13th april bihusuppliment

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cmyk

Dibrugarh, Wednesday, April 13, 2016

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DIBRUGARH, WEDNESDAY, APRIL 13

The urban makeover of Bihu and Assamese identity Indrajit Borah The Recent Churia (traditional Assamese Bihu dress) controversy by popular musician Zubeen Garg cannot be seen in isolation from the urbanized transformation process of Bihu festivities and even further, avowed broadening of "Assamese Identity". The rationale behind disdaining Churia in stage performance of Bihu Sanmilan has been nothing more than a fashionable affection-deficiency syndrome for the agrarian roots of Bihu festivities.

Bihu, the ancient folk festival celebrates the agricultural cycles of agrarian Assam. As traditional art forms, Bihu songs and dances are manifestations of agrarian experience of the peasants and coupled with fertility cult. These art forms were ape depictions of nature's breeding purpose and desired realism.

No doubt, the early genres of Bihu song and dance had the same magic of art form, emanating from the aesthetic aspects of life to expedite the labour of production in the early stage of the agricultural society of Assam.

Bihu songs and dances are originally performed in the open fields to symbolize the fertile and productive nature of the earth. The crude forms underwent transformations over the generations. First, the patronage of the Ahom kings brought the Bihu from the fields to the royal amphitheatre Rang-ghar.

With time, from the rural hinterlands, Bihu embraced the urbanised lifestyle with stage performance imitating newer aspects of life. William Robinson, a British official, described how the Bihu songs and dances were organised and performed for public entertainment.

There were examples of Bihu being used as socio-cultural tools to rally the people.

Again, in this process, there were some elite even discouraging festivities as lurid, immoral and having sexual overtones. Later, in the mid-twentieth century, the Rongali Bihu came from rural agrarian society to the public platforms of urban and semi-urban population.

The urbanized customization of the primitive folk festival Bihu should not be undermining the very essence of it.

The imminent makeover of these folk art forms by urbanized creativity has not been without a process of consensus. The core of enticement in Bihu song and dance is the elements of ancient art submerged under the presentday modified forms. For instance, the use of Sarudoiya Japi in Bihu dance was a creative dance form introduced in the first Assamese feature film Joymati.

Bihu as a fertility cult had been comingled with different religious trends and today, there is a degree of similarity with all-India festivities with regional

distinctiveness. As an example, the traditional art of Huchari-Nam singing accepted a new form in respect of content and performance under the influence of neo-Vaisnavism in Assam like ".....Krishnai Murare Bokul Phul Epahi‌..". Likewise, the present day Bihu songs and dances are projected to culturally represent the national entity of the people of Assam.

The customs of Bihu festivities are typically surrounding the self sufficient Assamese home that made everything required for a subsistence life available without monetization. This Assamese self-sufficiency had eroded much before at the beginning of colonial period.

Whether this self sufficiency can be equated with the present day hypothetical statist concept of sustainability is an

tion and infiltration issues since independence. The underdevelopment has sharpened inter-ethnic competition for access to resources and avenues for livelihood. Again, the dependency on traded cheap manufacturing goods from outside during colonial era was the main impediment to indigenous capital

open question. In a predominantly agrarian economy (80% agrarian population), Bihu is undoubtedly a cultural symbol of identity.

Today, the identity crisis has been viewed as the conflicts between the aspiration of the ethnic Assamese and the historically developed multi-ethnic social base of Assam. The multiethnicity during Ahom period was purely agrarian and primitive. Later, in British and post-colonial India, the urban centric assimilation process had been taken place. The modern Assamese identity today has its initial roots in the inclusion process of different identity groups during Ahom rule in the Brahmaputra valley. The boundary of the multi-ethnic social base was further widened with the induction of different groups of people from various parts of British India. Therefore, the formation of Assamese identity has always been associated with the alienation-centric discontents due to migra-

formation. The self-sufficiency within feudal patronage was the inertia of complacency in this process.

Today's secular identity has been a culmination of a predominantly urbancentric assimilation process during colonial and post colonial period. This is away from rural agrarian life and has thinned down the agrarian component of identity. In fact, going by the western chronology, urbanization is a Cultural Revolution for any civilization from the agrarian base. As always, the transfer of indigenous agrarian population to the urbanization process has been the biggest challenge. The demand for urban population has largely been fulfilled by migrating population.

