The Sundarbans: Folk and Folk Religion

RAFIQUL ISLAM KHOKAN

In ancient and primitive times the primeval forests produced fear and awe in man. The wild animals
generated a sense of danger, the dense forests and their awful silences evoked strangeness and awe.
Men felt themselves to be very small in comparison to such vast and danger -filled spaces. Out of
such feelings of fear, awe and wonder grew the idea of the "forest Gods". Such Gods save men from
the attack of the wild beasts and at the same time impose great suffering on them. In every country
early, primitive religious beliefs have grown out of the folk tales, legends, myths associated with such
forest Gods. The same has happened in the Sundarbans.
Water, land and forests make up the Sundarbans on whose banks struggle for livelihood labouring
bands of men. Even before 1770 in the time of Collector General Claude Russell when forests were
cleared for agricultural purposes, Hindu backward classes and tribal communities lived in the
Sundarbans. In time these came to be known as the original inhabitants of the Sundarbans. In the
Sundarbans the numbers of Muslim folk began increasing from the 16th Century. Other than these, a
few "Varna Hindu" communities made up the complex demography of the area.
It is necessary to mention here, that a vast number of people from South Bengal embraced Islam
during the 14th and 15th centuries. The Pir Gazis played a central role in these conversions. Many
among the Pir Gazis have since become established as historical figures. At that time the occult and
spiritual powers possessed by these Pir Gazis, their love and compassion for the common folk helped
the backward population to rise up against the exploitation and tyranny of the upper caste Varna
Hindus and the Feudal lords. These Pir Sahebs, due to their opposition to local zamindars and other
tyrannical chiefs, gained the gratitude of the common masses of the area. Some were experts in
Kaviraji and Hekimi medicine. The common folk in their daily struggle in the midst of the perilous
Sundarbans found great succour from such Pirs. That is why the Pir Sahebs have assumed the status
of Gods in the hearts of the common folk.
The folk society of the Sundarbans is mainly village and agriculture based. Compared to other parts
of our country, people here, due to the adverse weather and other problems, have to struggle in a
disadvantaged environment. The folk society here had for long an autonomous and independent
structure. Their dependence on agriculture, water and forests forged a strong bond of unity among the
people. Hence communal harmony was preserved in the Sundarbans. A lot of that still exists today.
Their dependence on a dangerous and unstable natural environment for a living perforce creates a
sense of interdependence among the people. The different religious communities here live close to
each other in their daily struggles and therefore feel with and share in the various rituals of the
different religions.
The common people here are highly religious-minded but are not rigid in their religiosity. The
struggle for existence undertaken in co-operative vein have made these labouring folk deny religious
narrow- mindedness and fundamentalism. Rather they have on occasion united various religions and
faiths. That is why though Bonbibi is muslim yet she is worshipped by numerous Hindus. On the
other hand numerous devotees of Dakshin Rai are muslims. One can see many such examples of
peoples' unity in the Sundarbans area.

People here, apart from following their own religions, also worship a number of folk divinities and Pir
Gazis. Hence the religious worship of the people of this area is not completely based on the Puranas
and Holy scriptures-some of it is folk religion. People living in Bangladesh and West Bengal around
the Sundarbans practice puja and "sinnis" of numerous folk and supranatural Gods and Goddesses.
They observe many rules and "Bratas". Each God or Goddess has its own storehouse of songs and
legends based on which have been composed numerous poems, "punthis", song-cycles, sagas etc. at
various times.
Bonbibi : Mother of Labouring Men and Women Folk

"Every year on the last Tuesday of the month of Baisakh

People collect together to come by boat to the forests' edge
They answer the call of Bonbibi
They promise ("manat") and pledge hens and cocks to Bonbibi
Such is the practice in Bonbibi's forest
The rustic folk of Sundarbans live like this
Bonbibi's forests are in the realm of Gangaridi
Perilous-green yet enchanting to the soul."
-Kavi Wajed Ali {Bonbibi's Bon/Forest)

The first who should be mentioned among the folk divinities of the Sundarbans is Goddess Bonbibi,
worshipped as the ruling deity of the forests.
According to folk belief she sometimes assumes the form of a hen, sometimes that of a tiger. Unlike
other Gods/Goddesses, Bonbibi is neither revengeful nor extreme. Rather she is beautiful, tender to
her devotees, charming. Her compassion covers all the creations and creatures of the forest. She loves
humans. Equally she loves nature. Bonbibi's charisma enthralls alike the agricultural labourer, farmer,
baowali, honeygatherers, woodcutters, fishermen, forester, hunter and all the poor of the Sundarbans.
They remember Bonbibi their Mother everyday.
The very name Bonbibi reveals the cultural unification of the Hindu-Muslim communities. In the
Muslim-dominated areas Bonbibi's shape, size and costume are appropriately like the Muslim
women-cap on the head, hair braided in pleats, a "tikli" for the head, a garland of forest flowers round
her neck, multicoloured necklaces, wearing ghagra or thin veil, socks and shoes on feet, with a baby
on her lap. Since the child is fearful of the tiger he is called "Dukhey" (= troubled sufferer).
In Hindu-dominated areas Bonbibi appears differently. Here Bonbibi's accoutrements are like Hindu
Goddesses : with "mukut" (= crown) on head, resplendent with many ornaments. Sometimes with a
child on her lap, at times without, astride a tiger or hen. Both religions have come together centred on
the figure and person of Bonbibi. For this reason among the pantheon of the Sundarbans Bonbibi
occupies the most important rank. From ancient times those who went deep into the forest have
worshipped Bonbibi-to be safe from dangerous wild animals when gathering the forest resources or
inhabiting therein. That worship still continues on today. The Sundarban folk worship Bonbibi with
due devotion and gratitude while entering the forests and on returning home safely.

