Chapter I

An overview of Bihu festivals

The Assamese people celebrate mainly 3 agrarian traditional festivals in 3 different stages of cultivation of Kharif-paddy or Sali-paddy, the main crop of the state. These three festivals are – Bohag Bihu, Kati Bihu and Magh Bihu. The festivals befall in 3 different seasons of a year: Bohag Bihu in the spring season, Kati Bihu in autumn and Magh Bihu in winter season.

The intangible heritages of the Bihu festivals including rituals, music, dance, games, traditional cuisines, typical snacks, and festivities are superbly extensive and wide-ranging. Traditionally, more than 40 kinds of rituals are performed systematically in the three Bihu festivals. These rituals not only reflect the religious faiths and actions of Assamese people, but also their rich culture, indigenous technical knowledge (ITKs), philosophies and occupational acumens. Majority of the rituals are productive in modern era too. The most alluring and attractive intangible heritage of Bohag Bihu are its distinctive dance form, songs and music. The dance form is called as Bihunach, the archetypical songs are called as Bihunam or Bihugeet, and the typical musical instruments are called as Bihubadhya.

This chapter aims at introducing all the major components and intangible resources of the Bihu festivals so that a reader even being unfamiliar to these festivals can gain understanding on the festivals in abridged form. In other sense, abstracts of all the chapters of the book are presented in this chapter in nutshell. Thus, this chapter can be regarded as introduction of book.

Bihu as identity of Assamese People

Bihunach, Bihunam and Bihu festivals are breathtakingly dear to the Assamese people. Majority of Assamese people can sing Bihunam and perform Bihunach. Whenever an Assamese expresses joy in any occasion spontaneously, she or he dances Bihunach and/or sings Bihunam – no matter whatever the occasion and reason of celebration. Assamese people spontaneously perform Bihunach and/or sings Bihunam in winning games and sports, in doing good result in education, in achieving bumper harvest, in getting any good news and the like. When such a celebration occurs in group, the magnitude of dancing Bihunach and singing Bihunam becomes more fabulous.

Moreover, Bihunach, Bihunam and Bihu festivals are recognized as cultural identity of Assamese people. In fact, the very word Bihu is considered as the cultural identity of Assamese race. Every Assamese is highly proud of the awesome prototypical cultural resources of the Bihu festivals. It is opined or said that - Bihunam and Bihunach are in the blood of Assamese people - Bihu is in the breathe of Assamese people –Bihu is dearest of the dearest– Bihu is heart of Assamese people – Bihu will be there till Assamese race exists – Assamese race will be there till Bihu exist. The legendary Assamese singer Dr. Bhupen Hazarika expressed in one of his evergreen songs that Bohag Bihu is the life-line of Assamese race.

Overview of Bohag Bihu

Bohag Bihu is celebrated prior to initiation of the activities of Sali-paddy cultivation. It starts on the last day of the month of Cho’t of Assamese calendar. The date usually befalls either on 13th or 14th April in Gregorian calendar. It is celebrated for 7 days. As said earlier, among the three Bihu festivals, Bohag Bihu is the most extensive, joyful and colourful in terms of rituals, dance, songs, music, cultural functions, and days of celebration. Moreover, it is celebrated for more days as compared to that of other two Bihu festivals. Bohag Bihu is also regarded as New Year festival, as because the Assamese New-year begins on first day of the month of Bohag. The day of commencing Bohag Bihu also bears significance as Vishuva Sankranti.

The inherent purpose of celebrating Bohag Bihu is to worship to God(s) for exclusive growth of Sali-paddy leading to bumper harvest. Another purpose is exchanging love, affection, gift etc. and rejoicing the wonderful spring season and traditional festivities. Moreover, the obvious purpose of the festival is to gain all-round wellbeing and prosperity of self, family and society by obtaining blessings of Almighty and respected ones.

