Professional Documents
Culture Documents
Nabanita Roy
Post Graduate Student, Department of English
North Bengal University
Such repressive codes steadily normativize gender roles,
for both men and women, bind them into structures, through
hierarchy, privileging one and marginalizing the other.
Mainstream narratives almost always privilege the normative
discourse initiat ing t he norms as essential and their
transgression as a breach to the established and the said.
Historically both men and women, have and continue to suffer
from such textual and oral codifications, which thrives across
the gender, caste, tribe, community lines. Transcendence is
perceived as transgression. And the voices of the victims are
lost in the regiments of institutions. Such is the culture of
inflicting “subtle and more subdued suffering” (8) according
to Foucault, where the voices are denied any space for
articulation.
BHAWAIYA
Bhawaiya belonging to the oral tradition is a nourishing
ground for the marginal voices, which documents testimonies
of denial and deprivation (Prodhani 173). Being part of the
oral tradition, these voices are polyphonic, dialogic, flexible.
They are sung in the Kamptapuri/ Rajbanshi language, or more
popularly referred as Deshi (the language of the land). As such
they represent a plethora of epistemes that have singularly been
reiterated through personal lived experiences of the body and
is both individual and collective. Many scholars including
Sukhabilash Barma, writer and administrator, view the genre
as an independent outgrowth of religious performances. Mostly
performed as interludes within the medieval religious plays in
erstwhile Koch-Kamrup-Kamtapur, they slowly developed into
a secular genre, comparable to modern jatra/pachali gaan.
Hence the development itself bespeaks the growing popularity
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of the songs which depicted themes of everyday life, and
particularly of the women.
A famous bhawaiya called baromaishya song thus
narrates the work she has to perform throughout the year which
eventually prevents her from relishing her husband’s affection
and love. She yearns for his presence-
Fagun mashe odhik jala
Boishak mashe boron kalare
Joisthyo masho gelo koinyar kajote aar kamote
Pashan bandhichen poti monote.
[In fagun month there is much pain/in boishak my skin goes
dark/ joishtyo went away for the bride in various works/ my
husband your heart must have become a stone by now]
As discussed above, women’s freedom and autonomy
has been rigorously curbed by a patriarchal system, in an Indian
context. But there are very less documents narrating her daily
suffering. Bhawaiya is one such medium which has generously
enclosed in its rhythm and rhyme, the narratives of women.
The specialty of Bhawaiya as professor Nirmal Chandra Roy
points in his essay is that, the song belongs to the subaltern
group of people, the landless cultivators, the lowest section of
the society like the garial, moishal mahut, similarly Bhabna
Rajbanshi in her essay confirms that bhawaiya mentions no
kanu, there is moishal, mahut, dofadar garial. As such
Bhawaiya became a furtive space to narrate and negotiate the
livelihood of the folks, who constitute the rural economic
system, both men and women.
These “macro narratives” (Barman 174) preserve the
voices of protesting, complaining, dissenting women, as
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She is unabashedly outspoken about her bodily turmoil
that keeps haunting her without her lover/ husband/man.
IS TRANSGRESSION A MYTH?
From a dialectical point of view ideology is the
superstructure that produces all that men say, imagine and
conceive and help transcend the material relationship as
religious. The relation of the man to his wife is interweaved
with the religious discourse through sacred texts and writings
which value her sanctity/purity through her body and the
religious purity of the marriage. Such works by narrating stories
of purity, restrictions imposed on women allow us to realize
what is normal.
What ideology creates is gendered subjectivity. It is
interpellated through language within the symbolic order of
phallus that approximates/represents the imaginary as the real.
In Bhawaiya, the women’s voice or the female voice, yearns
for her lover within the structures of the symbolic. She sings
Mohish choran mor moishal bondhu re
Bondhu mujnai nodir pare
Kenong koriya par hoya jaang
Pankhya nai dei bidhi moishal re.
[mohish you look after your buffaloes / beside Mujnai river/
how can I cross the river/the fate has not gifted me with wings]
She is thus inevitably trapped within the house assigned
to her. Pankhya (wings) to transcend to her lover is not
available to her. The moishal lover who sings along the Mujnai
river is beyond her reach. The song addresses her entrapment
within the symbolic order of language, where she conceives
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the fact that without wings, uniting with her lover, is an
impossible feat. The absence of wings, which is symbolic of
transcendence and freedom, narrates the unavailability of
freedom and the opportunity to actualize love in a male-
oriented society.