Who is this beautiful Bonbibi, lover of forests, human and animal life? History has not been able to
find the answer. The figure is fictional. The Sundarban folk think of Bonbibi as very intimate kith and
kin. They look to Bonbibi at every moment of crisis or danger. Everywhere in these regions Bonbibi is
associated with fabulous and hyperbolic tales and exploits. Believers think of Bonbibi as a giantess.
She can go anywhere and everywhere in the Sundarbans. Tigers, crocodiles and all other beasts are
submissive towards her.
It is narrated in the Punthi (ms. text) "Bonbibi Jahuranama" that Mecca-based Berahim's wife
Gulalbibi was banished to the Sundarbans through conspiracy hatched by another of his wives. At the
time of banishment Gulalbibi was with child. In the Sundarbans she delivered twins called "Bonbibi"
and "Shah Junglee". Bonbibi's girlhood is filled with many Romantic tales :
"All the forest deer and Khodas
Who look after Bonbibi everyday
Houris from Paradise like
Mothers bear Bonbibi on their laps."

It is mentioned in this text that the God of the Bhati region wanted to save the poor, the weak and the
needy from the clutches of Dakshin Rai and under Allah's command asked Bonbibi and Shah Junglee
to stay on in the Sundarbans. In a short time many Parganas of the Sundarbans accepted the rule of
Bonbibi. This made Dakshin Rai angry. He prepared for war against Bonbibi. But how will he being a
man fight against a woman? So he sent his mother Narayani Devi to fight against Bonbibi. Dakshin
Rai's mother was defeated in battle and agreed to a truce with Bonbibi. But a short while later this
truce was broken- over Dukhey, the son of the blind, widowed mother.
The punthi text records that at this time Dhonai and Monai from Borijhatti village came to the
Sundarbans in their seven ships to gather honey and wax. In that forest lived long-suffering blind
widow's only son Dukhey. Dhonai-Monai entered the forest, offered worship to Dakshin Rai and
went in quest of honey. A whole day's fruitless search could not even turn up a drop of honey.
Dakshin Rai used his magic to keep hidden all the honey in the forest. Hopeless and exhausted
Dhonai-Monai went to sleep in their boat. Dakshin Rai appeared to them in their sleep and
commanded that Dukhey must be sacrificed to him. It he is not given as a sacrifice then not a
drop of honey will be available. On waking the two brothers decided to serve up Dukhey as
sacrifice to Dakshin Rai. Dakshin Rai was pleased at their decision. From the next day onwards
vast amounts of honey and wax came to hand. Soon in a short while the seven ships were filled
up. On the way back Dhonai-Monai kept their promise to Dakshin Rai by throwing Dukhey to
him in the Sundarbans. When Dakshin Rai in the shape of a tiger came to Dukhey he prayed to
Bonbibi:
"My mother seeks you Bonbibi whereever you are
Come sharp to see how your Dukhey is at death's door
If you cannot save me mother Then in Bhatiland your reputation will be lost."

Bonbibi answers this melancholy prayer immediately. She declares war against Dakshin Rai in
order to save Dukhey's life. Defeated in battle Dakshin Rai accepts Bonbibi's authority. In this
way Dukhey is saved and due to Bonbibi's blessings Dukhey's widowed mother's blindness is
cured. Dukhey acquires great wealth and property. He is married to the merchant Dhonai's
daughter.
This is a brief retelling of the text (punthi) of "Bonbibi Johureenama."
There is no fixed set of ritual practices for Bonbibi worship in the Sundarbans.

