Abstract

This research explores the effects of incorporating modern musical instruments into traditional Jhumur folk songs, a precious part of Eastern Indian culture. The study aims to answer two main questions: How does the use of modern instruments influence the traditional feel of Jhumur songs, and what are the opinions of musicians and listeners about blending modern instruments with Jhumur music? Through surveys and data analysis, the study found that while many people believe modern instruments change the traditional essence of Jhumur songs, others appreciate the added musical expression and potential to attract younger audiences. Overall, there is a mixed response, with a slight preference for maintaining the traditional sound of Jhumur music while also being open to modern influences. This research sheds light on the evolving landscape of Jhumur music and its resonance within contemporary society, offering insights for musicians, listeners, researchers, and industry professionals interested in the preservation and evolution of cultural heritage. 

Keywords: Jhumur folk songs, modern musical instruments, traditional feel, cultural heritage, musical expression, audience preferences.

1. Introduction

In India, the songs of different cultures have always played a significant role in shaping societal social and cultural changes (Dhar). Jhumur folk songs, precious for their age-old melodies and cultural significance, have long been integral to Eastern Indian heritage. In recent times, there has been a growing trend of integrating modern musical instruments into the renditions of these traditional songs. This research aims to investigate the impact of this incorporation on the authentic essence of Jhumur folk songs. Furthermore, we seek to explore the perspectives of both musicians and listeners regarding blending modern instruments with Jhumur music. Through this study, we hope to gain insights into the evolving landscape of Jhumur music and its resonance within contemporary society.

Jhumur, a lively dance and music style known as Jumair in some places, has been a cherished part of Indian culture for ages, especially in areas like Jharkhand, Chhattisgarh, Odisha, and West Bengal (N. Gogoi). Similar to the Kathi dance, Jhumur holds a special place in the hearts of communities, offering them a way to express themselves joyfully.  (Dutta, The Folk Dances of Bengal). It’s all about everyday feelings—happy moments, sad times, and dreams for the future (N. Gogoi). Jhumur’s appeal lies in its simplicity—it’s easy to understand and enjoy, with its uncomplicated tunes and storytelling style (Ganai).

In Bengal, alongside Jhumur, there are various other folk dances and activities that add to the region’s cultural richness, bringing people together for fun and social gatherings (Manna). Jhumur’s influence doesn’t stop at borders—it’s also popular in border areas of Bangladesh, where people love its funny songs and the way it preserves local traditions (Anwar Hossain Mridha). Just like other folk dances such as Kathi and Lathi, Jhumur is all about spreading happiness and strengthening bonds among people (Dutta, The Folk Dances of Bengal).

Beyond entertainment, Jhumur plays a vital role in keeping tribal cultures alive, connecting communities like the Bhumij, Munda, and Oraon tribes to their heritage. Songs like “Paata Sareng” and “Tusu gaan” are not just tunes—they’re a way for tribes to celebrate their unique identities and traditions, passing them down through generations. Jhumur isn’t just music and dance—it’s a celebration of life, bringing people together and keeping traditions alive in a simple, beautiful way (Dhar 22).

Each tribal community has its own unique culture, which they express through various traditional art forms. It’s interesting to see how each tribe distinguishes itself from others primarily through its lifestyle, which is deeply influenced by its culture and identity. To better understand and connect with tribal cultures, it’s important to break down the broad term ‘tribal culture’ into specific categories. These categories could include festivals and ceremonies, performing arts such as tribal dances and music, traditional clothing and jewellery, as well as tribal art forms like puppetry and wall art (Dhar).

Jhumur, a popular dance in Assam, holds significant cultural value, often gracing tea garden festivals and celebratory occasions such as Tushu puja and Karam puja. It serves as a joyous expression of gratitude for bountiful harvests and prayers for agricultural success (N. Gogoi). Among the tea garden workers, known as Chah masdur, Jhumur is deeply ingrained in their communal identity. Men and women of all ages come together to partake in this group dance, fostering a sense of unity within the community (H. Gogoi 63).

