CHIB::Heritage Details

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Heritage Information

Section-1: Identification of the element

❏ Heritage Location

Division Dhaka

District Tangail

Upazila

Details Address

Geolocation(Latitude)

Geolocation(Longitude)

Community Category Others

Community Manasamangal Performers

Name of the Heritage, (as used by the community or group concerned) Beillar Nachari/Lachari (Behular Nachari)

Short title of the Heritage, (preferably within 200 words) In Tangail district of Bangladesh popular folk performance of snake goddess Mansa is called Beillar Nachari/Lachari (Behular Nachari). In Tangail region BeillarNachari/Lachari narrative is performed by Muslimsof marginalized communities. This kind offolk-theatre is mostly performed on the occasion of Mansa Puja in the month of Srabon, or on Srabon Shonkranti. These ritualperformances are arranged for reedom from the fear of snakes, and for good luck. Performers charge 8 to 10 thousand taka for one night's performance..

Concerned Community(ies)/Group(s), (who recognize the element as part of their cultural heritage)

Physical location(s) of the element/how often it is practiced Beillar Nachari/Lachari is performed in the Tangail region of Bangladesh.

Short description of the Heritage, (preferably within 350 words) Although Beillar Nachari is basically a dance performed on a song, it is part of a folk theatrical performance presented in a dialogic manner. In the case of dialogue projection, it follows the genre of ‘Jatra’ with its own characteristic variations. Beillar Nachari is performed in almost all upazilas of Kalihati, Ghatail, Sakhipur, TangailSadar, Bhuapur, Mirzapur, Gopalpur, Madhupur, Delduar, Nagarpur in Tangail district of Bangladesh. Artists perform regularly seven-eight times a year. There are more or less 13 different teams in Kushtia district which practice this form of dance. These performances are in fact efficacious, performative rituals executed against a manot or pledge, by a householder to appease Manasa in the hope of getting a boon from her, in the form of 'good health' for the household, or to overcome other such minor household woes and obstacles. Importantly, the ritual is participated by both Hindus and Muslims from marginalized communities. In Beillar Nachari, men dress up as women and participate in the performance. In many cases, hijras take part in female roles. One important character and one minor character can play multiple roles. The actors memorize the dialogues and are dependent on a literate ‘prompter’. However, most of the other artists are non-literate. Behula, Lakkhindar and Padmadevi are the three most important characters in Beillar Nachari. Handsome teenagers between fifteen and twenty years of age are selected for these roles. They excel in dance, song and dialogue. The head of the musical chorus is known as 'Ostad', 'Ojha', 'Bayati' etc. Fifteen to twenty-five artists are required to form a troupe of Beillar Nachari. Two character artists stand at the four corners of the stage ar, and perform bandanas or songs. Many times during the performance of bandana, the main singer, or gayen, takes a position within the group of dohar (chorus) musicians. After the performance of the bandana song, the master comes on the stage and starts narrating the story. The narrative begins with the story of the birth of Goddess Padma. This song is performed till midnight.

Domains of the Heritage (applicable fields)

Oral Traditions and Expressions

Performing Arts

Social Customs and Traditions

Knowledge and Practices related to Nature and Universe

Traditional Craftsmanship

Suggested Domain

Section-2: Characteristics of the element

Practitioners(s)/performer(s) directly involved in the representation or practice of the Heritage (including roles, name, age, gender, social status, and/or professional category etc.) For most performers it is an alternative profession, as they are mainly landless labour, masons, carpenter, etc. The faith-healers, or 'ojhas' are well-respected organic medicine practitioners. Men play the role of women.

Other tradition bearers (individuals/groups and their roles)) 'Ojha' or faith-healers play a pivotal role in these ritual performances. The role of the pledge-taking householder is significant in this practice, as they arrange the entire ritual.

Language(s), register(s), speech level(s) involved Bangla, in the regionaldialect of Tangail region.

