Posted on 14th Sep 2024 07:14:41 PM Folklore
Abstract
The present article deals with Folklore of Bangladesh and the Identity of the People. The area now known as Bangladesh, watered by the rivers- the Ganges, the Brahmaputra, the Jamuna, the Meghna, the Korotoya and others, containing fertile cultivable soil, is a territory of Poets, Singers and lovers of arts. The people involved in this cultural pursuits are a mixed one- Austric, Dravidians, Aryans, Mongolians and others blood are absorbed in the blood of the Bengalees. The characteristics of the peoples forming Bengali nation where such as to make them imaginative, thoughtful and so creative. So they could produce folklore on a scale unknown in history. Folklore is the mirror of a part of the Bengali nation’s culture. Folklore is the material handed down to the present time by traditions, either by word or by mouth or by customs and practices. It may be folk songs, folk tales, riddles, tools, fences, knots, hot round bounds or ester eggs. Of all the folk cultures the most important are folk tales and folk songs. Folk tales are Rupakatha, Upakatha, Bratakatha, Puranakatha, Birkatha, etc. The folk songs are mystics songs (Baul, Marfati and Murshidi songs), Bischhed songs (songs of separation), Jhumur, Kavi and Tarji, Baramashi, Jari, Bhatiali, Bhawya, Gombhira, Ballard, Alkaf and Rakhali. The owner of this cultural heritage is the Bengali people who has developed a humanistic and secular society based on tribal anthromorphism, Buddist Nirvanism, Hindu Vaishanism and Muslim Mysticism. Folk culture of Eastern India is essentially and ever-lasting part of the culture of the Bengalees of Bangladesh.
The present article deals with the various forms of folklore of Bangladesh and the identity of the people. Grown out of a poetic dream, Bangladesh is, by and large, a land of poets and poetry. People are mostly poetry minded. Rabindranath Tagore, the most versatile poetic genius, Bengal has ever produced, had composed, long before the politicians dreamt of Bengal, as an independent state, his famous lyric "O my golden Bengal, I love you" now the national anthem of Bangladesh.
The history of the emergence of Bangladesh, henceforth described as the Bangladesh movement, is not only an enumeration of facts, figures and incidents pertaining to socio political upheavals, but it also emanates from a larger and deeper cultural base that includes folklore as one of its major components. In fact, while the political and social base, of this movement visibly sterns from the partition of the Indian sub continent in 1947, its cultural base, at least dates back to a period as early as the eighth century. Charjapada, the first folk poetical work in Bengali was composed at that time.
Geographically, Bangladesh has been reckoned as a "frontier land" situated at the south-eastern side of the Indian subcontinent. Before the independence in 1971, Bangladesh was known as East Pakistan, which in its turn, before the partition of India, had been Known as East Bengal. Her alluvial soil is built with silts brought out by a number of great rivers, the Ganges, the Padma, the Jamuna, the Karotoa, the Meghna, the Brahmaputra, the Karnafuli, the Surma etc. Added to this, the monsoon showers make the whole expanse of the land easily cultivable. The country is like a green grassy carpet, cut deep by number less streams. The landscape a too, exhibits considerable variety with six seasons bringing in colorful exuberance and gaiety. Eighty five percent of the country’s populations were farmers, largely dependent on nature’s bounty specially on the availability of monsoon showers for tilling their land. Rains continued for two to three months which were taken as peak period for ploughing land and transplanti
ng paddy seedling. Harvesting came to an end towards the close of the Autumn. So the total working period of most of the people of this agro based country was hardly more than six months. Virtually, they remained jobless for remaining half of the year. This leisure period offered ample opportunities to the people to fly on the wings of their fancy and imagination. They contemplated on the beauty of nature scattered all around giving vent to the feelings in various ways.
The ethnic composition of the Bengali speaking population may also account for the great imaginative trait of their mind. The mingling of various strains of blood and races created in this part of the sub-continent conditions congenial to flourishing of great creative minds. It is known for certain that the original in inhabitants of Bengal are the Austric or Austro-Asiatic people, who formed the nucleus of the Bengali people.
And at least three other distinct blood groups contributed in the main to the making of the existing race in the country. Nowhere in the subcontinent will be found so intricate an intermixture of blood as in East Bengal, now Bangladesh. The Austrics, the Dravidians, the Aryans and the Mongolians have merged in the blood stream of Bengal. It has been assumed that the Bengalees, in general, inherited the honesty and hardiness of the Austrics, the love of nature from the Aryans, restlessness and excitability of mind from the Dravidians and pacifism from the Mongol trait. According to our great poet Rabindranath-
Hetha Arjya Hetha Anarjya Hetha Dravir Chin
Shakk Hoona Dal Pathan Mughal Ek Dehe Holo Lin.
