HSC Unit : 13 Lesson: 2 ; Art and Music, Folk Music
Folk music
Folk music consists of songs and music of a community that are uninfluenced by any sophisticated musical rules or any standard music styles. Bangladesh has a heritage of rich folk music which includes both religious and secular songs.
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Folk music may be described as that type of ancient music which springs from the heart of a community, based on their natural style of classical music and modern popular songs. Any mode or form created by the combination of tune, voice and dance may be described as music.
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Thus, the combination of folk song, folk dance and folk tune may be called folk music. For example, Baul songs are a combination of tune, music and dance.
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Folk music has the following characteristics: (i) It is composed by rural folk in the basis of ancient rules transmitted orally; (ii) These ancient rules of music have not been influenced by classical or modern music; (iii) Folk songs may be sung in groups or individually; (iv) No regular practice is required for folk music; (v) It is composed and performed by illiterate or semi-literate people; (vi) It is a spontaneous expression in easy language, local dialect, and simple tune;
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(vii) Both words and tune are appealing; (viii) Despite its universal appeal it uses local dialect; (ix) It depends upon nature and the rural environment; (x) It is an explicit manifestation of the joys and sorrows of daily life; (xi) It uses simple and natural rhythms; (xii) It contains a strong emotive expression of human love and separation.
(vii) āĻļāĻŦā§āĻĻ āĻāĻŦāĻ āĻ¸ā§āĻ° āĻāĻā§āĻ āĻŽāĻ°ā§āĻŽāĻ¸ā§āĻĒāĻļā§; (viii) āĻāĻāĻŋāĻ° āĻ¸āĻžāĻ°ā§āĻŦāĻāĻ¨ā§āĻ¨ āĻāĻŦā§āĻĻāĻ¨ āĻ¸āĻ¤ā§āĻ¤ā§āĻŦā§āĻ āĻāĻāĻŋ āĻāĻā§āĻāĻ˛āĻŋāĻ āĻļāĻŦā§āĻĻ āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻāĻ°ā§; (ix) āĻāĻāĻŋ āĻĒā§āĻ°āĻā§āĻ¤āĻŋ āĻ āĻā§āĻ°āĻžāĻŽā§āĻ¯ āĻĒāĻ°āĻŋāĻŦā§āĻļā§āĻ° āĻāĻĒāĻ° āĻ¨āĻŋāĻ°ā§āĻāĻ° āĻāĻ°ā§; (x) āĻāĻāĻŋ āĻĻā§āĻ¨āĻ¨ā§āĻĻāĻŋāĻ¨ āĻā§āĻŦāĻ¨ā§āĻ° āĻ¸ā§āĻ āĻ āĻĻā§āĻāĻā§āĻ° āĻŦāĻšāĻŋāĻāĻĒā§āĻ°āĻāĻžāĻļ; (xi) āĻāĻāĻž āĻ¸āĻšāĻ āĻ āĻ¸āĻšāĻāĻžāĻ¤ āĻāĻ¨ā§āĻĻ āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻāĻ°ā§; (xii) āĻāĻāĻŋ āĻŽāĻžāĻ¨ā§āĻˇā§āĻ° āĻāĻžāĻ˛ā§āĻŦāĻžāĻ¸āĻž āĻ āĻŦāĻŋāĻā§āĻā§āĻĻā§āĻ° āĻāĻāĻāĻŋ āĻļāĻā§āĻ¤āĻŋāĻļāĻžāĻ˛ā§ āĻāĻŦā§āĻāĻĒā§āĻ°āĻŦāĻŖ āĻ āĻāĻŋāĻŦā§āĻ¯āĻā§āĻ¤āĻŋ āĻ§āĻžāĻ°āĻŖ āĻāĻ°ā§āĨ¤
In Bangladesh, folk music has great variety, with songs being composed on the culture, festivals, views of life, natural beauty, rivers and rural and riverine life. These songs are also about social inequality and poverty, about the material world and the supernatural. Mystical songs have been composed using the metaphors of rivers and boats. Since the country is basically riverine, the Bhatiyali forms an important genre of folk music.
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Folk music is formed and develops according to the environment. Differences in the natural environment are reflected in the people of the different regions. The dialects too vary across the different regions. Bangladeshi folk music, therefore, varies from region to region. Thus there are the northern Bhawaiya, the eastern Bhatiyali and the south western Baul Songs.
