At the outset I would like convey my thanks and gratitude to the poor but genius folk artists of North Bengal, western districts of Assam and Northern parts of Bangladesh, who devoted their lives to preserve the rarest forms of folk culture from obliteration.  I would also like to acknowledge the devoted souls who are struggling continuously to conserve this unique tradition of music. These people have been betrayed by fate in terms of material pleasures, but they seek the pleasure exuding out of music and pursue unity with the nature through it. I am also thankful to my friends and well-wishers who gave their valuable opinion, data, and photographs etc. and thus helped in making this project a fruitful one. I pay my sincere gratitude to Sri Priya Ranjan Dasmunshi, Hon'ble Minister of Information & Broadcasting, Govt. of India for his good wishes & valuable message to our esteemed organisation. I convey my sincere thanks to my respected teacher & eminent folklorist Dr. Sukhbilash Barma who is asimple man with serious mission , encouraged me by giving his valuable suggestions. I am grateful to Shri Chandra Sekhar Pal, a renowned folklorist of Bengal, who helped me by giving information, data, pictures, records etc. for preparation of this Website. I also got feedback of my queries from him from time to time, for which I am obliged to him.    I pay my tribute to my mother Late Sudha Rani Bhattacharya, who was an earnest music lover and by whose inspiration I devote myself for the wellbeing of the folk world. My daughters Ananya and Debopama Bhattacharya helped me a lot to prepare the English version of the bio-data and works of eminent folk artists of North Bengal.   

          We appealed to the promising Bhawiaya artists/writers of this region to enrol their name in this particular Website through an advertisement in the largest selling daily of North Bengal. We got a wide response from them. Thereafter the final selection was made by a panel of Judges (experts).

          We are thankful to the Uttarbanga Sambad and the Ananda Bazar Patrika for their valuable write-ups regarding this Website.

          In fine I would request everybody please to forgive us for the lapse, if any and mention the same with specific suggestions for necessary correction (inclusion/exclusion) at the time of next updating of the Website.   

Arabinda Bhattacharya,

Gen. Secretary

Bhawaiya :

A typical form of folk song of Northern part of West Bengal (India), lower Assam and Bangladesh. Bhawaiya songs in particular have two forms; one called Daria and other called Chatka. These songs are often associated with the deep social and cultural aspect of village people. Bhawaiya are sung at the time of performing of rituals like, marriage ceremony, worshiping of God. These songs accompanied by dance performed by the folk artists at the time of cultivation and harvesting of crop. These songs also sang by the Bullock cart drivers (Gariwal), Elephant Drivers (Mahut), Buffalo drivers (Mahisal) at the time of their work. These songs combine nostalgic and hopes and are sometimes the same remaining about the lover or beloved. The songs also highlight the happiness and contentment the festival generates.

          The song Bhawaiya is accompanied with folk musical instruments i) Dotora( a string instrument) ii) Flute  iii) Dhol or Khol (Drum), vi)  Sarinja , v) Juri.

          The first Bhawaiya song recorded Disc (78 RPM) came out from His Master's Voice in the year 1937 by Lt. Surendra Nath Basunia. Followed by renown singer Abbasuddin Ahmed, Nayeb Ali (Tepu),  Pratima Barua, Keshab Barman, Payari Mohan Das, Dhirendra Ch. Sarkar, Kedar Chakrabroty, Biroja Prasanna Sengupta (Majhu), Ganga Charan Biswas, Gangadhar Das, Sunil Das, Sefali Sarkar, Mina Dutta, Dhaneswar Roy & others.

Abbasuddin Ahmed

Abbasuddin is a stalwart of Bengal's Folk song born in Balarampur village of Coochbehar district in 1901. He has attracted the heart of his audience with different forms of Bhawaiya like "Khirol" , "Daria'' and ''Chatka'' etc. The lovers of music are indebted to this great soul for recording numerous Bhatiyali, Jari-Shari, Murshida, Dehatatwa, Bichhedi, Marfati songs and thus saved these from extinction.He was a good student. His tryst with singing began with his student life itself. His classmate Lt. Surendra Nath Roy Basunia was an expert in folk music. He helped Abbasuddin selflessly and is credited for Abbasuddin's establishment in this field. Several others like poet Sailen Roy, Playwright - actor Tulsi Lahiri, Satya Sukul., Jiten Moitra also helped Abbasuddin to gain recognition and crave a niche for himself. The lyricists of Abbasuddin's first song were Sailen Roy and Jiten Maitra. During the partition of the country Abbasuddin went to Dhaka (Bangladesh) and settled down there. The soul that was engendered in an unknown place of West Bengal nurtured and bloomed in East Bengal, present Bangladesh. He was born with the essence of Folk and throughout his life, he continued to experiment with Folk and this extended the boundaries of Folk further. The winds of the villages echo his songs, the rivers of Bengal brim with his music-
'' O Ki Garial Bhai/ Kato Rabo Aami Panther Dike Chaya Re ''.

Nayeb Ali (Tepu) 

River Kaljani flowing through a pristinely quiet environment on one side, on the other side a village - in the midst of such a scenario was situated Nayeb Ali's house. All these landscapes and environment are found as Nayeb Ali's compositions. The basics for his Story music were these environments. The reason for the difference in the compositions of Abbasuddin and Nayeb Ali, despite their houses being close to each other, is each of their unique area of thoughts. His Master's Voice recorded his first song ''Futani Parar Nageshwari '' (a Story music type). Apart from this, twenty-seven other songs were also recorded. Among these, the song ''Diner Shobha Shurujore Mor / Aaiter Shobha Chand '' is recognized throughout the country. Behind the scene of Nayeb's recognition is the selfless help of his tutor Punya Kabiraj, Paan Mamud and Ainuddin Miya. His rendering of the folk songs portray a picture of the villages of Bengal. This can be attributed to the fact that these songs were sung in the evergreen simplicity of the tunes of the villages - which will not fade in the tides of time.
    