Another song structurally similar to it, narrates the story
of a women whose wishes to unite with her lover is deterred
by her role as a mother:
Kolar chawa moishal feleya thuiya
Kemne jaim tomar shathot choliya
Kolar chawa mor nai khai ekdhai dudho re
[leaving my infant behind/ how can I go away with you/ my
infant does not suckle milk]
Her role as a mother and the ideology of motherhood
which demands an uninterrupted presence, does not permit
her the space to transcend. Marking the absence of any fruitful
actualization. She is confined within the bounds of a system
that prescribes her roles as a mother. Her desire to be with her
lover is likewise marred. She is the source of nourishment and
provider of life. The milk is verily associated with her identity:
who is a mother of an infant. For a man, there is a laxity in
terms of rules pertaining to man’s disavowal of paternal or
even marital responsibilities. Such as this song narrates,
Kisher mor randhon kisher mor baron
Kisher mor holodi bata
Moro prano nath onyer bari jai
More agina diya ghata
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the point is, even if they feel that marriage is the obstacle that
keeps them from meeting the beloved, they express their hatred
and anger towards the institution, not towards the one who
they love and care about. Further there is no social embargo
imposed upon her for mating multiple guys simultaneously”.
Whether or not she is quarantined for her liaisons is almost a
private and relative truth which hinges on rigorous critical
study to be justified as fact. But Bhawaiya undoubtedly is an
impulsive declaration of that possibility.
Thus, the crux of transcendence is located in the mobility
itself, the textual possibility to negotiate the institutional
structures of marriage, where she moves beyond the normative
codes that restrict her within the social framework of marriage.
It lies in the expression of desire and aspirations that are seldom
documented and hardly expressed as natural to women. Her
transcendence lies in the voice itself. The voices which deny
the interiorization of patriarchal ideology particularly their
sexual choices, preferences. They not only speak against the
system of patriarchy which naturalizes monogamy for women
and criminalizes her transgression but also voices her desires
and deprivations. Society also normativizes polygamy,
privileging men rather women. Men are celebrated and
polygamy becomes a symbol of power and masculinity.
Women only play a subservient role; they accept it as their
fate and gender expectations. Whereas the opposite proves to
be problematic. Polyandry becomes a sexually, morally,
socially digressive and unacceptable act. Bhawaiya preserves
the apathy of a women who is forced into such a relation, the
narratives of a child who has been married to a boy incapable
of fulfilling her sexual desires, and these voices unabashedly
speak out against such oppressive regimes which delimit the
social as well as cultural frontiers.
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CONCLUSION
The condition of the past cannot be explicitly mapped
down into a neat framework, rather it can be a part of critical
apprehension and discourse that which will allow us to navigate
the frontiers of living and being which had always been part
of human history. The folk/local/marginal text of Bhawaiya is
one such subject for reconstructing the little histories of women
that keep visiting our cultural sites. By closely looking into
the historicity of Bhawaiya, one can venture into the narratives
of women, voices that counter the mainstream discourses. Such
discourses allow us to critically analyze the prevalent epistemic
traditions, venture beyond the normative, and locate cultures
which flourishes unseen.
References :
Beauvoir, Simone de. The Second Sex. New York: Vintage
Books, 1952.
Foucault, Michel. Discipline and Punish: The Birth of the
Prison. New York: Pantheon Books, 1977. R.S Thakur.
Guwahati: DVS Publisher, 2014.
Barma, Shukhabilash, Personal interview. 22 August 2016
Roy, Nirmal Chandra. “Tolkaar Sreni: Proshongo Gram
Shomaj Gothon”.
Loko Utsha, edited by Parimal Barman. Kochbihar:
Upjanbhui Publishers, 2013.
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w w w . a c a d e m i a . e d u / 3 6 0 7 2 2 9 3 /
Love_beyond_Boundaries_Subjectivity_and_Sexuality_through_
Bhawaiya_Folk_Song_of_Bengal. Accessed 28 th
September 2019.
Chodorow, Nancy J. The Reproduction of Mothering:
Psychoanalysis and the Sociology of Gender; with a
New Preface. Berkeley, CA: Univ. of California Press.
1978.
Siddique, Faruk. Personal Interview. 10 March 2019.
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