Jatra As Tradition Media of Community Mobilization

Total Page:16

File Type:pdf, Size:1020Kb

Jatra As Tradition Media of Community Mobilization JATRA AS TRADITION MEDIA OF COMMUNITY MOBILIZATION Total Shows - 360 Total Opera - 6 No of District - 4 (Purba Midnapur, Paschim Midnapur, Howrah, South 24 Parganas) Population Covered (Apporx) - 400400 Supported and facilitated by :- Water & Sanitation Support Organisation (WSSO) Public Health Engineering Department (PHED) Govt. of West Bengal JATRA AS TRADITION MEDIA OF COMMUNITY MOBILIZATION Jatra is a popular folk-theater form of Bengali Theater. The Jatra season begins around the month of September, the beginning of the harvest season and ends before the monsoon sets in. This medium is very effective for spreading the message of safe drinking water and sanitation to the large audience as these shows have free entry. The operas perform in the interior blocks of the districts. Jatra is a very well perceived and taken by the rural audience, and messages woven in the story line are widely appreciated by the target audience. Jatras are performed during festivities and religious functions, ceremonies in traditional household and other public places where these troupes get invited in advance. Jatra troupes or operas as they are called is categorized in 1st tier, 2nd and 3rd tier Jatra destinations. 1st tier and most of 2nd tier are paid Jatras meaning audience buy the tickets to see the play, therefore it is conducted in 1st tier and 2nd tier towns of West Bengal. 3rd tier Jatra is for the audience and performed in rural parts of the district. The 3rd tier Jatra destinations was thus chosen since it had our target audience, where the awareness towards safe, save water and health hygiene messages was to be spread. SI. No. Opera Name Total show Approx total audience 1 Gandhari Opera 62 68200 2 Debipally Opera 53 55650 3 Bharti Opera 68 81600 4 Star Opera 72 72000 5 New Ganesh Opera 44 52800 6 Jatraniketan Opera 61 70150 Total 360 400400 Branding Material Banner Poster Branding Meterial Leaflet Front Back Branding Meterial Standee Leaflet STANDEE BANNER POSTER SHOW.
Recommended publications
  • List of Municipalities Sl.No
    LIST OF MUNICIPAL BODIES WHERE ELECTIONS WILL BE HELD IN THE MIDDLE OF 2010 SL.NO. DISTRICT NAME OF MUNICIPALITY 1 Cooch Behar Municipality 2 Tufanganj Municipality Cooch Behar 3 Dinhata Municipality 4 Mathabhanga Municipality 5 Jalpaiguri Jalpaiguri Municipality 6 English Bazar Municipality Malda 7 Old Malda Municipality 8 Murshidabad Municipality 9 Jiaganj-Azimganj Municipality 10 Kandi Municipality Murshidabad 11 Jangipur Municipality 12 Dhulian Municipality 13 Beldanga Municipality 14 Nabadwip Municipality 15 Santipur Municipality 16 Ranaghat Municipality 17Nadia Birnagar Municipality 18 Kalyani Municipality 19 Gayeshpur Municipality 20 Taherpur Municipality 21 Kanchrapara Municipality 22 Halishar Municipality 23 Naihati Municipality 24 Bhatpara Municipality 25North 24-Parganas Garulia Municipality 26 North Barrackkpore Municipality 27 Barrackpore Municipality 28 Titagarh Municipality 29 Khardah Municipality \\Mc-4\D\Munc. Elec-2010\LIST OF MUNICIPALITIES SL.NO. DISTRICT NAME OF MUNICIPALITY 30 Kamarhati Municipality 31 Baranagar Municipality 32 North Dum Dum Municipality 33 Bongaon Municipality 34 Gobardanga Municipality 35North 24-Parganas Barasat Municipality 36 Baduria Municipality 37 Basirhat Municipality 38 Taki Municipality 39 New Barrackpore Municipality 40 Ashokenagar-Kalyangarh Municipality 41 Bidhannagar Municipality 42 Budge Budge Municipality 43South 24-Parganas Baruipur Municipality 44 Jaynagar-Mazilpur Municipality 45 Howrah Bally Municipality 46 Hooghly-Chinsurah Municipality 47 Bansberia Municipality 48 Serampore Municipality 49 Baidyabati Municipality 50 Champadany Municipality 51 Bhadreswar Municipality Hooghly 52 Rishra Municipality 53 Konnagar Municipality 54 Arambagh Municipality 55 Uttarpara Kotrung Municipality 56 Tarakeswar Municipality 57 Chandernagar Municipal Corporation 58 Tamluk Municipality Purba Medinipur 59 Contai Municipality 60 Chandrakona Municipality 61 Ramjibanpur Municipality 62Paschim Medinipur Khirpai Municipality 63 Kharar Municipality 64 Khargapur Municipality 65 Ghatal Municipality \\Mc-4\D\Munc.
