Content Details

1.1 Identification of the element

Oral traditions and expressions including language

1.2 Name of the element, as used by the community or group concerned

Mymensingh Geetika, is a collection of folk ballads from the region of Mymensingh

1.3 Short, maximally informative title (including indication of domain(s))

Kuddus Boyati.• Oral traditions and expressions

1.4 Community(ies)/group(s) that recognize the element as part of their cultural heritage

Rural & Folk

1.5 Physical location(s) of the element/how often it is practiced

Mymensingh Division

1.6 Short description (max. 200words)

Abdul Kuddus Boyati (born 1947) is a Bangladeshi folk singer.[1][2] He is often mentioned as Folk Superstar by Bangladeshi media.[3][4]he is also popular YouTube person in recent year.Kuddus was born in 1947 at Rajibpur village, Kendua Upazila of Netrokona District during the time of the British Raj.[5] Due to financial problem, he didn't have the opportunity to study and started music practice at the age of 11.[5] Later, he came to Dhaka in search of work where he met Director Afzal Hossain and started his career by performing in the folk related music documentaries.[5] Music Dinesh Chandra Sen had some popular narrative ballads collected from greater Mymensingh with the help of local collectors and, after editing, published them in 1923 as a book under the title Maimansingha Gitika. After its publication it earned appreciation from all for richness of its contents and artistic quality. After reading 'Mahua', folk-lorist Stella Cromoreach commented- 'in the dizziness of fever I saw Mahua, Nader Chand and Humra as if in a vision. Whatever I have studied of Indian literature, I have not come across any story so touching, so simple and so fascinating. The sad story of Mahua dazed her. The book contains ten ballads 'Malua, Chandravati, Kamala, Dewan Bhabna, Dosyu Kenaramer Pala, Rupabati, Kobko O Leela, Kajolrekha and Dewan Madina. The names of the writers of some of the ballads are known from their ritualistic introduction. For instance, Mahua's writer was Dwij Kanai, Chandravati's writer was Nayanchand Ghose, Kamala's writer was Dwij Eishan, Dasyu Kenaramer Pala's writer was Chandravati and Dewan Madina's writer was Mansur Bayati. The names of four writers are mentioned for Konka O Leela ' Damodar Das, Roghu Soot, Sreenath Binod and Nayanchand Ghose. The names of the writers of the other ballads are not yet known. The ballads having names of their writers are however indistinguishable in poetic style. In fact, they largely appear similar in themes, artistic and linguistic styles and presentation. The stories have been picked up from the folk society and local history. The ballads primarily feature the life stories of the mortal beings and not of religion. Except the Dasyu Kenaramer Pala, all other nine ballads reflect the worldly loves of men and women, some ending as comedies and others as tragedies. The ballads are named after the heroines. The roles of the heroines are brighter and more lively compared to those of the heroes. The heroines struggle more and sacrifice more than their men in establishing the depth of love. The steadfastness of women's love and boldness of their character make some critics believe that the ballads may have been influenced by some matriarchal society. In eulogizing the roles of female characters, Dinesh Chandra Sen claims in the foreword of the book: 'The female characters of the ballads vividly reflect invincible forces in love, inviolable purity of self-respect and humiliating defeat of the oppressors. Womanhood has risen not by memorizing religious hymns but by way of love.'

1.7 Domain of the element (select one or more/suggest alternative domain)

Oral traditons and expressions
Performing arts

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)

2.3 Language(s), register(s), speech level(s) involved

2.4 Associated tangible elements ( if any)

2.5 Associated intangible elements (if any)

2.6 How are women and people of other genders associated with this ICH element

2.7 Division of labour during the practice of aforementioned ICH element

2.8 Customary practices governing access to the element or to aspects of it

2.9 Modes of transmission

2.10 Organizations concerned (non-governmental organizations and others)

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

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

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