1.2 Name of the element, as used by the community or group concerned
Beillar Nachari/Lachari (Behular Nachari)
1.3 Short, maximally informative title (including indication of domain(s))
In Tangail district of Bangladesh popular folk performance of snake goddess Mansa is called Beillar Nachari/Lachari (Behular Nachari). In Tangail region BeillarNachari/Lachari narrative is performed by Muslimsof marginalized communities. This kind offolk-theatre is mostly performed on the occasion of Mansa Puja in the month of Srabon, or on Srabon Shonkranti. These ritualperformances are arranged for reedom from the fear of snakes, and for good luck. Performers charge 8 to 10 thousand taka for one night's performance..
1.4 Community(ies)/group(s) that recognize the element as part of their cultural heritage
The main patrons of this type of performance are the common people of the marginalized communities of both Hindu-Muslim religions of Tangail region.
1.5 Physical location(s) of the element/how often it is practiced
Beillar Nachari/Lachari is performed in the Tangail region of Bangladesh.
1.6 Short description (max. 200words)
Although Beillar Nachari is basically a dance performed on a song, it is part of a folk theatrical performance presented in a dialogic manner. In the case of dialogue projection, it follows the genre of ‘Jatra’ with its own characteristic variations. Beillar Nachari is performed in almost all upazilas of Kalihati, Ghatail, Sakhipur, TangailSadar, Bhuapur, Mirzapur, Gopalpur, Madhupur, Delduar, Nagarpur in Tangail district of Bangladesh. Artists perform regularly seven-eight times a year. There are more or less 13 different teams in Kushtia district which practice this form of dance.
These performances are in fact efficacious, performative rituals executed 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 household woes and obstacles. Importantly, the ritual is participated by both Hindus and Muslims from marginalized communities. In Beillar Nachari, men dress up as women and participate in the performance. In many cases, hijras take part in female roles. One important character and one minor character can play multiple roles. The actors memorize the dialogues and are dependent on a literate ‘prompter’. However, most of the other artists are non-literate. Behula, Lakkhindar and Padmadevi are the three most important characters in Beillar Nachari. Handsome teenagers between fifteen and twenty years of age are selected for these roles. They excel in dance, song and dialogue. The head of the musical chorus is known as 'Ostad', 'Ojha', 'Bayati' etc. Fifteen to twenty-five artists are required to form a troupe of Beillar Nachari. Two character artists stand at the four corners of the stage ar, and perform bandanas or songs. Many times during the performance of bandana, the main singer, or gayen, takes a position within the group of dohar (chorus) musicians. After the performance of the bandana song, the master comes on the stage and starts narrating the story. The narrative begins with the story of the birth of Goddess Padma. This song is performed till midnight.
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)
For most performers it is an alternative profession, as they are mainly landless labour, masons, carpenter, etc. The faith-healers, or 'ojhas' are well-respected organic medicine practitioners. Men play the role of women.
2.2 Other tradition bearers (individuals/groups and their roles)
'Ojha' or faith-healers play a pivotal role in these ritual performances. The role of the pledge-taking householder is significant in this practice, as they arrange the entire ritual.
BeillarNachari dancers usually wear everyday clothes. The main garment is a white dhoti, white or colored Punjabi, and waist band. Other participants wear dhoti, orloincloth, and white vests. Chukris wear sarees and blouses. Chukria adorn wigs, and use makeup.A terracotta ‘ghot’, or ritual pot representing Manasa is used for worship.
Venue: Beillar Nachari is performed by making a performance space in the temple / large ground / house yard.
Instrument / musical instruments: harmonium, khol or mridanga, congo, cymbal, flute, cornet, flute etc. instruments are used.
Rituals / Food : Vegetarian food like - khichuri, pies, daichira, ghant (curry cooked with various vegetables), luchi, sweets, different kinds of fruits, batasa, flower-belpata, tulsi tree etc. At the end of the performance, refreshments (Batasa) are given to the devotees/audiences.
Rituals / Food : Vegetarian food like - khichuri, pies, daichira, ghant (curry cooked with various vegetables), luchi, sweets, different kinds of fruits, batasa, flower-belpata, tulsi tree etc. At the end of the song performance, refreshments (Batasa) are given to the devotees/audiences
2.5 Associated intangible elements (if any)
Knowledge of faith-healing is necessary.
2.6 How are women and people of other genders associated with this ICH element
Women and person of the third gender participate in the performance as dohars (chorus) and chukris (men cross-dressing in female roles). Besides, women participate in ritualstic activities.
2.7 Division of labour during the practice of aforementioned ICH element
Remuneration is paid depending on participation in the performance. For example a doyari (joker) charges Taka 1500-2000 per night and chukri charges Taka 1000-1200.
2.8 Customary practices governing access to the element or to aspects of it
Not Applicable
2.9 Modes of transmission
All these songs are being practiced from generation to generation / Guru Shishya tradition. But nowadays the new generation does not show interest in joining this practice. The performers have been learning this art form from their ancestors. There was no written document before. Now the work has slowly begun. Usually people of the community learn this art by observing and following their elders and as they become experienced and mature enough they start to perform.Everyone is allowed to witness the performance.
2.10 Organizations concerned (non-governmental organizations and others)
*Shadhona
*Bhabnagar
3. State of the element (viability)
3.1 Threats to the enactment (if any)
Major religious Fundamentalist groups are now on the risand obstruct these practice .
3.2 Threats to the transmission (if any)
Yes
3.3 Threat to associated tangible elements and resources (if any)
No
3.4 Viability of associated intangible elements (if any)
Ojhabidda or faith-healing is loosing popularity. The new generation is not interested in these activities.
3.5 Safeguarding measures in place (if any)
No.
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 received.
4.2 Restrictions, if any, on use of data collected
No
5. Resource Person
5.1 Persons/groups, including community representatives
6.1 Existing safeguarding techniques in the community for the safeguarding of the ICH element
There is no.safeguarding in place.
6.2 Suggestions for safeguarding of the ICH element from the community
* Documention in National ICH Inventory
* Celebration on Srabob=n Shongkranti
* Ensure transmission
* Promote sustainability by arranging showcasings
7. References to literature, discography, audiovisual materials or archives
7.1 References to/in literature
*Manoshamongol
*Paddma Puran
*Manosha Bijoy
*Doshu Kena Ramer Pala
Sen, Rai Saheb Dineshchandra. 1920. The Folk Literature of Bengal: Lectures delivered to the Calcutta University in 1917,. Calcutta: University of Calcutta.
7.2 Audiovisual materials or archives
'Roots to Revival': https://youtu.be/_D2ACLb9YyM
7.3 Discography or archives
No
8. Modalities for updating the information contained in the inventory entry
8.1 Persons/groups, including community representatives, who compiled the inventory entry
Gautam Chandra Barman and Shadhona.
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
Becoming less
9. Community suggestions
(a)Brief description of suggestions for safeguarding of the element by community members/experts/holders, if any
Arranging government grants and organizing Pala services at the local level. Provision of allowances to performer. And to provide for advanced research, documentation and archiving of this performance
(b)Brief description of restrictions on use of data collected, if any
Permission must be obtained before using the above information