Original in Assamese: Kushal Dutta
Translation: Bibekananda Choudhury
Let us first define clearly the terms ‘Assam’ and
‘Assamese’ before we proceed to discuss Culture of Assam and Assamese Culture;
but the irony of the situation is such that while the image carried by the term
‘Assam’ is fairly clear, on the other hand, the definition of the abstract word
‘Assamese’ is still undefined. Still, generally speaking – of the planet Earth,
in the Union of the States named India lying in the continent of Asia – the
North-East Region before independence; and in the era after that one of the
States from the group of eight of the North-East is known to all as Assam
bounded by its political boundaries.
On the other hand, the indigenous people living in Assam
are Assamese. And again, people originating from this land and staying at
various places outside Assam in various other States of India and also strewn
around the globe outside India are also Assamese. And, the culture related to
Assam and the Assamese people is the culture of Assam and Assamese Culture.
Though there are numerous instances of a single culture
of a certain nation in a certain country in various corners of the world since
history could reach, the culture of Assam and the Assamese has developed as a
mixed or hybrid culture. The similarity of Assam and Assamese Culture with
these characteristics of great India and Indian Culture is highly noteworthy.
Staying within a political boundary except this only major similarity and this
culture of Assam and Assamese Culture even after being a part of great India
and Indian Culture we identify it independently only because of the ingredients
that form Assam and Assamese Culture, developed it and is sustaining it – all
these are more or less elemental. Like Switzerland or Kashmir is termed
paradise on Earth, in one sense, without any hesitation, Assam can also be
termed cultural paradise on Earth as a limited edition of huge expanse of human
culture.
Though the historians are yet to arrive at a consensus
regarding the point of time when ‘Assam’ became the approved and accepted name
of this land – everyone generally agrees that since after the arrival of the
Ahoms led by Siu-Ka-Pha across the mountain range of Patkai in 1228, they had
coined and popularized it to make it acceptable to all. Before the arrival of
the Ahoms this land was known as ‘Pragjyotishpur’ and subsequently as
‘Kamrupa’.
As on today, Assam forms a State of Indian Union.
Situated at the right flank of Himalayan Range between 140 to 280 North Latitude and 900 to 970 East Longitude, the total area of Assam is
roughly 78,550 square kilometers. On the north of Assam is Arunachal Pradesh
and Bhutan; on the east Arunachal Pradesh, Nagaland and Manipur; on the south
Mizoram, Tripura, Manipur, Meghalaya and Bangladesh; on the west there is
Meghalaya, Bangladesh and West Bengal. The total population of Assam according
to 2011 census is 3,12,05,576. The two major natural regions have formed
centered around the two major river systems Brahmaputra and Barak. The
Brahmaputra River Valley system is based on Brahmaputra River covering Assam
entirely in an East-West direction and the Barak Valley Region covers the
southern portion from North to South centered around the Barak River. The five
major cities apart from the capital city of Guwahati are – Silchar, Dibrugarh,
Jorhat & Tezpur; and the number of urban colonies are gradually increasing;
but still some 86 percent of the population are village dwellers. Assam is a
well known household name around the world because of its tea, crude oil, one
horned rhinoceros, the Assamese language, Bihu, Kamakhya Temple, Satras
of Majuli etc.
The suffix iya has added up with Axam
(Assam) to form the word Axamiya (Assamese). Though the definition of
this abstract concept of the name ‘Assamese’ is still to be defined, we have
already mentioned that the indigenous inhabitants of Assam are Assamese (Hoiberg,
2010). And again, people originating from this land and staying at various
places outside Assam in various other States of India and also strewn around
the globe outside India are also Assamese. Generally we get a concept that
Assamese people are the ones who use Assamese, the major language of Assam that
is the main connecting language amongst the people using various languages. In
the true sense, the Assamese nation has been formed with the people residing in
Assam from various religious faiths – Hindu, Islam, Christian, Sikh, Buddhism,
Jain etc. The Assamese nation is formed by all the tribes, sub-tribes and communities
like Adibasi, Ahom, Aka, Baishya, Barman, Beite, Bengali, Bhaife, Bhui, Bodo,
Brahmin, Sema, Dafala, Deuri, Dimasa, Hajong, Hojai, Jayantia, Jemi, Kachari,
Kalita, Karbi/Mikir, Kayastha, Khamti, Koch, Kuki, Lingam, Liyangmai, Lusai,
Marowari, Matak, Mech, Mhar, Mising, Mizo, Manipuri, Moran, Munda, Naga, Nisi,
Nocte, Nath/Jogi, Phake/Tai Phake, Rabha, Rajbongshi, Rengmai, Sonowal Kachari,
Tai Aiton, Tansa, Thengal Kachari, Odia, Tiwa/Lalung, Turung etc. Apart from
the people with the major language Assamese the Assamese nation is formed by
all these people, using all the languages and dialects. And Assamese culture is
a connection of all these religions, races – tribes and sub tribes, language
and dialects.
