Serenjing Pala of Garo people Postcard

A performance of Serenjing Pala of the Garo people The content, performing style and ritualistic presentation of Serenjing Pala can help us to find out the characteristics of the Pala that exists in Garo culture. Serenjing Pala has a well-constructed and strictly guided circle (plot). This circle c ombines plot and sub-plots. Each and every sub-plot is diverse on its own right. This creates a strong tension through the Pala. One of the fundamental characteristics of Garo dance–music–drama is that it inherits the old and changing social consciousness of the people. The otherwise concept that life and religion in ethnic groups are inseparable is not applicable in the case of Garo dance–music–drama. Like Biju festival of the Chakma, Nobanna of the Bengali, City Dionysia and Great Dionysia of the Old Greece, Wangalla of the Garo is a ritualistic festival. The god of corn Saljong (the sun god) and other gods and goddesses are worshipped in this festival. Almost every dance–music–drama is performed in this festival. But the performance of dramas is not meant to be endowed to the gods or goddesses, rather day-to-day life and worldly functions are the basis of the narrative behind it. A close observation of the lifestyle of Garo people reveals that they lived a quite indigenous life before converting into Christianity. This discussion centres on that indigenous culture. It is proven by historical facts that dance and music of the indigenous people are purely dramatic. Most of the Garo dance and music resembles this fact.