Bhatiali gaan

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Bhatiali gaan

A verbal duel among the poets, this mystic minstrels art was popular with rural folk form in nineteenth century in Bengal region, which includes Bangladesh and the Indian states of West Bengal [1] [2] [ failed verification ]. The mythological themes from both Hindu and Muslims religious texts were commonly used for Kobi Gaan. Kavigan is normally sung by two groups. Each group is led by a kaviyal or sarkar. The accompanying singers called dohars often repeat what the leader said.

The bandana can be directed to or be in praise of SaraswatiGaneshpeople, and the audience, as deemed fit by a particular kaviyal.

This is followed by Radha—Krishna related song, some call it agamani. Then songs on four subjects are sung: Sakhi sambadbirahalahar and kheur. Sakhi Sambad deals with the love-songs related to Radha-Krishna.

Biraha is about the mortal pang of separation of common human beings. Kheur is mainly about gods and goddesses, but often includes mild slangs. Finally, the competitive part starts. It mainly consists of the Lahar, where the competitors personally attack each other, musico-verbally.

In his Banglar KaviganSajani Kanta Das said, "Kavigan was born out of a synthesis of various art forms prevalent in different parts of Bengal at different times having peculiar names such as tarjapanchali, kheur, akhrai, half akhrai, full akhrai, danra kavigan, basa kavigan, dhap kirtan, tappa, Krishna jatra, tukkagiti etc.

bhatiali gaan

Harekrishna Mukhopadhyay have dwelt at length on the origins and development of kavigan. Sushil Kumar Dey opines, "The existence of kabi songs may be traced to the beginning of the 18th century or even beyond it to the 17th; but the flourishing period of the Kabiwalas was between and From the close of the 18th century for more than half a century the new kavi—poetry and panchali reigned supreme in the Kolkata region and almost threatened to sweep everything else in literature.

Banglapedia [6]. Sushil Kumar Dey has a word of praise for the kaviyals, "These poets were, no doubt, born among the people lowest classeslived with the people and understood perfectly their ways of thinking and feeling; hence their direct hold upon the masses of whom many a modern writer is contentedly ignorant.

Pran Sakhire(Bhatiali)

Kobigaan was a debating contest between two minstrels Kobiaal the poets of the Kobigaan genre and their troupes Dohars in Verse with some traditional musical instruments of Bengal. The mythological themes as well as the erotic themes were used. When mythological themes was used in Kobigaan, that was called Torja, this Torja was an old and traditional Kobi Gaan.

The Kheyur was the second type Kobi Gaan in which erotic themes like Radha and Krishna were used as metaphorically. The Kobi Gaan is still performed in villages of Bengal with a small scale. A number of kaviyals attained popularity and fame. In Birbhum district alone there were about three hundred kaviyals from the 18th—20th century.

Mukunda Dasmore popular as a charan kaviwas also a kaviyal. Another famous kaviyal, Anthony Firingeea person of Portuguese origin, [8] was featured in a Bengali biographical film bearing his name, with Uttam Kumar portraying him.

Bhatiyali: A short survey of the subcontinent's eternal river songs

Bhola Moira 19th century kaviyal was a popular and entertaining singer who could keep his audience mesmerised. Realising the importance of popular entertainment, Ishwar Chandra Vidyasagar complimented Bhola Moira and said, "To awaken the society of Bengal, it is necessary to have orators like Ramgopal Ghoshamusing men like Hutom Pyancha and folk singers like Bhola Moira".

From Wikipedia, the free encyclopedia. Bengalis Bengali Renaissance List of Bengalis. Mythology and folklore. Music and performing arts.