The concept of ‘Assam’ and ‘Assamese’ has been mentioned
separately in the beginning to make easier entry into the next phase of
discussion, but from now on only the word pair ‘Assamese Culture’ would be
used. Because the geographical limit imposed by culture of Assam is not present
in ‘Assamese Culture’ – it is open, ever changing and developing. The sense of
culture also generally carries such expanded meaning.
The development of culture obtained from education (Neog and Goswami, 1987); the mental virtues reflected by the influence of
education, intelligence, art and culture, upbringing, customs and rituals
(Neog, 2001) and the manifestation of habits and conducts of a society or the
members of a society (Hoiberg, 2010) – where the food habits, language, dress
codes, daily life and rituals, popular belief, music and songs, arts and
paintings, architecture, sculpture, religion, science, sports – all the
properties and ingredients are reflected – that is culture in totality.
Likewise people speaking different language and following different customs,
heritage, folklore, food habits, language, dress code, daily life style, song
and music, art and paintings, architecture, sculpture, science, sports,
religious faith of all races, tribes and sub-tribes combine together to form
Assamese Culture.
After getting a concise picture of Assamese Culture in
the backdrop of space, now we can differentiate it into various segments for
our convenience with respect of time. In the backdrop of flowing time we can
divide it into segments like–
i)
From pre-historic to the
arrival of the Ahoms.
ii)
From the beginning of Ahom
Rule up to the period of Sankardeva.
iii) From the period of
Sankardava to the arrival of the British into Assam.
iv) From the period of British
Rule till India’s independence.
v) From Independence to the
present era (Up to the state-of-the-art e-age, globalization etc.) and get into
a brief discussion about the development- evolution-expansion-contraction and
the cultural elements.
The Himalayan range was born some fifty million years ago
rising up from under the sea bed through various geo-natural phenomenon. Along
with the Himalayas was also born the Indian subcontinent – popularly known as
‘Jambudweep’ in the prehistoric era. Likewise, several million years elapsed
before the North East Region of Indian subcontinent became fit for human
habitation after coming into existence through the natural process. There is no
evidence of evolution-development-movement of Paleolithic humans as per information
received through state-of-the-art DNA analysis of oldest Roman fossils ever
discovered. It means that the species called
homosapiens (human) must have migrated from various other parts of the globe to
this region. But when did the very first of such migration take place?
Many researchers tend to mention that the people of
Austric group migrated to this region between about 3500 B.C. to 2500 B.C. and
started living here. Many even try to term it as a mixed flow of population
naming it as Austro-Asian migration. The Austrics entered into Assam through
the sea route lying in the South-West region. The Austrics were short, dark
skinned and had coppery curly hair on their head. Many people like to identify
the present Santhals, Kukis, Manipuris, Kacharis etc. as the descendants of the
Austrics.
After the Austrics, between 3500 B.C. to 2000 B.C., the
Caucasians too arrived in Assam along with the rest of India and started living
here. These people of Caucasian root arriving from coastal regions around Mediterranean
Sea & West Pacific Ocean, Iran and Saudi Arabia established the Hindu
Civilization that was extended to the North East Region through the people
belonging to Indo-Dravida group.