Surendranath Roy Basunia

Surendranath Roy Basunia was a stalwart of folk music of North Bengal. He was Abbasuddin's classmate, friend and teacher in first life. Fate betrayed him badly. Abbasuddin got established in music easily, but Suren Basunia spent his life in neglect and loneliness in a suburb of Cooch Behar. Ten of his songs have been recorded. Among these, ''O Barite Notun Bodhu Aashia '' is the first and incomparable record in Bhawaiya of North Bengal. The song ''O Konyare Ore Konya '' is familiar and praised. For twenty nine long years he worked as a teacher in Sadar Government High School of Cooch Behar. His friendship and his music helped him to gain recognition in North Bengal.

Smt. Pratima Barua

 Pratima Barua, came from a royal family of Gouripur, is a legend of the Gowalparia (a form of Bhawaiya, sung in the Gowalpara district of Assam) songs. She shot into fame with the song Tomra Geile Ke Ashibe o more mahut Babdhure from the Bengali film Mahut Bandhu released in 1957. She was gifted with a supernatural romantic and melodious voice which set her apart from her contemporaries. She received Padmashree award in 1991. Northbengal University conferred her D.Lit in 2000. She was affectionately called ''Hastir Kanya '' (Daughter of Elephant) by her admirers. Pratima Barua passed away some years back, but her eternal voice echoed in the hearts of her audience '' O Jiban Chharia Na Jaish Morey '' every where from the sand & sky.  

Keshab Barman

Music helps to forget all pains. This was true in case of this artiste also. Being an orphan, in his childhood itself he became a burden on his grandfather. He was thus unable to complete his academic education. He began his affair with music at the age of fifteen. In order to imbibe the essence of folk, he began to take lessons from Sadhu Gidal. The death of his teacher rendered him alone and broken and he thus started his tryst with music to forget the pain of this separation. He also shined in the field of playing ''Dotara ''. He recorded two songs in Gramophone Company (His Master's Voie) in 1941 which is the result of his self-dependence, enthusiasm and tenacity. We received ''Daanraja '', ''Bishohara '', etc. from him. Songs like ''Aashar Shrabon Maashey '', ''O Uriya Jaaore '', still echoes in the ears of his audience. He was more specialized in Chatka. His records were applauded by the society. He passed away at the age of 64.

Pyari Mohan Das

Pyari Mohan Das was born in Balarampur village of Coochbehar district on 12^th April, 1908. He was another artiste who had been betrayed by fate. He failed to carve a niche for himself. This sorrow engulfed him completely and rendered him frustrated, compelling him to give up all hopes. He used to compose poems on every contemporary matter including political and socio-economic problems. These poems left his audience mesmerized.   His plays ''Panchakanyabhagyadhar '', ''Dublabali '' were recorded by Gramophone Company (HMV). He also wrote more than 600 Bhawiya (Daria & Chakta) songs.  Apart from plays, he has also got the credit of five folk song records to his name. Songs like ''O mogoler Mao Agun Jalao Masha mari pon pon Kore '' ,   ''Aare O Shonar Bondhure '', ''Oki Baap re Baap '', etc. are some of his timeless and priceless compositions. He received Tribritta award .At the fag end of his life he was conferred Lalan award by the West Bengal Government for the year 1990-91.

Kedar Chakraborty

Born in Khagrabari village of Cooch Behar district, this artiste had a gift of a melodious voice. His mother was a renowned Bhawaiya singer and he began learning music from her in his childhood. It was his mother's genes coming out in his voice. Separation from music came into his life as a curse and he had to struggle to make both his ends meet. At this juncture, he came in touch with Harish Pal, a lover of Bhawaiya. Harish Pal helped him to come out of the maze of his monotonous life. Their continuous work bore fruits in 1947 and Kedar recorded first four of his songs from Columbia Record Company.  The songs were ''Ekta Kotha Shonak More '', ''O Ki Janiyao Janen Na '', ''Ando Mando Na Koish Kanya '', and ''Hai Keno Gelo Kanya ''. After this, in 1951, he recorded other four songs. These songs won the hearts and were admired by all of his audience. The essence of music inherent from his mother ran through Kedar's veins.

Biroja Prasanna (Majhu) Sengupta

He was better known as ''Majhuda '' by young and old alike. Sixteen of his songs were recorded by HMV. Songs like ''Oki Piriti Bhangibe Changra '', ''Tor Kotha Shunia Kene '' etc. were some of his best compositions. Bhawaiya was his forte, but he was also adept in other forms of folk. Fate does not favour everyone. Biroja Sengupta was also not favoured by his fate. He was unable to carve his name in the annals of music, but he succeeded in conquering the hearts of his audience.

Gangacharan Biswas

Gangacharan Biswas was a worshipper of all the types of folk songs of North Bengal.  He inherited this devotion towards the songs from his father Late Ramcharan Biswas. In the year 1944- 45, he took part as a guest artiste in the ''Gowalpara Sangeet Pratiyogita '' held in Dhubri(Assam) and was praised by Sri Gopal Mehrotra, the then Chief justice of Assam and Nagaland. His first song was recorded by His Master's Voice (HMV) in the co-operation of Sri Harish Ch. Pal. Subsequently some of his other songs were also recorded and these caused a wave in the world of music of North Bengal. The song ''Hutut Kaar Aashichhe Bari '' was specially praised by his audience. In 1967, his song was broadcasted from Akashvani Kurseong and thereafter he remained a regular radio artiste.

