Arup Saikia
(arupsaikia07@gmail.com)
India is the land of festivals. Culturally regional nationalism is the main uniting thread of a socially and politically diverse country like India. Bihu is the national festival of the entire Indian state of Assam.
Nobody knows when or how Bihu was created, but it is invariably the confluence of three major cultures: Austro-Asiatic, Indo-Aryan, and Tibeto-Burman. Later, many immigrants from India and abroad, including Muslims, imbibe the Assamese culture and subscribe to flourishing Bihu, syncretizing with their own cultural elements and finally attained today’s form. In three agricultural periods of life, three different types of Bihu-Kati, Magh, and Bohag are celebrated.
BIHU WORD:
Deori people called Bihu BISU (excessive joy). With historical evidence, Bihu was carried by Deori, Chutiya, and Kachari people from the late twelfth century in the Sadiya-based Chutiya Kingdom. But other Bodo Kachari tribes like Tiwa, Rava, Mikir, and Dimasa celebrate Bihu as Busu, Pisu, Busy Dima, Dumsi, etc. But Bodo has uniquely addressed Bihu as Baisagu. Bihu became popular after the name was simplified and partially sanskritised.
Religious Origin of Bihu: Bihu has been celebrated by various tribes of Bodo-Kachari origin since ancient times. But as stated above, mediaeval Bihu started with the Sadiya Kingdom, led by Chutiya. A copper plate inscription was found in the Lakhimpur district (once part of the Chutiya empire). Where, as clearly mentioned, king Lakshminarayan in 1401 AD granted land to Brahmins on the auspicious occasion of Bihu.
Bihu’s performance started from the first week of the Assamese month “Chot” to the last intervening night until the start of the month “Bohag”. On the floors of “Thaan (temples) dedicated to “Kechai-KhaitiOn the floors of “Thaan” (temples) dedicated to “Kechai-Khaiti,” “Dikkabashini,” or “Kolimoti” , the youngsters danced throughout the night until the last intervening night of “Chot”. Being performed at night, this is called Rati (night) Bihu. The very vigorous dancing postures of dancers are believed to be attributes of the goddess. This is considered an indication that the goddess (Kolimoti) descended from heaven. Urukuwa or uruka starts after the perceived arrival of Goddess Kolimoti or Kechai-khati on earth at the end of the month chot. Urukuwa, or uruka, is a Sadiya-Kachari term that means to end. The next day of Uruka is Goru (cattle) Bihu. On the night of Goru Bihu, young people again dance in temples, sacrificing animals to the deity. Then young people in folk visited village households to perform Bihu, which is called “Husori” . The tradition of starting “Husori” from temples by Sadiya-Kachari and other Tibeto-Burman people was gradually replaced by Namghar (an Assamese prayer house) for Arayan influence. Human sacrifices were also done on the altar of Sadiya. But whether on occasion of Bihu, it’s clearly not known.
Theme of Bihu: Bohag, or Rongali Bihu, was originally a dance-centric natural platform for youngsters to express love and joy. The first lyrics of Bihu were called ‘Bonoriya Geet, ‘ i.e., a wild jungle song of young hearts longing for lovers. ‘Bonoriya Geet’ (wild jungle song) or Bihu rooted its origin in paddy fields and the jungle while grazing cattle far away from human settlements. That is considered a suitable place to express repressed longing and craving through these songs. Therefore, songs have erotic undertones.
BIHU AND BHAKTI MOVEMENT: The bhakti (devotion) or neo-Vaishnavite movement started from the 15th century onwards under Assamese polymath and social reformer Saint Sankerdeva. His teachings of his newly created religion, “Ek Saran” (Motto-one supreme soul in the universe), more energetically synthesised Assamese society, breaking strict age-old boundaries of caste or class system.
Apparently, the Bhakti movement has no direct influence on Bihu. But in reality, it has a deep-rooted influence. Sankerdeva initiated the social renaissance by preaching his revolutionary religion (Ek Saran, or devotional movement). The way and outlook of Bihu performance had changed dramatically after the emergence of Bhakti (devotion) culture. Some spiritually refined words and names of some Hindu gods taken in Husori (one kind of male Bihu). Praying and blessing in the name of Hindu gods in Husori is an effect of the Bhakti movement.
