English SBA

TUTORIAL HIGH SCHOOL
CARIBBEAN SECONDARY EDUCATION CERTIFICATE (CSEC)

SCHOOL BASED ASSESSMENT
CANDIDATE NAME: Sanjana Purai

CANDIDATE NUMBER: 0900540958
SUBJECT: English A
CENTRE: Tutorial High School
CENTRE CODE: 090054
TERRITORY: Guyana
TOPIC: Holidays
SUBTOPIC: Exploring the Rich Cultural Tapestry of Phagwah
YEAR: 2024
NAME of TEACHER: Miss. V. L’ Rose
1
Title page
Name of Candidate: Janel Ward
Kevia Benjamin
Joshua Narine
Sohan Babulall
Sanjana Purai
Relion smith
Candidate Number: 0900540958
School’s Name: Tutorial High School
Teacher’s Name: Miss. V. L’ Rose
Territory: Guyana
Topic: National Holidays
Subtopic:
how
mashranmi
have positive
effect on
guyanna
economy Exploring
the cultural
tapestry of
phagwah
National
hoilday
why is the
hoilday
Dwali labour dayy
asymphony important to
of light the guyanna
why is taecher
guyanna union
independence
day hoilday
important to
Guyanese
Table Of Content
2
Acknowledgement 3
Introduction 4
Plan of investigation 5
Participation Measure______________________________________________________6
Appendix 7
Reflection One 19
Reflection Two 20
Reflection Three 21
Written Report 22
Mark Scheme _____________________________________________________________24
Acknowledgement
3
First and foremost, the researcher is grateful to God for bestowing upon her the resilience to
withstand and accomplish this SBA. Appreciation is extended to her cherished colleagues
(group members) for their supportive words. Deep thanks are conveyed to the researcher’s
mother and brother, who offered emotional aid. Lastly, sincere gratitude goes to her English
teacher, Miss Marcia, for her understanding and mentorship.
4
Introduction
Colorful powders swirling through the air, joyous laughter, and a vibrant atmosphere marking
the arrival of spring – such is the enchanting celebration of Phagwah. In this SBA (School
Based Assessment), we embark on a journey to unravel the cultural richness and significance
encapsulated in the festival of Phagwah. Rooted in Hindu traditions, Phagwah, also known as
Holi, transcends its religious origins to become a celebration of unity, renewal, and the
triumph of good over evil. This SBA aims to explore the various dimensions of Phagwah,
delving into its historical roots, cultural manifestations, and contemporary expressions.
Through a literary lens and linguistic analysis, we will endeavor to capture the essence of
Phagwah – a festival that transcends boundaries, bringing communities together in a
kaleidoscope of colors and traditions. As we navigate the pages ahead, we anticipate
uncovering the layers of symbolism, social dynamics, and linguistic expressions that make
Phagwah a timeless and cherished celebration. Join us in this exploration as we immerse
ourselves in the beauty and diversity that Phagwah unfurls on the canvas of cultural
celebrations.
5
Plan of Investigation
The choice of Phagwah as the topic for investigation stems from both personal interest and
cultural significance, particularly as a Hindu. Delving into the significance and practices of
Phagwah holds intrinsic value, offering a deeper understanding of my cultural heritage.
Engaging with Phagwah not only aligns with personal interests but also presents an
opportunity to enhance English language skills. Through research, critical analysis, and
writing, exploring Phagwah allows for the exploration of diverse perspectives and the
development of communication abilities. To gather relevant information, a combination of
internet resources and books will be utilized, including scholarly articles, cultural websites,
and texts on Hinduism and cultural studies, ensuring a comprehensive coverage of the topic.
6
Artifact One
Artifact 1: Song
“Rang Barse’’ by Amitabh Bachchan
Holi hai!
It's Holi!
Rang barse bheege chunar wali rang barse
The scarf girl is drenched by the watercolors
Holi hai!
It's Holi!
Arre keene maari pichkaari tori bheegi angiya
Who has drenched your body with a water gun
O rangrasia rangrasia ... ho
And with colors of passion ... hey
Rang barse
The colors are showering
Arre rang barse bheege chunar wali rang barse
The scarf girl is drenched by the watercolor’s
O rang barse bheege chunar wali rang barse
The scarf girl is drenched by the water colours
Haan rang barse bheege chunar wali rang barse
Sone ki thaali mein jyona parosa
The lunch was served in a plate of gold
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Sone ki thaali mein jyona parosa
Arre sone ki thaali mein
In a plate of gold
Haan sone ki thaali mein jyona parosa
Arre khaye gori ka yaar balam tarse rang barse
The beauty's pal ate it, as her husband saw
Holi hai!
It's Holi!
Launga elaichi ka
A paan made of clove and cardamom
Arre launga elaichi ka bhai
A paan made of clove and cardamom, brother
Haan launga elaichi ka, haan
A paan made of clove and cardamom, yes
Arre launga elaichi ka beeda lagaya
Launga elaichi ka beeda lagaya
Arre launga elaichi ka
Haan launga elaichi ka beeda lagaya
Arre chabe gori ka yaar balam tarse rang barse
The beauty's pal chews it, as her husband saw
8
Holi hai!
It's Holi!
O rang barse bheege chunar waa
Arre bela chameli ka sej bhichaya
She spread a bed made of jasmine flowers
Arre bela chameli ka sej bhichaya
Bela chameli ka sej bhichaya
Bela chameli ka sej bhichaya
Arre bela chameli ka
A bed made of jasmine flowers
Haan bela chameli ka sej bhichaya
Soye gori ka ... dhik tak dhin dhik tak dhin
The beauty's pal ...
Soye gori ka yaar balam tarse rang barse
The beauty's pal slept on it, as her husband saw
Holi hai!
It's Holi!
9
Arre rang barse bheege chunar wali rang barse
Haai!
Hey!
https://www.youtube.com/watch?v=Jf92MOkrbEw
10
Artifact Two
Artifact 2: Poem
“Shyam Rang Ranga Re” by K.J. Yesudas (Kattassery Joseph Yesudas)
Shyam rang ranga re

