রাঢ়বঙ্গের কবিগানে বোলের পালা : প্রসঙ্গ গিরিশ ঘোষ ও সারদা মিলন/ Rarbonger Kobigane Boler Pala : Prasanga Girish Ghosh O Sarada Milan

Abstract

Bolgan/ Bolgaan is an essential part in the modern Kobigaan of Rarbonga. In the opinion of kobiyals/ Minstrels, Bolgan is like the jelly/ chutney at the end of a feast. After the main part of the Kabirlodai or Kobigaan is over, two kobiyals stand side by side on the stage and perform Bolgan for about 35 to 40 minutes focusing completely on another topic. No reliable evidence has been found about whether Bolgan was sung in the ancient genre of Kobigaan. Bolgan is also known as ‘Bolkatakati’ in Kobiyali language. According to kobiyals, the word ‘Bol’ means the ‘talk of mouth'. Standing side by side, two kobiyals continue a verbal fight and this is called Bolgan or BolKatakati. However, no matter how much conflict there is in Bolgan, but in the end, there will be a reunion between the two characters. This is the biggest difference between Bolgan and the main part of the Kobigaan. In the conflict of Kobigaan, the matter remains unresolved but in the case of Bolgan, the matter is always resolved and Bolgan is a reconciliation. Bolgan is unique here. Some notable topics of Bolgan in recent time are Billamangal - Chintamani, Sukhdev - Rambha, Debananda - Vishnu Sharma, Sasuri - bouma, Jamai - sasuri, Manasa - Chandbane, Parasar - Mathsayagandhya, Lakshyaheera - Haridas, Savitri - Yamraj, Harishchandra - Shaiva, Krishna - Lalita, Sona - Loha, Disguise Bramhan-Data Karna, Girish Ghosh-Sharda Milan etc. Through Bolgan, a mythological or social story is presented to the public in a very short time through the eloquence and verbal battle of the kobiyals or minstrels. During Bolgan two kobiyals stand on the stage and Sing but only one Dhulidar (dhol/ drum player) plays his Dhol and other Doharies (companions) Sing with them. One kobiayal starts the ‘Dhua' (beginning part of a song) of the Bolgan. Later the Doharies (other companions) repeat the part and gradually the kobiyals immediately compose the language of the song and help the song forward through questions and answers. In this case, the kobiyals sometimes sing Panchali, Tripodi, Payar etc. Thus, the entire story is completed through the song, through tripodi, and Panchali. The melody of the Dhua part in Bolgan is quite impressive. This captivating melody keeps the audience in their chair until the end. Through Bolgan, it is possible to verify the ability of two kobiyals to compose songs instantly. A message is given to the audience through the Bolgan. After the Bolgan is over, usually the Kobigaan or Kobirlodai ends with the sound of God i.e. Hari dhwani. Here we will discuss the Bolgan named Girish Ghosh O Sarada Milan.