Royal Recognition of Bihu: During the heyday of the Ahom dynasty, in 1696, Ahom monarch Rudra Singha patronised Bihu for the first time by inviting or permitting him to perform in the courtyard of Ranghar (the house of joy). Bihu was once considered a low-key festival celebrated by a few on the riverbank or in a cultivation field. But after performances in Ranghar Bihu, it became a widespread festival embraced by all people traversing different ethnic groups, castes, and communities.
Consequently, a new form of Assamese cultural nationalism emerged. Songs are changed from erotic or sensual to panegyric type, i.e., songs sung praising the king and his deeds. PARTICIPATION OF FEMALES: An exact date isn’t known when males and females were allowed to dance together, which was once considered social taboo. Both sexes most likely began to participate in Bihu after royal recognition under Ahom monarchy.
BIHU UNDER BRITISH RULE: As a result of the treaty of Yadaboo (1826) signed between the British and Burma, the British entered and began to rule Assam. Before the advent of the British, Assam was politically ruled by two administrations. One by the Ahom dynasty in almost upper Assam up to Nowgong, and lower Assam from Nowgong onwards by the Koch kingdom. The British virtually unified Assam, and cultural exchange began between two previously disbanded states. Bihu’s popularity eventually spread to lower Assam and incarnated as an Assamese festival. However, in the nineteenth century, some new English-educated Assamese intelligentsia like Haliram Dhekial Phukan, Anandaram Dhekial Phukan, Gunabhiram Baruah, and Kamalakanta Bhattacharya demoralised Bihu as a vulgar and barbarian dance. Even Bhuddhinath Dilihial Bhattacharya wrote a letter to the Guardian newspaper of the United Kingdom in 1898 to ban Bihu’s performance. Bhattacharya characterised Bihu as a frenzied gathering of promiscuous dancers, which demoralised Assamese. But by the grace of cultural maestro Jyoti Prasad Agarwala, literateur Lakshminath Bezbaruah, poet Raghunath Choudhury, and social worker Radha Govinda Baruah, Bihu had been widely promoted.
Types of Bohag Bihu: The most popular unique show of Bohag Bihu is dance, which is variably associated with different kinds of Bihu.
(I) HUSORI: Performed in the courtyard of villagers, started in 1896 in the courtyard of Ranghar (house of joy). Previously, it was an all-male troupe, but now women also participate.
(II) MUKOLI BIHU: Performed in an open space with boys and girls mingling together.
(III) JENG BIHU/RATI BIHU: Traditionally, it is the direct counterpart of the men-only Husori. Performed by women only. In Jeng Bihu, no musical instrument is used.
Rati Bihu is supposed to celebrate at night away from men’s eyes, symbolising women’s liberation. The repertoire is the same as Jeng Bihu’s.
(IV) GOS TOLOR BIHU: This Bihu is under a banyan or big tree. It is the previous version of Mukoli Bihu.
(V) FAAT BIHU: Prevalent modern postures of Bihu dance imitated from Faat Bihu Celebrated in Mohguli Chapori near the Charikoriya river in Dhakuwakhana, it is one of the oldest Bihus of Assam. Faat means trading place or torn out. It’s believed that traders from different places assembled there for the Bihu celebration. Moreover, sections of people dispersed from Sadiya for the Ahom-Chutiya conflict were believed to be the main motivational force behind this festival. For uncontrolled excitement and gaiety, performers clothes were torn into strips, and musical instruments were cracked. So this Bihu may be named Faat Bihu.
DIFFERENT DANCE AND
ORCHESTRA
(I) Khupat Dhora Dance: Female Bihu dancers dance swaying to an orchestra of Dhol (drum), Tal (cymbals), Hutuli (made from mud), flute, Toka, and Gogona (both made of bamboo). This dance posture is to place dancers’ hands at the nape of their neck.
(II) TAKURI GHURA NACH: Dancing very quickly and pirouetting at the same place, the dancers partially became invisible.
(III) POKHILA URADI NACH: Dancing like a butterfly Hands move like the wings of a butterfly.
DIFFERENT FOOTSTEPS
IN DANCE:
(I) MOKORA BULONI: Dancers move their feet like a spider.
(II) PORUA BULONI: The foot motion of a dancer is like an ant going in a particular direction.
Present Bihu: Bihu has survived since time immemorial through many socio-cultural upheavals. It has been changing its form as time demands. Starting from farmland, Bihu reached the digital world via stage and will remain alive as long as Assamese live.