Gangadhar Das

Surrounded by Dharla river and its rivulets on three sides, is a small village called Nakkati.  Gangadhar Das was born in this village. His father, Gourkanto Das was an admirer of Kirtan and Dehtatwa songs and a regular performer of these songs at the village Harisabha. He regularly taught these songs to his son Gangadhar. Gangadhar's first teacher in music, thus, was his father. After the sudden death of his father, he was forced to leave his studies and he started living in a nearby village, Nalangibari. He was a part of Kushanis of the village earlier. He was attracted to the Dotara songs of the Maishals. He learnt a little bit of Bhawaiya and playing Dotara from his Maishal friends. Thereafter, he made a team of Kushan singers and was attached to it for about thirteen years. He came to know about Senola Recording Company around 1940-41. He also recorded songs with Columbia in between 1947-52. he taught his juniors during his leisure time and was a regular Palligeeti artiste of Akashvani Kurseong and Siliguri.  

Dhirendra Ch. Sarkar:

Dhirendra Ch. Sarkar a noted Bhawiya singer born in Faridpur district of Bangladesh in the year 1323 B.S. He settled to Coochbehar and started his educational carrier at Maharaja Nripendra Narayan (Swedish Mission) School of Coochbehar. He was extern from School when he was a student of Class VII for taking part in Jatragan (opera). Thereafter he gave up his studies and started learning folk songs from the Fishermen, Boatmen and Cowboys and achieved a splendid success. He also came in close touch of Abbasuddin Ahmed and exchanged their musical feelings.  He recorded several Bhawiya songs from His Masters Voice, of which Bhal Koria Bajangre Dakua  and O more Bania Bandhure became famous.

Sunil Das

Gendered by Shashibhushan Das, Sunil Das was an artiste of Akashvani Kurseong centre. He was born in a suburb of Dinhata. He could not give much time to music due to his study and work, but he could never keep music far from himself. He came in touch with the music world and music lovers in 1962 at the Youth Festival held in Siliguri. He is famous for recording songs like ''O re bondhu ''. He recorded two songs with His Master's Voice (HMV) in the year 1965. He received adulations for those songs.  

Meena Dutta

She was born 3^rd of March, 1938 in the district of Cooch Behar. Meena Dutta was blessed with talent and a bright mentality which helped her get over the bindings of tradition. At a time when music was not seen as a ''feminine '' quality, she struggled to record her songs by going all the way to Calcutta. She accepted Sri Biroja Prasanna Sen as her teacher in her eagerness to learn music. Behind her love for music is her father's motivation and the landscape of her town. After finishing her college, she had to get entwined in the complications of family life. But she could not forget the music and rhythm of Bhawaiya. Thus, in between her work and in leisure times she was heard singing Bhawaiya.

Shefali Sarkar

This artiste was born on 31^st December, 1931 in the district of Cooch Behar. Since her childhood she was mesmerised by music, she used to go into a trance while listening to the gramophone records. This situation created a motivation in her mother and thus opened the way to music for this budding talent. Her tryst with music began with the genres of Kirtan and Rabindrasangeet. She spent her childhood in the town of Cooch Behar and Mathabhanga. Later on, she did her schooling from Sunity Academy in Cooch Behar and learnt music from Sri Broja Prasanna Sen. It was her teacher whose motivation attracted her towards folk music. In 1951, she recorded a few folk songs under the directions of Pioneer Club. She also acted and sang in ''Madhumala '', ''Dublabali '' etc., under the guidance of Pioneer Club. She did her Bachelors from Victoria College of Cooch Behar. After that she sang several folk songs in functions, which earned her fame as a folk artist.     

Dhaneswar Roy :

Dhaneswar Roy a renown Bhawiya singer born in the year 1934(1341 B.S.) at Hedayednagar (Jateswar) village under Jalpaiguri district of West Bengal. He had to give up his studies due to poverty at class VIII level. His father Anandamohan Roy was a famous Kirtan (Devotional Bengali songs) artist of his locality. Inherited from father and inspired by his well-wisher Sudhir Lahiri and Sudhir Ch. Dey Dhaneswar devoted himself in music. He took formal lesson from Guru Narendra Nath Roy. Dhaneswar Babu recorded some Bhawaiya songs from H.M.V. In the year 1964 Pioneer club of Dinhata invited him to perform two Chatka songs in a cultural function held at Dinhata town. He had also given judgement in the Rajya Bhawiya competition several tmes.

Rahima Kalita, Queen of Bhawaiya

Rahima Kalita, a melodious promising singer of Bhawaiya has won a special place in the hearts of people of Assam and North Bengal. She has been performing in many functions all over Assam and North Bengal since 1980s. Rahima Kalita was born in Goalpara district of Assam in the early 1960s, in a poor Muslim family. Her father Rozmamud Sheik was a poor cultivator. He was also a good folk singer. Initially Rahima learnt singing from her father and her mother who also sang well. With sincerity and devotion she brought to fruition her inborn gift of music and soon was recognized as an ideal folk singer. To procure money for medical treatment of her ailing mother, Rahima joined Aradhana, a professional theatre group of Kamrup district of Assam, where she met Madhav Kalita, a renowned Tabla and Dhol player with whom she was destined to tie the knot.  Rahima was also taught classical music by her Guru Biren Sharma.  Her first cassette ''Goyalpariya Goyalini '' was released in 1984. ''Matir a Pinjira '', a song from this cassette, became popular all over Assam. And she never had to look back. She has to her credit some 45 Albums including, ''Sonar Moina '', ''Moner Aagun '' which took Assam and North Bengal by storm. Rahima has also released a CD Album called ''Moner Aaina '' with two other popular male singers of Assam and West Bengal. Rahima's another CD ''Shakher Baudiya '' created a great upsurge in Assam after its release. 

