JOURNAL OF CRITICAL REVIEWS

ISSN- 2394-5125 VOL 7, ISSUE 14, 2020

Defining Luit Poria Deka; A Study On Dr Bhupen Hazarika’s Idea Of Masculine Assamese Identity Through His Songs

Parikshit Sarmah

Research Scholar Department of Cultural Studies University , , 784001

ABSTRACT: Any form of literature, written only or songs carries the potentiality of being an instrument for the representation or construction of any nation and a binding force of nationalism. Any literary text arises from a set of the embedded condition of the society; Hence, the creation of music artists are the crystal clear representation of the society at one point in time. Post-Independent Assam has been a history of different demands, the quest for identity, the question of “Son of the Soil”, contestation and ethnic revivalism. These issues gain predominance in the context of Assamese literature in the forms of written literature, songs and so on. The songs of Dr Bhupen Hazarika can be contextualized in re-reading Assam post-independence history and this paper endeavours to examine how the concept of Assamese masculinity is constructed and reflected in the songs of Dr Bhupen Hazarika. Throughout his musical journey, Bhupen Hazarika has been influenced by different ideologies, his songs are a burning example of it. This is an attempt to find how an ideal Assamese man is constructed in relation to nationalism, how Assamese masculinity has been defined by the songs of Dr Bhupen Hazarika, how the philosophy of Dr Bhupen Hazarika sees Assamese society in this era. This study not only includes the songs written by Dr. Bhupen Hazarika, but also the related songs written, composed or sung by him.

Keywords: Dr Bhupen Hazarika, Assamese Nationalism, Literature, Nationalistic Identity

1. INTRODUCTION:

It is foremost to discern how Dr. Bhupen Hazarika has created the image of Assam or Asomi Aai (Mother Assam) in terms of nationalism before going to study how Assamese masculinity is defined in his songs. The most significant element of Dr. Bhupen Hazarika’s Assam can be cited as river Brahmaputra. Even though Assam’s geographical core is divided into two river valley i.e. where most of the communities speak Assamese and which is dominated by the Bengali population and Dr. Hazarika is popular equally in both the areas and among both communities, the lion’s share of his literature can be tracked on river Brahmaputra. In one his song, “AaimorsonoreAsomor” Dr. Hazarika constructed the image of Assam as goddess and remembers the contribution of different legends to this mother figure. He sings with the lyrics of another eminent figure of Assam history Parboti Prasad Baruah…..

“Aaimor Sankar Puruxe-Kirtane pohile AaimorMadhabe Borgeet gale. Aaimor, Aaire Charanat Bhakat Chapise, Aai mor charan Sewa koru buli.”(Hazarika; 2010)

(Trns: Mother in your feet Shankar recites Kirtan, Madhab sings Borgeet and Monks worship you) The picture of Assam as a goddess and the contribution of different Assamese legends as priest to create the image of her is beautifully reflected throughout the song. This song refers Assam a SonoreAsom or golden Assam. So, the prosperity of the nation is based on the contribution of different legends of the soil. In the song, “Aai o Aai”, Dr Hazarika refers to Ahom kings as the root of Assam nation.Meanwhile, the image of Assam has been magnified in reference to its geographical location also in his several songs like “Axam Amar Rupahi”, written in the year 1969. But such songs can be traced in his writing as a product of his homesickness during his life in Bombay. The erection of or Luit as the benchmark of Assam nation can be tracked in most of his songs. In “Mahabahu Brahmaputra, Mahamilanar Tirtha” written during 1980, the identity formation of Assam dependent on the contributions of Sankardeva, , Bishnu Rabha, Jyotiprasad Agarwala based on the mighty Brahmaputra can be seen. But, a particular song “Sankar Madhabar Moha Moha Sristit” is proper specimen to study how there had been changes and additions in terms of Dr Hazarika’s construction of Assam in

