Professional Documents
Culture Documents
IV, ISSUE 3
1
St Andrews Historical Journal
VOLUME IV
ISSUE 3
AUTUMN 2015
CONTENTS
Foreword by the Conference Co-Ordinator.....................................................................................6
Professor Peter Kruschwitz (Keynote Speaker): And now for something entirely ... the same?!
- Tradition and Change in the Works of Sallust..........................................................................7
Annie Sharples (Warwick): A change in the way we see disability throughout history; reimagining the Spartan stereotype.......................................................................................................18
Lucy McInerney (Dickinson College): National Identity and Ethnic Individuality in Virgils
Aeneid..........................................................................................................................................22
Laura Melin (St Andrews): Hearts and Sciences and the Medieval Church: A Reassessment of
the Perceived Clash of Religion and Dissection in the Middle Ages.........................................28
Daniel Petrides (Cambridge): Rethinking the past: new approaches to History in Nietzsche
and Koselleck...............................................................................................................................36
Marco Francis (Edinburgh): To what extent is the Chinese Communist Partys narrative of
the purpose of Zheng Hes voyages convincing?........................................................................46
Aniket De (Tufts/Oxford): Our Songs and Their Songs - Constructing Nation and Tradition in
the Indo-Bangladesh Borderland................................................................................................52
Robert Tildesley (Glasgow): Bombs and Balloons: military technological innovation and reaction during the American Civil War...........................................................................................58
EDITORIAL BOARD
Laura Lser
Charlotte Gorman
CONTRIBUTORS
Annie Sharples is an
undergraduate student reading
Classical Civilisations at the
University of Warwick.
Laura Melin is an
undergraduate student
reading Medieval History
and Art History at the
University of St Andrews.
Marco Francis is an
undergraduate student
reading Chinese and
History at the University
of Edinburgh.
Robert Tildesley is an
undergraduate student
reading History at the
University of Glasgow.
Lucy McInerney is an
undergraduate student
reading Classical Studies
at Dickinson College.
Daniel Petrides is an
undergraduate student
reading History at the
University of Cambridge.
Aniket De is an
undergraduate student
reading History at the
University of Tufts and
Oxford.
52
his paper explores the historical scholarship around a small, localized folk performance form in the India-Bangladesh border.1 Folk traditions, especially those in the
non-Western world, are often thought to be timeless
and unchanging. Contrary to such belief, folk traditions not only change, but exist in relation to their
political contexts. Focussing on the politics of scholarship on the folk theatre form called Gambhr, this
paper shows how scholars in India and Bangladesh
continually offer competing genealogies of the same
tradition. Such genealogies gain especial importance
1 This paper forms part of a larger project done under the supervision of Dr
Brian A. Hatcher, Tufts University. I thank Dr Hatcher, Dr Kris Manjapra
and Dr Sarah Pinto (Tufts) for their continuous supervision. I also thank Dr
Sukanya Sarbadhikary (Presidency University, Kolkata), Dr Iftekhar Iqbal
(Dhaka University, Dhaka), Dr Perween Hasan (Dhaka) and Mr Saymon Zakaria (Bangla Academy, Dhaka) for their enthusiastic help during fieldwork. The
project was funded by the John Kokulis Summer Scholars Grant at Tufts. All
translations from Bengali are my own.
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54
As the various characters have not entered
So, is Gambhr a song, a festival, a culture or the Gambhr of East Pakistan, it must be admitted
a theatre? More importantly, why has the apparent- that the entertaining quality of the Gambhr in East
ly simple task of categorizing Gambhr remained so Pakistan is much lesser than the Gambhr found in
elusive? The problem lies in seeing modern Gambhr West Bengal (Malda).19
as a monolithic, a priori entity that has changed forms
over the course of time. It is assumed that Gambhir
The tone of the passage is unambiguous
of this age is simply a new version of the Gamb- in admitting that the Malda Gambhr ranks highhr of that age.15 Modern Gambhr, however, is a
9 The tension between emic and etic perspectives, a continual predicament of
Western ethnography, is largely resolved when scholars are themselves parts of
the cultural tradition they write about. Nevertheless, it cannot be denied that
even such scholarship is an attempt in writing culture, coming with the politics of constructing a text. See. James Clifford, Introduction: Partial Truths in
James Clifford and George Marcus, eds. Writing Culture: The Poetics and Politics of
Ethnography (Berkeley: University of California Press, 1986), 1-26.
10 The two earliest accounts of Gambhr are Haridas Palit, dyera Gambhr
(Malda: Jatiya Siksha Samiti 1912), and Sarkar, Folk Elements (1917). Both Palit
and Sarkar were natives of Malda. Gambhr took its modern form in the turn
of the century, hence not too far from these two texts.
