The trend of pala gan that has survived till today is mainly based on religious themes and histories. However, with the passage of time and change of people’s taste, the form and subjects of ‘pala gan’ have undergone some notable changes. Popular palas were also created focusing on folktales of Chandravati, Mahuya, Maluya, Kamala, Dewan Madina, Dewan Bhabna, Rupavati, Dasyu Kenaramer Pala and Bheluya.
In the past, ‘pala gan’ that were based on Sri Krishna and Sri Chaitanya are also called ‘palakirtan’. Traditionally, ‘pala gan’ were based on some stories of the puranas and folktales. Well, it has also lost its past ardor to some extent partly because of the reason that it is now enjoyed on television instead of live shows.Ī ‘pala’ turns into a ‘jatra pala’ when the different characters appear on stage in costumes. However, with the advent of television and satellite channels, ‘pala gan’ has lost its appeal. Thus the event of pala gan not only entertains and refreshes the minds of the villagers but it fills the minds of the audience with piety and veneration. Such show usually takes place at night on a stage designed beautifully with colorful lighting. Well, in the rural areas of our country, people still arrange such programmes on some occasions to entertain the villagers. While enjoying the funny and exciting arguments between the two singers onstage, people used to feel overwhelmed and celebrate the performance by applauding and cheering loudly. There was a tradition of arranging special show for pala gan at night where the audience would go to enjoy the live performance of the singers and choristers and receive an immediate and delightful effect on their minds. In the past ‘pala gan’ was a major source of entertainment for the rural people. Thus it creates huge excitement among the audience. At the end of every single episode of their song, the singer challenges his opponent by throwing a plethora of difficult questions, to which the opponent has to answer during his song. In many shows of pala gan, the singers design their songs in a way to contradict and outwit each other. Choristers repeat after the Boyati while the musicians play on their instruments. Pala gan is usually presented to the audience in the form of arguments embodied in the songs sung by two folk singers on a stage by turns (Boyatis or Bauls) assisted by their respective group of pasdohars (young assistant singers or musicians or choristers who sing in chorus alongside the lead singer). Its narration often consists of metaphysical discourses, shloka and songs. Pala gan can generally be referred to as a narrative folk ballad or musical narratives about gods and religious hymns. Although, Pala gan is mostly popular among the uneducated or aged section of people living in the village areas, it has its originality, not only in regard of its unique forms and delightful styles but also of its interesting subject matters that can easily lure any Bengali speaking person. Once a major source of entertainment for the rural people, this genre of Bengali folk song springs from the hearts of mystic bauls, rural poets and Boyatis (folk singers), and expresses the thoughts, emotion, religious faiths and spiritual longings of our common people. Likewise, Pala gan, a popular genre of Bengali folk music, has taken a deep root in the hearts of our common people in the rural areas. Then, the genres of traditional Bengali folk music such as Zaari, Saari, Bhatiali, Bhawaiya and Baul songs appeal to a wide range of people. For example, whereas today’s youths in our country commonly love heavy metal or rock music and modern songs, a certain section of Bengali speaking people love Rabrindra Sangeet and Nazrul Geeti as well. It is true that people of different ages and classes have different tastes in music.
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