Lathi-Khela : Art of defending the soul The role of Gender in continuity of a Martial arts dance tradition in the Narail District of Bangladesh PDF

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i CHOREOMUNDUS Lathi-Khela : Art of defending the soul The role of Gender in continuity of a Martial arts dance tradition in the Narail District of Bangladesh JANUARY 1, 2018 By Sumedha Bhattacharyya ii Abstract Lathi Khela is a dying Martial Arts Dance tradition of Bangladesh. This research concern...

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CHOREOMUNDUS

Lathi-Khela : Art of defending the soul

The role of Gender in continuity of a Martial arts dance tradition in the Narail District of Bangladesh

JANUARY 1, 2018

By Sumedha Bhattacharyya

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Abstract Lathi Khela is a dying Martial Arts Dance tradition of Bangladesh. This research concerns the continuity of a tradition which developed during the time of colonial undivided Bengal, until today, living as a popular martial arts dance in the rural community of Bangladesh. The aim is to study Lathi Khela in the context of a particular district Narail in Bangladesh, which has managed to continue this practice through its’ innovative methods, as compared to the Lathi Khela in other districts. Through ethnographic techniques which include interviews, visual field notes, and Netnography, this research illustrates the distinctiveness in Narail’s Lathi Khela. Apart from having constituted the knowledge of verbalised content, multi-generational practitioners and creative choreographies, this district has the distinction of including women in this ‘male’ dominated profession of Lathi Khela practice. This research studies in detail how these women occupy a significant position in the practice of this art and further situate themselves in a pre-dominantly patriarchal Muslim community. The thesis argues that there is an ascription of a symbolic meaning of ‘prestige’ to the female body in Micro-Meso and Macro levels in conjunction with the socio-cultural and socio-religious contexts of aforementioned community of Bangladesh. This contributes to the construction of a value system around the Gender Capital. The thesis demonstrates that this capital positions women as basis for contestation in the overall ‘continuity’ of Narail’s Lathi Khela’s transmission.

Keywords : Lathi Khela, Martial Arts Dance, woman , prestige, gender capital, continuity.

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Table of Contents Abstract Acknowledgement List of Illustrations SEHRI: ODE TO DAWN 1.1

Introduction ..................................................................................................................... 2

1.2

Situating the Research ..................................................................................................... 4

1.3

Literature Review ............................................................................................................ 8

THE FASTING Research Questions : Before the Field 2.1

Methodology ................................................................................................................... 14

2.1.1 2.2

Visual Field Notes ................................................................................................... 31

Challenges as a researcher ............................................................................................. 35

2.2.1

Language dialect ..................................................................................................... 35

2.2.2

Interview technicalities ........................................................................................... 35

2.2.3

Time constraint ....................................................................................................... 36

2.2.4

Challenges as a female researcher : Different Gaze-s ........................................... 36

IFTAAR The Dance, The People : Analysis 3.1

Narail .............................................................................................................................. 41

3.2

Research question : Reflections , results, reformulation ............................................... 42

3.2.1

Repertoire : “This is the Digital Age. The Audience wants to see something new” 48

3.2.2

Transmission : “ Holding the rhythm” .................................................................. 59

3.2.3

Dance Economics: “ The society does not understand the value of this practice” 62

3.2.4

Gender Inclusion : “Lathi Khela is defending your soul” ..................................... 64

3.3

Gender Capital : “Women can do everything these days, can’t they ?” ....................... 68

3.4

Conclusion ...................................................................................................................... 73

References Appendices 5.1 Transcription ( Demonstrative Interview) : Transliteration ..................................................... 79 5.2

Labanotation Score : Till 0:19 Second of the video ........................................................... 83

5.3

Transcription-s In Bengali .................................................................................................. 1