Originating from the toil of hardworking individuals, Jhumur songs hold a special place in Assamese and Chhotonagpur cultures. These melodies, often sung by women picking tea under the open sky, serve to uplift spirits and infuse joy into laborious tasks (Lorea) (Ganai). In Assam, Jhumur is more than just a dance; it embodies the essence of the tea communities’ religion, language, and customs, weaving its way into various facets of their daily lives (Ganai).

Moreover, Jhumur holds a central place in the festivities of tea communities, with special emphasis during festivals like Karam Puja and Tushu Puja. These occasions are marked by vibrant celebrations where girls, in particular, take center stage, performing traditional Jhumur dances accompanied by age-old melodies (N. Gogoi). The rituals associated with these festivals, such as the worship of Karam and the singing of the ‘Jaoa Gaan’, further underscore the cultural significance of Jhumur in the region (Biswas 53).

The significance of Jhumur extends beyond mere entertainment. Its songs and dances serve as poignant reflections of life’s joys and sorrows, resonating deeply with people from diverse societal backgrounds (Bhattacharya 100). Even in contemporary times, amidst changing landscapes, Jhumur continues to thrive. Many tea communities, now landowners themselves, honor their heritage by integrating Jhumur into their daily routines, whether as a means of praying for rain or finding respite from agricultural toil (N. Gogoi).

As the rhythms of Jhumur echo through the night, symbolizing the fruition of traditions passed down through generations, communities gather to sing and dance, fostering bonds that transcend time and space (Biswas 53). In the month of Bhadra, under the watchful gaze of the moon, men and women come together, joining their voices and footsteps in a harmonious celebration of life’s rhythms and cycles.

During performances of Jhumur, dancers wear bells known as ‘Ghungru’ on their feet. These bells create a rhythmic sound that leaves a strong impression on the audience. This is why the art form is called ‘Jhumur’. The term ‘Jhumur’ actually originates from the sound made by the brass anklet belts worn by the dancers, which go ‘jhum, jhum’ as they move (Ganai).

In ancient times, dancers entertained in the homes of kings and later in the homes of landlords. But when landlords were no more, dancers had to perform in public to earn a living (Ganai). It was during the 1970s to 1980s that the Jhumur song emerged, influenced by the medieval period (Ganai). Fast forward to today, and the Jhumur song has gained widespread popularity, now recognized as a folk song. Many researchers are delving into its depths (Ganai). This dance tradition stretches back to ancient times, possibly as far back as the Rig-veda era. In the Rig-veda, Indra, the top Warrior God, often appeared as a dancer, along with his top lieutenants, the Aswins (Dutta, The Folk Dances of Bengal).

In the past, traditional musical instruments like Dhol, Madal, Nagra, and Sanai were commonly used for performances (Dhar). However, as time progressed, with the advancement in musical technology, newer instruments such as Harmonium, Tabla, Flute, Guiter and Guitar and Synthesiser have also become popular choices (Dhar).

Across Eastern India, various tribal communities possess their own unique set of musical instruments that hold significant cultural value (Dhar). For instance, the Santals in West Bengal have a rich tradition of playing drums like ‘Buang’, ‘Banam’, and ‘Madal’, along with an array of horns and Flutes crafted in regions like Bankura and Birbhum. Additionally, the ‘Timki’ drum serves as a central element in the Karam dance, accompanied by ankle bells and fiddles. Notably, in Bhutia Basti, Darjeeling, locals showcase their craftsmanship through the creation of intricate trumpets, blowing conchs, and the extraordinary ‘Thanchen’ trumpet (Dhar 22).

The safekeeping of these musical treasures often falls upon community leaders or members of the Panchayet (Biswas). Craftsmen from Ranchi are often called upon to craft specific instruments such as the ‘Madole’, which holds a special significance during festivals like the Karam festival. During these celebrations, the first day, known as Panchami, marks a significant ceremony called “Jaoa”, symbolizing the fruition of festivities. Utilizing modern technology like microphones and sound boxes, the joyous sounds of ‘Madole’ and ‘Jhumur’ songs are shared with neighbouring communities (Biswas 53).

