International Journal of Management Volume 12, Issue 2, February 2021, pp. 124-130. Article ID: IJM_12_02_012 Available online at http://iaeme.com/Home/issue/IJM?Volume=12&Issue=2 Journal Impact Factor (2020): 10.1471 (Calculated by GISI) www.jifactor.com ISSN Print: 0976-6502 and ISSN Online: 0976-6510 DOI: 10.34218/IJM.12.2.2021.012

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A DISCUSSION ON THE PRESERVATION AND THE EXPANSION OF ASSAMESE CULTURE: A COMMERCIAL PERSPECTIVE

Lakhyana Dutta Ph.D Research Scholar, Department of Assamese, Gauhati University, Guwahati, , India

Bhaswati Goswami M.Phil Research Scholar, Department of English, Dibrugarh University, Dibrugarh, Assam, India

ABSTRACT This paper attempts to discuss how the cultural resources of Assam are transformed into a medium for commerce by applying specific artistic methods and how this system has positive as well as negative impacts on the preservation and the expansion of Assamese culture in the context of Globalization. Considering the problems such as increasing population, unemployment, etc., an environment has been created with the idea of consumer and demand by transforming the local cultural resources of Assam into consumer goods with acute preparations. As culture is prone to change, it can be assumed that this kind of system puts insufficient effort into the preservation and expansion of culture. Without transforming the core of the various elements of the Assamese culture, they are transformed into an appropriate medium for commerce by applying specific artistic methods. This paper focuses on how the local cultural elements of Assam are being renovated into consumer goods by transforming them from the first existence into the second and the third existence by applying an innovative mindset and also try to explore the potential elements that remain commercially untouched can be used in this regard. Key words: Assamese folk culture, Assamese folk-resources, cultural preservation, cultural expansion, medium for commerce, consumer, demand, supply, second existence, third existence. Cite this Article: Lakhyana Dutta and Bhaswati Goswami, A Discussion on the Preservation and the Expansion of Assamese Culture: A Commercial Perspective, International Journal of Management (IJM), 12(2), 2021, pp 124-130. http://iaeme.com/Home/issue/IJM?Volume=12&Issue=2

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1. INTRODUCTION With the advancement of civilization, the relative idea of ‘modernity’ is often associated with the natural process of transformation, expansion, refinement, and compression in culture. Along with Globalization, the manifestation and the advancement of culture have also transcended the prior limitations. As a result, the beliefs, customs, and rituals under a particular culture have been influenced by other cultures and the definitions of the ubiquitous notions have also changed. In the field of communication, the mass media has replaced the folk-media. The emergence of the system of satellite connection has led to a significant extension in the field of knowledge. Being able to sell or buy any item from the comfort of the home through online shopping, net banking, etc.; being able to be aware of any news from any remote corners of the world through online news; the resources such as online journal, e-paper, e-book, online conference, webinar, etc. have carried the human race to such a world, where discoveries and inventions – even while occurring regularly – have turned out to be quite normal events. Starting from household furniture to cooking vessels, agricultural equipment, etc., modernity has transformed every aspect of daily life. Even every section of performing arts has reflected novelty. The lives of the Assamese public are no exception. Assam and North-East India are renowned all over the world as a vibrant area for their geographical, social, cultural, and anthropological characteristics. Every tribe that has been living here for ages now has its diverse cultural arenas with an abundance of distinct forms of art, literature, culture, rituals, and customs. Along with that – most importantly – the natural beauty of its rivers, tributaries, lakes, waterfalls, hills, forests, etc., has attracted tourists from every nook and corner of the world. A matter of significance is that with the advent of science and technology, the Assamese society and culture have also become an integral part of the notion of a global village that is shrunk by globalization. In this context, to tackle the grave problems such as the increase in population, unemployment, depleting resources, etc., it has become important to search for alternatives for the prevailing employment options for the sake of gaining economic independence. Assamese citizens are well-aware of the fact that Assamese culture is capable of creating and fulfilling such economic demands. Therefore, currently, it is seen that an adequate amount of importance has been given to applying commercial perspective into the manifestation and the advancement of Assamese culture both governmentally as well as privately through numerous individuals, NGOs, etc. The manifestation of culture is being done by applying modern technologies such as archiving, documenting, recording, publishing, etc., without diverting from the original source. For instance, as the usage of Assamese ethnic resources such as Jaakoi, Khaloi, Nangal, Juwali, etc. is gradually depleting, modern technologies have been used to preserve these resources in the museum by transforming them into micro-level units; along with that, these are supplied to market places to decorate the elite Assamese households, and thereby increasing the demand for locally produced showpieces. It might not be exaggerating if one says that nowadays, the main objective of cultural manifestation is commercial. Therefore, through this paper, an attempt has been made to showcase how the local cultural elements of Assam are being renovated into consumer goods by transforming them from the first existence into the second and the third existence by applying an innovative mindset. Along with that, this discussion will also probe into how several potential elements that remain commercially untouched can be used in this regard. 2. IMPORTANCE OF THE STUDY In the global village of the twenty-first century, the first condition to maintain one's existence is to acquaint oneself with modern methodologies. Along with this, practice, circulation, and extension of the particular language, literature, and culture are equally important. In the twenty- first century world, the use of modern technology and the advancement of one's cultural heritage – two seemingly contradictory notions – can be associated together in a single unit.