Devotees themselves, without the aid of a Brahmin, offer puja and "sinni" according to their
economic situation. Devotees practising "manat" promise hens to Bonbibi. Hens are set free in
Sundarban forests to keep this vow. Hence lots of hens are seen in the Sundarbans, a region
otherwise unsuited for the habitation of cocks and hens. In numerous Sundarbans canals, rivers
and forest are found Bonbibi's "Thans". Here devotees offer worship and "sinni" to Bonbibi and
other folk divinities before entering the deep forests.
Hindus and Muslims both take part in this worship of Bonbibi: there are no fixed "mantras" for
her worship-only readings from Bonbibi's text (punthis) and/or processions with Dukhey.
The forest peoples of the Sundarbans had possibly initiated Bonbibi- worship four to five
centuries ago. In the beginning she was worshipped as Bonchandi or Bondurga. During the
spread of Islam in South Bengal and the tolerant spirit of the Pir Sahebs Bonbibi emerged as the
Goddess of a united Hindu-Muslim community. By the wayfaring poor of the Sundarbans
Bonbibi is praised, loved and worshipped as Earth Mother, Mother, Joy-Ma Bonbibi or "Avatar"
and other such names. In the remote regions of the Sundarbans there is a class of Bonbibi
worshippers who are Fakirs, Ojhas (ghost-busters) and Gunins (occultists), who tame the Royal
Bengal Tiger of the Sudarbans. The forest people hold such ojhas and gunins in awe and respect.
They offer such protective mantras as "Baghbandhan" (tying up the tiger), "Bon Bandhan"
(fastening up the forest), "Baghjabda" (taming the tiger), "Mukhbandhan" (muzzling up the
mouth) etc. Such Bonbibi worshippers cure children of fear, diarrhoea and other illnesses through
such folk spells as "panipara" (water spell), talismans and herbs and act as local doctors to the
sick and the poor.
The adivasi Munda tribes organize the worship of Bonbibi in Satkhira Zilla, P.S. Shyamnagar at
Ramzannagar unions Mundapara temple during the month of Poush. The Hindu communities
also come to offer Puja there. So too do the Muslims. Here, apart from Bonbibi, idols of Gazi,
Dakshin Rai and Dukhey are also present. During the puja the Mundas perform "Dukhey Jatra"
as part of the festivities.
Gazi-Kalu-Champabati
Among the Muslim communities in the Sundarbans the name of Barokhan Gazi is well-known
and much discussed. Researchers are unanimous in their view that Barokhan Gazi was a
historical preacher. But Gazi's individual existence remains untraced like Bonbibi, Dakshin Rai
or Shah Junglee. Yet in the sagas and punthis Bonbibi, Dakshin Rai, Gazi-Kalu-Champabati and
others are contemporary presences.
In Islam "Gazi" means "Victorious"/"Victor". He who has earned victory in religious battles is
given the respected title of "Gazi". This victory may not refer to bloody or violent religious wars.
It may refer to the winning over of the adherents of other religions through ones soulforce and
charisma. In the Punthi literature we have seen both battles between Bonbibi-Dakshin Rai and
Gazi as well as peace and harmony being established among them.
Gazi is not just known in the Sundarbans but is a familiar name to all in Bangladesh and in West
Bengal. Once Gazi had established himself so firmly in the hearts of the people through his
indomitable strength and power that the whole country was under his influence. Throughout the
Spring and Winter season Gazi song festivals were held in every village. The non-literate village
folk were entertained by and found their soul-food in Gazi's songs. Such Gazi's songs are sung
even today but that earlier intensity has ebbed. Like the immersion ceremony of Manasa in the
Hindu religion, Gazi's songs too became renowned and most popular among the Muslims.
In many places in West Bengal and Bangladesh fairs / melas are held in the name of Gazi-Kalu.
Like the Muslims who respect Gazi as a victorious braveheart, the Hindus too hold him in holy
reverence. They offer goat-sacrifice to the Gazi in the Sundarbans. Boatmen while crossing
stormy and perilous rivers invoke Gazi :
"We are the children
Gazi is our father
At our heads crash the Ganges waters
Five Pirs, help O help us."
We shall now try to identify who this famed fighter was. It is very difficult to find any references
to Gazi's ancestors. Legend has it that to the Senior Queen of Sikander, the Emperor of Gaur, was
born Giasuddin Julhans and Borkhan Gazi. In the Book (Punthi) of Kalu Gazi it is narrated that
Gazi is the son of Shah Sikander of Bairaat Nagor. His mother was Ajufa Sundari. Ajufa Sundari
had, apart from Gazi, brought up as her own son the foster child Kalu. In his Youth when Gazi's
father advised him to assume the Badshah's throne, he declined. He said : "I do not want to
become Badshah, I would rather be a Fakir." The Badshah, father of Gazi, was moved to anger at
his son's remarks. To make matters worse the elder brother of Gazi had vanished while out
hunting. After repeatedly requesting Gazi to take up the crown and failing, the Badshah decided
to punish him. He decided that Gazi his own son should be executed by his royal command. The
executioner was completely taken aback when he went to cut off Gazi's head. His sharp sword
could not even cut a hair of Gazi's head. After this Gazi was thrown into the deep sea, into raging
fires and even trampled by elephants. But each time nothing could harm Gazi. Finally a specially
marked needle was thrown into the deep ocean and Gazi was asked to find it. Gazi worked his
miracle to dry up the ocean and then find the needle.
Then one day Gazi took his foster brother Kalu, renounced material and domestic life, and
together came to the Sundarbans as Fakirs. In the Sundarbans under the influence of their
extraordinary spiritual power even the tigers and crocodiles became their devotees. The Gazi and
Kalu started preaching Islam in and around Sudarbans. After converting the people of Sri Rampur
to Islam they reached the Muslim-hater king Mukut Roy's Sonarpur and Brahmannagor
kingdoms. It is written in the Punthi about Mukut Roy's Brahmannagor:
"Listen to this description of Brahmannagor
All the subjects of this land are Brahmins
The king does not allow any other caste or race here
If foreigners (yavanas) come they are taxed."
Mukut Roy had seven sons and one daughter named Champabati. She was the most beautiful
woman in the Kingdom. Gazi saw Champabati in a dream and was enthralled by her beauty. He
wanted to relinquish the life of the Fakirs and wed princess Champa. He sent his comrade Kalu
with the offer of marriage to Mukut Roy's court. The king was outraged at such an offer coming
from a non-Hindu and imprisoned Kalu. Gazi, with his army of tigers, attacked Mukut Roy's
capital. Mukut Roy's bravehearted General Dakshin Rai took his army of crocodiles to join battle
against Gazi. But ultimately Dakshin Rai had to accept defeat faced with the superior battle
strategy of Gazi. Gazi cut off Dakshin Rai's ears and his twelve-hands-long top-knot and
imprisoned him. Hearing of Dakshin Roy's surrender, Mukut Roy himself entered the battlefield.
He brought with him three crores twelve lakh thirteen thousand soldiers, and lakhs of archers and
cannoneers.
Everyday Mukut Roy's soldiers, horses and war elephants suffered heavy losses. But Mukut Roy
would sprinkle holy water from the "Death-conquering Well" upon his dead soldiers to bring
them back to life. Gazi's spies came to hear of this secret. Finally the miracle well lost its magic
power when Gazi spilled beef and cow's blood into the "Death-conquering Well". Mukut Roy was
reduced to hopelessness. Gazi's tiger army and band of Angels soon destroyed all of Mukut Roy's
