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

Royani, Folk ritual theatre, based on oral renditions of the Snake Litanies of Goddess Manasa

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

Royani has no lexical meaning. However, in the Barisal-Patuakhali area, the lyric-story of Smritikatha or Mahatmyagantha, especially the lyric-story of Lakshindar's divinity endeavors from the birth of the serpent-goddess Manasa to his revival is known as Rayani. Their authors are called Ryanikars. From this point of view, it can be said that Rayani originated from the word Rayan (meaning Smritikatha).

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

Hindu

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

The entire Barisal and Patuakhali districts and the Madaripur Shariatpur subdivision of Faridpur district have formed the Rayani Music Zone.

1.6 Short description (max. 200words)

However, the opinion of most is: Rayani Jatra (Jatra means to move from one place to another) is a class song. As a result, the word Rayani originates from the East Bengali spoken language of the journey. Besides, Rayani song has been named as Rayani (Adventure-Journey-Departure-Rayani) as it is about the business of Chandsaodagar and the adventurous music of Behula's husband Lakshindar's resurrection. The practice of snake worship is very ancient. The serpent is not worshiped as a serpent but as a serpent god or serpent. Snake worship is practiced in different parts of the world. The aborigines of Australia have serpent totem; But there is no snake worship. There are snake gods almost everywhere in Africa. Snake worship in India is basically the worship of serpents. Manasa is being worshiped as a snake goddess in Bangladesh. It can be said that the origin of Rayani music was later transformed from mahatmyakirtan and hymns to the goddess. Based on these stories prevalent in the folk society, one of the spheres of Bengali literature in the Middle Ages - Mangal Kavya originated and developed. At one time this music was performed in the houses of Bengal, especially in the homes of Hindus. Hindus and Muslims alike listen to this song. Every year, especially with the onset of monsoon (Ashar and Shravan), when the oppression of snakes increased, Manasa Puja or the greatness of Manasa was performed in the villages and even in almost all the families. From the first to the last day of the month of Sravan, the virtues and stories of Manasa are glorified with reverence, fear and good wishes. The ryanikars then serve ryani in music day and night. After the snake bite on Lakhai, the lament of mother Sonoka was created in the minds of the childless mothers. For example, in this month of Shravan / heavy rain falls / how can I stay / in a dark room / my gold baran lakhaire my / baran hailo kalo / kina sape stings wire / so tell me. The melody of this song is tied in the same thread with the uninterrupted flow of rainy days. The song conveys the juice like the tears of the people to the rhythm of the sound of the rim-jhim of the rain. Ryani's themes, places, events and analysis and character portrayal are presented exclusively in terms of geography, folklore, natural disasters, villages. Born in Fullashree village of Gaila union of Agailjhara upazila of Barisal, Manasa Mangal written by poet Vijaygupta is sung in different parts of the country including greater Barisal. This song is usually sung throughout the month of Shravan. The artists of this song are housewives. At the end of the daily housework, after lunch and drink, Ryani sits in the courtyard of the Manasa temple or in the backyard of the house or on the verandah of the house to get the Hogla mat. The audience ranges from children and teenagers to the elderly. Rayani enjoys the magic of Behula Lakshindar's story or the variety of melodies. This scene is a hundred year old tradition of Bengal. It may be mentioned here that before seeing Lakshindar, the tears in the eyes of the mourners of the ruthless Kalinag are a reflection of the wounded heart.

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

Oral traditons and expressions
Performing arts
Social customs and traditions

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