P: ISSN No. 2231-0045 RNI No. UPBIL/2012/55438 VOL.-IV, ISSUE-II, November-2015 E: ISSN No. 2349-9435 Periodic Research Relocating Assamese Folklore in the Contemporary Cultural Landscape: A Study on Dr. ’s Art of Music Making

Abstract Incorporating the elements of folklore and folk life in contemporary literary forms has emerged to be a very significant trend. Such innovative exercise and exploration of the old forms have resulted in a relocation of the folk traditions in the modern cultural landscape. In the arena of Assamese popular music, Bhupen Hazarika has experimented with the Assamese folk tradition reviving, preserving, popularizing and assigning them with new meaning in the new social context. This paper is a humble endeavour to analyze how the composer has handled the elements of Assamese folklore in his timeless creations and thereby has affected a shift from their triviality and plainness to new meaning and substance. Minakshi Bairagi Keywords: Assamese Folklore, Folk Music, Place Legends, Popular Associate Professor, Music, Mass Communication. Deptt. of English, Introduction D. K. Girls‟ College, , the eastern most state of has a rich and multihued folklore which has been the result of some historical, geographical and

Mirza, Assam some complex social pattern. Folklore refers to the lore or knowledge that have been produced by a people through ages and that forms a continuum through the process of oral or verbal transmission. Folklore comprehends all knowledge that is transmitted by imitation and example as well as the products of such craft (Bascom, 1972). Archer Taylor puts forward a similar observation by defining it as the “material that is handed on by traditional either by word of mouth or by custom and practice. (Taylor, 1948). Folklore is the result of a long drawn process of people‟s desire for expression of their inner urge and also by social needs .It is the outcome of the human mind imbibed with creative feelings and the faculties of creative idea and urge of aesthetic and artistic impulse are rooted in the creation, preservation and transmission of folklore (Islam, 1985:13). In common parlance, the expression folklore points to the traditional expressions, like folk narratives, music, proverbs, riddles, material culture, social customs and the folk performing arts. Folk music forms a significant constituent of verbal literature, an inseparable part of human existence and every society possesses its own distinctive traditional music culture. Observes Nettl, “We know of no culture, no single civilization of the past, no isolated tribal groups in a Anil Kr Boro wilderness or jungle that does not have and has not had, as far back as our Associate Professor, knowledge goes, a body of music” (Nettl, 1975:71).Folklore and folk music Deptt. of Folklore Research, came to be composers‟ favorite area of interest, as sources of , experimentation and new creation, and considerable interest has been Guwahati, Assam devoted to exploit the traditional materials in music creation in the twentieth century. Bhupen Hazarika, the widely popular, multifaceted genius from Assam is one of the noteworthy figures in India in whose hand folklore and folk music receives an extraordinary dimension in modern popular music. Hazarika, an artist of the masses, extremely alive to his contemporary realities has revived and popularized the indigenous forms by employing them purposefully in his works, and thereby has relocated the traditional materials in a new cultural landscape. The present paper focuses on some of Bhupen Hazarika‟s songs from his splendid oeuvre to analyze his intricate art and technique of employing the elements of oral tradition.

