Folkdances of Bangladesh: A traditional identity

Native folkdance in its well-structured form exists in rural Bangladesh from ancient time's to-date. We get a clear idea about most of the folkdance practices from ancient Bengali literature to the carved terracotta on the sides of temples, and the posture of various architectural sculptures of the time, as well as from the middle ages literary perceptions, sculptures, terracotta carvings and paintings.

A verse from The Charyapada narrated between sixth century to twelfth century reads:-

'Ek so padma chowsotthi pakhuri
Tohi chori nacha Dombi bapuri.'

This means, a lotus contains sixty four petals and the poor Dombi dances on it. In other words, Dombi's dance practices were so well-skilled that she could dance on a sixty-four petal lotus, as if she almost dissolved her body's weight by the motion of her dance. Even though literary scholars search for typical presentation of native Buddhist meditative methods through this verse, at the same time it is also true that devotees derive their meditative methods' nature from current experiences of their time.

I have looked intently at the Sompura monastery as like the carved terracotta on the Buddha monastery's in Paharpur, both being contemporary to the above 10th verse from The Charyapada written by Kanhupa, and I could truly visualize a well-dressed, well-adorned female dancer dancing on the petals of a lotus. Examples of these dancing motions are also evident in the stroke-marks of The Charyapada's creators. There is another verse in The Charyapada:-

'Nachonti Bajil Ganti Devi
Buddho Natok Bisoma Hoi'.

This means, The Vajracharya is dancing, the goddess is singing. The Buddhist Theatre is difficult.From this 17th verse from The Charyapada written by Binapa, we get a classic and impartial example of Bangladesh's theatrical dance and music customs. In fact, with the traditional Bangladeshi dance practices, drama and music has been maintaining an undivided and impartial formation from the beginning.

If we look at the fifteenth-sixteenth century dance practices presented then by Sri Chaitanya Mahaprabhu we will find therein dance, drama and music present in a precisely defined form. One day Chaitanya Mahaprabhu called his disciples and said, "I wish to dance today in an appropriate manner". Not only that, he also ordered, "prepare and ordane accordingly as I shall dance. I shall dance as a female naturally does. And only those who have mastered all passions, shall watch." Pandit Sribhash argued, "I do agree but, if we must have mastered all passions in order to watch the dance, how many people will actually possess this?" Chaitanya Mahaprabhu replied to his courtiers in merriment, "If you do not watch then, what is the purpose of my dance?" After that it seems the devotees went along with their families to see that performance by Chaitanya Mahaprabhu. By studying these in detail we can visualize a clear picture of the middle ages popular dance practices narrated in Bengali. It is also correct that when Chaitanya Mahaprabhu attempted to perform his dance with his disciples, along with songs, their performance included acts and dialogues as well.

We can surely relate our present traditional dances of Bangladesh to the Chaitanya Mahaprabhu's dance practices. That is because the contemporary Bangladeshi dance, drama, music and the styles in which they are performed are all staged in similar presentations, and, these are somehow or other connected to those of our olden times. In which case, it may be mentioned that, most of this country's dance patterns includes music and, are related to the arrangements of our old myths. As a result, in maximum cases, our traditional dances are presented as musicals or theatrical plays. In some instances these performances are referred to as Nach, Nachon, Nachari although, many scholars identify them as theatrical plays. That is because, even though the elements of dances are prime focus, when the elements of drama are added to the work, it would not be incorrect to call them plays. But, other than music which is based on both rhythm and lyric, or, dialogue based plays, there still exists some pure traditional dances which is performed with the aid of rhythms alone.  Among  traditional dances of Bangladesh we have:- Jari nach, Dhamail Nach, Lathi Nach, Padmar Nachon, Behular Nachari, Baiddar Nach, Kali Nach, Dondo Nach etc.

In this discourse I will talk about some of the independent forms of dance in Bangladesh that go parallel with the traditional dance forms that revolve around songs and drama. Jari dance: In Bangladesh, Kendua under Netrokona district in Mymensingh region is the most renowned place for Jari dance. The form of Jari dance presented in this area follows distinctive rules and order just like traditional and contemporary forms of dance. This is evident in the way the dance is presented.