Har pal mera re
Mera matawala hai
Man, madhuban tera re
Shyam rang ranga re
Har pal mera re
Jis ke rang mein rangi wo mira

Rangi thi raadhaa re
Maie bhi us manmohan se
Bandhan baadhaa re
Ho o o o o
Shyam rang ranga re
Har pal mera re
Meri saanso ke phul khile hai

Tere hi liye
Jeevan hai pujaa ki thali
Naina hai diye, ho o o o o
Shyam rang ranga re
Har pal mera re
Nahi chain pade
11
Nahi chain pade
Dekhe binaa tohe kaanhaa
Din bite naa rain dhale
Chain pade nahi chain pade
Mohe kaahe chhale
Mohe kaahe chhale
Are dekhe binaa tohe kaanhaa
Din bite naa rain dhale
Chain pade nahi chain pade
Kaanhaa kaanhaa
Sune jamuna ke tat sune saare

Panaghat aajaa re o krishna kanhaiya
Raas rachaiya
Yaa shri balaraam ke bhaiyaa
Kabhi bane natakhat
Bhawasagar mein natanaagar
Ye paar lagade meri naiyaa
Sune jamuna ke tat
Sune jamuna ke tat sune saare
Panaghat aajaa re
O krishna kanhaiya
Kanhaiyaa kanhaiya o re kanhaiya
Shyam rang ranga re
Har pal mera re
Mera matawala hai
Man, madhuban tera re
Shyam rang ranga re
Har pal mera re
12
Artifact Three
Artifact 3: Article
“Celebrating Phagwah under the new norm” Naomi Paris
Flashback:
A scene from
Holi, also
called
Phagwah,
celebrations in 2017
REVERED as one of the most colorful, electrifying, and unifying festivals of the year,
Phagwah, also called Holi, will be a quiet affair this year due to COVID-19.
On this much-anticipated day, Guyanese of every age, race, religion, and creed would have
been celebrating with a kaleidoscope of colors, sweetmeats, and religious ceremonies but not
so this time around.
Under normal circumstances, many would have congregated at the National Stadium or at a
common place to color each other with gulal, which are colored powders and other forms of
dyes to celebrate Holi. The day would have been followed with various forms of
entertainment and the sharing of sweet meats and other delightful cuisines.
PHAGWAH AND ITS MEANING