Abhoy Roy

Abhoy Roy is a contemporary legend of  Bhawaiya songs and at the same time he can hypnotise his audience by the tune of Dotara. He brought the perfection of Sarad in the tune of Dotara. Abhoy born in Dayalerchhara village of Coochbehar district in the year 1955. His father Kabi Ch. Roy was a good Bhawiya singer. His elder brother Shibnarayan Roy was also an eminent Bhawiya singer and Doatra player. Abhoy took the formal lesson of Bhawiya from renowned folk singer of Bangladesh Md. Nasiruddin Shekh. Since 1978 he is a regular Radio artist. In the late seventies he recorded his first Bhawiya song under the music direction of Late Harish Ch. Paul from H.M.V. His next disc came out from H.M.V. under the direction of Mr. Chandra Shekhar Paul in the year 1983. Besides singing he accompanied many renowned Bhawiya artists by Dotara in Gramophone disc of HMV like Late legend Ganga Charan Biswas, Naren Paul and Begam Ayesha Sarkar from time to time. He is an ''A '' grade artist of All India Radio. Abhoy also performed musical programme in Banga Sanskriti Sammelan at Kolkata in 70's decade.  He had inherited 8/9 bighas of land from his father which he compelled to sale to secure a menial job to maintain his livelihood but betrayed by the fate. Finally he achieved a Group ''D '' job in State Health Department by the help of the then Sabhadhipati of Coochbehar Jella Parishad Lt. Manindra Narayan Adhikary.

Narayan Ch. Paul:

Narayan Ch. Paul is a veteran Bhawiaya singer born in 1941 at Coochbehar town. He achieved several awards during his college life. After passing from the college he received formal Bhawiaya coaching from Guru Gangadhar Das. Being inspired by Lt. Harish Ch. Paul he sat for audition of Bhawaiya song in All India Radio, Calcutta and selected as ''B High '' grade artist. Till he is a regular Bhawaiya singer of A.I.R., Siliguri. Apart from that he also performed Bhawaiya songs from Doordarshan, Kolkata on 22^nd October 1989 and 11^th June, 1994. Sri Paul has been  giving the judgement in the block-level Bhawaiya competition for a long time. 

Damayanti Ray (Barman):

Damayanti Ray (Barman) born in 1954 at Shalmara village of Coochbehar district owned a melodious voice since her child hood. In her early days she took the lesson of classical music and used to sing Bengali modern songs, Rabindra Sangeet, Najrul Geeti etc. But finally she has shifted herself to folk music. She began to receive talim in Bhawaiya from Guru Umakanta Roy of Dinhata. Her spectacular voice attracted the attention of renowned folklorist Harish Ch. Paul and under his music direction Damayanti recorded her first Bhawaiya song in gramophone disc ''Baner Ponkhi Bane Thakis ore Tui '' and '' Area o ore Rikshawala '' from His Master's Voice in the year 1977. Thereafter she recorded more ten Bhawaiya songs in disc from H.M.V. Her marvellous voice established her in the folk world.

Nagen Silsharma

Nagen silsharma a renown Bhawaiya singer born on 15^th October 1956 at Shilkhuri village under  Chilkirhat Gram Panchayet of Coochbehar district. He took formal lesson of Bhawaiya from Guru Lt. Sobahan Ali Pramanik and Lt. Ajimuddin Miah in his boyhood and lastly from Lt. Trifulla Kr. Roy of Chilkirhat. Nagen possess a sharp and melodious voice. He performed Bhawaiya songs in many functions right from Block to State level. But he did never appear before   any competition. He recorded his first two songs 1. Aaire Nindobali Aaire aai and 2.Dheketol Dheketol kore Jhechu from His Masters Voice and thereafter two songs from Hindusthan record company. He also recorded a few songs in two cassettes from Gathani and Kiron Cassette Company. He is a regular performing artist of Bhawaiya from All India Radio, Siliguri. He likes the songs of Suren Basunia, Abbasuddin and Nayeb Ali(Tepu).   

Maya Silsharma

Maya Silsharma a talented and promising Bhawaiya singer born on 4^th March 1966 at 76 Nijtaraf village under Mekhliganj  Subdivision of Coochbehar district. She started her musical carrier at the age of 22. She received formal lesson of Bhawaiya from Guru Subhash Roy of Mekhliganj. Talented Maya stood first consecutively two times in first and second Rajya Bhawaiya competition in Daria section. She performed many public functions and recorded some songs including 1) Oki Bhai re bhai and 2. O Baudia more chhawater from Gathani and Kiran Cassette company. She likes the songs of Payri Mohan Das, Abbasuddin Ahmed and Pratima Barua (Pandey)

Pradip Oraon

You will be spell bound hearing the Bhawaiya Songs in clear Rajbangshi dialect by Pradip Oraon, a physically challenged tribal youth of Patkapara village of Jalpaiguri district, as you are astonished by the melodious rendition of Rabindra Sangeet in the voice of South Indian youth Manoj Murli Nayar. Pradip s mother tongue is Sadri but he can render Chatka and Dariya (Bhawaiya) in Rajbangshi dialect flawlessly.

