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Wearing a typical costume with an 'Ektara' in one hand and the other hand on the 'Baya' tied around the waist with 'Nupurs' tied in their feet, singing songs in the praise of humanity, the wanderers who wonders from one village to the other of Bengal are known as the 'Bauls' or the 'Fakirs'. The songs the bauls sing are known as 'Baul Gaan' and the songs the Fakirs sing are known as 'Fakiri Gaan'. Both the songs had its origin in the post medieval period when the Hindu and the Muslim religions were passing through a phase of struggle and transformation as the society was closed and was ruled by strict religious injunctions. From the Hindu and Muslim religion a section of the people disintegrated themselves from the established beliefs and convictions of the society and constituted an entirely separate community known as the 'Bauls' and the 'Fakirs'. In this context the name of Lalon Fakir needs special mention. Both bauls and fakirs speak of religious harmony and of humanity through their songs.The instruments used are ektara, nupur, baya,dotara, khamok, premjuri, gupijantro, dubki and flute. They perform in a group of five to six people. Bauls and fakirs are mostly found in the districts of Birbhum, Nadia, Murshidabad and Bardhaman of West Bengal.
Bhadu or Bhadreswari is a popular folk deity of rural Bengal. Bhadu is popular in the districts of Purulia, Birbhum, Bankura, Bardhaman, Murshidabad and Medinipur of West Bengal. Bhadu puja is performed by making a clay idol of Bhadu by the rural maidens in their own houses. The ritualistic rites starts from the first day of the Bengali month 'Bhadra' and continues till 'Bhadra Sankranti' that is the last day of Bhadra. As the myth goes, Bhadu was the princess of Kashipur in Purulia district. Grief stricken Bhadu went for concremation after her husband was killed by dacoits on the day of their marriage. There is a popular belief that the virgins would get that person as their husband whom they cherish in their hearts, if they worship Bhadu with devotion. The night before immersion Bhadu songs continue throughout the night. Bhadu songs are performed in a group of ten to fifteen women.
Bhatiyali is one of the popular folk songs which is passionate by nature and the inherent passion is further deepened by the far reaching tune of the song itself. It is basically the song of the boatmen in the river dominated regions of North 24 Parganas, but Bhatiyali is also sung by the rural folks as well. The moment when the boatman glides the boat gently forward through the water and as the splash of the water beats against the bottom of the boat , the gentle breeze stirs the passion within the boatman sailing in a vast stretch of water, Bhatiyali is born. In Bhatiyali one finds a rich expression of theological wisdom of life.The main instrument used is Dotara with strings of steel but at present harmonium,flute and other musical instruments are also used.Bhatiyali is performed in a team of five to six people.
The original inhabitants of the wide expanded regions of Cooch Behar, Jalpaiguri, North and South Dinajpur of North Bengal belongs to the Rajbanshi community and their dialect is known as Rajbanshi dialect.The songs composed in this language is known as 'Bhawaiya'. The contents of Bhawaiya are love, passion, sorrows, aloofness, togetherness etc. Dotara is the main musical instrument used in Bhawaiya. Its strings are made of silk or Muga (Resham). Other musical instruments used are khol, drum, flute and sarinda. Now the harmonium is also used in the performance . Bhawaiya is performed in a team of five to six people.
Jari gaan is a folk song of the Muslim community found in districts of Malda, Murshidabad, South and North 24 Parganas and Bardhaman of West Bengal. This song is performed by a team of six folk artiste on the occasion of 'Muharam'. The term Jari means wailing. The song depicts the tragedy and sorrows of the war in Karbala. Jari is sung in chorus with an appeal of pathos, where a leading singer 'Bayati' sings a line and the rest follow them. Now harmonium and dancing bells are used as musical instruments.
Jhumur is the folk song of the rural folks like the farmers and the peasants or daily wage agrarian labourers who after a hard days work enjoy themselves through these songs. People gets overwhelmed by the magical tunes of Jhumur. Starting from Purulia the popularity of Jhumur extends to Bankura, Jhargram, Birbhum and some areas of Bardhaman districts of West Bengal. Instruments used are flute, madal, khol and kartals. There are various forms of Jhumur like Baithaki Tanr Jhumur, Dhardhara, Udasiya, Jhinga Fuli, Santhali, Adirashattak, Bhadariya, Nachni Saliya, Baromashya and many others. A team of six members are needed for the performance of Jhumur.The subject of the songs are composed on the various aspects of the daily life of the rural folks.