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Undoubtedly, this association requires an ample amount of artistic methods. To show how far the cultural field of Assam has been successful in this regard is a subject of discussion. To suitably establish an area like Assam with an abundance of culturally diverse resources in the modern world, its residents are also responsible. It has been observed that the aggressive expansionist tendency of globalization has posed a threat to the minor regional existence of an area like Assam. In the contemporary world, in the context of the problems created by the increasing population such as unemployment, depleting usable goods, lack of housing, urbanization, industrialization, etc., it has been noted in associating the depiction of Assamese culture from the commercial perspective is relevant to adjust with the citizens from all over the world. Every aspect of Assam – be it cultural, social, economic, or political – is interrelated in this regard. Another aspect of the development of Assamese regionalism is also tied with the commercial application of indigenous resources. From the commercial perspective, the manifestation of Assamese culture is still in the initial stage. For these aforementioned reasons, the proposed study can be considered as important. 3. OBJECTIVES OF THE STUDY 1) Referencing and depicting the indigenous cultural resources of Assam which are utilized for commercial usage. 2) Portraying the picture of self-employment of the Assamese locals through the commercial usage of Assamese cultural elements. 3) Discussing the positive and negative impact on the preservation and the expansion of Assamese culture due to the application of modern technologies for the manifestation of Assamese culture. 4. DATABASE AND METHODOLOGY This research is solely based on field study. Still, in some places, the help of library research has also been taken. A descriptive and analytical method has been applied in the data analysis of the study. Representation of the subject matter has been done in the numbering method. Quotation, reference, bibliography, etc. have been done following the journal guideline. 5. RESULTS AND DISCUSSION Assam as well as North-East India is considered to be a wonderful field for cultural practice as a museum of language and anthropology with four language families of the world and the presence of a record number of ethnic tribes. We are already aware that before the implementation of the 'State Reorganization Act, 1956' which presented Nagaland the status of a state by separating it from Assam, the whole North-East India was a part of the state of Assam. Afterward, in 1972, Manipur, Meghalaya, and Tripura, and 1987, Arunachal Pradesh and Mizoram achieved the status of a state by being separated from Assam. Significantly, the political separation is incapable of culturally separating North-East India, which is why, even in the discussion of twenty-first-century Assamese or Assamese culture, it is almost like a rule to mention the whole of North-East India. Along with that, as Assam is geographically located at the center of North-East India, Assamese culture has become a culture of assimilation through the melting pot method. Assamese culture has stemmed from agriculture and it also functions under an agriculture-based economy. Since ancient times, in Assam, the plane lands on the banks of the rivers, and the hilly areas are used for permanent agricultural methods and shifting cultivation respectively. Along with this, the locals earned their livelihood by engaging in different professions related to weaving, bamboo, cane, wood, stone, soil, various locally produced metals such as brass, bell metal, iron, gold, silver, bronze, etc., types of leathers, jute, kuhila, bark, producing art and hunting with animal bones, skin, teeth, nails, horns, etc., animal husbandry, fishing, helmsman, hostler, etc. On the other hand, the writers, musicians, artists,