4296

JOURNAL OF CRITICAL REVIEWS

ISSN- 2394-5125 VOL 7, ISSUE 14, 2020

different phases of his life. This song was first written in the year of 1972 and some extra stanzas were add in 1880. 1970s is the phase when Dr Hazarika has been in Calcutta and have been in touch of Bengali ideology.This song draws the picture of Assam grounds on the contribution of different personalities like Padmanath Gohainboruah, Bishnu Rabha, Chandrakumar Agarwala, Hemchandra , Ambikagiri Raychoudhury, Rajanikanta, Azan Fakir, Lakhsminath Bezbaruah, Mafizuddin Ahmed Hazarika; and this song clearly talks against the ongoing ideology against Bengali after Bhasa Movement in Assam. This is a proper example how he believes such imaginary enemity between Bengali and Assamese were constructed by a certain section of the society including intellects and journalists. But, when he added certain lines in 1980, referring Assam movement of 1979-1980 as “Xes ” (the last ), he writes- Thousands of voices demonstrated how non-violence movements are the root of Assam’s quest for their rights. Dr Hazarika adds the martyrs of Assam Movement Khargeswar Talukdar, AjitNeog, Nagen Deka, Kumud Gogoi, Dilip Hujuri in his list of identity marker of Assam in its revised form(1980) shows how in that period, even though he is criticized for not supporting the movement directly, has serious support to it. But, it is interesting to see how Dr Hazarika has talks about his urge to establish to project the so called uncivilized cultures of Assam in the global platform with proper honor. In his song “Ami nahou mathu” (1990), he writes… “PagaliPagali Deodharjanir Ulong Nrityak Sabhya korim”(Hazarika; 2010) (Trans: We will establish the naked dance of Deodhani as civilized)

(N.B. Deodhani is a sacred dance form of Assam where in some places women dances without clothes in their body worshipping Goddess Manasa) Different songs written in different time phases has also glimpse of Dr. Hazarika’s perception of Assamese rural life. In his song, “O Ami Tejal Gaonliya” (Movie: Biplobi, 1948), a picture of rural Assam is drawn in reference to its agricultural society dependent on mighty Brahmaputra. After series of conflicts between Assamese speaking and Bengali speaking communities in the 1960s and 70s, Dr. Hazarika writes about the Bengali women as adopted child in his song “Asomi Aaire Lalita-Palita” in the year of 1982 (Hazarika; 2010). This identifies how the image of Assam in the philosophy of Dr Bhupen Hazarika has been centred in the Assamese speaking community. But, interestingly in one of his songs, “Asam Dexar Bagisare” recorded for the film “Chameli Memsab” (1974), Dr Hazarika defines the tea tribe girl as even though their forefathers belongs to somewhere else, they belongs to this culture itself. This transformation can also be tracked as the outcome of influential Assam movement started from the year of 1979. This movement took shape just after the Election Commission of India’s concern at the rapid change in the demographic pattern of Assam due to alleged influx of Bengali speaking immigrants from neighbouring Bangladesh increased Assamese anxiety in 1978. Such example reflects what Dilip Kumar Dutta said about Dr. Hazarika that the language movements is a dilemma for him between Assamese and Bengali people (Dutta: 1982). As in some songs Dr Hazarika urges for Assamese-Bengali brotherhood, but there are certain examples where he defines Bengali as Enemy of Assam. In his song “Aai o Aai” based on the separation of North-Eastern states from Undivided Assam, he sings about Tribura, “Aaimoi Bangar himat ghar xajisu, Hatarur sam reh-rup, Tripura namere raize janibo, Pahori najabi muk”(Hazarika; 2010) (Trans: Mother I am building my house on the boarder of Bengal, Will spying on them, People will know me as Tripura, do not forget me) A man who has been in West Bengal for an ample amount of time and has done most of work there, it is interesting to hear to consider Bengal as enemy. This can be called as the outcome of influenced by the constructed ideological imagination of Bengali as enemy by . At best, the image of Dr Hazarika’s Assam has been based on a dynamic philosophy across time on works of different personalities, the natural beauty of Assam and most importantly on Assamese nationalism. In his first half of life, where it was undivided Assam or “BorAxom” and towards the later life, Hazarika created the image of Assam on solidarity of different caste, tribe and ethnicity of the state. But, as a whole the sketch of Assam in Dr Hazarika’s canvas is grounds on Assamese nationalism where mighty Brahmaputra is a mediator.

Decoding “Notun Purux”: Assamese masculinity in Dr Bhupen Hazarika’s songs Masculinity is a set of attributes, behaviors and roles; it is not based on a single norm and in terms of our perception, masculine identity is different person by person. As for a labor, masculinity is judges by the physical labor one has done but it is the intellectual knowledge one has for an academician. Dr Hazarika’s Assamese