In the context of Jhumur dance, a variety of traditional instruments play vital roles in creating rhythmic melodies. These include the Madal, Dhol, Flute, Guiter  Shehnai, Bansi (Flute), Dhak, and a pair of Taal (N. Gogoi) Through the harmonious blend of these instruments, the essence of Jhumur dance is brought to life, captivating audiences with its vibrant tunes (N. Gogoi). 

The Dance of Forest Life is a popular group dance in Bankura, where both men and women participate. It’s especially well-known in the plateau region of Puruliya, which is considered the ancient centre of Jhumur Song (Ganai). Bankura district, located in the western part of Bengal, boasts a rich living folk culture. Artisans here are actively involved in various performing arts and paintings, contributing to the vibrant cultural scene. Among the folk traditions, Jhumur dance and Bhadu and Tusu folk songs stand out, offering significant potential for folk tourism festivals in the Rarh Bankura area (Ganai). In the Purulia district of Bengal, diverse song cultures like Jhumur, Bhadu, and Tusu thrive. These songs are deeply ingrained in the lives of the people of Purulia, serving as a vital cultural expression (Surama Bera).

When the musicians prepare for the tal bhanga, the dhol players move back and forth, drumming and making short, sharp sounds of ‘chhau’. Meanwhile, the dhamsha and shaina players move around and then either sit or stand on one side to play. Following their entrance, the singer greets the audience with a special jhumur song (Chatterjee). In the past, jhumur was typically performed by a small group of artists, including a singer and musicians, with about 5-6 members in total. Jhumur dances come in various forms, including solo, duet, and group performances, which can be done by both men and women. Solo Jhumur involves wide swaying movements of the body, with the arms and legs moving in tandava style. Duet Jhumur is usually danced by two women to the beat of the dhol, featuring coordinated movements of the body and limbs in different positions, such as squatting, standing, bending, and other acrobatic moves. There was also a specific type of Jhumur called Kora Jhumur, which emphasized individual expression and group unity. Through both dance and Jhumur songs, one can gain insight into the way of life of the people of that time (Dutta, The Folk Dances of Bengal). Bengalis have managed to blend sports and dance uniquely, unmatched by any other country. Both sports and performing arts, particularly dance, serve as expressions of the nation’s identity. Indeed, performing arts can be seen as a rhythmic form of human expression (Dutta, Banglar Lokashilpa O Lokanritya).

1. Background of the Study:

Jhumur is a traditional folk music and dance form that is very popular in certain parts of India, such as Jharkhand, West Bengal, Odisha, and Assam. It is a significant part of the cultural heritage in these regions, especially among the tribal communities. Jhumur songs and dances are usually performed during festivals, celebrations, and community gatherings. They are known for their simple tunes, meaningful lyrics, and the use of traditional musical instruments like the Dhol, Madal, Nagra, and Sanai.

In recent times, there has been a growing trend of incorporating modern musical instruments, such as the Harmonium, Tabla, Flute, Guitar and Synthesiser into Jhumur performances. This change has sparked a debate among musicians, listeners, and cultural enthusiasts about the impact of modern instruments on the traditional feel and authenticity of Jhumur folk songs.

Some people believe that adding modern instruments enhances musical expression and helps attract younger audiences to Jhumur music. They think that this fusion can bring a new dimension to the traditional art form without losing its essence. Others, however, feel that the use of modern instruments dilutes the cultural heritage and authenticity of Jhumur music. They worry that the traditional feel and the cultural essence of Jhumur may be lost with the introduction of modern sounds.

This study explores how incorporating modern musical instruments affects the traditional feel of Jhumur folk songs. It also seeks to understand the opinions of both musicians and listeners regarding this fusion of traditional and modern elements. By examining these perspectives, the study hopes to provide insights into how Jhumur music can evolve while preserving its rich cultural heritage.