Which transformed version of primitive Bihu characterizes the broadening of Assamese identity has been debatable. The development of manufacturing and tertiary sectors cannot undermine the importance of agricultural sector and so as Bihu's agrarian base.

Someone in the traditional tertiary sector may not find the immediate appeal but the historical importance generates a symbolic passion. The religious-urbanized transformation of Bihu has been associated with the broadening of Assamese identity and conflicts in the process of defining the same.

Any region having history of migratory population has inherent identity issues in the political discourse. This phenomenon is more acute owing to the nature of development path India followed i.e. sector specific and region neutral. There was not much devaluation of state power to the bottom giving rise to acute centralized decision making. On the other hand, the inward looking economic policy has also left very little room for start-up private capital and again a typical entrepreneurial class could not come out of feudal wealth.

This feudal wealth had royal patronage during Ahom period, was subservient to British imperial capital and remained as collateral to public money after independence. As a result, there has been no local production base developed aggravating the situations to relying on other parts of the country for even the basic necessities. Today, the broadening of Assamese identity has to resolve the conflict by developing indigenous production capabilities and production modes. No identity movement without economic objectives can give a definite direction.

The restoration of socio-political stability can only be possible by way of accommodating the diverse groups.

This arduous task has direct bearing on the necessary conditions for economic developments of Assam. Actually, it is the time to translate once self-sufficient feudal Assamese home with Urbora Pothar to a self sufficient indigenous production base. We need an entrepreneurial revolution with productive fiscal money which is free from populist electoral money. And, Bihu remains as a cohesive cultural force in multi-ethnic Assam consolidating the Assamese identity.

(The writer is a Freelance Writer based in New Delhi. Public Finance and Sustainable Development Policy are his interest areas.)

DIBRUGARH, WEDNESDAY, APRIL 13

Nature turns verdant as winter paves the way for spring. Hundreds of flowers bloom in full colours. Birds render their sweet melodies to surroundings, inspiring men to seek happiness from nature.

Spring, the queen of all seasons, brings in its wake, the spirit of gaiety, celebration and festivities. Spring festivals are the most spectacular, for nature too joins in the festivitiess in all its glorious splendour.

Traditionally, Indian society has always been an agricultural one. The social norms, life styles and religious festivals observed throughout the country have been woven around its agricultural economy. Harvest festivals, whether it is Baisakhi of Punjab, Bihu of Assam are celebrated with great verve. These are harbingers of wealth and prosperity as the crop is ready by then.

April is the month when several Indian communities across the country celebrate festivals that go by different names: Bihu, Vishhu and Baisakhi mark the arrival of new year for Assam, Kerala and Punjab respectively. Bwishagu of the Bodos, and elsewhere, Pohela Boishakh by Bengalis, etc.

The Chakmas, although of Tibeto Mongoloid stock, have intrinsic similarities with the mainstream Indian culture in several ways. Prominent among them is that they celebrate their New Year not on the 1st January but in the month of April as celebrated by several Indian communities known as Bizu.

Bizu is the most important socio-religious festival of the Chakma. This festival gave birth to the Bizu dance. The festival lasts for three days and begins on the last day of the month of Chaitra. The first day is known as Phool Bizu. On this day, household items, clothes are cleaned and washed, food items are collected to give the house a new look with the veil of different flowers. The second day known as Mul Bizu day starts with a bath in the river. People wear new clothes and make rounds of the village. They also enjoy

Assam Clothing Styles Introduction The Northeastern state of Assam is one of the most popular pockets which lies in the heart of India and has enriched its soil in the traditional layers of culture and ethnicity. Whether it is the lifestyle, religion, clothing or various other cultural aspects; Assam has contributed immensely to what diversity in Indian culture really stands for. Especially when it comes to traditional attires donned by men and women of that state, the essence of India blooms and blossoms out, connecting the hearts and minds of people on a single chord.

During the festival of Bihu, which is a traditional festival of Assam, majority of men and women can be seen donning some eccentric ethnic attires.

Background Origin and History The colorful and traditional clothing of the Assamese men traces its origin and emergence

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Festival that go by different names: Bizu Jahnabi Pachani specially made vegetable curry known as 'Pazon ton', different homemade sweets and take part in different traditional sports.