4297

JOURNAL OF CRITICAL REVIEWS

ISSN- 2394-5125 VOL 7, ISSUE 14, 2020

masculinity often regarded in terms of Assamese nationalism, always talked about the new Assamese man. The life and philosophical phase of Dr. Hazarika can be divided differently. His philosophy is the combination of leftist and socialist ideology, his support to Assamese nationalist movements (accused of being chauvinist) and right wing politics. But these philosophies are the outcome of his relation to different organizations in different stages of his life. But, throughout his entire life, he had been in search of “New Man” or “notun purux” both optimistically and pessimistically. In his song “Notun Purux, Notun Purux”, Dr. Hazarika advices the characteristics of an ideal Assamese man and his duty for the youths of Assam as “Notunpurux, Notunpurux, Tumitu nuhua aru Bhiru Kapurux. Hate Kame tumi Jadi Nuhua Purux, Kailoi hoba tumi Purani Purux” (Hazarika; 2010) (Trans.: Notun purux, notun purux, you are no longer pansy, If we will not be a man with your deeds and work, we will be old man tomorrow) This song unveils Dr Bhupen Hazarika’s idea of Assamese masculinity has been grounded on the idea of Assamese new man. The importance of young thoughts and the new generation in constructing Assamese masculinity in Dr Hazarika’s literature can be seen as an impact of Language Movement of Assam and the contribution of new English educated class who introduced the quest for Assamese identity (Baruah: 1999). The simultaneous Assam history of life of Dr Bhupen Hazarika has been centered on different social and political movement in search of “real assamese” identity mostly leaded by Student’s Associations. The new base of Assamese nationalism throughout this period have been based on the young hands of these Student’s groups till date. 1942 Quit India Movement has an immense impact in Assam under the leadership of Mahatma Gandhi, in remembering the freedom fighters of this movement, Dr Hazarika in the initial days of his musical carrier pays tribute to those martyrs as “Agnijugar Firingati” (the fire of fire age). Even though it was written in the first draft of the song in 1939 as “Notun Bharat Gohim” (Will Construct a new India), later it was referred as “Notun Axam gohim” (Will Construct New Assam) when it was used in Siraj (1948) movie after independence (Hazarika: 2010). This song talks about a new India or new Assam uniting different caste, tribe and ethnicity like Harijan, Pahari, Hindu-Musilim, Bodo, Konch, Chutia, Kachari and Ahom. Assam has gone through different movements like Medium Movement (1972), Demand for establishing Oil Refinery in Assam, Food Movement, the root of Assam movement i.e. starting point of demand for exclusion of illegal immigrants and so on during 19760s and 1970s (Mahanta: 2017). The support of Dr. Bhupen Hazarika towards these demands can be seen from the exchanging latters between Dr Hazarika and Hem Baruah who was one of the Members of Parliament of that time from Assam. Based on these letters, in one of the editorial written on 23rd July, 1968, Dr Hazarika showed his protest against the exploitation of central government towards Assam in matters like Oil Refinery, Flood problem of Assam (Hazarika: 1993). During the phase of 1968-1972, anti-Marowari, anti-Punjabi, anti-Sikh, Anti- sindhi (anti-trading community) highlighted the Food Movement (Chattapadhyay) and equally a military repressiveness by the government tried to cope up the situation, Dr Hazarika wrote in 1972 in his song “Nabanaba Purux” (Naba is also a synonym of notun in Assamese) “Naba naba puruxar nupuar prakashak, Bhorire muharibo nuari, Arakshi bahinir eku-sashan rakshya kisu dinhe koribo pari” (Hazarika; 2010) (Trns. : Not having able to dominate new men’s protest against exploitation, the evil-rule can only be established for a little time by using Police force) Glimpse of the association of this song with the Food Movement can be seen in the line “Bujisu puhiso raizar dhanerei pashobik bahinik, (pise) napathao kio, makhimur koriboloi khadyo majutkarik” (Hazarika; 2010) (Trns. : understand that beast groups (police) are maintained with money of common man, but why you don’t send them to destroy food traders) The faith on “notunpurux” by Dr Hazarika during 1970s is also reflected in his song “Tumi Notun Purux” written in 1977 where he is optimistic about the new generation as “Tumi Notun Purux, Tumi Notun Nari, Anagoto Dinar Jagrata Prahari” (Trans.: You are notun purux, you are notun nari, the sleepless protectors of upcoming days) In 1978, Dr Hazarika appeal for the young boys and girls with new mind to change the society and erase social evils like class struggle, difference between rich-poor or have-haven’t, ruling class-exploited; which have been in the society from thousands of years. This was the year of Assembly Election in Assam and his protest against Indira Gandhi lead Congress government based on their tiny importance towards the state can be seen in his editorials written during the year (Hazarika;1993). The new renaissance in youths of Assam emerged in 1970s eventually which lead to Assam movement are reflected in the song “O Notun Manar Tarun-Taruni” (Film- Banahankha, 1978) as

