FOLK DANCE OF ASSAM

Assam, the land of eternal charm, is one of the oldest treasuries of dance tradition in India. Though continuous history of Assam is not traceable beyond the Ahom rule, it can be learnt from the available chronicles and records that Assam has a long and rich tradition of dance and music. Existence of a specific dance form in Pragjyotishpur has been mentioned in Bharat’s Natyashastra. Historical inscriptions, sculptural relics and texts like Kalikapurana and Yoginitantra cite many references to vocal music, musical instruments and dance. Nandikeshwara’s Abhinaya Darpana states in the introductory verse that Usha , the daughter of Banasura, is the first disciple of Parvati , the goddess of dance and the consort of Nataraja Shiva.

In the seventh century A.D. Hiuen Tsang, the Chinese guest of Bhaskar Verma , the great king of Kamrupa, was entertained with dance and music every day  throughout the month of his stay. Till recently, there was a tradition of presenting dances as part of worship in the temples like, Hajo, Parishareswar, Biswanath, Dergaon etc. A part of the temple dance of Parisheswar is presented as Devdasi Dance under the initiative of Shri Ratna Talukdar, who has received this dying dance. Even now, the “Deodhani” and “Deodha” dances are performed before the altar of the serpent Goddess Manasa in the Kamakhya temple once in a year. It is interesting to note that dances in Assam follow the natural movement of men.

Famous anthropologist of India opines that there were about 220 sub communities with their own cultural identity after the advent of Ahom rule. This number has been reduced and most of these sub – communities were merged with other communities and though assimilation, they have lost their identities. Even now, there are heterogeneous communities bearing their own cultural identity. Some of these communities are Bodo, Mising, Deori, Marang, Tai Fake, Rabha, Dimasa , Mhar, Rangkhul , Karbi , Deodhani and Sukanani Ojapali, Dhepadhol, Joidhol, Tiwa , Jikir and Jari, Dhulia Circus, Hajong, Tea Majdoor, Wangala, Hanaghora, etc. Bohag Bihu is a common lingua –franca of all the above communities, which is full of enjoyment , dance and music and is a festival integration.

OJAPALI – THE OLDEST RITUALISTIC OF THE VALLEY:

       Sukanani Ojapali is one of the oldest forms of Assamese dance. It is narrative in character. The Oja is the leader of the band of musician cum dancers who through a wide variety of hand gestures and movements demonstrates puranic episodes while the Palis or his assistants support the Oja by singing in chorus. The principal assistant is known as Dainapali. All the medium of expressions i.e. Angika, Vashika, Aharya and Satvika supported by laya and tala are present in this dance. It is said that he is the only good Oja who with songs in his lips, gestures in his hands and rhythm in his feet, goes round like Garuda. Though presented in folk manner the Ojapali dance can be grouped into classical form according to the concept of classical dance in India. The Sukanani Ojapali, an indispensable part of ‘Maroi’ puja or the worship of snake goddess Manasa can be termed as a folk dance.

DEODHANI DANCE:

       Deodhani dance is also an integral part of ‘Maroi’ puja. The Deodhani dancer- an unmarried women and a devotee of goddess Padma, while dancing before the deity –keeps her hair loose and dresses like a female warrior. She dances to the accompaniment of big drums known as Joidhol and Cymbals, with gestures of hand and intricate footwork. With the dance rising to crescendo, the danseuse loses her sense and become unconscious and in popular belief remains in the grip of supernatural power. Regaining her senses, she continues to sing the last portion of songs describing how Padma gave life back to Lakhindara.

BODO DANCE –VARIED AND COLOURFUL:

       The Bodos, a race of the Indo –Mongoloid family, are one of the original inhabitants of Assam with a very rich cultural heritage. They had the unique honour of evolving from ancient time’s distinct folk dance and music forms of Assam. The main concentration of the tribe is in the Goalpara and Darrang districts. The folk dances of India are generally devoid of choreography, but the Bodo dances are an exception. These dances are so formal and scientifically set to characterstic choreographical forms and rhythmic patterns that there is hardly any need to embellish them by giving the so called touches of re-orientation. These dances can be grouped into four classes viz. Kherai , Habajanai, Bagarumba and Baisakhu.