In fact, ancient Bengal was a paradise for food producing primitive races. As a result, all the races which once settled in pre-historic Bengal made it their permanent residence and in time each developed Its respective culture. In medieval India there was a saying which meant that - "there was a way in but no way out of Bengal."4
Nowadays Ethnology is the study of contemporary culture. An Ethnologist usually studies a particular society with a special Interest in the family lives and social environments of members of the society. Modern ethnology has tried to be systematic. In satisfying man's curiosity about people with different cultural traditions.
Folklore contains a substantial portion and some distinguishing features of the cultural aspect of a society. Besides, the major traits of the tradition of a society are reflected in folklore. There are many common elements and almost similar aims and objects which bring ethnology and folklore closer to each other. Folklore forms a part of ethnic tradition, a branch of cultural ethnology. The scope of folklore is to reconstruct the spiritual history of man as exemplified by the voices of the folk. In this task it draws on documents which are partly historical. The collection and interpretation of these document form the task of the science of ethnography, ethnology and in a greater perspective of anthropology. Since the comparative method must, by definition, largely draw an ethnographic data, it follows that folklore and ethnology are virtually inseparable.
With this background, we may now discuss the folklore of Bangladesh and identity of the people. Bangladesh had been a part of India since the pre-historic times till 1947 when India was divided into two independent states - India and Pakistan. Bangladesh named East Pakistan was a part of Pakistan from 1947 to 1971 when she snatched her independence away from the clutches of Pakistan. As a part of India over thousands of years, Bangladesh inherited almost all the characteristics of the Indian folklore and civilization.
Identity of the people is interrelated with the folklore of the land. If we like to know the identity of the people of Bangladesh, folklore of Bangladesh must be discussed. Folklore can be defined as the mirror of the people. According to Dr. Majharul Islam, "Folklore is the material that is handed on by tradition, either by word of mouth or by custom and practice. It may be folk songs, folk tales, riddles, proverbs or other materials orally preserved. It may be traditional tools and physical objects like fences or knots, hot round buns or Easter eggs; traditional ornamentation like the walls of troy; or traditional symbols like the swastika."
Folklore of Bangladesh broadly can be divided into categories such as material folklore and non-material folklore. Folk tools, folk carts, folk knots, folk weavings are the example of material folklore and folk literature is non material folklore. All kinds of folklore are available in Bangladesh. We can set some examples here. Let us start from the birth of a human being. Host of the rituals and practices followed in connection with child birth are related to magic, folk beliefs and taboos. A few of them are mentioned below:
a. The pregnant woman must not go out of the room alone at night. If she goes, she must take lamp with her. Otherwise the child in the womb will go upwards.
b. The pregnant woman must not eat, on the earthen pot or the earthen cover. This will make the belly of the child bigger.
c. During and eclipse of the moon, the pregnant woman must not cut anything. If she does so, the child will be too talkative.
Folk tales are very popular in Bangladesh. The taller of the stories is present everywhere and has always found eager listeners whether his tale is the mere report of a recent happening or a legend of long ago, or an elaborately contrived fiction. Men and women listen to his words and satisfy their yearnings for information or amusement or for excitement of heroic deeds or religious edification or release them from the monotony of their lives.
Bengali folk tales or Lokakatha are of various kinds such as Rupakatha, Upakatha, Bratakahta, Purankatha, Birakatha, etc. Upakatha can be identified as animal tale. Animal tale is the largest branch of folk tales. Animal plays an important role in all popular tales. They appear in myths, especially in those of primitive peoples where the hero often has an animal form, though he may be conceived of as acting and thinking like a man or even on occasion of having human shape.
In animal tales or Upakatha animals and men are also shown side by side. They have got very easy relations. In Upakatha we see various kinds of beasts and birds such as Jackal, monkey, tiger, elephant, crocodile, crow, owl etc. The lion has a court and appoints some ministers. The crocodile has a home where he invites his guests and the owls meet together to elect a king. The lion is always the king of beasts against whom none but the elephant dares stand. Bengali Rupakatha can be marked as fairy tales and Purankatha can be identified as myth.
Folk songs of Bangladesh are very rich in quality and quantity. Bangladesh is pre-eminently a country of idyllic culture. Her extensive green fields, flowing rivers, the ever-varying clouds and six distinct seasons with their panorama of nature’s manifestations have conferred on the land a certain vitality which has moulded the character, mood and philosophy of its people. The cumulative effect of geography, history and tradition is manifest in an essential tenderness and lyricism of temperament. Song and poetry are naturally inspired by soil and climate.
The other worldliness which marks the Bengali's attitude towards life expresses itself in a rapturous yearning for the eternal indestructible beauty intuitively apprehended by the Bengali mind, the body and the spirit. Figure is an abiding sense of separation from the object of love and devotion, which lends a peculiar dignity. Against this physical and spiritual background the folk songs of Bangladesh are roughly divisible into the following categories:
a) Religious or Mystic,
b) Secular, and
c) Romantic.