army. The king and his courtiers tore off their sacred threads and converted to Islam. Then the
marriage took place between princess Champabati and Gazi. Neither the king nor his Queen
could object to this. The Punthi records king Mukut Roy's words : "My daughter merry
Champabati I love more than my seven sons Be kind to her always If she does any wrong please
forgive her."
Then Gazi-Kalu-Champabati leave. On the way to Bairatnagore Gazi with his associates rescue
his elder brother Julhaas from the underworld. When all of them reach Bairatnagore the
melancholy capital overflows with joy and laughter. This is the essence of the Gazi-Kalu-
Champabati lore as presented in the Punthi.
Gazi is specially worshipped as a folk deity in the Sundarbans by farmers, fishermen and
foresters. Whatever may be contained in the Gazi-Kalu-Champa Punthi, the Hindu-Muslim
communities of the Sundarbans all swear by him. Before entering the deep forests of the
Sundarbans everyone prays with folded hands to both Bonbibi and Gazi. His images, either as a
fair-faced bearded figure wearing pyjama-Kurta or a lungi with a towel (gamocha) thrown around
his neck, are worshipped in the habitations in and around the Sundarbans. The vegetarian
offerings for his puja include Batasa (sugar pellets), Patali (dried mollasses), sinni made from
Atap rice etc. The common folk residing in the villages, apart from those entering the forest, also
invoke Gazi Saheb for the well-being of their domestic birds and animals.
Dakshin Rai God of the Tiger
"On the Throne of the forest sits a new King
your seat is now a perverted puja's space
Your merchant is as a stranger in your own land
The footmarks are nearly vanished
At the edge of the forest the moon is down."
From the beginning of civilization individuals have been worshipped. Persons and personality-
based strength, power, generosity, charm have in every age moved the common man. Famous
individuals have triumphed over time and become legendary. They have been celebrated in
poetry, literature, folktales and sagas. God Dakshin Rai of the Sundarbans is one such divinity.
He was a historical figure of the medieval period whose human dimension has been lost in his
divine incarnation.
In perilous Sundarbans Dakshin Rai is commonly known as the God of the Tigers. Rarely does
one find such a handsome God as Dakshin Rai among the pantheon of Folk Gods. In the
Sundarbans there is no temple made of brick sacred to this God. He is not found in anyone's
household. The puja space is usually the base of the banyan, peepul on margosa (neem) tree. The
worship is done in the open air amidst forests and woodland. The propitious time for His puja is
from the ides (sankranti) of Poush to the ides of Magh. Everywhere Dakshin Rai's idols appear in
battledress, riding a tiger. In the forest society of the Sundarbans, Dakshin Rai's worship is a
public and community affair. Though primarily worshipped as a Tiger-God, He is also
worshipped as the healer of incurable diseases. Instrumental music, Kirtan and goat-sacrifice are
constituent elements of his Puja.
Some of the medieval poets have sung of the exploits of Dakshin Rai in "Rai Mangal Kavya". In
this famous Rai Mangal Kavya of the Bhatti region it is recorded that merchant Puspa Dutta
ordered Ratai Baulya of Bordaha area to construct a trading ship. Ratai went to the forest
accompanied by his six brothers and own son to cut timber for making the merchant ship. After
cutting and gathering wood he spotted a huge tree on his return journey. They immediately cut
down the tree. The tree was Dakshin Rai's abode. This made the God most angry. He sent six
tigers to kill the six brothers, sparing Ratai and his son. The God's command was carried out.
Upon the death of his six brothers grief-stricken Ratai goes to commit suicide. Suddenly a voice
is heard from the skies-if Ratai wants his six brothers back then he will have to offer up his own
son as sacrifice to Dakshin Rai. Ratai offers Puja to Dakshin Rai and sacrifices his son to Him.
The six brothers come alive. Ratai and his six brothers return from the forest and tell merchant
Puspa Dutta of the power of Dakshin Rai.
In search of a shipwright Puspa Dutta announces a reward of Gold. Mahadeva, the lord of
Kailash, commands Hanuman and Viswakarma to build the ship. Hanuman and Viswakarma
come down in the disguise of human beings and construct seven ships in a mere seven days.
Puspa Dutta names the best of the boats "Madhukar".
After the boats were built Puspa Dutta prepared to set sail in search of his lost father. After many
implorings he manages to get the King's permission for the voyage. Sushila, Puspa's mother,
offers worship to Dakshin Rai for her son's safe journey. She advises her son to pray to Dakshin
Rai in time of danger.
Puspa Dutta sets sail on Madhukar on an auspicious day in search of his father. He reaches
Khamia after offering puja on the way to Shiva in Barasat. There he offers puja to Dakshin Rai.
He enquries of his sailors about the Pir's darga nearby. The sailors tell him that once there was a
great battle between Dakshin Rai and Gazi. The battle raged for a long while. Though much
blood was spilt and destruction occurred no one could get the better of the other. In such a
situation the Lord appeared as half-Krishna and half-Paygambar to resolve their dispute.
According to the peace terms Dakshin Rai would reign over the whole of the Bhati region but
must show respect and honour to Gazi. From that time on the Gazi's Mazher and the worship of
Dakshin Rai occurs side by side.
After this Puspa Dutta reaches Gangasagar. Journeying across the sea lane he saw in the midst of
the ocean an exquisitely beautiful Palace. But no other member of his group could see this
wonderful sight. After crossing the ocean Puspa reaches the city of Turanga. He asks the king
there about the whereabouts of his father and also tells him of the Palace in the ocean. Hearing
this incredible tale the king admonishes Puspa and asks him to show him this Palace-on-the-sea.
Puspa fails to show the king this sight. As a result he is made a prisoner. The king flings him into
prison and orders his beheading.
In the prison Puspa Dutta starts singing in praise of Dakshin Rai. The next day the executioner
comes to take Puspa to the killing grounds. At that instant Dakshin Rai himself appears together
with many tigers. The army of tigers destroy the city, bite off the beard and moustache of the
executioner and slays the king.
Hearing of the king's death the queen herself arrives on the battlefield. The queen hears a
prophecy from the skies that if gives her daughter in marriage to Puspa Dutta and builds an idol
of Dakshin Rai and worships him, then life will be restored to the dead king. The queen agrees to
this offer. Dakshin Rai sprinkles holy water of the Amrita Kumbha on the corpses and the dead
king and his soldiers come back to life. Meanwhile Puspa comes to know that his father Deb
Dutta is a prisoner in the king's dungeon. Before marrying the princess Ratnabati, Puspa frees his
father then returns to his own land with his newly wed wife and father. This in brief is the strory
of the Rai Mangal Kavya.
After examining the Punthi materials and the oral narrative traditions of the folk of the
Sundarbans region, folk experts and research scholars have come to the conclusion that Dakshin
Rai must have been a most powerful local ruler during the early Pathan period. At one time
Dakshin Rai had a long war with the propagators of Islam. This war ended in a friendly truce. As
a result Dakshin Rai was lauded as a hero by the people of his region and later attained Godhood.