He was born in a poor Oraon family at Dawkimari village of Dhupguri (Jalpaiguri). He was bought up among the Rajbangshis. Hence, he mastered Rajbangshi dialect along with his mother tongue Sadri. Aneshwar Barman, a music lover, inspired Pradip and with this inspiration, Pradip began singing Kirtans. School did not attract him, and in 1994 he passed Class VIII from Patlakhawa High School, gave up his studies and went to Assam. There he sang several Sadri songs in the midst of the Tea Garden labours and received their applause. After few years, he came back to his own house in Tapsikhata village in Alipurduar Subdivision of Jalpaiguri district. He began learning Bhawaiya from Guru Manabendra Narayan and  Gruruma Malati Narayan. Under their guidance, Pradip began a new chapter of his life. He bagged the first prize in Chatka section in State Bhawaiya Competiton at Matigara (Darjeeling) in 1999. Thereafter, he sang several Folk songs in Madhusudan Mancha, Kolkata and won the hearts of his audience. Then he sang in Folk Culture Fair at Banipur. And then he sang at many Governmental as well as private social functions and gained the praise of all his listeners. In the opinion of eminent folklorist Mr. Chandra Shekar Pal, ''Pradip Oraon is an incomparable folk singer. His style of singing and range of his voice is really praiseworthy.  Neglecting the heat or rain, Pradip tills the field as an agricultural labour for his mere survival. After the days hard work, he practices upto the late night by lighting a kerosene lamp in his lone hut. He appealed from Officers to Minister time and again for a job of Durwan or Peon, but all in vain.

Sikha Roy :

Sikha Roy possess a God gifted melodious voice, was born in May 1983 at Kharkharia village of Dinhata Subdivision (Coochbehar district). She took lesson of  Bhawaiya from Guru Shyam Sundar Roy and Sunil Das of Dinhata. Sikha is an expert singer in both Daria and Chatka category of Bhawaiya. She stood 2^nd in State Bhawaiya competition held at Falakata of Jalpaiguri district in the year 2004. She performed Bhawaiya songs in several State level folk festivals as a guest artist successfully.  

Anjana Roy

Anjana Roy is a promising Bhawaiya singer with  melodious voice born on 24^th October 1968 at Haldimohan village under  Chilkirhat Gram Panchayet of Coochbehar district. Father Dharanidhar Roy was an earnest  music lover. Inspired from his father Anjana entered in the  world  of music.

Purnima Adhikary :

Purnima Adhikary, a promising Bhawaiya artist born on 20^th April 1980 with God gifted talent at  Coochbehar district. At the age of 8 she performed her first public appearance which was applauded by the audience. Thereafter she received the formal lesson of Bhawiya from her Guru Debendra Nath Adhikary and Sailen Roy and devoted herself in Sangeet Sadhna. As a result Purnima received several prizes and awards in different folk song competitions right from the Block level. She had the opportunity to perform Bhawiya songs as a Guest artist in the Rajya Bhawiya Utsav (Function) at Sitalkuchi of Mathabhanga Subdivision some years back. She is a regular artist of All India Radio, Siliguri and recently conferred the B.High Grade by the Audition Board of All India Radio. Her melodious voice will obviously attract the attention of earnest listener of coming generation.

Himadri Dewri :

Himadri Dewri was born on 27^th April, 1985 to Sukheswar Dewri and Gita Sarkar (Dewri) at a small village called Shalbari of Cooch Behar district of West Bengal. He is pursuing a Masters degree under Burdwan University, West Bengal. His music life commenced at home and he was tutored in Bhawaiya by his father and uncle. He bagged the first prize at the age of seven following a spellbinding performance at the State Level Bhawaiya Competition in 1993-94. After that, he was again declared the champion of the Competition in 1997 and 1999. He is a regular Radio artiste with the All India Radio, Siliguri and a special performer of Doordarshan Kendra, Kolkata. He has been awarded a scholarship from CCRT and the Ministry of Culture, the Government of India. He has performed Bhawaiya songs at innumerable competitions at places all over West Bengal, Assam and in Delhi and Hyderabad. He had been invited to perform at the International Folk Song Conference 2007 at New York hosted by the Bangladeshi Community of North America. But he was not able to attend the same due to some problems concerning his Visa.

Urmila Sharma :

Urmila Sharma   a talented Bhawiya artist was born in 1988 at Shalbari village of Tufanganj Subdivision under Coochbehar district. She is perhaps the youngest folk artist of contemporary period who came in the limelight by her melodious voice. Urmila started singing right from her 5 years of age. She took her first lesson of music from Guru Manobendra Narayan and thence from Guru Sunil Barman. At the age of 11 she performed spectacularly in the Rajya Bhawaiya Competition at Matigarah area of Darjeeling district and stood first in the Daria division. Thereafter she achieved second position in Chatka division in Rajya Bhawiya Competition held at Balarampur area of Coochbehar district. This promising folk artist can spellbound the audience by her amazing performance. 

