Regional Variations of the Gajan Festival in West Bengal : A Multidimensional Analysis of Folk Culture/ পশ্চিমবঙ্গে গাজন উৎসবের আঞ্চলিক বৈচিত্র্য : লোকসংস্কৃতির বহুমাত্রিক বিশ্লেষণ

Gajan is a unique religious and cultural festival celebrated mainly in rural parts of West Bengal, especially during the last week of the Bengali month Chaitra (March–April). It is deeply rooted in folk traditions and is closely associated with deities like Lord Shiva, Dharmathakur, and sometimes Harakali. The festival marks the symbolic marriage of these deities and is observed with intense devotion, physical austerity, and theatrical performances. Regional variations are seen in various parts of West Bengal on the Gajan festival.            Historically, Gajan evolved as a pre-harvest ritual in agrarian Bengal, aiming to invoke fertility and prosperity. It is mostly practiced by lower-caste communities, who express their spiritual connection through dramatic rituals, songs, and open-air performances. These performances often include mythological storytelling, symbolic pain endurance, and vibrant processions. Participants, known as sannyasis or bhaktas, dress in colourful costumes, paint their bodies, and enact scenes from folk epics and religious lore.           Gajan is not just a religious event— it’s a living, breathing expression of Bengal’s rural soul. It blends drama, music, dance, and ritual in a way that reflects the everyday life, beliefs, and struggles of rural people. The performances are spontaneous and community-driven, often taking place in village squares or temple courtyards. Through these enactments, Gajan preserves oral traditions and local histories that are rarely found in written texts.            The historical significance of Gajan lies in its role as a cultural bridge. It connects tribal, Hindu, and Vaishnavite practices, showing how diverse communities in Bengal have shared and reshaped religious expressions over time. Scholars have noted that Gajan reflects themes of sacrifice, social bonding, and resistance against rigid caste structures. It also serves as a space for negotiating gender roles and spiritual identities.            In modern times, while urbanization and media have influenced folk traditions, Gajan continues to thrive in many districts like Bankura, Malda, south 24 parganas, and parts of Midnapore. It remains a living example of how folk theatre can carry forward historical memory, communal values, and artistic expression

Niranjaner Ushma : Between the Lines and Beyond/ নিরঞ্জনের উষ্মা : পাঠে-পাঠান্তরে