Holi, popularly known as Phagwah is the Hindu festival of colors that celebrates the triumph
of good over evil, good harvest, and fertility. The festival loosens the normal social
13
restrictions by bringing people together not based on religion, status, and/or age.
Many visit each other’s homes to distribute sweets and greet each other. Men, women, adults,
and children all take part in dances and other cultural programs during Holi. People dress in
pure white and gather in a common place to color each other with gulal, which are colored
powders and other form of dyes. A popular activity is the throwing of water-filled balloons at
one another, sometimes called Lola.
Holi celebrations start on Basant Panchmi which is the fifth day of the bright half of the
Hindu month Omagh. On this day, in keeping with tradition, homage is done to Saraswati
Devi, the goddess of knowledge and a castor oil tree is planted as a symbolic act. During a
period of 40 days from Basant Panchmi to Holika Dahan, melodies of chowtaal and bhajans
can be heard at Hindu temples and homes across the country.
TRIUMPH OVER EVIL

While Holi is celebrated as a spring festival, the significance of the festival derives from a
story of good prevailing over evil.
Hiranyakashipu was a king in ancient India who performed extreme penances and austerities
(Tapasya) until he was transformed into a good man in the eyes of the gods. The divine as a
reward offered him three wishes. His first wish was that he could not be killed or die
anywhere on the earth; his second wish was that neither by night or day could he die; his third
wish was that he could not be killed by either man or animal. All three wishes were granted.
The king now grasped he was immortal, and he was suddenly transformed into a corrupt
egotist. In this fall, arrogance, greed, and love for power completely consumed him. He
declared he was God and compelled his subjects to attend their temples and worship him or
face the pain of death if they did not. He trampled over every right the citizens had and fear
and terror took over the country.
Without warning, Hiranyakashipu’s incredibly young son, Prahalad refused to worship his
father as God and declared that he would continue to worship God. The king immediately
decided that Prahalad must die a painful death by being burnt alive. He, therefore, built a
huge pyre and arranged with his sister Holika who could not be harmed by fire, to sit in the
burning pyre and hold Prahalad in her lap until he was completely burnt to ashes. As soon as
Holika and her nephew got on the pyre, it was set alight. Next morning when the citizens
went to the pyre, they found that Holika was burnt to ashes and Prahalad, the playful child,
quite unharmed since her power of being safe from the fire was transferred to Prahalad while
he was sitting in her lap.
Hiranyakashipu was furious with anger and went to the largest temple, shouting that all must
bow to him as God and as he strutted about the temple, in his rage, he slashed one of the
columns with his sword and as he did so, a man-lion, Narasingha, jumped out of the column
and attacked him. They began to fight and struggle until they reached the door and fell upon
the steps.
At that point, Narasingha seized the king by the neck, lifted him up and strangled him.
Hiranyakashipu was killed by a being who was neither man nor animal; he was killed at dusk
which is neither day nor night, and he was strangled in midair and not on land. God had
incarnated Himself as Narasingha to save humanity.
14
On the news of the death of the tyrant, the people burst out into wild rejoicing and festivities,
and everyone embraced everyone else in good fellowship and Phagwah, each year enacts the
celebration of the demise of the tyrant.
CELEBRATION IN ISOLATION
This year, the celebration in Guyana will be limited to mostly celebration in the family circle
and not big public celebrations as obtained in the past. During an address to the nation, on
Wednesday, President, Dr. Irfaan Ali said that while there are several religious and cultural
events ahead of the country over the next few weeks — including the celebration of Phagwah
and Easter and the observance of Ramadan — citizens should adhere strictly to the approved
COVID-19 guidelines.
“The COVID-19 Task Force has been asked to pursue charges against owners of
establishments that are found in breach of the COVID-19 guidelines,” he underscored.
The task force, which incorporates members of the Joint Services, will be keenly monitoring
activities on Sunday to see whether establishments are breaching these COVID-19
restrictions.
Due to the ongoing threat of COVID-19, Phagwah celebrations will be restricted. According
to guidelines issued by the Ministry of Health, Phagwah events at the mandirs, including
cultural programs, chowtaal samelan and satsangh/services, are only allowed at 40 per cent
capacity. These guidelines state that mandirs are encouraged to utilize their outdoor spaces
where available.
Oral Presentation
Amidst the vibrant hues that fill the air,
15
Phagwah's joyous spirit dances everywhere.
Colors swirling, laughter abounds,
In celebration, hearts are found.
From every corner, people gather near,

