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PhD Thesis Synopsis
Elites Hegemony and Subalterns resistance in the representation of
Alkap and Gombhira Gan of Bangladesh
Introduction
Alkap and Gombhira Gan performance is found in the Chanpai Nobabgonj area in
Rajshahi region (north area) of Bangladesh. These performances are organized in
different festivities observed at different times of the year i.e. Mela, Puja-Purbon, special-
day observance, national and local elections or to mark the presence of special guests.
There evidence of ample researches regarding Alkap and Gombhira Gan performance
and a good number of books and papers have been published. Islam (2000, 2003, 2004),
Ahmmad (1994, 1995) and Paul (1993), for instance, discussed the area of evolvement,
flourishing, subject-matter and classification of Alkap and Gombhira Gan in their
discourses. Ahmed (2000) has drawn an analytical discussion identifying principle rasa
on aspect of performance space, text, plot and performance style of Alkap and Gombhira
Gan. Ilias (1995), Ahmad (1994) and Paul (1993) have discussed on the similarities and
dissimilarities of Gombhira Gan on the context of Bangladesh and West Bengal of India.
The topic of representing feudalist attitude through the character Shiva has got
importance in the discourses of Ahmad (1994). The constant protest against social
oppression by the performers of Alkap and Gombhira Gan has got importance in the
discussion of Islam (2000, 2003, 2004), Ahmad (1994, 1995) and Ilias (1995). Shiraj
(1400 Bangla year) identifies the importance of creating and raising awareness through
using of Alkap Gan in his publication. Through their works they recognized that Alkap
and Gombhira Gan are evolved as means for protest from oppressed against torture,
oppression of elites of the society. Alkap and Gombhira Gan act as a medium of
expressing to protest. Nevertheless, it has been perceived that Alkap and Gombhira Gan
are not only used for recreation only, but also plays a great role for using as a tool for
protesting.
A simple analysis of bilateral power relation of “dominant and dominated” is done in the
marxism theory, which has been developed on the basis production policy of feudalist
influence and farmers subjugation. Gramci shows this incarnation in a socio-relation
process, in which the dominant class or elites in one extreme and the Subaltern class or
dominated are in the other. He says, “predominance bestowal elites does not establish
their supremacy only, create an integrated holistic social control or hegemony”
(Chattapadhay, 2001:3). The relation of supremacy/subjugation is the relation of hostility
in a class-divided society. The resulted subaltern’s consciousness though depended on
others stays at the opposite side of elite’s consciousness (Chattapadhay, 2001:4). In
analyzing the power struggle between of elites and subalterns Guha (2002) has classified
elites and subalterns into few groups due to regional differences of social and economical
flourishment. To him, some well-off groups of the lower segment like the lesser rural

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gentry, impoverished landlords, rich peasants and upper-middle peasants, under certain
circumstances, act for the ‘elite’.1
For this, the artists of Alkap and Gombhira Gan, in
many instances, perform with the support of these classes so that they might be a medium
of expression of elites opinions. In this situation, it is necessary to raise questions about
the elites and subalterns power-relation. Do the Alkap and Gombhira Gan always used
only for the continuous resistance of subalterns against domination of elites? If is it used
as a medium of resistance, then how are the rights of subalterns met? Or, are Alkap and
Gombhira Gan, some times, used for preserving the interest of the elite? How have they
been used? Which classes belong the artist of Alkap and Gombhira Gan? How do they
change their side? All these things are yet to be addressed in the discussion of above-
mentioned researchers of Alkap and Gombhira Gan.
Using ‘subaltern theory’, Guha (2002) and Ahmed (2005a, b) have worked on elites
hegemony and subaltern resistance. They have reviewed the areas of elites hegemony,
power exhibition and subaltern resistance by analyses of texts and characters. They
analyzed when and why the elites use this approach? They have identified the social
identities and status of those who work for the elites. They have explained the feature of
continuous silent resistance of subalterns instead of confrontation against elites. They
have shown that the power struggle between elites and subalterns is a continuous process.
