As winter ends and the weather warms, many communities in parts of rural Bengal mark the occasion with celebrations of Gajan, a folk festival associated with the Hindu deity Shiva. On the last day of Chaitra — the last month of the Bengali Saka calendar — devotees flock to a nearby river for a holy dip, to pay alms to the poor, and to purify themselves through the ritual infliction of pain by piercing their tongue, cheeks, and back with sharp hooks and skewers. At the end of the festivities, actors dress up as Shiva and Parvati — the deity and his consort — and bless the devotees so they may begin the new year with a clean soul; absolved of all sins.

In the North Dinajpur district of West Bengal, the final act of the Gajan festival finds expression in a unique masked dance form known as Gomira. The Gomira masked dance is a traditional folk performance primarily practiced by the Rajbongshi and Polia communities of the region. Some believe the name derives from a regional colloquialism for 'Gram-Chandi', the matron goddess of villages; while others believe it refers to 'Gamar', a type of soft whitewood used to make the hand-carved masks for Gomira.

The Gomira tradition likely originates from the confluence of different religious and cultural influences in North Bengal. It is believed to have its roots in Mahayana Buddhism, which also has traditions of ceremonial masked dance such as Aji-Lhamo and Apa-Chham. Bengal was heavily influenced by Tantric Buddhism until early 12th century, and the decline of Buddhism and resurgence of Shiva and Shakti worshipping cults around this time may have led to the emergence of this folk dance form which draws influence from Tantric Buddhism, Shaivite and Shakta cult mythologies, as well as tribal animist beliefs.

Traditionally, the performance begins with Bura-Buri, or the old man and his wife, who are believed to be Shiva and Parvati in disguise. After Bura-Buri's entrance, other characters — like Samsan Kali, Masan Kali, Dakini, Yogini, and Bagha, or a Tiger demon — are called on to the stage. The final and perhaps the most powerful character is the Narasingha Avatar, the lion-faced incarnation of Vishnu, who symbolizes the ultimate triumph of good over evil. Like many Indian folk dance and theatre traditions, Gomira is performed exclusively by men, however women participate closely in the intricate mask-making process.

Although it is commonly referred to as a dance form, the performance is not codified through specific bodily movements or formal gestures. There is no dialogue, singing, or chanting either. The beats are kept only with 'khol', a drum-like percussion instrument, and 'kartal', or small cymbals. The movements are almost automatic, largely improvised by the dancers who often enter a trance-like state known as 'bhor' (Bengali for 'possession') during the performance. It is believed that while experiencing bhor, the dancer becomes possessed by the characteristics of the deity whose mask he is wearing.

To please these deities, villagers pledge certain types and numbers of masks in the lead up to the performance. This is known as 'mannat'. The word comes from the Persian language in which mannat means 'grace, favour, or praise'. Still widely used at dargahs, or shrines of deceased Sufi fakirs or saints, in a similar context, the act of making mannat alludes to the lasting influence of Islam on Bengal's syncretic cultural heritage.

Gomira is a vibrant, vulnerable tradition that represents the spiritual and cultural ethos of North Bengal’s tribal communities, offering glimpses into their worldview and resilience. In recent years, the West Bengal State Government has been trying to revive this enduring tradition as part of the state's community-led tourism initiatives.

Watch glimpses of a traditional Gomira performance beautifully captured by travel photographer Shibasish Saha below:

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