Niranjaner Rushma (or Ushma) by Ramai Pandit is an integral part of Shunyapurana. The mythological, historical and social significance of this particular section stands as a cornerstone in the pre-modern Bengali Mangalkavya literature. There is no concrete etymology for the word ‘Rushma’. It can happen that while reading or listening, there were some errors in comprehending; Or else there is a possibility that, this new term was strategically coined to imply the fiery wrath of Dharmaraj! In essence, Niranjaner Ushma is a fragment of the ‘Jalali Kalima’, vividly depicting the Turkic conquest of Jajpur in Odisha. Here, the story unfolds the torture of rapacious Brahmins for honorarium and the exploitation of the common folks which are beyond words. Into this turmoil, Dharmathakur emerged in the disguise of a Yavana who strategically put them in their places and hence justice prevailed.           Many celebrated historians of literature had framed the context of this piece as an era of conflict between Hindu-Buddhist ideologies. And so, in the fading twilight of Buddhism, we witnessed that Brahmanical culture rose to ultimate dominance and tyranny and as an expected outcome, persecuted Buddhists (Saddharmi) dived into the open arms of Islam. This chapter, stained with both power and pain, lingers in the annals of literature as a silent witness. Literature remembers this not as history, but as confession.           Perhaps scholars like Haraprasad Shastri, Nagendranath Basu or Dineshchandra Sen would delve into the political history of 10th–12th century of Bengal and dig up evidence—tracing the rise of royal dynasties (the Sens, Varmans, Chandras, Devas or Khargas). These kingswere devoted patrons of Brahminical culture. So, regionally the rise of the Brahmin community as the economic and religious superiors in Bengal’s society was the real driving force behind this phenomenon.           Not only West Bengal, esteemed historian of the East Bengal, Ahmed Sharif has also declared ‘Bada Jalali & Chhota Jalali’ Kalima as a burning evidence of the seething rage and bitter defiance of an near-extinct Buddhist community against the expanding, oppressive Brahminical order. According to the author of “Bangla Sahitya Kosh”, Mr. Wakil Ahmed also interpreted that ‘Niranjaner Rushma’ is nothing but a literary historic instance of the desperate surrender of the oppressed Buddhists who are trying their best to escape from the pathetic tyranny of Brahmins. In his words, this persecuted community maintained a safe distance and enjoyed the conquest of Turks and the shameful downfall of the Brahmins. As a token of gratitude towards Muslims, they worshipped Niranjan dharma infused with Islamic monotheism. In ‘Niranjaner Rushma’ there is a subtle hint of socio-religious shift where the oppressed Buddhists started to get converted in Islam in a large number.           On the other contrary, historian of Bengali Language, Dr. Sukumar Sen will emphasis that ‘Jalali Kalima’ is nothing but a reminiscence of the rapid raid of Delhi Emperor Badshah Firoz-Shah-Tughlak in Bengal and Odisha during the 14th centuries.           Moreover, entirely refuting the imagined periodization of Hindu-Buddhist conflicts, Shashibhushan Dasgupta would shift the focus and add: The residues of Buddhism, the framework of Hindu popular thought, certain indigenous non-Aryan ritual practices, and the ethos of Islamic ideology formed into an entirely new tapestry of folk ‘Dharma’.           But we’d argue that interpreting this from such scattered, fragmentary angles misses the bigger picture. Take the Ramai Pandit’s scripture on Dharma worship rituals (Vishwabharati MS No. 129)—when we piece together the stories before and after ‘Niranjaner Ushma,’ a fascinating narrative unfolds. Here, the Dharma worshippers’ belief system describes the cosmic creation process of Dharma-Raja himself, where diverse human races emerge—and right there eventually, the almighty Niranjan (in his form as Khoda) was creating the Muslim community.           Dharmapandit Ramai had replaced Hindu deities like Karticka, Ganesha, Brahma, Vishnu, Maheshwara, Chandi Mata, Manasa etc with Kaji, Gaji, Khoda, Pekambar, Baba Adam, Fakir, Nurbibi etc. This is nothing but Hindu mythological pattern. A hallmark of Hindu mythic tradition is its syncretic impulse—assimilating disparate beliefs by refracting them through the prism of its own deities. In the ecumenical vision of devout seekers, Gods and Goddesses of all faiths converge under one roof; where Khoda, Ishwar, and Dharmathakur had unified into one entity and created this cosmos. In the alchemy of converging divinities, ‘Niranjaner Ushma’ kindles into scripture where all faiths dissolved into a single syllable

Buddhadeve Bose’s Tapasvi o Tarangini : Aligning mythology with inner conflict of life/ বুদ্ধদেব বসুর ‘তপস্বী ও তরঙ্গিনী’ : পুরাণ প্রতিবিম্বে অন্তর্দ্বান্দ্বিক জীবনভাষ্য