To revel in the joy that's oh so clear.
Smiles adorned with hues so bright,
Underneath the sun's warm light.
Forgiveness blooms like flowers in spring,

In the celebration, hearts take wing.
Phagwah's embrace, so pure and true,
Bringing love and unity anew.
So let the colors paint the sky,

As Phagwah's spirit lifts us high.
In every hue, a story's told,
Of love and joy that never grows old.
Amidst the joyful chaos, Phagwah's delight,

A kaleidoscope of colors, a breathtaking sight.
Laughter rings out, like bells in the air,
As vibrant hues dance, without a care.
From every corner, people gather 'round,

To the rhythm of drums, to the joyful sound.
Faces adorned with colors so bold,
In the festival's embrace, hearts are sold.
Forgiveness blooms like blossoms in bloom,
16
As old grudges fade, lost in the zoom.
Phagwah's magic, pure and divine,
In every splash of color, in every shine.
Let the colors paint the town,

In Phagwah's revelry, let's not frown.
With joy and merriment, let's partake,
In this festival of love, let's celebrate!
Phagwah, oh Phagwah, our spirits sing,

In your festive embrace, let our hearts cling.
In the joy of this day, let's find our way,
To a world of love and color, where we'll forever sway.
On this auspicious day, let's remember,

The legend of Prahlad and Holika's ember.
The triumph of good over evil we celebrate,
As we fill our hearts with love, joy, and faith.
Let's spread the word of unity and peace,

And let the colors of Phagwah never cease.
In this vibrant festival, let's pay homage,
To our ancestors, and their rich heritage.
Phagwah, oh Phagwah, let's come together,

And cherish this day, in its full measure.
Let's revel in the colors, and the spirit of love,
And thank the heavens above, for the blessings thereof.
So, let's embrace this day with open hearts,
17
And let our love and joy take off like darts.
Phagwah's magic never fades away,
In every color and every smile, it finds its way.
May the colors of Phagwah brighten your day,