    [Show full text]
  • Folk and Traditional Media: a Powerful Tool for Rural Development
    © Kamla-Raj 2011 J Communication, 2(1): 41-47 (2011) Folk and Traditional Media: A Powerful Tool for Rural Development Manashi Mohanty and Pritishri Parhi* College of Home Science, O.U.A.T, Bhubaneswar 751 003, Orissa, India Telephone: *<9437302802>, *<9437231705>; E-mail: [email protected] KEYWORDS Folk Media. Traditional Media. Rural Development ABSTRACT Tradition is the cumulative heritage of society which permeates through all levels of social organization, social structure and the structure of personality. The tradition which is the cumulative social heritage in the form of habit, custom, attitude and the way of life is transmitted from generation to generation either through written words or words of mouth. It was planned to focus the study on stakeholders of rural development and folk media persons, so that their experience, difficulties, suggestion etc. could be collected to make the study realistic and feasible. The study was conducted in the state of Orissa comprising 30 districts out of which 3 coastal districts, namely, Cuttack, Puri and Balasore were selected according to the specific folk media culture namely, ‘Jatra’, ‘Pattachitra’ , ‘Pala’, ‘Daskathjia’ for their cultural aspects and uses. The study reveals that majority of the respondents felt that folk media is used quite significantly in rural development for its cultural aspect but in the era of Information and Communication Technology (ICT), it is losing its significance. The study supports the idea that folk media can be used effectively along with the electronic media for the sake of the development of rural society INTRODUCTION their willing participation in the development of a country is well recognized form of reaching The complex social system with different people, communicating with them and equipp- castes, classes, creeds and tribes in our country ing them with new skills.
    [Show full text]
  • District Sl No Name Post Present Place of Posting S 24 Pgs 1 TANIA
    District Sl No Name Post Present Place of Posting PADMERHAT RURAL S 24 Pgs 1 TANIA SARKAR GDMO HOSPITAL S 24 Pgs 2 DR KIRITI ROY GDMO HARIHARPUR PHC S 24 Pgs 3 Dr. Monica Chattrejee, GDMO Kalikapur PHC S 24 Pgs 4 Dr. Debasis Chakraborty, GDMO Sonarpur RH S 24 Pgs 5 Dr. Tusar Kanti Ghosh, GDMO Fartabad PHC S 24 Pgs 6 Dr. Iman Bhakta GDMO Kalikapur PHC Momrejgarh PHC, Under S 24 Pgs 7 Dr. Uday Sankar Koyal GDMO Padmerhat RH, Joynagar - I Block S 24 Pgs 8 Dr. Dipak Kumar Ray GDMO Nolgara PHC S 24 Pgs 9 Dr. Basudeb Kar GDMO Jaynagar R.H. S 24 Pgs 10 Dr. Amitava Chowdhury GDMO Jaynagar R.H. Dr. Sambit Kumar S 24 Pgs 11 GDMO Jaynagar R.H. Mukharjee Nalmuri BPHC,Bhnagore S 24 Pgs 12 Dr. Snehadri Nayek GDMO I Block,S 24 Pgs Jirangacha S 24 Pgs 13 Dr. Shyama pada Banarjee GDMO BPHC(bhangar-II Block) Jirangacha S 24 Pgs 14 Dr. Himadri sekhar Mondal GDMO BPHC(bhangar-II Block) S 24 Pgs 15 Dr. Tarek Anowar Sardar GDMO Basanti BPHC S 24 Pgs 16 Debdeep Ghosh GDMO Basanti BPHC S 24 Pgs 17 Dr.Nitya Ranjan Gayen GDMO Jharkhali PHC S 24 Pgs 18 GDMO SK NAWAZUR RAHAMAN GHUTARI SARIFF PHC S 24 Pgs 19 GDMO DR. MANNAN ZINNATH GHUTARI SARIFF PHC S 24 Pgs 20 Dr.Manna Mondal GDMO Gosaba S 24 Pgs 21 Dr. Aminul Islam Laskar GDMO Matherdighi BPHC S 24 Pgs 22 Dr. Debabrata Biswas GDMO Kuchitalahat PHC S 24 Pgs 23 Dr.
