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                    <text>Art of Painting a '&lt;em&gt;Patachitra&lt;/em&gt;'</text>
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                    <text>&lt;em&gt;Patachitra&lt;/em&gt; Painting</text>
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                    <text>A Patua artist from Chitrakar community is painting a &lt;em&gt;pata&lt;/em&gt; i.e., scroll painting</text>
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                    <text> Naya, Pingla, Paschim Medinipur</text>
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                    <text>Jamela Chitrakar</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>A Piece of &lt;em&gt;Patachitra&lt;/em&gt; depicting goddess Manasa</text>
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                    <text>&lt;em&gt;Manasa Pata&lt;/em&gt;, alternatively known as &lt;em&gt;Behula Bhasan&lt;/em&gt;</text>
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                    <text>The story of 'Manasa Mangal' is being presented in this patachitra.</text>
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                    <text>&lt;em&gt;Santal Pata&lt;/em&gt;</text>
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                    <text>&lt;em&gt;Santal Pata&lt;/em&gt;</text>
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                    <text>Shyamsundar Chitrakar is performing the Santal Pata which depicts the life of the Santals</text>
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                    <text>&lt;em&gt;Ganga- Durgar Jagra&lt;/em&gt; (Quarrel between Ganga and Durga)</text>
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                    <text>Swarna Chitrakar and Rani Chitrakar are performing the Patachitra called &lt;em&gt;Ganga- Durgar Jagra&lt;/em&gt; (Quarrel between Ganga and Durga)</text>
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                    <text>The book is published related to the thrust area in Phase I of the DRS Project conducted in the Department of English, Vidyasagar University.&lt;br /&gt;&lt;br /&gt;‘An eternity of oppression’ has defined the lives of Dalits. Yet, they survive, resilient and defiant. Drawing on the works of Dalit writers, &lt;strong&gt;&lt;em&gt;Survival&lt;/em&gt;&lt;em&gt; and Other Stories&lt;/em&gt;&lt;/strong&gt; is a collection of Bangla fiction in translation, that speaks of Dalit lives lived on the edge and of suffering, negation, and revolt. &lt;br /&gt;&lt;br /&gt;A mason’s refusal to yield despite being tortured by ‘upper-caste’ people for claiming equality with them; mayhem resulting from a witch doctor’s blaming a woman for the illness of her grandchild; a zamindar being forced to drag a plough for taunting another for his ‘low’ ancestry; a penniless family’s fight for survival with a cobra coiled up in a hole full of grains; a proposal for marriage from the progressive- minded son of a corrupt politician being turned down by his ‘low-born’ lover fearing social ostracism; a sick-wielding hireling of landlords, and later of a political party, reluctantly accepting the friendship of his erstwhile Muslim adversary. Evocative of the indignities heaped on the Dalits, these stories are insightful and perceptive. They are sensitive retelling, that retains the rhythms and idioms of the original Bengali narratives.</text>
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G.K. Das&#13;
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Angshuman Kar&#13;
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                    <text>Dalit Literature</text>
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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>&lt;strong&gt;&lt;em&gt;Survival and Other Stories: Bangla Dalit Fiction in Translation&lt;/em&gt; (2012) &lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;&lt;em&gt;Towards Social Change: Essays on Dalit Literature&lt;/em&gt; (2014)&lt;/strong&gt;</text>
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                <text>Books Published in Phase-I of the UGC- SAP, DRS Project, Department of English Vidyasagar University </text>
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                <text>Books published under DRS Phase I, Dept. of English, Vidyasagar University </text>
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                <text>Two books have already been published related to the thrust area in Phase I of the DRS Project. The title of the books are: &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;&lt;em&gt;Survival and Other Stories: Bangla Dalit Fiction in Translation &lt;/em&gt;(2012) &lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;&lt;em&gt;Towards Social Change: Essays on Dalit Literature &lt;/em&gt;(2014)&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;Both the books are published by &lt;span&gt;Orient Blackswan Pvt. Ltd. &lt;/span&gt;</text>
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                <text>UGC-SAP III DRS, Department of English, Vidyasagar University&#13;
&#13;
Ed. by Sankar Prasad Singha &amp; Indranil Acharya</text>
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                <text>UGC-SAP III DRS, Department of English, Vidyasagar University</text>