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P: ISSN No. 2231-0045 RNI No. UPBIL/2012/55438 VOL.-IV, ISSUE-II, November-2015 E: ISSN No. 2349-9435 Periodic Research The Aims of the Study of Assamese literature can be attributed to the ancient The aim of the study is to examine some of folk music of the land. Referring to the observation of Bhupen Hazarika‟s songs and to generate Hem chandra Goswami, one of the pioneers of understanding regarding the blending of numerous Assamese literature, Maheswar Neog, terms the age elements of folklore of his mother land. The study is of Assamese literature starting from the beginning, till also expected to offer some knowledge of the 800 AD as the „Dark Age‟, which he also calls the composer‟s acumen in exploiting tradition to the Geetijyug, the age of lyrical literature. Furthermore, he service of the contemporary generation. In addition to has pointed out that perhaps the primitive Assamese that, it will exhibit the artist‟s concern for the tradition marriage songs and some Bangeets comprised the and cultural traits of the common people. Tracing its only literary resources of that period and also some roots in the folkloric tradition, the paper seeks to time in the following age. (Neog, 2008:3). investigate Hazarika‟s art of resituating these However, folklore in the modern age has materials in new context and thereby delivering to been found to be gaining special interest in Indian as them new meaning and new dimension. well as Assamese literature and music in the later part The present study is analytical based on of the nineteenth century as an upshot of the growing primary sources supplied by the songs and song texts nationalism in the colonial period. It embarked on with of Bhupen Hazarika and the secondary sources are the rise of nationalism and the increasing awareness provided by books and journals related to the topic. among the writers, musicians to search for roots and Discussion respect for tradition. It has been observed that the Assamese Folklore and Folk Music Tradition traditional forms serve a host of functions as a means Like any other part of the globe, Assam, too of expression in the contemporary world .Various folk possesses a rich and distinct folklore enriched by its cultural forms and expressions in the modern age multicultural, racial peculiarities. The enormous attract the attention of artists and writers not only as diversity of groups and sub-groups of various new literary modes and techniques but also of extractions of affiliations inhabiting the different areas answers to contemporary socio-cultural issues in the hills and plains of the state constitute an almost (Behera, 2008:2). inexhaustible source of material both for the Bhupen Hazarika and his Art anthropologist and the folklorist (Datta, 1999:26).The Bhupen Hazarika, the pioneer in most outstanding feature of Assamese folklore is that experimentation in the field of music, great composer, it is not confined to a particular group or community. lyricist, film maker and singer with his signature The expression, Assamese is a complex one giving baritone voice, enthralled millions of people across rise to serious debates as Assam is a land, inhabited the globe. The deep rootedness in the traditional life by numerous tribal, non- tribal and ethnic groups, and and folk song of his motherland impart a unique possessing their own distinct language and culture. flavour to his music. His works exhibit the persistent Historically Assam included a vast region which is and ground-breaking efforts to revive, popularize the known at present as the North Eastern Region, indigenous Assamese culture and music in the divided in to seven states of India. The geographical contemporary society and thereby relocate these old peculiarity and the complex population pattern mark forms in the modern cultural landscape. However the diversity of language, tradition and culture .The Hazarika, through his experimentation and erstwhile Assam was a land composed of hills and innovativeness procured a respectable place for the valleys and tremendous variety of cultural traits folkloric materials in the cultural arena making them contributing to the making of a composite and an apt medium for expressing the self as well as a checqured culture constantly influencing each other powerful tool for communication. The music maestro through a process of assimilation and acculturation. has represented the folk elements of Assam hitherto Even the present Assam represents a plethora of ignored as creations of the lower class of people not culture and awesome racial diversity contributing to suiting the elite taste. Some of Hazarika‟s songs have the formation of the mainstream Assamese society. been selected for the purpose of the study. The songs All the races… distinctiveness form the great taken for discussion can be considered as a group Assamese community. with some qualities common in them. They appear to Termed as the “folklorist‟s paradise”, Assam be odes on some particular places, composed on has a rich repertoire of folk music and a cultural some special occasions, representing the history, heritage. The