    [Show full text]
  • Krishnalila in Terracotta Temples of Bengal
    Krishnalila in Terracotta Temples of Bengal Amit Guha Independent Researcher Introduction The brick temples of Bengal are remarkable for the intricately sculpted terracotta panels covering their facades. After an initial period of structural and decorative experimentation in the 17th and 18th centuries, there was some standardization in architecture and embellishment of these temples. However, distinct regional styles remained. From the late 18th century a certain style of richly-decorated temple became common, particularly in the districts of Hugli and Howrah. These temples, usually two- storeyed or atchala and with a triple-arched entrance porch, had carved panels arranged in a fairly well-defined format (Figure 1). Ramayana battle scenes occupied the large panels on the central arch frame with other Ramayana or Krishna stories on the side arches. Running all along the base, including the base of the columns, were two distinctive friezes (Figure 2). Large panels with social, courtly, and hunting scenes ran along the bottom, and above, smaller panels with Krishnalila (stories from Krishna's life). Isolated rectangular panels on the rest of the facade had figures of dancers, musicians, sages, deities, warriors, and couples, within foliate frames. This paper is an iconographic essay on Krishnalila stories in the base panels of the late-medieval terracotta temples of Bengal. The temples of this region are prone to severe damage from the weather, and from rain, flooding, pollution, and renovation. The terracotta panels on most temples are broken, damaged, or completely lost. Exceptions still remain, such as the Raghunatha temple at Parul near Arambagh in Figure 1: Decorated Temple-Facade (Joydeb Kenduli) Hugli, which is unusual in having a well-preserved and nearly-complete series of Krishnalila panels.
    [Show full text]
  • Bengal Patachitra
    ojasart.com BENGAL PATACHITRA Ojas is a Sanskrit word which is best transliterated as ‘the nectar of the third eye and an embodiment of the creative energy of the universe’. Ojas endeavours to bring forth the newest ideas in contemporary art. Cover: Swarna Chitrakar Santhal Wedding Ritual, 2018 Vegetable colour on brown paper 28x132 inch 1AQ, Near Qutab Minar Mehrauli, Delhi 110 030 Ph: 85100 44145, +91 11 2664 4145 [email protected] @/#ojasart Bengal Patachitra Works by Anwar Chitrakar 8 Dukhushyam Chitrakar 16 Moyna & Joydeb Chitrakar 24 Swarna Chitrakar 36 Uttam Chitrakar 50 CONTENTS Essays by Ojas Art Award Anubhav R Nath 4 The Mesmerizing Domains of Patta-chittra Prof Neeru Misra 6 Bengal Pata Chitra: Painitng, narrating and singing with twists and turns Prof Soumik Nandy Majumdar 14 Pattachitra of Bengal: An emotion of a community Urmila Banu 34 About the Artists 66 Ojas Art Award rt has a bigger social good is a firm belief and I have seen art at work in changing lives of communities through the economic independence and sustainability that it had Athe potential to provide. A few years ago, I met some accomplished Gond artists in Delhi and really liked their art and the history behind it. Subsequent reading and a visit to Bhopal revealed a lot. The legendary artist J. Swamintahan recognised the importance of the indigenous arts within the contemporary framework, which eventually lead to the establishment and development of institutions like Bharat Bhavan, IGRMS and Tribal Museum. Over the decades, may art forms have been lost to time and it is important to keep the surviving ones alive.
