Kavigan

Kavigan (), Kobi Gaan, Kobi Lorai or Kabigan is a form of Bengali folk performance wherein folk poets sing and perform. A verbal duel among the poets, this mystic minstrels art was popular with rural

Form#

Kavigan is normally sung by two groups. Each group is led by a or . The accompanying singers called often repeat what the leader said. A kavigan programme starts with bandana (evocation) or gurudever geet (song of the sect patron). The bandana can be directed to or be in praise of Saraswati, Ganesh, people, and the audience, as deemed fit by a particular . This is followed by Radha–Krishna related song, some call it agamani. Then songs on four subjects are sung: , , and . deals with the love-songs related to Radha-Krishna. Biraha is about the mortal pang of separation of common human beings. Kheur is mainly about gods and goddesses, but often includes mild slangs. Finally, the competitive part starts. It mainly consists of the Lahar, where the competitors personally attack each other, musico-verbally.

History#

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.” However, while Kavigan lost its supremacy in Kolkata, it retained its position in rural Bengal. Dr. Sushil Kumar Dey has a word of praise for the , “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.” Kobigaan was a debating contest between two minstrels (Kobiaal the poets of the Kobigaan genre) and their troupes (Dohars) in Verse with some traditional musical instruments of Bengal. The mythological themes as well as the erotic themes were used. When mythological themes was used in Kobigaan, that was called Torja, this Torja was an old and traditional Kobi Gaan. The Kheyur was the second type Kobi Gaan in which erotic themes like Radha and Krishna were used as metaphorically. The originated of the Kheyur was Krishnanagar under the patronage of Raja Krishna Chandra of Nadia District. The Dhaak, Harmonium, Kansi, Mandira and drum were the main musical instrument used in Kobi Gaan. The Kobi Gaan is still performed in villages of Bengal with a small scale.

Kaviyals#

A number of attained popularity and fame. In Birbhum district alone there were about three hundred from the 18th–20th century. Amongst the earliest were Lokokabi Lambodar Chakroborty, Gonjla Guin, born in the 18th century and his contemporaries: Lalu–Nandalal, Raghu and Ramji. The famous 19th century of Kolkata were Haru Thakur, Nitai Vairagi, Ram Basu, Bhola Maira, and Anthony Firinghee. Another famous , Anthony Firingee, a Portuguese man, was featured in a Bengali biographical film bearing his name, with Uttam Kumar portraying him. Bhola Moira (19th century) was a popular and entertaining singer who could keep his audience mesmerised. Realising the importance of popular entertainment, Ishwar Chandra Vidyasagar complimented Bhola Moira and said, “To awaken the society of Bengal, it is necessary to have orators like Ramgopal Ghosh, amusing men like Hutom Pyancha and folk singers like Bhola Moira”.

Genre family: Indian styles of music
Region: Bengal