Though conscious of their unique cultural identity and heritage, the Santals are increasingly being confronted by the forces of change and modernization. Globalization, education and interaction with mainstream population have made inroads into their society and in tandem with socio-economic hardships, particularly in backward Purulia, have encouraged a certain degree of social transformation. As a result, familiarity with traditional arts and songs is on the wane. Fortunately, many villages have at least one surviving elder who is a storehouse of traditional knowledge. But this will not last for long.

While searching for old masters, we were introduced to 60 year old Panmoni Mandi of Bhurkundabari village in Purulia.  She is a fount of knowledge where traditional songs of her community are concerned and we proudly present this beautiful old woman as our Artist of the Month. 

Panmoni moved to Bhurkundabari as a young bride from her native village at Hudrah, bringing with her the knowledge gleaned from her maternal home. She in turn has taught her two daughters who have carried their traditional knowledge with them to their marital homes. Her unmarried son who went on to obtain a master’s degree and a B.Ed does not share his mother’s passion.

At Bhurkunda, Panmoni is one of the last few who is familiar with a wide variety of traditional Santal songs, including agricultural songs (Heyrhhet) and a whole range of wedding songs (Dong). With her phenomenal repertoire, Panmoni can be depended upon to lead the singing at all the various rituals and festivals. While the lyrics of a few popular and entertaining songs are usually known to many, few can match up to the depth of her knowledge. For this she has her mother and brothers to thank, all of whom are “rasikas”, lovers of their traditional music and arts, and who actively practice and uphold their culture. 

 

Like every other able bodied Santal woman, Panmoni looks after her home and used to toil in the fields as well. She would sing as she worked in the fields – a practice that has almost become extinct; but now that her daughters are married and her son, looking to be a permanent school master, Panmoni does not work in the fields anymore. She is content to sing for herself on most days or for her neighbours, perhaps at a lively “hnarhiya” session. She is particularly happy when she visits her parental home, for there she must take part in the singing that is part of daily life in that household.