Cinema of Bangladesh Cinema of West Bengal. Baulthe mystic minstrel of Bengal. The mug of Mymensingh is better, and the kai fish of Khulna; Dhaka's pataksir is better, and the yoghurt of Bankura; The sweetmeat makers of Krishnanagar are better, and the mangoes of Maldaha; Ulo's male monkeys are better, and the blackberries of Murshidabad; The fathers-in-law of Rangpur are better, and the sons—in—law of Rajshahi; The boats of Noakhali are better, and the midwives of Chittagong; The Kayets of Dinajpur are better, and the wine sellers of Howrah; The Vaishnavas of Pabna are better, and the mudi of Faridpur; The cultivators of Burdwan are better, and the milkmen of Paraganas; The girls of Guptipara are better—beware your line will soon become extinct.

The fighters and ruffians of Hughli are better, and the buttermilk of Birbhum. It is better if the rhythm of the dhak stops and all utter the name of Hari in chorus. Banglapedia: National Encyclopedia of Bangladesh Second ed.The term "bhatiyali" mean the downstream or ebb.

But the term Bhatiyali in its literal sense signifies the particular type of folk music sung by the boatman during his up-journey across down streams of the riverine districts of Bengal. The song begins with an endearing address to a person who remains at a distance. So the voice takes a loud flight of top notes in the beginning. Gradually, the tune slides down to lower notes.

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Bhatiyali traditional boat song of eastern Bengal, sung in a specific mode, noted for its long-drawn notes. In riverine Bangladesh, boatmen spent a lot of time in their boats. While sailing downstream, they had plenty of leisure to sing comfortably in the drawn out and elevated notes characteristic of the bhatiyali. In course of time, this song gained popularity particularly in mymensingh and sylhet districts.

At one time, there were five types of bhatiyali in Bangladesh. But some of these forms are extinct at present. The songs known as murshidi and bichchhedi are also forms of the bhatiyali. Strains of bhatiyali can be found in Bangla folk drama, especially in the form known as gazir gan. In many instances, the word bhatiyali is used in a song to point out the note of a specific verse. There are also references to bhatiyali songs and tunes in different texts.

Bhatiyali songs are also mentioned in srikrishnakirtan. There is a difference between folk music of Bengal and folk music of most of the other kinds.

Usually, folk music employs five to seven notes in all for a particular piece and goes on permuting them. That is why it becomes repetitive after a while. In folk songs of of Bengal, there are different styles. In one such style, called Bhatiyali Boatman's songsometimes even twelve notes are used. And the range usually covers two and half octaves. In this particular style of singing, we see something very close to a Chord playing.

In in Calcutta, a group of committed scholars and folklorists had gathered together to form the Folk music and Folklore Research Institute at Khaled Choudhury's house, out of a growing "awareness of an impending crisis in folk music" compounded by "commercial distortion" and the consequential falsification of the folk genres.

The commercial distortion has grown more and more macabre over the years, and one is pained to hear cosmetic bauls who sing pseudo melodies in a "heritage park" in Calcutta, forming just one of the trappings that make up India; or the lofty notes of a bhatiyali melody just serving a background score in a film - the rich earthy song of the soil decontextualised and deconstructed to serve the selfish ends of modern urban civilisation.

The neglect that has ravaged folk music has been most evident in the glitzy packaging of the folk to sell as exotica abroad.These area were covered by Kamtapur state and so for the song also Kamtapuri language is used. This folk song is sung traditionally both solo and by chorus. There are various viewpoints regarding the meaning of Bhawaiya. Low-lying land with shrub and other vegetable are called Bhawa.

Buffalo keepers used to sing this song while ploughing. Hence the name Bhawaiya came to exist. According to some other researcher Bhawaiya is derived from the word Bawaiya which is subsequently derived from the word bao breeze. So the derivative meaning of this word is emotionally charged. According to Abbas Uddinfamous singer and composer of Bhawaiya song, this song is like the random and pleasant wind blowing of North Bengal and it is named as Bhawaiya.

It has a meaning of deep feeling or love or melancholy feeling. The most dominant part of the performers are the Rajbanshi or Kamtapuri residence of Kamtapur state people from the North bengal and northern part of Bangladesh.

But the BrahminKochYogiKhenMuslim who are the resident of this area are also sing this folk song. Nowadays some of the well known bhawaiya songs are adopted in Bengali Cinema as well as in some modern folk bands.