Religious or Mystic Songs: The aim of life as conceived by the mystic poets and reflected in their songs is to reach God through love and devotion. The Mystical element found in their songs may be explained by reference to the influence of Persian Sufism. The three types of mystics- Baul, Marfati and Murshidi have much in common. Their songs are sung to the accompaniment of an EKTAARA, an one-string musical instrument or a DO-TAARA, a two-string instrument.
Baul songs are common possessions of Hindu, Buddhist, Yogi and Muslim fakir. The baul seeks the simple path and aims at reaching the height of spiritual experience through music. A class of bauls known as "tantrik" bauls seek salvation through the gratification of the body. Madan baul, a composer of baul songs, is the most famous singer belonging to this category.
Marfati and Murshidi are devotional songs of mystical character. The beginning of this culture is shrouded in obscurity. Fakir Lalan Shah is the famous poet of this branch. Lalan had no single religion but his soul was the meeting place of several mystical cults such as Hindu Mysticism, Muslim Sufism and Buddhist Nirvenism. He was illiterate but composed songs in lucid and simple language In keeping with his natural genius. The following composition can be taken as a fine example of his Murshidi song:
Kotha achhe re din daradi shai
Chetan gurur shange laya khabor karo bhai
Chakshu andhar deler dhonkay
Kesher are pahar lukay
Ki ranga shai dyakho he sadai
Base nigam thain ...
Ekhane na dekhlam jare
Chinbo tare kyamon kore
Bhgyete akhere tare
Dekhe jadi pai
Samjhe bhabe Sadhan karo
Nikate dhan pete paro
LaIan kay nij mokam dhaonro
Bahu dure nai.
Concept of this song is that-
Where is Lord the sympathizer?
Search for Him with the sentient guide
The mind misleads the eyes
The mountain is often lost behind one’s own hair,
What fun, O my Lord, you always see
While sitting on the nigam
If I am so fortunate as to meet Him in the World hereafter
How shall possibly recognize Him
For I haven't had any glimpse of Him as yet?
You should adore Him intelligently.
You may find nearby the treasure
after which you have set your heart.
Lalon says, search your own abode, it may not be away.
In this song Lalan expresses the Idea that God can be found with the help of a spiritual guide. If one has no teaching, a lock of hair can stand between him and a mountain. If one does not know God in this world a how will he know Him in the world hereafter?
Bischhed songs or songs of separation also fall within the mystical religious category. Bischhed songs share certain qualities of the Murshidi, the difference being in the approach to life. While Murshidis want to establish direct communication with God, composers of Bischhed songs make use of the symbol of the relationship between Radha and Krishna.
There is a kind of song called Jhumur usually sung by the Santals. Jhumur songs are famous for their lifting measure. Jhumur is a very short song and generally has secular theme for its subject matter. But love reigns supreme.
Of the religious songs Kavi and Tarja are represented to the audience almost extempore.
It is highly exciting dialogue in verse. In fact it is a poetic battle between two contesting poets. Sometimes Kavi leads to violent personal attacks on the opponent producing all the thrills of the moment, thus transgressing at times the limits of decorum and decency.
Baromasi songs: Like Bischhed songs Baromasi songs are songs of separation with the difference that the latter contains an allegorical element and fall within the category of spiritual songs. A Baromasi song is so called because it describes the songs of separation throughout the twelve months of the year. Baromasi songs may as will be termed pastoral songs.
Jari songs: Jari songs are popular In Bangladesh. Origin of Jari song is the tragic event of Medina and Karbala leading to death of Hazrat Imam Hussain. Jari combines the elements of the valour and Pathos. It depicts with all the liveliness an un-paralleled heroism of Hazrat Imam Hussain and his followers at the battle field of Karbala and heart rendering scene related with their death.
Bhatiali songs: The life of the people of Bangladesh is closely tied up with rivers and boats. It goes without saying therefore, that these have their effects on the mind and cultural life of the people. The flowing rivers have and a softening and relaxing effect on mind and body. The Kind of song which draws inspiration from this atmosphere is known as Bhatiali. Bhatiali song is characterized by a feeling of the soul to meet the Creator. In Keeping with this sprit, the tunes are long drawn out. Boatmen frequently ply their boats far away from their homes and away from the bustle of human habitation. The vast and endless rivers infuse a feeling of awe and wonder and boatmen’s feelings find expression in music which starts at a high pitch and dies out almost imperceptibly. This is a song not of action but of bistre and resignation. It embraces a variety of subjects in which themes of love reign supreme.