Bondebi Narayani
Bondebi Narayani occupies a high pedestal in the hearts of agriculturalists and forest people. Together
with Dakshin Rai, Bonbibi and Gazi she too is known as a God of the Tigers. But she possesses the
extra dimension of the Mother. For over 150 to 250 years Bondebi Narayani's "Than" (=holy grave)
have been seen in the bushes and woodlands around the villages of the farmers. Most of the "Than"
are mud-walled rooms covered with hay or tiles. Small hovel-like thans made of Tal leaves have also
been seen. Mother Narayani has been an enduring witness to the forest civilization of the Sundarbans
from the middle ages owward.
But Bondebi Narayani is not the wife of the Pouranik Vishnu or Shakti. She is no kin of the Shastric
pantheon. In terms of popularity and respect she ranks just below Dakshin Rai. As Dakshin Rai's
Mother she is known and worshipped everywhere. After the ides of Poush (Poush Sankranti)
throughout the whole of the month of Magh Dakshin Rai and Mother Narayani are worshipped
together. In the hands of the Brahmin priests the tiger Goddess has undergone strange
transformations.
In many places she has become a four-armed Shastriya Devi. Yet she is also the mother of Dakshin
Rai, the lord of Bhati, and lives in village khari. Mother and son defended the religion. Due to this
she first had to fight and then sign a truce with Bonbibi. The narrative of their "Jung" or battle is
recorded in the Punthi Bonbibi s Jahuranama composed by Munshi Boynoddi.
The saviour of children Panchu Thakur and Pencho-Penchi
Panchu Thakur is the protector of babies. The fear of losing their babies have ever kept fathers and
mothers in constant fear. Due to lack of education and medical facilities the rate of infant mortality in
the Sundarbans was terribly high till only a few decades ago. The popularity of the folk God Panchu
Thakur has developed out of this fear of losing children. The holy space of Panchu Thakur, set a little
apart from the village hutments, is marked out near the banks of ponds or canals under the open space
beneath the Palm or Banyan trees. In some places both Panchu and his wife Goddess Panchu
Thakurani are worshipped in small mud rooms outside the village area. There are many women who
have undergone repeated miscarriages and delivered dead babies due to health problems. These
mothers offer puja at the than of Panchu Thakur. If the child is delivered alive and healthy these
devotees establish mud images of Panchu Thakur or "chhalans" in these thans.
Little children feel fear mixed with laughter at sight of Panchu Thakur's images. Patuas make the
images according to tradition. Though these lack sophisticated artistry they clearly express the
primitive element in this folk God. Apart from this, in remote areas of the Sundarbans Pencho-
Penchi are offered puja to protect children from all kinds of danger. This duo has more influence
among women. Pregnant mothers offer vows to the Gods Pencho-Penchi before the birth of their
children. Apart from temples in specified areas many establish domestic "ghots" to offer puja to
these two Goddesses.
Crocodile God Kalu Roy
Like Bonbibi, Gazi, Dakshin Rai, Narayani, Ateshewar et al Kalu Roy is a folk God who guards
against wild animals and predators. Those who earn their living from the waterways and forest of
the Sundarbans they worship Kalu Roy to save themselves from the deadly crocodile. Like
Dakshin Rai, his image is also like a human being. The dress is like an ancient war God's,
carrying a 'tangi' and shield in two hands, with numerous weapons hanging from the
cummerbund waist guard with bows and arrows slung on his back. According to the ancient rites
of forest Gods Kalu Roy is offered libatious of the bonjhau flower.
The image worship of Kalu Roy is becoming rarer day by day. At places he is conceived as an
attendant God of Dakshin Rai. Kalu Roy's worship takes place at dead of night on Makar
Sankranti. Previously birds and beasts were sacrificied at his altar.
Kalu Roy is present in all the legends about Dakshin Rai. Both are found together in various
thans and temples of the Sundarbans region. The worship of the crocodile God Kalu Roy
traditionally takes place on Tuesdays and Saturdays. Before entering the watery forests of the
Sundarbans even today some offer worship to Kalu Roy alongside their worship of Dakshin Rai.
Protector of the Forest Ateshwar
Ateshwar is a primitive forest God of the Sundarbans. Among Sundarbans agriculturalists, fisher
folk and woodsmen Ateshwar commands similar respect and devotion as given to Dakshin Rai,
Bonbibi, Naryani, Gazi Saheb et al. Regular and widespread image worship of Ateshwar takes
place as the devotees believe that Ateshwar the protector of the forests guarantees the safety of
the inhabitants of the Sundarbans as well as of their domestic animals.
Ateshwar's idol is like a warrior: with turban on head, long curled hair, short dhoti worn
'malkoncha' style in wrestler-fashion, left hand turned into a fist, with a short club clutched in the
right. This kind of club is carried by the Bouwali and Mouali communities going into the forest
for firewood-wax-honey collection. This short club is made from about four hand-lengths cut
from the wood of strong gajan or garan trees. Some of the tough roots and bristles of the tree are
also used as spike points. These spikes can penetrate into the flesh of beasts hunted by the club.
The foresters enter the woods armed with these clubs as defense against tiger attacks.
Possibly the foresters imitate the God Ateshwar in their use of this cropped club. Ateshwar
closely resembles the foresters in this tiger hunter's dress. Possibly a mighty and powerful person
of yore who once protected the "atan" i.e. the borders of the village has been transformed into a
God who is the protector of villages and villagers. At the close of worship Ateshwar is offered
rice cooked separately in a mud plate with a whole "shoal fish" roasted over a fire and arranged
together on a banana leaf. This is then placed in the bushes. No one is permitted to look back.
The villagers believe that after all have left Baba Ateshwar will arrive, partake of the offerings,
feel satisfied and guard over the villagers and their domesticated animals all the year round.
Baba Ateshwar's love of ganja (cannabis Indica) is proverbial among the native inhabitants of the
Sundarbans. Rustic rhymes can be heard on villagers' lips round the year:
"Joi Baba Ateshwar Leave the hookah, take up the Koike"
Jarasur the Curve of Fevers
Jorasur is a strange God who heals fevers. The Sundarbans folk worship this demon (Asura)
figured idol of deep blue complexion with three heads, nine eyes, six arms and three legs, at
various "thans" with the other folk Gods of the forest like Sitala, Manasa, et al. Especially
popular is his worship in the "than" of Sitala Ma.