2. Research Problem:

Jhumur folk songs are an important part of the cultural heritage in parts of India like Jharkhand, West Bengal, Odisha, and Assam. Traditionally, these songs are performed with simple instruments such as the Dhol, Madal, Nagra, and Sanai. Recently, however, modern musical instruments like the Harmonium, Tabla, Flute, Guitar and Synthesiser have been used in Jhumur performances. This change has led to a debate. Some believe using modern instruments changes the traditional feel and makes Jhumur songs less authentic. They worry that the cultural essence of Jhumur is being lost. Others think that modern instruments add to the musical expression and help attract younger audiences to Jhumur music. This research aims to find out i) how the incorporation of modern musical instruments affects the traditional feel of Jhumur folk songs. ii) what do musicians and listeners think about mixing modern instruments with Jhumur music? By exploring these opinions, the study hopes to understand if it’s possible to mix traditional and modern elements without losing the cultural essence of Jhumur music.

3. Hypothesis:

The incorporation of modern musical instruments changes the traditional feel of Jhumur folk songs. It is expected that mixing modern instruments with Jhumur music will have a mixed reception among musicians and listeners. Some participants may believe that it dilutes the authenticity and cultural essence of the music, while others might feel that it enhances musical expression and attracts younger audiences. The study aims to test these hypotheses by gathering opinions from both musicians and listeners through a detailed questionnaire. The responses will help determine whether modern instruments are seen as beneficial or detrimental to traditional Jhumur folk music.

4. Relevance of the Study:

This study is important for different groups of people, including music practitioners, listeners, researchers, industry professionals, and others. For music practitioners, such as musicians and composers, the study helps them understand how adding modern instruments to Jhumur folk songs affects the traditional feel and authenticity. They can use this knowledge to decide whether to keep their music purely traditional or to experiment with new sounds.

Listeners, especially those who enjoy Jhumur folk songs, can learn about how modern instruments might change the music they love. This information can help them appreciate the differences and understand why some songs might sound different now compared to the past.

Researchers who study music and culture can use the study to explore how traditional music evolves. This can help them understand how cultural heritage is preserved or changed and what factors influence these changes.

For industry professionals, such as music producers and marketers, the study provides insights into what audiences prefer. Knowing whether people like traditional Jhumur folk songs or a mix with modern instruments can help them decide how to produce and promote music that appeals to a broader audience.

Overall, the study is relevant because it shows the balance between preserving traditional music and embracing modern influences. It highlights the mixed feelings people have about this change and provides valuable information for anyone involved in the music industry. This helps ensure that Jhumur folk music can continue to thrive while adapting to new trends and attracting younger audiences.

2. Research Methodology:

To understand how modern musical instruments affect Jhumur folk songs, a detailed and structured research methodology was followed. The first step involved conducting a literature review. Various research articles and works related to the topic were browsed. This allowed for a better grasp of the research area and the framing of key questions for the study. The main research questions were identified: how do modern instruments affect the traditional feel of Jhumur folk songs and what do musicians and listeners think about mixing modern instruments with Jhumur music?

Next, a comprehensive questionnaire with 13 questions was created using Google Forms. These questions were designed to gather a wide range of opinions on various aspects of Jhumur folk songs. Questions were included about the traditional feel, authenticity, and cultural essence of Jhumur folk songs when modern instruments are introduced. Preferences for musical instruments, the impact of integrating modern instruments, and live performances, and the potential to attract younger audiences were also inquired about. To keep the data collection organized, the questionnaire was divided into sections covering Personal Information, Demographics, Music-related issues, Impact, and Additional Comments.

To reach the target population, which included both musicians and listeners, the questionnaire was distributed through multiple communication channels such as WhatsApp, Facebook, Messenger, and Email. Participants were invited to take part in the survey voluntarily, and efforts were made to ensure a broad representation of the community. After responses from the participants were received, the data were meticulously checked, cleaned, and organized using Microsoft Excel.