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                <text>Sankar Prasad Singha &amp; Indranil Acharya</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="196">
                <text>© Department of English, Vidyasagar University</text>
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                <text>Bangla Dalit Literature</text>
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                <text>Fiction and Essay of Bangla Dalit Writing </text>
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        <name>Pata</name>
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                    <text>&lt;p&gt;&lt;em&gt;&lt;strong&gt;Bou Badal&lt;/strong&gt; &lt;/em&gt;(Exchange of Brides)&lt;/p&gt;</text>
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                    <text>&lt;strong&gt;&lt;em&gt;Bharjatra&lt;/em&gt;&amp;nbsp;((Jatra of a Jester/ Clown)&lt;/strong&gt;</text>
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                    <text>The first is titled “ Bou Badal” (Exchange of Brides). The play starts with an invocation to Goddess Kali by the female artist. The theme of the play, as its title suggest, is the exchange of brides by a mistake. The theme is obviously funny and it is intended to give the audience fun and merriment. The element of fun is mostly noticeable in the use of obscene languages and lewd gestures. Sometimes the play on words ([muluk]/[mulo] [peara]/[pyar] etc) creates fun.</text>
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                    <text>UGC-SAP III, DRS Phase II, Department of English, Vidyasagar University</text>
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                    <text>Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur </text>
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                <name>Publisher</name>
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                  <elementText elementTextId="254">
                    <text>UGC-SAP III, DRS Phase-II, Department of English, Vidyasagar University</text>
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                <name>Date</name>
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                    <text>Sri Mohan Das </text>
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                <name>Rights</name>
                <description>Information about rights held in and over the resource</description>
                <elementTextContainer>
                  <elementText elementTextId="257">
                    <text>© Department of English, Vidyasagar University&#13;
</text>
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                <name>Relation</name>
                <description>A related resource</description>
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                    <text>Buffon Play, Performing Arts of Bengal, Performance Studies</text>
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                    <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur  on 31.12.2015 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>&lt;em&gt;&lt;strong&gt;Garib Chasir Paat Chas&lt;/strong&gt;&lt;/em&gt; &lt;strong&gt;(Cultivation of Jute by a Poor Farmer)&lt;/strong&gt;</text>
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                    <text>&lt;strong&gt;&lt;em&gt;Bharjatra&lt;/em&gt; ((Jatra of a Jester/ Clown)&lt;/strong&gt;</text>
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                    <text>&lt;p&gt;The play titled,&amp;nbsp;&lt;strong&gt;&lt;em&gt;Garib &lt;/em&gt;&lt;em&gt;Chasir Paat&lt;/em&gt;&lt;em&gt; Chas&lt;/em&gt;&lt;/strong&gt;&amp;nbsp;&lt;strong&gt;(Cultivation of Jute by a Poor Farmer).&lt;/strong&gt; All the features of “Bharjatra" are discernible in this play as well.&lt;/p&gt;&#13;
&lt;p&gt;This play is interesting like “Exchange of Brides” but it is different from the first one in its portrayal of the socio-economic condition of the farmers. There are abundant element of fun is its dialogue. The use of bawdy is also fairly noticeable. But the sensitive audience cannot afford to miss the representation of poverty of the cultivators in the performance.&lt;/p&gt;&#13;
&lt;p&gt;The play ends up with a moral note: We should not quarrel with each other and should believe in domestic harmony and peace.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <elementTextContainer>
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                    <text>© Department of English, Vidyasagar University&#13;
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                    <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur  on 31.12.2015 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>Taking Interview of the &lt;em&gt;Bharjatra&lt;/em&gt; Artists</text>
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                    <text>Dr Joyjit Ghosh, Deputy Coordinator of this Project along with project fellow, Mir Ahammad Ali  is taking interview of the Bharjatra artists</text>
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                    <text>Sri Mohan Das </text>
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                    <text>© Department of English, Vidyasagar University&#13;