The Mongols were the third largest flow of people that
arrived in Assam after the Austric-Dravidas. The Mongols came across the
Himalayas from China-Mongolia regions during about 3000 B.C. to 1000 B.C. and
started living in Assam. The pundits opine that the Karbi, Bodo, Deuri, Garo,
Mising, Chutiyas are the descendants of the Mongol race.
The Aryans arrived in Assam along with the rest of India
nearly at the same time with the Mongols that continued till some time after.
Improved agricultural practice, a decent life style, developed language had
been the fore of the Aryans with which they could establish supremacy over the
people of already settled races. Majority of the Upper caste Hindus, Brahmins, Gosains
etc. are considered as the descendants of the Aryans.
There had been no huge wave of influx for a long time after
the arrival of the Aryans. On 1228 A.D. another segment of the Mongoloids, the
Ahoms who actually laid the foundation of the greater Assam and the Assamese
nation as we find today arrived from the Mong-Mao province (now under Chinese
occupation). Prince Siu-Ka-Pha set on an expedition in search of a new land –
‘the land of golden corn’ in 1215 A.D. Siu-Ka-Pha entered into Assam in
December 1228 accompanied by some three hundred mounted soldiers and
nine-thousand foot soldiers traversing several thousand kilometers of
woods-denseforest-hills-mountains-rivers-villages and towns. Siu-Ka-Pha
established the Ahom Kingdom by defeating the kings of tiny provinces of Assam
and by entering into friendly ties with some less belligerent ones. The
following six hundred years of Ahom Rule can be termed as the Golden Era of
Social and Cultural life of Assam.
Somewhat at the same time with the Ahoms, a section of
Muslim invaders coming from far away Turkey, Afghanistan etc. stayed back in
Assam forming integral part of Assamese Nation and Culture.
After the Ahoms following the Yandabo Pact signed on
February 24, 1826, between the British Army and Burmese Army, the English came
temporarily to Assam. To facilitate large scale produce of tea by establishing
a large number of tea gardens, the British brought around two million labourers
from Jharkhand, Odisa and Bengal and settled them here. During the British
reign a huge number of people also migrated from East Bengal (now Bangladesh),
Bihar, Uttar Pradesh, Nepal etc. and settled in Assam.
But the largest migration to Assam after independence
happened from Bangladesh. Though the actual figure is yet to be arrived at, at
least four million migrant Bangladeshi people has affected and changed the
population structure and pattern in an extensive manner. A good number from
Nepal and Bhutan also migrated and started living permanently in Assam during
the post independence period.
It is observed from all these studies that at various
times various groups entered into Assam, but except the Burmese and British, no
one left this place. Austric, Dravidian, Mongoloid, Aryans – all these people
arrived at various juncture to Assam and formed the large Assamese Nation
amidst all the differences. All the people belonging to various nations, group,
religious faiths and speaking different languages has formed a common large
Assamese Nation and its Culture while preserving their independent religious
customs and rituals, language and heritage. So in the true sense Assamese
Culture is a mixed culture, a hybrid culture, a culture of unity among
diversity, a culture of oneness amongst differences.
Now what are the elements, parts and subparts of the
abstract concept that we get by the term ‘Assamese Culture’? We are going to
mention only its major ingredients and parts in this short discussion though
the culture encompasses generally all the sides of a nation like life style,
nature and behaviour and habits, food habits, language, dress code, daily
routine, popular belief, music, science, sports & games etc.
As we talk of the culture of Assamese people that have
lived a simple life style for ages through natural−un-natural, eco-political
environment with a distinctive dress, food habit and colourful festivals the
first thing that strike our mind is Assamese language that has practically
linked all the races and tribes and people residing in Assam speaking various
languages and observing different religious faith with an invisible chord.
