is spartan yet hardwired. The mise-en-scene becomes complete with a hand-held loudspeaker, a laptop computer that does minimum of digital storyboarding and battery powered torches that train on the dark figures performing in black water. A dusky silhouette dissolves the split between the sky and the earth.&lt;/p&gt;
&lt;p&gt;The story begins – as much as an absurdist piece of work has a story – with voices in the chorus recounting a version of the Santhali myth of origin. At the beginning the sky and the earth were inseparably together. When the primitive people of the stock accumulated vice and strayed from the ordained path, the sky, the abode of the gods, fell away and receded to where it is now. The narrative can be traced back to P. O. Bodding’s collection of Santhali folktales and exists in the form of a frame narrative in Tarashankar Bandyopadhyay’s Bengali novel, &lt;em&gt;Kalindi&lt;/em&gt;.&lt;/p&gt;
&lt;p&gt;A soft music plays on the computer as two characters emerge out of the darkness, careening over the water surface in a style Santhali women rummage water beds for food. The performance is a blend of mime and acrobatic movements (especially upon the wooden frame placed in the middle of the pool), including jigs and pratfalls in cold water. Words are scant and articulations resemble pure sounds. The movement of bodies strive to lend expressionist meaning to a sort of anthropological distance the Santhali lifeworld has traversed and is likely to wade further into the days of globalization. An apprehension of complete acculturation shows through the little bit of slapstick that is thrown in an otherwise hermetic production. There are chances that people might read in the sign an invitation to do away with all ethnic specificities under the exotic charm of the tinsel.&lt;/p&gt;
&lt;p&gt;A fine-grained avant-garde performance collapses the hierarchic arrangement of space in traditional theatre and places the performers, the audience and the surroundings on a horizontal plane in equal terms of relationality. Antonin Artaud, the French pioneer of the form, envisioned the nuances of what he called the body without organs (BoW). If the superficial acts of everyday life are suggested by the movement of the body parts, the primordial spirit that vitalizes the undifferentiated universe is symbolized by the organ-less mass of the body. The cast in Chevallier’s play on the wooden platform mould their bodies into the gestalt of that elementary force. All variations of movement suggesting anthropological moments of cultural evolution tend to blend with the singular motif of this BoW. It constantly acts as a subtle reminder to the beginning time of the origin myth suggested by the choric raconteur. As a meta-theatrical device, however, it also serves to augment belief in the slapstick as a deterritorializing metaphor.&lt;/p&gt;
&lt;p&gt;Gilles Deleuze, the postmodern French philosopher, finds Artaud’s idea of the BoW realized upon what he calls the “plane of immanence”. It is a space in which intense forces manifest in complex network of connections just like the movements crossing each other in myriad ways on the wooden board of Chevallier’s stage. The characters do not become performers any more than shamans live the primordial forces in a non-oppositional connection with the world.&lt;/p&gt;
&lt;p&gt;Armchair philosophy is not Chevallier’s forte. A penchant for living it and expressing it through a persuasive form has brought him to adopt a nook in a Santhali village and translate the Santhali worldview into cerebral art. Someone with a refined aesthetic sensibility will be stirred by a feeling sublime in nature and cosmic in proportion. The young Santhali boys and girls who comprise the cast are being trained in the rudiments of the art form and are taught the meaning that they require to deliver.&lt;/p&gt;
&lt;p&gt;But deliver to whom and at the cost of what? The performance is a little too radical in its disjunction with the specific nuances of the traditional cultural texts of the Santhali community. If they require to connect more substantially with audience from their own community and other tribal communities originating from the same stock and with whom they share cultural and geographical contiguity, more familiar elements require to be incorporated. The question is to what extent such an avant-garde form can manage to accommodate tradition. Not that there is no scope for it. For example, the digital scores that accompany this performance are not only aberrations at places but also distant from anything that the community ever made use of in their ethnic rites and festivals. Conspicuous is the absence of the sound of the &lt;em&gt;madal&lt;/em&gt; (a favourite percussion instrument of the community). It is particularly connected according to Kherwal (the Austro-Asiatic stock from which the Santhals descended) folklores with the sacred &lt;em&gt;dong &lt;/em&gt;music that emanated from the water of the fountain consecrated to the Santhali Muse. The sound &lt;em&gt;dong&lt;/em&gt; is said to ruffle waters of a still pool and lend intensity and vitality to the community’s life. Wisely employed, it could not have been irrelevant to the aquatic aura and theme of the performance. The rhythm, melodies and even lyrics of such &lt;em&gt;adivasi &lt;/em&gt;performances as &lt;em&gt;Langre&lt;/em&gt;, &lt;em&gt;Danshay&lt;/em&gt;, &lt;em&gt;Sorhay &lt;/em&gt;and &lt;em&gt;Vandan&lt;/em&gt; could have fused well with the text of the performance and ensured greater comprehensibility to the audience within the community.  &lt;/p&gt;