Moreover children in groups visit every household of the village carrying a bag of rice to feed the chickens and in a way, the people offer these children mixed curries and home-made biscuits prepared from sticky rice powder. The day ends with the Bizu dance. The last day, which is known

as Gojjepojje din, comprises performances by different socio-religious activities. In the context of its nature some say that Bizu is a festival, which revolves around agricultural activities because it is celebrated in midApril when the earth is just drenched with the first rain and the sowing of seeds is taken up. Moreover it is believed that with the objective of getting a rich harvest, worship of the earth is done which later on

way back to the Mughal period during the late 1600s, when royal kings patronized the traditional attire of men to enhance the culture of Assam, especially during their ethnic festival of Rongali Bihu. But if we dig up the archives before the 16th century, the period during the 15th century also witnessed some of the finest clothing that was manufactured out of Atasi fiber, which was commonly known as 'duluka'. Cotton and silk were widely used in those eras.

However, cotton fabrics in those days were considered to be the most expensive fabrics and hence were donned only by the royal emperors.

Style The Assamese men also tie a 'gamcha' headgear around their head and at times also tie it around their waist during their festive occasions. It is embedded with traditional designs which depict religious ethics and sentiments, along with the portrayal of sculpture, architecture, art and literature. The dhoti which is wrapped around the waist comes in different light and bright colors, which is soft in texture and convenient to wear. The eri-chaddar is generally hung around the neck with its ends hanging loose on the front of the body.

Assamese Women wear a special three piece sari known as Mekhla Chadhor or a shawl like attire which is wrapped around their waist known as puan.

Influence over the years Nowadays, western dresses have flooded the young minds and hearts of Assam, which are creating an impact on the traditional wear as well. The silky essence of this complete traditional wear has traveled places and has uplifted

its essence with more variations in colors, textures and quality. Mekhla shirt has moreover come into wide existence with its signature style of being thicker and broad bordered in texture and design. It is a unique concoction of Lungi and Aanchal. Muga silk is now extensively used in the manufacturing process of this traditional costume for Assamese men.

Innovations These embroideries can also be found in many architectural temples which contain ethnic stone sculptures and other such culture linked items.

These silken embroideries can also be found in various handicrafts like cloth bags, cushion covers, table covers, and curtains.

Occasion Dressing Global Influence This Assamese costume has not only won the hearts and minds of India, but also of foreign nations, crediting to the level of perfection at which this fabric is intrinsically and innovatively woven. Moreover the design imprinted on this outfit that instills a complete essence of nature has struck the interest as well as the attraction chord of the people worldwide.

Accessorizing Occasionally young lads go in for trendy jutis (shoes) to compliment and complete the entire ethnic look of the outfit. However, simple gold or chains and a kara on the wrist can add to the glam factor of this outfit.

Women can wear simple jewellery in gold and silver. The waist-chain or Kamarbandh is also a great accessory with the traditional attires.

Courtesy: utsavpedia

took the form of a festival. However of late it has lost its agricultural character. Although the main Bizu is a day after, i.e., April 14th and it is on this very day, people go house to house in groups to celebrate and wish Happy Bizu.

'Gile Haaraa', a traditional game of Chakmas, is played during Bizu. Four teams are formed - two of boys and two of girls. It is an extremely entertaining game where hands of both boys and girls are tied during the game but this game is fast fading away from the Chakma society. Also the songs which are sung during Bizu provide solace to the ears and instill pride in the heart.

Apart from these, the dishes of the Indian state of Arunachal Pradesh vary from region to region. Though the staple food is rice along with fish, meat and many green vegetables, different varieties of rice are available; Spinach being the most common and preferred vegetable of all, prepared by boiling it with ginger, coriander and green chillies. Boiled rice cakes wrapped in leaves is also a famous snack.

But during Bizu as mentioned above 'Pazon ton' a multi-cuisine dish is served to guests. Along with this, home-made biscuits are served like Bora Pideh and Sanneh Pidey. Although there are different varieties of rice beer with different flavours, Hanji or rice beer made from fermented rice or millet is a popular beverage in Arunachal Pradesh, and it is also served as an alcoholic drink. Also the Chakma people wear special and new dresses for the occasion.

Women wear "pinon" and "Haadi" while men wear "silum" and "dhudi".

Nowadays, Bizu Mela is also organised in different parts of the states of India to bridge and to connect Chakmas from different states and to promote communal harmony and peaceful co-existence with the immediate neighbours in Arunachal Pradesh. Festivals are occasions whence we pay our respects to our ancestors who have handed down the traditions. The ultimate significance of a festival is that it keeps traditions alive and teaches us to keep in touch with our roots.

