Sushil Kumar Dey has a word of praise for the kaviyals, "These poets were, no doubt, born among the people (lowest classes), lived with the people and understood perfectly their ways of thinking and feeling hence their direct hold upon the masses of whom many a modern writer is contentedly ignorant." It is better if the rhythm of the dhak stops and all utter the name of Hari in chorus.ĭr. The fighters and ruffians of Hughli are better, and the buttermilk of Birbhum. The girls of Guptipara are better–beware your line will soon become extinct. The cultivators of Burdwan are better, and the milkmen of 24-Paraganas The Vaishnavas of Pabna are better, and the mudi of Faridpur The Kayets of Dinajpur are better, and the wine sellers of Howrah The boats of Noakhali are better, and the midwives of Chittagong The fathers-in-law of Rangpur are better, and the sons–in–law of Rajshahi Ulo's male monkeys are better, and the blackberries of Murshidabad The sweetmeat makers of Krishnanagar are better, and the mangoes of Maldaha The mug of Mymensingh is better, and the kai fish of Khulna ĭhaka's pataksir is better, and the yoghurt of Bankura However, while Kavigan lost its supremacy in Kolkata, it retained its position in rural Bengal. 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. 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 17." 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. Harekrishna Mukhopadhyay have dwelt at length on the origins and development of kavigan.
#BANGLA PUTHI GAAN FULL#
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.
#BANGLA PUTHI GAAN PLUS#
In kavigan, also referred to as kabir larai, two person who are lyricist plus composer at the same time answer each other in form of songs. It mainly consists of the Lahar, where the competitors personally attack each other, musico-verbally. Kheur is mainly about gods and goddesses, but often includes mild slangs. Biraha is about the mortal pang of separation of common human beings. Sakhi sambad deals with the love-songs related to Radha-Krishna. Then songs on four subjects are sung: sakhi sambad, biraha, lahar and kheur. This is followed by Radha–Krishna related song, some call it agamani. The bandana can be directed to or be in praise of Saraswati, Ganesh, people, and the audience, as deemed fit by a particular kaviyal. A kavigan programme starts with bandana (evocation) or gurudever geet (song of the sect patron). The accompanying singers called dohars often repeat what the leader said. Each group is led by a kaviyal or sarkar.
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