1.2 Name of the element, as used by the community or group concerned
Shaone dala
1.3 Short, maximally informative title (including indication of domain(s))
zedShaoner dala is practised in Tangail region of Bangladesh on Srabon Sankranti. A riverine, processional rital theater performance practised on the rivers of the Tangail district of Bangladesh.. The deck of the boat is designated as the stage for this performance. Srabon is called Shaon or Shayon in the regional language of Tangail. And this performance is done on Srabon Shongkranti and is locally known as Shaoner Dala. Basically the Nachari performers of Beilla perform Shaoner Dala. Shaone Dala is performed once a year. Rice dal garlic onion is collected in the village before the group is served. The performance continues from Vandana to saving Lakkhindar. This performance is performed with the hope of pleasing the snake goddess Manasa and getting good fortune. The performers are Muslims of marginalized community of Tangail region..
1.4 Community(ies)/group(s) that recognize the element as part of their cultural heritage
Sanatan and Muslim followers accept it as their tradition.
1.5 Physical location(s) of the element/how often it is practiced
In the greater Tangail region of Bangladesh, this song is performed under the name ShaonerDala.
1.6 Short description (max. 200words)
On Srabon Shongkranti (the last day of the month of Srabon) every year Shaone Dala is performed in the greater Tangail region. The month of Srabon, in the Bangla calendar is called Shaon in rural areas. This performance, based on the story of Manasa, is locally called Shaone Dala. The Dala, or offering, is made of bamboo and milk, banana and chira are added to it. In this way, the Behula-Lakhinder story is staged at seven ‘ghats’ or wharfs.. The groups of Behula Lachari separately board large boats and float the boats in accordance with the current of the river while singing and dancing. The ‘bondona’, or salutation is started in a particular house or open place. After that, the rest of the scenarios are performed on the boat landing and at the seven ghats. As Shaone Dala is one day-long performance it is performed in parts. Like other traditional dramas, all characters are present in Shaone Dala, but the main characters are Behula and Lakkhinder and some supporting actors. Male actors wear white dhoti and white Punjabi while female characters, played by ‘chukris’, men in female roles, wear blouse sarees. Musicians wear casual clothes. Actors uses bright makeup i.e zinc powder, white powder, vermilion, turmeric, kajal, lace, wigs. The master of the team halts the boat at seven ghats at some distance and worships the gods and goddesses including the snake goddess Manasa (Padmadevi, mind-born daughter of Shiva) and offers them bananas, milk and rice on colorfully decorated floats. Milk and peeled banana are served as refreshments. After this, one or two scenes of the finale of the Behula narrative is performed in the courtyard of the householder who has made the ‘manot’, or pledge, to appease Manasa. Finally, the ‘jiyoni’, or bringing back to life is performed to give Lokkhinder back his life. Then the ‘nachari’ group return to their destination by boat.
During this ritual faith-healers - Ustads, Ojha or Kobiiraj chant and cast spells to dispel snake venom. The offerring of Shaon is pledged to the serpent goddess to protect the householder throughout the year. Some also vow to be lucky like Behula. Shaone Dala is held every year in Jamuna, Jhenai, Dhaleswari, Bairan, Banshi, Fatikjani and Lauhjong rivers in Tangail district.
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)
Shaone Dala is a traditional riverine processional performance. Most of its performane are done on boats. The organizers decorate the boat with colored paper.
Bangla. The regional language of the greater Tangail region of Bangladesh.
2.4 Associated tangible elements ( if any)
Attire: Male Kushilabs serving ShaonDala wear white dhoti and white Punjabi and female Kushilabs wear blouses and colored sarees. Musicians wear casual clothes.
Location: Dollar Bandana in Shawon takes place on the plains and most of the services are done at the boathouse. Apart from this, khandangs are performed in the open space or in the temple premises by gathering near the boat wharf.
Instruments / musical instruments: harmonium, khol or mridanga, congo, cymbal, phulet, cornet, arbansi etc. instruments are used.
Rituals / Food: Sliced milk banana is given as Prasad. Khichuri is cooked and served with magno rice and dal.
2.5 Associated intangible elements (if any)
Not Applicable.
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 and chukris. 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.
2.8 Customary practices governing access to the element or to aspects of it
There is No.
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.
2.10 Organizations concerned (non-governmental organizations and others)
*Shadona
*Bhabnagar
3. State of the element (viability)
3.1 Threats to the enactment (if any)
Major religious Fundamentalist groups are now on the rise
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. Because nowadays the new generation does not show interest in joining this practice.
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
4.2 Restrictions, if any, on use of data collected
No
5. Resource Person
5.1 Persons/groups, including community representatives
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
Permission must be obtained before using the above information
Permission must be obtained before using the above information
Permission must be obtained before using the above information
Permission must be obtained before using the above information