Associated tangible elements used (if any) BeillarNachari dancers usually wear everyday clothes. The main garment is a white dhoti, white or colored Punjabi, and waist band. Other participants wear dhoti, orloincloth, and white vests. Chukris wear sarees and blouses. Chukria adorn wigs, and use makeup.A terracotta ‘ghot’, or ritual pot representing Manasa is used for worship. Venue: Beillar Nachari is performed by making a performance space in the temple / large ground / house yard. Instrument / musical instruments: harmonium, khol or mridanga, congo, cymbal, flute, cornet, flute etc. instruments are used. Rituals / Food : Vegetarian food like - khichuri, pies, daichira, ghant (curry cooked with various vegetables), luchi, sweets, different kinds of fruits, batasa, flower-belpata, tulsi tree etc. At the end of the performance, refreshments (Batasa) are given to the devotees/audiences. Rituals / Food : Vegetarian food like - khichuri, pies, daichira, ghant (curry cooked with various vegetables), luchi, sweets, different kinds of fruits, batasa, flower-belpata, tulsi tree etc. At the end of the song performance, refreshments (Batasa) are given to the devotees/audiences

How are women and people of other genders associated with this Heritage? Women and person of the third gender participate in the performance as dohars (chorus) and chukris (men cross-dressing in female roles). Besides, women participate in ritualstic activities.

Division of labour during the practice of this Heritage Remuneration is paid depending on participation in the performance. For example a doyari (joker) charges Taka 1500-2000 per night and chukri charges Taka 1000-1200.

Elements to which other customary practices or practices may be connected or accessed in any respect of the heritage (if any) Not Applicable

Modes of transmission to others in the community All these songs are being practiced from generation to generation / Guru Shishya tradition. But nowadays the new generation does not show interest in joining this practice. The performers have been learning this art form from their ancestors. There was no written document before. Now the work has slowly begun. Usually people of the community learn this art by observing and following their elders and as they become experienced and mature enough they start to perform.Everyone is allowed to witness the performance.

Organizations concerned (non-governmental organizations and others) *Shadhona *Bhabnagar

Section-3: State of the element (viability)

Threats to the enactment

Enactment Threats Description Major religious Fundamentalist groups are now on the risand obstruct these practice .

Threats to the transmission (if any) Yes

Threat to associated tangible elements and resources (if any) No

Viability of associated intangible elements (if any) Ojhabidda or faith-healing is loosing popularity. The new generation is not interested in these activities.

Have been taken any safeguarding measures to preserve this Heritage practices? (if any) No.

Section-4: Data gathering/documentation, Consent and preparation of inventory entries

Consent of community/group/individuals concerned for data collection with a view to inventorying Consent received.

Restrictions on use of collected data, (if any) No

Section-5: Resource Person

Data provider/Resource person (persons/groups, community representatives) Gautam Chandra Barman Folklore Activist And Researcher ?+880 17 3703 0877, sbgautom@gmail.com

Date of data collection 15-03-2023

Place(s) of data collection

Section-6: Safeguarding techniques

Existing safeguarding techniques adopted by the community for the safeguarding of the Heritage There is no.safeguarding in place.

Suggestions for safeguarding of the Heritage from the community * Documention in National ICH Inventory * Celebration on Srabob=n Shongkranti * Ensure transmission * Promote sustainability by arranging showcasings

Section-7: References to literature, discography, audiovisual materials or archives

References to/in literature *Manoshamongol *Paddma Puran *Manosha Bijoy *Doshu Kena Ramer Pala Sen, Rai Saheb Dineshchandra. 1920. The Folk Literature of Bengal: Lectures delivered to the Calcutta University in 1917,. Calcutta: University of Calcutta.

Audiovisual materials or archives 'Roots to Revival': https://youtu.be/_D2ACLb9YyM

Discography or archives No

Section-8: Modalities for updating the information contained in the inventory entry

Data Compiler (persons/groups, including community representatives, who compiled the information) Gautam Chandra Barman and Shadhona.

Date of Community Consent

Consent of community/group/individuals concerned for data collection with a view to inventorying

Present Condition of Heritage Becoming less

Brief description of Present condition of the Heritage, (if any) Becoming less

Section-9: Community suggestions

Brief description of suggestions for safeguarding of the element by community members/experts/holders, (if any) Arranging government grants and organizing Pala services at the local level. Provision of allowances to performer. And to provide for advanced research, documentation and archiving of this performance

Restrictions on use of collected data, (if any). Permission must be obtained before using the above information

পিডিএফ ডাউনলোড

ঐতিহ্যের তথ্য

সেকশন-১: ঐতিহ্য সনাক্তকরণ

❏ ঐতিহ্যের অবস্থান

বিভাগ ঢাকা

জেলা টাঙ্গাইল

উপজেলা

বিস্তারিত ঠিকানা

ভূ-অবস্থান(অক্ষাংশ)

ভূ-অবস্থান(দ্রাঘিমাংশ)