11 Asutosh Bhattacharya, Blra Loka-Shitya. Vol 3. (Kolkata: Calcutta Book
House, 1965), 242. Alam, Bangla Academy Folklore Sankalan 67, 1.
12 Ghosh, Gambhr Lokasangta O Utsaba. The concept of festival also seems to
be a key analytic in Palit, dyer Gambhr.
13 Ghosh, Gambhr Lokasangta O Utsaba. Sarkar, Folk Element.
14 Ray, Gambhr. Selim, Gambhr: Kler Kantha.
15 Ghosh, Gambhr Lokasangta O Utsaba, is subtitled Ekla O Sekla or
this age and that age. Ghosh romantically notes, History has not recorded in
its diary the day on which Gambhr song started its journey. Today it is going
forward by changing its form and shedding its religious garments by being the
mouthpiece of the common people. Gambhr Lokasangta O Utsaba, 48.
16 This has been a surprisingly dominant trend of scholarship on Gambhr.
In the 1910s, the great Bengali Sanskritist Haraprasad Shastri discovered
the Carypadas, c. 10th century Buddhist songs in a proto-Bengali language.
His monumental anthology of the Carypadas, Hjra Bacharera Pura Bl
Bhya Bauddhagna O Doh (Kolkata: Bangiya Sahitya Parishad, 2012 [1916]),
is a milestone in Bengals literary history. Palit, dyera Gambhr, extends Shastris
argument directly to assert that Gambhr derives from a similar Buddhist heritage. Sarkar, Folk Elements, gives a detailed sociological analysis of Buddhism.
Even contemporary works continue to draw the lineage of Gambhr since
antiquity. Ray, Gambhr, 50-5.
17 Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of
Nationalism (London: Verso, 2006 [1991]), 5. See also Eric Hobsbawm and Terence Ranger, Eds. The Invention of Tradition (Cambridge: Cambridge University
Press, 1983).
18 Ray, Gambhr, for example.
19 Ghosh, Gambhr Lokasangta O Utsaba, 34. There are no examples of songs
from East Pakistan, only an indication of the existence of the tradition there.
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er than the East Pakistan Gambhr in a scale that One Bangladeshi overheard one tune being rehearsed
measures quality of entertainment. Let us now see a by the best Gambhr team of Malda. He ran back to
corresponding passage produced from Bangladesh:
Bangladesh with that one tune. That is why throughout Bangladesh Gambhr is sung in only one borAlthough Gambhr was very popular in Malda ing tune: the tune that they stole from our rehearsals.
Gambhr was re-born after the independence of There is no variation and no creativity. Their GambBangladesh in 1971. The lamp of Gambhr was lit hr is not worth hearing. Go ask [the scholar] hell
by Sheikh Mujibur Rahman, with encouragement, corroborate that this story is true.
inspiration and patronage.20
Needless to mention, Bangladeshi Gamb
Along with recognizing the antiquity of hr is a rich and varied musical genre, far from beGambhr by acknowledging its Indian roots, it is ing monotonic. The artist had heard a Bangladeshi
necessary to show Gambhr as a tradition national Gambhr. He never recalled where he first heard or
and intrinsic to Bangladesh; hence the concept of read this widely known tale. He told me that scholre-birth, and the mention of the patronising role of ars have established that Gambhr went to BanglaMujibur Rahman, the father of the nation of Bang- desh from Malda and that the quality of Gambhr in
ladesh. Another scholar has a historical-sociological Bangladesh is inferior to the Gambhr in India. That
take on the subject:
was proof enough for him.
Although Gambhr was the worship of iva,
over the course of time Gambhr has acquired a new
level. Leaving the old garments [of iva worship],
Gambhr has solidified the common mans feelings
of sorrow and pain in the character of grandfather
in place of iva.21
The author intelligently avoids the contexts of
religion and nationalism under which iva got transformed into the grandfather. In almost a liberal historiographical tone, the progress of time is granted
the agency of transforming devotion to a god into
solidifying the common mans feelings in the character of the grandfather. It is the course of time, the
natural course of sociology, that has dictated such a
change in the performance.