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                    <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur on 31.12.2015 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>&lt;strong&gt;&lt;em&gt;Bharjatra&lt;/em&gt; &lt;/strong&gt;((Jatra of a Jester/ Clown)</text>
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                  <text>&lt;span&gt;Bharjatra is a very popular among the rural audience of Ghatal area of Medinipur. The “Bhar” (Buffoon) obviously has a central role in the performance. It is interesting to note that the “Bhar” often interacts with the audience and the other characters sometimes do the same. The “Bhar” creates jokes at the expense of himself and share private experiences with the gatherings thereby making the audience burnt with laughter.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;This performance has recently attracted the attention of the State Govt. The artists these days have an access to perform in front of public gatherings in cities including Kolkata. But the present generation is not much attracted to this folk art due to various socio-economic causes.&lt;/span&gt;</text>
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                  <text>Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur&#13;
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                  <text>UGC-SAP III, DRS Phase-II, Department of English, Vidyasagar University&#13;
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                  <text>Sri Mohan Das&#13;
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                  <text>© Department of English, Vidyasagar University&#13;
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                  <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur  on 31.12.2015 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"&#13;
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                  <text>Folk Performance/ Folk Drama of Bengal&#13;
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                <text>&lt;strong&gt;&lt;em&gt;Bhnarjatra&lt;/em&gt; (Jatra of a Jester/ Clown)&lt;/strong&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;Bhnarjatra&lt;/em&gt; (Jatra of a Jester/ Clown)&lt;/strong&gt;</text>
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                <text>&lt;p&gt;One of the most endangered folk performances, &lt;em&gt;Bhnarjatra&lt;/em&gt; does not belong to the mainstream cultural tradition of the Bengali &lt;em&gt;bhadralok&lt;/em&gt;. It has a very distinct artistic and linguistic feature. Most of the performers are from the marginal class of the society and the language of the performance also has a deep rooted connection with this part of society. This specific kind of Jatras can be seen in some parts of the district of Paschim Medinipur of West Bengal.&lt;/p&gt;
&lt;p&gt; It is said that in the past, gambling was an important part of &lt;em&gt;Bhnarjatra&lt;/em&gt; but with the passage of time it ceased to be so. Though it is losing its glamour day by day, it is still very popular among the rural audience. It has recently attracted the attention of the State Govt. and the artists are now getting the chance to perform in front of public gatherings in cities including Kolkata.&lt;/p&gt;
&lt;p&gt; These plays mainly revolve around two types of themes: religious and social. The &lt;em&gt;Bhnar&lt;/em&gt; or the buffoon obviously has the central role in the performance. The characters carry more contemporary references to the names of local places, heroes and heroines. Use of songs is one of the salient features of &lt;em&gt;Bhnarjatra&lt;/em&gt;. The plays based on social themes, also called &lt;em&gt;samajik palas&lt;/em&gt;, have a comic tone but a didactic end.&lt;/p&gt;</text>
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                <text>Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur </text>
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                <text>UGC-SAP III, DRS Phase-II, Department of English, Vidyasagar University</text>
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                <text>31.12.2015</text>
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                <text>Sri Mohan Das </text>
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              <elementText elementTextId="242">
                <text>© Department of English, Vidyasagar University&#13;
</text>
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                <text>Buffon Play, Performing Arts of Bengal, Performance Studies</text>
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                <text>Performing Art</text>
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                <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur  on 31.12.2015 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>&lt;strong&gt;&lt;em&gt;Sampradayikata Birodhi Gaan&lt;/em&gt;&lt;/strong&gt; (‘Song against Communalism’) by Shri Basanta Kumar Ghorai</text>
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                    <text>Beni Putul / “Beni” Puppet Theater&#13;
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                    <text>This folk pala presents the cry for universal brotherhood/ fraternity in this age of communalism and religious animosity. The opening lines go thus:&#13;
&#13;
সব জাতি তো মানুষ রে ভাই, ভিন্ন কোনো কিছুই নয় &#13;