And fill your heart with love in every way.
Happy Phagwah to one and all,
Let's celebrate this day, grand and tall!
Reflection One
18
"Rang Barse" translates to "colors shower" in English. The song symbolizes the joyful and
vibrant celebration of Holi or Phagwah, where people throw coloured powders and water at
each other. It embodies the essence of the festival, representing the arrival of spring and the
triumph of good over evil.
This song has shaped the researcher’s way of thinking about Phagwah by encapsulating the
spirit of the festival. It emphasizes the joy, unity, and renewal associated with Holi,
reminding me of the cultural richness and communal harmony fostered by such celebrations.
Additionally, it highlights the importance of embracing diversity and spreading happiness,
which are essential elements not only of Phagwah but also of life itself.
“Shyam Rang Ranga Re” is a devotional poem by K.J. Yesudas (Kattassery Joseph Yesudas)
expressing deep devotion and love for Lord Krishna. While the impact of a poem on an
individual’s thinking can vary, “Shyam Rang Ranga Re” evoked deep emotions and thoughts
related to spirituality, love, culture, and creativity in the researcher.
By navigating the complexities of adapting age-old traditions to the challenges of the modern
era, the article prompts a reconsideration of the resilience inherent in cultural practices. The
juxtaposition of ancient rituals with the utilization of contemporary tools like virtual
celebrations underscores the adaptability of communities in embracing change. This narrative
not only encourages a deeper appreciation for the dynamism of cultural expressions but also
prompts critical thinking about the ways in which technology can serve as a bridge in
preserving traditions. As the researcher reflects on the emotional and communal aspects
discussed in the article, she is compelled to question her own attitudes towards cultural
adaptability, fostering a broader and more inclusive mindset.
Reflection Two
In reflecting on the Bollywood song "Rang Barse" from the movie "Silsila," the researcher is
struck by how its festive and joyous tone encapsulates the exuberance of the Holi festival.
19
The use of figurative devices such as similes and metaphors, comparing colors to emotions
and love, adds a vivid and imaginative quality to the lyrics. The colloquial and informal
language register aligns seamlessly with the cultural context, creating a connection between
the song and the celebratory spirit of Holi. This choice of tone, figurative language, and
register not only enhances the listener's understanding of the joyous celebration but also
serves the writer's purpose of vividly capturing the cultural richness and enthusiasm
associated with Holi within the narrative of "Silsila." As the researcher explored these
elements in her SBA, she recognized how they contribute to a deeper appreciation of the
cultural nuances embedded in this Bollywood classic.
The poem titled “Shyam Rang Ranga Re” by K.J. Yesudas (Kattassery Joseph Yesudas)
echoes the timeless nature of the connection with the divine, while cultural elements like
Radha, Raas dance, and the Jamuna River create a rich tapestry of Krishna's stories. The
imagery of a spiritual landscape, marked by a deep yearning for Krishna's presence, has a
profound impact, evoking a sense of continual celebration where every moment is painted
with the divine hue of Shyam. Phrases like "Mera matawala hai, Man madhuban tera re"
resonate on a personal level, illustrating an intimate relationship with the divine characterized
by surrender and dedication. The inclusion of cultural and ritualistic aspects, such as Raas
rachaiya and the plea at the Panaghat, highlights the multifaceted nature of the desire for a
divine connection. This exploration transcends the boundaries of mere analysis, providing a
gateway into the cultural and spiritual dimensions embedded in the lyrics, fostering a deeper
appreciation for the interplay between language, culture, and devotion.
In the researcher’s exploration of Naomi Paris's feature article, "Celebrating Phagwah under
the new norm," the nuanced interplay of tone, figurative devices, and language register has
significantly shaped the researcher’s understanding and appreciation of the adaptability of
cultural traditions. Paris employs a reflective and resilient tone throughout, inviting readers to
contemplate the challenges and triumphs associated with celebrating Phagwah amidst the
evolving "new norm." The use of metaphors, notably the juxtaposition of "vibrant colors" and
"virtual celebrations," functions as a powerful tool to illustrate the intricate blend of ancient
rituals with modern technologies. This metaphorical language aids in conveying the dynamic
synthesis of tradition and adaptation, fostering a deeper connection to the cultural narrative.
The language register, both formal and engaging, ensures accessibility without compromising
the sophistication needed to discuss cultural complexities. The researcher recognized how
these deliberate choices in tone, figurative language, and register align with Paris's purpose of
unveiling the resilience embedded in cultural celebrations amidst contemporary challenges.
This exploration has enriched her understanding of the intricate dance between tradition and
adaptation, allowing for a more insightful analysis within the broader context of the
researcher’s SBA.
Reflection Three
20
Throughout this SBA, the researcher has garnered new knowledge about this holiday. This
has made her more cautious and considerate. Additionally, the researcher feels more powerful
because she is more knowledgeable; thus, her ability to uplift others.
This BSA has helped the researcher widen her critical thinking abilities, making her better
able to read and analyze various visual and audio pieces. The researcher has also been better
able to properly manage her time as she usually did not do this to the best of her abilities,
sometimes making her disorganized. This exposure strengthened the researcher’s
communication skills and allowed her to fully understand her topic, which contributed to
completing her SBA.
While working with her group of opinionated students, the researcher had realized and come
to appreciate the value of listening and respectfully sharing her idea and understanding that of
others.
The research process, while enlightening, presented its challenges. Navigating through
historical contexts, and the significance of each color in the festival's celebrations demanded
a careful balance of accuracy and creativity. However, overcoming these challenges has not
only broadened the researcher's knowledge of Phagwah but has also honed her research and
analytical skills.
Feedback from peers and instructors played a pivotal role in refining the researcher's
understanding and approach to the topic. Constructive critiques helped the researcher refine
her presentation, ensuring clarity and coherence in conveying the essence of the festival. This
collaborative aspect of the learning process was instrumental in enhancing the overall quality
of the researcher’s work.
Personally, this exploration into the holiday has not only enriched the researcher’s academic
knowledge but has fostered a deeper appreciation for cultural diversity and the ways in which
traditions are passed down through generations. The festival's themes of renewal, love, and
the triumph of good over evil resonate on a universal level, transcending cultural boundaries.
Written Report
21
Title: Exploring Cultural Festivals: A Written Report on Mashramani, Diwali, and Phagwah
Introduction:
Our group embarked on a collective exploration of the theme of "Holidays," aiming to
unravel the cultural richness and significance encapsulated in three distinct festivals –
Mashramani, Diwali, and Phagwah. Each group member focused on a specific festival to
provide a comprehensive understanding of the diverse celebrations associated with holidays.
Selection of Pieces:
The selection process involved a collaborative effort, with each member proposing artifacts
that best represented the essence of their respective festivals. After thorough discussions, we
settled on "Mash in Guyana" by Rudy Grant for Mashramani, the article "Celebrating
Phagwah under the new norm" by Naomi Paris for Phagwah, and the poem "Happy Diwali"
by Armin Dutia Motashaw for Diwali. The choice was based on the pieces' cultural
relevance, depth, and ability to convey the unique spirit of each festival.
Analysis:
For Mashramani, the song "Mash in Guyana" vividly portrayed the festive and energetic
atmosphere of the celebration, with rhythmic beats and lively lyrics. The analysis focused on
the song's ability to capture the essence of Mashramani, reflecting its historical roots and the
vibrant culture of Guyana.
Regarding Phagwah, Naomi Paris's article delved into the adaptation of the festival under
new circumstances. Our analysis highlighted the author's reflective and resilient tone,
emphasizing the importance of preserving cultural traditions amid contemporary challenges.
The piece underscored the adaptability of communities in embracing change and utilizing
modern tools like virtual celebrations.
For Diwali, the poem "Happy Diwali" by Armin Dutia Motashaw served as a literary
exploration of the festival's significance. Our analysis focused on the poetic elements, such as
imagery and symbolism, to reveal how the poem conveyed the spiritual and celebratory
aspects of Diwali. The use of language and cultural references contributed to a deeper
understanding of the festival's traditions.
Outcomes:
As a group, the exploration of Mashramani, Diwali, and Phagwah provided us with a
profound appreciation for the cultural diversity embedded in these holidays. The artifacts
served as windows into the unique traditions, beliefs, and expressions associated with each
festival. Our collaborative effort facilitated a rich discussion that broadened our knowledge
and fostered a deeper understanding of the importance of holidays in cultural identity.
22
The analysis process not only deepened our understanding of the chosen festivals but also
prompted critical thinking about the ways in which cultural expressions are preserved and
adapted over time. The artifacts served as valuable lenses through which we gained new
insights, challenged assumptions, and embraced the dynamic nature of holiday celebrations.
In conclusion, our written report reflects a cohesive and comprehensive exploration of

