BHC-02

1. Week: 9
Lecture: 9
Folk and Modern Performing Arts and Folk Music and Folk Games of bangladesh
Introduction
Bangladesh has a long history in its culture. The land, the rivers, and the lives of the common people
formed a rich heritage with marked differences from neighboring regions. It has evolved over the
centuries and encompasses the cultural diversity of several social groups of Bangladesh. The Bengal
Renaissance of the 19th and early 20th centuries, noted Bengali writers, saints, authors, scientists,
researchers, thinkers, music composers, painters and film-makers have played a significant role in the
development of Bengali culture. The culture of Bangladesh is composite and over centuries has
assimilated influences of Hinduism, Jainism, Buddhism, Islam, and Christianity. It is manifested in
various forms, including music, dance and drama; art and craft; folklore and folktales; languages and
literature, philosophy and religion, festivals and celebrations, as also in a distinct cuisine and culinary
tradition. According to pre-history culture of Bengal, a vast areas are plaid a vital role with folk
performing arts which seen at the leisure period of this region. Normally performing arts are included
along with music, song, acting, dance etc.
Jatra
Jatra (literally 'going' or 'journey') a form of folk drama combining acting, songs, music, dance,
characterized by stylized delivery and exaggerated gestures and orations.
Jatra performances were held in temple yards, public festival sites and courtyards. From the account
by Brindavan Das, early performances in the 16th century were given on level ground. The rising
popularity of Jatra in the 18th century led to improvise raised stages of bamboo poles and planks or
wooden platforms. Spectators continued to sit round the stage. Some scholars believe that in the
absence of adequate lighting facilities these performances were held during the day. Music and songs
continued to dominate. Musical instruments included the Dholak, MANDIRA, Karatal and KHOL. The
adhikari, manager-narrator, played the role of narrator, explaining and commenting on the songs and
linking the scenes, often extempore. In the 18th century Jatra flourished in Vishunupur, Burdwan,
Beerbhum, Nadia and Jessore.
The general social degeneration of the first half of the 19th century was reflected in the Jatra, which
became increasingly vulgar. In the latter half of the 19th century, Madanmohan Chattopadhyay,
instituted a number of reforms. He placed greater emphasis on prose dialogue, shortened the length of
songs and reduced their number. He replaced classical ragas with popular tunes. The number of dances
was reduced, as well as the number of characters who would dance. Attempts were made to ensure
some historical accuracy in costume. Female roles continued to be acted by male actors, but the
convention of singing by proxy was introduced. The songs of male characters were sung by mature
male singers, while those of female characters were rendered by young actors. Live orchestra
incorporated a number of western instruments including the violin, HARMONIUM and clarinet.
Until about the end of the 19th century, the adhikari used to write the play. By the beginning of the 20th
century, however, jatra texts began to be written by individuals outside the troupe. The adhikari would
either buy the text outright or would pay a royalty. Another change that took place at this time was the
introduction of the character of Vivek (Conscience).
A major change in jatra took place after the First World War when nationalistic and patriotic themes
became incorporated into the jatra. Though religious myths and sentimental romances continued to
inspire the jatra, the nationalistic and patriotic spirit of Bengal also found its expression in the jat ra.
Mukunda Das (1878-1934) and his troupe, the Swadeshi Jatra Party, performed jatras about colonial
exploitation, patriotism and anti-colonial struggle, oppression of feudal and caste system etc. In the 40s,
when the struggle for independence from colonial rule was nearing its climax, the socio-political content

2. of jatra superseded the religious-mythical theme. A major change that took place around this time was
in the induction of actress to enact female roles.
The Partition of Bengal in 1947, however, seems to have adversely affected jatra. Most of performances
were of historical plays, with a vague sense of nationalism and patriotism, or melodramatic social plays.
There was a dearth of playwrights to write for the jatra. However, jatras continued to be performed.
Particularly popular during this period, especially in the southern district of Barisal, was Gunai Jatra,
based on the tale of a village maiden named Gunai Bibi. The tradition of religious tales continued, in
the form of Bhasan Jatra and Krishna Jatra, both of which were dominated by songs and music.
