1.2 Name of the element, as used by the community or group concerned
'Kirtans' of Tangail
1.3 Short, maximally informative title (including indication of domain(s))
Kirtan and Kirtaniya of Tangail: Searching for art and tradition
1.4 Community(ies)/group(s) that recognize the element as part of their cultural heritage
Bengali (Traditional community)
1.5 Physical location(s) of the element/how often it is practiced
In front of Radhakrishna temple, Performance / practice of this song in the home or association of some members of the Hindu community Happens.
1.6 Short description (max. 200words)
For the sake of peace and well-being, in the form, in knowledge, in valor and in deeds, the best is the remembrance of his name, the song describing the virtues - is the kirtan song, which is a fancy creation of the medieval stage. This song has been a part of India's greatest spiritual pursuits since time immemorial. Before the founding of the city of Kolkata, kirtan was part of the entire rural culture. Based on that source, this kirtan song in Tangail district is shining in the history of many traditions and well-known folk culture of Bengal. This kirtan song has elevated Tangail district in the practice of culture along with religious knowledge and welfare. But this position is fading a lot today. Due to proper patronage, change in the standard of personal life, reluctance of the present generation to carry this tradition, etc., the kirtaniyas are not able to show the same interest as before. Except in some places, kirtan songs are not being arranged as before. There is hardly any interest in this song in the new generation. As a result, this song is lost. As a result, on the one hand, there is a need to keep the tradition of this song alive. It is with this in mind that appropriate investigative work has been undertaken for the collection, preservation and improvement of the condition of the artists / kirtaniyas of this song.
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)
1. Name - Dulal Chakraborty (Radha-Kalachand Community),Age- 56, Gender - Male,Occupation - Artist (has kirtan choir) 2. Name - Bablu Saha (Ananda community) Age - 40, Gender - Male
Profession - Trader & Artist (Associated with Manohari Shop & Kirtan Music)
2.2 Other tradition bearers (individuals/groups and their roles)
Other members of the community are indirectly involved in the preparation of kirtan songs / stage, lighting, decoration and dressing room, costumes, training, supervision etc. and help in its practice or dissemination.
Bengali language
Sings in the regional language of Tangail. However, in the case of Lilakirtan, Bengali, Brajbuli and Sanskrit are the three types of languages and regional dialects.
2.4 Associated tangible elements ( if any)
Clothing: All the Kushilabs of Padavali Kirtan usually wear dhoti and fatwa. Kirtaniya uses an extra sash and waistband as the lead singer. In particular, the organizers gave the kirtan team a T-shirt with the imprint of the Radha-Krishna duo. In that case, the kirtan performers use T-shirts instead of fatwa. Venue: Kirtan songs are performed by making a stage or hall in the temple / big field. Instruments / Musical Instruments: Harmonium, shell or percussion instrument, percussion, violin, flute, dugdugi, presently key boards, pads etc. are used. Rituals / Foods: Vegetarian food such as khichuri, labra, luchi, confectionery, various fruits, lollipops, flowers, basil plants, etc. Bhoga prasad (lollipops) are sprinkled among the devotees / spectators during the kirtan.
2.5 Associated intangible elements (if any)
Kirtan songs were performed while dancing. The melody, rhythm and spirituality are reflected in the song which is part of the untouchable element.
2.6 How are women and people of other genders associated with this ICH element
There are kirtan groups for both men and women. However, there are very few women's teams and more men's teams.
2.7 Division of labour during the practice of aforementioned ICH element
1. Bablu Saha (informant, of the Ananda community) said the division of labor in his team is equal among men. However, female members (chanting Leela) have to pay more (5000-6000). The reason, she said, is that female members rarely have high demand for music. So you have to bring in the team in exchange for a higher fee. 2. Dulal Chakraborty (informant, from the Radha-Kalachand community) said there were no women members in his party. In their group there are basically two divisions of labor. 1. Contract-based - especially in the case of harmonium / mridang players (food-drink + remuneration to be borne by the team). 2. The lead singer gets paid a little more and the rest is shared among others.
2.8 Customary practices governing access to the element or to aspects of it
Access - There is no obligation. People of all religions can enter.
2.9 Modes of transmission
Inheritance and initiation to the Guru are the two methods of transmission.
2.10 Organizations concerned (non-governmental organizations and others)
1. Ananda community and Suryoday Natya Shilpi Kalyan Sangha - North Betdoba, Kalihati (Hamidpur Bazar) Tangail.
2. Radha - Kalachand Community and Natmandir - Pakulla Village, Mirzapur Thana, Tangail.
3. State of the element (viability)
3.1 Threats to the enactment (if any)
3.2 Threats to the transmission (if any)
3.3 Threat to associated tangible elements and resources (if any)
3.4 Viability of associated intangible elements (if any)
3.5 Safeguarding measures in place (if any)
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
4.2 Restrictions, if any, on use of data collected
5. Resource Person
5.1 Persons/groups, including community representatives
5.2 Date(s) and place(s) of data gathering
Date : Place(s) :
6. Safeguarding techniques
6.1 Existing safeguarding techniques in the community for the safeguarding of the ICH element
6.2 Suggestions for safeguarding of the ICH element from the community
7. References to literature, discography, audiovisual materials or archives
7.1 References to/in literature
7.2 Audiovisual materials or archives
7.3 Discography or archives
8. Modalities for updating the information contained in the inventory entry
8.1 Persons/groups, including community representatives, who compiled the inventory entry
Nipa Paul, Jatiya Kabi Kazi Nazrul Islam University
E-mail: nipapaul770@gmail.com
8.2 Consent of community/group/individuals concerned for data collection with a view to inventorying
8.3 Date of community consent to include the entry on an inventory
8.4 Present condition of the cultural element
Becoming less
9. Community suggestions
(a)Brief description of suggestions for safeguarding of the element by community members/experts/holders, if any
(b)Brief description of restrictions on use of data collected, if any