Connected with rivers, boats and water there is another kind of song known as Sari. While Bhatiali draws its inspiration from spirit of resignation. Sari is a kind of functional song. The major communities of Bangladesh the Hindus and the Muslims contributed their share to the growth of this song. All the gaity and liveliness of a Sari song are fully revealed when it is sung in an accompaniment to a boat race. That is why it is known more as a boat race song. Yet another kind of folk song connected with rivers and boat is known as Ghatu.
Bhawaya songs: Bhawaya songs are generally found in the northern part of the Rangpur district and in the tracts of land that join Rangpur to West Bengal in the districts of Cooch Bihar and Jalpalguri. Bhawaya is a love song pure and simple. Songs of love and separation are narrated in the local dialect without poetic ornamentation. The characteristics of the land are reflected In Its sharply rising and falling rhythms. The following composition is an example of a Bhawaya:
Pratham joubaner kale na hoilo mor biya,
ar katakal rahimu ghare ekakini hoya.
Re bidhi nidaya ......
Substance of the song is that-
I am in the prime of my youth
and still a virgin I am.
O' my bitter fate, tell me,
how long do I have to stay unmarried?
My parents are unsympathetic:
They haven't given my hand in marriage.
And I can't express myself to them for my shyness.
O' my bitter fate!
Slowly my body burns within and there is no end to it.
I wish I had gone away with a young man of my choice,
I know that people will blame me-
Let them do so: I care not a fig for that,
For I shall then happily enjoy myself.
Gombhira song: At present Gombhira is a very popular song in Bangladesh. It is originated from the Maldah district of West Bengal. In Bangladesh Gombhira is available only in the Rajshahi district. In Gombhira, there is a story. Shiva is the main character of the story. Sometimes He changes the character. One grandfather takes the place of Shiva. Even politics is finding a place in the Gombhira songs of recent date.
Alkaf song: Alkaf is a kind of action songs. Its singing is, therefore, accompanied by a dramatic action.
Rakhalia song: Rakhalia or cowboy's song is a piece of love song. It is intensely pastoral in spirit and mode. Sitting under a spreading tree on a bright hot day the cowboy hums tunes in a listless or vacant mood
Ballads: East Bengal ballads and Mymensingh ballads are very popular in Bangladesh. Here is an instance of a love song abstracted from the Mymensingh ballads. It takes the form of a dialogue between the hero and heroine.
Kathin tomar mata pita, kathin tomar hia
Yamon jouban kale na karaiche bia.
Kathin amar mata pita., kathin amar hia
tomar matan nari paile ami kari bia
Translation:
Cruel are thy parents and thou art heartless
that they haven't got thee married even now-
when art in your prime.
My parents are cruel and heart less indeed I am
I could marry if I would only find a girl like thee.
O shameless! Thou hast no shame in the lest,
Drown thyself by tying a pitcher round thy neck.
O girl! Where shall I get the pitcher or the rope!
Let thyself become a deep river
and I shall drown myself in it.
In this way if we discuss all types of folklore of Bangladesh, we can get the truth that Bangladesh is not only resourceful in its folkloric corpuscle, but it is almost a revelation to keen observers that this agro-based small country has developed over the centuries an excellent social situation based on humanism and secular thought a very modern trend of social advancement which Europe had known only during the Renaissance. Mainly four streams mingled in this social thought-process ?tribal anthropomorphism, Buddhist Nirvanism, Hindu Vaishnavism and Muslim Sufism. This four historical forces plus the various local mystic cults of different obscure religious sects which fought relentlessly against religious fundamental ism, orthodoxy, fanaticism, crude caste and class distinction and autocratic establishment prompted Bengali folklore to develop with the hopes and aspirations of the common people and their philosophy of cultural synthesis. Social dynamics of rural Bangladesh is rooted in this cultural synthesis and religious tolerance.
Reference books
1) Bhattacharya, Asutosh, Folklore of Bengal, National Book Trust, India, 1978.
2) Hoq, Mohammad Enamul, A History of Sufism in Bengal, Asiatic Society, Dhaka, Bangladesh.
3) Islam, Mazharul, A History of Folklore Collection in India and Pakistan, Bangla Academy, Dhaka, 1970.
4) Khan, Shamsuzzaman, Folklore of Bangladesh, Vol. I Bangla Academy, Dhaka, 1987.
5) Mansuruddin, Mohd. (ed.), Haramoni, Dhaka.
6) Sen, Dinesh Chandra, Hymensingh Gitika, Calcutta University, 1923.
7) Siddiqui, Ashraf, Folkloric Bangladesh, Dhaka, 1977.
Written by Professor Dr. Abdul Khaleque, Former Vice Chancellor, Rajshahi University, Bangladesh
Folklore, Definition, Meaning, Tales, Myths, Legends, Proverbs, Poems, Jokes, Oral, Traditions, Culture, Subculture, Folkloric, Bangladesh, Folk, Literature, Identity, People, Bengali, Collective, Memory, Article
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