       The Kherai dance is associated with the worship of different deities. Habajanai is connected with marriage , Bagarumba with merry –making and gossips exclusively by fair sex and Baisakhu with the harvest festival and New Year’s celebrations.

       The principal deities of the Bodos are “Burabathou” and “Garaj- Ganson” supported by another sixteen minor deities. Appropriate dances are there to propitiate different Gods and these eighteen dances are grouped into the Kherai class. Rhythmic steps and virile movements with well balanced harmony are the distinguishing features of this class of dance.

       There are three dances in the Habajanai class: Habajanai, Bairathi dar ken nai, and Bairathi Daojrumchanai. All these three dances are presented during marriage ceremonies. The expression of joy and mirth along with swinging of the hips and rhythmic movements of the hands are the principle characteristics of this dance form.

       The most scientific and attractive dance of the tribe is Bagarumba. Taking both the ends of the hand –woven coloured scarf spread around the neck in their hands, the dancers move like flighty butterflies. The dancers step forward with alternate foot and then recede backward keeping the rhythm of the song, sung by themselves. The dance which beings in horizontal lines, takes a circular pattern with rising tempo.

       The Baisakhujanai is the dance to welcome the vernal equinox for the welfare of the working class people. Nachina dance of this class is a springtime dance.

       The main costume of these dances consists of dakhana (sari) wrapped tightly round the waist and breast, blouse and a scarf. In Kherai class of dances, hair remains loose.

MISHING – THE SOFTEST:

       Mishings or the Miris are another old tribe inhabiting particularly the upper Assam area. They belong to the Mongoloid group of people who settled on the banks of rivers like Subansiri , Siang , Dichang etc. and slowly spread over to other areas. Agriculture and weaving are the two primary occupations of this community. Their principle dances are Chelloya, Mibbo, Chipak arik , Ali – Ai –Lregong , Arik –Inam, Kaban , O-U- Apnam and Ai- Nitam , with original abodes in the hills, the Mishings were coming down to plains of Assam to earn their livelihood and in the course of their journey, they danced with unbounded joy making slaps on the earth. Till then they used no musical instruments . This dance is called Chelloya.

       Mishings practiced Jhum cultivation in the past. The struggle for extistence through cultivation is represented by Arik Inam dance . In Chipak Arik, they act in chronological order the entire process of weaving right form the cultivation to finished textiles. Various stages of cultivation beginning from the sowing of seeds to the reaping of crops are shown in the Ali- Ai – Lregong dance while O-U- Apnam depicts mere hunting. Mibu dance is the religious dance of the Mishings where the people of all walks of life dance in circular movements with the Mibu (priest) in the middle. The dance is presented before deities in course of worship to acquire wealth, good crops, social prestige , fame, power and everything they need for prosperity and a happy life . Ai-Nitam is the erotic dance of the young boys and girls.

KARBI – THE PEACEFUL VIGOROUS:

       The Karbi tribe mainly belongs to the Karbi Anglong district. A portion of their population is scattered over Nowgong, Kamrup and N.C. Hills. The original home of this tribe is uncertain. Legends go that they came down from South East Asia. They do not claim kingship with any other tribes of Assam. Agriculture, fishing and hunting are the means of their livelihood. They are recognized as the oldest inhabitants of the region now known as Assam.

       Though the tribe has innumerable Goods to worship, they do not have idols and shrines. Their dance tradition is limited . Chomang kan is a dance associated with funeral ceremony. The dance has many divisions. All the people present in the funeral ceremony participate in the dance by holding each other’s hands in a circle. Young girls take part in the dance by holding the coat of the boys and boys hold the belts of the girls. Other dances associated with fishing, hunting and agriculture are of recent origin.

