1.3 Short, maximally informative title (including indication of domain(s))
This is a ritual performance which falls under the third ICH domain - Social practices, rituals and festive events
1.4 Community(ies)/group(s) that recognize the element as part of their cultural heritage
Hindu and Muslim communities of rural Bangladesh, especially from marginalized groups.
1.5 Physical location(s) of the element/how often it is practiced
Poddar Nachon is usually presented across the country mostly in the districts of Kushtia. The artistes belong from different part of Kushtia district.
1.6 Short description (max. 200words)
In rural Bangladesh with the downpour of the Monsoons comes the menace of snakes that spread a pall of fear. Thus, all over the countryside, amongst the marginalized communities, be they Muslim or Hindu, householders organize performative rituals to appease the mighty Goddess of Serpents, Manasa Devi. As the legend goes, she is the mind-born daughter of Shiva, whom the hapless Brahmin merchant Chand Saudagar refused to worship. Manasa retaliated by taking the life of Chand's youngest son Lokkhindor. Thus began the epic battle between Lokkhindor's newlywed bride Behula, and the mighty Serpent Goddess. Popularly known as Poddar Nachon’, or ‘the Dance of Podda (from Padma, another name of Manasa)', these performances are in fact efficacious 'rituals' performed against a 'manot' or pledge, by a householder to appease Manasa in the hope of getting a boon from her, in the form of 'good health' for the household, or to overcome other such minor householder's obstacles. The performers, though popular village bards and actors, are all, additionally faith-healers, or 'ojhas' revered for their capacity to cure minor diseases with their wealth of knowledge about herbs and natural cure.
The actors of this event - the 'ojha', the householder, the afflicted and the onlookers, are all Muslims, standing testimony to the assimilative and plural practices of rural Bangladesh, especially amongst the marginalized.
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)
Of the many groups of Manasamangal performers, this resource person contactedone group from Kushtia comprising of:
Md. Sherebul Islam (Team leader, Performer, Age-50)
Md. Rezaul Haque Sholok (Performer, Age-53)
Md. Ali Gayen, Md. Arif, Md. Janan, Md. Tarikul Islam, Md. Jafor hussain,
Md. Ujjal, Md. Shanot (Performers)
2.2 Other tradition bearers (individuals/groups and their roles)
Villagers who make the pledge, or 'manot' and arrange the program. Also costume makers,musicians, stage and 'pandel' makers.
Instruments- Mandira, Kartal, Dhol
Costume- Shari, Blouse, petticoat, Dhoti, wig
Ritual objects such as painted terracota pots with Banana Leavrs - symbolizing 'Manasa'
Awning/canopy (চাà¦à¦¦à§‹à¦¯à¦¼à¦¾) to cover ritual space.erbal
Herbal medicine used by the faith-healer
2.5 Associated intangible elements (if any)
'Mantras' or incantations of the faith-healer
Songs
Dialogues
2.6 How are women and people of other genders associated with this ICH element
Common people who pray to Manasa and pledge a performance if blessed with her boon are associated, as are all onlookers who also offer Prasad or bhog which refers to any material substance that is first offered to the deity, and then consumed (usually fruits, sweets, flowers). The process of offering is called naivedya or bhog. There is a deep symbolism and meaning associated with Prasad. Once accepted by the temple deity, the prasad is returned to the devotee, it has the deity's blessing residing within it.
2.7 Division of labour during the practice of aforementioned ICH element
Householders make all arrangement of the space, usually in their courtyard; while the Manasamangal performers are responsible for the entire ritual performance.
2.8 Customary practices governing access to the element or to aspects of it
These ritual performances are open to all.
2.9 Modes of transmission
The practice is, mostly, transmitted through observance.
2.10 Organizations concerned (non-governmental organizations and others)
Entirely supported by each communities own resources.
3. State of the element (viability)
3.1 Threats to the enactment (if any)
Poddar Nachon, and other performative rituals of Manasa usually take place during the Monsoons. This falls in the Gregorian months of July and August. As the entire month of August has been declared a month of mourning, local administrations discourage any rituals and festivities during this period. Added to this is a diminishing of faith in these rituals..
3.2 Threats to the transmission (if any)
Performances of female roles are by male actors dressed as females, known as 'chukri'. There now a subtle intolerance towards 'chukri' performerd which discourages actors to learn these parts. Lastly,the economics of the performance is increasingly dismal. Asit is, performance is an alternate profession, even for Master artistes, who are usually landless labour, masons, barbers,auto-drivers, etc.
3.3 Threat to associated tangible elements and resources (if any)
Not significant.
3.4 Viability of associated intangible elements (if any)
The performances, though still popular, need to be recognized and documented, with some modality put in place for its conservation and transmission.
3.5 Safeguarding measures in place (if any)
The departments of theatre of various universities in Bangladesg usually arrange intermittent interactions with the Manasamangal performers. However, no safeguarding measure has been initiated with the communities themselves.
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
Consent form has been attached with this detailed entry.
4.2 Restrictions, if any, on use of data collected
Not applicable.
5. Resource Person
5.1 Persons/groups, including community representatives
a) Razaul Haque Sholok, Folk musician, Music Composer, Writer, Performer
b) Md. Sherebul Islam, Team leader & Performer
Collected by Zuairiyah Mouli, Dancer
5.2 Date(s) and place(s) of data gathering
Date : 2020-05-16 Place(s) : Kushtia
6. Safeguarding techniques
6.1 Existing safeguarding techniques in the community for the safeguarding of the ICH element
We will upload 4 Goal Approach Safeguarding Plan
6.2 Suggestions for safeguarding of the ICH element from the community
This too will be updated
7. References to literature, discography, audiovisual materials or archives
7.1 References to/in literature
Mangal-KÄvya (Bengali: মঙà§à¦—লকাবà§à¦¯; lit. "Poems of Benediction") is a group of Bengali religious texts, composed more or less between 13th and 18th centuries, notably consisting of narratives of indigenous deities of rural Bengal in the social scenario of the Middle Ages. The Mangal-KÄvyas usually give prominence to a particular deity amalgamated with a Vedic or Hindu mythological god and the narratives are usually written in the form of verses.
ManasÄ Mangal, ChandÄ« Mangal and Dharma Mangal, the three major genus of Mangal-KÄvya tradition include the portrayal of the magnitude of ManasÄ, ChandÄ« and Dharmathakur respectively. They are considered the greatest among all the native divinities in Bengal.
7.2 Audiovisual materials or archives
7.3 Discography or archives
1, Sen, Dineshchandra. "CHAPTER Ill Currency of older forms of belief amongst the converts to Islam in their folk-literature." Sen, Rai Saheb Dineshchandra. The Folk Literature of Bengal. DELHl-110052: B.R. PUBLISHING CORPORATION, 1920. 81-97.
8. Modalities for updating the information contained in the inventory entry
8.1 Persons/groups, including community representatives, who compiled the inventory entry
The Coalition for ICHpedia, Bangladesh, CIB), in collaboration with the community, will updateinforma
8.2 Consent of community/group/individuals concerned for data collection with a view to inventorying
Consent has been uploaded
8.3 Date of community consent to include the entry on an inventory
2020-05-17
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