folk music of the diverse character has culture, folk narratives and etymological explanations been categorized in to some broader categories, such associated with those places. Apart from the as songs of religious and devotional content; songs of innumerable elements of folklore in the songs, they ceremonies and festivals; songs of love and yearning; have also been based on Assamese folk music and children‟s songs and ballads and other narrative tunes. songs. In this study, Assamese folklore refers to a The songs chosen for discussion are broader area including the elements found among the Mangaldoi Tomar Nam Hauk, (1974) Tihu Hol Tomar groups and communities belonging to the erstwhile Nam (1976), Diphu Hol Tomar Nam (1982), Rangpur Assam. In the present paper, attempts will be made to Tomar Nam (1993), Akashijanere (1963), Kah examine the elements of folk narratives and folk Mangaih Sheh (1968) and Tirap Simanta (1966). The music and elements of material culture in the selected first four songs mentioned, had been composed on songs of Bhupen Hazarika. the occasion of the annual conferences of Assam Folklore has been the source of inspiration Sahitya Sabha, the highest literary body of the state for literary creation throughout the ages. The history held in Mangaldoi, Tihu, Diphu, and in Sibasagar. The 145

P: ISSN No. 2231-0045 RNI No. UPBIL/2012/55438 VOL.-IV, ISSUE-II, November-2015 E: ISSN No. 2349-9435 Periodic Research composer celebrates in his songs the places by Again the song presents another singing the historical and cultural significance of the interpretation of the word karbi, which according to a places. The song, Akashijanereis an account of his belief, originates from the combination, ka (meaning Ariel journey from a distant land to his motherland. By light) and bi (work).It also refers to thekar-kibi, the drawing some images from legendary episodes, the customary practice of the Karbis, and their folk ballad song call up his listeners‟ attention towards the past poetry Haimu. Thus with the song Hazarika has glory of the motherland. The last songs were offered a succinct description of the origin of the place occasioned by the lyricist-composer‟s visit to the and the traditional life of the people. neighboring north Eastern states Mizoram and Several legendary narratives work at the folk Arunachal Pradesh that formed significant parts of the level as regards to a place- its historical past, local erstwhile Assam. heroes and temples etc. Such popular narratives The compositional styles of the first four regarding the ancient place Mangaldoi have been songs are identical as the composer has completely brought in to the notice of the modern listeners by the drawn on a folk tune by replacing its original context. song Mangaldoi Tomar Nam. According to a legend, He has tuned his compositions to the folk tune of the the name of Mangaldoi was named after Mangala, Kamrupi1 folk song, Bar Bariba Jai Menaka. Unlike his the daughter of Koch King. Again the etymological other experimentation with melody, he has adhered origin of Harixinga is associated with a mythological strictly here to single melody and created the songs war between Hari and Hara i.e. Lord Krishna and Lord by replacing the original text with his own words. The Siva .Likewise, the song has numerous allusions to songs record the physical environment of the places, legendary characters such as, king Arimatta, Sati rivers, temples and the people, and uphold the time Beula, Chilaraya, King Parikshit Balinarayan, tested bond of unity and integrity among the people BipraHarihar, Ramsaraswati etc. and the feelings of a common and shared identity. But Transmitted from generation to generations, the most striking aspect appears to have focused on folk narratives continue in the folk imagination and numerous narratives associated with different places yet they contain certain historical truths. One such making the songs an interesting study of the place legend continued in the folk memory is that of legends. Place legends are verbally communicated Kendukalai, associated with Goddess Kamakhya and narratives connected with certain places explaining the Koch Dynasties of Assam. Hazarika‟s song, their origin. Place name legends are very diverse and Mangaldai Tomar Nam Hauk, recalls the folk contain elements of mythology, epic and folk legendary belief thus: etymology and create a construction of locality and Biswabimohiniruparjidevidarshanloi usually people glorify their place (Bhattacharjee, Kendukalairjanmakalaigaont hoi 2006:106) (Hazarika, 2010: 378) As observed in the songs under discussion, The narrative describes that Kendukalai, a Bhupen Hazarika has drawn upon the folkloristic Brahmin could see mother Goddess Kamakhya elements of mythical and legendary substances and dancing nude during his chanting of prayer at tuned to the same folk tune form a distinct group of midnight. Compelled by the king the priest had to his songs. In Tihu Hal Tomar Nam the artist bring in to allow him to look at the sight stealthily. And this act of notice of his listeners the etymological origin of the treachery enraged the goddess and she beheaded