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Acknowledgement Writing this dissertation had been like any journey, where I saw many people, met very few. Some of whom I met, I interacted with. The few I interacted with, I held on to. This dissertation is a tribute to the family of the few, whom I would still hold on to, for the rest of my life. My Parents, who have always encouraged me to dance, and pursue dance as a career. Choreomundus, happened because they supported me all along. The Choreomundus Association, who have influenced me as a global dancer. Professor Theresa Buckland , Professor Gediminas , my supervisors who held my hand and walked with me through this journey. Professor Georgiana Gore and Laszlo Felfoldi for their immense contribution of knowledge. Debbie and Maj for coordinating and being there for us. To Professor Andree, who still breathes amongst us. The Ashoka University Family, who brought me to Choreomundus. My Guru-s, Dr Shashi Sankhla, Saswati Sen , Pt. Birju Maharaj and Paramita Maitra who have influenced me as a Kathak Dancer. Lubna Marium , Who has been a part and parcel of this research project . A diva , an inspiration herself, she made sure I conducted my field work without any obstructions. Professor Colin Quigley, who guided me and gave a direction to the research when everything went haywire. The Lathiyal artists and their families from all the districts of Bangladesh, who continue their passion for Lathi Khela. My interlocutors Bonna Apu, Biju Bhai, Kabila Bhai, who proved to be a family. Joynal Bhai and his family for providing enough food and Chaa to inspire the research. Korim Da, for driving me to all the districts and keeping me safe. Mashi, my care-taker in Lubna Di’s home who speech and hearing impairment. She was also one of the reasons, narrating a ‘nonverbalised’ my field notes embodied knowledge of the day. Professor Urmimala Sarkar, who found time for me, and taught me to question and think out of the box. My Choreomundus Friends for a lifetime. Hediyeh, Cudjoe for being there for me, whenever I needed them. Adebayo, Ale, Beatriz, Eloisa, Edward, Gerald, Lindani, Norman, Yang, for stimulating discussions and enriching the dance knowledge. My best friend Sourabh, for inspiring me, for always encouraging and believing in myself, and also for all the fancy English writing.

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List of Illustrations

Figure 1: Hanstein's method of analyzing new area of study .................................................. 6 Figure 2: Book cover of Astracharcha( written in Bengali) .................................................... 7 Figure 3: Administrative Map of Bangladesh (between India and Myanmar) Districts marked (in black), capital city (in red) ............................................................................................. 12 Figure 4 :Lubna Marium, Artistic Director of Shadhona ...................................................... 14 Figure 5: Method mapping methods as in SAGE Research Methods(marked in red) ........... 15 Figure 6 (i) 16-22nd May Reach in Facebook page ........................ (ii) Post reach a week later 17 Figure 7 Logo for Lathi Khela Revitalization Project .......................................................... 17 Figure 8: Live-blogging before reaching the field. ............................................................... 20 Figure 9 : Taking 'Body notes' with Kabila Bhai (L) & Biju Bhai (R) .................................. 21 Figure 10 Photos introduced by interviewees during PEI (L : Kishoreganj Group in 1970s ; R: 'Zamindaar' or Landlord in their 'Zameen' or Land.............................................................. 25 Figure 11 : Top L : Leader of Manikganj ; Top R : Leader of Kishoreganj ; bottom L : Group members of Netrokona; Bottom R : Narail Lathiyals ........................................................... 27 Figure 12 : Informants Offsite : Lubna Marium (top L); Kabila Bhai(top R); Biju Bhai (Bottom) ............................................................................................................................. 28 Figure 13: Use of 'lathi' in the social space in Manikganj 'Ustaad' Chand Mia's house ......... 29 Figure 14: Kabila Bhai drawing different uses of Bamboo ( the material of Lathi or stick) .. 30 Figure 15: Facebook picture with info posts by Cholo Lathi Kheli ...................................... 30 Figure 16: Visual Field Noting (1) Boarding pass (2) In the flight (3) While landing ........... 32 Figure 17: Visual and Technical Equipements before the field ............................................ 33 Figure 18L : Consent forms from practitioners; R : Recording Logs .................................... 34 Figure 19: A screenshot of excel database (content-centric)................................................. 34 Figure 20: Iftaar meal had in Shadhona ............................................................................... 38 Figure 21 Manikganj Lathi Khela Group ............................................................................. 40 Figure 22 KishoreGanj Lathi Khela Group .......................................................................... 41 Figure 23: (Left) Matiya polot , the high spin ...................................................................... 41 Figure 24:Netrokona Lathi Khela Group ............................................................................. 41

