Folk Theatre (d): Kushangan

Folk dramas have enriched Assamese culture since their birth. Kushangan is one of such beautiful folk drama mainly prevalent in Bongaingaon, Dhuburi, Goalpara district. Kushangan is not confined only in western Assam, but also prevail in Kochbihar, Bihar, Bhutan, Bangladesh, Nepal and so on. Kushangan is folk drama of Koch Rajbangshi people. Kushan gan is the synthesis of dance, drama, dialogue and music. Kushangan has its origin in the story telling tradition of the Ramayana.

There are different views about the birth of the term “Kushan”. “According to some scholars the word “Kushan” derives its name from the word “Kushilova”.This

Kushilova word have many meanings—

• Kushilova means singer or poet;
• Actor, dancer;
• News seller, news maker;
• Poet Valmiki’s another name;
• Two sons of Ramachandra, i.e Lava and Kusha.

So it can be assumed that,besides the name of Rama’s son Lava and Kusha,the word Kushilova can also indicate singer,actor,dancer etc.of different characters of Kushangan performing art.”^[1]

Some scholars tried to relating Kushan with Koch dynasty. According to them Kushan have originated from the term “Kosan” which means Koch king. Kushan get patronage from Koch kings and that is why it comes to known as Kushan gan. However, eminent scholar Dr. Nabin Chandra Sharma has said that it is a very ancient art form and cannot recognize as art form of the period of Koch dynasty. The other part of the word “gan” indicating music, dance and drama. Kushan pala is another name of Kushan gan. Pala means drama. As, Kushan gan include drama in its fold, therefore Kushan pala is also use to indicate it.In earlier time, Kushan gan had no written form. Language of Kushan gan was Rajbangshi language prevalent in Kamata region. Due to absence of written form many drama of Kushan gan was in the path of oblivion. People realized the value of written form and began to collect and write them.

Theme

The themes of Kushan gana is adopted from the Ramayana while some troupes use the Mahabharata. Stories from important episodes of the Ramayana and the Mahabharata gets place in Kushan gan. Raja Harichandra, Lakhsmanor saktisel, Mahirabon bodh are such kind of drama use in Kushan gan or Kushan pala.

Style of presentation

A Kushan gan troupe consisted of ten to tweleve members. The chief of the Kushan gan is called “Gidal”. He is the key person of the group. Gidal is the chief singer and he is expert in dance. Gidal plays one stringed bowing instrument called “Bena” and express mythical story, through songs, akhyan etc. through acting. Generally story of thevRamayana is forwarded by Gidal.Gidal is assist by “Dowari”. He has very important place in Kushan gan performance. Dowari creates humoristic environment with witty talks to entertain people. Other important members of Kushan gan are Palis. They help Gidal in singing. Palis should be expert in singing and dancing. Again, the most efficient Pali is known as Dainapali. He helps Gidal in whole course of the performance. If Gidal ever forget any part of the narration, Dainapali helps him to memorize the song. The role of Dohari is same to the role of Dainapali. Bayan or Bain is another important character of Kushan gan performance. Bayan is the player of Khol. Khol is the main musical instrument of Kushangan. Mandira or juri player is another character of Kushan gan. Actually, Mandira or Juri is a very small size cymbal. There are two or three cymbal players in Kushan gan troupe. As dance plays an important role in Kushan gan, Changra or Changri character is incorporates here. Changra means young boys. Changra wears female dress and dance in Kushan gan. Now a day’s girls also participate in Kushan gan and girl dancers are known as Chengri. Acting is the most important part of Kushan gan. Here actors are called Bhauria.

The preliminary stage of Kushangan is called Prastabana. In this stage khol, tal and other musical instruments are beat in a certain rhythm. Performers enter into the performance arena with the special rhythm and take their sits in circular manner at the center of the place. Thereafter Bayana starts to play Khol. Cymbal player, dotara player, sarinda player, and flute player accompanies Bayana. Due to the importance of Khol in prastabana phase, it is called Khol bana phase.