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The culture and the lifestyle of the different tribes have also influenced folk music. Tribes like the Santal, Garo, Hajong, Chakma, Monipuri, Tripuri, Marma etc. have interacted with ethnic Bengali culture and lifestyle over the years. The interaction has been clearly reflected in the richness of folk music.
āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻāĻĒāĻāĻžāĻ¤āĻŋāĻĻā§āĻ° āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ āĻā§āĻŦāĻ¨āĻ§āĻžāĻ°āĻžāĻ āĻ˛ā§āĻāĻ¸āĻāĻā§āĻ¤āĻā§ āĻĒā§āĻ°āĻāĻžāĻŦāĻŋāĻ¤ āĻāĻ°ā§āĻā§āĨ¤ āĻŦāĻāĻ°ā§āĻ° āĻĒāĻ° āĻŦāĻāĻ° āĻ§āĻ°ā§ āĻāĻĒāĻāĻžāĻ¤āĻŋāĻ°āĻž āĻ¯ā§āĻŽāĻ¨ āĻ¸āĻžāĻāĻāĻ¤āĻžāĻ˛, āĻāĻžāĻ°ā§, āĻšāĻžāĻāĻ, āĻāĻžāĻāĻŽāĻž, āĻŽāĻ¨āĻŋāĻĒā§āĻ°ā§, āĻ¤ā§āĻ°āĻŋāĻĒā§āĻ°ā§, āĻŽāĻžāĻ°āĻŽāĻž āĻĒā§āĻ°āĻā§āĻ¤āĻŋ āĻāĻĒāĻāĻžāĻ¤ā§ā§ āĻŦāĻžāĻāĻžāĻ˛ā§ āĻ¸āĻāĻ¸ā§āĻā§āĻ¤āĻŋ āĻ āĻā§āĻŦāĻ¨āĻ§āĻžāĻ°āĻžāĻ° āĻ¸āĻžāĻĨā§ āĻŽāĻŋāĻĨāĻ¸ā§āĻā§āĻ°āĻŋā§āĻž āĻāĻ°ā§ āĻ°ā§ā§āĻā§āĨ¤ āĻ˛ā§āĻāĻ¸āĻāĻā§āĻ¤ā§āĻ° āĻ¸āĻŽā§āĻĻā§āĻ§āĻŋāĻ¤ā§ āĻŽāĻŋāĻĨāĻ¸ā§āĻā§āĻ°āĻŋā§āĻžāĻāĻŋ āĻ¸ā§āĻĒāĻˇā§āĻāĻ°ā§āĻĒā§ āĻĒā§āĻ°āĻ¤āĻŋāĻĢāĻ˛āĻŋāĻ¤ āĻšā§ā§āĻā§āĨ¤
Folk songs may be sung individually or in chorus. Folk songs sung individually include Baul, Bhatiyali, Murshidi, Marfati, while songs sung in chorus include Kabigan, Leto, Alkap and Gambhira. Some songs are regional in character, but others are common to both Bangladesh and West Bengal.