4298

JOURNAL OF CRITICAL REVIEWS

ISSN- 2394-5125 VOL 7, ISSUE 14, 2020

“O Notun Manar Tarun-Taruni, Bujisu Tumr Sokur Saoni, Samukha-Samukhi kiba prakash korar mon”(Hazarika; 2010) (O young boys-girls with new mind, Can understand the spark in your eyes, you have urge to show something”) When Assam movement was at peak, Dr Hazarika motivated the Assam youth with songs like “Kandisanu Kio” (1980), “Tej Dila, Pran Dila”. He celebrated the success of Assam Movement in shape of Assam Accord by glorifying his notun purux in the song “Jay Jay Axamir Notun Purux” (Long Live Assam’s notun purux) as it is the story of their freedom by their sacrifice. The cataclysmic history of 1983 Assam Assembly Election as an outcome of Assam student’s Union’s appeal for boycotting it as a protest, can be seen in another song written in the year of 1984 i.e. “Juia Pura Tirakhir”. This song is a painting of devastating history where several young boys have lost their life in hands of Indian military repressiveness. This song also portrays the pictures of Assam uniting different ethnicities like Rangpi (Karbi), Pegu (Mishing), Gogoi (Ahom), Basumatary (Bodo), Rahim (Muslim), Kurmi(Tea Tribe), Chettry (Nepali). This song considers Indian Military as beasts in some particular lines like “Adin Dekhun Chaupakhe Daitya Danabahi, Luiparat Guliale Bohutu Gol Bhahi?” (Hazarika; 2010) (Trns.: One day some monsters-beasts came from everyside and fired in the bank of Luit, Several has gone away?) Remembering and glorifying the sacrifice of martyrs of Assam Movement in 1984, Dr. Hazarika wrote “Shahid Pranamo Tumak” which has been using by All Assam Student’s Union later on as an unofficial tribute song for them. In this song, he mentioned them as “Bingkho Xatikar Astam Darxakar Notunpurux” (Hazarika; 2010) (Trans.: notun purux of the 8th decade of 20th century) 1980s and 1990s are most probably the darkest phase in terms of Assam history as Assamese society has gone through the rise and fall of militant groups like ULFA with the demand of independent Assam and implementation of AFSPA act by the central government. Dr Hazarika’s support for this movement can be traced with some of his song written during that time. In the song “Ai Bahag Jalanta Tarun” (Tarun also symbolize young boys and girls) written in the year of 1991, he writes “Jahi Khohi Jua Mulyabudhar Maidam Khandi Harbur Nikakori Astra Haji Loi Niswas Kune Baru Hahi Hahi Sushan Senanir Korise Binash.” (Hazarika; 2010) (Trns : With preparing arms from demolished morality, who are destroying the exploiters with a smile) Another song “Bandhu Dekhisane tumi hei sunali puwa” (Trns.: Dear friends, do you see that golden morning) written based on the symbol of ULFA flag has a clear appeal for Assam youth towards ULFA. The resemblance of ULFA ideology and this song can be imagined from the fact that Assam government has banned this song for its resemblance and appeal for support ULFA. Dr. Bhupen Hazarika has been very optimistic about the 21st century as he dreamt of having a diganta (rising morning) in Assamese society in his several songs written in different phases of his life like “Naba Naba Puruxar” (1972), “Jubati Anamika Goswami” (1976) and “Binsha Xatikar Astra Akashat” (1995) (Hazarika; 2010). Besides being optimistic about achieving their rights by Assamese people in the upcoming 21 st century, he also talks about the new mindsets of young boys and girls in removing the social evils like Caste in the song “Jubati Anamika Goswami”. There have been some instances where Dr Bhupen Hazarika portrays a pessimistic picture of his Assamese youths. Describing “notun purux” (new man) in his song “amar samajar notunpuruxar janone ki bhul bhai”. Mentioning the same term Partha Chatterji discussed in his article “Our Modernity” (1997), Dr Hazarika sings about his notun purux, “Pragatir jakhala bogaise hobola, ghone proti khuje proti ujutihe khai, khuje proti ujutihe khai, ajak utonua hol, ajak khudonua hol” (Trns.climbing the ladder of development, they fall in every step, each time: Some becomes unrest, some becomes angry) This song clearly defines how Dr Hazarika at some point of time were not happy with his notunpurux, answering the question “Pragatir jakhala bogaise hobola” (Trans.: They may climbing the ladder of development), he ignored this stage of Assamese youth is not development, they are going away from their real path. One of his celebrated creation “Ami axamiya nhou dukhia” (1968) and re-written in 1980 has a serious hint that during 1970s and 1980s unrest Assam, at some point of time Dr Hazarika was annoyed by the Assam youths. When this song was first written in 1968, the fourth stanza was like “Kunuba Kapuruxak Purux Koribole Jyotiprasadu je ase, Axam morile, Amiu morim buli koboloi Shahidu ase” ((Hazarika; 2010) (Trns. There is Jyoptiprasad to make cowards man; there are martyrs to say if Assam will die, we will also die) But, when this song was re-written in 1980, this line becomes ((Hazarika; 2010),