Jatra today is performed on a rectangular platform (usually, 18' x 15' or 20' x 18'), open on all four sides,
about three feet high and erected temporarily for the performance. Musicians sit on two opposite sides
of the platform. Spectators sit around the stage, with a section of the space being reserved for women.
The whole space is covered and enclosed. About two hours before the performance, between nine or
ten in the evening, a stage attendant rings a bell signifying that the show is about to begin. After the
second bell, the musicians take their positions and begin playing as a signal that the show is about to
begin. Following a fifteen minute break, a third bell is sounded and a fast paced 'concert' commences.
This is followed by a patriotic choral song sung by the troupe's dancer-singers. This patriotic choral
song was a post-47 feature of jatra in East Pakistan and replaced the earlier tradition of Hindu devotional
songs. The patriotic choral song is usually followed by an hour long variety show, incorporating songs,
dances and comic interludes. After the variety show ends, around midnight, a fourth bell is rung
following which the performance proper begins.
A Jatra performance lasts about four hours and is divided into five acts, an influence of the 19th century
colonial theatre. Following each act, the prompter rings a bell to signal the end of each act. During the
intervals between acts, there are songs, dances and comic displays. The performance ends slightly
before day-break.
A large capital is required to organize a good Jatra troupe. Normally, a Jatra troupe consists of 50/60
persons, including actors and actresses, dancers, singers, musicians, technicians, managers, cooks,
servants etc. The reputation and fame of a jatra troupe depends mainly on the standard of the actors-
actresses and the dance artists.
Generally jatra troupes rehearse from the month of Shravan to Ashvin, sometimes to Falgun. Jatra
troupes travel from place to place on the occasion of DURGA PUJA in the month of Ashin. For this the
performance-contracts are signed long before the occasion.
Jatra was an important form of entertainment in the past. Nowadays it has been replaced by many
modern forms. The tastes of audiences have also changed. Thus the demand for jatra has diminished
to a great extent. Jatra performances are therefore being modified. Social and contemporary subjects
juxtapose historical and mythological stories. Modern stage techniques are also modifying the manner
of speaking, costumes, musical instruments, make up, stage, lights etc. At the same time, contemporary
Bangla THEATRE is drawing upon the indigenous Jatra. In place of western, text-based drama, the
mixture of dance-song-performance of the Jatra is lending a unique strength to contemporary Bangla
drama.
Jatra
Pandal Perfomer
Pala Gan
Pala Gan narrative folk ballad. Musical narratives about gods and religious hymns are also known as
pala gan. Two well-known pala gan are Krishnakamal Goswami's Divyonmad and Govinda Adhikari's

3. Muktalatavali. In MANGALKAVYA or epics about deities, the stories narrated during the day are called
dibapala and those narrated at night are called nishapala. Pala gan are also known as pat.
Pala gan are usually based on the stories of the PURANAs and folktales. Pala gan based on Sri KRISHNA
and Sri CHAITANYA are also called palakirtan. Some well-known Purana palakirtan are Man, Mathur,
Naukavilas, Kaliyadaman and Nimaisannyas. Popular pala gan based on folktales include Chandravati,
Mahuya, Maluya, Kamala, Dewan Madina, Dewan Bhabna, Rupavati, Dasyukenaramer Pala and
Bheluya. A pala gan has an introduction and a prologue in praise of Sri Chaitanya. Its narration in prose
is brief and the rest consists of metaphysical discourses, shloka and songs.
The lead singer of the pala gan is the bayati, who is supported by a group of choristers. The story is
presented in the form of a dialogue. The bayati acts the roles of different characters, at times assisted
by the choristers who also enact some roles. A pala turns into a JATRA when the different characters
appear on stage in costume. A number of jatrapala have come down from ancient times, among them
Taranisenvadhpala, Jayadhrathavadhpala, Ramjatra and Krsnajatra. Many of the stories for pala gan
were inspired by the RAMAYANA and the MAHABHARATA and were very popular. Some other jatras, such
as Chaitanyajatra, Vidyasundarjatra, Chandijatra and Bhasanjatra, are popular even today.
