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Performing arts in Bangladesh has a rich tradition. From ancient times, Jatra, Baulsong, Gombhira etc. presented through singing, dancing and play-acting. Jari dance, sari dance, lathi (stick) dance, khemta dance and ghatu dance are part of jari songs, sari songs, stick plays, khemta songs and ghatu songs respectively.
Alkap (Bengali: আলকাপ) is a Bengali folk dance popular in the districts of Murshidabad, Malda and Birbhum in West Bengal and Chapai Nawabganj, Rajshahi in Bangladesh. [1] It has also spread to the adjoining areas of Jharkhand and Bihar such as Dumka and Purnia .
The theme of the folk song is the story of Pir Barakhan Ghazi, which narrates the various events of Ghazi Pir in the form of lyrics. Ghazi's Pot episode was earlier one of the modes of entertainment in the rural areas of Greater Dhaka, Mymensingh, Sylhet, Comilla, Noakhali, Jessore, Khulna, Rajshahi.
The term Folk theatre encompasses all forms of theatre which originated in the geographical region of Bangladesh. Unlike the Sanskrit theatre, the folk theatre was always in direct contact with the people and was often created and supported by them. However, it was not closed to the refined techniques of the Sanskrit theatre.
Bangladeshi artists performing in a dance show. The music dance styles of Bangladesh may be divided into three categories: classical, folk, modern. After gaining independence from British rule, East Bengal (Bangladesh) was still a colony of Pakistan.
Baul is the most commonly known category of Bangladeshi folk songs. It is mostly performed by hermits who are followers of Sufism in Bangladesh. Present day Sufis earn mainly from performing their music. Baul songs incorporate simple words expressing songs with deeper meanings involving creation, society, lifestyle and human emotions.
Dhamal (Bengali: ধামাল), better known as dhamail (Bengali: ধামাইল), is a form of Bengali folk music and dance prevalent in the Mymensingh and Sylhet regions of northeastern Bengal, in present-day Bangladesh and eastern India.
In time, these open-air stages became the mainstay of these plays, though the name stuck with the genre; and as it evolved it absorbed all the prevalent folk traditions of music, dance and singing, be it Jhumur, Gambhira, Gajangan, or Panchali into its folds, to create a new template for folk theatre in the coming centuries. [15] [16]