    [Show full text]
  • Wedding Videos
    P1: IML/IKJ P2: IML/IKJ QC: IML/TKJ T1: IML PB199A-20 Claus/6343F August 21, 2002 16:35 Char Count= 0 WEDDING VIDEOS band, the blaring recorded music of a loudspeaker, the References cries and shrieks of children, and the conversations of Archer, William. 1985. Songs for the bride: wedding rites of adults. rural India. New York: Columbia University Press. Most wedding songs are textually and musically Henry, Edward O. 1988. Chant the names of God: musical cul- repetitive. Lines of text are usually repeated twice, en- ture in Bhojpuri-Speaking India. San Diego: San Diego State abling other women who may not know the song to University Press. join in. The text may also be repeated again and again, Narayan, Kirin. 1986. Birds on a branch: girlfriends and wedding songs in Kangra. Ethos 14: 47–75. each time inserting a different keyword into the same Raheja, Gloria, and Ann Gold. 1994. Listen to the heron’s words: slot. For example, in a slot for relatives, a wedding song reimagining gender and kinship in North India. Berkeley: may be repeated to include father and mother, father’s University of California Press. elder brother and his wife, the father’s younger brother and his wife, the mother’s brother and his wife, paternal KIRIN NARAYAN grandfather and grandmother, brother and sister-in-law, sister and brother-in-law, and so on. Alternately, in a slot for objects, one may hear about the groom’s tinsel WEDDING VIDEOS crown, his shoes, watch, handkerchief, socks, and so on. Wedding videos are fast becoming the most com- Thus, songs can be expanded or contracted, adapting to mon locally produced representation of social life in the performers’ interest or the length of a particular South Asia.
    [Show full text]
  • 978 Determinants of Work Participation and Income of Female
    The International Journal of Social Sciences and Humanities Invention Volume 2 issue 01 2015 page no.978-988 ISSN: 2349-2031 Available Online At: http://valleyinternational.net/index.php/our-jou/theijsshi Determinants of Work Participation and Income of Female Embroidery Artisans in West Bengal, India Tusharkanti Mandal1, Debasis Mondal2 1Assiatant Professor, Department of Economics, Y S Palpara Mahavidyalaya, Palpara, Purba Medinipur - 721458 West Bengal, India 2Associate Professor, Department of Economics with Rural Development, Vidyasagar University, Medinipur – 721102 West Bengal, India Abstract: Hand embroidery industry has spread over wide area of southern West Bengal. Howrah and South 24 Parganas are the two main districts where high concentration of unorganised embroidery industry is located. Major segment of employment in hand embroidery are generated in tiny home-based enterprises. Low-skilled, low value added products along with high quality export-oriented products are produced in different production organisations. A large number of home-based production organisations are operated by significant number female artisans. Majority of the women were involved in this unorganised sector because of economic backwardness. The sub-contracting system of production exploits the female artisans through under-payment. But, hand embroidery works now become a means to maintain somehow moderate level of livelihood to the poor female artisans. Hand embroidery works serve some goal to achieve women empowerment among distressed rural and semi-urban families. The present study deals with the socioeconomic status of female embroidery artisans and econometric models have been applied to explore the determinants of work participation and income of them. Concluding part of the paper presents the summary of findings and recommends some measure for future economic amelioration of the artisans.
    [Show full text]
  • Setting the Stage: a Materialist Semiotic Analysis Of
    SETTING THE STAGE: A MATERIALIST SEMIOTIC ANALYSIS OF CONTEMPORARY BENGALI GROUP THEATRE FROM KOLKATA, INDIA by ARNAB BANERJI (Under the Direction of Farley Richmond) ABSTRACT This dissertation studies select performance examples from various group theatre companies in Kolkata, India during a fieldwork conducted in Kolkata between August 2012 and July 2013 using the materialist semiotic performance analysis. Research into Bengali group theatre has overlooked the effect of the conditions of production and reception on meaning making in theatre. Extant research focuses on the history of the group theatre, individuals, groups, and the socially conscious and political nature of this theatre. The unique nature of this theatre culture (or any other theatre culture) can only be understood fully if the conditions within which such theatre is produced and received studied along with the performance event itself. This dissertation is an attempt to fill this lacuna in Bengali group theatre scholarship. Materialist semiotic performance analysis serves as the theoretical framework for this study. The materialist semiotic performance analysis is a theoretical tool that examines the theatre event by locating it within definite material conditions of production and reception like organization, funding, training, availability of spaces and the public discourse on theatre. The data presented in this dissertation was gathered in Kolkata using: auto-ethnography, participant observation, sample survey, and archival research. The conditions of production and reception are each examined and presented in isolation followed by case studies. The case studies bring the elements studied in the preceding section together to demonstrate how they function together in a performance event. The studies represent the vast array of theatre in Kolkata and allow the findings from the second part of the dissertation to be tested across a variety of conditions of production and reception.