Kabi gaan is a test of intelligence and knowledge of the two groups performing on stage among the audience combating for supremacy over each other through quick and instant composition of songs. Kabi gaan is a slightly more sophisticated form of Tarja. The two contesting singers are known as Kabiyals. The kabiyals maintain a proper style, pattern which is completely unique. The subject matter of the songs are chosen from The Ramayana, The Mahabharata, The Puranas and also from contemporary social, religious and political issues.Even today Kabi gaan have immense appeal among the people of rural areas. The main singer is Kabiyal and he is assisted by Dohars who repeat the line of the songs after him. Instruments used are harmonium, dhol, dhak ,kansi and sometimes violin. This performing folk form is mainly found in Murshidabad, Birbhum, Bardhaman and South 24 Parganas districts of West Bengal. It is performed in a group of ten members.
This folk form is most popular in South 24 Pargana district of West Bengal. The play revolves around two characters- Majhi and Molla. Majhi is Hindu whereas Molla is from Muslim community. The subject of Majhi Mollar gaan is how in the Bengali month of Chaitra the Hindu and the Muslim boatsman earn their living by catching fishes in the same river.There is no conflict between these two communities.They are concerned with the tides of the river so that they can sail out on their boats to catch fishes. Before starting their journey the wife of Majhi offers some ritualistic rites to Goddess Mangal Chandi and Goddess Ganges for their blessings so that their husbands safely return back home. They consider their boats as the main source of living. The muslims also pray before starting their journey. While fishing they sing songs known as Sari gaan. Through these songs they speak about their poverty, sorrow, all sorts of troubles and the tumultuous situation they have to face while catching fishes. Sometimes due to thunder and storms they have to face trouble. Their families also had to suffer and wait eagerly for the return of their husbands. After returning back they thank Goddess Mangal Chandi and Ganges. The story of Majhi Molla depicted through the song is known as Majhi Mollar Gaan, performed in a team of ten to fifteen members accompanied by musical instruments like dotara and banshi.
Muslim meyeder biyer gaan is performed with dance by the women of the muslim community in their marriage ceremonies. The songs are performed by a team of eight women accompanied by musical instruments like dholak and bells. These songs express the desires , feelings, pleasures, hopes and emotions of the bride and also the social and economic plight of the women in their society. From seven days before marriage the woman starts singing these songs in different ritual ceremonies of the marriage and continues till the end of the marriage.
These songs are written, composed and sung by the women which are inherited by generations from mothers, grandmothers and aunts. These songs are most popular in Bardhaman,Birbhum, Bankura, Murshidabad, North and South 24 Parganas, Malda and Dinajpur districts of West Bengal.
Patas are one of the most interesting forms of folk art, mostly popular in the districts of Paschim Medinipur and some areas of Bankura and Birbhum of West Bengal. The Pata painters are known as Patuas. Patas are of three types- 1.Chouko or Square patas,2.Scroll paintings and 3.Santhal Patas.The subject matter are usually taken from various religious episodes though the Patuas do not belong to any specific religion. The Patua while unfolding the scroll relates the story painted in the scroll in the form of song. These songs of the Patuas are known as 'Pater Gaan'.
Tusu is the most popular and accepted crop festival in the regions of Bankura, Bardhaman and Medinipur districts of West Bengal. Tusu is not a Goddess and her worship has no connection with any form of religion. An idol of Tusu is made for worshipping and offering prayers throughout the entire Bengali month of 'Poush' (December- January).The worship is performed with Tusu lores. An earthen dish decorated with lamps and a plate full of rice grains or grain seeds is placed before the singers. Tusu dolls are now found in fairs and festivals of that region. The women folk of the rural areas throughout the night sing in praise to seek the blessings of Tusu in 'Poush Sankranti'. Processions are taken out for immersion of Tusu idols with colourful lights and musical instruments like drums.Tusu is performed in a group of fifteen women.
Enigmatic in nature Tarja is a kind of song which in contest between two groups is composed as extempore. It is a battle of wit and humour between two rival groups in the form of questions and answers. Tarja is divided into three parts- songs, rhymes and amplifications. The Tarja team consists of seven members. Tarja songs are accompanied by instruments like dhak, dhol, flute and dancing bells which the singers tie around their feet. The subject matter is taken from The Ramayana, The Mahabharata, The Puranas and also from some of the contemporary social, economic and political issues. Tarja is mostly popular in South and North 24 Parganas, Howrah, Hooghly and Medinipur districts of West Bengal.