The process does not stays as a static passively dominator only. It has to be renewed,
reorganized and changed for resistance. Apart from that, it has been obstructed, subdued,
alternation and confronted by constant pressure," (Ahmed 2005 a: 3-4). He also has
shown, any text, cultural symbol or cultural structure could always able to be
amalgamated and separated with different practices in the society and has been
continued. Through this continuous amalgamation and separating process, culture is
turned into an invisible field for competition, where any theatre presentation continuously
changes its effectiveness and is being continued (Ahmed 2005 b: 46-47). In this logical
aspect, there is huge opportunity to research on the topic of "Elites Hegemony and
Subaltern Resistance in the representation of Alkap and Gombhira Gan of Bangladesh."
Objectives
The main task is to identify the various techniques of subaltern resistance and elites
hegemony in Alkap and Gombhira Gan. To fulfill this purpose, the answers of under
following questions will be examined using by the "Subaltern Theory" of Ranajit Guha:
(a) Which class belongs the poet, artist of Alkap and Gombhira Gan? (b) In socio-
economic aspect what is the subalterns 'Normalization?' (c) Alkap and Gombhira Gan is
presented when, for whom, what purpose it has been used and who are they? (d) In which
aspect the performers are biased by the elites? (e) In Alkap and Gombhira Gan what
types of hegemony are used and to adopt the situation what tactics they use? (f) What
areas of resistance of subalterns against elites? (g) How does subaltern preserve rights by
protesting against elites? (h) During performance what is the role of the audience? (i) As
a whole, what is the role of Alkap and Gombhira Gan in cultural confrontation?
1
Some of these classes and groups such as the lesser rural gentry, impoverished landlords, rich peasants and upper-
middle peasants who ‘naturally’ ranked among the ‘people’ and the ‘subaltern’, could under certain circumstances act
for the ‘elite’ (Guha 1982: 8).

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Area and Importance
This research is neither to analyze performance style nor search the history of Alkap and
Gombhira Gan. The area of this research is a continuous combat between elites and
subalterns centering invisible cultural confrontation, which identify the ideological
situation of the society. In result of the research, there is a scope to conduct easy and
understandable any cultural performance depending on elites and subalterns power
relation. As indigenous performance what has the role of Alkap and Gombhira Gan in the
present society, does really have necessity of these performances in future, will possible
to have acquire knowledge/idea on this regard. How do Alkap and Gombhira Gan are
used as a field of cultural confrontation will be reflected in this research. As result of this
research cultural confrontation will be easy to understand to those researchers who are
involved with the socio-cultural program. Moreover, as a social analyst complicated
arraying of power relation and in various level of social structure of the society, the
irregular manifestation of class conflict would possibly be more explicated.
Methodology
All performances of Alkap and Gombhira Gan in a dry season will be observed which
have been arranged at few villages of the Volahat and Shivgonj Upazila under the
Chanpai Nowabgonj district of Bangladesh. The performers house will be being resided.
A picture ideological situation and ethical norms of village life will be built being
enclosed with them. "Hidden Transcript"2
of performance behind will be collected. Local
office of Statistics, Land office and from non-governmental organizations the socio-
economic structure and land ownership information will be collection and in the above
mentioned villages under the same Upazilas a survey will be conducted. The social
status/situation of elites and subalterns will be identified by collecting information of
socio-economic structures and land ownership matters. In Alkap and Gombhira Gan as
reason of resistance against elites identify the subaltern's benefited area and will be
identify those who controlled over these sectors. Audience, local people, elderly, artist
and from the organizers the information of social affairs will be collected by applying
FGD (Focus Group Discussion) process as a means of tool. The Socio Analytical
Publications of local and national level will be collected. Script /audio recording and still
image, video recording of the performance will be taken. Finally, collected all these
information and publication material will be analyzed and processed. In this regard the
under following analysis process will be followed:
(1) In socio-economic context of the village examine ideological atmosphere and ethical
norms; (2) Identify the situation of Elites and Subalterns; (3) Identify the encountering
field and reason of conflict of Elites and Subalterns; (4) Examine and search the elites
hegemony and subaltern resistance in under mentioned four steps: (a) examine those
incident which has been implied as coeval event in the performance, (b) Examine and
analysis the text and performance regarding people-known social incident, (c) Examine
social impact as result of happening Alkap and Gombhira Gan performance, (d) Review
the writings, articles, and research materials of colonial and post colonial socio-logical
researchers. In this respect, the "Subaltern Theory" of Ranajit Guha will be implemented.