Assamese language falls in the Aryan language group. The Assamese language has
evolved from corrupted Magadhi form developed between 600 to 1000 A.D. of the
Central Indian Sub-Aryan section of Indian Aryan language that forms a part of
the huge Indo-European language group. Perhaps it was about 1000 A.D. when the
Assamese script earned a distinct form. Concrete proof of development of
Assamese script is obtained from copper plate inscription dating back to
Eleventh Century discovered at various places including Umachal Hills at
Guwahati. The linguists have identified the development of Assamese language
into four distinct stages; these are : Pre-Assamese language or the Assamese language
of evolutionary stage (7th Century A.D. to 12th Century A.D.), Ancient Assamese
(13th Century A.D. to last part of 16th Century) [ Pre-Vaishnava or Pre-Sankara
and Vaishnava or Sankara Era also included in the last one]; Medieval Assamese
(17th Century to the Early 19th Century or the time of commencement of the
British Raj) and Modern Assamese language (from early 19th Century to the
Present times). Apart from major language Assamese of Aryan origin, the other
languages and dialects from Chino-Tibetan, Indo-Burmese segments of non-Aryan
origin are integral part of Assamese Culture. Amongst these, the Bodo language
has achieved a different dimension of development by acquiring the
constitutionally accredited status. Similarly, various major and minor languages
like Karbi, Sadri (Santhali), Tiwa, Deuri, Mising, Kamrupia, Goalporia etc. are
moving forward through various phases of development.
Another major ingredient of Assamese Culture after the
language is the literature of its various member languages. Caryapadas
are the first written manuscripts in Assamese literature. Basically composed in
verse form to propagate and circulate the Buddhist philosophy and culture,
these were possibly written between eighth century A.D. to twelfth century A.D.
Relying on this fact, one can conclude that the history of Assamese language
and development of its literature is some 1000 to 1300 years old. And then, we
get as evidence of Pre-Sankara era literature – Hem Saraswati composed Prahlad
Charit, Madhav Kandali translated Balmiki Ramayana, Durgabar’s Geeti
Ramayana of fifteenth century, and Panchali Sahitya translated by
Peetambar and Mankar. Again, in the Vaishnava era, we get in the fifteenth
century literature of Sankara-Madhava, various compositions by Ram Saraswati,
Kathakar Bhattadev etc. that has practically triggered renaissance of Assamese
literature. Thus, Assamese literature bloomed with many branches during the
Ahom era. Especially, the Ahom Buranjis are valuable treasure of this
period. Various Charit Puthis including Kathaguru Charit are also
significant literary creations of this period.
The modern era of Assamese literature commenced in 1846
with the newsletter published from Sivasagar town by a group of Christian
Missionaries Arunodoi, seeing the light of the day. Presently the
Assamese literature has been able to carve its own niche in the field of world
literature by dint of the hearty effort of people like Hemchandra Barua,
Lakshminath Bezbaroa, Banikanta Kakati, Krishnakanta Handique to name a few. In
the post independence era literatures of two prominent Assamese writers were
honoured with ‘Bharatiya Jnanpith’, the highest literary award in India – one
by Dr. Birendra Kumar Bhattacharya for his novel ‘Mrityunjay’ and the other by
Dr. Indira Goswami (Mamoni Raisam Goswami) for her overall literary works.
As on today the literature of the major language Assamese
has been progressing through various dimensions of development along with the
Bodo literature that has lately achieved constitutional status. Keeping pace
with these two, the other languages like Rabha, Mising, Deuri, Karbi, Dimasa,
Tiwa, Sonowal, Sadri are also moving forward through various stages of
development and progress.
A very bright and colourful part of Assamese Culture is
the colourful dance-song-festivals of all the races or tribes that we must take
into account immediately following the language and literature. And
doubtlessly, Bihu is the most popular culture amongst all the festivals
and rituals. Though there is no concrete evidence about the advent of Bihu
in Assam, everyone agrees to the fact that the Ahoms started the Bihu
that is celebrated with a week-long pomp and gaiety starting from the last day
of Chaitra − the last month of Assamese calendar; second is Kangali
or Kati Bihu observed on the last day of Aswina. The third is Magh
Bihu or Bhogali Bihu celebrated for three days after the winter
harvest from the penultimate night of Pausa. Majority of non-tribal and
tribal races celebrate this Bihu with their unique heritage and customs.