DIBRUGARH, WEDNESDAY, APRIL 13

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History and Significance of Rongali Bihu

Pranjal Kumar Phukan One of the seven northeastern states of India, Assam encompasses numerous ethnic communities, each with its own distinct cultural flavor, thereby negating the notion of a homogenous 'Assamese' identity. The contours of such a representation would be multifaceted, then; not simply as a result of diverse tribal identities but also as a consequence of the interaction between the 'greater' mainland Hindu influence that has seeped into the region and interacted with 'indigenous' tribal faiths, ensuing a process of assimilation.

Springtime Bihu festival- called Bohag (spring) Bihu or Rongali Bihu. The festival lasts for seven days and marks the beginning of the Assamese New Year. It is celebrated during the month of April when spring arrives and all around can be heard the songs of the cuckoo (kooli sorai). Plants and foliage bloom with fresh shoots and new leaves called the koohipaat. A bounty in the heart of nature inspires glory, joy and celebration in the heart of the common people whose lives and emotions are integrally connected with the phases of the natural cycle and processes.

Like all folk festivals come down through centuries, their rituals and beliefs reflecting age-old notions and faith of the ancient man, the celebration of Bihu encapsulates the same. Many of these festivals originated in the primitive man's 'magical rites' and rituals to appease the gods and goddesses who represented natural forces, revering the five elements of life-earth/ soil,

forest, water, air and sky. Through such rites they wished to attain longer days, continuation of summer and to get rid of winters.

The important aspect of such rites was to increase the fertility of both man and soil.

Fertility, the acts of mating and birth held the fancy of the primitive man because they emblematize the act of creation.

Rongali Bihu traces its origin and meaning to such older rites. The youth sing and dance in gay abandon during the festival to the accompaniment of bihu dhol (a special drum used on the occasion), pepa (buffalo horn pipes) and Taal (bell-metal cymbals). These spontaneous occasions of singing and dancing occur unrestrained by norms and rules that define any classical paradigm of song or dance traditions- the aesthetics of folk performances do not adhere any form of grammar except for those inherent ethics that govern the lay-out of a ritual norm. For instance, the Huchori tradition that heralds the festival of springtime Bihu is confined to just male performers who visit as a troop from house to house singing songs primarily standing in a circle and playing the dhol and taal.

The concept of Rasa as a formula of (Sanskrit) aesthetics cannot be applied appropriately to Bihu songs because they are part of folk-literature, called orature as we know, which is a product of the common masses illiterate in textual references and ideas that pertain to one dominant class.

Orature never forms part of the canon; they cannot be accurately identified as a text nor can they be sufficiently textualized.

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DIBRUGARH, WEDNESDAY, APRIL 13

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Evolution of Bihu-Nach Dr Anil Saikia First stage or phase: Bohag Bihu, a colourful festival of Assam has been celebrated in a befitting way since time immemorial. It is observed for a period of seven days from last day of the month of 'Choita' to the sixth day of the month of 'Bohaga', usually from 13th to 19th April every year.

Centuries back when people found some leisure time after learning the method of cultivation, they started engaging in creative works like composing songs, stories and practicing dances etc. It has been said that after harvesting rice for the whole year, they also got time for indulging in celebrations during the months of February, March and first half of April. They composed songs and sang them on the bank of

river or by the side of a forest or in a cornfield near under a tree in the evening. The people, especially the youth learnt to dance to these songs. This dance- practice that presumably started from the evening until midnight, and sometimes continued throughout the night, was the first stage of Bohag Bihu. The songs which were composed in two lines with a message of love, melancholy of life and merriment is termed 'Bihu-Songs' and dances performed with the songs are termed as Bihu-Naach( i.e.

Bihu- Dance). In this stage it can be speculated that the rhythmic pattern of the Dhol (a drum like instrument made of wood whose both sides are covered by leather) was in its nascent form. The rural folk enjoyed themselves by singing and dancing by making circles among themselves.

Second Stage: It may be imagined that it took several ages to acquire the final shape of Bihu nach, bihu-songs and Dhol playing. But when the singer and dancer (male only) felt that it could be performed in front of the public, then on the 14th day of April ( 1st day of Bohag) a group of dancers and singers formed a procession on the main street of the village by dancing and singing One can imagine that some of the well- to-do families invited the team for a performance in the courtyard of the residence. This practice was assumed to be Second Stage or phase of Bihu- nach. It has been said that in the second phase of Bihu-dance it took a finer shape and came to be performed in the courtyard of household.