Bisohara

Bisohara is sung mainly to please Devi Manasa, the goddess of snakes. Songs are mainly composed from Padma Puran. There are usually 20-21 performers including singers and dancers in a Bisohara troupe. The team leader is called a Gidal (Main Singer) who is supported by Doari (Co-singers). The instruments used as accompaniment for Bisohara are Khol(drum), flute, harmonium and clarinet. Four dancers dance to the song. Bisohara is sung in the Rajbanshi dialect like Bhawaiya. But the popular folk orchestra of North Bengal, Dotra is not used for Bisohara. It requires at least 4 to 5 nights to complete one session of Bisohara. The session starts at 8 or 9 p.m. and ends at dawn. Every night at least 10 to 15 thousand people, irrespective of caste and religion gather to enjoy the play.

Raj Kumar Gidal: King of Bisohara

Meet Raj Kumar Gidal (Barman), an emperor of Bisohara (the popular folk song of North Bengal which is often accompanied by dance.) Raj Kumar a resident of Mathabhanga Subdivision of Coochbehar district of West Bengal started singing Bisohara when he was just twelve. He began as a student of his Guru (Teacher), late Surendra Bairagi and thereafter apprenticed to late Biro Barman. He gave his first performance with his Guru in the Pramanik house of Sikarpur village of Coochbehar. Since then there was no looking back. Even today one finds him performing successfully with his group, touring from one village to another throughout North Bengal and Assam. In fact he has had a hectic schedule for the last 50 years. But poverty has never left the side of this septuagenarian folk singer. He is getting only Rs.150/- to 200/- for one night play.  Even today he has to till his small piece of land to maintain his livelihood. Raj Kumar has not received any Government award, grant or recognition till date. He is grateful to Abbasuddin Smaran Samity, Kolkata for giving him a reception and Cash award of Rs.6000/- some years ago. It is one of the happiest moments of his life.  

Saitol dance mainly performed in the villages of North Bengal by the Rajbanshi community to worship the Goddess Sasthi.  The dance accompanied with religious songs performed by a group of female dancer with the rhythm of Dhak (Drum) under the guidance of Gidali (Main singer). Being invited by a house wife, Gidali undertake the sole responsibility of Saitol Puja (Worship) in a village house.

          Few lines of songs (in Rajbanshi dialect) -

          used in Saitol puja (worship of Saitol) :

          ''Ohopare Nadi epare daria

          More Nadir Thamkil kalar bhar

          Sasur more Saodagar Shami more Rasindar

          Bharon Khawa Karia Dao moke par

          Thekia aachhe Basmotir Puja '' &

Fulti Barman (Gidali) is the oldest living folk (Saitol) dancer of   West Bengal, perhaps of the country. Now she is above ninety, though she can perform Saitol dance with the rhythm of Dhak for hours together. Fulti performed Saitol dance programme at Kolkata organised by the Abbasuddin Smaran Samity some years ago which was praised by the eminent folk songs critic.

Fulti Gidal (Barmani)

Fulti Gidal (Barmani) a resident of Putimari village of Dinhata Subdivision under Coochbehar distrct is the uncrowned queen of Saitol dance (a rare, almost extinct form of Bhawaiya dance). She is the oldest choreographer of West Benga, perhaps of the country. She is now more than 90 years old, though she can perform dance programme hours together with the rhythm of drums(Dhak). She sings and dances for a living. But that isn't enough to make ends meet. She also has to depend on charity. Everything was fine. Until now, that is. Ever since Kolkata Doordarshan telecast one of her dance programmes, people are reluctant to give her alms. She's patronized by the Government, they reason. So much so, they're even calling her ''Sarkari Buri '' these days.  She is equally good in songs sung during Sulachani and Kati(Kartik) worship. At a function in Kolkata in the October 1996, Fulti charmed the audience with her lively folk numbers. Noted folk song expert Kali Dasgupta was full of praise for Fulti's stile.

Hudumdeo Puja (Worship of God Hudumdeo) :

Hudumdeo is the God of rain. Actually the Hudumdeo puja (worship) is a fertility cult. According to Rajbanshi folktale Hudumdeo (naked God) is the son of God Indra and  Basumati (Universe). When drought occurs in the scorching sun-lighted summer, the poor farmers of North Bengal start Hudumdeo puja (worship) praying for rain. The Hudumdeo Puja (worship) performed by the females only.  At the time of drought the landlady invites the Gidali (main female singer) to perform Hudumdeo Puja. Thereafter 8/10 female singer-cum-dancer starts collection of food grains from house to house of the village. This collection process continues for days together. After completion of collection the female dancers gather in a place like river bed or lonely field in the deep night. Thereafter making themselves unclothed the female dancers start dance praying for rain in the rhythm of Dhak (Drum). No male member of the society could observe the dance of Hudumdeo puja (worship), even the male drum player plays his drum from a distant place (behind the jungle) so that he may not observe this naked dance.

          Songs of Hudumdeo puja (worship):

          ''Hudumdeo Hudumdeo

          Ek Choul Pani Deo Mathata Mui Ghasong

          Ek Choul Pani Deo Bukta Mui Ghasong '' &  

 Dr. Sukhbilas Barma :
 