    [Show full text]
  • LIST of FARMS REGISTERED in SOUTH 24 PARGANAS DISTRICT * Valid for 5 Years from the Date of Issue
    LIST OF FARMS REGISTERED IN SOUTH 24 PARGANAS DISTRICT * Valid for 5 Years from the Date of Issue. Address Farm Address S.No. Registration No. Name Father's / Husband's name Survey Number Issue date * Village / P.O. Mandal District Mandal Revenue Village JL No.102/99; KL South 24 Parganas No.102; Plot 1 WB-II-2007(0085) Pramila Mondal Shri Anil Mondal Vill & PO: Luxbagan PS Gosaba District Gosaba Luxbagan No.513, 514 28.01.2008 JL No.102/99; Vill & PO: South 24 Parganas Kh.No.63/71; Plot 2 WB-II-2007(0086) Sanjit Mondal Shri Golak Santigachhi, PS Gosaba District Gosaba Lahiripur No.126, 123 28.01.2008 JL 204; Kh.No.2054; Pl Vill & PO: Rakshas South 24 Parganas No.53/2236, 3 WB-II-2007(0087) Mrinal Kantimanna Shri Monoranjan Manna Khali, PS Patharpratima District Kakdwip Rakshaskhali 53/2237, 53 28.01.2008 JL 204, Kh.No.29, Vill & PO: Rakshas South 24 Parganas 46; Plot No.528, 4 WB-II-2007(0088) Santosh Kumar Manna Late Shri Kalipada Manna Khali PS Patharpratima District Patharpratima Rakshaskhali 529 28.01.2008 JL 132, Kh.No.85, 86; Plot No.401 to Banamali Mondal & 408; 413, 416, 473, Smt. Karunamaya Late Shri Basudev & W/o South 24 Parganas 474, 453, 454, 460, 5 WB-II-2007(0089) Mondal Shri Basudev Vill: Tangrachar, PO: Karanjali PS Kulpi District Kulpi Tangrachar 462, 467, 469 28.01.2008 Vill: Chunaghata, PO: South 24 Parganas 5, Kh.No.322, 194; 6 WB-II-2007(0090) Mohiuddin Biswas Shri Karim Box Devli Canning District Chunaghata Chunaghata Plot No.12 & 56, 55 28.01.2008 JL No.160, Vill & PO: Uttar South 24 Parganas Kh.No.LR327, Plot 7 WB-II-2007(0091) Amal Mandal Late Shri Ajit Gopalnagar PS Patharpratima District Patharpratima Uttar Gopalnagar No.
    [Show full text]
  • Renaissance in Assamese Literature
    International Journal of Humanities and Social Science Invention ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org Volume 3 Issue 9 ǁ September. 2014 ǁ PP.45-47 Renaissance in Assamese Literature Dr. Chandana Goswami Associate Professor Dept. of History D.H.S.K. College Dibrugarh, Assam, India ABSTRACT : The paper entitled “Renaissance in Assamese Literature” attempts to highlight the growing sense of consciousness in the minds of the Assamese people. From 1813 to 1854, the year of Wood’s Despatch, this was the period when Assam was experiencing the beginning of a new phase of national life, being thrown into contact with the west. It was trade that had already brought the British salt merchants into Assam. When finally the British took over Assam it had been suffering for a long period from internal disturbances which were closely followed by the Burmese invasions. Education in the country in the early years of British rule was in a retrograde state. In 1837 when Bengali replaced the Assamese as the language of the court, the missionaries had just arrived in Assam. They took up cudgels against the imposition of the Bengali language. The near total darkness shrouding Assam from the outside world was gradually removed with the entry of the British who gradually broke Assam’s isolation by establishing new routes of communication. The educated elite of the time contributed largely towards the development of Assamese literature. I. INTRODUCTION : The term “renaissance” was first used in a specific European context, to describe the great era from about the fourteenth to the sixteenth centuries, when the entire socio-cultural atmosphere of Europe underwent a spectacular transformation.
