BIHU AND THE NEO – ASSAMESE CULTURE

From the Desk of Bitopan Das

1962. Bihu, for the first time, makes its way to the stage. The place was none other than the Latasil field in Guwahati, where the Guwahati Bihu Sanmilani first brought Bihu into the urban life. Since then, the beats of Bihu have never ceased to reverberate in the Assamese cityscape.Since then there has been no looking back for Bihu celebrations in Assam. Bihu hasn’t remained still as a “Laru - Pitha” – making, “Bihuwan” –taking ceremony, nor as a celebration done under trees and near rivers alone. It has diversified itself into media aplenty, with stage shows, dance contests, soundtracks, and even fashion. This is where the Neo- Assamese culture kicks into prominence. Assam has been that one state which is game enough to experiment with the culture and the tradition that has prevailed from time eternity. It’s even heartening to see that the change is being orchestrated by the youth, and not only but the elderly.

The typical Assamese youth has always been game for Bihu. And as evident from the lyrics and the dance, Bihu has always been special to the youth. The lyrics symbolizing the advent of spring and the youthfulness of the nature that is associated with it and the expression of feelings and sensuality by dancing with the beats of the “Dhol” and the rhythm of the “Pepa” and the “Gagana” has always been the forte of this festival. And the new generation has kept the momentum of this festival alive in the blood and mind of the people, in an era where traditions and cultures are dying a slow painful death in the hands of superficial human advancement.

Schopenhauer rightly said, and I quote,

“Change alone is eternal, perpetual, immortal. “

The advent of “Bihutolis” in the typical Assamese society was itself a big change in the post-independence era. At that time, Bihu was a sellout festival in the villages. However, towns were bereft of the happiness, and the joyful celebrations that surrounded this majestic festival. The coming of Bihu songs sung by eminent singers and musicians of that time in uplifted stages, aptly named “Bihutoli” brought the fervour and the feel-good effect to the city. Bihu was now mobilized, and slowly, more towns and urban neighborhoods succumbed to its majestic celebrations. Not much later, Bihu-themed songs came to be sung in films and plays. The mobile theatre soon caught up with the trend and introduced songs and dances based on Bihu. And by the 70s, the Bihu was everywhere, omnipresent, and appeared utterly intent to hold on to the hearts of the Assamese people for the times to come. Soon came to existence an advanced analog media – the cassette recorder. Bihu songs that were heard only sporadically during Bohag or during occasional performances, now received a permanent place in the form of cassettes. The Neo- Assamese of those times started a revolution of sorts by introducing this technology in line with those used only in Bollywood and down South. And this was to continue long into the coming decades.

Indeed, the development of Bihu and all the associated things continued on a more intrinsic level. However, there wasn’t anything revolutionary in the 80s and the 90s that could keep the fire of joy burning among the people for long. By the end of the millennium, it was certain for the majority of the Assamese that the vigor associated with this festival is dying out. However, a new bunch of youngsters arose who came up with newer ideas and a belief to make it BIG in the scene using nothing but indigenous culture. Music Directors like Manash Rabin, Diganta Kalita , and singers like Zubeen Garg and Krishnamoni Nath were the first to take the plunge. Fresh from the successes in Assamese Pop (something that was new for the Assamese people), they all teamed up to create new Bihu songs based on themes of love, passion, and heartbreak. What was amazing to see, though, was their departure from the older styles of singing and music direction. Now Bihu “huchori” wasn’t just a 5-Note based song, it encompassed the entire octaves into it. Bihu now suddenly seemed more vibrant, more dance-oriented, and started receiving more playlist-time than ever before. Krishnamoni Nath was instrumental in bringing live performances to cassettes , thus furthering the euphoria of the people , who could relive those moments once again by playing back the recording again. Panning across to the world of fashion, suave attires made from traditional cloth came into limelight. In what was probably used earlier for only making “gamochas” and “mekhelas” , handloom cloth with ethnic designs was now being used to make Shirts and Punjabis, and the “mekhela chador” was literally revamped to cater to the newer generation, that was heavily into styles based on traditional and western fusions.

This was also a time when more and more Assamese youths readied themselves to explore the world. The early years of the New Millennium saw an exodus of Assamese youth to different parts of the country and abroad in search of greener pastures, and with that began a new era where the typical Assamese youth was just not intent to sit at home and enjoy what has always remained his, but was eager to man up, toil, and see the best and worst of cultures and traditions that abounded outside. However, music and fashion seemed to be the major agenda once again, and our motherland gained from the newer generations in having western elements like Rock, and Folk getting implemented in the regional Bihu-influenced music. Also came in among the fashion – savvy people, western attires heavily based on traditional designs borrowed from the hills and the plains alike , embroidered in exquisite Muga and Riha and much to the designers delight, they were welcomed with open hands.

But, midway into the first decade and beyond, things again began looking grim for the Assamese culture. This time though, it wasn’t about lack of new development. Rather, it was related to an excess of all things possible. While creating newer trends based on Bihu, creators were found going out of bounds quite a few times on grounds of decency, aboriginality, and culture preservation. A number of times, the Bihu lyrics became too obscene, too offensive, and littered with abuse. Bihutolis started getting frenzied in a degrading manner with liquor abuse becoming pretty prevalent on the celebrations. An example worth citing was the recent controversy created by Zubeen Garg’s Bihu track named “Bati Bhorai Chira Khabi”, whose lyrics created a massive uproar, especially among the womenfolk of Assam, crying out against the dawn of obscenity and indecency into Bihu. Fashion trends started malfunctioning and the thin line between dressing sense and a wardrobe malfunction started fading fast. The Bihu was in dire need of cleansing. It needed saviors to pull it from the lows it was in.

And it was saved. And impressively enough, it was the youth itself , who took to the task of rejuvenation of the old times, going to great depths of research to bring back things” that we lost in the fire” . Recent endeavours by the likes of Angaraag Mahanta , and Mayukh Hazarika and a host of other youth have been promising in a way. They have tried to bring in the traditional instruments that have diminished in status in the age of electronic music without entirely eliminating the technological aspect in mind. In fact, they have succeeded to very good extent in fusing older aspects with current technologies. Angaraag Mahanta is the man who is credited in the whole world for being a pioneer of a new genre named

”Folktronica”, that is a hybrid of folk and electronica. Newer groups like the North East Breeze have also gained popularity among the young and the old alike by their unique style of combining Assamese Borgeet , Lokogeet and Bihu with western rock , and Hindi lyrics. In their newest productions, one can essentially hear the great fusions of the Bihudhol , Khol and the Rock Drums, in what can be called “ The Best Of Both Worlds”.

It is the year 2010, and the fervor of Bihu among the Assamese is stronger than ever. And going on to the future, we are bound to experience a plethora of changes, both in the demographic and social sector, in which the youth of today will have a major role to play. Indeed, the traditional Assamese approach to life needs to be maintained as it forms the very identity of our motherland. However, with changing views and opinions, it is also necessary that we keep pace with the world and adapt ourselves to the conditions of the present day. Therefore, it only makes sense that the task of preserving and developing the “Bihu” culture for the future be safely handed over to the Generation Next.