Mashramani, Diwali, and Phagwah, showcasing the significance of holidays in shaping
cultural identity. The artifacts chosen, along with our analytical approach, contribute to a
nuanced understanding of the festivals' cultural nuances and the ways in which they evolve in
response to changing contexts.
23

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TUTORIAL HIGH SCHOOL

CARIBBEAN SECONDARY EDUCATION CERTIFICATE (CSEC)

CANDIDATE NAME: Sanjana Purai

Mark Scheme _____________________________________________________________24

Shyam rang ranga re

Jis ke rang mein rangi wo mira

Meri saanso ke phul khile hai

Sune jamuna ke tat sune saare

PHAGWAH AND ITS MEANING

TRIUMPH OVER EVIL

From every corner, people gather near,

Forgiveness blooms like flowers in spring,

So let the colors paint the sky,

Amidst the joyful chaos, Phagwah's delight,

From every corner, people gather 'round,

Forgiveness blooms like blossoms in bloom,

Let the colors paint the town,

Phagwah, oh Phagwah, our spirits sing,

On this auspicious day, let's remember,

Let's spread the word of unity and peace,

Phagwah, oh Phagwah, let's come together,

So, let's embrace this day with open hearts,

May the colors of Phagwah brighten your day,

In conclusion, our written report reflects a cohesive and comprehensive exploration of

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