The articleвЂ™s main body is a translation and interpretation of a song from the tradition of bhagat. The art is alive today (based on fieldwork 2001) and has multiple performers: Arjandas Kuvarani (in Ahmedabad) Dilip Kumar and Notandas Pritaram (in Maharashtra) Bhagwan Chawla (in Mumbai) Khanchand Kusija Mohan Jagiasi, Chunnilal, and the late Ghansham (in Ulhasnagar) and in Rajasthan, Hassaram, Kalluram, Kamal Mangnani, Kishin, Pratap Rai. Lalwani also adds a delightful definition: bha for bhava вЂњemotion,вЂќ ga for git or вЂњsong,вЂќ and ta for tal or вЂњrhythm.вЂќ Other naarrative styles related to the Sindhi bhagat are the nautanki (Uttar Pradesh), harikatha (Andhra Pradesh), bhavai (Gujarat), tamasha (Maharashtra), jatra (Bengal), and ujapali (Assam). 3 The origin of this tradition is uncertain, and the precise equivalence between these two groups remains unclear. 2ДЄccording to Lalwani, Hindu performers are called bhagat while Muslim performers are nachu. Sanskrit bhaj вЂњto adoreвЂќ bhaktu, bhagat, and bhakti in a broad sense, bhagat suggests a particular form of music and dance in which narrators sing and dance.Д«hagatu langayanu or vijhanu вЂњto make or carry out a bhagat session.вЂќД«hagat is a public devotional singer, a dervish, a fakir simple, ingenious, or innocent in a broad sense. BalochвЂ™s Sindhi dictionary gives four definitions for bhagat:Д«hagat is a Hindu ethnic group (often from the Nawabshah region and Larkana areas).

He is the follower of bhakti, religious thought founded on the love that binds the devotee to God. It is a polysemous term derived from the Sanskrit root word bhaj, вЂњto divide.вЂќ The bhakta or bhagat is вЂњa very pious individualвЂќ who surrenders himself to the divinity and takes part in its nature. It is also a title, for instance, Bhagat Kanvar Ram. 1 The term вЂњbhagatвЂќ refers to both the narrator and the performance. Bhagat, among Sindhis, has a 300- or 400-year long history.

Sindhi folk sources suggest two definitions for the bhagat: scholarship sometimes classifies it as folk music and sometimes as folk theatre. This corridor physically brings the public closer to the performer, where he moves freely, breaks the rigidness of a stage front, and encourages spontaneity. It divides the men from the women seated on the floor. Village committees ( panchayats) and private individuals both organize bhagat gatherings for the peoplesвЂ™ delight.ДЄs for the performance area, a perpendicular strip of space is used for the bhagat to pass (Figure 1). The glory of Bhagat Khotaram, Satramdas, and Kanvar Ram, the bhagat par excellence, persist. Participants believe that bhagats purify, on the spot, houses, and villages. Performances generate an atmosphere of intense communion. To this day, bhagat narrators are honored. They also commemorate the death of the saints ( varsi). At joyous festivals such as marriages or fairs, they generate a sense of holiness, spread knowledge, and acclaim righteousness and social progress, including values like love, compassion, understanding, connectedness. Formerly, bhagat gatherings lasted three consecutive nights. The spectators come from all walks of society. The session begins at nightfall, in the open air of a village square or the precincts of a temple. It does not involve consciously organized training. The young narrators imitate and learn while singing and dancing on all sides of the bhagat acting space spontaneously. Fathers do not pass on this tradition to sons. Dressed in a symbolic costume, the mahredar, and his bhechi chatter while the followers ( pichara) simultaneously repeat and dance. Bhagat is a typical Sindhi narrative form that includes language, costume, headdress, songs, instruments, movements, and gestures. Sometimes a вЂњbuffoonвЂќ (or mashkiro), and two musicians join the group. The group of five or six men comprises a вЂњleaderвЂќ (i.e., mahredar), an вЂњassistantвЂќ (i.e., bhechi or jheli), one or two вЂњfollowersвЂќ (i.e., bolira or pichara).

Sindhi song gulabi jore me