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The Forgotten Saga of Rangpur's Ahoms
High Technology Letters ISSN NO : 1006-6748 The Forgotten Saga of Rangpur’s Ahoms - An Ethnographic Approach Barnali Chetia, PhD, Assistant Professor, Indian Institute of Information Technology, Vadodara, India. Department of Linguistics Abstract- Mong Dun Shun Kham, which in Assamese means xunor-xophura (casket of gold), was the name given to the Ahom kingdom by its people, the Ahoms. The advent of the Ahoms in Assam was an event of great significance for Indian history. They were an offshoot of the great Tai (Thai) or Shan race, which spreads from the eastward borders of Assam to the extreme interiors of China. Slowly they brought the whole valley under their rule. Even the Mughals were defeated and their ambitions of eastward extensions were nipped in the bud. Rangpur, currently known as Sivasagar, was that capital of the Ahom Kingdom which witnessed the most glorious period of its regime. Rangpur or present day sivasagar has many remnants from Ahom Kingdom, which ruled the state closely for six centuries. An ethnographic approach has been attempted to trace the history of indigenous culture and traditions of Rangpur's Ahoms through its remnants in the form of language, rites and rituals, religion, archaeology, and sacred sagas. Key Words- Rangpur, Ahoms, Culture, Traditions, Ethnography, Language, Indigenous I. Introduction “Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay of that colossal Wreck, boundless and bare, the lone and level sands stretch far away.” -P.B Shelley Rangpur or present day Sivasagar was one of the most prominent capitals of the Ahom Kingdom. -
Numbers in Bengali Language
NUMBERS IN BENGALI LANGUAGE A dissertation submitted to Assam University, Silchar in partial fulfilment of the requirement for the degree of Masters of Arts in Department of Linguistics. Roll - 011818 No - 2083100012 Registration No 03-120032252 DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGE ASSAM UNIVERSITY SILCHAR 788011, INDIA YEAR OF SUBMISSION : 2020 CONTENTS Title Page no. Certificate 1 Declaration by the candidate 2 Acknowledgement 3 Chapter 1: INTRODUCTION 1.1.0 A rapid sketch on Assam 4 1.2.0 Etymology of “Assam” 4 Geographical Location 4-5 State symbols 5 Bengali language and scripts 5-6 Religion 6-9 Culture 9 Festival 9 Food havits 10 Dresses and Ornaments 10-12 Music and Instruments 12-14 Chapter 2: REVIEW OF LITERATURE 15-16 Chapter 3: OBJECTIVES AND METHODOLOGY Objectives 16 Methodology and Sources of Data 16 Chapter 4: NUMBERS 18-20 Chapter 5: CONCLUSION 21 BIBLIOGRAPHY 22 CERTIFICATE DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGES ASSAM UNIVERSITY SILCHAR DATE: 15-05-2020 Certified that the dissertation/project entitled “Numbers in Bengali Language” submitted by Roll - 011818 No - 2083100012 Registration No 03-120032252 of 2018-2019 for Master degree in Linguistics in Assam University, Silchar. It is further certified that the candidate has complied with all the formalities as per the requirements of Assam University . I recommend that the dissertation may be placed before examiners for consideration of award of the degree of this university. 5.10.2020 (Asst. Professor Paramita Purkait) Name & Signature of the Supervisor Department of Linguistics Assam University, Silchar 1 DECLARATION I hereby Roll - 011818 No - 2083100012 Registration No – 03-120032252 hereby declare that the subject matter of the dissertation entitled ‘Numbers in Bengali language’ is the record of the work done by me. -
Class-6 New 2020.CDR
Foreword I am greatly pleased to introduce the inaugural issue of “rediscovering Assam- An Endeavour of DPS Guwahati” . The need for familiarizing the students with the rich historical background, unique geographical features and varied flora and fauna of Assam had long been felt both by the teaching fraternity as well as the parent community. The text has been prepared by the teachers of Delhi Public School Guwahati with the sole aim of fulfilling this need. The book which has three parts will cater to the learning requirement of the students of classes VI, VII, VIII. I am grateful towards the teachers who have put in their best efforts to develop the contents of the text and I do hope that the students will indeed rediscover Assam in all its glory. With best wishes, Chandralekha Rawat Principal Delhi Public School Guwahati @2015 ; Delhi Public School Guwahati : “all rights reserved” Index Class - VI Sl No. Subject Page No. 1 Environmental Science 7-13 2 Geography 14-22 3 History 23-29 Class - VII Sl No. Subject Page No. 1 Environmental Science 33-39 2 Geography 40-46 3 History 47-62 Class - VIII Sl No. Subject Page No. 1 Environmental Science 65-71 2 Geography 72-82 3 History 83-96 CLASS-VI Assam, the north-eastern sentinel of the frontiers of India, is a state richly endowed with places of tourist attractions (Fig.1.1). Assam is surrounded by six of the other Seven Sister States: Arunachal Pradesh, Nagaland, Manipur, Mizoram, Tripura, and Meghalaya. Assam has the second largest area after Arunachal Pradesh. -
Assamese Film Siraj and Ajala Kakai Portraying Bihu Dance and Songs As Popular Culture
