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Explore the ethnographic profile of the Natta (Nat) community, a Scheduled Caste in West Bengal known for their musical heritage. Derived from the Sanskrit word for "dancer," the Natta migrated from the Pabna district of Bangladesh to settle in North and South Dinajpur. This article traces their history from a symbiotic role in arranging funeral pyres to their colonial classification by William Crooke in 1896. We examine their modern evolution into professional "Band Parties" (e.g., Santosh Band Party), where they play traditional instruments like the khol and dugi alongside modern instruments. Learn how they collaborate with other communities like the Turi and Muslims to sustain their livelihood through folk performances, as documented by the Anthropological Survey of India.
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| Ethnographic profile of Natta (Nat) community |
The Natta community, also known simply as Nat, represents a vibrant thread in the cultural tapestry of India. Currently documented under the Anthropological Survey of India (An.S.I.) as part of the broader study on marginalized groups, the Natta possess a history deeply rooted in performance, migration, and adaptation. While their name - derived from the Sanskrit word "Natta," meaning "dancer" - hints at their artistic origins, their modern reality is a story of evolving livelihoods and social resilience.
Historical Roots: From Symbiosis to Stigma
The history of the Natta is complex, marked by shifting roles within Indian society. Early ethnographic accounts describe a symbiotic relationship between the Natta and Brahmin families; historically, they were responsible for arranging the firewood for funeral pyres.
However, the colonial gaze cast a different light on them. In 1896, ethnologist William Crooke described the Nat not merely as a caste, but as an occupational term grouping together various clans engaged in dancing, prostitution, and "primitive industries". This colonial classification as "vagrant acrobats" and showmen obscured the nuance of their social functions and contributed to historical stigmas that many De-notified and Nomadic communities struggle with to this day.
Migration and Geography
The Natta community has a widespread distribution across North India, found in states like Gujarat, Delhi, Uttar Pradesh, and Punjab. However, the An.S.I. documentation focuses heavily on their presence in West Bengal, specifically in the North and South Dinajpur districts.
Their presence here is the result of migration. Etymologically and historically, their progenitors migrated from the Pabna district of Bangladesh. Today, they are settled in specific localities such as Ukilpara, Gangarampur, and Basudevpur, where they are listed as a Scheduled Caste (SC).
The Evolution of Livelihood: The "Band Party"
The most striking feature of the modern Natta community in West Bengal is their professional transformation. Moving away from the label of "vagrant acrobats," they have institutionalized their musical heritage into "Band Parties."
They are now identified by their troop names, such as the Santosh Band Party, Vijoy Band Party, or Pradip Band Party.
- Instruments: Their main occupation revolves around beating traditional drums like the khol and dugi. However, reflecting a blend of tradition and modernity, they have recently inducted instruments of greater tradition (modern brass/wind instruments) into their repertoire.
- Collaboration: Their performances are not solitary endeavors. Each band comprises six to ten performers, and they actively collaborate with members of other castes like the Turi, Bhuituri, Handi, and Muslims to form complete musical troupes.
Status and Identity
While they perform during festivals and recreational ceremonies for folk society, the Natta face the dual challenge of maintaining their cultural identity while navigating economic survival. Their shift from "folk dancers" to organized "musicians for hire" demonstrates a resilience common to many communities documented in the Idate Commission context - a determination to use their traditional skills to carve out a dignified space in the modern economy.
The history of the Natta is like a traditional drum (Khol) that has been retuned. The wooden body (their ancestry and migration from Bangladesh) remains the same, but the rhythm they play has changed from the solemn beats of funeral rituals to the celebratory music of modern wedding bands, proving that while the stage changes, the artist remains.