Perhaps the greatest demands are placed upon the main performer (i.e., the geedal), who must sing, provide narration, and play the traditional stringed instrument known as bana. Much of the narration is presented in the form of the song. However, unlike much of the other theatre of South Asia, dance plays a relatively minor role. Music and dance are integral to the kushan theatre.
As is typical of much of South Asia, women performers are not used. These are four to six young boys who dress up in women’s clothing and play the female parts of the drama. Of particular interest among the paiil are the chokra. The supporting singer-cum-actors are known as “paiil”. Therefore one finds designations such as, harmonium-master clarinet-master etc. there is a slightly different nomenclature for the players of Western instruments for these, the term “master” is appended to their instrument name. The baiin members are named according to their instrument therfore “banshia” is the banshi (i.e., bansuri) player Khuli is the khol player Juridar are the mondira or khafi players (i.e., manjira) and the behala-master is the violin player. The supporting musicians are known as the “baiin”. After these come the supporting musicians, and a very few singer-cum-actors. This secondary narrator gives almost the same narration, but instead of a more standard Bengali ( Bangla Bhasha), he translates it into a local vernacular dialect of Rangpuri or Rajbongshi. Secondary to the geedal is the dohar, daaree, or doaree. The geedal gives the narration in Bengali this is the official language of both Bangladesh and the North East Indian state of West Bengal. There is a main performer who is also the leader of the group he is known as the “geedal” or “mool”. There is a distinctive hierarchy of performers in the kushan theatre. This is supposedly derived from the concept of destroying injustice, which is a consistent theme of the kushan theatre. According to other people the word “kushan” means “To wipe away evil” (“ku”= evil, “shan”= “to clean by wiping”).
There is different story concerning the origin of the term. According to this etymology, “Kushan” means “bring straw”. After some time, the missing son Lob returned, and from that day forward Sheeta had two sons, Lob and Kush. When Balmeeki obtained the straw, he fashioned it into the form resembling the missing son Lob, and infused it with life. When Balmeeki heard of Sheeta’s dilemma, he told her to “bring some straw” (Kush = “hay” or “straw”, “aan”= “bring”).
Saraswati vandana dance how to#
Sheeta told Balmeeki that she did not know how to tell Sree Raam Chandro (i.e., Sri Ram Chandra) that their son was missing. Sheeta was in great distress and Balmeeki Muni (i.e. There appear to be two stories concerning the origin of the term but both of these deserve considerable scepticism.Īccording to some, it seems that one day Sheeta’s (i.e. The etymology of the term “kushan” is unclear. In particular they tend to revolve around Ram’s sons Kush and Lob (i.e., Lav). The themes of the kushan theatre are essentially religious in nature and revolve around portions of the Ramayan.
The kushan (sometimes transliterated as kusan), is a dramatic presentation which involves, singing, recitation of dialogue, acting, dancing, and musical accompaniment. Our efforts at reviving this artform have been centred around the Dhorla river basin area of northern Bangladesh. The kushan is a form of folk theatre that was once found in many parts of West Bengal and the former greater Rangpur district of Bangladesh.
Biblio., Disc., & Works Cited open child menu.Electronic Aids in Indian Music Education.
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