For data analysis, pivot tables were used to summarize and break down the collected data. This allowed for the extraction of meaningful insights and patterns from the responses. Additionally, tables and charts were generated to present the findings in a clear and visually appealing way, making it easier to interpret and compare the results.

A total of 82 responses were selected for analysis. The analysis revealed a range of opinions on the use of modern musical instruments in Jhumur folk songs. It was found that some respondents felt modern instruments changed the traditional feel and made the songs less authentic. Others appreciated the added musical expression and the ability to attract younger audiences. Mixed feelings were found among both musicians and listeners about the impact, with a slight preference for traditional instruments but also an openness to modern influences.

By following these steps, data were systematically collected and analyzed to understand how modern musical instruments influence Jhumur folk songs. This research methodology allowed for informed conclusions to be drawn based on the gathered information, providing valuable insights for music practitioners, listeners, researchers, and industry professionals interested in the evolution of Jhumur folk music.

3. Result:

Among the total count of 82 responses, most people (67%) believe that using modern musical instruments changes the traditional feel of Jhumur folk songs. However, 18% think the traditional feel stays the same, and 15% are unsure. This shows that many people think modern instruments affect the traditional feel of Jhumur music (Ref: Chart I and Table I).

Table I

Answer	Count of Do you believe that the use of modern musical instruments changes the traditional feel of Jhumur folk songs?
No	15
Not Sure	12
Yes	55
Grand Total	82

When asked about the authenticity of Jhumur folk songs, 53% feel that using modern instruments makes the songs less authentic. On the other hand, 40% believe that the songs remain authentic, and 7% think there is no impact. This indicates a concern that modern instruments might harm the authenticity of Jhumur music (Ref: Chart II and Table II).

Table II

Answers	Count of In your opinion, how does the incorporation of modern musical instruments impact the authenticity of Jhumur folk songs?
Dilutes authenticity	43
Maintains authenticity	33
No impact	6
Grand Total	82

Chart II

Opinions are mixed about whether modern instruments make Jhumur folk songs lose their cultural essence. About 40% of people think they do, while 37% disagree. Another 23% are not sure. This shows that people have different views on whether the cultural essence is affected (Ref: Chart III and Table III).   

Table III

Answers	Count of Do you think traditional Jhumur folk songs lose their cultural essence when modern instruments are introduced?
No	30
Not Sure	19
Yes	33
Grand Total	82

Chart III

When it comes to preferences, 54% of people prefer Jhumur folk songs with traditional instruments only. In contrast, 28% like modern instruments, and 18% have no preference. This highlights that more people prefer the traditional instruments (Ref: Chart IV and Table IV).

Table IV

Answers	Count of Would you prefer Jhumur folk songs without any modern musical instrument accompaniment?
No preference	15
Yes, prefer modern instrumentation	23
Yes, prefer traditional instrumentation only	44
Grand Total	82

Chart IV

Among musicians, 43% feel that modern instruments make musical expression better. However, 39% think it harms cultural heritage. Only 2% believe it has no impact, and 16% are not musicians. This shows that musicians have different opinions on using modern instruments (Ref: Chart V and Table V).

Table V

Row Labels	Count of as a musician, how do you feel about integrating modern instruments with Jhumur folk songs?
Compromises cultural heritage	32
Enhances musical expression	35
I am not a musician	13
No impact	2
Grand Total	82

Chart V

As for listeners, 51% like traditional instruments more, while 44% enjoy Jhumur songs with modern instruments. A small 5% have no preference. This means that slightly more people prefer traditional sounds, but many also appreciate modern instruments (Ref: Chart VI and Table VI).