With the passage of time and taste, pala gan have also undergone a number of changes in form and
theme. Social and even personal events have replaced legends and stories from the Puranas as in
Maifal Rajar Pala, Jamal Badshar Pala and Rajvidyar Pala. Some well-known fairy tales, such as
Rupvan, have also been converted into pala gan.
Pala gan originated in Mymensingh, with many of the ballads being based on real events. Charming
descriptions and realistic portrayals of character are special features of these pala gan which use dialect
and folk rhythms. A few of the composers whose names are known are MANSUR BAYATI (Dewana
Madina), Fakir Faizu (Chhurat Jamal and Adhuya Sundari), Dvija Kanai, Chandravati, Dvija Ishan, and
Sulagain. Their pala gan provide a detailed portrait of the society of their times. Many pala gan were
collected by DINESH CHANDRA SEN and included in MAIMENSINGHA GITIKA and PURBABANGA-GITIKA ,
published by Calcutta University.
Gambheera
Gambhira Gan a type of folk song popular in the northwestern region of Bangladesh. Gambhira songs
are assumed to have originated from the worship of the god SHIVA, who is also known as 'Gambhir'. In
ancient times, gambhira used to be celebrated as puja (worship) only. In the medieval period, most
Hindu communities celebrated the puja of DHARMA THAKUR (a popular god of the Hindus) on the last
three days of the Bengali year; this came to be known as the GAJAN of Shiva later on. In the past Shiva
was imagined to be present at the performance.
Initially, gambhira was of two kinds: the primary gambhira and the narrative gambhira. The primary
gambhira would address gods and goddesses and describe human joys and sorrows, and, sometimes,
important events of the year. In the narrative gambhira, every character would represent a social
problem.
Gambhira songs originated among the Hindu community of Maldah in WEST BENGAL. After the creation
of Pakistan, Chapai Nawabganj in RAJSHAHI became the main centre of gambhira songs, which
underwent major changes in theme and mode of presentation. Muslims became the custodians of this
song and made it an integral part of their social life and their culture. Apart from Rajshahi, gambhira
songs are also popular in NAWABGANJ and NAOGAON.
At present the main characters of a gambhira are a maternal grandfather and his grandson. The
performance is structured as a dialogue, interspersed with songs. Both prose and verse are used for
the dialogue. The gambhira reflects contemporary social problems through witty dialogue, songs,
dances and jokes. Both the actors wear lungi. The grey-bearded grandfather wears a mathal (straw
hat) on his head and holds a stick in his hand. The grandson wears a torn jersey and has a gamchha
(local checked towel) tied round his waist.

4. In the past gambhira songs were sung in the measures of ektal, trital, dadra, khemta, kaharba etc.
Today the tunes are influenced by songs from popular Bangla and Hindi movies. Kutubul Alam,
Rakibuddin, Biren Ghosh and Mahbubul Alam of Nawabganj have made the gambhira song popular in
Bangladesh by introducing new subjects and characters and interesting and witty dialogue.
Kabigan
Kabigan is a form of Bengali folk performance where in folk poets sing and perform.
Kavigan is normally sung by two groups. Each group is led by a kaviyal or sarkar. The accompanying
singers called dohars often repeat what the leader said. A kavigan programme starts with bandana
(evocation) or gurudever geet (song of the sect patron). The bandana can be directed to or be in praise
of Saraswati, Ganesh, people, and the audience, as deemed fit by a particular kaviyal. This is followed
by Radha–Krishna related song, some call it agamani. Then songs on four subjects are sung: Sakhi
sambad, biraha, lahar and kheur. Finally, the competitive part starts. In kavigan, also referred to as
kabir larai, two person who are lyricist plus composer at the same time answered each other in form of
songs.
In his Banglar Kavigan, Sajani Kanta Das said, “Kavigan was born out of a synthesis of various art
forms prevalent in different parts of Bengal at different times having peculiar names such as tarja,
panchali, kheur, akhrai, half akhrai, full akhrai, danra kavigan, basa kavigan, dhap kirtan, tappa, Krishna
jatra, tukkagiti etc. Various literary researchers such as Ishwar Chandra Gupta and Dr. Harekrishna
Mukhopadhyay have dwelt at length on the origins and development of kavigan.
