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

Abritti, the art of recitation.

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

‘The lexical meaning of recitation is that which matches, is repeated reading or re-reading. If you recite the recitation over and over again, that is the recitation in the lexical sense. Recitation is the study of artistic aesthetic sense in creative moderation in conjunction with lexical meaning. ' In the poetry class book, Nirendranath Chakraborty says, "Recitation is the enchanting voice that a person creates by experiencing his sophisticated voice fluctuations, clear and meaningful pronunciation, the beauty of rhythm, poetry and prose, and his own emotional feelings about poetry or prose."

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

Performance artistes, poets and literary enthusiasts

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

All urban centers of Bangladesh

1.6 Short description (max. 200words)

There is no room for dissent now that recitation is an art. Although recitation is claimed to be the creation of modern times, many of us are unaware that its origin is very ancient. Recitation is the art through which a wonderful bridge is formed between the poet and the public, and is done by a successful reciter. If we look at the present time, we can see that recitation is not only for the needs of the industry but also for the livelihood of many. In Bangladesh, mainly under the guidance of Dr. Mohammad Moniruzzaman, Reverend Dilwar Hasan and Manik Mahbubur Rahman; The first recitation organization 'Abritti Sangsad' was formed in 1985. In 1986, Jayant Chattopadhyay established a recitation organization called 'Brinda' in Khulna. The recitation organization 'Samashti' was formed in 1986. Then a long time has passed. Then, 4 years later, in 1971, an organization called 'Cultural Party' was formed at Dhaka University. Swagatokti was established in 1983. After that, the scope of recitation was expanded in 1964 through the anti-authoritarian movement 'Kanthashilan', 'Swarit', 'Muktakantha'. 'Swanan', 'Katha', 'Samonvay' and 'Swarashruti' were made in 1975. Since then, the revolution of recitation industry has been happening. Then recitation became a means of entertainment in cultural programs. Schools and colleges are also given the opportunity to recite in various cultural programs. But its popularity peaked in the 90's, with recitations coming out of the confines of the elite and savvy audiences to the doorsteps of ordinary people; The strong attraction of acceptance is the opening of the veil of recitation. In the meantime, for the welfare of recitation, 'Avartti Federation' and 'Bangladesh Abritti Samonvay Parishad' were established in 1989, which is a growing result of today's recitation industry. We have memorized the melody and consonance of the recitation with love.

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