Table VI

Answers	Count of as a listener, do you enjoy Jhumur folk songs more when modern instruments are included?
No preference	4
No, prefer traditional instruments only	42
Yes, adds depth to the music	36
Grand Total	82

Chart VI

When asked about attending live performances, 48% are interested in seeing Jhumur with modern instruments. About 19% prefer traditional performances, and 33% might attend depending on the situation. This shows a lot of interest in fusion performances (Ref: Chart VII and Table VII).

Table VII

Answers	Count of Would you attend a live performance featuring Jhumur folk songs with modern instrument accompaniment?
Maybe, depends on the context	27
No, prefer traditional performances	16
Yes, interested in experiencing the fusion	39
Grand Total	82

Chart VII

A large majority (78%) think that modern instruments attract younger audiences to Jhumur folk music. Only 4% disagree, and 18% are not sure. This suggests that modern instruments are seen as a way to engage younger listeners (Ref: Chart VIII and Table VIII).

Table VIII

Answers	Count of Do you think the incorporation of modern musical instruments attracts a younger audience to Jhumur folk music?
No	3
Not sure	15
Yes	64
Grand Total	82

Chart VIII

When rating the preservation of the traditional essence of Jhumur songs with modern instruments on a scale of 1 to 5, opinions varied. About 4% feel it’s not preserved at all, while 44% think it’s slightly preserved. Only 12% say it’s moderately preserved, 7% mostly preserved, and 17% fully preserved. Another 16% chose none of these options. This shows that many feel the traditional essence is somewhat compromised but still present to some extent (Ref: Chart IX and Table IX).

Table IX

Row Labels	Count of How much do you feel the traditional essence of Jhumur folk songs is preserved when modern instruments are incorporated?
Fully preserved	3
Moderately preserved	36
Mostly preserved	10
None of these	6
Not preserved at all	14
Slightly preserved	13
Grand Total	82

Chart XI

The study shows that people have many different opinions on using modern musical instruments in Jhumur folk songs. Many think modern instruments change the traditional feel and make the songs less authentic. However, there is also appreciation for the added musical expression and the ability to attract younger audiences. Both musicians and listeners have mixed feelings about the impact, with a slight preference for traditional instruments but also an openness to modern influences.

4. Discussion:

The study explored how modern musical instruments affect Jhumur folk songs, which are a key part of cultural heritage in parts of India like Jharkhand, West Bengal, Odisha, and Assam. Traditionally, Jhumur songs are performed with simple instruments like the Dhol, Madal, Nagra, and Sanai. However, recently, modern instruments such as the Harmonium, Tabla, Flute, Guitar and Synthesiser have been added to these performances. This change has sparked a debate about whether it is good or bad for Jhumur music.

The results show that many people (67%) believe using modern instruments changes the traditional feel of Jhumur songs. They think that the music becomes less authentic and loses its cultural essence. About 53% of participants feel that modern instruments dilute the authenticity of the songs, while 40% think the songs remain authentic. These results suggest a strong concern among many that modern instruments might harm the traditional quality of Jhumur music. This worry is evident from the fact that 40% of people believe that the cultural essence of Jhumur is lost when modern instruments are introduced, with only 37% disagreeing and 23% unsure.

However, the study also found that some people appreciate the addition of modern instruments. About 43% of musicians feel that modern instruments enhance musical expression, making the music more interesting and adding depth to it. Additionally, 44% of listeners enjoy Jhumur songs more when modern instruments are included. This suggests that modern instruments can add variety to the music, making it more appealing to some audiences. There is also a practical side to this: modern instruments might make Jhumur music more accessible and enjoyable to people who are used to contemporary sounds.

The study also revealed that 78% of participants believe modern instruments can attract younger audiences to Jhumur folk music. This is important because it shows that modernizing the music might help keep it alive and relevant for future generations. Attracting younger listeners can ensure that the tradition continues and evolves, rather than fading away.

Despite the mixed feelings, a majority of people (54%) prefer Jhumur folk songs with traditional instruments only. This shows that while there is an openness to modern influences, there is still a strong preference for maintaining the traditional sound. This preference highlights the importance of cultural preservation and the deep connection people have with the traditional form of Jhumur music.