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Figure 25 Narail Lathi Khela Group .................................................................................... 41 Figure 26 : Karim Bhai , the driver ...................................................................................... 49 Figure 27: The 'Maath' or 'field' for the performance; R: Preparations for night performance49 Figure 28: Rahat Holding Shaajer Khela Stick(Lathi) .......................................................... 51 Figure 29: The spatio-temporal choroegraphy configuration in 'Shaajer Khela' item. Sketch by Sumedha B. .................................................................................................................... 52 Figure 30: Ghoranor Lathi in the performance site .............................................................. 53 Figure 31: The Ghoranor Lathi , being moved in front and back. Sketch by Sumedha B. ..... 54 Figure 32: Rahat holding the Boro 'Big' Lathi ...................................................................... 55 Figure 33: Choreography structures for Boro Lathi , from L-R : In diagonal; last fours in diagonal; each player against 2; ........................................................................................... 56 Figure 34: Ustad Bachhu Mia holding the Choto Lathi ........................................................ 57 Figure 35: Rahat's horizontal throw to Bachhu Mia; (Lathi in white sketch) ........................ 58 Figure 36: Tania & Ustad Bachhu Mia with swords ............................................................ 58 Figure 37 Labanotation score for 0 : 18 sec of the video (attached) ..................................... 83 Figure 38: Transcription in Bengali script ............................................................................. 1

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SEHRI: ODE TO DAWN

"The world enters my being as my being enters the world.." Rabindranath Tagore From PrabhatSangeet (1883) (Translation Monish R. Chatterjee)

It was the month of Ramadaan, from 26th May to 24th June 2017 : a crucial time of the year for Muslim countries . Ramadaan is a 26-30 days of fasting witnessed from dawn to sunset during the ninth month of the Islamic calendar. As a field researcher from India, of Hindu descent, I did have Muslim friends in my country. But never did I witness the fasting process through such proximity, as I did in Bangladesh. Given that my research was affected by Ramadaan almost wherever I went, this research went analogous to the different phases of fasting in a day, into the three stages of fasting. The preparation before the field work was like the first meal before dawn, called Sehri. All the literature was required to be ‘digested’ before I went ‘in the field’. My Sehri consisted of a variety of literature, meals that decided my ‘being’ in the field. The morning hours were extremely humid during these months, which had the practitioners dehydrated. I had it in mind that I cannot ask too much of them, especially when they are fasting. They required breaks for reading ‘Namaaz’ in between the performances which in turn affected my recording process, but ‘they’ were the priority always.

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1.1

Introduction

Lathi Khela in Bangladesh is a traditional martial arts dance practice which involves the use of ‘Bamboo’ sticks. It is an extension of martial defence skills used by the native practitioners of the practice called as ‘lathiyals’ (in Bengali). As an alternate profession for most of the ‘lathiyals1’ who are mostly from marginalized, subaltern communities i.e. landless labourers, carpenters, pallbearers, masons etc, lathi khela survives today with different names: ‘lathikhela’, ‘lathi-bardi’, ‘sardar-khela’, ‘nurdi-khela’2. From various historical sources 3, we are informed that in medieval Bengal ‘lathikhela’ used to be a highly skilled art, as most feudal lords employed groups of ‘lathiyals’ to defend their fiefdoms. . However, due to the decline of patronization and other socio-politico-economic reasons4, there was a marked waning in the practice of ‘lathikhela’ during the British Era till it was brought back to limelight by a highly perceptive and visionary Indian civil servant, Gurusaday Dutta. In 1932, Dutta started the ‘Bratachari’ movement with the aim of preserving individual and regional cultural diversities. (‘Brata’ signifies a solemn or sacred purpose and ‘Chari’ denotes one who pursues a purpose, ideal or objective.) Through this movement he revived many dying art forms of Bengal. In his words: ‘the Movement is to bring back to humanity, in all countries, the ideal and practice of the wholeness of life which, alike in the individual, the national and the international sphere has been so grievously shattered in the modern world in every country by the fragmentary outlook on, and treatment of, life in education, science, work, play and social functioning. 5’ Presently, it continues to be popularly practised, but with little or no patronization. Also, there is almost no systematized method for preserving its ‘content knowledge’. In the global

