1. Beginning. The
present Bangladesh is only a small part of the greater Bangla (Bengal)
in terms of its history and culture. The prehistoric Bangla had a large
portion of lands of the Indian Sub-continent. The ancient Bangla was
included the present Bangladesh, Pashchim (west) Banga, Assam, Bihar and
Orissa etc. The Historical fact is that Bangla was a paradise for
primitive race for producing food and fishing. As a result, all most all
the races, ie, proto-austroloid, mongoloid, dravidian, negrito, alpine,
dinaric and armenoid, ‘a distinct sea-born race’ from Mediterranean and
Aryans (Nordic group) once settled in prehistoric Bangla. They made it
there home and in time developed there own culture. In this way
Bangladesh became the land of diverse races. But as time went all these
diversities were down towards a common race with a common ideal
established by the religions. But one common language Bangla made them
Bangali or Bangal. So, the folklore heritage of Bangladesh consists of
varieties of elements. Folksongs are one of the branches of formalized
folklore or folk literature of the greater Bangla. Folksongs are sung in
colloquial languages by the people of different regions of this vast
land.
2. Geo-physical influences. The
geophysical conditions of the greater Bangla have influenced the
demographic pattern and human nature. Its sub-tropical terrain visited
by two periodical monsoons lending a lush green colour to its rich
verdure and foliage. Except occasional calamities, the nature is
bounteous, mild and helpful. This has endowed Bangalees or Bangals with a
lyrical temperament, inherent tenderness and abiding faith in
time-honoured values. The folksongs of Bangladesh owe their origin to
the influence of nature which has endowed the people with an emotional
and passionate temperament. This is considered as an essential
ingredient for folksongs. The green fields, rivers and rivulets, verdure
and foliage as well as the quick rotation of six seasons with their
varying clouds and characteristics have made Bangali culture
pre-eminently idyllic. With the change of each season, also is changed
the mood of the people. This is manifested in various ways- in
festivals, in private gatherings and collective life.
3. Inner spirits. The folksong of Bangladesh is simple, spontaneous and pastoral. The musicians
are the illiterate village folks who work hard and rest sparingly. Like
there simple and unassuming mode of living, their music is also devoid
of any ornamentation. These songs communicate the mode of the life of
the people, their pride and prejudices, their music and meditation,
their hopes and aspirations without any air of pretension. Every
folksong finds its echo in a heart either blissful or anguished, with a
profession liked or disliked, with a local scene, gay or bleak, or with a
social activity, festive or mournful. As they spring from the soil,
they produce the beating of the heart and reflect the image of the
unsophisticated mind and that is how they have become the living
tradition of the people.
4. Singers & Songs. Folksongs
express the elemental passions, impulses and emotions of such people as
cultivators, fishermen, boatmen, weavers, potters and blacksmiths.
These people compose tune and sing or hum the songs simultaneously while
they work. The songs are either sung solo or chorus. Side by side the
woman folk also compose and sing chorus while grinding or husking the
paddy and in the different rituals of wedding ceremony. Besides, the
devotees (faquir, mastan, boiragi) of the saints or darvishes and
vaishnava monks compose and sing by chorus at their meeting-places or
shrines known as Darbar, Akhra, Mazar, Khanka etc. The songs are
composed verbally. So, it is difficult to take written notes. But the
process of transfer is continuing since time immemorial from one mouth
to another. Now a day, the researchers may use audios and videos to
collect and preserve it.
5. Variety. Folksongs
cover a wide field of variety. Folklore researchers classified it in
different ways. Mobarak Hossain Khan, a renowned musician and music
researcher narrated 35 types of folksongs and also made an account of 69
variations. Professor Ashraf Siddiqui classified it into 13 groups.
Mostafa M, N, a researcher divided it into three broad categories: (1)
Religious (2) Secular or Functional and (3) Romantic. Some of the
popular ones are described in brief here:
a. Occupational Songs. Harvesters,
bullock-cart drivers, palanquin bearers, labourers or construction
workers, boatmen, shepherds etc sing at their respective job situations.