4299

JOURNAL OF CRITICAL REVIEWS

ISSN- 2394-5125 VOL 7, ISSUE 14, 2020

“Kunuba Kapuruxak Purux Koribole Jyotiprasadu je nai, Axam morile, Amiu morim buli koboloi kunu je nai” ((Hazarika; 2010) (Trns. There is no Jyoptiprasad to make cowards man, there is no one to say if Assam will die, we will also die) Such pessimistic thoughts can also be traced in songs written during 1940s like in “O mur bhoiyai” (1946), he writes referring the legend of Lachit Borphukan, “Saraighatar hataruk khedile, Lachitar hengdang pisoli porile, dhoruta norole kunu” (Hazarika: 2010) (Trans.: Has beaten the enemy of Saraighat, but there is no one to catch the Lachit’s samurai if fall down”

Brahmaputra as a symbol of Assamese Masculinity Demystifying mighty Brahmaputra in Dr Bhupen Hazarika’s audio literature has an important role to play in his construction of Assamese masculinity. The importance of river the Brahmaputra in this case can be traced from two perspectives. The first one how he constructed the image of ideal Assamese man by using different legends related to Brahmaputra, on the other hand, how he created the Brahmaputra itself as a masculine character. There have been different research on the construction of masculinity in relation to historical events and legends, but in his literature it is interesting how he created the Brahmaputra River as an ideal for Assamese masculinity. The glorification of the battle of Sarighat (1671) that hoists the flag of glorified / Ahom and LachitBorphukan adds meaning in establishing Brahmaputra as an identity marker of Assam. But, Dr Hazarika often used the figure of mighty Brahmaputra as Assamese masculinity. “Aji Brahmaputra hol brahniman” (1979) is one of his creation which drawsthe lively picture of Assam Movement. This song metaphorically refers youths of Assam to mighty Brahmaputra “Aji Brahmaputra hol bahniman, Monor digantat dhuaure.”(Hazarika; 2010) (Trans.: Today Brahmaputra has become unrest, vapor flies in air) There have been a very rare example in the world literature to compare nationalism and masculinity with inanimate object. The simultaneous art and literature of Assamese society in terms of constructing Assamese nationalism have also used Brahmaputra. But the reference of Brahmaputra in these cases has always been with Saraighat battle and Lachit Borphukan. Dr Hazarika’s use of Brahmaputra comes from his construction of Assam youth as Brahmaputra River itself. In “Jay Jay Axamir notun purux”, he writes “Brahnimanai Brahmaputra, Noi-UpnoiaruPaharBhoiamarmosilasokupani”(Hazarika; 2010) (Trans.: this Brahmaputra is unrest, you erase the tears of all river, hill-plains) The song dedicated to the martyrs of Assam movement “ShahidPronamoTumak” (1984) includes some lines which clearly used the term “flowing water of the Brahmaputra” to refer young voices of Assam movement

“Luitor bahman panic tejere adhikboian korila” (Hazarika: 2010) (Trans.: Your bloods strengthen the flowing water of Luit or the Brahmaputra ) One of the features of Dr Hazarika’s idea of Assamese youth is the term “Luitporia Deka” or the youths from the banks of Luit (Brahmaputra). During Assam movement, he writes in the song “Luiporia Deka Bandhu” (1980) “Luite aji fenefutukare tribo begere bole” ((Hazarika; 2010) (Trans.: Today Luit (Brahmaputra) flows with lightning speed) The using of the word luit instead of Brahmaputra and luitporia deka (youths from the bank of Luit) in his songs can be traced in some other instances also like praying tribute to the martyrs of Assam Movement in the song “Luitporia Tejal Deka” (1984), the 1980’s addition of the song “SankarMadhabar moha moha Sristi” originally written in 1972 where he described the martyrs like KhageswarTalukdar (first martyrs of Assam Movement), Ajit Neog, Nagen Deka, Kumud Hazarika and Dilip Hujuri as “Unashi-Akhir luit poria dol” (Hazarika; 2010) (Trans.: the youths from the bank of luit of 79 and 80)