    [Show full text]
  • Teacher Education Institutions in West Bengal
    Teacher Education Institutions in West Bengal Calcutta University 1. David Hare Training College (Institute of Advanced Studies in Education), Kolkata 2. Govt. Training College (CTE), (Boys), Hooghly 3. Institute of Education for Women, Hastings House, Kolkata 4. Deptt. Of Education, University of Calcutta 5. Acharya Jagadish Chandra Bose College, Kolkata 6. Ramakrishna Mission Sikshanamandira, Howrah 7. Shri Shikshayatan College, Kolkata 8. Calcutta Girls’ BT College, Kolkata 9. Loreto College, Kolkata 10. Scottish Church College, Kolkata 11. Sammilani Teachers’ Training College, Kolkata 12. St. Xavier’s College, Kolkata 13. Gangadharpur Sikshan Mandir, Howrah 14. Bijoy Krishna Girls’ College, Howrah 15. Fakir Chand College (B.Ed. Section), South 24 Parganas 16. Surendra Lal Das Techers’ Training College (B.Ed), Howrah 17. Kamala Devi Sohanraj Singhvi Jain College of Education, Kolkata 18. Parameswar Mahavidyalaya (B.Ed), South 24 Parganas 19. Raidighi B.Ed. College, South 24 Parganas 20. Jagadish Chandra Basu Sikshak Sikshan Mahavidyalaya, Kolkata 21. Viharilal College of Education, Dept. of Home Science, Kolkata 22. Shyama Prasad Institute of Education & Training, Kolkata 23. Pailan College of Management & Technology (B.Ed. Section), Kolkata 24. Hope Institute of Bengal (B.Ed. Section), Howrah 25. Viekananda Ramkrishna Mission B.Ed. College, Howrah 26. Sree Sree Ramkrishna B.Ed. College, South 24 Parganas 27. El-Bethel College, Kolkata 28. Ghol Digrui Sikshan Mandir (B.Ed.) College, Hogghly 29. Sundarban Ashutosh B.Ed. College for Women, South 24 Parganas 30. Bagnan Teachers’ Training College, Howrah 31. Sishu Bikash College of Education, South 24 Parganas 32. Uluberia College, Howrah 33. Banuali and Ajiran Teachers’ Training Institute, South 24 Parganas 34.
    [Show full text]
  • 'Aradhona' a University of Visual & Performing Arts By
    ‘ARADHONA’ A UNIVERSITY OF VISUAL & PERFORMING ARTS BY IFREET RAHIMA 09108004 SEMINAR II Submitted in partial fulfillment of the requirements for the degree of Bachelors of Architecture Department of Architecture BRAC University SUMMER 2013 DISSERTATION THE DESIGN OF ‘ARADHONA’ A UNIVERSITY OF VISUAL & PERFORMING ARTS This dissertation is submitted to the Department of Architecture in partial gratification of the exigency for the degree of Bachelor of Architecture (B.Arch.) at BRAC University, Dhaka, Bangladesh IFREET RAHIMA 09108004 5TH YEAR, DEPARTMENT OF ARCHITECTURE BRAC UNIVERSITY, DHAKA FALL 2013 DECLARATION The work contained in this study has not been submitted elsewhere for any other degree or qualification and unless otherwise referenced it is the author’s own work. STATEMENT OF COPYRIGHT The copyright of this dissertation rests with the Architecture Discipline. No quotation from it should be published without their consent. RAHIMA | i ‘ARADHONA’ A UNIVERSITY OF VISUAL & PERFORMING ARTS A Design Dissertation submitted to the Department of Architecture in partial fulfillment of the requirement for the Degree of Bachelor of Architecture (B.Arch) under the Faculty of BRAC University, Dhaka. The textual and visual contents of the Design Dissertation are the intellectual output of the student mentioned below unless otherwise mentioned. Information given within this Design Dissertation is true to the best knowledge of the student mentioned below. All possible efforts have been made by the author to acknowledge the secondary sources information. Right to further modification and /or publication of this Design Dissertation in any form belongs to its author. Contents within this Design Dissertation can be reproduced with due acknowledgement for academic purposes only without written consent from the author.
    [Show full text]