Coexistence of humor and moral education : Traditional Gajan songs of South Twenty-four Parganas observed/ হাস্যরস ও নৈতিক শিক্ষার সহাবস্থান : প্রেক্ষিত দক্ষিণ চব্বিশ পরগনার প্রচলিত গাজন গান

Abstract

In the South twenty-four parganas district, Gajan song has established itself much more than Bala song, Gambhira, Gamira, Domni, Alkap, Bolan song or Gayer parab. The factors underlying the establishment of Gajan song are - (A) Gajan songs of the 21st century have managed to transcend mythic boundaries. Abandoned the religious shell and rushed towards modern rationalism. Professional teams have become prestigious rather than hobby teams. They do not depend on begging or collection of subscriptions. B) Professional Gajan groups have been able to impart folk education to the masses. The main purpose of Gajan song is to give a smile back to selfish people who forget to smile in the world of selfishness. (C) It is constantly enriched with new daily events. (D) It has been able to push aside religious differences. (E) The vociferous voice of the folk society has been expressed through Gajan songs. It has become the mouthpiece of the people's society due to its vocal protest against all injustices. (F) Regional languages ​​provide their life force. Efforts to come close to modern elegant language persist. (G) It has managed to awaken the masses by creating parodies of modern songs. H) By presenting six to seven different events different messages are given in folk society. (I) Gajan songs are performed throughout the year. As the local proverb calls it- ‘Jashthi to sashthi’.

          Gajan songs became folk dramas but did not fully became folk music. It has become a folk drama based on stories. Although Gajan songs have developed in many ways, they have not been able to place women in the role of female characters. All characters played by men and directed by men. Being unable to cross the boundaries of regional language has earned it the title of obscenity in the civil society. Most of the Gajan team members and directors are from illiterate or poorly educated families. Modern Gajan songs focus more on commercial expansion rather than entertainment. Even if there is criticism, its development will not be stopped. The number of Gajan groups in South Twenty-four Parganas is increasing. Educated people have come forward to compose Palagan of Gajan. Attempts to form expert committees can be seen to maintain the harmony of dancing, singing and acting. Gajan songs have become a source of entertainment for Bengalis living in the diaspora worldwide due to the internet. Gajan song has joined the globalization.