Dr. Sushil Kumar Dey opines, “The existence of kabi songs may be traced to the beginning of the 18th
century or even beyond it to the 17th; but the flourishing period of the Kabiwalas was between 1760
and 1830. As the religious and ritualistic content in Bengali poetry wore out there was a tendency to
break away from the traditional Vaishnava poetry but the real breakthrough came only with the
introduction of the printing press in mid–18th century. From the close of the 18th century for more than
half a century the new kavi–poetry and panchali reigned supreme in the Kolkata region and almost
threatened to sweep everything else in literature. However, while Kavigan lost its supremacy in Kolkata,
it retained its position in rural Bengal.
Kabigan
Music
Since ancient times, there have been two different genres of music in the Indian subcontinent: marga
or CLASSICAL MUSIC, based on RAGAs, and deshi or regional music. In classical music the manner of
rendition is important, whereas in desi songs both words and tunes are equally so.

5. Folk Music songs and music of a community, uninfluenced by any sophisticated musical rules or any
standard MUSIC styles. Bangladesh has a rich folk music which includes both religious and secular
songs.
Folk music may be described as that type of ancient music which springs from the heart of a community,
based on their natural style of expression uninfluenced by the rules of classical music and modern
popular songs. Any mode or form created by the combination of tune, voice and dance may be
described as music. Thus, the combination of folk song, folk dance, and folk tune may be called folk
music. For example, BAUL songs are a combination of tune, music and dance.
Folk music has the following characteristics: (i) It is composed by rural folk on the basis of ancient rules
transmitted orally; (ii) These ancient rules of music have not been influenced by classical or modern
music; (iii) Folk songs may be sung in groups or individually; (iv) No regular practice is required for folk
music; (v) It is composed and performed by illiterate or semi-literate people; (vi) It is a spontaneous
expression in easy language, local dialect, and simple tune; (vii) Both words and tune are appealing;
(viii) Despite its universal appeal it uses local dialect; (ix) It depends upon nature and the rural
environment; (x) It is an explicit manifestation of the joys and sorrows of daily life; (xi) It uses simple
and natural rhythms; (xii) It contains a strong emotive expression of human love and separation.
In Bangladesh folk music has great variety, with songs being composed on the culture, festivals, views
of life, natural beauty, rivers and rural and riverine life. These songs are also about social inequality and
poverty, about the material world and the supernatural. Mystical songs have been composed using the
metaphors of rivers and boats. Since the country is basically riverine, the BHATIYALI forms and important
genre of folk music. Folk music is formed and develops according to the environment. Differences in
the natural environment are reflected in the people of the different regions. The dialects too vary across
the different regions. Bangladeshi folk music therefore varies from region to region. Thus there are the
northern BHAWAIYA, the eastern Bhatiyali and the southwestern Baul songs.
Folk songs may be sung individually or in chorus. Folk songs sung individually include Baul, Bhatiyali,
MURSHIDI, Marfati, while songs sung in chorus include KAVIGAN, LETO, ALKAPand GAMBHIRA. Some songs
are regional in character, but others are common to both Bangladesh and WEST BENGAL. Similarly, some
songs belong distinctively to one religious community, Hindu or Muslim others cross religious
boundaries. Some songs belong exclusively to men, others to women, while some are sung by both
men and women. Thus only women compose and sing vratagan and MEYELI GIT, but both men and
women participate in the 'roof-beating' songs that are sung while beating down and firming rooftops.
It should be remembered that in most folk songs the tune of the constant stave and the middle staves
is nearly identical. For example, the first few lines of a famous song composed by Gagan Harkara,
ami kothay pabo tare/ amar maner manus ye re (Where shall I find him, the man after my heart?),
illustrates the use of seven pure notes and sometimes the use of soft melody. The analysis of folk
songs shows a variety of rhythms and tempo. Sari and Jhumur are sung at a quick tempo, and
Bhatiyali and Bhawaiya at a delayed tempo.