In the second stage, a Sanskrit sloka is recited wishing for success of the play in the rhythm of Khol, Cymbal and other musical instruments. This phase is termed as “Badya Sangit”.

Gidal sings “vandana” or invocatory in the third phase. Rama vandana, Swarashati vandana etc. are different phase of “Vandana”. This phase is called “Vandana”.Gidal starts “Vandana” and Pali, Dohari and dancer repeats them.Khol, tal and other musical instruments are played with it.

The main story or Pala is performed after “Vandana” phase. Dohari and Gidal meets in a conversation to indicate name and theme of the Pala.After salutation to Guru (teacher) of Gidal and audience, main drama starts. Pail or pala acts in the role of Rama, Ravana, and Lakhsman.The changras play the role of female characters like Sita, Mandodari and so on. During main drama, Gidal along with Changri and Dohari can sing traditional song irrelevant to the play.

Kushan pala gives importance on dialogue. In Kushan gan, Gidal and Dohari through “Poyar” reveal hints about function of every character. Poyar describes evry action and situation of the play. Without Poyar, drama can not proceed and spectators will not able to understand the pala or drama.

Like other forms of folk drama, humoristic talk has important role in Kushan gan also. Here responsibility of creating humoristic environment depends on dohari.In the mid of performance, dohari creats a situation which is irrelavent to the main play. He does it with the help of music, dance and acting. Changri, Gidal and pala accompanies him.This phase is called “Chong”. “The function of the dohari or dowari in a Kushan play is to act as the principal assistant of the leader, and he has to be adept at singing and dancing.Besides,the dowari also helps the leader in conducting dramatic dialogues which he makes lively with his homespun humour. In fact,in the present form of the art,the most sought after quality in a dowari is his capacity to make the people laugh by the introduction of humours sequences,by witty dialogues or even by buffoonery. Often the dowari dominates the show and it is not infrequently that a famous dowari proves to be a greater draw than even a well-known mul.”^[2]

Kushan gan performance ends with the narration of magnanimity of philosophy and Rama. Performers announce the ending of performance with blended tune of Khol, cymbal, flute and bena. This is the last phase of the performance and called “khola bhanga”.

Occasion of performance

Kushan pala performance held in context of various worshiping ceremony as well as social and personal functions. Kushan pala is unavoidable in Shyama Puja, Durga puja, Basanti Puja and Manasa Puja. In Dhuburi region, performance of Kushan gan is must in fairs organized for Ashokastami in the bank of the Brahmaputra river.Thus Kushan gan is not confine only in religious ceremonies but also performed in fairs and festivals not related to spirituality.

Dress and make up

The dress of Kushan gan is not very complex. Gidal wears white full sleeve shirt in the upper part of his body and wears dhuti as lower garment. He wraps a sador around his neck. The pali’s dress is also very simple. Pali and Bayan wear short dhuti lying up to his knee and sleeveless shirt.Pali wraps a gamocha or sador around his neck. However, there is no compulsion in wearing gamocha. Shukri and chokra wears sharee or ghuri.Shukri wear different ornaments in their different body parts. The ornaments are-neckles, bengals, anklets, nose rings, toe rings etc. Dress of the actors of Pala is different from Pali and Gidal.Even character of King wears simple dhoti and colourful Panjabi sola or shirt of full sleeve. Due to influence of modernity, there came some changes into the costume of performers of Kushan gan.

Conclusion

Kushangan is a folk drama of western Assam. Besides entertainment, Kushan gan provides morality and creates harmony among people. However, with the advent of western culture, Kushan gan has been neglecting by people. Many of the former Gidals have passed away and many of them become depressed with their age. The decreasing interest of audience has also depressing performers. Accrding to a young folk artist Devid Roy, of Goalpara, Kushan gan has playing an important role in creating actors. However, ray of hope is bringing by some young people of western Assam. Some of them are engaging in practicing and spreading this beautiful folk drama.^[3]

Footnotes and references:

[1]:

Ibid:p-243

[2]:

Ibid.p-288

[3]:

David Roy,young artist of Goalparia folk culture.14/7/15