The great poet and playwrights Buddhadeva Bose (1908–1974), a prominent figure of the modern era, had a deep understanding of modern human life and psychology. Modern human life and psychology have become increasingly complex, requiring writers to adopt refined narrative techniques. Consequently, he successfully unraveled the intricate inner-conflicts of modern human of the post-World War era. Bose’s childhood memories and academic engagement with comparative literature nurtured his interest in mythology. Myths encompass vast narratives and timeless philosophical archetypes. To portray the internal psychological conflicts of his characters, Buddhadeva Bose, as a modern poet and playwright, drew inspiration from mythology, employing verse drama as his preferred literary form. His involvement in drama began in early adulthood, and he made significant contributions to this genre. Among Bose’s verse plays, Tapasvi O Tarangini (1966) stands out as a remarkable literary creation. Bose derived its central narrative from the Mahabharata, particularly the mythological story of the sage Rishyashringa, unfamiliar with female existence, and the courtesan Tarangini. Through a nuanced depiction of their psychological struggles, Bose reinvented mythology with a modern perspective. He not only adapted mythological events but also reshaped unstated narratives to align with the mythological essence, while designing non-mythological characters to reflect contemporary human nature. The application of mythological symbols in literature is not uncommon, yet Buddhadeva Bose’s interpretation is unique. In this play, he delves into the psychological aspects of male and female characters, transforming the courtesan Tarangini from a figure of mere carnal desire into an embodiment of romantic love. He illustrates the sage Rishyashringa’s moral downfall, self-discovery, and ultimate liberation. Through non-mythological characters, he presents profound insights into life and, most importantly, creates a new lens through which to read mythology. His skillful technique of aligning mythology with modern psychological discourse sets his mythological adaptation apart as a distinctive literary achievement

Dhokra Art of Dwariapur; One Survey/ দ্বারিয়াপুরের ডোকরা শিল্প : একটি সমীক্ষা

Dwariapur, is famous village for Dhokra craft. Dwariapur village is located at Purba Bardhaman district, Ausgram (I) Block. There is a groyp of families involved in making dhokra craft at Dwariapur. Dhokra art is the one of the ancient Indian art. The wax method of metal casting, popularly known as Dhokra. In West Bengal two District are famous for this art, one of in Bikna village (Bankura) and nearby Dwariapur village (Purba Burddhaman). The ancient craft of Dhokra art was once widespread though out India, but is now restrict to a small number of groups of traditional artisans in widely dispersed locations. According to Risley, ‘Dokra’ as a sub caste of kamars black miths in western Bengal, who make brass idols. Dhokra artists create different types of objects. They also made and sold decorative items in different shapes and sizes. Metal used by Dhokras is usually the scrap old utensils scrap collected from the villages, heated and broken into small bits. The craftsman knows by experience the amount of metal required for casting a particular object. The main items of Dhokra art, is enchanting folk motif, primitive simplicity a rustic beauty and imaginative designs and patterns which finds influence from life and surrounding environment of the artisans. The traditional themes of these cast metal sculptures include images of Hindu and Tribal Gods and Goddesses, human images, dancing doll, tribal images, many types of animal etc

Ritucharya in Chrak-Samhita for Complete Well-being of Human Bodies/ মানব শরীরের সার্বিক সুস্থতায় চরকসংহিতান্তর্গত ঋতুচর্যা

Ayurvedshastra is all about ‘Ayu’ or life. Acharya Charak has discussed on ‘Ritucharya’ (what to do in different seasons) in the 6th Chapter of his ‘Charaka Samhita’. The different seasons of a year have impacts on human bodies resulting in different diseases. ‘Ritucharya’ is the routine of food habit and lifestyle leading to good health defeating these bad impacts of different seasons on human lives. ‘Ritucharya’ helps us to fortify our health all through the year against diseases. Moreover, it helps us to keep the balance in our three ‘Doshas’ - Vata, Pitta and Kapha. The ‘Uttarayan’ and ‘Dakshinayan’ of the Sun complete a year. A year comprises of six seasons and these six seasons are divided into twelve months. Varsha (Rainy season), Sharata (Autumn) and Hemanta (Late Autumn)- these three seasons make the Dakhinayan of the Sun where as Sisir (Winter), Vasanta (Spring), and Grishma (Summer) these three seasons make the Uttarayan of Sun. The types of food and lifestyle necessary for different seasons to be healthy and to keep away diseases and to live long are very much important things. These are well discussed in the ‘Ritucharya’ by Acharya Charak.&nbsp