http://iaeme.com/Home/journal/IJM 126 [email protected] A Discussion on the Preservation and the Expansion of Assamese Culture: A Commercial Perspective and dancers carried on their life-work with the help of royal patronage on several occasions. Along with the exchange of produced goods amongst the people from the plains and hills through the barter system, several merchants exported the produced goods of Assam to Bangladesh through the Brahmaputra and its different north and south tributaries and to Yunan, China through the Patkai mountain pass of North-East and crossing the Irawati river of Brahmadesh (present Myanmar). Pragjyotishpur was the center of international trade. Assam had trade relations with several places such as China, Tibet, Brahmadesh, Manipur, Utkal, Pataliputra, etc. and its main product for export was silk and products made of silk. Along with this, various other produced items of Assam such as bay leaves, lac, skin, iron, bull horn, rhinoceros horn, ivory tusk, cotton clothes, etc. had large demands in the foreign markets. This picture of the economic environment of Assamese culture from history has reflected the richness of Assamese culture. With the advancement of time, this ethnic culture has been transforming into new forms with the influence of its successors. This paper aims to discuss the specific changes in the Assamese culture concerning the market demand in the context of twenty-first-century globalization. Here, the term 'Assamese culture' suggests the various languages, literature, art forms, music, dances, instruments, festivals, customs, beliefs, agricultural methods or agricultural equipment, fishing equipment, apparels, pieces of jewelry, food habits, sports, and architectures of all the races and tribes who contributed towards building the Assamese society, and the distinct characteristics of these elements have made it possible to identify them as indigenous Assamese resources, which are the pride of the residents of Assam. 5.01 Materialistic culture is the primary resource in building the economic foundation of a society. In contemporary times, several educated Assamese youths have been able to be financially independent by engaging with folk-culture. 5.01.01 The weaving industry of Sualkuchi, famously known as Assam's Manchester, has paved a way for many locals to earn their livelihoods. Weaving various clothing items such as chadar, mekhela, gamusa, handkerchief with different patterns from the pat, muga, and endy threads produced from silkworms is an old tradition. Again, the production of cotton threads from cotton cultivation is also a native tradition of Assam. The khadi industry – a result of Gandhi's Swaraj movement – is also popular in Assam. In all the parts of Assam, even in many households in Guwahati, handlooms are still used. It is noteworthy that considering the present market demand, the dressmakers produce various attires such as dresses, salwar, kurta, frock, skirt, gown, scarf, top, shirt, coat, jacket, etc. by measuring the clothes made of pat, muga, endy, and cotton threads in meters and weaving it. Again, various kinds of bags, file covers, bangles, earrings, etc. are also made from these clothes. Mekhela chadar and sarees made of pat and muga in Assam are especially famous all over India as well the international commercial platforms such as Flipkart, Amazon, etc. Recently, masks made of gamusa and local cotton clothes have also earned special demand in the markets of Assam. Significantly, various weaving patterns on Assamese clothes such as flowers, japi, xorai, peacock, magar, kalka, pearl, and other indigenous patterns have even captured the attention of non-. Therefore, along with Assam and India, even in the drawing rooms of the foreign countries also contain the showpieces made of Assamese weaved clothes with patterns. The constant communication between people due to globalization has helped in opening up such fields. 5.01.02 The bamboo and cane industry of Assam is famous even in the twenty-first century. Its finest example is England's Queen Elizabeth's visit to Majuli, Assam, and commenting that the houses made of wood and bamboo are far more comfortable than a five-star hotel in England. Several products made from different species of bamboos are used in Assam. Even today, chairs, tables, sofa, beds, etc., which are made of bamboo and cane, are decorating the drawing-room, bedroom, kitchen, and verandah of many Assamese households. It is noteworthy

