Connecting youth through social media about the Bengali and Indigenous folktales

"When I was a little girl, my father used to buy me books. Panchatantra, Thakumar Jhuli, Bikram and Betal, and Jasimuddin's editorial Folklore collections are few I can remember. Both my grandparents were no more, and my primary source of folktale knowledge came from reading books. But now I see that has changed. My cousins' kids are full-on absorbed in iPads. All they see are videos on Bamun and Bagh, Sheyal and Bherar Golpo, and many other videos retold and inspired by folklore. I'm unsure whether they get the right gist out of the original versions. But isn't that what folktales are about? Constantly evolving, adapting to our way of life, rebranding through retelling," and Sharing from her experiences, the author asks what connects people, what creates impressions, and what transcends time. Folktales are, just like that, entwined with our ancestral roots by stories of our old days. They are the relics of our past fear, wisdom, humour, and taste.

These stories are often passed down through oral traditions. You must've heard at least one good story from grandparents, parents, babysitters, an old neighbour, or anyone else.

However, with the advent of social media, a new chapter has begun in the representation of folklore. The preservation of these enchanting tales now relies on whichever platform can hold the target audience's attention.

Bengali folktales like Thakurmar Jhuli and Maimansingha Gitika have enthralled audiences for generations. However, these tales risk being forgotten and overshadowed by modern distractions in today's digital age.

However, with its vast reach and interactive platforms, social media could offer an innovative solution to this cultural dilemma. So why is this not happening?

Shahriar Haque, the founder of Otibeguni- an online platform for Bengali folk tales & legends- shared his perspective. He thinks there is a common misconception that folktales were meant for children, and that's a very narrow perspective that only looks at children's tales like Thakurmar Jhuli. He says, "If you look at the broader genre of folk literature, e.g. folk ballads like Mymensingh Geetika, or Puthi literature like Bonobibi and Gazi Kalu Chompaboti, you'll notice more mature themes like love, death, war, and spirituality."

Otibeguni's multiple creative ventures inspire others to expand on these ideas; their central focus remains creating resources that make folklore more accessible.

"Unfortunately, the limited perspective is one of the reasons for the decline of popularity of folklore. If you go to YouTube today and search for Thakurmar Jhuli, there's no shortage of cartoons for children. But there's no folklore-inspired content for teenagers, young adults and older viewers," he added. As a result, those few who encounter folklore in their early years often grow up without any content to hold onto, their imaginations captured by mainstream fiction or endless streams of short-form media.

Due to massive marketing and proper publicity to capture the pop culture hype, foreign lores are currently dominating. Be it from intricately versed universes of Lord of the Rings, Star Wars, Songs of Ice and Fire, and Pirates of the Caribbean to recurring Norse Mythological characters, e.g., Loki & Thor in MCU, animes with ancient oriental legends and video games like God of War, Elden Ring they are successful in reaching a specific demographic because they can bring out the complexities through the contents to form a deep connection with the audience. On the other hand, the folktales of Bengal are ignored and sidelined by the counterculture uprising.

Interestingly, some of today's biggest franchises began as childhood entertainment yet evolved to engage audiences of all ages.

Shahriar Haque explained, "Transformers started as toys but now spans movies and merchandise with a vast adult fan base. Barbie was just a doll, yet recently starred in a billion-dollar blockbuster. This transformation is essential to revive folklore and broaden its appeal across generations."

Revitalizing folklore requires diverse approaches for diverse audiences. In 2024, more than just relying on oral tradition will be required. Traditional storytelling or Jatra performances may capture some, but others might be drawn to folklore through comics and graphic novels.

While discussing graphic illustrations, Otibeguni's first book, Otiprakrito 1st Part, is a visual encyclopedia showcasing over 100 mythical creatures from Bengali and indigenous folklore.

Shahriar Haque hoped this collection would inspire new stories-perhaps a Twilight with Weretigers or a Harry Potter world featuring creatures like Te-Tengs and Ghormuhas instead of elves and centaurs. As the content director and the writer of this book, Anindeta Chowdhury, adds, "This book is a dictionary for the mythical and supernatural characters that have great backstories. The perspective of the antagonists has always thrilled me, and while roaming around Purana and folktales, I found some interesting histories of the stories for our readers to get familiar with.

Beyond the book, they've released their short story adaptations and English translations into the public domain. When asked about the response to efforts, Shahriar Haque gladly remarked, "We are thrilled that overseas teachers have reached out, looking to incorporate our adaptations into lesson plans to reflect students' diverse cultural backgrounds. We've also had folklore researchers and PhD candidates request access to our digital archive, which now holds over 50 folktale collections."

Today, people generally don't enjoy reading. Video games, podcasts, or cosplaying could be their introduction to folklore.

Besides, people have less attention span than before. One might keep themselves engaged constantly in reels, fun games, and photo filters. Platforms like Facebook, Instagram, and YouTube have become virtual storytelling stages where Bengali folktales are rediscovered and reimagined.

Social media can become this fun place where creators and enthusiasts share these stories through posts, videos, and live sessions, rekindling interest among younger audiences.

User-generated content was a cornerstone of this revival phase. Hashtags like #BengaliFolktales or ThakurmarJhuli online communities and Facebook groups where users share personal interpretations, illustrations, and even memes inspired by these stories.

This participatory culture transforms folktales from static traditions into dynamic, evolving narratives. While folklore is deeply rooted in Bengali, many consume only English content. Translating and adapting folklore into English could reach audiences who would never encounter these stories.

Verses from medieval-era Puthi literature are adapted into short stories accessible to a larger crowd through Otibeguni. English-translated audio narrations are also available. More experimental ideas are underway, like building a Gazi-Pir-themed chess board or making "Deshi Playing Cards."

Crossovers with fusing our local folklore into Western tales are considered. In this regard, Shahriar Haque says, "Imagine Cinderella with a Rakkhoshi as a stepmother, or Snow White with the brothers from Shaat Bhai Chompa as the seven dwarves. Wouldn't that be interesting??"

The main goal is establishing creative engagement with folktales and modern lives by smoothing out generational barriers."

Social media also brings closer the Bengali diaspora of those who want to reconnect with their heritage. Facebook, Telegram, and WhatsApp communities serve spaces where expatriates share stories and try to find a sense of cultural belonging.

One of the most successful projects popular in both Bengal regions to this date is the Gopal Bhar television series. People of all ages warmly received this program. Gopal Bhar has become an icon for sarcastic, witty humour and humble intelligence.

Every coin has two faces. While social media is the knight in shining armour to scoop up the lost stories and present us in a repacked form, the risk of oversimplification or misinterpretation of stories could dilute their essence.

The balance between modernization and authenticity is a must. Anyone can post fanfiction and declare it a folktale on a Facebook post. Immediately, tons of reactions and shares will promote that lie. We will eventually find the inconsistency if we look carefully through YouTube content.

Bengali folk tales are reaching audiences in a way they never could before. Collaborative projects, such as illustrated e-books or podcasts, and the right tactics further firm their appeal. So, if the cards are played right, we're hoping for a Bengali folklore wave worldwide in the upcoming years.

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