Overview of rituals of Bohag Bihu

The rituals performed in Bohag Bihu are substantially more as compared to that of Magh Bihu and Kati Bihu. There are rituals reassuring to all the said purposes of the festival, and these are performed systematically for seven days. Each of the seven days has specific name and specific mandatory rituals are performed in each day. The seven days together is called as Xaat Bihu - means seven Bihu of seven days. The names of these seven days are – Goru Bihu, Manuh Bihu, Kutum Bihu, Haat Bihu, Tantar Bihu, Nangal Bihu and Chera Bihu. Of course there are a few variations in naming the seven days among localities as well as communities which are discussed in another chapter. A few most archetypical rituals of Bohag Bihu are as hereunder:

• ➢ Washing and caring bullocks and cows.
• ➢ Feasting explicit traditional cuisines of medicinal value.
• ➢ Eating selected bitter nourishments at empty stomach.
• ➢ Taking bath by applying traditionally prepared paste of medicinal value.
• ➢ Cleaning agricultural implements.
• ➢ Cleaning weaving implements
• ➢ Keeping auspicious items at roofs of house and cattle-shed
• ➢ Visiting parents by married daughter.

Overview of Traditional Games of Bohag Bihu

Two interesting and prototypical traditional games namely Koni-yunj (egg fighting) and Cowry-khel are organised as part of celebrating the festival in which menfolk take part with immense enthusiasm. (Photographs of selected rituals and games of Bohag Bihu are placed in Appendix I)

Classic gifts in Bohag Bihu

Bihuwan and Kopouphul (Rhynchostylis) bear special significance in Bohag Bihu. Bihuwan is a specially woven prototypical scarf or towel like item of Assamese culture. The females present Bihuwan to dear ones and respected ones as special gift at the occasion of Bohag Bihu. Assamese women start weaving Bihuwan well ahead of Bohag Bihu so as to present in the festival. Gamosa is another name of the same item, and is used by Assamese people for various purposes, particularly as towel and also as muffler. At present it is also used to felicitate personalities in meetings etc. It is so archetypal that currently some people use it as a kind of symbolic piece of costume to depict identity as Axomiya (Assamese people). The process of obtaining Geographical Indications (GIs) for Gamosa as a prototypical resource of Assamese culture is in progress. The word Axomiya refers to Assamese people and also Assamese language.

Kopouphul, the majestic and appealing orchid with big inflorescences blooms at the time of Bohag Bihu. Gift of Kopouphul from boyfriend or husband at the occasion of Bohag Bihu is regarded as especial by an Assamese girl or woman. The English name of Kopouphul is Fox tail orchid (Rhynchostylis).

Overview of Dance and Songs of Bohag Bihu

The most alluring, attractive and prototypical intangible heritage of Bohag Bihu are Bihunach and Bihunam. Bihunach is superbly appealing folk dance with typical rhythms, typical movements, typical twisting of waist, typical gyrating, typical poses, typical expressions.

Bihunam are also superbly fabulous and distinctively archetypical traditional songs of Assamese culture. They are distinctive and of high standard not only with regard to lyrical attributes but also in term of rhythms, tunes and ways of singing. Moreover, the magnitude of Bihunam is incomparably enormous. Several thousands of Bihunam have so far been composed across many centuries out of which more than 5000 have been documented in printed form in modern era. The subject-matters of Bihunam are also exceedingly diverse. There are Bihunam on all aspects related to Assamese agrarian life. Love is at the core of majority of the Bihunam. More than hundred tunes of singing Bihunam have become evergreen and established as prototypical as a result of singing Bihunam in many villages every year over centuries.

Total seven numbers of musical instruments are recognised as Bihubadya. They are - Bihu-dhol, Mohor-xingor-penpa, Toka (Mati-toka and Haat-toka), Gogona and Xutuli, Pati-tal and Baanhi. Out of these, the first five are prototypical and made of locally available materials. (Photographs of Bihubadya are placed at Appendix VII)

Overview of Rati Bihu and Jeng Bihu

Rati Bihu and Jeng Bihu were two fabulous programmes held in midst of nature as part of celebration of Bohag Bihu. It is postulated that that these programmes were held since pre-historic period. However, at present these programme are not held in midst of nature due to changed socio-cultural, educational and occupational scenario. Of course, both are showcased in cultural functions organised at the occasion of Bohag Bihu. Both Rati Bihu and Jeng Bihu were also called as Gostolor Bihu, Bonor Bihu and Maiki Bihu. Moreover, Jeng Bihu was also called as Toka Bihu, Gabhoru Bihu, and Senehi Bihu