&lt;p&gt;Scholars devoted to tribal studies feel concerned about the future of traditional art forms.  Unless they are given a modern touch and some of the hackneyed shades are done up, it would be difficult to secure these pieces as living art forms. An endeavour like that of Chevallier could be extremely significant in that way. But a radical departure from the traditional forms would pose a cultural threat to their ethnic identities.&lt;/p&gt;
&lt;p&gt; Trimukhi, however, is absolutely free to have their way: take the avant-garde forms to urban audiences and attract the latter to the peripheral Santhal village. A platform to that effect is created. City people will journey as far to discover that there is more to Santhal cultural ethnicity than meets the eye in Trimukhi’s customised repertoire meant for the city centres. But let them not conclude that all such “excesses” are redundant.&lt;/p&gt;
&lt;p&gt;Chevallier and his team are perfectly capable of ensuring that. The art village in Bortalpada supports and nurtures the artistes in their ritual performances. The young cast wash the bare feet of their guests with water and oil in the tradition of the welcoming ritual called &lt;em&gt;lota da&lt;/em&gt;. Among the medley of performances they present through the night are a couple of traditional Santhali dances accompanied by &lt;em&gt;dhol&lt;/em&gt; and &lt;em&gt;madal&lt;/em&gt;. Jean-Frederic’s wife Sukla and a Japanese avant-garde artiste Ikue Nakagawa have introduced modern innovations to the traditional forms. Connoisseurs of tribal art have come forward to collaborate with Trimukhi with the objective of restoring the endangered forms.&lt;/p&gt;
&lt;p&gt;Girish Soren was a young boy during the early days of Trimukhi in 2009. He had learnt the techniques of experimental art and helped create the mud-swell and the marquee that form the Platform’s courtyard in Barotalpada. Now a civic volunteer in the district town, he seldom finds time for such performances. “Had it been a more &lt;em&gt;adivasi&lt;/em&gt; affair in a broader sense’’, says he “we could have naturally been inducted into the carnival”. Now, if the collaborative venture takes off, Soren’s dreams are expected to come true.    &lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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                  <text>‘Baha’, is a Santali word which literally means ‘flowers’.  Baha Festival is one of the most important rituals that is celebrated in honour of ‘Jaher Ara’, the god. In this festival the devotees of ‘Jaher’ celebrate the season, ‘spring’ with Sal and Mahua flowers. Naikey or the priest holds an important position in performing the rituals. </text>
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                <text>&lt;strong&gt;&lt;em&gt;Baha Parab&lt;/em&gt;&lt;/strong&gt;</text>
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                <text>&lt;p&gt;&lt;em&gt;Baha&lt;/em&gt; is the spring festival celebrated by the Santhal community in the month of Phalgun (March). The Kol, Ho, Oraon and Munda communities also celebrate this festival. &lt;em&gt;Baha&lt;/em&gt; means ‘flower’. This festival is celebrated in connection with the turning of the year. The priest or the &lt;em&gt;naikey&lt;/em&gt; worships the deity ‘Jaher Ara’ and then goes door-to-door with a &lt;em&gt;kula&lt;/em&gt; (pot) full of sal flowers and leaves. The young female members of each and every household wash the feet of the priest and they also offer him food. All men and women dress in their traditional attire and gather in one place to celebrate the festival by dancing and singing together. This festival marks the advent of spring. At the end of this festival the Santhals eat the Mahua fruit and deck themselves with sal flowers.&lt;/p&gt;</text>
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                <text>© Department of English, Vidyasagar University</text>
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                <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Vill-Benagaria, P.O+P.S- Jhargram, Dist- Jhargram, West Bengal on 20.03.2017 under the aegis of UGC-SAP III, DRS Phase II Project entitled "Translation, documentation, and conservation of Tribal Oral Folk Literature and Cultural Texts of West Bengal"</text>
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                    <text>&lt;strong&gt;&lt;em&gt;Paik Naach&lt;/em&gt;&lt;/strong&gt;</text>
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                    <text>&lt;strong&gt;&lt;em&gt;Paik Naach&lt;/em&gt;&lt;/strong&gt;</text>