রক্ত-মাংস দিয়ে গড়া, মাটির তৈরী পুতুল নয় I  </text>
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                    <text>Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur&#13;
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                    <text>Sri Basanta Kumar Ghorai 9732957934&#13;
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                <name>Rights</name>
                <description>Information about rights held in and over the resource</description>
                <elementTextContainer>
                  <elementText elementTextId="347">
                    <text>© Department of English, Vidyasagar University&#13;
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                    <text>Puppetry, Beni Putul, Glove Puppetry, Performing Arts of Bengal, Performance Studies&#13;
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                    <text>Performing Art&#13;
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Sri Sarad Kumar Ghorai &#13;
Sri Ramkrishna Dolai</text>
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                <text>&lt;strong&gt;&lt;em&gt;Beni Putul&lt;/em&gt;&lt;/strong&gt; / “Beni” Puppet Theater</text>
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                <text>&lt;em&gt;&lt;strong&gt;Beni Putul&lt;/strong&gt; &lt;/em&gt;/ “Beni” Puppet Theater</text>
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                <text>&lt;p&gt; &lt;/p&gt;
&lt;p&gt;‘Glove puppetry’ is a very popular puppet show in India, famous in the states of West Bengal, Odisha, Uttar Pradesh and Kerala. The puppets are usually worn on the hands of the puppeteers like gloves and the performance is shown to the audience with the accompaniment of narrative songs. The performance may be solo or in a group. The narrative songs are usually accompanied with traditional folk music played by &lt;em&gt;dholak&lt;/em&gt; or &lt;em&gt;damru&lt;/em&gt;. The songs vary from region to region and keep changing according to occasions. Sometimes the lyrics are composed by the puppeteer and sung in imitation of the tune of popular Hindi or Bengali songs. Apart from the mythical stories of Radha-Krishna and other figures, most of their narratives are related to events connected with the daily lives and events of the common human beings. They are performed for purposes of social awareness like pulse polio vaccination, environmental pollution, dowry system, female infanticide or child marriage and women empowerment and education among the masses.&lt;/p&gt;
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Sri Ramkrishna Dolai</text>
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                    <text>&lt;em&gt;&lt;strong&gt;Kurmis&lt;/strong&gt;&amp;nbsp;&lt;/em&gt;and&amp;nbsp;&lt;strong&gt;&lt;em&gt;Kurmali&lt;/em&gt;&lt;/strong&gt;</text>
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                    <text>Like other religious festivals the marriages in Kurmi society are also observed in a traditional way with songs and dances which again decisively bear a strong mark of their own culture and customs. This type of songs itself fabricates a new genre which is popularly known among the Kurmis as ‘Biha Geet’ or marriage song. </text>
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Sripada Mahato&#13;
Anadi Mahato</text>
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Sripada Mahato&#13;
Anadi Mahato</text>
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                    <text>&lt;em&gt;&lt;strong&gt;Kurmis&lt;/strong&gt;&amp;nbsp;&lt;/em&gt;and&amp;nbsp;&lt;strong&gt;&lt;em&gt;Kurmali&lt;/em&gt;&lt;/strong&gt;</text>
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                    <text>&lt;p&gt;A large part of Kurmali vocabulary is certainly the loan-words: i.e. the words which have been borrowed from the dominant languages like Bengali, Hindi, Odiya, Santali etc of the region. Yet the phonological structure of the language does not correspond to any of these languages. Vowels [ɔ], [a], [i], [u], [e], [æ] occurs frequently in Kurmali. We have also found the occurrence of [ɛ] which does not occur in any NIA languages. For example-&amp;nbsp; Kurmali [t͡ʃɛɽej] ‘bird’ ( It can be easily described as an influence of Austric languages like Santali and Mundari which have this vowel as a regular phoneme.) Some observations on the phonological aspects of Kurmali are as follows.&lt;/p&gt;&#13;
&lt;ol&gt;&#13;
&lt;li&gt;This language does not allow conjunct. For example-&lt;/li&gt;&#13;
&lt;/ol&gt;&#13;
&lt;p&gt;Ben [maŋʃo]&amp;nbsp;&amp;nbsp; ̴̴ Kurmali [mas]&lt;/p&gt;&#13;
&lt;p&gt;Ben [dukk&lt;sup&gt;h&lt;/sup&gt;o]&amp;nbsp;&amp;nbsp; ̴̴ kumali [duk&lt;sup&gt;h&lt;/sup&gt;]&lt;/p&gt;&#13;
&lt;p&gt;Ben [mannogɔnno]&amp;nbsp;&amp;nbsp; ̴̴&amp;nbsp; kur [mangɔr]&lt;/p&gt;&#13;
&lt;p&gt;To simplify the consonant eiher one of the consonant is lost or a vowel is inserted between the two consonants.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;ol&gt;&#13;
&lt;li&gt;Retroflex flap [ɽ] is very frequent whereas the other trill sound [r] is not very frequent. Often [l] has changed into [ɽ]. For example-&lt;/li&gt;&#13;
&lt;/ol&gt;&#13;
&lt;p&gt;[p&lt;sup&gt;h&lt;/sup&gt;ɔl]&amp;gt;[p&lt;sup&gt;h&lt;/sup&gt;ɔɽ]&lt;/p&gt;&#13;
&lt;p&gt;[ʃijal]&amp;gt;[sijaɽ]&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;ol&gt;&#13;