Sri Chaitanyadev in 16th-century Vaishnava Padavali literature/ ষোড়শ শতাব্দীর বৈষ্ণব পদাবলী সাহিত্যে শ্রীচৈতন্যদেব

The 16th century is an important period in the history of Bengali literature. Sri Chaitanya dev emerged during this time span. This emergence marked an epoch-making change in the social life and literature of Bengal. This change can be called as the Chaitanya Renaissance. In fact, before the advent of Chaitanya dev, the social and religious life of Bengal was turbulent, distrustful and anarchic. The daily life of the common people was a struggle for survival and was marked with fear since there were many obstacles like the oppression of Muslim rulers, the dominance of the upper caste in Hindu society, the forced conversion of weak Hindus to Islam so on and so forth. Humanism was abused and suppressed at every step. When religious belief, societal norms, culture, and politics were under a shadow of darkness, Sri Chaitanya dev, the worshiper of humanism and propagator of the religion of love, redirected them to light.  Vaishnavism which was introduced by him, the new consciousness heralding the religion of love, led Bengal from darkness to the path of light in every way. God became one’s own, and the loved ones became the closest people. The entire Bengali society became strong through self-mastery. It can be said that through the chanting of the Harinama, the entire community, regardless of race, religion, or caste, became united

Language Shift : The Sadri-Speaking Community of the Sundarbans/ ভাষা প্রতিস্থাপন : সুন্দরবনের সাদরি ভাষিকগোষ্ঠী

Linguistic diversity is facing a critical threat worldwide, with many indigenous and minority languages becoming endangered or disappearing altogether. This study focuses on the indigenous communities of the Sundarbans region in India, who originally migrated from the Chotanagpur plateau. Upon settling in the Sundarbans, these communities gradually adopted Sadri as their mother tongue, replacing their earlier tribal languages. Over time, Sadri emerged as a common language for communication within and between various tribal groups. The main objective of this research is to examine the present status and transformation of the Sadri language among selected villages in the Sundarbans. While Bengali, the dominant regional language, is increasingly used in education, administration, and employment, Sadri remains actively spoken in many homes and community spaces. The research highlights the growing bilingualism among the people and the mixing of Sadri with Bengali in everyday speech, particularly among younger generations. This study also explores how factors like age, village location, customs, and traditional folk practices—especially music—affect the preservation and transmission of the Sadri language. Older community members tend to use Sadri more fluently and consistently, while younger speakers often show signs of language shift influenced by formal schooling and economic integration into Bengali-speaking society. Furthermore, the study investigates how livelihood patterns, especially the need to work in Bengali-speaking environments, are contributing to changes in language preference and usage. As economic dependence on the dominant language grows, Sadri is at risk of marginalization despite its cultural significance. In conclusion, this research sheds light on both the resilience and vulnerability of Sadri in the Sundarbans. While it continues to be a key part of community identity and cultural expression, the pressures of socio-economic change are gradually reshaping its role and future among the indigenous population

Exploring the Nature of Folktales: In the Light of Tradition/ লোককথার স্বরূপ অন্বেষণ : ঐতিহ্যের আলোকে

The concept of "culture" is often misunderstood. Many people think of it only as entertainment like dance and music. As a result, the term "folk culture" is also not clearly understood by most. Educated urban society often shows little interest in folk elements. Yet today, folk culture has become more relevant and valuable, both academically and socially. Folk culture refers to the collective, traditional practices, beliefs, stories, and customs of common people, especially from rural areas. It is created and passed down orally across generations. Scholars like William John Thoms first coined the term "folklore" in 1846, which has been translated in many ways in Bengali by scholars such as Suniti Kumar Chatterjee, Ashutosh Bhattacharya, and others. Among the many Bengali terms, “lokosanskriti” (লোকসংস্কৃতি) is now the most widely accepted. A major part of folk culture is verbal art or oral literature,  which includes folk tales, riddles, rhymes, folk songs, and plays. Among these, folk tales (locally known as lokokatha) are especially significant. They are traditional stories passed orally, often involving magical elements, moral lessons, and symbolic characters like animals, kings, and villagers. These stories reflect the values, beliefs, and imagination of rural communities. Folk tales are universal in theme, even though they arise from different cultures. They often teach moral lessons, promote justice, and provide inspiration. Over time, folk tales gave birth to modern storytelling and fiction. The study and collection of Bengali folk tales began during the 19th century, inspired by European interest. Books like Folktales of Bengal by Reverend Lal Behari Dey played a major role in documenting these tales. Today, folk tales continue to be an important part of Bengali literature and cultural identity