That such myths exist in spite of not being
corroborated should not surprise us. For myths have
no fixity- they can come into being, alter, disintegrate, disappear completely.22 Being narratives with
credibility and authority, myths are discourses that do
not wait to be corroborated by historical scrutiny.23
Myths need a historical narrative only to serve as a
substrate to build on, and myths change quickly with
a change in historical trends. It is precisely because
[myths] are historical, Roland Barthes notes, that
history can very easily suppress them.24 Scholarship
has been instrumental in providing the historical narrative of nationalism and partition as a fertile ground
for myth-making in both India and Bangladesh. The
myth of The man who stole Gambhr is at most a
few decades old, a myth that could have been realized
only after the birth of Bangladesh in 1971. Perhaps
the legendary Bangladeshi man being denounced as a
thief in India today will someday be hailed as a Prometheus across the border. Or perhaps Bangladesh
will create its own Gambhr-thief who would be
lauded as a hero in India. The importance of scholarship in moulding and mythologizing discourses on
culture cannot be overemphasized.
Comparing texts produced from the two sides
of the border shows us that the agendas of scholarship
remain contested even in the case of a small, localized
ritual like Gambhr. The obsession with the original and the most authentic is crucial for processes
of nation-building. Such scholarship not only creates
discourses on nationalism, but acts as substrates for
myth-making for even the Gambhr performers.
When asked if he knew anything about Bangladeshi
Gambhr, a Gambhr artist in Malda recounted
very spiritedly to me:
Myth-making and the postcolonial nation
Ha! You ask about the Gambhr of Bangladesh. Ill tell you how they got to have Gambhr.
20 Alam, Sankalan, Preface.
21 Selim, Gambhr, 5.
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The case of Gambhr shows how postcolonial nationalisms foster competing visions of tradition
by creating contesting genealogies of cultural forms.
Since the 1970s, both India and Bangladesh has been
producing contradictory genealogies and histories of
Gambhr, aiming to prove how Gambhr was originally Indian or Bangladeshi respectively; some even
attempt to claim that one State plagiarized the others
traditions. Such discourses of our songs being historically different from their songs are not confined to
official publications, but find widespread acceptance
in writings by scholars, journalists, local literary societies and often the performances themselves.
Gambhr acts as a lens to see two larger
processes of constructing traditions and boundaries.
First, the quest for a new national culture is important
for legitimizing a new nation. Producing genealogies
that deny modernity of traditions is a tool to establish
authenticity and antiquity. Thus Indian histories of
Gambhr claim it to be continuing since the Buddha,
while Bangladeshi histories emphasize how Bangladesh was always home to the secular, if not Islamic,
tradition. Secondly, this reconstruction becomes even
more crucial in case of cultural forms found in the
borderlands. The borderland, being the frontier of
nations, states and identities, is a zone where nationalism needs to be expressed most emphatically. A
modern, militarized border like the Indo-Bangladesh
border sharply divides territories and identities; one
is either Bangladeshi or Indian, but not anything
in-between. Transformations in borderland cultures
reveal the stakes involved in the invention of tradition and heritage.
Investigating the competing histories of
Gambhr enables us to reflect on the pivotal intersection between traditions and nationalisms. For nations,
constructing the antiquity of traditions is often as crucial as arguing for progress and development. We can,
then, look at traditions as sites where political propaganda, cultural nationalism and expressions of identity converge. Studying the intersections of nationalism
and tradition in the Indo-Bangladesh border throws
light on the processes of conceptualizing the nation as
well as expressing it in the frontiers. The historiography of tradition is a powerful tool for such conceptualization.
Bibliography
I. Printed Primary Sources (Bengali)
Ahmed, Tasaddaq. 1994. Nabbaganja Jelra Lokasangta Gambhr. Dhaka: Bangla
Academy.
Alam, Habib-ul, ed. 1995. Bangla Academy Folklore
Sankalan Vol 67: Gambhr Gna. Dhaka: Bangla Academy.
Bhattacharya, Asutosh. 1965. Blra Loka-Shitya.
Vol 3. Kolkata: Calcutta Book House.
Ghosh, Pradyot. 1968. Gambhr Lokasangta O Utsaba
Ekla O Sekla. Kolkata: Cakra Co.
Palit, Haridas. 1912. dyera Gambhr. Malda: Jatiya
Siksha Samiti.
Ray, Pushpajit. 2009 [2000]. Gambhr. Kolkata: Lokasanskriti O Adivasi Sanskriti Kendra.
Shastri, Haraprasad. 2012 [1916]. Hjra Bacharera
Pura Bl Bhya Bauddhagna O Doh. Kolkata:
Bangiya Sahitya Parishad.
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Anderson, Benedict. 2006 [1991]. Imagined Communities: Reflections on the Origin and Spread of Nationalism.
London: Verso.
Barthes, Roland. 2009. Mythologies.Trans. Annette Lavers. London: Vintage.
Clifford, James and George Marcus (Eds). 1986. Writing Culture: The Poetics and Politics of
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Donnan, Hastings and Thomas M. Wilson. 1999.
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Hobsbawm, Eric and Terence Ranger (Eds.) 1983.
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