There has been an another speculation

that the Bihu-dance groups were invited by the mighty King Rudra singha in 1706 (approx.) to perform in the courtyard of Ranghar (A famous monument of the Ahom Kingdom built by King Rudra Singha ), where competition among the invited Bihuteams took place .After the public performance, the teams were invited by the King and his officials to perform Bihu in their residence. From that time onwards the tradition of Bihu-dance performed in a majestic procession came into practice and began to be known as Hussari (A group performance of male-folk by observing certain methodical grammars and rules).

Third Stage: Bihu Dance acquired its third phrase when Srimanta Sankaradeva (1449-1569) rejuvenated the Assamese culture in many ways (which one is a separate chapter of study). Srimanta Sankardeva - who had propagated Vaishnava religion in Assam,

was a social reformer, poet, dramatist, musician ,artist and architect. He had blended some of his classical music with various styles of folk music of Assam As a consequence the people also started infusing some tunes of Vaishnava music in Bihusongs while reciting them in the residence of public.

Fourth Stage: Bihu-dance, Bihu-songs and the rhythmic pattern of Dhol had acquired its fourth stage when the British came to rule Assam in 1826. Colonial rule had changed the entire socio-political, economical, educational, and cultural scenario of Assam. They brought forth newer concepts to the colonized land and its people, as a consequence of which the language and lexicon of Bihunam ( Bihu -Songs ) changed to a certain extent. The most important colonial outcome was that the British introduced the system of public - service-sector in their administration in Assam, such as in Schools, Colleges, Tea-gardens, Courts, Railways and others due to which a new section of middle class people emerged in the society. Bihu-nach acquired a newer shape in a refined form in this phase.

Fifth Stage: Mancha- Bihu (performance of Bihu in Stage) is the fifth stage of Bihu-nach. Bihu was celebrated on stage for the first time in 1934 in Golaghat district and thereafter in Dergaon (1935) to be followed by Sibsagar (1941).Finally when it was celebrated in Guwahati (1952) it drew the attention of the entire public of Assam.

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DIBRUGARH, WEDNESDAY, APRIL 13

We all put on makeup (at least some of the time), but is your technique yielding the best possible results?

1.

Never put concealer or foundation on your eyelids as a base, it will cause your eye makeup to crease.

2.

Use your fingers to apply your foundation if you want sheer coverage and a brush if you more polished, medium to full coverage.

3.

Always apply powder where you are shiniest first, which it usually your T-zone, with a very light dusting everywhere else.

4.

You should put bronzer on your neck, face, and chest to even out your skin tone. Be sure to take a step back and make sure everything is the same color.

5.

When applying blush, first smile, then start on the apple of the cheek, blend the blush back towards the top of the ear, then down toward the jawline.

6.

Always apply your brow pencil or powder to the upper portion of the eyebrow to lift your face up.

7.

You want to make sure your lipstick is not too defined at your cupid's

The Bloom speaks…

I am a bloom and today I narrate a story, Story of my life and my journey.

Under a shade I was born, You raised and nurtured me And named me the "Greet"...

Greet of happiness, youth and celebration!

I bloom, I fade and I am reborn, You greet and cuddle me once more, And I blossom…

Another year…

I bloom, I fade and I am reborn…

This is my journey!

I appear again and again…

And like a child, I long for your greet and touch, … for a fondle…

Again and again!

I come one more time, a year, And I look for you, Everywhere…

I do not see you, I do not hear you…

My heart aches…

And then they tell me I will never see you again, never hear your greet or cherish your fondle, You have enthused on a journey, And I can never reach You! Today, I cry and cry and cry!

Time and I shall fade again, This time with a heart heavy, melancholy and grieving, I ask over...

Oh Happy Face…Where did you go?

Why did you go?

And for You… a heart will always bleed and… a Soul will always long!!

Binita Baruah (binita_b2002@yahoo.co.in)

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10 Makeup Tricks Every Woman Needs to Know this Bihu season bow (the top of your lip), and that it goes all the way out to the inner corners of your mouth. Be sure to press down hard as you apply.

8.Always start with a base shadow without any shimmer that matches the lightest skin tone on your face and apply all over your lid up to the brow. You should use this base shadow to make sure the darker shadows used on your lid up to the crease are properly blended.