সম্প্রদায়ের শ্রেণী অন্যান্য

সম্প্রদায় মানসামঙ্গল পারফর্মার

ঐতিহ্যের নাম, (যা সংশ্লিষ্ট সম্প্রদায় বা গোষ্ঠী ব্যবহার করে) Beillar Nachari/Lachari (Behular Nachari)

ঐতিহ্যের সংক্ষিপ্ত তথ্য, (সংশ্লিষ্ট ঐতিহ্য এলাকার উল্লেখসহ সর্বোচ্চ তথ্যপূর্ণ) In Tangail district of Bangladesh popular folk performance of snake goddess Mansa is called Beillar Nachari/Lachari (Behular Nachari). In Tangail region BeillarNachari/Lachari narrative is performed by Muslimsof marginalized communities. This kind offolk-theatre is mostly performed on the occasion of Mansa Puja in the month of Srabon, or on Srabon Shonkranti. These ritualperformances are arranged for reedom from the fear of snakes, and for good luck. Performers charge 8 to 10 thousand taka for one night's performance..

সংশ্লিষ্ট সম্প্রদায়(গুলি)/গোষ্ঠী(গুলি), (যারা উপাদানটিকে তাদের সাংস্কৃতিক ঐতিহ্যের অংশ হিসাবে স্বীকৃতি দেয়)

ঐতিহ্য অনুশীলনের স্থান/অনুশীলনের (বণ্টনের) হার Beillar Nachari/Lachari is performed in the Tangail region of Bangladesh.

ঐতিহ্যের সংক্ষিপ্ত বিবরণ, (৩৫০শব্দের মধ্যে হওয়া বাঞ্ছনীয়) Although Beillar Nachari is basically a dance performed on a song, it is part of a folk theatrical performance presented in a dialogic manner. In the case of dialogue projection, it follows the genre of ‘Jatra’ with its own characteristic variations. Beillar Nachari is performed in almost all upazilas of Kalihati, Ghatail, Sakhipur, TangailSadar, Bhuapur, Mirzapur, Gopalpur, Madhupur, Delduar, Nagarpur in Tangail district of Bangladesh. Artists perform regularly seven-eight times a year. There are more or less 13 different teams in Kushtia district which practice this form of dance. These performances are in fact efficacious, performative rituals executed against a manot or pledge, by a householder to appease Manasa in the hope of getting a boon from her, in the form of 'good health' for the household, or to overcome other such minor household woes and obstacles. Importantly, the ritual is participated by both Hindus and Muslims from marginalized communities. In Beillar Nachari, men dress up as women and participate in the performance. In many cases, hijras take part in female roles. One important character and one minor character can play multiple roles. The actors memorize the dialogues and are dependent on a literate ‘prompter’. However, most of the other artists are non-literate. Behula, Lakkhindar and Padmadevi are the three most important characters in Beillar Nachari. Handsome teenagers between fifteen and twenty years of age are selected for these roles. They excel in dance, song and dialogue. The head of the musical chorus is known as 'Ostad', 'Ojha', 'Bayati' etc. Fifteen to twenty-five artists are required to form a troupe of Beillar Nachari. Two character artists stand at the four corners of the stage ar, and perform bandanas or songs. Many times during the performance of bandana, the main singer, or gayen, takes a position within the group of dohar (chorus) musicians. After the performance of the bandana song, the master comes on the stage and starts narrating the story. The narrative begins with the story of the birth of Goddess Padma. This song is performed till midnight.

ঐতিহ্যের ডোমেইন (প্রযোজ্য ক্ষেত্র সমূহ)

মৌখিক ঐতিহ্য এবং অভিব্যক্তি

পরিবেশনা শিল্প

সামাজিক অনুশীলন, অনুষ্ঠান এবং উৎসব

প্রকৃতি এবং মহাবিশ্ব সম্পর্কিত জ্ঞান এবং অনুশীলন

ঐতিহ্যবাহী কারুশিল্প

প্রস্তাবিত ক্ষেত্র

সেকশন-২: ঐতিহ্যের বৈশিষ্ট্য

প্রত্যক্ষভাবে ঐতিহ্যের প্রতিনিধিত্ব বা চর্চার সাথে সংশ্লিষ্ট পেশাজীবী/শিল্পী (ভূমিকা, নাম, বয়স, লিঙ্গ, সামাজিক অবস্থান, এবং/অথবা পেশাদার শ্রেণি/বিভাগ ইত্যাদি সহ) For most performers it is an alternative profession, as they are mainly landless labour, masons, carpenter, etc. The faith-healers, or 'ojhas' are well-respected organic medicine practitioners. Men play the role of women.

