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

Gombhira, folk dialogic performance

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

Gambhira is a popular folk performance of Rajshahi. It is a dialogue between two actors

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

Rural communities of Rajshahi

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

Gombhira performances are centred around Chapai Nawabganj District in Bangladesh. The tradition is also popular in the nearby districts of Rajshahi and Naogaon.

1.6 Short description (max. 200words)

ambhira Gan a type of folk song popular in the northwestern region of Bangladesh. Gambhira songs are assumed to have originated from the worship of the god shiva, who is also known as 'Gambhir'. In ancient times, gambhira used to be celebrated as puja (worship) only. In the medieval period, most Hindu communities celebrated the puja of dharma thakur (a popular god of the Hindus) on the last three days of the Bengali year; this came to be known as the gajan of Shiva later on. In the past Shiva was imagined to be present at the performance. Gambhira Gan Initially, gambhira was of two kinds: the primary gambhira and the narrative gambhira. The primary gambhira would address gods and goddesses and describe human joys and sorrows, and, sometimes, important events of the year. In the narrative gambhira, every character would represent a social problem. Gambhira songs originated among the Hindu community of Maldah in west bengal. After the creation of Pakistan, Chapai Nawabganj in rajshahi became the main centre of gambhira songs, which underwent major changes in theme and mode of presentation. Muslims became the custodians of this song and made it an integral part of their social life and their culture. Apart from Rajshahi, gambhira songs are also popular inNawabganj and Naogaon. At present the main characters of a gambhira are a maternal grandfather and his grandson. The performance is structured as a dialogue, interspersed with songs. Both prose and verse are used for the dialogue. The gambhira reflects contemporary social problems through witty dialogue, songs, dances and jokes. Both the actors wear lubgi. The grey-bearded grandfather wears a mathal (straw hat) on his head and holds a stick in his hand. The grandson wears a torn jersey and has a gamchha (local checked towel) tied round his waist. In the past gambhira songs were sung in the measures of ektal, trital, dadra, khemta, kaharba etc. Today the tunes are influenced by songs from popular Bangla and Hindi movies. Kutubul Alam, Rakibuddin, Biren Ghosh and Mahbubul Alam of Nawabganj have made the gambhira song popular in Bangladesh by introducing new subjects and characters and interesting and' witty dialogue.

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)

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