1.2 Name of the element, as used by the community or group concerned
Meyeli Geet (Folk songs of Women)
1.3 Short, maximally informative title (including indication of domain(s))
Meyeli Geet of Jamalpur are the songs sung by women, falling in ICH Domain 2 of performing arts
1.4 Community(ies)/group(s) that recognize the element as part of their cultural heritage
Women of the Bengali community. Basically all people are members of this community.
1.5 Physical location(s) of the element/how often it is practiced
The practice of female music continues in Jamalpur, Kushtia, North Bengal and other areas of Bangladesh. It is a practice that is traditional and involves the daily lives of women. However, the range of female songs has decreased in Jamalpur region. In Madarganj Upazila, Tulsipur Union, Melandah Upazila, etc. of Jamalpur, the range of female songs is most noticeable.
1.6 Short description (max. 200words)
Feminine songs are exclusively the songs of Bengali girls. Mixed with this song is the life of a large group of women, their struggles, their simple and boundless sorrow. This song is a harmonious expression of women's creativity and innumerable feelings. Sometimes women compose their own songs and serve them in their own environment. The simple pleasures and pains of women's life, festival ceremonies, customs, folklore, simple beavers, social customs, traditional relations between men and women and domesticity, etc. are the subjects of women's songs. In terms of quality and quantity, this femininity is present in a wide and prominent part of Bengali folk music.
Feminism is not a symbol of a single or special femininity, but a collective and social creation of an integrated women's life. Economic activity of women in Jamalpur region is noticeable. Just as they are working at home and in the field, the women-centric cottage industry of Jamalpur is also famous in the country. The feminist songs of this region also bear the imprint of all these active and prominent lifestyles. The unity of women is mainly expressed through women's songs. The peculiarities, philosophy, influence, dynamics, practices, etc. of the folk songs of Jamalpur will be highlighted in the research initiative.
(https://www.bhorerkagoj.com/print-edition/2019/03/01/238859.php)
1.7 Domain of the element (select one or more/suggest alternative domain)
2. Characteristics of the element
2.1 Practitioners(s)/performer(s): roles, age, gender, social status, and/or professional category etc)
2.2 Other tradition bearers (individuals/groups and their roles)
Invited / Invited or ordinary people of the society or anyone can participate in the event of female music. Although it is basically a women-centric song, there are no restrictions for men. Everyone can participate directly and indirectly. (According to the information available at present)
Location: body yard, large veranda, floor of the house (especially when the bride / groom is seated on the floor for the wedding ceremony), bathroom (especially when the bride / groom is bathed in the wedding).
Costume: Wears sari / cloth, maxi, three piece etc. In this case, there is no specificity of clothing.
In particular, no different musical instruments are used in female music. While singing, the women / artists perform the song by clapping and dancing.
2.5 Associated intangible elements (if any)
★ Dance ★ Oral tradition of performing songs ★ Performing style ★ Tunes ★ Different rituals or customs ★ Family, personal or social narratives.
Although the female song is a 'song', various aspects of women's life are revealed in it along with the performance of the song. Diverse aspects are also part of the intangible culture.
2.6 How are women and people of other genders associated with this ICH element
The female anthem is the female anthem. Girls are the leaders in the field of music. Artists perform songs as well as dances. However, do not apply the word dance with the song.
2.7 Division of labour during the practice of aforementioned ICH element
Is traditionally practiced. Women do not sing suddenly. Sometimes he learns from the place of interest from his childhood and sometimes he practices the lineage. However, most of the time, the artists take music lessons from family members like mother, grandmother, grandmother, elder sister etc. Artists do not make any written list of feminine songs.
2.8 Customary practices governing access to the element or to aspects of it
Not applicable.
2.9 Modes of transmission
Is traditionally practiced. Women do not sing suddenly. Sometimes he learns from the place of interest from his childhood and sometimes he practices the lineage. However, most of the time, the artists take music lessons from family members like mother, grandmother, grandmother, elder sister etc. Artists do not make any written list of feminine songs.
2.10 Organizations concerned (non-governmental organizations and others)
Not applicable
3. State of the element (viability)
3.1 Threats to the enactment (if any)
No threats.
3.2 Threats to the transmission (if any)
Not applicable.
3.3 Threat to associated tangible elements and resources (if any)
Not applicable.
3.4 Viability of associated intangible elements (if any)
Not applicable.
3.5 Safeguarding measures in place (if any)
1. List all the ceremonies centered on the festival. 2. Staying close to a particular community through emotional and financial support. 3) To ensure uninterrupted cultural celebration irrespective of the community
4. Data gathering/documentation, Consent and preparation of inventory entries
4.1 Consent of community/group/individuals concerned for data collection with a view to inventorying
Their verbal consent was obtained through a conversation on mobile with artist Ayesha, Sumati. They gladly agreed to give all the information about the female song. The other three artists also agreed to provide information through artist Sumati.
4.2 Restrictions, if any, on use of data collected
There are no restrictions on data usage.
5. Resource Person
5.1 Persons/groups, including community representatives
1.Anjumanara Begum Beauty. 2. Khaleda Nur Begum.
5.2 Date(s) and place(s) of data gathering
Date : 2020-05-16 Place(s) : 16 May 2020.
6. Safeguarding techniques
6.1 Existing safeguarding techniques in the community for the safeguarding of the ICH element
Not applicable.
6.2 Suggestions for safeguarding of the ICH element from the community
Not applicable.
7. References to literature, discography, audiovisual materials or archives
7.1 References to/in literature
Some work has been done on female music. Folklore Collection No. 36 and 57 published by Bangla Academy has been published by collecting female songs from different regions of Bangladesh (female songs of North Bengal, female songs of Mymensingh region, female songs of Jessore region, female songs of Rangpur region). But there was no detailed analysis of the lyric. Folk songs from different parts of Jamalpur have been collected in the books 'Bangladesh Folk Culture Books Mymensingh' (2016) and 'Bangladesh Folk Culture Books Jamalpur' (2013) published by Bangla Academy. There is no separate discussion about the possibility of women's community in women's music, the dynamism of the community. Simon Zakaria's book 'Bangladesh Folk Music' (2013) has two articles on female music. There is a brief talk about the performance of female music, type of song, dress, community of songs. Besides, Shaktinath Jha's book 'Muslim Society's Wedding Song and Gop's Wedding Song' (2018) talks about wedding song as a type of West Bengal girl's song. Songs have been collected in Ferdousi Lucky's book 'Brakshanbaria's Wedding Song' (2017) and the artists have been briefly discussed. However, no detailed research has been done on female lyric as an ICH component.
7.2 Audiovisual materials or archives
Not applicable
7.3 Discography or archives
Not applicable
8. Modalities for updating the information contained in the inventory entry
8.1 Persons/groups, including community representatives, who compiled the inventory entry
Sumaiya Nasrin Oyeshee
8.2 Consent of community/group/individuals concerned for data collection with a view to inventorying
Anjumanara Begum Beauty.
8.3 Date of community consent to include the entry on an inventory
2020-05-16
8.4 Present condition of the cultural element
Developing or expanding
9. Community suggestions
(a)Brief description of suggestions for safeguarding of the element by community members/experts/holders, if any
Not applicable.
(b)Brief description of restrictions on use of data collected, if any