āĻ˛ā§āĻāĻ¸āĻāĻā§āĻ¤ āĻāĻāĻāĻāĻžāĻŦā§ āĻŦāĻž āĻĻāĻ˛ā§āĻ¯āĻŧāĻāĻžāĻŦā§ āĻāĻžāĻāĻ¯āĻŧāĻž āĻ¯āĻžāĻ¯āĻŧāĨ¤ āĻāĻāĻāĻāĻžāĻŦā§ āĻāĻžāĻāĻ¯āĻŧāĻž āĻ˛ā§āĻāĻ¸āĻāĻā§āĻ¤ā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ°āĻ¯āĻŧā§āĻā§ āĻŦāĻžāĻāĻ˛, āĻāĻžāĻāĻŋāĻ¯āĻŧāĻžāĻ˛āĻŋ, āĻŽā§āĻ°ā§āĻļāĻŋāĻĻāĻŋ, āĻŽāĻžāĻ°āĻĢāĻ¤āĻŋ; āĻāĻ° āĻĻāĻ˛ā§āĻ¯āĻŧ āĻ¸āĻāĻā§āĻ¤ā§āĻ° āĻŽāĻ§ā§āĻ¯ā§ āĻ°āĻ¯āĻŧā§āĻā§ āĻāĻŦāĻŋāĻāĻžāĻ¨, āĻ˛ā§āĻā§, āĻāĻ˛āĻāĻžāĻĒ āĻ āĻāĻŽā§āĻā§āĻ°āĻžāĨ¤ āĻāĻŋāĻā§ āĻāĻžāĻ¨ āĻŦā§āĻļāĻŋāĻˇā§āĻā§āĻ¯ā§āĻ° āĻĻāĻŋāĻ āĻĻāĻŋāĻ¯āĻŧā§ āĻ āĻā§āĻāĻ˛ āĻāĻŋāĻ¤ā§āĻ¤āĻŋāĻ, āĻāĻŋāĻ¨ā§āĻ¤ā§ āĻ āĻ¨ā§āĻ¯ āĻā§āĻ˛ā§ āĻŦāĻžāĻāĻ˛āĻžāĻĻā§āĻļ āĻ āĻĒāĻļā§āĻāĻŋāĻŽāĻŦāĻā§āĻā§ āĻāĻāĻāĨ¤
Similarly, some songs belong distinctively to one religious community, Hindu or Muslim; others cross religious boundaries. Some songs belong exclusively to men, others to women, while some are sung by both men and women. Thus only women compose and sing Bratagan and Meyeli Git, but both men and women participate in the âroof-beatingâ songs that are sung while beating down and firming rooftops.
āĻāĻāĻ āĻāĻžāĻŦā§, āĻāĻŋāĻā§ āĻāĻžāĻ¨ āĻ¸ā§āĻŦāĻ¤āĻ¨ā§āĻ¤ā§āĻ°āĻāĻžāĻŦā§ āĻāĻāĻāĻŋ āĻ¨āĻŋāĻ°ā§āĻĻāĻŋāĻˇā§āĻ āĻ§āĻ°ā§āĻŽā§āĻ¯āĻŧ āĻ¸āĻŽā§āĻĒā§āĻ°āĻĻāĻžāĻ¯āĻŧ, āĻšāĻŋāĻ¨ā§āĻĻā§ āĻ āĻĨāĻŦāĻž āĻŽā§āĻ¸āĻ˛āĻŋāĻŽ āĻ¸āĻŽā§āĻĒā§āĻ°āĻĻāĻžāĻ¯āĻŧā§āĻ° āĻāĻ¨ā§āĻ¯ āĻ āĻ¨ā§āĻ¯āĻā§āĻ˛ā§ āĻ§āĻ°ā§āĻŽā§āĻ¯āĻŧ āĻ¸ā§āĻŽāĻž āĻĒā§āĻ°āĻŋāĻ¯āĻŧā§ āĻā§āĻā§āĨ¤ āĻāĻŋāĻā§ āĻāĻžāĻ¨ āĻ¸āĻŽā§āĻĒā§āĻ°ā§āĻŖāĻ°ā§āĻĒā§ āĻĒā§āĻ°ā§āĻˇ āĻā§āĻ¨ā§āĻĻā§āĻ°āĻŋāĻ, āĻ āĻ¨ā§āĻ¯āĻā§āĻ˛ā§ āĻ¨āĻžāĻ°ā§āĻā§āĻ¨ā§āĻĻā§āĻ°āĻŋāĻ, āĻāĻŦāĻžāĻ° āĻāĻŋāĻā§ āĻāĻā§ āĻ¯ā§āĻāĻžāĻ¨ā§ āĻĒā§āĻ°ā§āĻˇ āĻ āĻ¨āĻžāĻ°ā§ āĻāĻāĻ¯āĻŧ āĻā§āĻ¯āĻŧā§ āĻĨāĻžāĻā§āĨ¤ āĻ¤āĻžāĻ āĻļā§āĻ§ā§ āĻ¨āĻžāĻ°ā§āĻ°āĻž āĻŦā§āĻ°āĻ¤āĻāĻžāĻ¨ āĻ āĻŽā§ā§ā§āĻ˛āĻŋ āĻā§āĻ¤ āĻ°āĻāĻ¨āĻž āĻāĻ°ā§ āĻ āĻāĻžā§, āĻ¤āĻŦā§ āĻ¯āĻāĻ¨ āĻ¸ā§āĻ°ā§āĻ¯ āĻĒā§āĻ°āĻāĻ° āĻ¤āĻžāĻĒ āĻĻā§āĻ¯āĻŧ āĻāĻŦāĻ āĻāĻ°ā§āĻ° āĻāĻžāĻ˛ āĻ āĻŋāĻ āĻāĻ°āĻžāĻ° āĻ¸āĻŽāĻ¯āĻŧ āĻ¯ā§ āĻāĻžāĻ¨āĻā§āĻ˛ā§ āĻāĻžāĻāĻ¯āĻŧāĻž āĻšāĻ¯āĻŧ āĻ¸ā§āĻā§āĻ˛ā§āĻ¤ā§ āĻĒā§āĻ°ā§āĻˇ āĻ āĻŽāĻšāĻŋāĻ˛āĻž āĻāĻāĻ¯āĻŧāĻ āĻ āĻāĻļāĻā§āĻ°āĻšāĻŖ āĻāĻ°ā§āĨ¤
Different folk songs belonging to different regions of Bangladesh are listed below: Baul and spiritual songs: Birbhum and Kushtia : Jarigan: Dhaka, Mymensingh, Sylhet, Faridpur, Murshidabad. Bhawaiya: Cooch Bihar, Rajshahi, Dinajpur, Rangpur, Pabna. Gambhira: Rajshahi, Malda.
āĻŦāĻžāĻāĻ˛āĻžāĻĻā§āĻļā§āĻ° āĻŦāĻŋāĻāĻŋāĻ¨ā§āĻ¨ āĻāĻ˛āĻžāĻāĻžāĻ° āĻāĻŋāĻ¨ā§āĻ¨ āĻāĻŋāĻ¨ā§āĻ¨ āĻ˛ā§āĻāĻ¸āĻāĻā§āĻ¤ā§āĻ° āĻ¤āĻžāĻ˛āĻŋāĻāĻž āĻ¨āĻŋāĻā§ āĻĻā§āĻā§āĻž āĻšāĻ˛ā§: āĻŦāĻžāĻāĻ˛ āĻ āĻāĻ§ā§āĻ¯āĻžāĻ¤ā§āĻŽāĻŋāĻ āĻāĻžāĻ¨: āĻŦā§āĻ°āĻā§āĻŽ āĻ āĻā§āĻˇā§āĻāĻŋā§āĻžāĨ¤ āĻāĻžāĻ°āĻŋāĻāĻžāĻ¨: āĻĸāĻžāĻāĻž, āĻŽā§āĻŽāĻ¨āĻ¸āĻŋāĻāĻš, āĻ¸āĻŋāĻ˛ā§āĻ, āĻĢāĻ°āĻŋāĻĻāĻĒā§āĻ°, āĻŽā§āĻ°ā§āĻļāĻŋāĻĻāĻžāĻŦāĻžāĻĻāĨ¤ āĻāĻžāĻā§āĻžāĻā§āĻž: āĻā§āĻāĻŦāĻŋāĻšāĻžāĻ°, āĻ°āĻžāĻāĻļāĻžāĻšā§, āĻĻāĻŋāĻ¨āĻžāĻāĻĒā§āĻ°, āĻ°āĻāĻĒā§āĻ°, āĻĒāĻžāĻŦāĻ¨āĻžāĨ¤ āĻāĻŽā§āĻā§āĻ°āĻž: āĻ°āĻžāĻāĻļāĻžāĻšā§, āĻŽāĻžāĻ˛āĻĻāĻžāĨ¤
Wedding songs: all regions.
Roof-beating songs: the northern regions of Bangladesh.
Sari: the lower marshy regions of Sylhet and Mymensingh.
Bhatiyali: nearly all regions of Bangladesh.
Pastoral songs: Dhaka, Mymensingh, Faridpur, Sylhet, Habiganj.