&lt;li&gt;Kurmali has only one sibilant [s]. Again we have got few instances of palatal sibilant [ʃ], which can be explained as an influence of Bengali.&lt;/li&gt;&#13;
&lt;/ol&gt;&#13;
&lt;p&gt;&amp;nbsp;Ben [maŋʃo]&amp;nbsp;&amp;nbsp; ̴̴ Kurmali [mas]&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;ol&gt;&#13;
&lt;li&gt;Excessive instances of nasalization are noticed is this language. For example:-&lt;/li&gt;&#13;
&lt;/ol&gt;&#13;
&lt;p&gt;[tɔ̃e] ‘you’, [ɔ̃e] ‘He/She’, [ãik&lt;sup&gt;h&lt;/sup&gt;] ‘eye’&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;ol&gt;&#13;
&lt;li&gt;We have documented instances of Apinihiti. For example-&lt;/li&gt;&#13;
&lt;/ol&gt;&#13;
&lt;p&gt;[ãk&lt;sup&gt;h&lt;/sup&gt;i]&amp;gt; Kur. [ãik&lt;sup&gt;h&lt;/sup&gt;]&lt;/p&gt;&#13;
&lt;p&gt;[rati]&amp;gt; Kur. [rait]&lt;/p&gt;&#13;
&lt;p&gt;Apinihiti was a regular feature of Middle Bengali. Thus it suggests a relation between kurmali and older stages of Bengali namely old Bengali and early middle Bengali.&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;Kurmali morphology is very much different from that of the New Indo Aryan language. Especially the inflectional morphology in particular of Kurmali language&amp;nbsp; has striking distinction with respect to gender.&lt;/p&gt;</text>
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                    <text>Kiriti Mahato &#13;
Sripada Mahato&#13;
Anadi Mahato</text>
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                <name>Rights</name>
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                    <text>© Department of English, Vidyasagar University</text>
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&lt;div class="element-text five columns omega"&gt;
&lt;p&gt;&lt;em&gt;&lt;strong&gt;Kurmis&lt;/strong&gt; &lt;/em&gt;and &lt;strong&gt;&lt;em&gt;Kurmali&lt;/em&gt;&lt;/strong&gt;&lt;/p&gt;
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&lt;p&gt;Cultural Texts and Linguistic Data of &lt;em&gt;Kurmi&lt;/em&gt; Community&lt;/p&gt;
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&lt;/div&gt;
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&lt;div class="field two columns alpha"&gt;&lt;/div&gt;
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                  <text>Kurmis, a caste of cultivating people, belong to the Eastern part of India, mainly Odisha, Jharkhand, Bihar and West Bengal. In West Bengal, Kurmis are found in large numbers in the districts of Midnapore, Bankura and Purulia. The Kurmis of different states have different social and economic status. Regarding the social status of the Kurmis of Bihar, Buchanan said they are "the aboriginal Hindu nations that were not of sufficient consequences to be admitted into the order of Kshatris, but too powerful to be thrust into the dregs of impurity". The original and characteristic occupation of Kurmis is agriculture. For their poor economic condition, some of them also work as daily labourers and personal servants in the households of people belonging to higher castes.&#13;
&#13;
The language of the Kurmis is called Kurmali. At present, the Kurmis are very conscious about the preservation of their language and culture. Some Kurmali poets and writers have also emerged with creative works on their language and some fruitful translations of various renowned texts.</text>
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&#13;
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                  <text>Kiriti Mahato &#13;
Sripada Mahato&#13;
Anadi Mahato</text>
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              <description>Information about rights held in and over the resource</description>
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                  <text>© Department of English, Vidyasagar University&#13;
&#13;
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&#13;
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&#13;
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                    <text>Song and dance occupy a pride of place in Dhimal life, with most songs being celebrations of harvest. However, they also harp on the importance of possessing good morals and taking pride in the community. We had the opportunity to witness a number of performances by the community. The first was titled “Aaithiri Baaithiri Gaan”, which deals with the task of teaching dance to Dhimal kids in a playful way.</text>
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Bikah Mallick</text>
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                    <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Vill- Ketugaburjote, P.S.+ P.O- Naxalbari, Dist- Darjeeling, West Bengal on 11.09. 2016 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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Bikah Mallick</text>
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Bikah Mallick</text>
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                    <text>&lt;strong&gt;&lt;b&gt;Festive Dance of &lt;em&gt;Bagurumba&amp;nbsp;&lt;/em&gt;&lt;/b&gt;&lt;/strong&gt;</text>
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                    <text>&lt;p&gt;The first was a dance titled &lt;b&gt;“Bagurumba”&lt;/b&gt;, which is performed by the Mech tribe in order to celebrate the onset of spring. This dance is performed to music that is based on &lt;i&gt;“panch-taal”&lt;/i&gt; or five beats.&lt;/p&gt;</text>