Saraighat and Lachit Borphukan as thebenchmark of Assamese nationalistic masculinity The battle of Saraighat(1671) have become the benchmark of Assamese masculinity with the advent of the quest for Assamese identity after indepence. Language movement, Assam movement, rising of ULFA and other historical events work for the importance of glorification of a successful war hero of Assam and with the celebrating six hundred years history with the win over mighty Mughals, no one is more suitable than the Ahoms and LachitBorphukan. The construction of Lachit Borphukan as the ideal of Assamese masculinity and heroicness in this phase can be seen in probably every cultural text. Dr Hazarika’s Assam and Assamese masculinity also referred to the legend of Lachit Borphukan and Saraighat in a great number like “Akou jadi jabo lage saraighatoloi”, “Akou Saraighat”, Moi Lachite koisu”. The most sparking think about the representation of Lachit Borphukan as a symbol of Assamese nationalistic masculinity in Dr Hazarika’s literature can be seen in how he constructed the image of Lachit as a “norm”. The normative lachit masculinity in fact constructed with using several other elements from the history as not ideal.

4300

JOURNAL OF CRITICAL REVIEWS

ISSN- 2394-5125 VOL 7, ISSUE 14, 2020

So, to establish Lachit Borphukan as the ideal, Dr Hazarika used “malicious” characters of Assam history like Badan Borphukan, Mumai to represent different evils of the society. To establish the image of Lachit Borphukan as an ideal for Assamese youth Dr. Hazarika uses the line “Dangornhoi, Dekhotkoimurdurbolchetiamumaiburbulahengdangdharilachitnathakileu” (Hazarika: 2010) (Trans.:There is No Lachit to say no maternal uncle is bigger than nation) This line is inspired by the legend related to Lachit Borphukan as he sacrificed his own maternal uncle for not doing his duty properly during the war against mighty Mughals. The image of lachit in Assamese society is very much based on this legend as it reflects his sacrifice for the mother nation. This over glorification of his sacrifice can be also traced in other songs like “Moi Lachite koisu” as “Bangaharhunitereluitrangolimkorirakhisilumoijananiknirapad” (Trans. : I have protect my nation by flooding my own’s blood in the Brahmaputra ) His maternal uncle, using of the term “Badan Bodh” symbolize the internal enemy based on BadanBorphukan who invited Burmese to invade Assam are some of the example used to construct the image of LachitBorphukan.

2. CONCLUSION

Assamese nationalistic masculinity in Dr Hazarika’s Assam from the above discussion can be traced in his image of new man as an outcome of different social and political movements in his simultaneous Assam history mainly lead by student groups. The other image of Assamese man in some of his different songs lead to characteristics like eloping marriage, normative social masculinity are also matter of concern in studying his philosophy inherited from folk stereotypes.

3. REFERENCES

[1] Anderson B. Cultural Roots. In: Dasgupta S, editors. A South Asian Nationalism Reader. Delhi: Worldview Publication; 2007. [2] Baruah SK, India Against Itself: Assam and the Politics of Nationality. New Delhi: Oxford University Press; 1999. [3] Baruah SK. Little Nationalism Turned Chauvinist: A Comment. Economic and Political Weekly 1981: 16(15): 676-681. [4] Bhaumik S, Troubled Periphery: Crisis of India’s North East. New Delhi: Sage Publications; 2009. [5] Biswas P, Suklabaidya C. Ethnic Life-Worlds in North East India: An Analysis. Delhi: Sage Publications India Private Limited; 2008. [6] Chatterjee P. Whose Imagined Community? In: Dasgupta S, editors. A South Asian Nationalism Reader. Delhi: Worldview Publication; 2007. [7] Dutta DK. Bhupen HazarikarGeetaruJeevanRath. Calcutta: Shri Bhumi Publishing Company; 1982. [8] Goswami L. Dr Bhupen Hazarikar Janasanskritik Parikrama. : Students’ Stores; 2005. [9] Hazarika B. Moi Eti Jajabor (transcript autobiography). Guwahati: Bani Mandir; 1993. [10] Prabhakara MS. Of State and Nationalism. Frontline 1999:16 (21).

4301