কমিউনিটির অন্যান্য লোকজন যারা পরোক্ষভাবে ঐতিহ্য চর্চায় কোন না কোনভাবে ভূমিকা রাখে অথবা এর চর্চা বা সম্প্রচারে সাহায্য করে থাকে (যেমন, মঞ্চ তৈরি, পরিচ্ছদ, প্রশিক্ষণ, তত্ত্বাবধান ইত্যাদি) 'Ojha' or faith-healers play a pivotal role in these ritual performances. The role of the pledge-taking householder is significant in this practice, as they arrange the entire ritual.

ভাষা(গুলি), কথ্য স্তর(গুলি) Bangla, in the regionaldialect of Tangail region.

ঐতিহ্যের চর্চা ও সম্প্রচারের সাথে সংসৃষ্ট মূর্ত/বাস্তব উপাদান (যেমন, বাদ্যযন্ত্র, বিশেষ পোশাক/স্থান, আচার-অনুষ্ঠানের বস্তুগত উপাদান ইত্যাদি, যদি থাকে) BeillarNachari dancers usually wear everyday clothes. The main garment is a white dhoti, white or colored Punjabi, and waist band. Other participants wear dhoti, orloincloth, and white vests. Chukris wear sarees and blouses. Chukria adorn wigs, and use makeup.A terracotta ‘ghot’, or ritual pot representing Manasa is used for worship. Venue: Beillar Nachari is performed by making a performance space in the temple / large ground / house yard. Instrument / musical instruments: harmonium, khol or mridanga, congo, cymbal, flute, cornet, flute etc. instruments are used. Rituals / Food : Vegetarian food like - khichuri, pies, daichira, ghant (curry cooked with various vegetables), luchi, sweets, different kinds of fruits, batasa, flower-belpata, tulsi tree etc. At the end of the performance, refreshments (Batasa) are given to the devotees/audiences. Rituals / Food : Vegetarian food like - khichuri, pies, daichira, ghant (curry cooked with various vegetables), luchi, sweets, different kinds of fruits, batasa, flower-belpata, tulsi tree etc. At the end of the song performance, refreshments (Batasa) are given to the devotees/audiences

নারী বা অন্যান্য লৈঙ্গিক জনগোষ্ঠীর এই ঐতিহ্য চর্চার সাথে কি ধরনের সম্পর্ক রয়েছে? Women and person of the third gender participate in the performance as dohars (chorus) and chukris (men cross-dressing in female roles). Besides, women participate in ritualstic activities.

ঐতিহ্য চর্চার শ্রম বিভাজন কীভাবে হয়? Remuneration is paid depending on participation in the performance. For example a doyari (joker) charges Taka 1500-2000 per night and chukri charges Taka 1000-1200.

ঐতিহ্যের যেকোন বিষয়ে অন্য যেসব প্রথাসিদ্ধ অভ্যাস বা চর্চা সংযুক্ত হতে পারে বা প্রবেশাধিকার পতে পারে, তেমন উপাদান (যদি থাকে) Not Applicable

কমিউনিটির অন্যান্যের নিকট সম্প্রচারের পদ্ধতি All these songs are being practiced from generation to generation / Guru Shishya tradition. But nowadays the new generation does not show interest in joining this practice. The performers have been learning this art form from their ancestors. There was no written document before. Now the work has slowly begun. Usually people of the community learn this art by observing and following their elders and as they become experienced and mature enough they start to perform.Everyone is allowed to witness the performance.

সম্পর্কিত সংস্থা (বেসরকারী সংস্থা এবং অন্যান্য) *Shadhona *Bhabnagar

সেকশন-৩: ঐতিহ্যের অবস্থা (কার্যযোগ্যতা)

এই ঐতিহ্য চর্চা কি কোন হুমকির সম্মুখীন?

আইনী হুমকির বিবরণ Major religious Fundamentalist groups are now on the risand obstruct these practice .

হস্তান্তরণ হুমকি (যদি থাকে) Yes

এই ঐতিহ্য চর্চার জন্য প্রয়োজনীয় মূর্ত/বাস্তব উপকরণ কি কোন হুমকির সম্মু্খীন? No

এই ঐতিহ্য চর্চার জন্য প্রয়োজনীয় অন্য বিমূর্ত উপকরণ কি কোন হুমকির সম্মু্খীন? Ojhabidda or faith-healing is loosing popularity. The new generation is not interested in these activities.