āĻŦāĻŋā§ā§āĻ° āĻāĻžāĻ¨: āĻ¸āĻŦ āĻ
āĻā§āĻāĻ˛āĨ¤
āĻāĻžāĻ˛-āĻĒāĻŋāĻāĻžāĻ¨ā§ āĻāĻžāĻ¨: āĻŦāĻžāĻāĻ˛āĻžāĻĻā§āĻļā§āĻ° āĻāĻ¤ā§āĻ¤āĻ°āĻžāĻā§āĻāĻ˛āĨ¤
āĻ¸āĻžāĻ°āĻŋ: āĻ¸āĻŋāĻ˛ā§āĻ āĻ āĻŽā§āĻŽāĻ¨āĻ¸āĻŋāĻāĻšā§āĻ° āĻ¨āĻŋāĻā§ āĻāĻ˛āĻžāĻā§āĻāĻ˛āĨ¤
āĻāĻžāĻāĻŋā§āĻžāĻ˛ā§: āĻŦāĻžāĻāĻ˛āĻžāĻĻā§āĻļā§āĻ° āĻĒā§āĻ°āĻžā§ āĻ¸āĻŦ āĻ
āĻā§āĻāĻ˛āĨ¤
āĻ°āĻžāĻāĻžāĻ˛āĻŋā§āĻž āĻāĻžāĻ¨: āĻĸāĻžāĻāĻž, āĻŽā§āĻŽāĻ¨āĻ¸āĻŋāĻāĻš, āĻĢāĻ°āĻŋāĻĻāĻĒā§āĻ°, āĻ¸āĻŋāĻ˛ā§āĻ, āĻšāĻŦāĻŋāĻāĻā§āĻāĨ¤
English | āĻŦāĻžāĻāĻ˛āĻž |
Vocabulary
1.Sophisticated 2.Heritage 3.Secular 4.Springs 5.Orally 6.Spontaneous 7.Dialect 8.Appealing |
āĻļāĻŦā§āĻĻ āĻ¸āĻŽāĻžāĻšāĻžāĻ°
1.adjective/Â āĻ āĻŦāĻŋāĻļā§āĻĻā§āĻ§; āĻŦāĻžāĻ¸ā§āĻ¤āĻŦāĻŦā§āĻĻā§āĻ§āĻŋāĻ¸āĻŽā§āĻĒāĻ¨ā§āĻ¨; āĻŦāĻžāĻ¸ā§āĻ¤āĻŦāĻ§āĻ°ā§āĻŽā§; āĻā§āĻāĻžāĻ˛āĻŽāĻŋāĻļā§āĻ°āĻŋāĻ¤; āĻ āĻĒā§āĻ°āĻā§āĻ¤; 2.noun/Â āĻāĻ¤ā§āĻ¤āĻ°āĻžāĻ§āĻŋāĻāĻžāĻ°, āĻāĻ¤ā§āĻ¤āĻ°āĻžāĻ§āĻŋāĻāĻžāĻ° āĻ¸ā§āĻ¤ā§āĻ°ā§ āĻĒā§āĻ°āĻžāĻĒā§āĻ¤ āĻŦāĻŋāĻˇā§ 3.noun/Â āĻĒāĻžāĻ°ā§āĻĨāĻŋāĻŦ, āĻāĻ§ā§āĻ¯āĻžāĻ¤ā§āĻŽāĻŋāĻ āĻ¨ā§ āĻāĻŽāĻ¨; āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ°āĻŋāĻ; āĻ§āĻ°ā§āĻŽāĻ¨āĻŋāĻ°āĻĒā§āĻā§āĻˇ 4./noun/Â āĻŦāĻ¸āĻ¨ā§āĻ¤; āĻĒā§āĻ°āĻ¸ā§āĻ°āĻŦāĻŖ; āĻāĻĻāĻ¯āĻŧ; āĻāĻžāĻ°āĻŖ; 5.adverb/Â āĻŽā§āĻā§ āĻŽā§āĻā§; āĻŽā§āĻāĻŋāĻāĻāĻžāĻŦā§; āĻŽā§āĻ āĻĻāĻŋā§ā§; 6.adjective/Â āĻ¸ā§āĻŦāĻ¤:āĻ¸ā§āĻĢā§āĻ°ā§āĻ¤, āĻ¸ā§āĻŦā§āĻā§āĻāĻžāĻŦā§āĻ¤ā§āĻ¤ 7.noun/Â āĻāĻā§āĻāĻ˛āĻŋāĻ āĻāĻžāĻˇāĻž 8.adjective/Â āĻŽāĻ°ā§āĻŽ āĻ¸ā§āĻĒāĻ°ā§āĻļā§