Jari dance is presented in several episodes. They are - Lohor dance, Bondona dance, Jhumko dance, Poyar dance, Ghuran dance, Tin Poran dance and Tripodi dance. In Lohor dance the Jarial artistes dance by moving their hands and feet with the beats of the song and move ahead at the same time dancing with the beats of the music.
Secondly, Bondona dance is presented with Bondona song which means praise or worship of the gods. Thirdly, Jhumko dance is presented with a kerchief in one hand and spreading the other hand forward with the beats of the song.

Poyar dance is presented with the ongoing beats of the song. Ghuran dance is presented by the artistes by pirouetting on their feet while presenting Bondona dance, Jhumko dance, Poyar dance and Lohor dance in circles.
Tin Poran dance is presented by moving ahead by two steps and then moving back by one step. Lastly, Tripodi dance is presented with the beats of Tripodi.    There are some other areas in Bangladesh where different forms of Jari dance are still prevalent. These areas are - Manikganj, Rajbari, Kushtia, Chuadanga and Comilla.

Dhamail dance: Dhamail is a very popular form of dance among the traditional religious communities for celebrating wedding ceremonies. A special aspect of this dance is it is presented only by the women of the community. Around ten to twenty-five women present this dance by forming a circle in an open place and singing and clapping their hands with the beats of the song. The artistes clap their hands once at the beginning of the dance and they call it 'thapa'. The amount of 'thapas' increases as the song reaches its climax. For an example, from one thapa it becomes two, three, four and five thapas. When it reaches the climax one episode ends and the women audience ululates at the end of that episode. After that, other episodes of the dance are presented one by one. In this regard, I would like to mention that in Sylhet, a Dhamail dance reached 86th episode. Dhamail dance is prevalent in several upazilas under Netrokona and Brahmanbaria district. In India, Dhamail dance is prevalent in Karimganj, Assam and Shilchar.

Lathi dance: In Bangladesh, Lathi dance is organized by common people in the villages to celebrate Bengali New Year, wedding ceremonies, Onnoprashon or the first day of baby's eating rice and many other ceremonies. Generally, a group of Lathial artistes are hired by the village for the presentation which starts with the Lathials entering the village by calling on top of their voice through different tunes. This demonstration spreads the news of Lathi dance inside and outside the village. During the presentation, the Lathials wear the clothes of their daily life and use different kinds of percussion instruments including dhol (traditional drum), kortal and kasha (bells). Also, they use different kinds of musical instruments to create tunes including clarinet and cornet.

Here I would like to mention that in Manikganj region beats are created by hitting a bell metal plate placed on top of a bell metal pitcher by a wooden or bamboo stick and Lathials dance with the beats. At the beginning the Lathials dance circling from left to right and from right to left with the beats holding the sticks with their hands. Then they form two groups and present different kinds of steps of the dance. Many regions of Bangladesh are famous for Lathi dance. They are Manikganj, Joypurhat, Norail, Sreemongol, Kishoreganj, Mymensingh, Netrokona, Kushtia and Jhinaidaha among others.

In Manikganj, sometimes songs are presented with the dance and some jesters clad in bright colors present jokes about different aspects of social rules and customs. In the midst of their jokes and songs the Lathials present their masculine and stately dance. In fact, the two groups dance in way as if they are going to lay into each other in the midst of the dance. But, every time before they plan the mock attack they present dance with the beats and then start playing again. Percussion instruments like drums, mridanga and kortal are used in this play to create a sense of drama, tension and climax during the dance.

Padmar Nachon: In Bangladesh, Padma's dance is prevalent in the Muslim community of Kushtia district. This dance is based on the story of Padmapuran. In Bengali, this dance is called Padmar Nachon where nachon means dance. It is possible that the word Nachon was added to emphasize on the predominance of dance in this presentation.

Furthermore, with traditional drama of Bangladesh, many varied types of dances are added like:- the traditional Alkap type dances, Gombhira, Gajir gaan, Kushan gaan, Astok gaan, Royani gaan, Naamkirtan and Padabali kirtan etc. Apart from this, Monipuri, Shnaotal, Orayun, Hajang, Chakma, Marma, Tripura, Rakhain and many more dancer groups' work and, festive related dances may also be mentioned here.

The author works at Bangla Academy.
The eassy is translated from Bengali by Amina Sheelly and Durdana Ghias