Name of Folk Music of Bangladesh
Bhatiali, Bhawaiya, Baul and Sufi gaan, Broto Katha, Gajeer gaan,,Gomvira,,Hasan Rajar gaan, Jari
gaan, Jatra gaan, Karim shaher gaan, Kirtan, pala gaan, Kobir gaan, Lalon shaher gaan, Letto gaan,
Manik pirer gaan, Marfoti gaan, Meyelee geet, Murshidi, Osto gaan, Pala gaan, Polli gitee, Puthi gaan,
Roof beating song, Sari gaan, Upojatio gaan
Modern Songs
Modern Songs originated towards the end of the eighteenth century through the TAPPA. NIDHU GUPTA's
tappa were mainly love songs. Towards the end of British rule, the Kolkata station of All India Radio
introduced kavyasangit or lyric songs, which were essentially modern songs. The Bangla term was for
the first time used by DILIP KUMAR ROY. Dwijendragiti, Rajanikanta's songs, Atulprasad's songs, NAZRUL

6. SONGS and experimental songs of other modern lyricists and composers were known as lyric songs.
These were broadcast as modern songs for the first time by the DHAKA radio station after partition.
Modern Bangla songs differ from classical music in that both words and tunes are important. In Indian
classical music the musical notes are more important than the verbal expressions. Modern songs often
draw ideas from the music of other countries, devise skills to apply tunes in a striking manner, avoid
monotony in creating tunes, bring about variety in rhythm, etc. Modern songs also demand a knowledge
of musical instruments and deftness in using them.
Among the early makers of modern songs in Bengal songs were Nidhu Gupta, Kalidas Chatterjee or
KALI MIRZA, Raghunath Roy and Sridhar Kathak. Nidhu Gupta composed Bangla tappa on the model of
Hindustani classical tappa. This was the time when the British were building Kolkata. Foreign influence
combined with local influence led to city-based music conferences and new types of music. In this sense
modern Bangla songs originated in Kolkata.
During the colonial rule a large number of rural people moved to Kolkata in quest of livelihood. They
carried with them folk songs, KIRTAN, KAVIGAN, jatragan, ramprasadi, PANCHALI, khewur etc. The class
of nouveau riche that developed in the city under the patronage of the English rulers helped induct into
Kolkata music rural tunes, style and themes. Nidhu Gupta and later RABINDRANATH TAGORE ignored such
music and helped create modern Bangla songs which were refined and rich in themes, expressions and
tunes. This was a stream that began with Kamalakanta, Nidhubabu, Kali Mirza, DASHARATHI ROY, Gopal
Ure and Sridhar Kathak and attained fulfillment in Rabindranath, Dwijendralal, Rajanikanta, Atulprasad
and Nazrul.
The period between the mid-19th century and the mid-20th century saw waves of social and cultural
changes in the urban life of Kolkata. Among those who contributed to the new forms of music were
Shourindramohan Thakur, KSHETRAMOHAN GOSWAMI, and KRISHNADHAN BANERJEE. JYOTIRINDRANATH
TAGORE introduced an orchestra composed of mixed local and western tunes on 5 January 1867 at
Jorasako. This set the trend for combining western tunes and instruments with local ones to provide
music for Bangla songs. The songs of Rabindranath and Dwijendralal are perfect instances of this
experiment.
The process of modernisation of Bangla songs reflected contemporary historical and social conditions.
This led to an era of five lyricists Rabindra, Dwijendra, Rajani, Atul and Nazrul who shaped the modern
techniques of Bangla songs. Rabindranath's ability to apply different musical traditions and devise ever-
new trends created a transformation in Bangla MUSIC. Tagore songs, which essentially blend classical
and indigenous trends, greatly furthered the progress of modern Bangla songs.
Although influenced by Tagore, DWIJENDRALAL ROY, RAJANIKANTA SEN and ATULPRASAD SEN carved out a
niche for themselves. Nazrul Islam further enriched modern Bangla songs with his unique talent for
composing songs based on distinct diction and tunes. Other contemporaries of Nazrul who earned fame
as composers were Saurindramohan Mukherjee, Hemendrakumar Roy and TULSI LAHIRI. The
appearance of GRAMOPHONE records in 1907, Calcutta Radio station in 1927, and sound
cinematography in place of silent pictures at about the same time brought modern Bangla songs close
to the masses.