|
English | āĻŦāĻžāĻāĻ˛āĻž |
Vocabulary
9. Explicit 10. Manifestation 11. Emotive 12. Inequality 13. Supernatural 14. Mystical 15. Metaphors 16. Interaction |
āĻļāĻŦā§āĻĻ āĻ¸āĻŽāĻžāĻšāĻžāĻ°
9. adjective/Â āĻ¸ā§āĻĒāĻˇā§āĻ; āĻĒāĻ°āĻŋāĻˇā§āĻāĻžāĻ°āĻāĻžāĻŦā§ āĻŦāĻ°ā§āĻŖāĻŋāĻ¤; āĻ¸ā§āĻĒāĻˇā§āĻāĻāĻžāĻˇāĻŋāĻ¤; āĻ¸ā§āĻŦā§āĻ¯āĻā§āĻ¤; 10. noun/Â āĻāĻĻā§āĻāĻžāĻ¸; āĻĒā§āĻ°āĻāĻžāĻļ; āĻĒā§āĻ°āĻ¤āĻŋāĻāĻžāĻ¸; āĻ āĻāĻŋāĻŦā§āĻ¯āĻā§āĻ¤āĻŋ; āĻĒā§āĻ°ā§āĻŖāĻŦāĻŋāĻāĻžāĻļ; āĻŦāĻŋāĻāĻžāĻļ; 11. adjective/Â āĻāĻŦā§āĻāĻĒā§āĻ°āĻŦāĻŖ; āĻāĻŦā§āĻāĻĒā§āĻ°ā§āĻŖ; āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ āĻāĻžāĻāĻāĻ˛ā§āĻ¯; 12. noun/Â āĻ āĻ¸āĻŽāĻ¤āĻž; āĻāĻŋāĻ¨ā§āĻ¨āĻ¤āĻž; āĻ āĻ¯ā§āĻā§āĻ¯āĻ¤āĻž āĻ āĻ¨ā§āĻĒāĻ¯ā§āĻāĻŋāĻ¤āĻž 13. /noun/Â āĻ āĻ¤āĻŋāĻĒā§āĻ°āĻžāĻā§āĻ¤; āĻ āĻ˛ā§āĻāĻŋāĻ 14. adjective/Â āĻ°āĻšāĻ¸ā§āĻ¯āĻŽāĻ¯āĻŧ; āĻ āĻ¸ā§āĻĒāĻˇā§āĻ; āĻ¨āĻŋāĻā§āĻĸāĻŧ; āĻ˛ā§āĻā§āĻāĻžāĻ¯āĻŧāĻŋāĻ¤; 15. noun/Â āĻ°ā§āĻĒāĻ; āĻ°ā§āĻĒāĻāĻžāĻ˛āĻā§āĻāĻžāĻ°; 16. noun/ āĻŽāĻŋāĻĨāĻˇā§āĻā§āĻ°āĻŋāĻ¯āĻŧāĻž; āĻĒāĻžāĻ°āĻ¸ā§āĻĒāĻ°āĻŋāĻ āĻā§āĻ°āĻŋā§āĻž-āĻĒā§āĻ°āĻ¤āĻŋāĻā§āĻ°āĻŋā§āĻž; |
English | āĻŦāĻžāĻāĻ˛āĻž |
Vocabulary
17. Distinctively 18. Exclusive |
āĻļāĻŦā§āĻĻ āĻ¸āĻŽāĻžāĻšāĻžāĻ°
17. /adjective/Â āĻ¸ā§āĻŦāĻžāĻ¤āĻ¨ā§āĻ¤ā§āĻ°ā§āĻ¯āĻ¸ā§āĻāĻ; āĻĒāĻžāĻ°ā§āĻĨāĻā§āĻ¯āĻ¸ā§āĻāĻ; āĻŦā§āĻļāĻŋāĻˇā§āĻā§āĻ¯āĻ¸ā§āĻāĻ; 18. /noun/Â āĻŦāĻšāĻŋāĻ¸ā§āĻāĻžāĻ°āĻ, āĻāĻāĻā§āĻāĻŋā§āĻž, āĻ¸ā§āĻŦāĻ¤āĻ¨ā§āĻ¤ā§āĻ° |