9.Instead of looking straight ahead at the mirror, get as close to it as possible, stick your head up and bring your chin toward the mirror. You want to look down as you apply, starting at the inner corner and making sure to go all the way out to the fold on the outside of the eye.

10.You don't want to do quick soft motions when you apply mascara. Instead, jam the wand into the root of the lash and do zigzag motions as you go up.

History and Significance of Rongali Bihu From Page 4 Folk literature lives on in people's hearts and gets carried from generation to generation through word of mouth; the dissemination is largely oral and hence they become a part of organic narrative that one gets exposed to and learns about by being a part of and growing up in that society and culture.

The Rongali Bihu was originally celebrated in the crop-fields. The Moran community of Assam does so even today. The aim was to increase soil fertility, bring in rains and pray for a good harvest. According to Dr. Prafulla datta Goswami, a pioneer folklorist, the Bihu dance might have come to Assam with the Mongoloid people who migrated from South-east Asia to this region.

There are instances of Spring Festivals in other parts of the world which is the time for the youth to select their life partners. The entire celebration of this Bihu becomes an occasion of celebrating the life force Eros- be it in nature or amongst people. The body becomes the venerated object of beauty and celebration, so we can find plenty of examples in Bihu songs where the

woman's body is described with great gaiety and abandon. In fact, going by 'norm s' of all fertility cults across regions and throughout history, these dances have served the purpose of provoking sexual union, which obliquely served to contribute to fertility of soil and resultant agricultural production.

The songs express sexual desire overtly and candidly and the rasa we can associate with it is the adi rasa, the source of all other rasas as it is said to be.

Springtime brings mother earth new life too, after the harsh long winter, and in turn invigorates the hearts of man.

portant to be disseminated amongst the urban crowd of children and youth and for most part, their exposure to such cultural forms occur in limited spheres like that of cultural events held in auditoriums or open-air stages.

Either ways, the displacement is huge but obvious. What is more problematic, rather, is how the erotic and 'folk' significance of the festival as well as of the songs and dances begin to get considerably sanitized when they are proselytized through schools that have newly come up in the cities where the bihu dance is taught to children by 'experts'.

Bihu performance is undergoing a This is entirely antithetical to the very rapid process of modernization, and so concept of a folk dance- which is meant is the festival on the whole. This cel- to be spontaneous, without formal rules ebration being essentially linked to an and dictates of postures, rhythm and agricultural society which characterizes gestures. This emerging trend replicates a symbiotic relationship between man the dictum of those schools that teach and nature gets displaced in an urban classical dances like Bharatanatyam bourgeois setting. This has largely af- and Kathak. fected the indigenous nature of the bihu (Author is Regional General Secperformance which, as said earlier, is retary, CaSI Global, Executive nowadays performed on the stage in Council Member of Gerson cultural events that are organized not Lehrman Group Inc., Editorial just during Rongali Bihu but in other Board Member, International Edufestivals as well. Such shifts are as a cation and Research Journal (IERJ) matter of fact inevitable; knowledge and writer to South Asia Journal, about folk forms and aesthetics are im- USA)

DIBRUGARH, WEDNESDAY, APRIL 13

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Relishing dishes this Bihu

Aanguli pitha Ingredients Rice powder: 150 gms Salt: to taste Peanut oil: 1 tbsp Crushed black pepper: ½ level tsp Nigella: ½ tsp Luke warm water: to make the dough Peanut oil: 3 tbsps Cumin seeds: a pinch Dry chillies: 2 Sliced onion: 1 medium sized Sliced capsicum: ½ medium sized Carrot pieces: 1 medium sized Sliced tomatoes: 1 medium sized Green chillies: 4 Salt: to taste Sugar: 1 level tsp Turmeric powder: a pinch Directions Take the rice powder, salt, peanut oil, crushed black pepper and nigella in a large bowl and mix

well with your fingers.

Add water and make a smooth dough.

Divide it into about 40 small balls.

Make thin and long smooth rolls.

Steam cook the pithas for about 10-15 minutes.

Immediately dip the hot pithas in cold water for 3-4 minutes and drain.

In a heavy karai heat the oil.

Temper with cumin seeds and dry chillies.

Add the onion pieces and fry upon medium heat for about 10 seconds.

Sprinkle turmeric powder and stir.

Add the pithas, carrot pieces and half of the tomato pieces. Stir.

Add the capsicum pieces and stir for another 10 seconds.

Sprinkle salt to taste and sugar and stir .