Manasa the Serpent Goddess

Manasa is a non-'ancient' serpent Goddess. "The ancient Indians imagined the serpent Goddess as
Nag Devi and initiated serpent worship. But we find mention of Manasa the serpent Goddess in
later non-classical folk mythology. In Manasa Mangal Kavya she is called Padmabati. Padmabati
is a daughter of Shiva. Brindaban Das Kaviraj, the sixteenth century poet has written that "at the
time of Chaitanya's birth the populaces were obsessed with the worship of Bishahari (Poison
Hari). Debi Manasa was worshipped then as Bishahari i.e. the Goddess who took away or
rendered harmless the snake venom."

Manasa is worshipped in numerous ordinary 'thans' and temples in the Sundarbans area or
venerated as household idols over many generations. In well-to-do farmer households every year
in the month of 'Bhadra' (Bhadra Sankranti-August-September) Manasa's immersion and the
reading of Padmapuran and Manasa Mangal are organized. The annual Manasa puja is popularly
known as 'Ranna Puja' (=cooking or kitchen Puja). At this time outsiders are not permitted to
enter the kitchen. Cooking has to be done in clean and pure fashion. In new mud handis called
'Bhog Handi's bhog made of Atap rice is prepared for Asta Nag Puja. Before cooking conches are
blown and a new fire is started with newly gathered fuel and firewood. Multiple dishes are cooked
and stored : rice, dal, various fries, fish curry, fruit chutney, payas, pancakes, fried ripe banana balls
and more.
Next day is the "Arandhan" puja. In the morning the oven used for the bhog is clearned and branches
of the Manasa tree-bush are brought. A garland of sapla weeds taken from ponds and canals are hung
round the Bhog Hundie. Then the bhog offerings for the 'Asta Nag' are placed on the sapla leaves. The
Atap rice soaked in water from the Bhog Hundie is mingled with the cooked vegetarian and non-
vegetarian dishes, arranged on eight sapla leaves and submitted as puja offerings to Asta Nag. With
folded hands the devotees then pray to Ma Manasa. Further offerings of fruits and sweets are made.
The distinguishing mark of the Manasa Puja is that women function as priests here. After the puja the
'bhog', the water-soaked rice and all the dishes from the "Arandhan" are distributed among the kith
and kin, guests, friends, the village poor and all who attend.

Forest Mother Bisalakshi

Among the farmers, foresters and fisherfolk Forest Mother Bisalakshi holds sway. Her worship has
spread as the inhabitants have spread through the Sundarbans. She is the cynosure of the tribal folk's
eyes-of farmers, fishermen, Monalis and Bauwalis.
Known also as Basholi or Bonshuli, Bisalakshi is not a Shastric Goddess. She is a Tantric deity.
Researchers have described her variously. This Buddhist deity of the Vajrajanas (an order of
Buddhism) became associated with the Brahmanical religion during the Gupta era. Observing the
presence of such offerings as liquor, meat, roasted fish in her puja it is inconceivable to imagine her
as belonging to the Brahmmanical religion. Everywhere in the Sundarbans she is worshipped in very
ordinary mud or brick walled 'mans'. In the seventeenth century poet Krishnaram Das' Rai Mangal
Kavya in the description of the merchants' travels to Bisalakshi of Baruipur in South Kolkata finds
mention
"After leaving Sadhughata and Suryapur
The Boat reaches Baruipur The sadhus worship Bisalaxmi for
her fame And sing her praise as they row the boat."
Possibly due to scribal error instead of'Bisalakshi' we have 'Bisalaxmi' written here. In the Sundarbans
region of West Bengal near the Baruipur Rail station in Katchhari Bazar exists the ancient temple of
this Bisalakshi. In the 'than's Bisalakshi is present as a clay image. She is also worshipped in bronze
and wooden images or occasionally as a piece of rock i.e. as a 'Jantramurti'. She is conceived
variously: sometimes as a three-armed Goddess, at others four-armed. Apart from daily worship,
Bishalakshi's seasonal worship occurs in the months of Baisakh and Jaistha. Village fairs are held
as part of her puja then.