Folk song is characterised by a typical tonal structure which reflects specific natural, environmental and work related factors, topographical condition, ethnic and phonetic characteristic of the region.

The following tonal structure is generally used in Bhawaiya music:. Use of only flattened n is also a fundamental characteristic of Bhawaiya song. Dn Dn - is one of the known tonal texture of this song. S and M are used comparatively more here. The melody of this folk song generally does not go beyond the middle octave. But in some recent song specially in catka the tune goes up to the upper octave.

Bhawaiya song are sung in a higher pitch. Typical voice modulation is characteristic of this folk song. Lots of microtunes are used with the main tune and pitch for this voice modulation. It tells about the gradual demise of this folk song from the northern part of the Bangladesh due to poverty.

Documentary on Bhawaiya. From Wikipedia, the free encyclopedia. Music of Bangladesh Baulthe mystic minstrel of Bengal. Bengalis Bengali Renaissance List of Bengalis.

Mythology and folklore. Music and performing arts. Cinema of Bangladesh Cinema of West Bengal.

bhatiali gaan

Further information: List of Bhawaiya singers. New Delhi: Global Vision Pub. News Track India. Nov 13, Retrieved 2 December Culture of West Bengal.He has talked about his lone ramblings on the Gumti in Tripura, listening to folk music based on rivers many times.

Later, as singer-scholar Rongili Biswas would roughly translate the song for me, it meant:. I do not know your name.

These songs, and many others added to the list had something in common: Rivers, definitely, but something more. A serenity, a plaint, a contemplation.

No chorus marred the beauty of this lonely questioning down the river. The notes were muted, starting with initial high notes, descending and meandering into low notes where the songs were based.

This was Bhatiyali: the song of the river, sung by the river through her boatsmen. Bhatiyali has river in its name itself. All of West Bengal and Bangladesh — the land of rivers — is well-versed with Bhatiyali and it is here that the genre has evolved, but it is relatively unknown to us from other parts of India.

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Several of my favourite film songs got pigeon-holed here. Salil Chowdhury also experimented with this music of rivers. Bhatiyali is sung solo, with little or no instruments, occasionally a stringed dotara.

Like most folk music, it defies rigid classification into ragas, although it shows similarities with Bilawal and Pahadi-Jhinjoti-Behag.

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The river has sculpted the very structure of the Bhatiyali. The bare nature and the very expanse of the river facing the boatman brings out existential anguishes in him.

Bhatiyali often tends to merge with dehatattwa — a genre of music that dwells on the philosophy of the body.

In these, the river is typically used as a metaphor for life itself. The fact that Bhatiyali is so deeply a song of the river is something it shares with folk music. It is a response of humans to their environment and is a product of that very environment. For example, music of the High Hills has higher lilting notes, contrasted with music of deep jungles like Bastar where tribes sing in much lower, subdued notes and soft rhythm.

Unlike contemporary music, it is not directed at any audience. The lyrics of Bhatiyali tell us about the lone journey of the boatman down the vast, never-ending river. The songs have a strange character. Because they are born on a living river with all her moods, they are not always full of praise for the river, unlike classical shlokas or paeans.

They are honest and real. They also talk of the drudgery of the journey, the treacherous river and its storms and floods. I asked Biswas if the river is a metaphor for life in Bhatiyali. Bhatiyali songs talk of several rivers: Padma, Ganga, Meghna, Jamuna, Seetlakshya, their sandy shores and fluctuating water levels, animals along the river banks: elephants and fish and crocodiles, Kaas flowers and pools full of pink lotus and water lilies.

Manna Dey has sung this song beautifully. While some talk of how limitless river is, they also talk about the unity in this limitlessness.

bhatiali gaan

Like rivers, Bhatiyali defies boundaries.With a unique loyalty program, the Hungama rewards you for predefined action on our platform. Accumulated coins can be redeemed to, Hungama subscriptions.

