The Rhythmic Duel: Exploring the Vibrant Legacy of Kobi Gaan in Bengal

 Introduction: When Poetry Meets Performance

Imagine a crowd gathered under the open sky; some sitting on mats, others standing eagerly. Two poet-singers, or kabiyals, face each other, each with a team of musicians behind them. One clears his throat, throws a clever jab in verse and the battle begins, not with fists, but with rhymes, rhythm, wit, and a lot of drama. This is Kobi Gaan, one of Bengal’s most colorful and captivating folk traditions.
A unique blend of lyrical debate, satire, music and theater, Kobi Gaan has long held a special place in Bengal’s cultural landscape. While it might not make the headlines today, this folk art form remains a brilliant example of how performance, intellect, and entertainment once came together in perfect harmony.

 Origin: Born in Village Courtyards

Kobi Gaan took root in the rural areas of Bengal, though the particular origin is disputed. Some say it originated in Birbhum, other argue that it was in Shantipur, Nadia. But there is no dispute that it grew out the need of entertainment from the mundane life.

Kobi Gaan took rise out of older traditions like Pala gaan, Jhumur, Jatra, Panchali or Kheur and brought something new: a poetic face-off between two singer-poets. These weren’t just entertainers, they were cultural commentators, wordsmiths, and crowd-pleasers, all rolled into one.

Gonjla Guin  is regarded as one of the forefathers of Kobi Gaan. With him and his disciples, Kobi Gaan or the Kobir Lorai (Duel of Poets) started to take a distinct form.

Their verses tackled everything from mythology and romance to politics and social injustice. The performances often took place during fairs or religious festivals, attracting curious minds and lively crowds.

How It Flourished: The Golden Age of Poetic Showdowns

Though it originated in rural paths, it flourished in 18th-century Bengal, particularly in the bustling lanes of Calcutta (now Kolkata). Back then, the city was buzzing with change, British colonial influence, rising social movements, and a cultural awakening. Amidst all this, everyday people craved entertainment that spoke their language, literally and figuratively.

By the 19th century, Kobi Gaan had hit its stride. Kolkata’s working class and middle class couldn’t get enough of it. Names like Bhola Moira, Haru Thakur and Hansman Antony (Antony Firingi) became local legends, drawing huge audiences wherever they performed.

A Kobi Gaan performance was part debate, part drama, and part musical and lasted for five to six hours. Two lead poets would go back and forth, often trying to outwit each other in rhyme, which is termed as ‘Chapan’ (Question/ Statement) and ‘Utor’ (Answer). Each had their own crew, instrumentalists (‘Dhuli’ and ‘Kansi-badak’), chorus singers and sometimes their composers (‘Dohar’ or ‘Bandhandar’).

But this wasn’t just for fun. This generally contained mythological stories and debated around it. These duels were often layered with social satire. The kabiyals poked fun at everything, from corrupt landlords to the British Raj, from pretentious intellectuals to daily human follies. It was art with teeth, delivered through music and poetry.

And the audience? They were never passive. They laughed, clapped, cheered, and occasionally even joined in. It was live, loud and electric.

Stages of Kobi Gaan: Four Distinct Steps

The entire performance was divided into four distinct stages like Vandana, Sakhi Sambad, Viraha and Kheur.

 Vandana
This was the foremost step of Kobi Gaan. This was basically a prayer or hymn, addressed to gods and goddesses. Sometimes it was addressed to Durga, Shyama or Saraswati.

 Sakhi Sambad
It is believed that, when Shri Krishna moved to Dwarka, Shri Radha had sent messenger to him. This messenger is termed as ‘sakhi’. Through her journey, life events of Shri Krishna were described.

 Viraha
This was based on the pain of the distance between Radha and Krishna. But using this metaphor, the love and pain of mundane life were expressed.

 Kheur
This was the most significant part of Kobi Gaan. It was the duel between two Kabiyals on various topics. Personal attack and use of slang were very common thing here.

According to some, Kobi Gaan was comprised of eight stages like Dak, Malsi, Sakhi Sambad, Kobi, Tappa, Dhuya, Pyar and Panchali.

 Two Flavours of Kobi Gaan: Representation of East and Wester side of Bengal

Over time, Kobi Gaan performances developed two distinct styles, each bringing its own flavour.

Purva-bangiya: Voice of the East
Purva-bangiya form of Kobi Gaan was the most natural form of Kobi Gaan. It represented folk culture of Bengal, mythology and captured an image of the mundane life of the people in general. This form was a more sophisticated one. Use of erotic and slang language was less, which made this long-lasting and sacred.

