WWW.KAMATAPUR.COM GOALINI KUSHAN LOKONRITYA TROUPE (A cultural organization to represent and highlight the folk song,dances and music of the Koch-Rajbongshis) Under Koch-Rajbongshi Cultural Society Kokrajhar, Assam, India E-mail-devidkk@gmail/dhananjoy.barman@rediffmail The Koch-Rajbongshis: Koch-Rajbongshis are one of the indigenous groups of people of Asian continent belonging to the Mongolian stock, who traversed in different places of Asia from the pre-Vedic and pre-historic period to the present century. During the Vedic and epic age they were frequently referred as Asurs, Mlechachas, Kiratas, Non-Aryan, Pani-Koches and Kuvacha in Purans and Tantras.The people of this community are now spread over three countries i.e. India, Nepal and Bangladesh. Kamatapur is the ancient Koch Kingdom and the present divided Kamatapur included entire North-Bengal, most of the parts of present Assam and adjoining parts of Bihar, Nepal, Bhutan and the present parts of ancient Rangpur of Bangladesh. The establishment of Koch-Rajbongshi power gave a strong impetus to the sanskritization process of Koch-Rajbongshis while Biswasingha became a patron of Hinduism and later his son Naranarayan. It’s seen that the golden tradition of Koch-Kingdom started from Biswasingha (1515). The Koch-Rajbongshis have ruled in the respective region for several hundred of years and they were gradually known as Rajbongshis. The Rajbongshi language flourished during this period. However after the fall of Koch king Naranarayana and his brother Chila Ray their successors could not retain such a dominant status. This historically glorious community is very rich in cultural heritage. In every field of social and cultural aspect they cherish individual traits which represent their identity in the postmodern context. They do have an individual language, a composite behavior pattern, social life, traditional dress, food habit, folk song, dances and occasional festivals. The culture of Koch-Rajbongshi community in its indigenous form represents the tribal ancestry of the community Folk Culture of Koch-Rajbongshis Folk Culture is indigenous in nature and the vast treasures of folk culture have been the pride of a civilization as well as the nation. The western part of Assam, large parts of North Bengal, some parts of Bihar, Meghalaya, the adjacent areas of Bangladesh and Nepal inherit a common cultural heritage. It is the culture of the son of the soil, the culture of indigenous ethnic group Koch-Rajbongshis glorified by the elevated history of Koch-Kingdom and in different geographical background; it is popularly known as Rajbongshi Culture, Goalparia Culture, Rangpuria Culture, Vaoaiya Culture etc. It is the tune of Bena, Dotora, Sarinda that unite the people across the country sometimes irrespective of their religion. Our humble presentations: Kushan Gan/Nritya Kushan Gan is a kind of vibrant Folk drama, a dramatic presentation which involves singing, recitation of dialogue, acting and dancing in the accompaniment of Folk Music. It is one of the folk traditions of the indigenous Koch-Rajbongshi people of Assam, West Bengal, Bihar, Meghalaya of India , Nepal and Bangladesh. The theme of Kushan Gan is especially religious in nature and revolves around portion of the Ramayana particularly Ram’s sons Lob and Kush and derives its name from Ram’s son Kush . One of the earliest translations of Valmiki Ramayan is Madhava Kandali’s “Saptakanda Ramayana” in 14th century in Kamatapur during the reign of Koch Kings. There was a vibrant and popular folk tradition associated with Rama story in the region. As a result, Kushan-Gan became popular in Rajbongshi culture as a form of vibrant folk drama in order to explore, understand and comprehend the legendary figure Rama. On the other hand, the word Kushan means ‘to wipe evil’ (Ku-evil, Shan-to clean by wiping). This is supposed to be derived from the concept of destroying injustice which is the consistent theme of the Kushan Gan. Bena is the chief folk musical instrument of kushan Gan. The chief performer of the Kushan Gan is the Geedal who sings, provides narration and plays the traditional stringed instrument Bena. Kartika Nritya Kartika Nritya is a kind of folk traditions of the Koch-Rajbongshis basically practised by the women of this community and performed during the worship of Kartika Thakure (a folk deity) aspiring for offspring in the month of Kati (October /November). The songs of this dance are generally long ballads describing the wedding of Lord Siva, the birth of Kartika and the rituals related to birth and humorous situations. At a time the dancers sing and dance around the deity with bow and arrow at their hands. Besides these symbolic representations of agricultural activities are performed by the women in the disguise of man Goalini Nritya Goalini Nritya is the most popular form of folk dance among the people of western Assam basically warmed up by the Koch-Rajbongshis. This particular folk dance originated at a place Gauripur in Assam, the cultural centre of Koch-Rajbongshis from the myth (Folk Tale) of a couple of Goal and Goalini (Milkman and Milkwoman) inhabiting in the undivided Goalpara district of Assam. It depicts the day to day life and longings of the ordinary people of the Koch-Rajbongshi society in the agricultural background during the period of feudal system Hudum Pujar Gan/ Nritya Hudum Deo (deity) is regarded as the folk deity of rain among the Koch-Rajbongshis. The rituals of Hudum Puja is utterly confined to the woman. This deity is basically worshipped by the women of the tribe in order to carry water to the earth when there is draught . It’s generally celebrated on any Tuesday or Saturday during the month of Baisag to Jeth (April-June) in the field out side the residential area. Planting a banana tree as a symbol of Hudum Deo, the women dance in a circular way exhibiting some erotic and obscene activities. It is believed that Hudum Deu can be satisfied through this way and then rain comes to make the earth fertile. Baas Nritya Baas puja is celebrated basically in Assam and North Bengal by the Koch-Rajbongshi people in the month of Baishag(April-May) and Aghon(Nov-Dec) intending good health, fortune and welfare of the villagers. Baas puja, songs and dances are performed in a slight different manner in different region. The different perspectives of Baas puja are Madankam and Kamdeva , Chatali etc. Actually these are the same performances of different mode. In a Baas puja basically Madankam (Lord Siva) is worshipped. To perform the puja, bamboos of different length (8 to 10 feet) are collected and a “Choar” is tied to the top of each bamboo. The puja conducted by Deuri. In Chatali Baas, a troupe of young men moves door to door and collects alms presenting songs and dances. On the other hand the troupes are compulsory to attend in the “Thalabari” where the songs of are more often erotic in theme. In some places Baas Puja is also celebrated in the form of Shakti Puja or Kali Puja.” Padmapuran Gan Padmapuran Gan is one of the important folk dramas of Assam and West Bengal. It is performed during the time of worshipping Manosha (the deity of snake) and among the Koch-Rajbongshis it’s popular as Bishohari, Padya, Bhashan Jatra, Ajangar or Maroi. Maroi is the household deity of Koch-Rajbongshis and holds a special position among the social rituals for its unique way of worshiping, various forms of idols along with special folk song; dances performed praising Manasha and describing various mythological incidents of Behula and Lakhindar. In Marai the idol of Manasha made of clay is worshipped and the puja is more often associated with marriage. The performers, Sing, dance and play dialogue and for special occasion it’s continued for seven days and seven nights at a stretch. Baashi Puran Gan: Baashi Puran Gan is the combination of Sunya Puran and Padma Puran. Though exceptional, but the practice of Baashi Puran Gan is still available in some parts of Assam and West Bengal. The chief musical instrument used here is Mukha Baashi and creation of the universe is the dominating theme of Baashi Puran. The songs of Baashi Puran are based on the myth of Manosha and Chanda Sadagar. Holding a Choar the Mool(head)explains the story with the assistance of Palis dancing in a meticulous way.
Posted on: Fri, 29 Aug 2014 07:09:38 +0000
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