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bhatiali gaan

Hi Guest Login Register. Singer - Dohar. Piriter Bondhu Re Bengali 2. Dohar Radio. Tapas Roy. Piriter Bondhu Re Songs. Similar Songs. All Right Reserved. We have noticed that you have an ad blocker enabled on your browser.The people of Bangladesh live by harvesting crops and fish. Rivers play an important role in their living. For years rivers have influence on the sorrow and joy of the people of Bangladesh. For this people, culture and river are deeply interrelated in songs of Bangladesh.

Bhatiali is a very popular song in the community of boatmen. It is native to the bhati or low-lying region.

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The term Bhatiali derived from the word bhatiwhich means the river-coast. Though these songs are related to rivers, it also reflects the sorrow, pain, joy and longing of the people of bhati regions. It narrates the customs of the fishermen, boatmen and farmers.

Most of the lyrics of Bhatiali characterised by a feeling of longing of the soul for eternal. The dominant theme is love and pains. Bhatiali may express simple joy too.

This type of song is generally sung in a high pitch. As the boat plies along with the current, the vast endless rivers inspire a sense of wonder - longing to see his destination and the boatmen start singing in full-throated ease, giving expression to his feelings. His voice rises and falls in keeping with the movement with the heaving of water. The Bhatiali songs of Bangladesh can be easily distinguished from that of West Bengal by the style of singing.

Bhatiali songs of Bangladesh is based on tune and melody which is very slow and more sustained. Bhatiali is sung solo. Bhatiali belongs to the low-lying areas of Bangladesh. These songs express simple joys and sorrows of boatmen.

Reasons for selection. Area where performed.The musical structure of Bhatiali, Bhaoaia and Baul are classed as the standard music of the popular type. Songs have been collected and popularised, notations made available and tunes have infiltrated in common music, film tunes and lyrical songs of the poet-composers. Bhatiali is a standard folk music of urban type popularised greatly within half a century. Its subject matter with specific themes, based on definite form of tune and mode of performance, is familiar to a section of composers and artistes of the urban areas.

Bhatiali literally means a song of the boatman going down the stream. It is a music of the wide field where the singer just sings and where the presence of no listener is presumed. He starts at once with an exclamation of endearing poignancy, addressed to his love at a distance in the high pitch-note and gradually descends over the seven notes until the tune stops at a point.

A simple and plain voice with full throated ease can create wonder in this type of song. Bhatiali is generally described as a sad tune. Originally it was not supposed to be accompanied on musical instruments.

The use of Dotara, the string instrument now played with strokes or strummings, making for a few combinations of notes for accompaniment to Bhatiali, Bhaoaia and other types of songs, is a stage in the evolution of this music. Bhaoaia is sometimes called a song on Dotara. Both Bhatiali and Bhaoaia are free from religious bias.

These songs depict longings and pathos of love and some other similar feature like those of relationship of the mother-in-law and the sister-in-law and so on. Therefore, softness and gracefulness are some of the important features exposed in the tune. One of the most colourful, rhythmic songs of the Bhatiali group is Sarisung during boat-race in East Bengal. The song is initiated by a leader standing in the midst of a party of boatmen pulling the oar on the water with beats.

Series of sounds in water with rhythmic strokes on the flanks of the boat in a quick tempo. They repeat the leader's loud song in chorus along with beats.

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Series of sounds in water and on the boat-side get mixed up with occasional yelling. The subject-matter of Sari is a down-to-the earth thing. As regards the structure of Bhatiali tune, it may be explained in terms of two modes; firstly, it is in Bilawal That. This means the music starts from the note F m of the higher octave with address or exclamination and gradually descends to the lower notes in a drawl.

Secondly, the tune starts from the top C Sa and D Re and gradually descends over the notes of the middle octave in a similar manner to the tonic C Sa and then it gradually goes down to the lower octave below tonic C and finally, touching B flat n the tune would stop at A Da of the lower octave. In the latter case the tune belongs to Khamaj That. For use of the notes below C Sa and for some other characteristics the tune is considered to be Raga Jhinjhoti familiar in Bengal.


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