A special feature of post-Nazrul songs is that the music may be set by someone other than the
songwriter or lyricist. Earlier, the lyricist composed the music as well or helped the singer to present the
song. After Nazrul, the trend changed: the lyricist wrote the song and another person set it to music.
Lyricists of the 1940s/50s included Ajay Bhattacharya, Hiren Basu, Shailen Roy, Subodh Purakayastha,
Nishikanta and Pranab Roy. Famous composers of the time were Himangshu Dutta, Dilip Kumar Roy,
Raichand Baral, Krishnachandra Dey (Kana Keshto), Sudhirlal Chakravarty, Anil Bagchi, KAMAL
DASGUPTA, Anupama Ghatak, Subal Dasgupta and SACHIN DEV BURMAN. Among the famous singers of
the time were Dilip Kumar Roy, Kanan Devi, Krishnachandra Dey, Angur Bala, KL Saigal, PANKAJKUMAR
MALLICK, Jaganmoy Mitra, Dhananjay Bhattacharya, Shaila Devi, Sachin Dev Burman and Hemanta
Mukhopadhyay.

7. Up to the Rabindra-Nazrul era, the dominant themes of modern songs included devotion to the creator,
nature, patriotism, the mother tongue, and sexual love. Later themes concentrated almost exclusively
on love and separation, although the theme of patriotism continued to inspire some songs. Some
artistes of West Bengal who made far-reaching contributions in the 1950s/60s to modern Bangla songs
were Salil Choudhury, Gouri Prasanna Majumdar, Anal Chattopadhyay, Hemanta Mukhopadhyay,
Manna Dey, Bhupen Hazarika, Sandhya Mukhopadhyay, Shyamal Mitra and Kishore Kumar.
After partition in 1947, East Pakistani poets also composed modern Bangla songs and set them to
music. Among the poets and lyricists were Talim Husain, FARRUKH AHMAD, Sayeed Siddiqui, HABIBUR
RAHMAN, Shamsur Rahman, Azizur Rahman, ABU HENA MOSTAFA KAMAL, Muhammad Moniruzzaman,
Gazi Mazharul Anwar, KHAN ATAUR RAHMAN, SAMAR DAS, ALTAF MAHMUD, Abdul Latif, Abdul Halim
Choudhury, Abu Bakr Khan, USTAD ABED HOSSAIN KHAN, Khandakar Nurul Alam and Sheikh Sadi Khan.
Although the words and tunes of their songs followed the earlier tradition, their themes were
nationalistic. For instance, the moving patriotic songs that spoke of the people's struggles from the
language movement of 1952 to the war of liberation in 1971 have remained sources of inspiration for
successive generations. The vocal artistes who became famous for singing those songs included
Mahbuba Rahman, Abu Bakr Khan, Anwar Uddin Khan, Muhammad Abdul Jabbar, Mahmudunnabi,
Ferdousi Rahaman, Farida Yasmin, Syed Abdul Hadi, Anjuman Ara Begum, Fawzia Yasmin, Ismat Ara,
Shahnaz Rahmatullah and Sabina Yasmin.
Since independence there have been many changes in modern Bangla songs in Bangladesh.
Improvement in scientific equipment and use of electric musical instruments has led to great variety.
With a blending of classical tunes with folk tunes modern Bangla songs have assumed a new form.
While there is a trend to imitate western music in tunes, instruments and presentation, lyricists,
composers and singers are strongly aware of their indigenous roots which has resulted in a new
genre of modern Bangla song alongside folk songs, BAUL songs, kirtan and classical music.
Folk Games of Bangladesh
Folk Games popular and traditional games, chiefly played in rural areas and passed along from one
generation to another. Such games are played for physical exercise and entertainment, at times in a
competitive environment.
Folk games are divided into three groups based on the environment in which the games are played:
land, water and sky. Games played on land are known as games of land; those played on water, such
as swimming and boat-racing, are games of water; and flying KITEs or pigeons are games of the sky.
Games on land predominate and include games that are played by both boys and girls and those that
are played by only one gender.
