Abstract:The Indian epic, the Ramayan, has been kept alive in the popular imagination in India, through various textual, oral, visual, and performance forms. While Ramlila is the most popular live performance form to enact the Ramayan in the Hindi-speaking regions of North India, Ramayan Gaan is the form that prevails in the Bengali-speaking regions of West Bengal and Assam in India, and in Bangladesh where the event is also called "Kushan Gaan" or "Kush's Song." While Ramlila is based chiefly on Tulsidas's Rāmcaritmānas, Ramayan Gaan is indebted to Krittibas Ojha's slightly earlier Ramayan. This essay discusses salient features of Ramayan Gaan with occasional reference to Ramlila, illustrating some of their shared narrative and ideological elements as well as some of their critical disjunctures. It underscores the fact that in Bangladesh, a Muslim-majority country, Ramayan Gaan is enthusiastically performed and appreciated by Hindus and Muslims alike. This essay also charts the transitional zone, ontologically and geographically, where Ramlila meets Durga Puja in the eastern regions. Significantly, in Ramayan Gaan, Ram invokes Mahashakti (Durga) before his battle with the ten-headed Ravan, and Sita, in the form of Bhadra Kali, defeats the thousandheaded Ravan. Together, these narrative elements help explain the conjunction of Ramayan Gaan and Durga Puja in the Bengali-speaking regions.Tutun Mukherjee (1952–2020) was Professor of Comparative Literature, and Joint Professor at the Centre for Women's Studies and the Department of Theatre Arts, at the University of Hyderabad, India. She specialized in literary criticism and theory, and her research interests include world literatures and comparative literary studies, women's writing, translation, theatre, and film studies. Her publications include: Staging Resistance: Plays by Women in Translation; Girish Karnad's Plays: Performance and Critical Perspectives; The Plays of Mahesh Dattani: An Anthology of Recent Criticism; "Women's Theatre" in OUP Encyclopedia of Indian Theatres, and 89 research papers and book chapters. She also translated plays by Mridula Garg and Mahesh Dattani.Saymon Zakaria is Assistant Director in the Folklore Department of the Bangla Academy in Dhaka, Bangladesh. A scholar of Bangladeshi folklore, he wrote a doctoral dissertation titled The Traditional Theater in Bangladesh: Content and Mode of Language. Besides writing plays, he has conducted ethnographic field surveys related to Intangible Cultural Heritage. He has also delivered academic lectures and conducted workshops at universities around the world. His books include Pronomohi Bongomata: Indigenous Cultural Forms of Bangladesh, and Prācīn BāmglārBuddho nāṭok; Bāṃglādeśer loknāṭok: bishoy o āṅgik-baicitrya. He has co-edited, with Keith Cantú, Carol Salomon's City of Mirrors: Songs of Lālan Sāi (Oxford University Press, 2017). In 2019, he was a recipient of Bangladesh's prestigious Bangla Academy Literary Award for his research contributions on Bangladeshi folklore.

中文翻译：

---

“Ramayan Gaan”或在西孟加拉邦、阿萨姆邦和孟加拉国唱斋戒月

摘要：印度史诗《拉玛延》通过各种文本、口头、视觉和表演形式，一直在印度大众的想象中保持鲜活。虽然 Ramlila 是印度北部印地语地区最受欢迎的拉玛扬现场表演形式，但 Ramayan Gaan 是印度西孟加拉邦和阿萨姆邦的孟加拉语地区以及在孟加拉国盛行的形式亦称“库山嘎安”或“库什之歌”。虽然 Ramlila 主要基于图尔西达斯的 Rāmcaritmanas，但 Ramayan Gaan 受惠于 Krittibas Ojha 稍早的 Ramayan。这篇文章讨论了 Ramayan Gaan 的显着特征，偶尔提到了 Ramlila，说明了他们的一些共同的叙事和意识形态元素以及他们的一些关键分歧。它强调了这样一个事实，即在穆斯林占多数的孟加拉国，印度教徒和穆斯林都热情地表演和欣赏拉玛扬·盖安 (Ramayan Gaan)。本文还从本体论和地理上描绘了过渡区，即拉姆利拉在东部地区与杜尔加法会相遇的地方。值得注意的是，在 Ramayan Gaan 中，Ram 在与十头 Ravan 战斗之前调用了 Mahashakti（Durga），而 Sita 以 Bhadra Kali 的形式击败了千头 Ravan。总之，这些叙事元素有助于解释在孟加拉语地区拉玛扬·甘和杜尔加·普加的结合。 Tutun Mukherjee（1952-2020）是比较文学教授，妇女研究中心和戏剧艺术系的联合教授，在印度海得拉巴大学。她专攻文学批评和理论，她的研究兴趣包括世界文学和比较文学研究、女性写作、翻译、戏剧和电影研究。她的出版物包括：上演抵抗：翻译中的女性戏剧；Girish Karnad 的戏剧：表演和批判性观点；Mahesh Dattani 的戏剧：近期批评选集；OUP 印度剧院百科全书中的“妇女剧院”，以及 89 篇研究论文和书籍章节。她还翻译了 Mridula Garg 和 Mahesh Dattani 的戏剧。Saymon Zakaria 是孟加拉国达卡孟加拉学院民俗系的助理主任。作为一名孟加拉国民俗学者，他撰写了一篇博士论文，题为《孟加拉国的传统戏剧：语言的内容和方式》。除了写剧本，他进行了与非物质文化遗产相关的民族志实地调查。他还曾在世界各地的大学举办学术讲座和讲习班。他的著作包括 Pronomohi Bongomata：孟加拉国的土著文化形式和 Prācīn BāmglārBuddho nāṭok；Bāṃglādeśer loknāṭok: bishoy o āṅgik-baicitrya。他与 Keith Cantú 共同编辑了 Carol Salomon 的《镜之城：Lālan Sāi 之歌》（牛津大学出版社，2017 年）。2019 年，他因对孟加拉民俗的研究贡献而获得孟加拉著名的孟加拉学院文学奖。Bāṃglādeśer loknāṭok: bishoy o āṅgik-baicitrya。他与 Keith Cantú 共同编辑了 Carol Salomon 的《镜之城：Lālan Sāi 之歌》（牛津大学出版社，2017 年）。2019 年，他因对孟加拉民俗的研究贡献而获得孟加拉著名的孟加拉学院文学奖。Bāṃglādeśer loknāṭok: bishoy o āṅgik-baicitrya。他与 Keith Cantú 共同编辑了 Carol Salomon 的《镜之城：Lālan Sāi 之歌》（牛津大学出版社，2017 年）。2019 年，他因对孟加拉民俗的研究贡献而获得孟加拉著名的孟加拉学院文学奖。