Dr. Sukhbilas Barma, a member of Indian Administrative Service, a bureaucrat retired in January, 2006 and presently acting as Chairman, Third State Finance Commission, West Bengal continued his deep love and passion for the cultural history of his own community, Rajbanshi of North Bengal. Born and brought up in the rural background of Krishnapur, a village of the Dist. Cooch Behar, characterized by serpentine Himalayan mountain-fed perennial rivers, Dr. Barma pursued his passion for singing acquired from his childhood in the folk song popularly known as Bhawaiya and got recognition as a Grade-I performer of folk song by the All India Radio and Doordarshan. He is a regular performer on All India Radio, Electronic media and public cultural functions. He has released a number of cassettes and CDs.  In addition to Bhawaiya - Chatka, he has proficiency in Bhatiyali and other traditional forms.  His quest for the beauty, strength and genesis of traditional music made him an ardent scholar of ethnomusicology of Bhawaiya and Chatka, folk song of North Bengal, which resulted into the doctoral thesis for Ph. D awarded by the Rabindra Bharati University, Kolkata. He has been awarded honorary D.Litt. by North Bengal University for his invaluable contribution to the ethnic culture of North Bengal. He has since authored three books - Jaag gan (Bengali), Bhawaiya (Bengali), Bhawaiya , Ethno- musicological Study (English) - all three on North Bengal's linguistics, music and culture. Jaag gan or Kamdeber gan is a variety of folk drama.  As in other forms of folk drama of North Bengal, music plays an important role in Jaag gan.  The book deals with the details of the form and it contains the song pieces reproduced from Rangpur Sahitya Patrika and also the pieces collected from different areas of North Bengal and western Assam.  The book was published by Abbasuddin Smaran Samity, Kolkata and presently out of print.  Bhawaiya, dealing with the folk genre of the Rajbanshis of North Bengal is a valuable document, not only on folk music but also on socio-cultural history of the folk community and the region, namely the Rajbanshis and the then Kamrup.. Bhawaiya - Ethnomusicological Study  covers theoretical analysis of music, folk music and ethnomusicology, historico-geographical background of Kamrup, cultural history of the Rajbanshi community, linguistic analysis of the Kamrupi dialect and lyrics of Bhawaiya, portraying the Rajbanshi life.  It also contains the evolution of Bhawaiya - Chatka to this day and an analysis of its future prospect.  This inter-disciplinary study by Dr. Barma has opened a new dimension which has benefited the musicologists, cultural anthropologists, sociologists, folklorists, historians and other enthusiasts.

Kusan Palagan :

The genre Kusan palagan is said to be based on the outpourings of Luv and Kush, the twin sons of Ram and Sita. The lyrics are generated by the folksingers themselves and sung to the accompaniment of instruments such as the Sarinja, flute, byana and Khol. The gidal or main singer is assisted by two others known as dowari. Among the better known presentations of Lalit Kusani are Lakshmaner Shaktishel, Ravana Vadh, Kumbhakarner Nidra Bhanga, Sitar Banobas and others which the master would perform one after the other through the night. In the past, male artists donned the sari and enacted women's roles. But things have changes now; women artists perform Kusan palagan on stage as dancers.

Lalit Kusani :            

Lalit Mohan Barman was a common folksinger in Fulbari-Masanpat village in Dinhata Subdivision of Coochbehar. He was master of Kusan Palagan, a lesser-know folk genre. Performing in the villages for decades, Barman became so well known that he came to be called Lalit Kusani by the people in rural North Bengal and Assam.Lalit Barman learned Kusan palagan from his guru, Jhapura Kusani, as a Chhokra artist: in his tender age. The long journey from Chhokra to gidal(team leader) was not a bed of roses. After the demise of his guru, Branman formed his own troupe with the help of Rajendra Bairagi of Bhitar Kamta village of Gosanimari area. Lalit Kusani also performed the Dotora palagan equally well. While city-based bands seek to cash in on these simple folk genres, often misinterpreting and distorting the music for the sake of money and instant popularity, artists such as Lalit Kusani keep alive the real tradition. This despite dire poverty and lack of instant gains. In fact, such was Barman's dedication that he even trained many students under the Gurukul system so that the music would not become extinct in future.The preserver of a rare form of folk music, Lalit Kusani had to survive on very modest means. A small piece of land - which he tilled himself - was all he had, apart from his earnings from the stage. Of the latter, he used to distribute a major portion to his co-artistes, keeping very little for himself. This unknown artist was brought to the limelight by folk researcher Chandra Shekhar Pal. On the recommendation of Mr. Pal, Sukhha Bilash Barma, famous folk singer and founder of the Abbasuddin Smaran Samity of Kolkata, hosted a reception for him on 27 November 1995. The maestro was awarded Rs.7,500/- and a Certificate for his contribution to folk music. That day Lalit Kusani's 40 minute performance of Lakshmaner Shaktishel left spectators at Rabindra Sadan spell bound. Music lovers of Kolkata were touched by his rendition of the traditional Kusan palagan of North Bengal. Lalit Kusani was a regular artist of All India Radio, Siliguri, Doordarshan, Kolkata and some private television channels. He was given the Lalan award by the Department of information and cultural affairs, Government of West Bengal, at a function in Rabindra Sadan in 1992.The Certificate was handed over by Buddhadeb Bhattacharjee, the then Minister-in-charge. Speaking to this writer - in what would become his last interview; the great artiste said he would continue to perform Kusan palagan till his last breath. Lalit Mohan Barman passed away at the age of 86, leaving behind hope that his school of music would go a long way.