places Tihu, Baska, Barbari etc. People believe that the priest and his head was found in a village in the name Tihu originates from the Boroword Dihu present Xonitpur district. And people believe that the which is the combination of two letters di(water) and village later came to be named Kalaigaon after hu (to flow) and in course of time, Dihu becomes Tihu. Kendukalai. As a punishment, the king and even his Referring to the origin of Baska, the song says: descendents had been warned not to visit the Bagsaxabdaibhutiabhashatduarmukhbujai Goddess, otherwise they will face ominous Uttarebaskaanchalseye nam pai consequences. The legend proves to be exerting (Hazarika, 2010: 243) great influence among the Koch royal families of (The word bagsainBhutiya language means Kochbihar ,Beltola and Darang and none of the the gateway and the place Baska in the north is families visits the Kamakhya temple even today named after this word bagsa) (Adhikary ,2012:72). Innumerable references to temples and Written and composed in 1993, Hazarika‟s xatras2, such as Xingaraxatra, Xatsangixatra, song Rangpur Tomar Nam, glorifies the ancient MajXatra, temples in Kathalmura, and Mathurapur, capital of the mighty Ahom kingdom, Rangpur and Kamakhya temple of Haribhanga, Bishahari temple, interestingly it also connects to its present etc. in the song make the depiction of the place more commendable situation of harmony and concord comprehensive. among various races and ethnic groups. It starts with The District Karbianglog is known for its the divine origin of the Ahom kingdom which was native inhabitants, the Karbi ethnic community. The established by Saolung Sukapha. And later, the song, Diphu Hol Tomar Nam records the etymological ancient city Rangpur was established by Ahom King origin of the place and the people: Rudrasingha. Xuwala Karbi bhashat he Karbi mane pahar Apart from these, Hazarika has also Arleng mane manuh aru swajatiamar composed songs on some other places that offer (Hazarika, 2010:246) fascinating study on the mythical legends, historical (The term karbi in sweet Karbi language and cultural events connected with them. KahMangaih means hill and arleng means men, the natives.) Sheh (1968), composed on Mizoram, depicts the 146

P: ISSN No. 2231-0045 RNI No. UPBIL/2012/55438 VOL.-IV, ISSUE-II, November-2015 E: ISSN No. 2349-9435 Periodic Research mythical belief of the Mizo people that the tribe carrying me to the land of Usha. As if, I am the originated from a cave called chhinlung: legendary prince Anirudha and will unlock the closed Tahaniradimendharphali door with magic.) Chhinlunggatereolaiahi The remarkable aspects of these songs are Tumiyedisilapohardhali that, apart from the glorification of the places and their PathianIshwararjyotisantan etymological origins, the songs offer a deep (Hazarika, 2010: 142) understanding of the socio cultural background and (By dispelling the primeval darkness you,the the bond of unity among the people. By evoking these children of God Pathian emerged through the local beliefs rooted in the folk mind, the historical and Chhinlung cave and poured out light) cultural significance of the places, the artist has Examples of cultural assimilation and unity recreated some interesting and idealistic pictures of between hills and plains are commonly found in folk these places. According to Seamus Heaney, it is this narratives and BhupenHazarika has revoked one marriage between the legendary and the local such narrative prevalent among the Nocte community geographical country and the evocative land of of Arunachal Pradesh in his songTirap Simanta: imagination that constitutes the sense of a place in its Ahomswargadeurdinate richest possible manifestation (Mac Mohan). Lonbandhinamisilnocte The Major Concerns Underlying His Music TahanirSri SriramAtai Creation Noctenripatikdisilesharan Bhupen Hazarika was an artist of the (Hazarika, 2010, 242) common men, the underdogs of the society and his (In the days of the Ahom kings, the Nocte3 music making was completely guided by his concern king came down to the plains and was initiated into for the masses. The incorporation of the folk elements Vaishnavism long ago by Sri Sri Ram Ata, the in their spontaneity and freshness was the most Vaishnava guru and the king came to be known as striking aspect of his music which can also be viewed Narottam.) as a part of his love and concern for the traditional According to a folk belief, Sri Sriram Ata, a culture of the common people .By doing so, his music disciple of the legendary Vaishnavite saint served a two fold function i.e. preserving of the Sankardeva, set the example of unity and equality by traditional culture and life and at the same time, initiating the Nocte King of Arunachal Pradesh in to employing those traditions in effective communication. the Vaishnava religion. A pioneer in mass communication and a Doctorate The compositions, KahMangaihSheh Tirap from the Columbia University in mass communication, Simanta offer some clue to the material culture and Hazarika perhaps very well could comprehend the folk dance of the people concerned. In their traditional significance of folk culture