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                    <text>&lt;p&gt;The Paik community were originally tax collectors or zamindars before the British came to India. During Lord Cornwallis’ tenure as the head of the British East India Company, the Paik community fell into penury due to the draconian provisions of the Permanent Settlement of 1793, from which they never recovered. Currently, they are classified as a Scheduled Caste in West Bengal.&lt;br /&gt;&lt;br /&gt;Dr. Subrata Mukhopadhyay, who has conducted extensive research on folk cultures in the Jangalmahal region, pointed out that the “Paik-naach” was essentially a martial dance that originated out of the community’s revolt against the Permanent Settlement, that took the shape of an armed rebellion. Unlike other folk performances that have their own script, the “Paik-naach” has been performed in the modern Bengali script for many generations now. Originally of a one-hour duration, a performance can now range between 30 and 40 minutes. Even though there were a number of groups in the Paik community who performed this dance in the past, today only the members of Dubra Agragami Club, as well as another group from Garbeta, perform this dance in India.&lt;/p&gt;</text>
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                    <text>Vill- Dubra, P.S- Jamboni, P.O- Dubra, Dist- Jhargram </text>
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 Jiten Mallik: 9800415089</text>
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                    <text>The Ashura community resides mostly in the Malbazar subdivision of Jalpaiguri district. Carron Tea Estate, located near the Chunpatang river, has a large number of members from the Ashura community in its employment. However, due to the constant uncertainty surrounding the operation of the estate, the residents feel neglected and live in dire poverty. Their lives depend heavily on the operation of the estate.</text>
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&lt;p&gt;The &lt;em&gt;Lalita Shabar Pala&lt;/em&gt; revolves around the plot of Lalita, the “Shabar duhita” and her marriage with the Brahmin priest Bidyapati. This pala is performed in the Odia language, though the play is written in Bengali script. The king of ‘Angyadesh’ Indradumnya sends Bidyapati in search of lord Vishnu’s effigy. When Bidyapati enters the deep forest of western Bengal, he sees the ‘Shabar kanya’ Lalita and falls in love with her. Lalita gets pregnant and her father Basu Shabar asks Bidyapati to marry her. But Bidyapati refuses to do so as he is a Brahmin, and the Sabars are a lower caste. Bidyapati then narrates the glorious history of the Sabars and their connection with Lord Krishna. Bidyapati marries Lalita. But when he comes to know that Basu Sabar possesses the Vishnu effigy which the king is looking for, he tricks Lalita and informs the king about it. The king comes to the jungle but cannot find the effigy and arrests Basu Shabar.&lt;/p&gt;
&lt;p&gt;The play shows Brahmins as intruders and usurpers in Shabar culture. The play is said to be written by Damudas but it is not clear who this person actually is and when this play was actually written. This folk drama has many elements in it which inform people about the various ethnic aspects of Shabar culture.&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;The Shabars are now divided into multiple clans. The chief among them is Lodha Shabars.&lt;/strong&gt;&lt;/p&gt;
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&lt;p&gt;The sacred myths that canonized the Brahmanic cults of Gods and Goddesses had interestingly acknowledged the piety of the Shabars and the predominance of their faith in deities, who in many cases were appropriated by the Vedas. For example, among all the legendary tales sanctifying the seat of Lord Juggernaut of Puri the belief in the Shabar god takes pride of place. According to the Roman historian, Herodotus, the word “Shabar” comes from the Scythian word “Sagris”, meaning the axe, which is the primary instrument used by all sects of the Shabars. The sounds “g’ and “b” being interchangeable in dialectal English, in course of time “sagris” came to be known as ‘sabar’ or “Shabar”. The Lodhas constitute the principal sect of the shabars, who have got their name from the Sanskrit word “Lubdhak”, meaning trap or snare that these people used for hunting animals and birds. During the colonial period, it became part of a colonial design to stigmatize these people as belonging to a criminal sect for the mighty resistance they put up against British imperial ambitions in the south and eastern part of the country.&lt;/p&gt;
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&lt;p&gt;The &lt;em&gt;Lalita Shabar Pala&lt;/em&gt; revolves around the plot of Lalita, the “Shabar duhita” and her marriage with the Brahmin priest Bidyapati. This pala is performed in the Odia language, though the play is written in Bengali script. The king of ‘Angyadesh’ Indradumnya sends Bidyapati in search of Lord Vishnu’s effigy. When Bidyapati enters the deep forest of western Bengal, he sees the ‘Shabar kanya’ Lalita and falls in love with her. Lalita gets pregnant and her father Basu Shabar asks Bidyapati to marry her. But Bidyapati refuses to do so as he is a Brahmin, and the Shabars are a lower caste. Bidyapati then narrates the glorious history of the Sabars and their connection with Lord Krishna. Bidyapati marries Lalita. But when he comes to know that Basu Shabar possesses the Vishnu effigy which the king is looking for, he tricks Lalita and informs the king about it. The king comes to the jungle but cannot find the effigy and arrests Basu Sabar.&lt;/p&gt;