এই ঐতিহ্য চর্চার সংরক্ষণের জন্য কোন ব্যবস্থা নেওয়া হয়েছে কি? (যদি থাকে) No.

সেকশন-৪: তথ্য সংগ্রহ/নথিপত্র, সম্মতিপত্র এবং ইনভেন্টরি এন্ট্রির প্রস্তুতি

তথ্য সংগ্রহের জন্য সংশ্লিষ্ট সম্প্রদায়/গোষ্ঠী/ব্যক্তিদের সম্মতি Consent received.

সংগৃহীত তথ্য ব্যবহারের উপর নিষেধাজ্ঞা, (যদি থাকে) No

সেকশন-৫: রিসোর্স পার্সন

ডেটা প্রদানকারী/রিসোর্স পারসন (ব্যক্তি/গোষ্ঠী, সম্প্রদায়ের প্রতিনিধি) Gautam Chandra Barman Folklore Activist And Researcher ‭+880 17 3703 0877, sbgautom@gmail.com

তথ্য সংগ্রহের তারিখ ১৫-০৩-২০২৩

তথ্য সংগ্রহের স্থান(গুলি)

সেকশন-৬: সুরক্ষা কৌশল

ঐতিহ্যটির সুরক্ষার জন্য সম্প্রদায়ের দ্বারা গৃহীত বিদ্যমান সুরক্ষা কৌশল There is no.safeguarding in place.

সম্প্রদায় থেকে ঐতিহ্যটি সুরক্ষার জন্য পরামর্শ * Documention in National ICH Inventory * Celebration on Srabob=n Shongkranti * Ensure transmission * Promote sustainability by arranging showcasings

সেকশন-৭: সাহিত্য, ডিসকোগ্রাফি, অডিওভিজ্যুয়াল উপকরণ বা আর্কাইভের রেফারেন্স

সাহিত্যে উল্লেখ/তথ্যসূত্র *Manoshamongol *Paddma Puran *Manosha Bijoy *Doshu Kena Ramer Pala Sen, Rai Saheb Dineshchandra. 1920. The Folk Literature of Bengal: Lectures delivered to the Calcutta University in 1917,. Calcutta: University of Calcutta.

অডিওভিজুয়াল সামগ্রী বা সংরক্ষণাগারসমূহ 'Roots to Revival': https://youtu.be/_D2ACLb9YyM

ডিস্কোগ্রাফি বা সংরক্ষণাগারসমূহ No

সেকশন-৮: ইনভেন্টরির তথ্য আপডেট করার পদ্ধতি

তথ্য সংকলক (ব্যক্তি/গোষ্ঠী, সম্প্রদায়ের প্রতিনিধি সহ, যারা ঐতিহ্যের তথ্য সংকলন করেছেন) Gautam Chandra Barman and Shadhona.

ইনভেন্টরিতে তথ্য নথিভুক্ত করার জন্য সম্প্রদায়ের সম্মতির তারিখ

তথ্য সংগ্রহের জন্য সংশ্লিষ্ট সম্প্রদায়/গোষ্ঠী/ব্যক্তিদের সম্মতি

ঐতিহ্যের বর্তমান অবস্থা কম হয়ে উঠছে

ঐতিহ্যের বর্তমান অবস্থার সংক্ষিপ্ত বিবরণ, (যদি থাকে) Becoming less

সেকশন-৯: সম্প্রদায়ের পরামর্শ

কমিউনিটি সদস্যদের/বিশেষজ্ঞদের/ধারকরা কর্তৃক উপাদানটির সুরক্ষার জন্য পরামর্শের সংক্ষিপ্ত বিবরণ, (যদি থাকে) Arranging government grants and organizing Pala services at the local level. Provision of allowances to performer. And to provide for advanced research, documentation and archiving of this performance

সংগৃহীত তথ্য ব্যবহারের উপর বিধিনিষেধের সংক্ষিপ্ত বিবরণ, (যদি থাকে) Permission must be obtained before using the above information

Section-10: Upload Document

সেকশন-১০: নথি/ডকুমেন্ট আপলোড করুন

Consent Document সম্মতি নথি/দলিল

Heritage Details Document ঐতিহ্যের বিস্তারিত নথি

Heritage Images ঐতিহ্যের ছবি

Heritage Video ঐতিহ্যের ভিডিও

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