The songs are known as Sari (harvesting), Bhwaiya and Chatka (cart
drivers), Bhatiali and Ghatu (boatman), Rakhalia (shepherds), Patua
(potters), Palta (construction workers) etc.
b. Ceremonial and Ritual Songs. The
songs are connected with ceremonies like birth, marriage and festivals;
and rituals like inviting rain during drought, new rice eating
festival, subduing a snake, and birth/fertility or marriage taboos etc.
The songs are generally sung in chorus by village womenfolk. These are
known as Ghhara and Meyeli geet (in marriage), Nail (for rain), Beder
gaan (snake charming), Bicchedee (in detachment) and panchali (in
moonlight night) etc.
c. Religious and Mystic Song. These
songs have mystic themes where the pages of human souls are depicted in
deep ecstasy, devotion and love. This love is for all creatures
irrespective of divergence in creed or caste. Normally sung with an
Ektara or Dotara (one or more stringed musical instrument). Baul,
Dehatatma, Kirtan, Marfati, Murshedi, Maijbhandari, Shyama, Kawali, Dhua
etc. are mystic or religious songs. Lalon Fakir, Hason Raja, Madon
Baul, Shitalong shah, Arkam Shah, Shah Abdul Karim, Monomohan Datta,
Goura Nitai, Madhukan, Ramprasad are some of the famous composers and
singers of mystic and religious songs.
d. Others.
Besides, there are many historical folksongs of historical figures,
patriotism, chivalry and heroic songs of romances and tragedies of
heroes and heroines. These are Puthi, Jari, Baromashi, Jatra, GazirGaan,
Palagaan etc.
e. Tribal Songs.
Tribal people, our real ancestors live at their own vicinity in the
isolated hills and valleys, are the part and parcel of our folk culture,
particularly in folk songs. They are the Chakma, Marma, Kuki, Garo,
Hajong, Monipuri, Tipra, Murong, Malo, Chaak, Shaontal and many others
having their own style of living. But their songs are like ours one.
Jhumur, Jhum, Khedda, Jag, Bhanjo, Royani, Hapu, Hudima, Holbol, Ahira
etc. are a few names of the folksongs of the tribal community.
6. Characteristics. Our
folksongs usually consist of two types of tunes: (1) short and (2)
long. In the first one it is the words that matter. In the long measured
group the tunes are half carved, long carved and sometimes full carved.
In fine, it may be concluded that our folksongs flow in carves.
7. The bindings string of national feeling. Now,
about 3 billions of Bangalees or Bangals live in throughout the seven
continents of the world. They differ from each other in many aspects.
But the sweet melodies and tunes of folksongs like Bhatiali, Bhwaiya,
Baul, Murshidi and Shari are equally popular to each of them. They feel
it as their own or native song. The musical function organized by them
in the different corners of the world proves this fact. So, folksongs
play the role of a string to bind all the Bangalees or Bangals together.
8. Conclusion.
In Bangladesh, rather in the greater Bangla, from kitchen to court,
from rivers to restores- everywhere there is a song which expresses
people’s desire in melody and tune. The single tune of a folksong can
take one away from the maladies and the stresses and strains of life to a
placid and tranquil corner bereft of din and bustle. Our folksongs
recreate in melody rhythm the hopes and aspiration, weal and woes of the
people. I am in doubt if any other people in the world have so much to
say in music and on so many subjects.
1 comment:
Also to be noted is the fact that Bengali Folk music is perhaps the oldest surviving musical tradition globally. For example, Mymensingha Geetika lyrics composed in the eleventh century, as evidenced by the personalities and customs quoted in these stories, but collected and published by the Calcutta University in the 19th century still survive.
I was born in a primitive village in Mymensingh and I still remember the Mymensinha Geetika stories being played by the local peasant families in front of our house after a long day of toil in the rice/jute fields. Alas there were no electricity, cameras, videos and you tube those days in my village and I wonder if such performances are still in vogue and if someone can video them and upload on the You Tube for the humanity!
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