in society and also its role costume, the hand woven Puanmekhela, brightly in communication. He maintained, “Trying to get the decorated with red and blue flowers kawrchei blouse, best of the past and the reality of today, the the Mizo women perform pankpar dance and lukhum combination of both is needed to create new songs for cap wore by men gets mentioned. Tirap Simanta a better tomorrow” (Hazarika, 2008:1935). An presents a vivid picture of traditional dresses of observation of his works reveals, whatever may be his different tribes. The Wanchu males wear ornaments theme and subject matter, the majority of his songs like likamani and fanat, fanat. Again the Nocte males display his concern for the poor, marginalized and the wear jeimceng on body, head gear made of cane, and cause of unity and concord. He has been the most khatari, a colourful ornament on waist. Thus, the outspoken and persistent voice in the post songs offer some idea about the material culture of independent India supporting the cause social unity, the people. integrity and social justice for a prolonged period of Akashi Janere contains elements of history, more than six decades of his music career. Folklore legends and myth along with folk images. While and folk music supplied him a powerful medium to put narrating his experiences occasioned by the across his messages. He observed that traditional exuberant return to his own land the lyricist views the music is straight and natural, simple and therefore, an panoramic beauty of the land and he goes to the ideal medium of mass communication. Apart from extent of envisaging the legendary past of Tezpur, he rhythm and harmony, these songs by stimulating the invokes the legends of Usha Anirudha and nervous system of the body, directly transmits one‟s Chitralekha. In an exceedingly figurative language, he emotions to another (Hazarika, 2008:1245- 46). He has conjured up the legendary episode in which he has interpreted the ancient modes of expressions as a imagines himself to be the legendary character of potent and most effective mode of addressing the Anirudha: contemporary socio-political issues. Kotmorushanagar Conclusion Paojenpaomorushanagar The songs included in the study too display Mayabinibimankhaniholchitralekhijani the composer‟s concern for the time tested unity and MoinijeijenAnrudhakonwar integrity among the people. By evoking the folk MoiijeijenAnirudhakonwar narratives, history, geography and cultural Mayarekhulimmoirudhaduwar peculiarities of the particular places and the people, (Hazarika, 2010: 67) he has created some enduring metaphors for social (Where is my ushanagar4? As if I am harmony and peace. Bridging the gap between reaching my Ushanagar. The magical plane has people, integration, and respect for tradition are the become the legendary magical painter Chitralekha key concerns in the songs discussed which reflective 147

P: ISSN No. 2231-0045 RNI No. UPBIL/2012/55438 VOL.-IV, ISSUE-II, November-2015 E: ISSN No. 2349-9435 Periodic Research of his entire work. His message to the whole of 4. Bhattacharjee, Kishore. (2006), „The Legend, humankind seems to be relevant in today‟s global Popular Discourse and Local Community: The context: Case of Assamese Legends‟ in M.D. Manuhmanuh hale Muthukumarswamy (ed.). Folklore As Discourse. Ijanesijanaksabatile National Folklore Support Centre, Chennai. India. Nahayjatikulbhrashta 5. Hazarika, Bhupen. Bhupen Hazarika Rachanawali, (Hazarika, 2010:242) S.H. Educational Trust. Guwahati. Assam, India, (If man becomes man, embraces each other, nation 2008 and castes do not fall from their virtues.) 6. Hazarika, Bhupen. (2010), Dr Bhupen Hazarikar Notes Geet Samagra, S.H. Educational Trust, Ghy, 1. Kamrupi folk song refers to one of the genres of Assam, India. Assamese folk song prevalent in the undivided 7. Islam, Mazhrul. (1985) Folklore The Pulse of the Kamrup district of Assam people of India, Concept, New Delhi. India 2. A religious institution of the Vaishnava cult in 8. Datta, Birendranath. (1999), Folkloric Foragings in Assam India’s North-East, ABILAC, Ghy. Assam.India. 3. One of the tribes of Arunachal Pradesh 9. Mac Mohan, Michael. Plethora of Interpretation - 4. The mythical capital city of Xonitpur (present Naming the Land: Reflections on Co. Clare Place Tezpur) which was named after Usha, the Names Retrieved October 2013, fromUrl=(0074) daughter of king Bana. htpp://www.clarlibary.ie/land/place lore.Html. References 10. Neog, Maheswar. (1958), Asamiya Geeti Sahitya. 1. Adhikary, Gajendra. (2012), AsomarItihasar Chandra Prakash, Ghy, Assam. Keitiman Kimbadanti: EkBislesan, Jagaran Sahitya 11. Nettl, Bruno, Charles Hamm and L, Byrnside. Prakashan, Panbazar.Guwahati, Assam. (1975), Contemporary Music and Music Cultures, 2. Bascom, William. (1972), “Folklore” InInternational Prentice-Hall, Encyclopedia Social Sciences, New York, 12. Taylor, Archer. (1948), “Folklore and the Student 3. Behera, Guru Charan. (2008), Appropriating Folk of Literature”, The Pacific Spectator, vol.2, 216- culture, A Study of the Post –Independence 223. Indian Drama. Author press Delhi

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