196
11.4 Objectives
The objective of my study is to understand this cultural heritage in the aspect of
marginality, mythmaking, rituals and transgender concept along with their present
status and scope of development of Gajan artists in present situation:
1. To understand Gajan festival as cultural heritage of rural Bengal, this is actually
practiced by the group of marginal people of the society.
2. To identify major marginal groups of the society involve in this festival and its
various sacrificing and blood-shedding rituals.
3. To analyse economic-social-cultural status of marginal group in relation to
development in a psychological, social and political matrix in the discourse
of power.
11.5 Methodology
In approach to study this unique cultural phenomena, some economic and sociocultural parameters have been selected.
Following methods are taken to address these problems:
Collecting information about this folk culture, its social status and how its influence
the life of indigenous people of my study area. Group discussion of Gajan Dals
(groups of Gajan artists), both type of professional and amateur to understand
1. SANNYASIHOOD
2. MALE
ARTISTS
DRESSED LIKE
WOMEN
(TRANSGENDAR
ISM)
3.
SACRIFICINGRIT
UALS
Discourse of Power
POWER
RESISTANCE
UPPER
CASTE/CLASS
MARGINAL
CLASS
ZAMINDARS
BRHAMHANIC
CASTE
THE
NAMASUDRAS
A SECTION
OF WOMEN
Fig. 11.1 Diagram computed by author & concept idea “Faucauldian cocept on discourse of
power” (Faucault 1977)
M. Ghosh and L. Satpati