 Pashim-bangiya: Representation of ‘Babu Culture’
This form of Kobi Gaan flourished with the patronage of the Babus or the high class people of 18th and 19th century Kolkata. Personal attack, foul gossips and evil-speaking were central to this. Use of erotic symbolism, gesture and slang language was very common and was enjoyed by the audience. But gradually with the decline of ‘Babu Culture’ in Kolkata, this form of Kobi Gaan also started to decline lacking the patronage as well as the mass audience.

Pop Culture Connections: From Folk Stage to Silver Screen

Though it originated on dusty fairgrounds and in crowded courtyards, Kobi Gaan has made its way into Bengal’s modern pop culture too. Elements of it have appeared in films, plays and TV shows, usually to evoke nostalgia or to showcase Bengal’s rich folk roots.

Movies like ‘Antoni Firingi’ (1967) and ‘Bhola Moira’ (1977) featured Kobi Gaan with great details. More recent films like Jaatishwar (2014) included elements of Kobi Gaan.

In literature, Kobi Gaan is also mentioned, sometimes in detail and other times just to capture the emotions of 18th or 19th century Bengal.

There were initiatives to document Kobi Gaan also. Ishwar Gupta, Harekrishna Mukhopadhyay as well as professor Sushil Kumar Dey collected the songs from the Kabiyals, researched and documented. Even today, these are some of the most dependable research works on Kobi Gaan.

 Where It Stands Today: Decline or Reinvention?

Let’s be honest. Kobi Gaan isn’t part of most people’s daily entertainment anymore. With the rise of cinema, television and now digital streaming, traditional folk art like Kobi Gaan have taken a backseat.

The use of erotic language is considered to be one of the greatest causes of its extinction. Poverty and urban migration also play significant roles to pave the way.

That said, the story isn’t over.

Some Kabiyals like Janaki Roy, Kanchan Mandal, Nairuddin, Chand Muhammad, Mukul Bhattacharya still have their hope that Kobi Gaan will flourish again. Initiative of West Bengal government is seen through the establishment of Kavi Gaan Academy in 2012. In some government awareness programmes or fairs, Kobi Gaan used as a tool to engage the people in general.

But there is a question. Is it enough?

 Conclusion: Why Kobi Gaan Still Matters

Kobi Gaan isn’t just an old folk performance, it’s a reminder of a time when art was interactive, immediate, and deeply rooted in community life. It shows us how powerful poetry can be when it’s not locked away in books, but performed live, infused with passion, and responsive to its audience.

Yes, it’s a tradition that has seen better days. But the underlying principle, that poetry can be fun, political and quintessentially human is as important today as it ever was.

In a world of 30-second content and fleeting attention spans, perhaps we need Kobi Gaan’s depth and drama more than ever. Not just to remember where we came from, but to inspire new forms of expression that are just as bold, witty, and alive.

 

REFERENCES:

NEWSPAPER AND MAGAZINE ARTICLE

1. Adhikary, Kaushik, “Hariye Jete Bosa Kobi Gaan Firche, Akrishta Hochhe Notun Prajanma”, NEWS 18 Bangla, August 9, 2024.  https://bengali.news18.com/amp/news/south-bengal/kavigan-workshop-organized-by-government-initiative-at-kandi-in-murshidabad-l18-1794177.html

2. Sinha, Udit, “Bibad Atit, Lorai Sudhu Kobi Gaan E”, Anandabazar Patrika, November 1, 2015. https://www.anandabazar.com/amp/west-bengal/bardhaman/%E0%A6%AC-%E0%A6%AC-%E0%A6%A6-%E0%A6%85%E0%A6%A4-%E0%A6%A4-%E0%A6%B2%E0%A6%A1-%E0%A6%87-%E0%A6%B6-%E0%A6%A7-%E0%A6%95%E0%A6%AC-%E0%A6%97-%E0%A6%A8-1.232266

3. Thakur, Dr. Swapan Kumar, “Rarh Banglar Kobi Gaan”, Bongodorshon, February 11, 2018.  https://www.bongodorshon.com/home/story_detail/kobigaan-of-bengal

4. Bongodorshon Information Desk, “Kavigan Academy- Banglar Lok Oitijjo Sanrakhan O Gobeshona Ke Poth Dekhachche Je Pratisthan”, Bongodorshon, August 1, 2023. https://www.bongodorshon.com/home/story_detail/bengals-traditional-folk-songs-kobigan-and-kabigan-academy-at-bangaon

 

WEB PAGE

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2. Bharatpedia. “Kavigan”. Last modified May 16, 2021. https://en.bharatpedia.org/wiki/Kavigan

3. India Net Zone. “Kavigan”. Last accessed July 22, 2025. https://www.indianetzone.com/kavigan

4. Milansagar. “Kavigan”. Last accessed July 22, 2025. https://www.milansagar.com/kobi/kobigaan/kobi-kobigaan_porichiti.html

5. Onushilan. “Kavigan”. Last accessed July 22, 2025. http://onushilon.org/music/gen/kobigan.htm