After about a minute add the green chillies and the remaining tomato pieces.

When done switch off the gas.

Garnish according to your choice and serve anguli pitha as a tea time snack

Til diya Mangxo - Chicken / Duck / Pork / Goat Meat cooked in Sesame Ingredients: Meat - 500 gm Black Sesame - 2 Table Spoon Cumin Seed - ½ Table spoon Ginger Garlic Paste - 2 Table Spoon Onion - 1 big Chopped Red Dry Chilly - 1 Turmeric and Salt - As per taste Green Chilly - 1 Oil - 1 Table Spoon Black Pepper - 3 Method:

Clean the meat. Make a paste of dry red chilly, cumin , sesame and black pepper. If you do not like it hot, then drop the chilies, they are optional. Now mix everything together and keep aside. Head a deep bottom pan with the oil. Add your meat mixture and cook till it starts leaving oil, in MEDIUM to low heat. High heat will burn the sesame.

Now add hot water to it. Boil till the meat is cooked to your choice.

Serve hot with sticky rice.

TIP: This goes best with Duck, Chicken or any other bird meat. I do not like goat cooked in this way.

Haanh aaru Maah - Duck in Lentil Haanh and Maah features in many a form in Assam. But the black lentil ( gota maati maah) is the king of taste and never fails to satisfy the taste buds or occasion.

Ingredients: 1. Duck Meat - 1 Kg Chopped, I prefer small pieces, you pick yours.

2. Black Lentil - 1 Cup, soaked for minimum 8 hours ( can be over night).

3. Onions - 1 big, Chopped.

Method: For this you definitely need a wok / pot with a air tight lid.

Heat the pot and add oil. Add 3 and 4. When this is light brown, add meat, lentil and cummin chilly paste along with salt and turmeric. Fry till all the water evaporates and the meat starts to leave oil.

Now add about 2 cups of water and cover with the lid. Let it shimmer till everything is cooked. You may need to keep adding wa-

4. Ginger Garlic Paste - 2 table spoon 5. Fresh Cummin and Red Chilly Paste - 2 table spoon.

6. Salt and turmeric - to taste 7. Oil - 2 table spoon.

ter in between, just to check the consistency. I like it as a thick gravy, you can make it watery. But gravy is best.

Serve with Chapati / Rice and something on the side !!

Dhudh (Milk) Pitha 400 gm crushed coconut 1 liter of milk 8-10 tablespoon of sugar 1/2 liter of water 200gm rice powder Procedure 1. Take 400 gm crushed coconut available at market (or crush it using the special peeler tool directly from the coconut shell) and mix it with 1 cup of milk and keep aside.

2. Take a non-stick frying pan heat for 1 min, then put the crushed coconut mixture (step 1) and 8-10 tablespoon of sugar mix it well. Cook till sugar releases water from the coconut. Coconut mixture is ready for pitha stuffing.

3. In a non stick frying pan put 1/2 litre of water and heat for 3-4 mins, then put 200gm rice powder into the pan and mix it well. Switch off the gas and put the rice mixture in a bowl and mix it well to make a

dough with hand till it become smooth like chapati dough.

4. Shape the dough into small size ball and with each ball press it in the middle (dough) and put the coconut mixture (step 2). Close it tightly and press the edges lightly with hand.

5. In a big vessel put 3/4th of water and bring it boil. Put the pitha (step 4) into the water, after few mins pitha will float on water and cook for 4-5 mins or till it is fully cooked check it with fork. Take out the pitha from water. You can simply serve this pitha (also called coconut pitha).

6. In another bowl put 1 litre of milk and bring it to boil till the milk become medium thick. Then put 8-10 tablespoon of sugar and cook for another 8-10 mins.

7. Put the pitha (step 5) into the milk and mix well.

Dhudh (Milk) Pitha is ready to serve hot/ cold as a desert.

Evolution of Bihu-Nach

From Page 5

When the Bihu-nach either in form of Hussory or solo Bihu-nach or Jeng-bihu (Bihu of female folk) began to be performed on the stage it became so gentrified and sophisticated that it lost some of its folk nature and flavor. From the year 1972 onwards ,terms like 'Hussori-Bihu','BihuSamragri' 'Bihu-Rani'etc started becoming popular in Assam.

Sixth Stage: In the sixth stage - 'Bihu-Songs' started to be recorded and broadcasted and it become a profession for many performers.