When asked if they would attend live performances featuring Jhumur folk songs with modern instruments, 48% said they were interested, while 19% preferred traditional performances, and 33% said it would depend on the context. This indicates a significant interest in experiencing a fusion of traditional and modern elements in live settings, suggesting that there is a market for such performances.

On the question of whether the traditional essence of Jhumur songs is preserved when modern instruments are incorporated, opinions varied. About 44% felt it was slightly preserved, 12% moderately preserved, 7% mostly preserved, and 17% fully preserved. However, 4% felt it was not preserved at all, and 16% chose none of these options. This shows that while many feel the traditional essence is somewhat compromised, it is still present to some extent.

In conclusion, the study found that using modern musical instruments in Jhumur folk songs has both positive and negative effects. While many people worry about losing the traditional feel and authenticity, others see the potential for enhanced musical expression and attracting younger listeners. This balance between preserving tradition and embracing modern influences is crucial for the future of Jhumur music. Musicians, listeners, and industry professionals can use these insights to make informed decisions about how to evolve Jhumur folk music while respecting its cultural roots.

5. Conclusion:

In summary, this study looked at how adding modern musical instruments affects Jhumur folk songs, which are an important part of the cultural heritage in certain parts of India. Traditionally, these songs are performed with simple instruments like drums and horns, but lately, modern instruments like Guitar and Synthesisers have been added.

We found that many people think using modern instruments changes the traditional feel of Jhumur songs. They worry that it makes the music less authentic and loses its cultural essence. However, some people also like the new sound and think it adds depth to the music.

Interestingly, most people believe that modern instruments can attract younger audiences to Jhumur music. This is important because it means the tradition can continue and evolve for future generations.

6. Appendix: List of participants who participated in the study.

Aditi Sen, Angana Bhattacharya, Ankita Roy, Asish Ray, Ayantika Chatterjee Kundu, Balbeer Singh, Bedotroyee Sarkar, Biplob Bose, Chandra Mohan Nath, Chandradipto Chakraborty, Chhandam Biswas, Debalina Sinha Roy, Dishari Chakraborty, Doyel Majumder, Dr Gargi Das, Dr Krishnendu Dutta, Dr Lopamudra Chakraborty, Dr Maitri Sinha, Dr Mou Chakraborty, Dr Nupur Ganguly, Dr Tanmoy Pal, Gargee Chakraborty, Iliya Das Mukherjee, Ipsita Lodh, Ipsita Pramanik, Jhilik Roy, Kalyani Chakraborty, Kathika Kushari, Madhura Bose, Madhurima Ghosh, Madhurima Mahato, Manali Ghosh, Manika  Ghosh, Moumita Dutta, Mousumi Biswas, Moutushi Dhar, Namrata Koner, Pankaj Barman, Paramita Roy, Payel Roy Debnath, Pratyusha Chowdhury, Priyan Nair, Priyanka Das, Priyanka Ghosh, Pubali Mukherjee, Rageshree Das Choudhury, Rajendra Jain, Rajeswar Guin, Ranjan Datta, Rima Dey, Rini Dutta, Ritupaban Kotoky, Runa Hussain, Rupam Kanjilal, Sagnik Chakraborty, Saheli Debnath, Sanchari Goswami, Santanu Bhattacharya, Sarbani Sinha, Saswati Sengupta, Sathi Kundu, Shyamali Bhattacharya, Simpi Pal, Snigdha Paul, Somnath Sinha, Sonali Guha, Srijan Porail, Stuti, Subhan Das, Subhangi Mukherjee, Subhra Roy, Sucharita Dutta, Sumedha Banerjee, Sutapa Ghosh Dastider, Swagata Bhattacharjee, Tanmoy Mani, Tanusree Sen, Tapasi Ghosh, Triparna Chandra, Trisha Mitra, Udita Roy, Urmimala Dasgupta