2
“A critique of process spoken behind the back of the dominant.” (Scott 1990: XII)

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"Everyday forms of resistance" of James C. Scott (Scott 1985: xvi) and the concept of
Hegemony will be implemented. The Power-Knowledge theory by Michael Foucault will
be implemented to analyze the power-relation of elites and subalterns in Alkap and
Gombhira Gan performance. In which sectors of the performance the "Normalization" -
concept explained by Foucault is effected, in which sectors the artist of the performance
turned into a power-toy of elites -all these will be examined. Regarding the above-
mentioned methodology the received research results will be incorporated as decisions
and comments in the conclusion.
Plan of Discourse
"Elites Hegemony and Subalterns Resistance in the representation of Alkap and
Gombhira Gan of Bangladesh" entitled research will be divided into the following
sections.
1. Introduction
2. Performance of Alkap Gan
2.1 Social Contexts and Ideological Atmosphere
2.2 Performance and People known social incident
2.3 Hegemony and Resistance
2.4 Social change as effects of performance
3. Performance of Gombhira Gan
3.1 Social Contexts and Ideological Atmosphere
3.2 Performance and People known social incident
3.3 Hegemony and Resistance
3.4 Social change as effects of performance
4. Conclusion
Primary Source
As a primary source watching performance of Alkap and Gombhira Gan, keeping audio,
video and still images recording, collecting scripts, taking interview of artists, FGD and
other information will be collected through implementing Sociological tool.
Secondary Source
Those who have researched before on Alkap and Gombhira Gan their various published
material will be used as a secondary source of this research. Moreover, other information
received from local and national news papers and
 Ahmed, Syed Jamil (2000) Acinpakhi Infinity, Indigenous Theatre of
Bangladesh, The University Press, Dhaka.
 Ahmed, Syed Jamil (2005a) “Machiavellian Centaur and Subaltern Resistance,”
The Journal of Social Studies, (105), pp 1-34,
Dhaka.

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 Ahmed, Syed Jamil (2005b) “Machiavellian Centaur and Subaltern Resistance,”
The Journal of Social Studies (106), pp 23-55,
Dhaka.
 Ashcroft, Bill (2004) Gareth Griffiths and Helen Tiffin, Key Concepts in
Post-Colonial Studies, Routledge, London.
 Bergson, Henry (1911) Laughter: An essay on the meaning of the comic,
Macmillan, London.
 Foucault, Michel (2001) Power, Penguin, London.
 Gramsci, Antonio (1996) Selections from Prison Notebooks, edited and
translated by Quintin Hoare and Geofrey Nowell
Smith, Orient Longman Private Ltd, Chennai.
 Guha, Ranajit (1982) Subaltern Studies (I), Oxford Press, Delhi.
 Guha, Ranajit (2002) Elementary Aspects of Peasant Insurgency In
Colonial India, Oxford University press, India.
 Hutcheon, Linda, (2002) The Politics of Postmodernism, Routledge, London.
 Scott, James C. (1985) Weapons of the Weak: Everyday Forms of Peasant
Resistance, Yale University Press, New Haven.
 Scott, James C. (1990) Domination and the Arts of Resistance: Hidden
Transcripts, Yale University Press, New Haven.
 Siddiqui, Ashraf (1997) Bengali Folklore: Collections and Studies, Bangla
Academy, Dhaka.
 Siddiqui, Ashraf (2004) Folkloric Bangladesh, Bangla Academy, Dhaka.
 Spivak, Gayatri Chakravorty (1994) "Can the Subaltern Speak?" in Colonial
Discourse and Post-colonial Theory: A Reader,
edited and introduced by Vinayak Chaturvedi,
Columbia University Press, New York.
Time Frame
Three years after agreement with the organization.
Signature Signature
Supervisor's Name : Dr. Md. Abul Hasan ALIM AL RAZI
Designation : Professor, Dept. of Folklore Date:
University of Rajshahi.
Dated : /11