Ayanga-ayanga (the tiger and the goats) is a group game played by both boys and girls. A large
circle is drawn on the ground. One player plays the role of the tiger and remains outside the circle, while
the other players play goats and stay inside it. The player outside recites set rhymes and goes round
the circle, trying to catch the players inside off guard. One such rhyme used in the game in the JESSORE
region is as follows: 'Tiger: Weep, weep! Goats(in chorus): What are you crying for? Tiger: Lost a cow.
Goats: What sort of cow? Tiger: A red one. Goats: Does it have horns? Tiger: Yes. Goats; Sing a song.
The tiger then starts dancing and singing: Who took my cow? Who took my cow? Come here, you who
took my cow. Suddenly he stops short and jumps forward to drag one of the players outside the circle.
The other players hold him back so that the tiger cannot take the goat away. The goats taken out of the
circle by the tiger belong to the tiger's side. The last player in the circle becomes the tiger in the next
round.
Baghbandi (capturing the tiger) a checkers-like game, played on a board outlined on the ground. The
board has 16 squares. Twenty pieces, known as bakri (goats), are placed in groups of five at four places
on the board. Two bigger pieces, known as bagh (tiger), are placed elsewhere. Two players, one taking
the side of the tiger and the other taking that of the goats, start moving their pieces. The goats try to
block the passage of the tiger, by not giving it two vacant positions in a row so that it cannot advance
or jump over. If the tiger jumps over a goat to the next vacant position, the goat dies and is removed

8. from the board. If the tiger kills all the goats, the player with the tiger becomes the winner. If the goats
can block the passage of the tiger, the player with goats becomes the winner.
Bauchhi (the old lady) This game requires two courts outlined on the ground, one rectangular and the
other circular, twenty-five to thirty feet apart from each other. Two teams of eight to ten players are
needed for this game. One player of the team winning the toss plays the budi (old lady) and remains
inside the circle. The remaining members of the team stay inside the rectangular court.
The object of the game is for the player of the opposing team to take the 'old lady' to the rectangle,
without being touched. If he is able to take the 'old lady' to the rectangle, the team earns a point and
the players he touches become out. Variations of the game are known as budikapati, bau-basanti budir
chu etc.
Chhadar Khela (rhyming game) a counting rhyme game, it is played by boys and girls. The players
sit on the ground, holding their hands open flat. The leader also holds out one of his/her hands and,
touching each hand on the ground, utters the rhyme: ikdi mikdi cham chikdi/ chamer beta laksindar/
seje ela damodar. Everybody waits for the last word to be uttered. The player who is touched with the
last word closes his/her hand. The game continues till the last hand is closed.
Chhi-chhattar (the kite and the cocks) Ten to fifteen boys form a circle, holding each other's hands.
One player stands in the middle of the circle. In the RANGPUR areas, the child in the middle is called a
'kite', and the others 'cocks'. The kite tries to break free from the ring formed by the cocks. He frets and
struts and recites the rhyme: chhi chhai ghoda dabai/ ghoda na ghudi, chabuk chhudi/ chabuk diya
marlam badi/ dhula uthe kari kari (What a horse I ride! Is it a horse or a mare? When I smack it with a
whip, it only raises row of dust). The player then runs out, breaking the circle at a point where someone
is off-guard. The cocks then run after him, and the one who catches him plays the kite in the next round.
The cocks also recite a rhyme: Chhi chhattar kachur bai/ chyangda pyangdar nana hai/ taker upar ayna/
punti machh khay na/ taker upar gosta/ chhonya dile dosta (What is this? I'm respected as grandpa by
children. My bald head shines like a mirror. I don't eat tiny fish. If someone can touch my head, I become
his friend). A variation of this game is played in the Himalayan region where it is known as chilla-daoma.
Chungakhela (the crackers game) an adult game, played mainly in CHITTAGONG, on the eve of SHAB-
E-BARAT. The opposing teams try to hit their opponents with crackers. Sometimes the crackers cause
burn injuries. The game is spectacular, with sparks and flashes of crackers, coupled with deafening
sounds, amid cheers from the spectators. Starting from sunset, the game continues till midnight. This
expensive and dangerous game is now almost extinct.
