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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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&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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&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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 Jiten Mallik: 9800415089</text>
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                <text>The place for Performance:&#13;
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                <text>© Department of English, Vidyasagar University</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>Chitrakar Community of Naya village, Pingla, Paschim Medinipur District of West Bengal</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>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>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;On Gender Equality'&lt;/strong&gt; by Prabir Chitrakar</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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            <description>An account of the resource</description>
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                <text>The complete original Bengali text of the pala performance '&lt;strong&gt;On Gender Equality'&lt;/strong&gt; by Prabir Chitrakar, accompanied by an IPA transcription of the same.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="2010">
                <text>UGC-SAP III, DRS Phase II, Department of English, Vidyasagar University</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="2011">
                <text>Naya village, Pingla, Paschim Medinipur, West Bengal</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="2012">
                <text>UGC-SAP III, DRS Phase II, Department of English, Vidyasagar University</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Prabir Chitrakar</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="2015">
                <text>© Department of English, Vidyasagar University</text>
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            <name>Relation</name>
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              <elementText elementTextId="2016">
                <text>Patachitra, Scroll Painting, Performing Arts of Bengal, Performance Studies</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>PDF Document</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Bengali, International Phonetic Alphabet</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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            <name>Identifier</name>
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              <elementText elementTextId="2020">
                <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;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>Chitrakar Community of Naya village, Pingla, Paschim Medinipur District of West Bengal</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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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="30">
                  <text>© Department of English, Vidyasagar University&#13;
</text>
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                  <text>JPG Image Files, AVCHD Video File</text>
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                  <text>Performing Art</text>
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              <name>Identifier</name>
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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 'Ganga-Durgar Jhagra' ('A Feud Between Ganga and Durga') by Rani Chitrakar &amp; Swarna Chitrakar, accompanied by an IPA transcription of the same.</text>
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          <name>Original Format</name>
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            <description>A name given to the resource</description>
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                <text>&lt;em&gt;&lt;strong&gt;'Ganga-Durgar Jhagra' &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;('A Feud Between Ganga and Durga')&lt;/strong&gt; by Rani Chitrakar &amp;amp; Swarna Chitrakar</text>
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                <text>&lt;em&gt;&lt;strong&gt;'Ganga-Durgar Jhagra' &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;('A Feud Between Ganga and Durga')&lt;/strong&gt; by Rani Chitrakar &amp;amp; Swarna Chitrakar</text>
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                <text>The complete original Bengali text of the pala performance &lt;em&gt;&lt;strong&gt;'Ganga-Durgar Jhagra' &lt;/strong&gt;&lt;/em&gt;&lt;strong&gt;('A Feud Between Ganga and Durga')&lt;/strong&gt; by Rani Chitrakar &amp;amp; Swarna Chitrakar, accompanied by an IPA transcription of the same.</text>
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                <text>UGC-SAP III, DRS Phase II, Department of English, Vidyasagar University</text>
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                <text>Naya village, Pingla, Paschim Medinipur, West Bengal</text>
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Swarna Chitrakar</text>
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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</text>
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