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 24, Issue 7, Ser. 6 (July. 2019) 30-34 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Assamese Film Siraj and Ajala Kakai Portraying Bihu Dance and Songs as Popular Culture Dr. Debasis Bezbaruah Guest FacultyGauhati University Institute of North East India Studies Corresponding Author: Dr. Debasis Bezbaruah ----------------------------------------------------------------------------------------------------------------------------- --------- Date of Submission: 10-07-2019 Date of acceptance: 25-07-2019 --------------------------------------------------------------------------------------------------------------------------------------------------- I. INTRODUCTION Bihu dance and songs are folk media forms of Assam. Folk media forms of Bihu are vibrant among people of Assam. However Bihu as represented by Assamese cinema creates popular culture forms which are distinctly deviates from folk forms.Assamese cinema has a glorious history since the first ever film Joymoti by Jyotiprasad Agarwala in 1935. Cinema forms the popular culture. At the same time cinema itself is popular culture. In the twentieth and in the twenty first century cinema is the most powerful mass media which can overcome all barriers of boundaries and forms a universal platform for human race. Cinema is inseparable from the living process of modern human society. The voice of a society is represented by cinema. The people, life and living process, thoughts and beliefs, cultural ethos are represented by cinema. Cinema can carry the culture of the society where the cinema is made. The story, theme, characters, settings, costumes, music, dance etc. of a cinema showcase the cultural forms of the representative society. Assamese cinema therefore represents the cultural forms of Assamese society in the broad sense. “Although the word culture is part of everyday vocabulary, it’s difficult to define. -
Assam - a Study on Bihugeet in Guwahati (GMA), Assam
International Journal of Science and Research (IJSR) ISSN: 2319-7064 Impact Factor (2018): 7.426 Female Participation in Folk Music of Assam - A Study on Bihugeet in Guwahati (GMA), Assam Palme Borthakur1, Bhaben Ch. Kalita2 1Department of Earth Science, University of Science and Technology, Meghalaya, India 2Professor, Department of Earth Science, University of Science and Technology, Meghalaya, India Abstract: Songs, instruments and dance- the collaboration of these three ingredients makes the music of any region or society. Folk music is one of the integral facet of culture which also poses all the essentials of music. The instruments used in folk music are divided into four halves-taat (string instruments), aanodha(instruments covered with membrane), Ghana (solid or the musical instruments which struck against one another) and sushir(wind instruments)(Sharma,1996). Out of these four, Ghana and sushirvadyas are being preferred to be played by female artists. Ghana vadyas include instruments like taal,junuka etc. and sushirvadyas include instruments that can be played by blowing air from the mouth like flute,gogona, hkhutuli etc. Women being the most essential part of the society are also involved in the process of shaping up the culture of a region. In the society of Assam since ancient times till date women plays a vital role in the folk music that is bihugeet. At times Assamese women in groups used to celebrate bihu in open spaces or within forest areas or under big trees where entry of men was totally prohibited and during this exclusive celebration the women used to play aforesaid instruments and sing bihu songs describing their life,youth and relation with the environment. -
Positioning of Assam As a Culturally Rich Destination: Potentialities and Prospects
International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 9 Issue 3 Ser. IV || Mar, 2020 || PP 34-37 Positioning Of Assam as a Culturally Rich Destination: Potentialities and Prospects Deepjoonalee Bhuyan ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 22-03-2020 Date of Acceptance: 08-04-2020 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION Cultural tourism has a special place in India because of its past civilisation. Among the various motivating factors governing travel in India, cultural tourism is undoubtedly the most important. For any foreigner, a visit to India must have a profound cultural impact and in its broader sense, tourism in India involves quite a large content of cultural content. It also plays a major role in increasing national as well as international good will and understanding. Thousands of archaeological and historical movements scattered throughout the country provide opportunites to learn about the ancient history and culture. India has been abundantly rich in its cultural heritage. Indian arts and crafts, music and dance, fairs and festivals, agriculture and forestry, astronomy and astrology, trade and transport, recreation and communication, monumental heritage, fauna and flora in wildlife and religion play a vital role in this type of tourism. Thus, it can be very well said that there remains a lot of potential for the progress of cultural tourism in India. Culturally, North East represents the Indian ethos of „unity in diversity‟ and „diversity in unity‟. It is a mini India where diverse ethnic and cultural groups of Aryans, Dravidians, Indo-Burmese, Indo Tibetan and other races have lived together since time immemorial. -
