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This article presents a powerful corpus derived from a Sindhi oral tradition, the bhaÑat. Born in... more This article presents a powerful corpus derived from a Sindhi oral tradition, the bhaÑat. Born in Sindh (Pakistan), today it is practiced by Hindu narrators in Post Partion India. A series of six songs stated here are focused upon BhaÑat Kanvar Ram, very often mentioned by the current bhaÑat narrators. This essay shows his deep influence on this oral tradition in terms inspiration, authority and performance style. An innovative coding approach of the “oral texts ” offers to the reader a glimpse of the dynamics of a live performance. Initially, this essay was encompassed within a broader study on the bhaÑat tradition in the performance context.
Parfois classe sous la rubrique musique populaire, parfois sous la rubrique theâtre populaire, le... more Parfois classe sous la rubrique musique populaire, parfois sous la rubrique theâtre populaire, le bhagat est une forme de narration en langue sindhi attestee depuis 300 ou 400 ans au Sindh. L'objectif de l'etude est de textualiser, de traduire et de commenter le repertoire oral des narrateurs bhagat dans le cadre de "la performance". Le repertoire des bhagat a deux specificites: il est original car il n'existe pas avant l'enquete et il est heterodoxe (enonces hindous et musulmans juxtaposes dans le repertoire). Les commentaires sur l'oralite, la performance aboutissent a une conclusion qui elle, porte sur la construction identitaire de la diaspora et le rapport aux religions. Le role du bhagat est de participer a une reconstruction identitaire des Sindhis dans l'Inde contemporaine dont une des lignes de force est l'integration de deux traditions religieuses : l'hindouisme et le soufisme. La tradition du bhagat ne releve ni du theâtre ni du c...
Journal of Sindhi Studies, 2021
This article presents a translation from the Sindhi oral tradition of bhagat. It originates in Si... more This article presents a translation from the Sindhi oral tradition of bhagat. It originates in Sindh, Pakistan. Today it is practiced by Hindu narrators in post-Partition India. The song translated in this paper focuses upon Bhagat Kanvar Ram, who contemporary bhagat narrators mention frequently. This essay exemplifies his influence on the bhagat tradition in the areas of inspiration, authority, and performance style. It offers a glimpse of the dynamics of the live performances of oral texts.
This article presents a powerful corpus derived from a Sindhi oral tradition, the bhaÑat. Born in... more This article presents a powerful corpus derived from a Sindhi oral tradition, the bhaÑat. Born in Sindh (Pakistan), today it is practiced by Hindu narrators in Post Partion India. A series of six songs stated here are focused upon BhaÑat Kanvar Ram, very often mentioned by the current bhaÑat narrators. This essay shows his deep influence on this oral tradition in terms inspiration, authority and performance style. An innovative coding approach of the “oral texts ” offers to the reader a glimpse of the dynamics of a live performance. Initially, this essay was encompassed within a broader study on the bhaÑat tradition in the performance context.
Parfois classe sous la rubrique musique populaire, parfois sous la rubrique theâtre populaire, le... more Parfois classe sous la rubrique musique populaire, parfois sous la rubrique theâtre populaire, le bhagat est une forme de narration en langue sindhi attestee depuis 300 ou 400 ans au Sindh. L'objectif de l'etude est de textualiser, de traduire et de commenter le repertoire oral des narrateurs bhagat dans le cadre de "la performance". Le repertoire des bhagat a deux specificites: il est original car il n'existe pas avant l'enquete et il est heterodoxe (enonces hindous et musulmans juxtaposes dans le repertoire). Les commentaires sur l'oralite, la performance aboutissent a une conclusion qui elle, porte sur la construction identitaire de la diaspora et le rapport aux religions. Le role du bhagat est de participer a une reconstruction identitaire des Sindhis dans l'Inde contemporaine dont une des lignes de force est l'integration de deux traditions religieuses : l'hindouisme et le soufisme. La tradition du bhagat ne releve ni du theâtre ni du c...
Journal of Sindhi Studies, 2021
This article presents a translation from the Sindhi oral tradition of bhagat. It originates in Si... more This article presents a translation from the Sindhi oral tradition of bhagat. It originates in Sindh, Pakistan. Today it is practiced by Hindu narrators in post-Partition India. The song translated in this paper focuses upon Bhagat Kanvar Ram, who contemporary bhagat narrators mention frequently. This essay exemplifies his influence on the bhagat tradition in the areas of inspiration, authority, and performance style. It offers a glimpse of the dynamics of the live performances of oral texts.