http://iaeme.com/Home/journal/IJM 127 [email protected] Lakhyana Dutta and Bhaswati Goswami that the micro-level edition of various agricultural and fishing equipment of Assam are produced in the form of second existence are being supplied to the markets, which – along with decorating the drawing-rooms – have also preserved the existence of indigenous Assamese resources. Domestic and foreign tourists also purchase these items. It cannot be denied that the usage of valuable agricultural and fishing equipment made of wood and bamboo such as nangal, juwali, jabaka, moi, jakoi, khaloi, sepa, polo, juluki, khoka, tongi, fishing net, etc. can be discontinued due to the aggression of modern technologies. Therefore, the step of preserving these items in the state museum is praiseworthy. Every artist related to the field of music is aware of the demand of the wind and percussion instruments such as flute, toka, and gogona made of bamboo in Assam. The main ingredient or the foundation of the mask industry – which has occupied a significant portion of the paranormal field of Assam – is bamboo. Therefore, the bamboo industry has a significant contribution in the field of commerce in Assam. 5.01.03 Apart from bamboo and cane, in Assam, there is a special demand for bags, carpet, mats, showpieces, etc. which are made of jute. In the self-help groups, the production of jute- made goods has especially the womenfolk to become financially independent. 5.01.04 Amongst all the metal-based products, the bell metal products are favoured in Assamese society. Even today, bell metal plates and baan bati (a type of bowl) are considered to be symbols of sophistication in serving the guests. The demand for products such as plate, bowl, pot, maihang, ghoti, lota, soriya, xorai, xofura, taal, thaal, tou, koloh, etc. which are made of bell metal and utensils, jewelry, showpieces, etc. which are made of comparatively cheaper metals like brass and bronze are not lesser than other products. It is important to note that building techniques of spade, chopper, sickle, axe, hammer, chisel, etc. which are made of iron, have also attracted tourists. In the Ahom era, suitable persons were appointed to extract the ores from the metals such as gold, silver, iron, steel, bronze, etc., and for tampering. The goldsmiths from Assam were capable of making jewelry with special methods of tampering with indigenous raw gold. The jewelry was also made with gold, silver, bronze, and brass. The jewelry was also made by applying gold plated and gold water in silver and bronze. In the contemporary era, the demand for jewelry popularly known as 'Asamiya Gahana' (Assamese jewelry) amongst the Assamese women, which is made of raw gold, is no lesser than the demand for mekhela chadar made of pat-muga silk. In Assamese weddings, it has become a tradition to gift the bride with jewelry made of priceless ornamental minerals, which has been made more famous through digitalized social media such as Facebook, Instagram, YouTube, etc. The artistic structure of jaangphai, thuriya, prabal, bakhor, jonbiri, dholbiri, gejera, madoli, nejpota, japixojiya, jethinejiya, lota- bakhorua biri, etc. have attracted both the Assamese and the non-Assamese people. Therefore, these pieces of jewelry are also bound towards occupying positions in the national and international markets. 5.01.05 The ceramic industry of Assam has a special demand for building various idols of Gods and Goddesses in the temples. The importance of this industry can be seen during religious festivals such as , Saraswati Puja, Biswakarma Puja, etc. where clay idols made by various artists are placed in the altars as well as through the usage of earthen lamps in Diwali. Apart from that, several products such as koloh, tubs, and containers in various shapes for planting flowers made of clay and clay idols made by various artists are showcased in exhibitions and exported to other states. 5.01.06 The food habits of Assam as well as of North-East India are famous all over the world. Numerous food items, which are not consumed in various parts of the world, are a staple in the list of Assamese food. Based on the list of the distinct ethnic food items of Assam, a significant number of Assamese youths have discovered the way of financial independence. It has been noticed that in various places of Assam, the demand for restaurants established under

http://iaeme.com/Home/journal/IJM 128 [email protected] A Discussion on the Preservation and the Expansion of Assamese Culture: A Commercial Perspective the name of Assam and any tribe is also increasing. In these places, the ethnic food items of Assam such as rice, fish, meat, pickle, jalpaan, etc. are served in indigenous Assamese cultural resources such as plates, bowls, and glasses made of bell metal, banana leaves, donga (a type of plate made from the banana tree), bamboo sunga (a type of glass), etc. These restaurants have made significant contributions in boosting the Assamese economy through serving the domestic and foreign tourists as well as the other people who make a work-related visit to Assam. Apart from that, during the Bhogali and Rongali , various food fests are organized under the initiative of NEDFI (North Eastern Development Finance Corporation Limited) and other such groups, where pitha-ladu, bora-joha rice-and sira, hurum, milk, and curd of cow and buffalo, etc. are sold and delicious ethnic food items such as jalpaan, duck-pigeon-local chicken meat, cane shoot, khorisa (a pickle made of bamboo sprout), fish wrapped in leaves, etc. are served. Amongst the tourists, one of the central attractions is a drink made by fermenting rice or fruits, which is indigenous to the local tribes of Assam. Apart from employing the local youths, this kind of system has attracted foreign tourists towards the Assamese culture. There are various established ethnic food brands in Assam such as Bhogali Jalpan, Sitajakhala, Purabi Diary, etc. who sell indigenous food items, milk products, etc. Recently, the demand for indigenous food items has significantly increased with the effort of Manoram Gogoi, an Assamese journalist, who established a food stall named 'Thalgiri'. 5.02 Nowadays, Performing arts have vital importance in the cultural field of Assam. In the , two types of performing arts were prevalent: classical and folk. Art forms such as Devadasi, Oja-Pali, Sattriya, etc. are declared as classical art forms by the Government of India. Every tribal art forms such as Bihu, Bagurumba, etc. fall under the category of folk art. Jikir, Jari, Aai Naam, Biya Naam, Jona Gabhorur Geet, etc. fall under the category of folk song. The Ahom king Swargadeo Rudra Singha created a post titled 'Gayanar Barua' whose duty was to maintain the practice of the various musicians such Dhuliya, khuliya, Mridangiya, Negeriya, Kaaliya, Khutitaliya, Nasaniyar, Biyah-guwa, Binuwa, Pod-guwa, etc. Various art forms like Borgeet, dance, bhaona, which were created under the environment of Sattras and , also received specific royal patronage. Entertainment programs titled 'Nasaniyar' were organized in the royal courts where several dance forms such as Saali-nach, Gopi-nach, Raxor nach, Sutradhari nach, etc. were performed. The heritage and the diversity of the performing arts of Assam can be understood by studying Assamese history. In the twenty-first century world, music has also become an important medium for mass communication. From the open fields, Bihu dance has also reached the stage in the form of second existence, where it is performed with acts and gestures, and lastly, as the third existence, it has also been established as an art form – which is entirely based on direction – without any connection to nature. Currently, there is an edition of a new method in the field of performing arts, where the folk instruments are performed in a group as the folk orchestra, and by adding modern technologies, the folk music is performed through the medium of folktronica. These are preserved through videography or sound recording and there is also a commercial aspect attached to it. A significant part of the Assamese population is associated with the field of performing arts or this field is their only source of income. Several artists are already well-known throughout the world by performing Bihu song and dance and other tribal art forms. Ankiya Naat and Sattriya Sangeet – which are created by Mahapurush Srimanta Shankardeva, the founder of neo- Vaishnavism in Assam – have also attracted audiences all over the world. Considering the demand of the modern-day audience, the modern renditions of Ankiya Naats with the added modern techniques are also performed on stage without tampering with the original source. Currently, in Assam, the theatre and the mobile theatre industry are more popular than the movie industry. Actors, musicians, and various other artists associated with the theatre groups have been able to practice art as well as earn their livelihoods.