Traditional Foods of Assam and Its Commercialization
International Journal of Recent Technology and Engineering (IJRTE) ISSN: 2277-3878, Volume-8, Issue-2S11, September 2019 Traditional Foods of Assam and its Commercialization Pallabika Sarmah, Samutjal Saikia, Ashim Saikia into a global village. Improvement of transportation system, Abstract: All the people round the Globe have their local popularization of internet service, has much contribution to traditional food. The taste of the local traditional food differs the world Globalization. This improvement has facilitated according to one’s social and cultural structure. The source of the traders to trade round the Globe, and the people all ingredients of every local traditional food is the nature and they prepare them according to their tradition and custom. The around also have got introduced to the different culture and North-East of India, Assam, is full of variety of castes and creeds. traditions and their typical traditional food. People have And every caste has their own traditional food and a special started to adopt various scientific process in preparing traditional way of preparation. But, the local people of Assam use various traditional foods like various cakes from rice only certain specific ingredients to prepare their traditional powder, local dry fishes, pickle of various seasonal fruits, dishes, of which ‘Pork’, Pastes prepared from mustard-oil seeds, pickles prepared from various fruits are the main or can be taken bamboo shoot Pickle, Pickles prepared from pork and duck into accounts. These traditional foods of Dibrugarh District are meat, various dishes prepared from mustard-oil seeds and also sent for marketing. Study on the use, preparation and many such more. -
'Bihu' in Assam Movement
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Vol. 12, No. 1, January-March, 2020. 1-11 Full Text: http://rupkatha.com/V12/n1/v12n102.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v12n1.02 The Political role of ‘Bihu' in Assam movement (1979) Debajit Bora Assistant Professor, Centre for North East Studies and Policy Research, Jamia Millia Islamia, [email protected], ORCID id: https://orcid.org/0000-0002-6424-2522 Abstract This paper aims to understand the political role of Assamese traditional performance ‘Bihu’ during Assam movement in 1979. It argues that beyond its role as Assamese cultural identity, ‘Bihu’ had transformed itself into a political space and fueled upon expanding the idea of Stage Bihu. While looking at the performance as medium of political messaging, the paper brings together the three specific case studies seemingly unknown in the documented cultural history and located in the rural Assam. The idea is to comprehend the larger scope of traditional performance in accommodating political events. The debates are being weaved together through theoretical frames of historian Eric Hobsbawm’s ‘Inventing tradition’ Thomas Postlewait’s ‘theatre event’ in order to see the transformation and changes within the repertoire of Bihu. The paper tries to resurrect an alternative historical discourse, often neglected by the dominant historical cannons. Keywords: performance, identity, Assam movement, politics, Assam. Introduction Assam movement, 1979 had emerged as one of the strong identity assertion movement in post Independent India mainly revolved around the issue illegal migration from Bangladesh. On June 8, 1979, the All Assam Students Union (AASU) sponsored a 12-hour general strike (bandh) in the state to demand the "detection, disenfranchisement and deportation" of foreigners. -
Bihu Dances. the Performances Include a Range of Other Theatrical Shows; Other Dance Forms Performances, Solo Singer Concerts and Stand up Comedy
Bihu dances. The performances include a range of other theatrical shows; other dance forms performances, solo singer concerts and stand up comedy. the stage Bihu form have become so popular that different Bihu organizers have extended the celebrations to Bohagi Bidai, which is celebrated for bidding adieu to the festive Bohag month. Instruments used in Bihu : Dhol Bihu celebration is insignificant with the traditional instruments of Assam. There are a variety of instruments which are used during Bihu performances, Bihu geets and dances. Some of Taal Gagana them are : Dhol : The Dhol is an important instrument of Xutuli Assamese culture. It is a percussion instrument Pepa similar to a drum. The Dhol is made of a wooden barrel. It is played with a stick and the palm on each side. The beat of the Dhol is the life of the Toka Assamese culture. A beat from the Dhol makes one swirl and dance to the rhythmic flow. Baanhi Taal : It is a small cymbal instrument. There are different types of Taal. This Bihu is characterized with a feeling of Pepa : Pepa is a flute like musical instrument solemnity as the granaries are almost empty during used in Bihu. It is a small stem capped with buffalo this season. On this Bihu, people light earthen horn. The sound of the Pepa is striking and lamps in front of tulsi plant, the granary, garden mesmerizing. and the paddy fields. The cattle are also fed with Other instruments used are the Toka, Gagana, pithas. Xutuli and Baanhi (flute). Kati or Kongali Bihu has a different flavor as Bohag Bihu is celebrated in different states of there is less merriment and the atmosphere has a India in different names, eg. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 10, Issue-V, October 2019 ISSN: 0976-8165 Ban Theatre of Tezpur and the Development of Modern Assamese Theatre Dipankar Saikia PhD Scholar, Dept. of MIL & LS, Gauhati University. & Dr. Sukdev Adhikari Principal, LOKD College, Assam Research Supervisor, Dept. of MIL & LS, Gauhati University. Article History: Submitted-27/09/2019, Revised-05/11/2019, Accepted-10/11/2019, Published-20/11/2019. Abstract: Modern Assamese theatre is basically amateur in nature and the permanent playhouses erected by various amateur theatre societies of Assam played the pivotal role in the development of western-style Assamese dramaturgy. Ban Theatre of Tezpur in the Sonitpur district of Assam occupied the central place in the development of modern Assamese theatre. The playhouse gave birth to the greatest Assamese dramatist Jyotiprasad Agarwala and raised stellar performers like Bishnu Rabha and Phani Sarma. It introduced the first theatrical orchestra in the State, standardised native Assamese songs and music and employed innovative styles of playwriting and play-production. The present study makes an analytical attempt to trace the history of performance at Ban Theatre and situate its vibrant tradition of theatre practice in the context of the development of modern Assamese theatre. -
Satras and Namghars in Assam
Role of Traditional Institutions in Peacebuilding: A case Study of the Satras and Namghars in Assam A Thesis submitted To Sikkim University In Partial Fulfillment of the Requirement for the Degree of Doctor of Philosophy By Jayanta Madhab Tamuly Department of Peace and Conflict Studies and Management School of Social Sciences June, 2016 Gangtok 737102 India ACKNOWLEDGEMENT I offer my sincere thanks to my supervisor Dr.Sanghamitra Choudhury, Assistant Professor, Department of Peace and Conflict Studies and Management, Sikkim University for her keen interest in guiding my research. I am able to complete my work only with the help of her scholarly suggestions and cooperative approach. A deep sense of gratitude is owed to my teachers Dr.Nawal K.Paswan, the Head of the Department and Dr.Salvin Paul. Their occasional suggestions and friendly approaches helped easing my work. I am also grateful to Sir Ishwarjeet, Sir Newton, Madam Indira, Sir Komal, Sir Abhijeet,Sir Rahul, Madam Nirmali, Madam Jeuti, Prof.Gassa and Sir Shailendra who have helped me in different time with their valuable suggestions. My sincere thanks go to all the officials of the Satras and Namghars of Majuli. All of them helped me by sparing their valuable time, providing information, offering explanation and suggestions. The entire research was possible only because of their spontaneous cooperation in conducting the interviews and discussions. They have helped me in staying in the respective places, knowing the ins and outs of the diverse aspects of the institutions and their mechanisms. I offer my humble gratitude for all the help they have offered during my stays and visits to the field. -
An Analytical Study on Bathou Religious Folk Belief and Traditional Knowledge of the Bodos
© 2021 JETIR May 2021, Volume 8, Issue 5 www.jetir.org (ISSN-2349-5162) An Analytical Study on Bathou Religious Folk Belief and Traditional Knowledge of the Bodos Munmi Baro Asst Professor, Dibrugarh University. 1.0 INTRODUCTION: Folk belief is a kind of social experience. It is believed and shared more or less by the folk-society. It has contextual uses for validating social philosophy to some extent. R.M. Dorson said that ‘Folk belief is a part of folklore’. Further he said, “Folklore is an echo of the past, but at the same time it is also the vigorous voice of the present”.1 In this regard, Folklorists have opinion that folklore is the part of culture shared by a particular group of people; it encompasses the traditional way of living as a whole. It covers a wide area including within its periphery. i.e. traditional songs, prose narratives, beliefs and superstitions, customs, material culture etc.2 As part of the folklore folk belief is also the result of social experiences which is transmitted from generation to generation orally. Folk belief and practices provide valuables of the folk-society. To speak, folk belief is in essence, nothing but knowledge of the ‘folk’; it encompasses collective wisdom and experiences of the folk-society. Bodos are the community who has been leading their livelihood at the forest areas since ancient period. They scared by seeing the natural calamities as a result they started to belief in existence of supreme power and worship the nature to get rid of dangers. Thus belief arises from religious philosophy; and this is also one of the causes of extant of folk belief.