Dance and song in Rongali Bihu and various food items in Bhogali Bihu
is an integral part of the celebrations. Apart from Bihu, many other
functions related to devotional, reformatory, love and affection, friendship,
marriage, of one’s profession and trade, agriculture, astrology, hunting,
battle, clowning, magic & witchcraft have found its way in various
rituals-festivals-dance or religious activities in both the tribal and non-tribal
societies. Some of them are Me-dam-me-phi of the Ahoms; Baisagu, Bathow
puja, Kherai puja, Bagurumba dance, Dahal Thungri or Ranchandri
dance, Deodhoni dance, Masglangni dance etc. of the Bodos; Ali-aye-lrigang
festival, P:rag festival, Gumrag dance, Ni:tam, Anoini:tam
of the Misings; Bishu of the Deuris; Bayasu, Sathar dance,
Bhari Gaan, Dhawa dance of the Rabhas; Sogramisawa, Barat
dance of the Tiwas; Cha’mangkan festival, Rongker festival, Banjar
Kekan dance of the Karbis; Bahua dance of the Sonowal Kacharis; Buchu
dance, Bai-Maijai dance of the Dimasas; wangala of the Garos; Darlam
of the Hmars; Kin-inkep-inlam of the Jemis; Jansalam of the
Kukis; Karam puja, Jhumuir of the Tea tribes; Dhulia
dance, Bhatheli festival, Huweree of Kamrupa; Kali-chandi
dance, Hudum puja, Bansh puja, Kushan Gaan, Sonaray
puja, Charak puja of Goalpara; Mohoho, Sukananni oza-pali
of Darang; Bishnu puja, Shiva puja, Durga puja, Lakshmi
puja etc. of the caste Hindu; Eid, Ramadan month of the Muslim; various
religious worship and festivals of Christian, Buddhist, Sikh, Jain and all
other communities.
Various folk instruments like Dhol, Dagar, Khol, Dhak,
Doba, Pakhuwaj, Mridanga, Dambaru, Bordhol, Dhepadhol, Rajadhol, Deodhol,
Madal, Kham, Sheng, Dumdum, Penpa, Gagana, Hutuli, Kartal, Bhortal, Khutital,
Manjira, Barkanh, Jalakanh, Ghanta, Nepur, Lupi, Jatha, Shensh, Bongshee,
Banhee, Benu, Sankha, Kali, Mahari, Charinda, Tokaree, Been, Bena, Ektara,
Rash-Madli, Tendra etc. are used in song & dance in Assamese folk
culture.
The Art and Culture of first renaissance of Assamese
national life ‘Vaishnava Movement’ is a major classical element of Assamese
Culture. With elements like Namghar, Satra, Ankiya Naat, Bhaona, Bargeet,
Bhatima, Satriya Nritya this movement has been put on a strong steed with
new armour spearheaded by Sankardeva and Madhavdeva, the two great sons of
Assam.
Along with festivals and dance, the expanse of Assamese
Culture has been extended by music and songs too. Apart from Bargeet-Bhatima-jikir
of Sankar-Madhav-Azan – The Assamese Culture is enriched by unique songs and
other elments of each and every community – tribal and non-tribal, small and
large. Moreover, the modern Assamese creative music is enriched by thousands of
lyricists-music composer-singers like Lakshminath Bezbaroa, Jyotiprasad
Agarwalla, Bishnu Prasad Rabha, Parbati Prasad Barua, Keshav Mahanta, Rudra
Barua, Bhupen Hazarika, Navakanta Barua, Birendranath Datta, Khagen Mahanta,
Deepali Barthakur, Pratima Barua Pande, Parbin Sultana, Pulak Benarjee, Jayanta
Hazarika, Dwipen Barua, Zubeen Garg etc.
Through the Bhaona of Vaishnava heritage the theatre got
developed in Assam in an organized manner. Before that puppetry dance & Durgabori
Ramayana was staged though only through the bhaona of Sankardeva it took
the form of rich heritage. Later, for several decades Yatra imported from
Bengal too gained popularity in Assam. In the present times both professional
and amateur theatre is considered a prominent part of Assamese Culture. The
amateur cultural groups have played a strong role in creating a healthy drama
movement. Amongst these groups Baan Theatre, Gana Natya Sangha-Assam, Kamrupa
Natya Samiti, Kumar Bhaskar Natya Mandir, New Art Players, Natasainik, Navik,
Seagull, Surya, Jirsong Theatre, Badungduppa, Darpan-the Mirror, Natasurya,
Jyotirupa, Geetal are some noteworthy names. Not to forget than, since last
half century this mobile theatre has earned recognition as an effective popular
media. Amongst them Nataraj, Koh-i-nor, Awahan, Hengul, Bhagyadevi, Srimanta
Sankardeva Theatre, Bardoisila are forerunners.