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                    <text>© Department of English, Vidyasagar University</text>
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                    <text>&lt;em&gt;&lt;b&gt;Satraani Moshaniya&lt;/b&gt;&lt;/em&gt;</text>
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                    <text>&lt;p&gt;This performance is a dance titled &lt;b&gt;“Satraani Moshaniya”&lt;/b&gt; or the “sword-dance”. Sri Mahesh Chandra Narjinary explained to us that this dance symbolizes the inner strength of the Mech female, and a celebration of the fact that she is equal to the Mech male in all regards.&lt;b&gt; &lt;/b&gt;&lt;/p&gt;</text>
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                    <text>© Department of English, Vidyasagar University</text>
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                    <text>&lt;strong&gt;Cultural Texts of the Bodo(Mech)&amp;nbsp; Community (Inaugural Song)&amp;nbsp;&lt;/strong&gt;</text>
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                    <text>&lt;p&gt;This inaugural song is a representative one that describes the socio-cultural history of this community.&amp;nbsp;&lt;br /&gt;Various theories abound as to the true nature of the origins of the Mech tribe. The name “Mech”, for instance, is said to have come down from the word “&lt;i&gt;mlechchha”&lt;/i&gt;. Another theory suggests that the name was bestowed upon the tribe since they had supposedly crossed the Mechi river from Nepal towards India. The Bodo community in North Bengal is often referred to as Sanjaari by the same tribe living in Nepal, while the same community is referred to as Bardanaari by the Mech tribe. The Mech tribe follows an animistic religion called Bathouism.&lt;/p&gt;</text>
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                    <text>We had an exhaustive interview with many prominent representatives of the Paschim Banga Bodo Sahitya Sabha, led by its vice-president, Sri Mahesh Chandra Narjinary. The representatives shared details about various aspects of the Bodo (Mech) tribe and their unique cultural life.</text>
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                  <text>&lt;p&gt;Various theories abound as to the true nature of the origins of the Mech tribe. The name “Mech”, for instance, is said to have come down from the word “&lt;i&gt;mlechchha”&lt;/i&gt;. Another theory suggests that the name was bestowed upon the tribe since they had supposedly crossed the Mechi river from Nepal towards India. The Bodo community in North Bengal is often referred to as Sanjaari by the same tribe living in Nepal, while the same community is referred to as Bardanaari by the Mech tribe. The Mech tribe follows an animistic religion called Bathouism.&lt;/p&gt;
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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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                    <text>&lt;strong&gt;Lalita and Vidyapati&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;“Lalita Sabar Pala” is an endangered folk performance of Bengal that revolves around the plot of a Sabar-duhita (Daughter of a Sabar King), Lalita and a Brahmin priest named Vidyapati. This folk drama is a representative performative text of the Sabar community.</text>
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                    <text>&lt;strong&gt;Jagatjyoti Nanda: 8348811587 &lt;/strong&gt;&lt;br /&gt;&lt;strong&gt;Sukumar Chanda: 8001268623&lt;/strong&gt;</text>
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                    <text>© Department of English, Vidyasagar University</text>
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                    <text>Mr. Surja Nandi, resource person is introducing the &lt;em&gt;pala&lt;/em&gt;</text>
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                  <text>&lt;p&gt;The &lt;em&gt;Lalita Shabar Pala&lt;/em&gt; is the endangered folk representative text of the Kheria Shabar community. The Kheria Shabars are the inhabitants of the western part of West Bengal. They are concentrated in Jhargram, Midnapore, Bankura and Purulia.&lt;/p&gt;
&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;
&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 10sovereign 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>&lt;p&gt;&lt;strong&gt;Jagatjyoti Nanda: 8348811587&lt;/strong&gt;&lt;/p&gt;
&lt;strong&gt;Sukumar Chanda: 8001268623&lt;/strong&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;Lalita Shabar Pala&lt;/em&gt;&lt;/strong&gt;</text>
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                <text>&lt;strong&gt;&lt;em&gt;Lalita Shabar Pala&lt;/em&gt;&lt;/strong&gt;</text>
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                <text>&lt;p&gt;The &lt;em&gt;Lalita Shabar Pala&lt;/em&gt; is the endangered folk representative text of the Kheria Sabar community. The Kharia Shabars are the inhabitants of the western part of West Bengal. They are concentrated in Jhargram, Midnapore, Bankura and Purulia.&lt;/p&gt;
&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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