Bhangar Pir
Bhangar Pir was powerful preacher of Islam during the medieval period. His fame was known
then all over lower Bengal. We meet him in the Punthi of Bonbibir Johureenama composed by
Munsi Md. Khater, Munsi Boinuddin et al. Commanded by Allah Rasool, Banbibi and Shah
Junglee on arrival at the Bhati region straightaway go to Bhangar Pir to state their purpose.
Munsi Md. Khater writes:
"Says Bhangar Shah to listen carefully When you have come to
the Bhati region now".

Unfortunately no play text or narrative presenting the exploits of such a powerful Pir has come
down to us. Yet lower Bengal had thrilled to his coming. His shrine is now famed as Bhangor on
the highway. His holy Mazhar is a major centre for devotees. Colloquially Bhangur is popular as
Bhangur (or Bangur). Beside his Mazhar has been established Bhangur Market and Bhangur is
the name of a West Bengal Vidhan Sabha Kendra.
There exists, near Bhangur Market beside this Mazhar, an ancient Banyan. People call it the
'Ajaan tree' Botanists tell us that this tree is over a thousand years old. Legend has it that during
the Pir's annual Ursday small orange flowers bloom on it at dead of night only to wither in the
morning. All the year round devotees and pilgrims crowd round the Mazhar. On the Pir Baba's
Urs day on 16th of Chaitra an all night Mela/Fair is held. Even eunuchs/sikhandis are allowed
entry into the Mazhar on that occasion. The Mazhar gournds resonate to the songs of the Pir ali,
Fakirs and Kawalis.

Village Mother Bibi Ma

Bibi Ma! Associated with this word are love, devotion and dependence. There is no barrier here
of caste, creed, race or religion. Bibi Ma has a simple and heart-felt place at the centre of folk
worship. The name Bibi Ma expresses emotion and motherhood. But Bibi Ma is not one
individual. At one time in the Sundarbans she was famed as Sat (seven) or Noy (nine) Bibi Ma. In
earlier times in Hindu temples and 'thans' she oversaw the 'puja-hajots' of Muslim Khadims. At
present this tradition is fast vanishing. The evil shadow of the Fundamentalists have been cast
upon the puja-hajot tradition. Under pressure from the Moulabadis (Fundamentalists) the
Khadims are losing their enthusiasm for the mother worship of the Bibi Ma's. The preists
themselves had the prerogative once of the puja-hajots of the Bibi Mas.
Among the Bibi Mas the eldest is Ola Bibi. She is most famed among the seven Bibi Mas. The
other six are her loving sisters. As the patron-Goddess of Ola Utha (Cholera) disease she is
known to all. The other six sisters are called-Jhola Bibi, Ajgoi Bibi, Chand Bibi, Bahar Bibi,
Jhentuney Bibi, and Ahsan Bibi. Some include another-Mori Bibi. People believe that among them
Jhola Bibi is the Patron -Goddess of Measles and Pox, Mori of Fever, apoplexy etc. They are
worshipped everywhere in the form of clay images and earthen stupas. At places sand-and-cement
mixed stupas are worshipped too, though clay images are prevalent everywhere.
Apart from daily worship, Tuesdays and Saturdays are set aside as special hajot-days. During annual
hajots fairs are held. Songs are sung to celebrate their holy powers. Some Gayen and Bayen families
can be found who have achieved great fame down the generations singing 'Palagaans' of the Bibi
Mas. Folk culturalist Dhurjati Naskar informs us that among them most reputed are Basanta Kumar
Gayen of Makimpur (Mandirbazar P.S.) and Laksman Chandra Gayen of village Ballavpur. Before
starting the 'palagaan' certain holy rites have to be performed and completed. The main Gayen
(singer) establishes an earthen Ghot in the performance space. After that 'Kalma' or reading of "bulis"
begin:
"Oam Kalma Taiab
Dujam Kalma Sahadat
Sujam Kalma Tomshib
Hok Illahi Illaha Muhammad Rasoollallah".
At the outset of the Palagaan 'Vandana' or an ode in praise of Bibi Ma is sung :
"Praising Nur Nabi Ma Ola Bibi You are derived from
Bibi Alam
All your Johura Is so great that if spoken according to law
Will be endless."
All the village folk, Hindu and Muslim, with their Kith and Kin, collect together and gather at
these Palagaan performances.

Manik Pir the Protector of Domesticated Animals

Manik Pir is worshipped as the protector of cows in rustic Hindu families. Like other Pir-Gazi-Bibis
his antecedents are shrouded in mystery. Devotees believe that he was a Hekimi medical practitioner
and sage endowed with supernatural and occult powers. As he cured domestic animals as a practising
vet widespread love and respect for him increased and soon he was elevated to the rank of a folk God.
Manik Pir is worshipped and served puja in the same 'thans' or temples as other folk divinities.
Medieval village poets have composed many palagaans on him. From the songs of the Fakir devotees
of Manik Pir we come to know that Khoda Tala himself sent. Manik Pir to earth during Kaliyuga as
his own trusted emissary and avatar.
At one time during 'Poila Baisakh' (new Year's day) Manik Pir was offered special puja in every
farmer's household. Cows and calves are daubed with raw turmeric, mustard oil is put on their horns
and they are bathed in the ponds. Meanwhile their mangers are cleaned of the cowdung and urine, and
kheer for the puja of Manik Pir is prepared.

