timesofbodoland

Growth and development of silk industry in Assam was significant from very early period. Assam was probably known even in the time of Ramayana as a country of “cocoon rearers”. In the Kiskindhyakanda, for instance while mentioning the countries are passes through going to the east, the poet refers to Magadha, Anga, Pudra and “the country of cocoon rearers” which must be Assam. In Arthasastra, Koutilya extolled the richness an beauty of Assam’s silk as being as “as red as the sun, as soft as the surface of the gem”. In the epic Mahabharata, Assam is called Suvarnakanakanan, meaning the silk producing province, where muga and pat fabrics are produced mainly. It is also known as the land of golden silk. The culture is probably evolved in China and travelled to other parts. A trade like famous silk road to northern India, Bhutan and Tibet along the valley through Kamrupa or ancient Assam. The first official record of muga silk worm relates to 1662. The famous European Traveler Jean Josep

The oldest institution of performing art in Assam was the Ojapali. Theatrical element is noticed in Ojapali performance while the Oja exchanges dialogues with the Dainapali. Ojapali theatre art existed in Assam prior to the advent of neo-Vaisnavism and Sankardeva used this medium for propagating Vaisnavite faith . But the proper theatrical performance in Assam came into existence with the theatrical show of Chinha-yatra, an unwritten play organised by Sankardeva. This was followed by enactment of a number of written devotional plays known as Ankiya-Nat. Sutradhara is the leading role in the enactment of Ankiya-Nat popularly known as Ankiya-Bhaona and Sankardeva is believed to have derived this role from the role of Oja in Ojapali performance . The Dhuliya-Bhaona of undivided Kamrup district and the Khuliya-Bhaona of Darrang district are two important theatrical institutions prevalent in the folk tradition of Assam. However, the existence of Khuliya-Bhaona is hardly seen now-a-days. Kmh

It is evident from early and medieval literatures that both vegetarian and non-vegetarian diets were prevalent in Assamese society in the past and rice was the staple food as today. The extensive cultivation of paddy of different varieties met the day-to-day requirements of rice . Rice and milk were used for preparation of different varieties of cakes and sweets. Medieval literatures mention various types of cake and sweet dish .. These include laddu, paramanna, pat~pitha, dahi, kshira, akhai, cira, khiricha, rice-cakes,pheni-pitha  etc. Besides, curries of lentil and green gram pulses, vegetables like brassica, mallow, spinach etc. were also used for preparation of various curries which were included in the two principal meals of rice. The breakfast ofbora chaul and komal chaul, the two varieties of soft rice, was very popular in Assamese society. The non-vegetarian menu included mutton, pork, meat of duck, pigeon, tortoise, deer and varieties of locally available fish, But the most

It is evident from the early literatures that Hinduism was the dominant religion in ancient Assam as today. Although Saivism, Saktism, Vaisnavism and some other minor cults consolidated Hinduism, both legend and history point to the fact that Saivism was the most popular form of Hindu religion in early Assam with flavour of non-Aryan beliefs and practices . Such non-Aryan beliefs and practices designated as ‘Kairataja Dharma’ was the religion of the aborigines . In fact, the foundation of Hinduism was laid on the ‘Kairataja’ cults. The existence of countless Siva temples in Assam points to the extensive Siva worship since prehistoric time . Despite prevalence of various cults in the present day Assam, Siva is extensively worshipped by all tribes and non-tribes. Although Aryadharma or Brahmanical religion is traceable to the Vedas, it was introduced in Assam after the non-Aryan tribes had laid the foundation for various cults like cult of fertility, head-hunting, human sacrifice, rites

The Jhumur is one of the traditional folk dances of Assam. It was developed over the years by the tribes living and working in the tea gardens, called kulls. It is performed by girls and boys together or sometimes by the girls alone and is traditionally performed in the Autumn to the beat of a madal (drum). The Jhumur is a celebration of youth and vigour and both the young and old dance together in gay abandon. It requires precision footwork while the dancers clasp tightly to each other’s waist. The female dancers wear red saris, red blouses and jewellery of bangles and anklets.

The Bhortal Nritya of Barpeta evolved from the classical dance form of that particular district of Assam and was developed by Narahari Burha Bbakat, a well known Sattriya artist. It is performed in a group of six or seven dancers or sometimes in even in larger groups and is performed with the intention of praising God. The dancers carry large cymbals that they play to the music’s very fast beat and which makes the dance a very interesting and rousing one. The movements are designed to produce colourful patterns, unique amongst the other dances of Assam, and as a result of all these elements it appeals to people of all ages and cultural backgrounds.

Sattriya Nritya Sattriya Nritya, one of the eight classical dance forms of India, originates from Assam. It has remained a living tradition since its creation by the Assamese Vaishnavite saint Srimanta Sankardeva in the 15th century to accompany his Ankiya Naat (a form of self-devised one-act plays). The core of Sattriya Nritya is to use the artistic and enjoyable form of dance to pass on mythological stories and teachings to its audience. Traditionally performed only by bhokots (male monks) in monasteries as part of their daily rituals or at special festivals, today it is also performed on stage by men and women who are not members of the sattras (religious institutions) and can have themes other than mythology too. Over the years it has divided into many genres. Sattriya Nritya is accompanied by musical compositions called borgeets (some composed by Sankardeva himself) and which are based on classicalragas (a series of five or more musical notes depicting emotional expressions)

The Buddhist Tai-Ahom, led by Sukapha, arrived in Assam in 1228 from what is present day Yunan in China. Befriending the Moran and Borah tribes, and with many of his followers marrying their womenfolk, he is attributed with being the architect of modern Assam. Later,intermixing with immigrant Bengalis, most converted to Hinduism. The most important Tai-Ahom festival is the Me-Dum-Me-Phi, the ancestor worship festival, which is observed by the whole Tai-Ahom community. An ancient rite dating back some two thousand years, it is performed annually on 31 January. In addition to worshipping ancestors it invokes individuals' life forces to attain social solidarity and vitality in times of peace and conflict, thus helping to develop social contacts and community feeling. It is celebrated with colourful processions and devotees dress up in traditional finery especially for the occasion. The day begins with the hoisting of the Tai-Ahom flag and is followed by a heralding incantation.