Danguli (tipcat) a favourite boys' game played by two teams of five to six players. A two-foot long stick,
known as danda, and a five- to six- inch stick, known as guli or phutti, are used to play the game. There
is a similar game in Europe called tipcat, where the longer stick is used to tip the 'cat', the smaller one.
The object of the game is for one side to strike the guli with the danda. The other side has to catch the
guli before it falls. If the guli is caught, the player who has struck it is out. If the guli isn't caught, he
continues till he is out. If he is out, the next player in the team comes in. One team plays after the other.
The game is also known as dangbadi, gutbadi, tyamdang, bhyatadanda etc.

9. Dariyabanda (stealing the salt) This is a popular competitive game, played by two teams composed
of five to seven players each on a square outlined on the ground. A number of small squares are drawn
inside the big one, depending on the number of players. One of the squares is called gadighar (team's
chamber) and the other is called labanghar (salt chamber). At the start of the game, the members of
one team stay inside the gadighar while their opponents stand in a way that no one can pass from one
square into another. A member of the team darts forth or dodges past the players on guard and tries to
cross all the cells and return to the gadighar. If one of the members succeeds in moving across all the
squares without being touched by the opposing team, his team earns points and wins the round. But if
he is touched by the players of the rival team, his team loses the round. The other team then starts
playing. At the end of the game, the points earned by the opposing teams are added up to decide the
winners.
Ekka-dokka (hopscotch), also known as satkhela and chiriya in some regions, is chiefly played by
girls across the country. The game is played on a rectangular court drawn on the ground. The rectangle
is further divided into four or six rectangular or square cells. At some places, the fourth or sixth cell is
split into two and is called the 'rest'. The cells are known in order as ekka (first), dokka (second), tekka
(third), chaukka (fourth), pakka (fifth) and lasthi (sixth). Each player has a marker, either a piece of flat
stone or potsherd, known as chada, ghunti, diga, khopla etc.
Elating Belating (Hello, there!) a game mainly played by girls. Two teams position themselves along
a line drawn on the ground, facing each other. At the start of the game, one of the teams advances two
steps forward and recites the first verse of the rhyme, elatim, belatim and steps back. The other team
then takes two steps forward and says ki khabar aila (What's the news?). The game progresses until
one team utters the last verse: niye yao balikake (Take away the girl). The other team then tries to take
away one of the opposing team's player. The game is decided by whether the team can retain its player
or is forced to give her up to the other team.
Ghuntikhela (game of dice) Chiefly played by girls, this game is played with five small pieces of stone.
The largest piece is called dag (the big one). As in the cowrie game, the dice are first rolled. If the dice
touch each other, the player loses. If the roll is perfect, the player picks up the big one, throws it up and
catches it in the air before it falls to the ground. If the player fails, she loses her round.
Boat race is a game of Water.It is one of the ancient & rural fock game of Bangladesh.Every years
when the rain comes & most of the rural area over floded by water then the rural villegers arrange this
game.In this game the villegers invited the local people & local chief man also.
In this game the lenth of the race boat more then hundred feet & the total boat man for each boat who
join the race minimum fifty to seventy.Those boat are won is honoured by local chief man & gave the
boat men a special gift.

10. Kite-flying is a game of Sky. Kite-flying is favourite hooby with many children both in towns and
villages of our country. Kite are various kinds and shapes. Some of them are like square plates, some
like snakes, some like men, while some others are like birds. One kind of them looks like an
aeroplane and its framework is made of four pieces of bamboo sticks.
To make a kite, we need two thin sticks of bamboo, a certain length of string, some glue and some
thin paper. On the upper surface of the kite, the two thin sticks are placed cross-wise, the one being
straight and the other curved like a bow. They are tied together with a string. The four ends of the two
sticks are then connected with a certain length of string to make the four edges of the kite. All these
make the frame which is then covered with a piece of thin paper. The piece of paper is glued with the
string on its four sides. It is also pasted with strips of paper with the sticks. Sometimes a tail is
furnished to the kite to keep it steady in the air.