VARIETY IN NORTH CACHAR:

       All the three tribes – Dimasa Kachari , Kuki , Zemi Naga , inhabiting the N.C. Hills have different colourful folk dances of their own. Hmar is another community of the district. They have also a number of dances namely Lamlam, Chonlam, Sik-puilam, Salulam etc. associated with agriculture and magical belief.

RABHA – HARVEST DANCES:

The Rabhas, an important tribe of the plains of the state have their folk dances to perform in various festivals and religious occasions. The chathar dance associated with the worship of Baikhu, coinciding with the spring festival is a major dance of this tribe. Barasakkai is a dance exclusively performed by girls just before harvest during the month of Jaistha  with invocation to the  god of fire. They also have dances of hunting and community fishing.

DEORI- ANCIENT RITUALISTIC:

Deoris – the priestly class of the Chutia tribe, who ruled in the eastern part of Assam till 13^th century, have their distinct religious beliefs, customs and traditions. Their presiding deity is Gircha-Gire or Kundima- Kundigira representing Siva – Parvati. Their dances are associated with temple as well as annual festival connected with agriculture. The young boys and girls in abundance come out of their house in the evening and go around dancing in the courtyard of every villager till late night. The venue of the dance is shifited to the temple of their presiding deity from mid – April and then this continues as devotional dance. There are certain aerobatics in the course of dance. The dance has different stages namely – Aborobo, Laharia, Hurai Rangali, Malua, Chapardima etc. Bichu is their concluding dance of the festival.

GOALPARA- FLOK RITUALISTIC:

       The district of Goalpara , which has maintained a distinctive character in many respects , has also a rich tradition of dance and music. Kushan dance is one of the most popular dance among the people of Goalpara. Bansh dance is a community dance where groups of people go in procession with bamboo pieces in their hands. The top of the bamboo pieces are decorated with hair. Going out in procession, the dancers raise funds in cash or in kind and perform puja at a particular holy spot. The dance is also popular among the Rabhas and Muslims . Other popular dances of the district are Kati Nritya , Hudum Nritya, and Biya ( Marriage) Nritya.

OTHERS:

       Bou dance of Cachar ,Phakial dance of Joypur, Bihu dance of the Moran community, Tiwa dance of the Lalungs are some of the colourful dances worth mentioning.

BIHU DANCE-UNIQUE AND ABSORPTIVE:

Bihu is the national festival of Assam associated with the advent of spring time and new year. It is celebrated at the time when nature blossoms forth in light, in beauty and in colour. Bihu dance is part of the celebration of the festival. In the evening of chaitra sankranti batches of people, young and old, go out in procession to their neighbours’ door to door praying blessings for the coming year. They start with community singing of devotional songs which is termed as Hussari. After Hussari the young boys start Bihu in the courtyard. The dance continues till the time the host satisfies the dancers with contribution including Bihuwan as a mark of respect. This process continues for seven days from the day of start. The ancient practice of Bihu dance performed by young girls in nearby jungles has now been abandoned.

       The dance has undergone certain changes under the stress of civilizing process of bringing them to the stage from the open field. At present young boys and girls perform the Bihu dance together with joy and mirth. The Bihu dance has certain exciting and attractive characteristics like swinging of the hips combined with mild jumps, slipping and leaping of the foot in addition to rhythmic step, movements of the hands without any fingering , forward and backward pushing of the shoulders and formation of different circles and lines, clapping of hands etc.

Songs of erotic sentiment, virile beating of the drum called “Dhol”, soft strains of the pepa made of buffalo horn make the dancer so involved that they can continue the dance hours together.

       This is only a peep into the vast galaxy of dances of Assam. There are diverse dances in the remote localities awaiting study and proper appreciation and development.

 Article by: 

          Late Ananda Mohan Bhagawati

              Hony Director, Institute of Assamese Dancing

          Former Director of Cultural Affairs, 

        Govt.of Assam