Like the drama, another strong media of modern culture,
Cinema has also enriched Assamese Culture in a colourful way. The journey
commenced in 1935 with the making of ‘Joymoti’ by Jyotiprasad Agarwalla. Till
date in the 80 years since 1935 several hundred movies in several languages
like Bodo, Karbi, Mising apart from Assamese has been made and released. Some
noteworthy filmmakers are Jyotiprasad Agarwalla, Bhabendra Nath Saikia, Padum
Barua, Jahnu Barua, Gautam Bora, Svantana Bordoloi etc. Quite a few of them
even earned awards apart from being screened in many festivals at national and
international platform.
One can keep on writing about many other innumerable
small and big branches of Assamese Culture, but it is not possible to include
all such in such a short bird’s eye view discussion. With the elements of many
rituals like Tamol-paan, Gamocha, Xarai, Sofura, etc., to the handicraft of Bamboo-Cane and
fine art work on bell metal to the ornaments and then from paintings on books
to postmodern unintelligible gibberish art and paintings, from pre-Ahom, Ahom,
Islamic, Christian, Buddhist, British architecture to the state of the art
& architecture with a couple of millennium long history with the many
sculpture, colourful food items & dresses, vehicles, sports, telephone,
radio, television, computer, internet, mobile, dance bar, wine shop, gambling
den, vote bank politics slowly everything is getting into the larger meaning of
Assamese Culture.
References
- D. Hoiberg (Ed.). Encyclopedia Britannica. Vol. I, USA: Encyclopรฆdia Britannica, Inc., Chicago, Illinois, 2010.
- M. Neog (Ed.). Chalanta Abhidhan. First Edition, Guwahati: Govt. of Assam (Political Wing), 2001.
- M. Neog and U. Goswami (Ed.). Chandrakanta Abhidhan. Third Edition, Guwahati: Gauhati University Press, 1987.
About the author: The author, Mr. Kushal Dutta (b. 1976) is an Indian poet, journalist and editor
writing in the Assamese language, has five collections of poems and three other
non-fictions. He has also edited a number of literary, cultural, GK, cine
magazines, souvenirs and books. He was awarded the prestigious ‘Munin Barkataki
Award’ (2003) from Munin Barkataki Trust (Assam), ‘Kathamalita Award’ (2011)
from Kathamalita group (Assam) and ‘Srijan Sahitya Samman’ (2013) from ‘Srijan
Xahitya Sammelan’ (West Bengal). His poems have been translated into almost all
major Indian languages and some major languages of the world. On the other hand
Photography is also a subject of keen interest for familiar poet Kushal Dutta.
His first ever photo exhibition (along with painting based on Kushal’s poems
entitled ‘the baya’s nest’ by Manjit Rajkhowa) was held at State Art Gallery,
Guwahati from 4th to 9th Feb.
2013. By profession Kushal is a journalist working with Dainik Asam, an
Assamese daily from Guwahati, Assam.
About the translator: The author, Bibekananda Choudhury, an electrical
engineer by profession, has completed his MS from BITS Pilani in Systems and
Information. He has also earned a diploma in French language from Gauhati
University. He has got published works (both original and translated) in
Assamese, Bengali & English in popular periodicals and newspapers. His
translated poems has been published in 'Indian Literature', ‘Poets
International’, Poetry International’, Rupsi Bangla, etc. 'Suryakatha', the Bengali adaptation done by
him of the Assamese novelette in verse in the same title by Prayag Saikia was
well accepted. His English translated publications include – one short story
collection and four poetry collections and one Information Book on Kaziranga,
apart from few others in manuscript form. He hails from Bongaigaon and
presently stays at Guwahati.
Very nice Kushal da..
ReplyDeleteThank you for taking the time to publish this information very useful! useful reference
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