&lt;p&gt;The play shows Brahmins as intruders and usurpers in Shabar culture. The play is said to be written by Damudas but it is not clear who this person actually is and when this play was actually written. This folk drama has many elements in it which inform people about the various ethnic aspects of Shabar culture.&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;The Shabars are now divided into multiple clans. The chief among them is Lodha Shabars.&lt;/strong&gt;&lt;/p&gt;
&lt;p&gt;The Shabars were one of the most prominent indigenous people of India who dominated the hills and forests of the Vindhyas and were spread in different clans under the valiant rule of sovereign chieftains in the deccan regions of Dandakaranya and in the wooded areas of Orissa and Bengal. They were such a formidable power that the Aryan invaders failed to subjugate them by force and had to perforce take recourse to befriending them before they could advance to places farther south and east of the country. Proof of it is borne by the Vedas; the epics, the &lt;em&gt;Ramayana&lt;/em&gt; and the &lt;em&gt;Mahabharata&lt;/em&gt;; Puranic myths; chronicles of Pliny and Ptolemy; treatises by Banvatta; and numerous other folkloric and historical materials.&lt;/p&gt;
&lt;p&gt;The sacred myths that canonized the Brahmanic cults of Gods and Goddesses had interestingly acknowledged the piety of the Shabars and the predominance of their faith in deities, who in many cases were appropriated by the Vedas. For example, among all the legendary tales sanctifying the seat of Lord Juggernaut of Puri the belief in the Shabar god takes pride of place. According to the Roman historian, Herodotus, the word “Shabar” comes from the Scythian word “Sagris”, meaning the axe, which is the primary instrument used by all sects of the Shabars. The sounds “g’ and “b” being interchangeable in dialectal English, in course of time “sagris” came to be known as ‘sabar’ or “Shabar”. The Lodhas constitute the principal sect of the shabars, who have got their name from the Sanskrit word “Lubdhak”, meaning trap or snare that these people used for hunting animals and birds. During the colonial period, it became part of a colonial design to stigmatize these people as belonging to a criminal sect for the mighty resistance they put up against British imperial ambitions in the south and eastern part of the country.&lt;/p&gt;
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                    <text>Dr. Subrata Mukhopadhyay, a former headmaster of a local school, who now works as an independent researcher on folk performances in the Jangalmahal region, introduced the performance. In his introduction, he spoke about how the performance interwove various geographic and cultural elements in its story. </text>
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Dr. Subrata K Mukherjee: 9932540778</text>
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Dr. Subrata K Mukherjee: 9932540778</text>
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                  <text>“Churia Churianir Pala” is the story of two birds—Churia and Churiani—who symbolize a married couple. Churia, the husband, goes abroad for twelve years, leaving his wife Churiani behind. Unknown to him, Churiani also leaves home and goes in search of her husband. After twelve years, Churia is crestfallen to see that his wife is not there to welcome him, and he, too, searches for his wife. Finally, they get reunited after facing a lot of tribulations. </text>
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                <text>&lt;p&gt;&lt;em&gt;Churia-Churianir pala&lt;/em&gt; is another endangered folk drama of the Sabar community. The folk drama is performed in the parts of Odisha and West Bengal that are situated in the basin of the Subarnarekha river. This is the story of two birds that form married couple. After marriage the male bird, Churia goes abroad in search of food. But he does not come back for twelve years. The female bird, Churiani, then goes out in search of her husband. The husband comes back home and does not find Churiani there; he also leaves home and starts searching for his wife. Facing a lot of tribulations, both of them are united at last.&lt;/p&gt;
&lt;p&gt;This performance is highly endangered as it does not have any authentic text preserved for posterity. Though some specimens of old written texts in the Odia language and in Bengali script are found, the play is mainly performed in its oral form by the illiterate Sabar farmers and labourers. The performance has several tribal connotations and interesting details of contemporary society, geographical territories, ornaments and ethnic dresses of the Sabar community.&lt;/p&gt;</text>
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Dr. Subrata K Mukherjee: 9932540778&#13;
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