‘lathiyal’ meaning ‘one who wields sticks’. In Bengali ‘lathi’ meaning stick; ‘bardi’ meaning stroke; ‘khela’ meaning play; ‘sardar’ meaning ‘headman, ‘nurdi’ meaning ‘small stick’. 3 S.C. Mitra, History of Jessore and Khulna (in Bengali), Vol. II; Raja Pratapaditya of Jessore (17th century) is said to have had fifty-two thousand ‘dhali’ (shielded-warrior) under his patronage. British Administrative Reports during the colonial era also mention ‘lathikhela’ as a local form of sport. 4 A draconian law of 1886 restricting performing arts and a law to ban arms, together, led to the abatement of the practice of ‘lathikhela’ during British Rule. 5 Shri Naresh Banerjee; ‘Gurusaday Dutt : Jiban O Rachanapanji’ (Life & Bibliography in Bengali); G.S.Museum,Kolkata

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repository of martial arts research, martial art practitioners as well as researchers have worked extensively to develop their art to perfection but in comparison almost no thought has been given to the development of ‘lathikhela’. As a result, presently it requires a medium, a research-led initiative to revitalize this art form to the fullest extent possible. I was born in Berhampore West Bengal(India) and have always heard stories from my grandmother about the ‘country’ of her childhood, now the country of East Bengal , Bangladesh, where she lived and spent her childhood days in Rajshahi (then in colonial Bengal). I feel as a descendant of a similar community if not the same. Being a ‘native’ and not an ‘external’ or ‘other’ to the environment and being able to speak my mother tongue ‘Bengali’ has made it easier for me to communicate with the practitioners and understand the movement form as a whole. Working directly with Shadhona Cultural Circle, which has been the epicenter for re-invigorating this traditional martial art practice, has provided further gravity and immersion to the research arena. I believe my plans in researching the art form in the first place by documenting and Analyzing the movement would firstly start a structural and cultural enquiry about the art form. Further creative and imaginative engagement with ideas has helped me initiate research that has ultimately resulted in making a significant contribution of ‘new knowledge’ (Hanstein, 1999) to the existing field of Lathi Khela as a prevalent art form in Bangladesh. As an amalgamation of reflexive and descriptive method of ethnography, I have used a first person approach to the field ‘that were/are accessible only to me as the subject of the experiences’ (Bakka & Karoblis, 2010) blended with a third/sub-personal approach where the data collected is the ‘the starting point and basis for any interpretation’. (Bakka & Karoblis, 2010). The next chapter starts with situating Lathi Khela6 in the broader framework of martial arts research. Martial arts dance conjures up an image of the famous ‘capoeira’ the Afro-Brazilian Martial Arts Dance-fight game or, in Asia, the work of Philip Zarrilli’s work in Asian Martial arts Kalaripayattu. South Asian martial Arts research has predominantly engaged with Kalaripayattu. In the specific context of Bangladesh, performing arts research has been limited to the oral singing traditions of Baul and the extensions of the Indian Classical Dances. Less has been researched about other performing arts, especially indigenous performing arts of Bangladesh such as Lathikhela.

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In Chapter 2 Sehri :Ode to Dawn, I delve into the field work methodologies which were employed pre-field, in-field, post-field. Netnography proved most useful in gathering information in the field and in getting more viewers to appreciate a dying tradition. The successive chapters also investigate my experiences as a researcher, particularly a female one, which has brought me face to face with my vulnerabilities and strengths. The research in Chapter 2 The Fasting, is mostly analytical. I have described the different realisations of Lathi Khela in Bangladesh, which I believe have provided the required breadth to my research. I have described in detail what my research questions were, why they changed and what new research areas I discovered after going to the field. I illustrate why I choose Narail for the point of departure for further analysis. In Chapter 3 Iftaar , I finally contextualise my data in terms of Bourdieu’s theory of Field of Cultural Production. Cultural and symbolic capital play an integral part of my analysis, which finally extend to ‘Gender Capital’ as theorised by Kate Huppatz in the context ...