Ali-Ai-Ligang is the spring festival of the Mising (descended from the Astro-Mongoloids). Originally a hill tribe from Tibet and Mongolia, they travelled from Manasa Sarovar, the highest freshwater lake in the world and settled in Arunachal Pradesh and the plains of Assam in around the 8th century. Ali-Ai-Ligang is the most colourful festival and occurs every year on the first Wednesday of the month of Ginmur Polo (February-March) in the Mising calendar. It is held to appease mother earth and the fore-fathers of the Mising and to mark the new sowing season. Alimeans root or seed andaimeans fruit andligangmeans sow and the heads of families ceremonially sow paddy in a corner of their respective rice fields in the morning hours and pray for a good crop during the year as well as for general abundance and well-being on this day. The festival continues for five days and on the fourth day there are taboos regarding cutting trees, fishing, ploughing and burning jungle that must be stri

A two or three day Deodhani festival is also celebrated every year in the middle of August when thousands of brightly dressed devotees, encircled with brilliant fresh flower necklaces and adorned with vermillion die, flock to Guwahati and make trance offerings to the Serpent Goddess (Manasa Puja) at the Kamakhya temple there. The dance begins in the evening and continues until dawn as the devotees express the sacrifice of their lives to the holy goddess. As they dance they flourish live pigeons and goats which are later sacrificed in the temple.

The Kherai is another Bodo festival and is associated with worshipping Bathou (Lord Shiva) the principal god of this particular tribe. The Kherai puja (act of worship) is always followed by a series of ritual dances called the Deodhani. The puja and dance are inseparable, the dance being an essential part of the Kherai worship. The term Deodhani is derived from the Sanskrit word deva meaning god or deity and dhani me aning sound or echo. Hence the word “Deodhani” literally means the sound or utterings of a god or deity although some people believe dhani has the meaning woman. Traditionally a young girl, a female shaman or oracle, is selected to play the key role. She must have reached adulthood, be a virgin, and possess a shapely form with a slender waist. The priest first consecrates this dancer at the altar of Bathou after which she leads the Deodhani dance.  The dance is performed only by women but is accompanied by two men playing the khu m ( drum), two men playin

 The Bodos, a branch of the Indo-Mongoloid family, are the largest Scheduled tribe in Assam. They migrated south from Tibet and Burma and were one of the first to settle in Assam. They generally celebrate Bwisagu, famous for its myriad colours and merriment, in mid-April. It is the most cherished festival of the Bodo tribe and is also celebrated as a springtime festival to commemorate the advent of the new year.                 On the first day the cow is worshipped and on the following day young people of each household reverentially bow down to their parents and elders. Finally they worship the supreme deity Bathou or Lord Shiva by offering chicken and zou (rice beer).       The Bagurumba dance is typically performed during this festival and it is the most attractive dance of the Bodo community. Girls alone, dressed in dokhnas (draped skirts) chaddar (cloth used as a bodice) and jhumra (shawls), perform this dance (also known as Bardwisikhla) accompanied by men playing

Abstract:-Bodo’s widely known as Boro’s have a rich and good knowledge on traditional things whether it is folk medicines or folk foods. They have been accustomed with the tradition since the ancient period and in present days too. They have a well acquainted with the things surrounded to them and skilled in every sphere of works i.e. weaving, hunting, cookery, agriculture and architecture etc. Rice beer or zou that is prepared by cooking of rice is one of cookery which is a skilled work and traditional drinks of the Bodo’s since the ancient time. Rice beer or zou is used by them for different purposes and in different occasions. It has variety of types according to its taste and flavour and with the rice used for preparation of rice beer. All these types have been inclusive term of zou but have different names with different taste and flavour. Each and every family member of Bodo knows’ how rice beer is to be prepared as it has been remained as a part of tradition among the communit

Customary Law and Constitutional Provisions for the North East: Laws of the country have defined or have guidelines for protecting the lives and property of humans. Over a period of time, there have been attempts to enact gender sensitive laws, but those have not achieved the ends.  Since colonial period onwards various legislations made attempts to ‘emancipate’ women from the clutches of superstitions and backward traditions. Legal structures have been invoked in discussing and formulating justice for women. While reposing faith on laws and legal structures for addressing the questions of inequity, violence and other such issues women activist have also come to recognise the patriarchal nature of law, law makers and implementers. Law was not removed from society ; culture and religion have led to critical engagement with law and which has led to the demand for reformulation of more gender just laws. Flavia Agnes’ work has focussed on discussing how personal laws in India have inhe

Customary Law and Constitutional Provisions for the North East: Laws of the country have defined or have guidelines for protecting the lives and property of humans. Over a period of time, there have been attempts to enact gender sensitive laws, but those have not achieved the ends.  Since colonial period onwards various legislations made attempts to ‘emancipate’ women from the clutches of superstitions and backward traditions. Legal structures have been invoked in discussing and formulating justice for women. While reposing faith on laws and legal structures for addressing the questions of inequity, violence and other such issues women activist have also come to recognise the patriarchal nature of law, law makers and implementers. Law was not removed from society ; culture and religion have led to critical engagement with law and which has led to the demand for reformulation of more gender just laws. Flavia Agnes’ work has focussed on discussing how personal laws in India have inhe