Shahidullah Kaiser\u27s \u27Sareng Bou\u27: A look into the Innermost Secrets of the Sailor\u27s Family/ শহীদুল্লা কায়সারের ‘সারেং বৌ’ : নাবিক পরিবারের অন্দরমহলের খোঁজ

Shahidulla Kaisar was a distinctive storyteller of the 1930s in the twentieth century. He entered the literary world by embracing the inherent responsibility an artist has toward his contemporary time and society. Naturally, in the works of this little-known narrative artist, the voices of the illiterate, the impure, and the downtrodden have come to the forefront. He took up the pen for those who have no roof over their heads—for those who are boatmen, slum dwellers, and laborers.           One of his notable novels centered on the life cycle of the downtrodden is Sareng Bou. In Sareng Bou, Shahidulla Kaisar skillfully portrays the life stories of the boatmen cast out from the Brahmin community — those known to us as ‘Subaltern’ The decline, disintegration, and subsequent reconstruction of coastal families5 form the central theme of Sareng Bou. Alongside this, the narrative also reveals the tale of the self-struggle of the Sareng Bou bride. Through his reportage in Sareng Bou, the novelist Shahidulla Kaisar has artistically rendered the lives of Muslim women and the women of Muslim society with a focus on personal experience and sensitivity

‘Shabarcharit’ upanyase adibasi narider karmajiban o samajjiban/ ‘শবরচরিত’ উপন্যাসে আদিবাসী নারীদের কর্মজীবন ও সমাজজীবন

Tribal communities can be observed living on the southwestern border of west bengal. The social life of these tribals is deeply connected with the natural environment. Fiction writer Nalini Bera has published many works in the Bengali literary world, focusing on the so-called non-Aryan Bharatvarsha, i.e. the unexplored marginal regions. The novel \u27Shabarcharit\u27 is written around the daily events of that marginal region. The novel can be called the history of the Lodha Shabar nation. In this novel, just as the identity of the lives of tribal women is found, so too is the picture of their constant struggle to survive with their own society and the outside society. They simultaneously fight for gender, caste, education and food. These women who survive by working constantly suffer from self-criticism and job-criticism. They are determined to break the traditional social customs that deprive tribal women of their freedom. Various elements related to the multidimensional life of tribal women are seen in the novel. Women of the Lodha Shabar caste continue to handle the overall responsibility of the family throughout their lives. Therefore, while collecting various necessary materials in the forest and jungle, girls and old people can be seen in groups. In this society, women of all ages have equal responsibilities. This class of people, who are not used to farming, depend on the forest and jungle for their livelihood. Therefore, they enter the deep forest in groups in rows to search for vegetables, mahul, chhatus, etc. But there they have to be oppressed by the guards. When their rights over the forest and jungle are reduced due to the Forest Act, they become helpless and go east to work.  There too, the evil eye of the outside world falls on the Lodha Shabar women, resulting in the downfall of the \u27trees\u27 of the society, i.e. the girls. Even in educational institutions, lower class girls have to suffer various kinds of harassment. A Lodha girl has tried to reach the source of light from this dark society. The hope of the entire Lodha society is on her. It remains to be seen how far this stubborn, courageous girl can take their society forward. This article is written keeping in mind the daily incidents that happen to Lodha, Shabar, and Santal women. The issues mentioned in the novel are the main basis of this article