Tusu, the Goddess of Fertility

Among the many folk divinities of the Sundarbans area of the two Bengals, 'Tusu' is an important
Devi. Her worship is widespread among the land tribals. Actually Tusu is an ancient deity who is
worshipped in areas other than the Sundarbans too. Through many centuries of evolution she has
reached her present form in the Sundarbans region. Devi Tusu is variously conceived as the farmer's
Luxmi or as a Goddess of the Fertility cults. Researchers have identified her as a harvest Goddess.
Tusu is the chaff of the corn and associated with harvest time. Poush is the month of Luxmi when the
harvest comes home. The worship of Tusu then is akin to the worship of Luxmi puja. The image of
Tusu is somewhat similar to the classical pouranik Luxmi : Her complexion is yellow, with a crown
on her head, carrying the Padma flower in her two hands, the whole figure bedecked with ornaments.
The last five days of Poush are set aside by the land tribals and aborigines of the Sundarbans for Tusu
Puja. Village fair are generally held during this puja time. The aborigines believe that Tusu is Luxmi,
the symbol of fulfilment. Through her worship want and lack leave the household and it is filled with
peace, happiness and plenty. Tusu is not just a Goddess to them, but a woman of the household, a
close kin". We give below a Tusu song from the Sundarbans
"I have sown rows of potatos
Sown two rows of brinjals
I will pick carefully the brinjals
For tomorrow I go my father's house
Tusu will go to her father's house
 To bring Nilmoni
When Tusu will leave (father's house) to return Do not cry my mother."

Makal Thakur the God of the Fishes

The earth is three parts water, one part land. We know a lot of the Natural world of the land mass, but
a lot of the under water nature still remains mysterious to us. Among the creatures of the ocean depths
man's relationship with the fishes have ever been that of predator and prey. Since fishes exist, it is but
natural (to the folk mind) that there will exist Gods of the Fishes. Among the folk divinities of the
Sundarbans is Makal Thakur the Fish God.
Makal Thakur is the God worshipped by fisher folk of the Sundarbans. His image is not human like,
but rather like one or two stupas together. This stupa looks somewhat like an upended
earthenware glass or a top or (groom's headdress). Makal Thakur has some similarity with
'Kanyashma', the village Goddess of Mysore. She too is worshipped by fishermen, but she is a
Devi, while Makal Thakur is a God. It is thought that Makal Thakur goes back to the time when
primitive man did not know how to make images. That is why he is thought to be an ancient pre-
historic God.
There is no special place set aside for the worship of Makal Thakur. Before setting out to fish the
Sundarbans fisher folk worship this divinity on river or canal banks. Space is cleared, an earthen
dais is erected and the image placed thereon. A fencing is constructed on four sides of the alter by
putting tirkantas (reeds) on the ground. Together with flowers, Bel and Tulsi leaves daubed with
vermillion, Atap rice, ripe bananas, chocolates meant for children are mixed in as offerings to
Makal Thakur. There are no arrangements made for music or sacrifice for this puja. Devotees
believe that if the God is pleased with their puja then they will be blessed with a huge catch.

Epilogue
It is clear from the above descriptions about the divinities, that much of the religious thought of
the Sundarbans communities is dependent on folk literature-oral and written.
The highways and byways of the Sundarbans, its air and atmosphere its rivers, canals and forests
are even today alive with legends and fables about folk Gods and Goddesses. We can observe the
Chronology of the discussed divinities thus :
First, the Rai Mangal Kavya composed on the Tiger God Dakshin Rai emerging from the culture
of Hindu folk life in the ancient period.
Secondly, the emergence of Bonbibi the forest Goddess as a consequence of the mixed Hindu-
Muslim culture emerging during the Muslim era of the 16th and 17th centuries. It is to be
mentioned here regarding Bonbibi that from primitive, ancient times there existed among the
forest folk the tradition of Bon Durga worship. From this Bon Durga emerged the conception of
Bonbibi as a consequence of the mingled culture of the Hindu-Muslim peoples. Previously the
worship of Bon Durga was confined to the lower castes. The upper caste Brahmin did not offer
this puja while relatively low caste Hindus offered Puja to this Devi as a result of their fear, awe
and respect for her (and the elemental natural forces around them).
From the 17th century onwards in this land of eighteen Bhatis the simultaneous worship of the
Hindu Dakshin Rai and the Muslim-Hindu Bonbibi has become an inseparable part of
Sundarbans folk life and tradition. That is why in the Punthi of "Bonbibi Johurnama" it is said :
"I am the mother of all in these 18 Bhatis
Everyone who calls me mother will be rid of troubles
Whosoever calls me Mother when in trouble
Will never come to harm from others"
In this way through Rai Mangal Kavya, Bonbibi Johurinama, Gazi-Kalu-Champabati palagaans
and similar oral and written literary traditions, through countless proverbs, sayings, fables etc.
there has grown in the Sundarbans through Hindu and Muslim cultural contact and fusion a
wonderful, mingled folk cultural tradition that affords a rare example of unity amidst (and from)
diversity.
Hence, currently we can celebrate a great unification in and through these folk Gods and
Goddesses of the Sundarbans. In this connection we must mention that even today at some places
in the Sundarbans folk divinities like Sitala, Manasa, Bonbibi, Dakshin Rai, Gazi and other Pirs,
Gods, and Goddesses are worshipped simultaneously and together by both the Hindu and Muslim
communities. In a word this kind of co-existence and merging of worshippers of folk Gods and
Goddesses is a true marker and symbol of communal harmony in practice.
The Sundarbans is thus playing a great and significant role in creating communal peace and
harmony in the country through its conception and worship of our folk Gods and Goddesses.

References & Select Bibliography

1. History of Jessore and Khulna - Satischandra Mitra (1914)
2. History of the Sundarbans - A.F.M. Abdul Jalil (1969)
3. Sundarbans : A record of poverty and betrayal - Sukumar Singh and
Asiskanto Bhattacharya (1992)
khokanrafiq@yahoo.com
Translated by Prof. Amitava Roy