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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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                <description>An account of the resource</description>
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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>UGC-SAP III, DRS Phase II, Department of English, Vidyasagar University&#13;
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                    <text>Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur&#13;
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                    <text>UGC-SAP III, DRS Phase-II, Department of English, Vidyasagar University&#13;
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                <name>Date</name>
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                    <text>02.01.2015&#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>
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                    <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>JPG Image Files, AVCHD Video File&#13;
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                    <text>Bengali</text>
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                    <text>Performing Art&#13;
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                <name>Identifier</name>
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                    <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur on 02.01. 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"&#13;
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                <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                    <text>Folk Performance/ Folk Drama of Bengal&#13;
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                    <text>&lt;em&gt;&lt;strong&gt;Palligeeti&lt;/strong&gt; &lt;/em&gt;(Rustic song) by Shri Sarad Kumar Ghorai&amp;nbsp;</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>This performance presents the rustic love affair of Maina and her lover who is far away. Because of some domestic strife, she leaves her husband. Now the husband bemoans and wants her wife back. </text>
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                    <text>Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur&#13;
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                    <text>UGC-SAP III, DRS Phase-II, Department of English, Vidyasagar University&#13;
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                    <text>Shri Sarad Kumar Ghorai </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;
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                    <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur on 02.01. 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"&#13;
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                    <text>Folk Performance/ Folk Drama of Bengal&#13;
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                <description>A name given to the resource</description>
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                    <text>&lt;em&gt;&lt;strong&gt;Vrindavan Bilasini&lt;/strong&gt;&lt;/em&gt; (‘The Enamoured Sojourner of Vrindavan’) by Sri Sarad Kumar Ghorai</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>This performance presents the quarrel between two birds; Sukh and Sari one is taking the side of Krishna and the other of Radha. Their debate resolves in their union. The concluding lines follow:&#13;
সুখ-সারি দুজনার দ্বন্দ্ব মিটে গেল&#13;
           আসর - মাঝারে সবাই কৃষ্ণ-কৃষ্ণ বল&#13;
                 সবাই হরি-হরি বল I</text>
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                    <text>Sri Sarad Kumar Ghorai </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 Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur on 02.01. 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"&#13;
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                    <text>Taking Interview of the &lt;em&gt;Beni Puppet&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 Basanta Kumar Ghorai &#13;
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                    <text>© Department of English, Vidyasagar University&#13;
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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>Beni Putul or alternatively known as Glove Puppetry is one of the most popular folk art forms of Purba Medinipur, West Bengal. The puppeteers usually perform the pala with the manipulation of fingers. There are two types of beni putul performance: One that deals with the mythical issues and Bangla folk stories; and another deals with the contemporary issues. </text>
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                  <text>UGC-SAP III, DRS Phase II, Department of English, Vidyasagar University</text>
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                  <text>Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur </text>
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                  <text>Sri Basanta Kumar Ghorai        9732957934&#13;
&#13;
Sri Sarad Kumar Ghorai &#13;
Sri Ramkrishna Dolai</text>
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                  <text>© Department of English, Vidyasagar University&#13;
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                  <text>Puppetry, Beni Putul, Glove Puppetry, Performing Arts of Bengal, Performance Studies</text>
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                  <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur on 02.01. 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>&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;
&lt;p&gt;Forms of glove-puppetry vary according to regional differences. While in Odisha it is widely known as &lt;em&gt;Sakhi Naach&lt;/em&gt; and in Kerala as &lt;em&gt;Pavakathakali&lt;/em&gt; or &lt;em&gt;Pavakoothu&lt;/em&gt;, in West Bengal it is popularly known as Beni Putul or Bener Putul. Though the performance of glove-puppetry is now endangered in West Bengal and traces of its performance can be seen occasionally in some parts of Murshidabad and the 24 Parganas, it is still a very popular performing art in the East Midnapore district of West Bengal. Particularly, in one of the villages in East Midnapore named Padmatamli (near Mugberia) under the jurisdiction of the Bhupatinagar police station, it is still practiced and performed by a small number of puppeteers.&lt;/p&gt;</text>
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                <text>Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur </text>
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                <text>Sri Basanta Kumar Ghorai       &#13;
Contact No: 9732957934&#13;
&#13;
Sri Sarad Kumar Ghorai &#13;
Sri Paresh Kumar Ghorai&#13;
Sri Ramkrishna Dolai</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="332">
                <text>© Department of English, Vidyasagar University&#13;
</text>
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                <text>Puppetry, Beni Putul, Glove Puppetry, Performing Arts of Bengal, Performance Studies</text>
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                <text>Performing Art&#13;
&#13;
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            <name>Identifier</name>
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                <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Radhapur village, P.S. Bhupatinagar, P.O- Bayanda, Dist.- Purba Medinipur on 02.01. 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>&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>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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                <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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                    <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>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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                    <text>Monoharpur village (Diger Maaro), P.O Gopmohal, P.S- Ghatal, District- Paschim Medinipur </text>
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                    <text>Sri Mohan Das </text>
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                <name>Rights</name>
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                <elementTextContainer>
                  <elementText elementTextId="272">
                    <text>© Department of English, Vidyasagar University&#13;
</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;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>&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>&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>© 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;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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                    <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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 Jiten Mallik: 9800415089</text>
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                    <text>The Department of English, Vidyasagar University had undertaken a Field Trip to Vill- Dubra, P.S- Jamboni, P.O- Dubra, Dist- Jhargram,  West Bengal on 19.03.2017 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>Rural daily life of the Paik artists. Their performance represents their socio-cultural life.&amp;nbsp;&amp;nbsp;&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.</text>
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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>© Department of English, Vidyasagar University</text>
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Bikah Mallick</text>
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Bikah Mallick</text>
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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.&amp;nbsp;This is a very popular dance, simply known as&amp;nbsp;&lt;b&gt;hunting-dance&lt;/b&gt;&amp;nbsp;which presents the hunting practice of the community. As per the beliefs of the community, the last day of the month of Chaitra is a day on which the protector/guard of the forest leaves his post and comes to the village. This makes it the ideal day for the community to hunt. The dance celebrates this aspect.</text>
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