মঙ্গলকাব্যে নৃত্যের প্রতিফলন/ Mongolkabye Nrityer Protipholon

Abstract

This paper explores the significance of dance in medieval Bengali literature, particularly within the tradition of Mangal-kavya, a genre of narrative poetry composed between the 13th and 18th centuries. Drawing on the analysis of Kunal Chakrabarti, the study situates Mangal-kavya within a broader socio-cultural transformation—from orally transmitted folk narratives to later Brahmanised literary compositions that integrated local deities into the wider Puranic framework, thereby granting them religious and social legitimacy. The discussion contextualizes the rise of Mangal-kavya against the backdrop of the 13th-century Turkish invasions and the subsequent decline of Brahmanical dominance under the Sena rulers. This shift facilitated the growth of folk traditions, ritual practices, and oral literature, which were later textualized from the late 15th century onward. While the primary focus of these texts is the glorification of deities, they also provide valuable insights into contemporary social, cultural, and political life. Focusing on Manasamangal (particularly Bijay Gupta’s version), the paper highlights the prominent role of dance, music, and performance within divine and human realms. Episodes such as the celestial dance of Aniruddha and Usha, and Behula’s performance in the court of the gods, demonstrate that dance was not merely a form of entertainment but a respected and spiritually significant practice, capable of invoking divine favor and shaping narrative outcomes. The paper also references Jibanananda Das’s poetic reimagining of Behula’s dance to illustrate the continuity of this motif in modern Bengali literature, emphasizing dance as a medium of emotional expression and aesthetic experience. Further, through Chandimangal by Mukunda Chakraborty the study examines depictions of urban prosperity, cultural life, and martial traditions, including references to the folk martial dance Raibenshe. The transformation of such martial practices into performative traditions is discussed in light of the interpretations of Gurusaday Dutt. The study concludes that dance occupied a position of dignity and importance in earlier Bengali society, deeply embedded in religious, social, and cultural practices. Although its status fluctuated over time, its presence remained continuous. Therefore, Mangal-kavya serves as a crucial literary source for reconstructing the historical and cultural trajectory of dance in Bengal.