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World Heritage Site Majuli's mask industry has also been commercially successful. Along with that, in contemporary times, under the influence of globalization, the Assamese culture has been transformed into one of the most significant fields with the edition of several new art forms. Currently, several youths are also self-employed by engaging with the art forms such as beauty make-up, photography, etc. 6. CONCLUSION In reality, the culture of a country or an area never stays constant. Unceasing migration, application of online system due to the developed transport and communication system have shrunk the whole world. In this regard, it is natural for every community of the world to be influenced by each other's customs, rituals, festivals, apparel, used goods, conversational methods, lifestyle or field of livelihoods, etc. The Assamese culture is no exception. However, from the above discussion, it can be argued that although the Assamese culture is under the influence of globalization, still, its original cultural source remains intact. The usage of art and culture for commercial purposes only has a positive impact on the preservation and the expansion of Assamese culture. The occasional irregularities are being corrected with the advice of the aged folks. In this discussion, an attempt has been made to showcase a small part of the larger commercial picture as seen in the folk art, folk-garment and ornament, folk cooking methods, and performing arts of the Assamese culture. A larger portion of this still requires discussions. In the age of science and technology, it is undeniable that there is an utmost need for the commercial usage of art and culture. There are several potential indigenous resources in Assam that can be transformed into a planned or scientific field of livelihood by building a trained workforce. For instance, in the field of harvesting fish, dairy production, animal husbandry, production of herbal medicines, etc., there is enough potential for growth with the initiative of the Government as well as the locals. REFERENCES [1] Das, Narayan (ed.). Asamar Sanskriti-Kosh. Published by Jyoti Prakashan on behalf of Assamese Department, Pragjyotish College, Guwahati-9 (Assam), 2nd Edition: July 2014. [2] Gogoi, Leela. Asamar Sanskriti. Banalata, Dibrugarh-1, 12th edition: 2019. [3] Hajarika, Bishweshwar (ed.). Asamiya Sahityar Buranji (Pratham Khanda). Anundoram Barua Bhasa Kala Sanskriti Sanstha, Guwahati-30, 2nd edition: 2016. [4] Neog, Hariprasad and Leela Gogoi (edited). Asamiya Sanskriti. Banalata, Dibrugarh-1, 5th edition: 2013. [5] Sharma, Nabinchandra. Asamiya Loka-Sanskritir Abhas. Bani Prakash Private Ltd, Guwahati-781001, 5th edition: 2011. [6] Sharma, Nabinchandra and Kanakchandra Saharia (edited). Asamar Sanskriti-Samiksha. Chandra Prakash, Guwahati-1, 2nd edition: 2016.

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