Chandi Nach (Dance)

Chandi Nach (dance) is a form of traditional and religious Bhawaiya folk dance of North Bengal also known as Kali Nach (dance). This mask dance usually performed by 7 (seven) choreographers; Chandi (Kali), Chandasur, Mundasur, Dakini( daini), Yogini, Fox and Mahadev. Musical instruments; Dhak, Dhol, Karka, Dampo (Drum) and Kanshi used with the songs. This traditional dance of Rajbanshi Community is on the verge of extinction. Fortunately one Sri  Amullya Debnath,  folklorist and Social activist born in the Kharija Balakura village of Coohbehar district tried his heart and soul and revived the traditional Chandi Nach in  a new form with some modern choreography  in the year 1400 B.S. Finally Sri Debnath   formed a voluntary troupe and started to demonstrate the Chandi Nach from village to village of North Bengal and Assam especially after the harvesting season. It may be pointed out that the members of this troupe are almost poor landless day labours. Generally the dance team perform their programme hours together, in lieu they are getting meagre tips even somewhere mere food grains in the form of alms (Magon).

Apart from Chandi Nach this voluntary troupe also perform the dance of Sona Roy (God of Tigers) and Goro Nath's( Lord Mahadev) Song.

Balaram Hazra

Balaram Hazra  didn't get any exposure by the media like famous drum player Shivamani, though he can take his audience by storm by beating 25 Dhols (drums) simultaneously in perfect rhythm. This unrecognized magician of Dhol was born in a poverty stricken family in Rangpur district of Bangladesh in 1945.  After partition of the country he came to Jalpaiguri district of West Bengal and settled at Patkapara village of Alipurduar Subdivision permanently. His father Lt. Jamini Hazra tried his level best to send Balaram to school, but failed. Balaram was bohemian in nature. Hearing the tune of flute and clarinet he often ran away from the house to enjoy the opera (Jatragan). In his early teenage he joined the campaign team of a Biri (cigar) company as a drum player. He learned Dhak & Dhol playing from Saral Ustad and Tenu Badiyakar of Alipurduar. He learned classical musical instrument Pakhowaj from Guru Lt. Jiten Bhattacharya of Jalpaiguri   for years together.  Balaram is at ease in the field of Folk music. He accompanied the famous folk singer Amar Pal of Kolkata, Rathindra Nath Roy of Bangladesh, Rahima Kalita of Assam and Sukha Bilash Barma from time to time. On 11 June 2005 he created a miracle in a function dedicated to the memory of Lt S.D. Barman, the Music maestro at New Delhi. As a result of which, Central Govt. sanctioned a monthly honorarium of Rs.2000/- to this poor folk artist. This was followed by another Rs.1000/- by the Cultural affairs Department of West Bengal. Till date his greatest achievement is the reception from Abbasuddin Smaran Samity of Kolkata in 2005. On 5^th November 2007 Coochbehar Press Club honoured this talented folk artist by conferring him a warm reception in their Bijoya Sammiloni.

Harish Ch. Paul

Harish Ch. Paul, a renowned folklorist & researcher, was born in the year_1322 B.S.at Dinhata town of Coochbehar district. He has done a splendid job in preservation of the extinct folk culture of North Bengal.  He had collected many extinct folk dramas, prose on the worship and rituals of Rajbanshi community and edited some books on it. He edited a famous book named ''Uttar Banglar Loukik Brotokhata ''. In that particular book he collected and edited  regarding the style of worship of Saitol (Sashti), Subachani, Dharam Thakur, Shat Puja, Kati(Kartik) Puja and Hudumdeo( Goddess of Rain) Puja. He collected a rare manuscript of verse named Gosani Mangal Kabya written in the year 1907-08 by an unknown village poet Radha Krishna Das and printed it in his own cost. He edited and published it in his own cost. During his life time he convinced the authority of Gramophone Company (HMV) from time to time and recorded at least 94 discs (78 RPM) of Bhawiya songs including musical drama (Palagan), Danraja-Harishchandra, Madhubala, Shaktishel, Bhagyadhar under his own music direction by the unknown but genius folk artists of North Bengal. He collected several Bhawiya ( Daria & Chatka ) songs and prepared the notations (for the first time) of the popular folk songs of North Bengal by Bangshidhar Ray, a reputed flute player of (H.M.V). and then edited the famous book, ''Uttar Banglar Palligeeti '', in two volumes (Bhawaiya Khanda & Chatka Khanda). In this book Harish Ch. Pal also mentioned the livelihood, bio-data and musical talent of several renowned and unknown folk artistes of North Bengal.  By this way he brought into light several poor but talented folk singers who were secluded from the world of fame due to poverty or negligence. It was not his profession, but hobby and passion. He passed away on 23^rd March 1982.    Long 25 years have been elapsed after the death of Harish Ch., but proper evaluation of his  precious works are not yet been done by the folk lovers,  scholars or by any institution. He was not been conferred by any award or honour by any institution, Govt. or University, though he possessed all the rare qualities of an earnest research scholar.  

Chandra Sekhar Paul:

Chandra Sekhar Paul is a renowned folklorist. He has born in 1944 at Coochbehar. After finishing his studies in Jenkins school Coochbehar he has graduated from Calcutta University as a student of anthropology. He inherited the taste of Bhawaiya music from his talented father Harish Ch. Paul. Chandra Sekhar wrote several articles on Bhawaiya folk form in different periodicals from time to time. After demise of his father in the year 1982, Chandra Shekhar devoted himself in the noble mission of preservation of rare Bhawaiya songs. And under his auspicious direction a gramophone disc of Bhawaiya Palagan .  Apart from music direction he also sang Bhawaiya songs in Mumbai, Madhusudan Mancha and Sarat Sadan of Kolkata from time to time. As a folk song lover he came in touch with renowned folklorist   Lt. Kali Dasgupta and Mr. Sukha Bilash Barma. He is a founder member of Abbasuddin Smaran Samity, Kolkata and also associated himself with Loko Saraswati, Kolkata

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