Most of the professional singers recorded

Bihu-Songs (Bihu-album: Audio in first phase) in a commercial way during the time of Bihu-season. In the years between 1980s to 1999s it turned into a vibrant profession for many of the singers and they earned a windfall profit by producing Bihu Cassettes. In this stage, Manch-Bihu emerged as the dominating trend across the state spreading even in the remotest rural area.

The popular practice of organizing competitions of Hussories, Solo Bihu-nach, Jeng bihu etc became the vital part of the Manch Bihu.

Seventh Stage: In the seventh stage ( 2001-2012) Bihunach and Bihu-song began to be audio-

visualised in a C.D.(Compact disk) format by developing a story-line or plot in the video form .But now a days it has become almost obsolete due to piracy of the products. In the seventh stage of the Bihu the Bihu-Committees play a crucial role in awarding prize in terms of cash money.

Some of the Bihu committees offer cash prize of Rs. 5 Lakhs for Hussori Competition which is of course an unprecedented development.

Eight Stage: When a traditional dance turns into a profession of a performer or a group of performers, and when it draws the attention of the people of the Nation or aboard, then

one can assume that it has some systemic appeal and enduring strength to survive the onslaught of time. Bihu-Dance is one of the important traditional dances of Assam which follows most of the basic principles of 'Music'. Bihu song has its own unique tune, clapping and rhythmic patterns which are played in performance of 'Bihu-dance'. It also has its enchanting and enthralling playing style. Bihu-dance has its own hand- postures, foot-works and body gestures.

(Dr. Anil Saikia has been engaging with folk music and culture for several decades.

He is a retired Principal of Moran College.) Courtesy: nezine

Jetuka is a plant found everywhere in Assam , and widely used as a medicinal plant and in beauty industry. Jetuka (Lowsonia inermis), is a symbol of beauty and festivity. For ages, Assamese girls have applied jetuka, a kind of mehendi, during Bihu and weddings to beautify themselves. The origin of Henna is difficult to trace. It is one of the most famous cosmetic and is almost accepted by every culture, ethnicity, religious or spiritual beliefs. It is hard to determine from where the tradition began but strong evidence in history is found as to its being started by Neolithic people in CatalHuyuk, in the 7th millennium BC. They used henna to decorate their hands in connection with one of their fertility goddess. The use of Henna was then later adopted by Christianity, Judaism, Hinduism and Buddhism. The mutual aspect of this tradition is the Henna plant itself.

The plant can only grow in a constricted environmental range. The climate puts an exclusive set of stressors on human

Colours of Rongali: Jetuka

populations, and the Henna tradition recurrently replicates anxieties related with these stressors.

Henna is mainly used on special occasions, ceremonies or celebrations around the globe. The traditions and practices were made according to the people's beliefs and needs. These traditions amalgamated or moved through cultural diffusion; at times they became inventive at the time of wealth and leisure, and sometimes they disappeared because of cultural or climatic change.

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The origin of Henna is hard to outline.

There are many conflicting stories presented as to where Henna was first used.

However, as a simple plant it is found in many different parts of the world; espe-

cially at places with hot climate. It is mainly famous in Hindi and Muslim countries. In the West it is used as a momentary alternative to a life-long perpetual tattoo.

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Jahnabi Pachani

8

In different parts of the world, the significance of henna also varies. In Assam, Mehendi (locally known as Jetuka) is a way of bringing colour to life, apart from its medicinal properties. Application of mehndi prevents too much stress as it cools the body and prevents the nerves from becoming tense prone, and also it is an antiseptic agent. But during Rongali Bihu, it is broadly used by unmarried women apart from the married ones.

Though there are no restrictions on its use by married women. Women usually apply the fresh paste of the jetuka leaves on the night of Goru Bihu, (when cows

are worshipped), the first day of Bihu.

It is applied on both thumb nails, and toe nails. Some cover it with a plastic foil followed by a clean white muslin cloth and leave it overnight. After applying, it brings out a dark chocolate red colour of Jetuka (mehendi) the beautiful colour that the jetuka leaves leave behind. When first removed, the henna design is pale to dark orange in colour and gradually darkens through oxidation, over the course of 24 to 72 hours. The final colour is reddish brown and can last anywhere from one to three weeks depending on the quality and type of henna paste applied, as well as where it was applied on the body (thicker skin stains darker and longer than thin skin).

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DIBRUGARH, WEDNESDAY, APRIL 13