Rati Bihu was held in night in forest. A group of grown-up girls and a group of grown-up boys participated by maintaining decent distance in Rati Bihu. The group of girls performed Bihunach, sang Bihunam and played Toka, Gogona and Xutuli. The group of boys sang Bihunam and played mainly Mohor-xingor-penpa. Additionally, in a few villages Bihu-dhol and Pati-tal were also played by the group of boys in Rati Bihu. (Picture of Rati Bihu and Jeng Bihu are placed at Appendix IV)

Jeng Bihu was also held in midst of nature but at daytime, and a group of grown up girls performed Bihunach, sang Bihunam and played Toka, Gogona and Xutuli. There was no participation of menfolk in Jeng Bihu. The Assamese world Jeng means branch of Bamboo tree. In some localities Jeng was placed around the spot at which girls danced, and so, the name Jeng Bihu. In present era this name has become more popular, and hence it is used in this book to mean the programme. The spot at which girls performed Bihunach in Rati Bihu or Jeng Bihu was called as Bihukhola.

Overview of Hunchari

Hunchari is the most illustrative and reverential among three traditional programmes in which Bihunach and Bihunam are performed by playing Bihubadya. The group which perform Hunchari is called as Hunchari-dal. Generally one Hunchari-dal is organised per village, and it performs Hunchari in courtyards of the families of the village by following several definite traditional norms. There are broadly four parts or components of Huncahari:

• ➢ Mangaldhani
• ➢ Hunchari–diha
• ➢ Bihu
• ➢ Ashirbad.

In the Mangaldhani and Ashirbad parts the Hunchari-dal blesses the family. In Hunchari–diha, and Bihu parts the Hunchari-dal sings Bihunam and performs Bihunach by playing Bihubadhya. Hunchari-diha is also called as Hunchari-ghokha.

Originally only menfolk participated in Hunchari. Later, another format has been evolved in which girls also participate. About evolution of this format is presented in another chapter. Hunchari was held in courtyards of families in many villages till the end of 20th century. Then onward it dwindled. At present, Hunchari is held in courtyard of families only in a few villages. However, it is showcased in most of the cultural functions organised in present era at the occasion of Bohag Bihu. (Photographs of Hunchari are placed at Appendix V)

Overview of cultural functions of Bohag Bihu

In present era, as part celebrating Bohag Bihu, cultural functions are organised in hundreds of places in the state throughout the month of Bohag. Assamese people living in outside Assam and abroad also organise such functions in celebrating Bohag Bihu. In such a cultural function, Hunchari, Rati Bihu and Jeng Bihu are performed as well as showcased, and exclusive programme on Bihunach is also held. Competitions of those are also organised. Moreover, programmes of celebrity artists on modern Assamese songs and modern Bihugeet are held extensively. Folk dance and folk music of various ethnic groups of Assam are also showcased.

Furthermore, at present programmes of Bihunach and Bihunam are also showcased in national and international cultural events. Such performances have already earned remarkable applauds wherever showcased. Several groups have bag prizes in competitions of folk dance organized in different parts of the globe. Musical performance of Bihubadya has also exceled in such events.

Even so, there is need and scope of showcasing the wonderful traditional dance form, songs and music of Bohag Bihu more extensively to the world.

Pitha and Jalpan of Bihu festivals

Preparation of varieties of traditional food items including especial cuisines, sweets and snacks is integral part of most of the agrarian traditional festivals. Varieties of traditional foodstuff such as Pitha, Laru, traditional refreshments called as Jalpan, and especial cuisines are prepared in Bohag Bihu and Magh Bihu. The Assamese word Pitha means flour. Pitha is typical cake or biscuit like confectionary items prepared from rice flour. Varieties of Pitha are prepared in both the Bihu festivals which include:

• ➢ Til-pitha
• ➢ Bor-pitha
• ➢ Chunga-pitha
• ➢ Ghila-pitha
• ➢ Tekeli-pitha
• ➢ Xutuli-pitha
• ➢ Joon-pitha
• ➢ Anguli-pitha
• ➢ Kandhuli-pitha
• ➢ Luthuri-pitha.

The different kinds of Laru are:

• ➢ Tilar-laru
• ➢ Narikalar-laru
• ➢ Sira-laru
• ➢ Pokamithoi
• ➢ Muri-laru

The traditional items prepared as Jalpan are: