Borhomthuri 3rd edition (revised)

BORHOMTHURI 2015 Editorial Group

Advisory Editor:

Prachuryya Kaushik

Front Cover:

Arijit Deka

Editorial Board:

Ujjal Nath

Himangshu Bora

Kalyan Jyoti Chutia

Gaurab Dutta

Tridip Das

Partha Pratim Kalita

Nitu Kumar Das

Saidul Islam

Deepjyoti Nath

Nupur Kalita

Himangshu Kalita

Thanangka Chutia

POSUA 2015 Organising Committee

Patron:

Director, NIT, Silchar

Chief Advisor:

Dean(S/W)

Chairperson:

Mr. G.M. Hazarika

D.C., Cachar

Executive Committee:

Dr. R.D. Misra

Prof. Fazal A. Talukdar

Dr. N.B. Dev Choudhury

Dr. P. Rajbongshi

Mr. Jagganath Patro

Faculty Advisors:

Md. M. Ali Ahmed

Dr. L.C. Saikia

Mr. Vivek Kumar

Mrs. Madhuchanda Nath

Mr. Wasim Arif

Mrs. Jupitara Hazarika

Dr. Mausami Sen

Mr. Prabhakar Sarma Neog

Mr. Ripon Patgiri

Miss. Padmaja Tamuli

President:

Dr. P. Barman

Convener:

Pranjil Gogoi

Students Executive

Council:

Vice President

(Gymkhana Union Body)

General Secretary


Cultural Secretary


Kooljit Das

Rupam Borah

Kondorpa Borchetia

Bikiran Gogoi

Prasanta Gogoi

Surajit Das

Rupjyoti Bharali

Members:

Sukanya Hazarika

Pranjal Gogoi

Diganta Boro

Nipjyoti Malakar

Aditya Singh

Prachuryya Kaushik

Angana Nath

Ritusmita Borkotoki

Jongki Hazarika

Animesh Bora

Tarif Anowar Hussain

Paran Jyoti Lahkar

Himanshu Saikia

Shekhar Doley

Nabarun Basisth

Porag Jyoti Gogoi

Bedanta Deep Dutta

Pritam Goswami

Birjon Boro

Raj Deka

Nabarun Dey

Dhanraj Doley

Nitu Kumar Das

Parshow Phukan

Anjan Das

Neeraj Borah

Kalyan Jyoti Chutia

Ujjal Nath

Himangshu Bora

Gouranga Phukan

Partha Pratim Saikia

Denjit Das

, ...

-, ..

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MESSAGE

I have great pleasure in extending my greetings and best wishes to the organizers of the

spring festival Posua 2015. The publication of the Borhomthuri as a part of this event is indeed a

great initiative by the students.

I firmly believe that this festive spirit would strengthen the bond of unity and brotherhood

binding together people of all communities with a secular spirit. I hope Borhomthuri will also

provide the platform to all of us to strive towards deriving joy out of our creations.

I hope the advent of spring brings with it vivid colours, new hopes and flush in positive

energy into our lives. I express my heartfelt congratulations to the entire team of Posua and

Borhomthuri for this accomplishment and wish them all success in bringing out the literary best in

all of us.

MESSAGE

MESSAGE

Office of the Dean (Students Welfare) National Institute of Technology Silchar

Phone: (03842) 224879/242273 E-mail: [email protected] Assam-788010 (India) Fax : (03842) 224797/240123 E-mail: dean(sw)[email protected] Website: www.nits.ac.in

I am extremely glad to know that the students of NIT Silchar are organizing the

spring festival Posua on 4th April, 2015. In the festival students from different ethnicity

within and beyond the national boundary celebrate spring festival showcasing their culture,

traditions and literature.

On the occasion of 4th season of Posua, the organizing committee is set to publish

the 3rd edition of the annual souvenir Borhomthuri in English, Hindi, Assamese and Bengali

languages. I believe the articles, poems and other write ups in the magazine will reflect our

rich socio-cultural heritage and above all our diverse, yet unique identity.

I wish the entire team of Posua 2015 a grand success and hope that Borhomthuri

will be successful to bring out the literary best in all of us. I convey my appreciation for this

enduring endeavor and wish it a long life.

(Dr. A. K. Barbhuiya)

Dean, Students Welfare

National Institute of Technology, Silchar

MESSAGE

It is my immense pleasure to know that like the previous years this time also

POSUA, 2015 is going to celebrate at NIT Silchar (Assam) on 4th April of 2015. The

organizing committee of POSUA, 2015 is all set to publish the 3rd edition of BORHOMTHURI- a souvenir on this festive occasion. I believe the articles, poems and other write ups in the magazine will reflect our rich socio-cultural heritage and above all our

diverse, yet unique identity.

Spring is the season of new beginnings. Fresh buds bloom and animals awaken and

the earth seems to come to life again. I am sure that the entire NITS Family is waiting

eagerly to celebrate the advent of spring with all glitz and glamour. I invite all of you to come

and rejoice this new beginning together.

POSUA will certainly bring happiness to one and all, and provide a platform to sing

and celebrate together and to rejoice in our unity. I wish POSUA 15 as well as BORHOMTHURI a great success.

Finally, Happy Rongali Bihu to one and all.

(Dr. Pranjit Barman)

President, POSUA-2015

Assistant Professor & HOD,

Department of Chemistry

MESSAGE

Again it is the time of celebrating spring festival Rangali Bihu at National Institute

of Technology (NIT) Silchar. I feel proud to know that like last three years, this time also

POSUA 2015 is being organized on the eve of colorful bihu of Assamise culture, through

Gymkhana Students Union. This is an outcome of delivering integrity and unity. Its a matter

of pleasure and enjoyment. I strongly believed that the magazine BORHOMTHURI, 2015, 3rd

Ed. will extend significant and remarkable opportunity to shear our versatile cultures,

irrespective of caste, religion, creed and faith. Hope, the various stage programs will

endeavor joy and happiness to all stakeholders.

I wish POSUA 2015 a grand success.

Happy Bohag Bihu to one and all of NIT Silchar.

(Pabitra Rajbongshi)


Associate Professor

Department of Civil Engineering

MESSAGE

I am pleased to know that like the previous year, students of NIT Silchar are going to

celebrate Posua, the annual spring fest in NIT Silchar. I am also happy to know that during Posua 2015, the third edition of the souvenir Borhomthuri is going to be published.

I strongly believe that through this souvenir, all the stakeholders of NIT Silchar will

get ample opportunity to express their literary talents through articles and poems. I also feel

that this endeavor on the part of the students will bring joy and happiness to all the people

of NIT Silchar, irrespective of caste, creed, religion, faith and belief.

Posua will certainly bring happiness to one and all, and provide a platform to sing

and celebrate together and to rejoice in our unity.

I wish Posua 2015 as well as Borhomthuri a great success.

(Dr. R. D. Misra)


Professor

Department of Mechanical Engineering

Withoutculture,andtherelativefreedomitimplies,society,evenwhenperfect,isbutajungle.Thisiswhyanyauthenticcreationisagifttothefuture.

-AlbertCamus -

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EDITORIAL

Can you feel it yet? The air assumes a different character in spring. After months of cold

and lifelessness, it finally takes rebirth, and the wind suddenly blows with more urgency. Leaves start

garnishing the trees that seem anxious to begin their thriving livelihood. The sky seems more blue

and the sun brighter. The seasonal change is subtle, occurring almost overnight. One evening you

will feel the leisurely cold wind of the dying winter; the next day the blanket will feel a bit lighter.

We the students of NITS, celebrate this beautiful change in nature in the form of an annual

spring festival, POSUA. And this year I feel really privileged to have the opportunity of jotting down a

few lines as an editor of the magazine for the same. After months of rigorous hard-work and

dedication I on behalf of my entire Posua team feel immense joy and pleasure in bringing before you

the 3rd edition of Borhomthuri- The annual spring festival magazine of NIT Silchar. Having been

associated with Posua celebration since the last two years and taking the added responsibility of

being an editor this time I really wish that this celebration brings all our people closer to nature as

well as bind us strongly together in a chain of universal brotherhood.

Like the previous versions of Borhomthuri, this year too we have an interesting mix of

literal content from diverse group of people which highlight the multitude of various Diasporas

building our society. The content has been designed in such a manner that it caters to the interests of

everyone in the most delightful way possible.

As an editor I wish everyone to enjoy the harvest, both in our magazine as well as outdoors.

Thanking readers,

Gaurab Dutta

(CONTENTS):

1 1

2 3

3 6 4 9

5 - 11

6 - , 14

7 : 18

8 23

9 26

10 28

11 31

12 34

13 - 38

14 39

15 41

16 43

17 44

18 45

19 46

20 47

21 47

22 48

23 48

24 48

25 49

26 49

27 50

28

51

29 Her Decision to Dream Adwitiya Borah 52

30 The Identity Mrigakshee Sarmah 57

31 A brief history of earthquakes in Assam Prachuryya Kaushik 60

32 ASSAM AGITATION Then and Now Dwip Jyoti Goswami 62

33 Sivasagar Anangsha Alammyan 64

34 Bihu Dance An Asset Mery Hazarika 67

35 Eloto (post courtship) Abong Bernard Ekai 69

36 Spring Bitta Manan 70

37 Bihu: True Spirit Lost? Anindita Roy 71

38 The Cycle Payal Phukan 72

39 Enslaved Time Ilina Sinha 73

40 My Love Bitu Paban Muktiar 73

41 Transcendence Ritwick Bhargav 74

42 Vigor spent together Bhargav Bistirna Bhuyan 74

43 The Rise of Cobra Mriganka Nath 74

44 Silencing Innocence Mrigakshy Kaushik Borthakur 75

45 76

46 ! 77

47 77

48 78

49 78

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Her Decision to Dream

Adwitiya Borah Ex student

Jena, dont put your hand out of the window! her mother scolded from the front seat.

Jena sulked and put her hand inside. Why not? she asked.

A car might hit you.

Why would a car hit me?

They drive too fast, thats why.

There are no cars coming right now.

You wont realise it when it comes.

Why wont I?

Jena... her mother sighed, tired of the unending questions of her twelve-year-old.

When are we reaching? Jena asked after a minute. It was her first time to India and to Assam,

having lived with her parents in the US since she was a two-year-old.

Half an hour more, Jena, answered her father. Why dont you get some sleep till then?

I dont want to sleep now. I like the scenery outside!

Her father laughed. You do, dont you?

Whose statue is that? Jena asked, pointing at a large white statue beside the road. She looks

beautiful.

Her father parked the car by the side of the road and stepped outside. (Why did we stop

here?) He brought out his phone and clicked a few photographs of the statue. (Which place have we

reached now?)

Beautifully crafted, isnt it? he told his wife.

Who is she dad? Jena came back to her question.

She is Aideu Handique, her father replied. The first Assamese film actress.

Wow! Jena exclaimed, mesmerized and quiet for a few seconds. Dad, I wanna be a film

actress too! she cried out.

Didnt you want to be a football player just yesterday? her mother said and laughed. And a

cab driver the day before?

Cab driver? Where did that come from? her father almost dropped his phone.

Oh! She thought she could then move around the entire country and also get paid for it!

Jena made a face. But I want to be an actress now? Can I, mom? Can I be an actress? she

asked.

You can be anything you want to, dear. Its your life to decide.


****

Kokaideo! Youre here! Welcome home! a young woman greeted them at the door. Ma!

Deuta! They have reached! she called out to people inside the house. Bijoy, Minu, come soon!

Is she going to invite the entire neighbourhood? Jena asked. Her father gestured her to keep

quiet. Soon, an elderly couple, a man and two kids came out.

Noren... the old woman whispered and hugged her son.

You look fine and healthy, said his father.

And you look old, deuta Naren replied.

Everybody has to grow old someday, he said and laughed. And is this little Junali? Look

how shes all grown up! Almost a lady! He kneeled down and lightly pinched Jena on the cheeks, who

was still a little startled at being called Junali instead of Jena.

Hello grandpa, she answered. Having last seen him at the age of two, she had no memories

at all of playing with her grandparents. She looked past him and at the two children who looked as

bewildered as her.

Why dont you go inside and play with them Jena? her mother told her and she readily

obliged. As she left the room with Bijoy and Minu she heard her grandfather say, Jena? Is that what

you chose to call her then?

You dont have school today? Jena asked Bijoy.

No, we have our summer vacations going on.

Thats great. I would have been bored otherwise.

Bijoy didnt answer and started playing with a cricket ball instead.

My mother said you have come from America, little Minu said. What is it like in there?

Well, its different, Jena asked, thinking hard. Its greener here. Americas got bigger

buildings and roads. And people wear different clothes from the people here.

Have you ever seen the pyramids? Minu asked animatedly.

Pyramids are in Egypt, silly! Bijoy spoke up. Have you seen the Statue of Liberty?

Oh yeah! Of course! Its pretty big and tall. Taller than the ones in here. Have you seen the

statue of Aideu Handique?

Yes, Bijoy said, and continued playing with the ball. Minu smiled awkwardly at Jena.

Did I just hear kids discuss Aideu Handique? the woman who had first greeted them

suddenly asked as she entered the room.

Oh yes! We saw her statue on our way today! Jena spoke excitedly. Have you seen it,

Aunty?

Yes, yes. But dont call me Aunty. Call me Richa khuri instead, she replied. Im actually doing

a paper on her life as a part of my MA project.


She was the first assamese film actress! Jena spoke, eagerly showing off her newly earned

knowledge. Im going to be an actress too, like her, when I grow up and do lots and lots of movies!

Richa laughed. But Junali, do you know that she had done only one movie in her life?

Only one? Jena was surprised.

Yes.

Why just one?

Thats a long story, Junali, Richa sighed.

I like stories, she said.

I like stories too, Minu spoke.

Richa smiled. Okay, you two. Ill tell you the story after dinner tonight.

****

Aideu Handique was born in Golaghat, Assam in June 1920. At that time, the Assamese society

was very conservative. Women were not allowed to venture outside their homes, they had no education

and were always bound to the orthodox norms of the society.

It was in 1935 that the famous writer Jyotiprasad Agarwala decided to make a movie on the life

of Joymoti, the legendary Ahom princess who had sacrificed her life for her husband and the welfare of

the kingdom. In those years, Assam did not have a film studio, and the local actors had no idea about

acting in cinema. Even the theatre artists were always men and women were forbidden from acting.

But how can the act take place without women in it? Jena asked while rubbing her eye. Ive

never heard such a story.

There were women in the story, said Richa. But their parts were played by men.

Jena giggled. That would look funny I think.

Richa smiled. Thats the way it was back then.

Were there less number of girls in Assam? Jena questioned.

No... no! Richa said hurriedly. People were conservative back then. There wasnt less

number of girls. Oh Junali, the questions that you ask!

Jena thought for a moment. Why didnt the girls just say they want to act as well? That would

have made the act look better and they wouldnt have to be conservative anymore.

Richa remained silent for a minute. You got the meaning of conservatism all wrong, Junali.

They werent given a choice. They had to follow the rules as society dictated them.

But why? Jena asked still.

Thats how society was.

But my mom says, I can be anything that I want to be. Its my life to decide! It should be the

same for everybody, dont you think?


I want to listen to the story, Minu complained. She looked bored and had almost fallen

asleep.

Okay Minu. Let me complete the story now. Junali, youll have your fair chance to ask

questions when I finish.

Agarwala was looking for a woman to play the part of Joymoti, his close associate and

Handiques cousin Dimba Gohain showed him pictures of the thirteen year old Aideu. Agarwala was

highly impressed with her beautiful face and wanted to cast her as Joymoti in his fim.

One evening, Gohain took Aideu to the banks of the Brahmaputra river on the pretext that she

would be taken on a ship ride. She was also told that a big house was floating on the river which had

lots of people, markets and actually looked like a proper town on a river..

Having never seen or heard such a thing, a curious Aideu got on to the ship which had a house-

like structure on its top. She thought she would return home but that was not to be and she found herself

on the other side of the bank and in the Bholaguri tea estate in Tezpur in Agarwalas open-air studio

named Chitrabon.

Aideu was very scared and started crying. When Agarwala came to know that Gohain brought

her without her parents knowledge, he soon sent a telegram to the young girls father asking him to

come and meet him. Agarwala assured him that once the shooting was over, Aideu would be securely

sent home. Her father did not agree to it at first but after a lot of persuasion from Agarwala and Gohain,

he finally agreed to let his daughter act. Finally, Joymoti was released on the 10th of March, 1935. But

Aideu herself did not get the chance to watch the film as there was no local cinema in the state.

Sadly, Aideus life was never the same after this. The orthodox Assamese society boycotted her

and her entire family so she had to live in seclusion from the rest of the people.

What is boycotted? Jena asked.

It means that society refused to have anything to do with her or her family. No dealings, no

trade, so much so that the villagers wouldnt

even fetch water from the same pond as they

do.

Jena looked worried. Continue, she

said simply.

So Joymoti never got true recognition

for her work and she had remained unmarried

forever because she had called her co-actor

Bongohordeo, that is Husband in the film.

What? Jena cried out. Its only a

movie.

They didnt understand, Junali. They

just never understood...

A scene from the film 'Joymoti'


Fifty years later, when Assam celebrated the golden jubilee of its first feature film, that is

Joymoti of course, did Assam remember her. The government presented her a cassette of the remains of

the film as part of the celebrations. Her role in Assamese cinema was finally acknowledged and in 1991,

a girls school was named after her in her village.

Aideo Handique breathed her last on 17th December, 2002 in Kamargaon, Golaghat.

Thats where they built the statue? Jena asked.

Yes, Junali. Thats where they built the statue that you saw on your way.

Its a sad story, Minu said timidly. They shouldnt have done this to her.

She was a brave woman indeed, Richa told them. Now now, off you go. Its close to

midnight. Arent you tired Junali? Its been a long journey for you.

I am I think, she said and looked at Minu who was already half asleep.

Good night Richa khuri.

****

Jena snuggled into bed in between her mother and father, thus waking up her mother in the

process. Jena, its you? Its so late.

Richa khuri was telling me Aideo Handiques story mom, she replied. Shes doing a paper

on her so she knows a lot.

Did you like the story? her mother asked.

Jena sighed. I dont think so. It was a sad story. I dont want to be an actress anymore.

Oh come on baby. Dont be scared. Thats what happened in the past. Society has changed for

the better now.

Im not scared mom. But I dont want to become an actress either.

Is it? Then what do you want to become when you grow up?

Ill be a writer, Jena said, after thinking a while. Ill write down her story and spread it

across the world. Ill make her famous!

Thats a noble thought.

Can I, mom? Can I be a writer?

Her mother kissed her on the forehead. You can be anything you want to, dear. Its your life

to decide.

****


The Identity

Mrigakshee Sarmah B.Tech, 2nd Year

Civil Engineering

Very few of us are what we seem. Agatha Christie.

The train chugged slowly and finally came to a halt. The Kolkata train station came to life all

at once, people rushing to meet their beloved, red shirted coolies scrambling for passengers, weary

travellers half hanging from the train compartments in their eagerness to end their journey. The

barely clothed beggars to the small chaiwallas to the station masters all forgot their own significance

in the face of altogether two crowds that emerged, one that came back to the city and the other that

left it behind.

In the midst of the rush, an old frail man was trying to get up on the train. He had only a

small black bag with him as his luggage. People jostled him over until he was mercifully caught by a

young man.

Let me help you up, dada, the man said. And with that both of them boarded the train, just

as it was taking off. The two men walked together to an empty compartment and sat down. Where

to, dada? he asked again. Jaipur, the old man replied. In the middle of these crowds, it becomes

difficult for these weak limbs to heave themselves, he continued. No need to thank me dada, I have

a father who faces the same difficulties in walking up the stairs, the young man replied. It is always

welcome to have a travelling companion. What is your name, young man? the old man asked.

Avaneesh, he replied. And I am Gaurisuta, but you can continue calling me dada, the old

man said and they spontaneously burst into laughter.

I am travelling home to Delhi for the holidays. With so much of festivity going on during

Durga Puja, it hardly seems fair to miss it, said Avaneesh.

There were days in the good old times when a packet of laddoos and my mere presence

was enough to brighten the gates of our house during Puja, Gauri said. Oh, you used to work away

from home then? Avaneesh asked. Yes, Gauri replied. I used to be a ticket collector in the railways.

Very far off places, the train took me. But ones homeland is like a magnet, you know, always pulls

you back.

Why are you travelling to Jaipur? Avaneesh asked. Oh, just to visit an old friend who is

ailing, Gauri said.

*****


The next morning brought the two travelling companions the soft rays of sunshine peeping

through the windows. I am getting down at the station today, dada. It was nice meeting you. Will you

be all right at the station? Avaneesh asked. Do not worry about me, young man. You see, I am still

young at heart. That is why I have chosen to undertake this journey, the old man smiled. God bless

you, Avaneesh. It seems my good fortune to have met a decent young man like you on this journey.

The train came to a halt once more and Avaneesh descended. During the final leg of his

journey from the station to his home, fatigue finally descended upon him. He was overwhelmed to

see his Ma and Baba on the balcony, waiting for him. Time to leave the burdens of the world at the

foot of the steps, he thought.

Four days later, Avaneesh was brimming with contentment. Nothing has the power to

change your perspective on the world as much as a few restful days at home with wonderful home

cooked food; he thought to himself and chuckled. The past few days had been so filled with visits to

the aesthetic pandals and festivity that Avaneesh had forgotten all about his train journey.

Until that evening. Avaneesh unfolded the evening newspaper left at the doorstep. The

headlines read, Old Man Found Wandering at Jaipur Railway Station, and below it were pictures of

the same man whom Avaneesh had helped board the train and later befriended. The article further

continued, In a bizarre turn of events today evening, the Jaipur police located an old man wandering

on the train station. He had supposedly no idea how he turned up there and where he was next to be

headed. Suspicions arose when he contacted the station master for help. He could not even

remember his name, the station master reported. All that we have for conclusive proof is the train

ticket which shows that he had boarded the train from Kolkata. The man had been sent to Jaipur

Medical Centre for a CT scan to identify possible damage to the brain and account for the alleged

memory loss. But no such injury has been recorded. He is still being held at the Centre and is under

observation. Any claim by friends or family members is being anticipated by the police.

But I know this man, Avaneesh almost screamed. I know his name. He had told me, it is

Gaurisuta.

How do you know him? his father asked, astonished.

I had met him on the train journey, Baba. We shared a compartment together. We talked

almost all night, Baba. How can he claim to have suddenly forgotten his identity? said Avaneesh. I

must go and find him. Such a frail old man, I cannot bear to even think of him in a police station. How

can he have possibly forgotten me!

****

Within the next few hours, Avaneesh was brought before Gauri. Dada, dont you remember

me? We were in the train together, how can you forget? Avaneesh said. But Gauri looked up at him

blankly, just as a blind man looks up at a benefactor. Avaneesh felt his heart breaking. A few days ago,


he did not even know this old man, but now he felt like his whole world had concentrated to this

point. He would give anything for Gauri to recognize him, to say something to him. He felt such a

strong sense of kinship to this man, that he would gladly have held his hand all night and reminded

him of his memories, only to bring him back to the present.

But it was of no avail. With Avaneeshs help, the police were able to trace Gauris family and

contact them. Gauris younger brother would reach the next day to take him home. Avaneesh decided

to stay the night at the hospital, for Gauri still had not regained his memory.

Sadly that night, Gauri passed away. Just like a blossom that reaches its full bloom before

being burned by the sun, beaten by the rain and weathered away, the old man closed his eyes and

shut down like the petals of a fallen flower.

Avaneesh cried his heart out. He felt that he should have done something to ease the old

mans mind, but for the life of him couldnt imagine how he could have convinced the old man to

embrace his identity.

On the way to Gauris ancestral home, Avaneesh learnt more about him. He had a son who

deserted him a few years back. Over a feud regarding the family property, his son declared that he

had been cheated by his parents and siblings and stated that he had nothing more to do with his

family.

Gauri went into a state of shock. He was found wandering the next day near the train station

with no idea of how he happened to be there. On admitting him to one of Kolkatas best hospitals, he

was diagnosed as suffering from dissociative fugue. Dissociative fugue is a rare medical condition in

which people temporarily lose their sense of identity and impulsively wanders or travels away from

their homes or places of work. They often become confused about who they are and might even create

new identities. Outwardly, people with this behaviour show no signs of illness such as strange

appearance or odd behaviour. Dissociative fugue is linked to severe stress which is often the result

of traumatic events. For Gauri, the outward rejection of a son who was the centre of his life was too

much for him to bear. His mind could not cope with the stress, choosing rather to temporarily forget

it.

After recovering, Gauri went back to his daily activities, but he had no heart left for living

his life anymore. Attempts at reconciling with his son only led to failure and the gap between them

further widened. Because of his grief and subconscious guilt, he finally succumbed to another episode

of more severe dissociative fugue, in which he boarded a train to Jaipur.

Avaneesh stayed back to attend the final rites of the old man. As he saw the ashes of the

beloved spread in the wind and finally come to rest in the Ganges, he felt that dada had finally reached

his homeland, which had pushed him away, but in the end pulled him back towards it, like a magnet,

just as dada had described.


A brief history of earthquakes in Assam Prachuryya Kaushik

B.Tech, 4th year Civil Engineering

Editor, Borhomthuri 2014

Earthquake is one of the major natural hazards to which most of the people are afraid worldwide due its unpredictable occurrence. It becomes disastrous when its magnitude is higher. Though earthquake may occur due to human activities, the most common natural causes of earthquakes are volcanic eruptions, movement of tectonic plates etc.

The Indian tectonic plate is moving towards the Eurasian plate at the rate of 47mm per year (Fig.1), due to which the Himalayas were formed and earthquakes occur frequently in the North- East India region. In fact due the high magnitudes of frequently occurring earthquakes in the region, the whole North-East India is marked as seismic zone-V (highest) according to earthquake resistant design code of India [IS 1893 (Part 1) 2002].

In Assam, earthquakes have been major catastrophes from time immemorial. Some of the major earthquakes during non-instrumental period in Assam during Ahom dynasty:

Year During reign of King 1548 Suklenfa 1596 Sukhamfa 1601 Susenfa 1642 Sarufa 1663 Mirjumla fled away from Assam 1696 Rudra Singha

There are also reports of major earthquakes

occurred in the years- 1732, 1759, 1772, 1832, 1848 etc.

Some major earthquakes occurred during instrumental period are:

Year Date Epicenter Magnitude

1869 10th January Kumbhirgram (Cachar) 7.5

1897 12th June Near Sangsik (Meghalaya) 8.7

1923 9th September South Meghalaya 7.1 1930 2nd July Dhubri, Assam 7.1 1941 21st January Near Tezpur 6.5 1943 23rd October Near Hojai 7.2 1947 29th July Arunachal Pradesh 7.7

1950 15th August Near Tajobam (Arunachal) 8.7

1984 31st December Near Silchar 6.0


1897 Near Rongjoli, Assam, India, Magnitude 8.7 This was one of the most powerful earthquakes in the Indian sub-continent and probably

one of the largest known anywhere. The earthquake originated at epicenter 14 kilometers ESE (East-Southeast) of Sangsik (Meghalaya) (25.500N, 91.000E) at 5.11PM IST. The quake wrecked havoc across south-west part of Assam, Meghalaya and Bangladesh. About 1542 people were killed and hundreds injured. Damage from the earthquake extended into Kolkata where many buildings were damaged severely.

Studies have shown that it originated due to dipping of fault, known as Oldham fault bounding the north-western section of the Shillong Plateau. During the event, the total slip on this fault amounted to 16 meters, which is among the greatest for any known earthquake.

The damages due to the earthquake were critical. Landslides were reported all across Garo Hills. The towns of Dhubri, Goalpara, Guwahati and Coach Bihar were heavily damaged. The quake raised the water level of Brahmaputra river upto 7.6 meters at some places which destroyed nearby areas. Jolboda and Krishnai bridges were also ruined. Several sand vents were formed and even people reported evidences of ground waves where rise and fall of rice fields were observed.

1950- Arunachal Pradesh, India, Magnitude 8.7 The Independence Day earthquake was the 6th largest earthquake of the 20th century. The

earthquake originated at epicenter 20.7 kilometers North-West of Tajobum (Arunachal Pradesh) (28.500N, 96.500E) at 7:39PM IST. Though the earthquake hit mainly the mountainous regions, more than 1500 people were killed and drainage of the region was greatly affected.

The earthquake was caused due to strike-slip on the Jiali and Po Chu Faults in Southern Xizang along the Indo-China border. The earthquake was followed by a large number aftershocks, most of which were of magnitude 6.0 or greater.

The earthquake was felt throughout Bangladesh, Bhutan and Myanmar covering 4.5 million square miles are, the worst affected areas were Jorhat, Lakhimpur, Sibsagar, Sadiya, Dibrugarh, Saikhoaghat etc. Railway communications were disrupted due to damage to tracks and bridges. The landslides dammed the tributaries of the Brahmaputra River like Dihang, Dihing, Subansiri etc. which caused floods and severe liquefaction damage. In fact the deaths and damage caused by floods were much higher than due to direct damage of the earthquake.

Therefore in this highly earthquake prone area design of earthquake resistant structures,

awareness about the disasters, etc. are very important.

Sand vent at Rowmari

Damaged bridge on Ranganadi River Damaged Railway tracks at Saikoaghat, Assam


ASSAM AGITATION Then and Now

Dwip Jyoti Goswami B. Tech, 3rd year

Electrical Engineering

Assam Agitation or better known as AXOM ANDOLAN is the most significant and influencing event in the socio-cultural and history of this little known North-Eastern state. Starting in full swing from 1979 this movement was and is the largest student movement not only in India but probably in the whole world. The movement was a nonpolitical and sociological. Delving into the history of this movement one will discover the causes of the movement to be nationality sentiments and fear of identity crisis by the indigenous Assamese people. As against the popular belief this movement was not only against illegal Bangladeshi migrants but illegal Nepali migrants also.

Post-independence a treaty decided that if any Hindu minority from East Pakistan seeks shelter in India he will be given the same. But after formation of the secular Bangladesh this treaty was forfeited. But the influx of Bangladeshis into Assam and then to mainland India continued even after that (it is seen that even today the influx is continuing through transparent border with Bangladesh).

In 1979, Hiralal Patowary, the then MP of Mangaldai constituency of Assam died all of a sudden. On his sudden demise Election commission had to go for by-elections. Preparing for it, election commission updated the voter list. But many complaints poured in about abnormal rise of the voters in the constituency and this was believed to be because of the large mass of illegal Bangladeshi migrants sneaking into Assam post 1971 Bangladesh war. (Later it was found about 45 thousand illegal names were included into the voter list of the constituency). All Assam Students Union (AASU) (the main driving organization of the Assam Movement) called for deleting all those illegal names. AASU also demanded for publicizing the voter list of 13 other districts and remove the irregularities to which Election commission paid no heed. The union government had also decided to hold the elections by any means. So a petition was filed in Supreme Court of India by AASU to stay the elections. But the court went by the governments decision. AASU then called for all round boycott of the elections and urged the political parties to refrain from campaigning. But the election commission declared the election dates and promised many incentives for the officials taking part in the election (as most of the officials were reluctant to take part in the election process).

The fire of agitation could not be now doused by mere promises from the government. By end of 1979 AASU called for all round support across the whole Assam. And above everyones expectation almost the whole of Assam unanimously supported the movement. Mass Rallies and meetings were organized across the state. All educational institutions were boycotted by the students (students of different age group were the main participants of the movement and majority of the leaders of the movement were students. Prafulla Mahanta, Bhrigu kumar Phukan and others were the main leaders of the movement). Exams were cancelled for the year and the academic records went blank all across the state. Not only students, men and women of all ages, religion, and caste offered their full support to the movement. Even the Assam Sahitya Sabha rendered its full support to the movement. Slogans like torile desh morile swarga (if we live by we will earn our country otherwise reside in heaven) were across everyones lips (and also on walls). The union government did not want to make it a one sided show case of power.

It also jumped into the scene by sending huge battalions of CRPF, BSF and brigades of Army after failure of talks with the leaders of the movement. At Barpeta the then DIG K.P.S Gill (the super cop from Punjab) led a huge party of forces which attacked the protestors while police was escorting


Bagam Abida Ahmed (wife of Fakhruddin Ali Ahmed) and on that very day the Assam Agitation got its first martyr. 22 years old brave heart Khargaswar Talukdar, (from Bhabanipur, Barpeta) leader of Barpeta unit of AASU bore the brunt of police inhumanity. He was brutally beaten by police and thrown into a ditch (a total of 855 brave hearts became martyrs of the movement). Inclusion of such heavy force led to unwanted and negative repercussions. Many places were bombed by a part of the aggressive agitators. Mass murders were committed. This was followed by police atrocities. Lathicharge and police firing at peaceful rallies became very common. Army organized Flag March in many places but nothing seem to refrain the agitators (and ground the charged environment across the state).

Amid tension, grudge and anger election campaigns were held for Assembly election. A portion of the voters casted their vote under heavy police protection. In 1983 one Mahmmad Hussain, an independent candidate, won the Morigaon Assembly seat. The total vote share of Mr. Hussain was 714 out of 1514 votes. By then the movement had burgeoned. On one February 1983 morning about 2000 people were massacred in many places of Nagaon district (under Morigaon constituency), commonly known as Nellie massacre (even today people responsible for the massacre, commonly called ghosts of Nellie are unknown).

BJP leaders like Chodhari Charan Singh, Yashvant Singh under the leadership of A B Vajpayee, conducted rally against the election at Judge filed, Guwahati. Even Vajpayee faced police assault while participating with AASU in a rally.

By the end of 1984 and starting of 1985 hectic discussions were held between the leaders of the movement and the union government. Finally on 15 August 1985 the Assam Accord was signed between leaders of Assam movement and the then Union government of India. Of the accord Illegal Migrants (Detention by Tribunal) Act is worth mentioning. According to this act if anyone accuses anybody of being an illegal immigrant then accuser must reside within 3 km radius of the accused and the onus is on the accuser to give solid proof against the accused (Interestingly one accuser can accuse ten person that too after paying a feeconfusing na). However if the accused produces a (mere) ration card he will be acquitted of all charges. Statistics reports that in almost all cases the accused was acquitted and was legally allowed to stay in Assam (I suppose ration cards are pretty easy to get hold of by anyone and everyone but I myself dont have one).

The end of the agitation saw the birth of a new Political party called AGP from AASU and a new sociopolitical crisis started in the state there after. AGP formed the new government with mass support of people. Prafulla Mahanta was the chief minister of new AGP led government which promised the mass of building Assam into Sonor Axom, a golden state (a mere promise I doubt).

As a non-participating member of the movement I am not qualified to comment on it. But intellectuals like Homen Borgohain and others were skeptical about the outcome of the movement. Today they seem to be right as even after almost 30 years of the Assam Accord the clauses are implemented only on paper (except IMDT Act. It seems that this act was very close to someones heart). Ahhhh!!! Khargaswar Talukdar and those 855 bravehearts Are they even remembered today? Of course not. I believe we have many important works to do then to waste our time paying tribute to these brave hearts. I doubt that the new generation of Assam knows much about these brave hearts. How much golden Assam was made is known to all but how much gold the leaders of the new government accumulated is not known to anyone and no one dares to find it (and let me stay away from the controversial secret killing topic. I too fear for my life). It was a movement for a good cause. It was a movement for the people, by the people. But who were and are benefited from it is to be answered by you (please, at least you can Google this much about my motherland).

(This article is not written with an intention to offend anyone. If offended please accept my deepest regrets)


Sivasagar

Anangsha Alammyan B.Tech, 4th year

Civil Engineering

I woke up with a warm happy feeling inside me. I was in Jorhat! The place I grew up in! The

place that held so many sweet memories and it was Durga Puja! What better way to celebrate than

to take a trip down memory lane, with the very people who helped create so many memories my

family!!

It was maha Ashtami, and we had plans to visit Sivasagar that day, which was located at a

distance of about 60 km from Jorhat by road (National Highway 37, to be precise!). Sivasagar, named

after its ruler Siva Singha is a land rich in history and heritage. During the period from 1699 to 1788,

Sivasagar was the capital of the great Ahom kingdom, the brave dynasty that ruled Assam for six

hundred glorious years, until their kingdom fell to the Burmese in 1819 before the onset of British

rule in India. I had been to that place almost every year of my school life, but still, every visit brought

with it something new, something worth cherishing in the years to come. We had breakfast and set

off on a journey along the roads I knew so well. The pristine villages of Upper Assam, the beautiful

golden paddy fields, the clear blue lakes, the migratory birds along the way, and the cattle grazing

lazily on the fields. It was a feast to the eyes.

On the way from Jorhat to Sivsagar, there was the Namdang Xil Xaku, or the Namdang stone

bridge. Located at 12 km away from the main city of Sivasagar, the floor of this bridge was hewn out

of a single huge rock, quarried from the Naga Hills and hence its uniqueness. It was constructed by

Swargadeo Rudra Singha in 1703 AD. During its long life of 300 years, the bridge has outlived many

natural disasters, and still stands proud and strong! The Xaku has a length of 60m, is 6m wide and

stands tall at 1.7 metres. It is curved in shape, so that the load is distributed on the ends of the bridge

on the existing ground. The arches are built from specially baked bricks, joined together by a special

mortar made from Bora rice, duck eggs, chaff rice and black lentil. The pillars of the bridge were

adorned by sculptures cut into it, but unfortunately these stone artworks have now been eroded by

years of flood. Built on the river Namdang, this bridge is now a part of the NH 37.

When we reached Sivasagar, our first stop was the Rang Ghar. The Rang Ghar built by

Swargadeo Pramatta Singha (AD 1744-1750) is an unique piece of Ahom architecture and was

originally used as an amphitheatre by the Ahom kings to watch different sports, dances and other

sporting activities from here (probably elephant fights or buffalo fights, which was a favourite sport

of that time). The Rang Ghar consists of a two storied oval pavilion accessible with a specially built

staircase where the royal family could disembark from elephants and get to the royal enclosure on

the upper floor straight away, and a beautiful garden below it, where the actual events took place.

The Rang Ghar is a unique structure built for this specific purpose not only in India but in entire Asia,

perhaps reminiscent of the similar structures of ancient Rome.

The Rang Ghar is constructed with specially made baked bricks, which are held together by

a locally made paste of Bora Chaul (a special variety of rice, sticky in nature), duck eggs, Mati maah

(black lentil) and chaff rice. The walls of the structure show no specific bonding structure, although


vertical joints were avoided to prevent cracking of the building during earthquakes. The roof is

parabolic, supported by rows of massive columns. The gateways and openings are supported by

semi-circular arches. The central unit of the ground plan is rectangular, and is annexed with small

trapezoidal openings. An inverted-boat shaped structure adorns the roof of the monument, and

completes the outer beauty of the structure. This epitome of the artistic touch of the Ahom rulers has

been fondly named as the Colosseum of the East.

Our next stop was the Talatal Ghar and the

Kareng Ghar. This is a seven storied grand edifice

with three of its floors underground, and the rest of

the four floors forming the super structure. The three

storied underground structure is known as the

Talatal Ghar, and the four storied super structure is

known as the Kareng Ghar. The underground building

was reserved for army barracks, and is criss-crossed

with secret tunnels and passage ways, that were

constructed for the royal family to escape to a safe

location, in case the kingdom was under attack by the

enemy. Rumours are that there was an underground

tunnel that connected the barracks to the Dikhow River. The upper floors was the palace that the

Royal family resided in. There is also a 400 year old tank here, which was used by the royal family

themselves! The Kareng Ghar and Talatal Ghar together is probably the largest monument

constructed by the Ahom Kings. Legend has it that the foundation was laid by Swargadeo Rudra

Singha, who used wood and other locally available materials. But it was completed by Swargadeo

Rajeswar Singha in the period 1751-1769 AD. He added the three underground floor made of brick

and the special binding material made of eggs and rice. (Same as that used in the Rang Ghar)

The underground structure is closed for tourists, and some parts of the upper four floors

too are too badly damaged to enter. But what meets the eye is a treat in itself! There are several

chambers in the ground floor with ornamental spaces in the walls to hold the lighting arrangement.

A portion of the ground is a continuous flat pavement supporting a row of architectural columns. The

first floor consists of a long open terrace and several annexes. There is an unique temple, octagonal

in shape, but it is currently closed to tourists. There are three large chambers on this floor, and a big

hall with a courtyard having a separate entrance. All the rooms on this floor are interconnected with

well-lighted passages. The dome shaped roofs of the tops floors are completely destroyed now.

Probably there was too large a span without supporting columns in between. The exposed brickwork

in the walls show no definite pattern, although, like the Rang Ghar, vertical joints have been avoided.

The arches that support the openings exhibit decorative floral pattern, and some decorative non load

bearing columns have been added to enhance the beauty of the structure. The building units are

baked bricks and the mortar is similar to that used in Rang Ghar.

Another place rich in history was the Joysagar tank, covering an area of an impressive 318

acres! It was constructed by Swargadeo Rudra Singha in the memory of his martyred mother Joymoti.

Sati Joymoti had sacrificed her life for her husband Gadapani (Later known as Swargadeo Gadhar

Singha) who had fled Assam to hide from the atrocities of the then ruler Lora Roja. He had hidden

Canons at Talatal Ghar


himself in the Naga Hills and was gathering an

army of his own to overthrow the cruel king, while

his wife was being tortured and questioned about

the whereabouts of her husband. She bravely gave

up her life, without giving any information to her

torturers. Years later, when peace was restored in

Assam, her son constructed the biggest man-made

lake in the entire country to commemorate his

mother. The waters of this tank attracts many

migratory birds during winter. Joysagar tank is

surrounded by five major temples, namely Shiva

Temple, Devi Temple, Ghanashyam Temple,

Vishnu Temple, and the Joy Doul. The Joy Doul is

another monument constructed by the same king to honour the memory of his brave mother.

Though we didnt visit it, for fear of the huge crowd expected on account of the on-going

Durga Puja celebrations, the Sivasagar tank (also known as Borpukhuri), was also nearby. I still

remember every detail of it from my numerous earlier visits. It was built by Queen Madambika, who

was the wife of Swargadeo Siva Singha. The huge, perfectly square tank is 64 feet deep and spreads

over an area of 120 acres. A large number of migratory birds arrive here during the winter, giving the

entire area an unreal beautiful look. The three temples built on its banks are the Siva Doul, Vishnu

Doul and the Devi Doul, and they were also constructed by Queen Madambika during the reign of her

husband. The Siva Temple was the grandest among the three! It is supposed to be the tallest Siva

temple in North East India. But perhaps the most astonishing aspect of the temple is the Inverted

Shiva Linga. The 104 feet high temple has a 7 feet high narrow dome made of pure gold. It is known

as kolosi in Assamese, which refers to the likeness of the dome to an earthen pot used in Assamese

households. The walls of the Siva Doul are engraved with the statues of numerous Hindu Gods and

Goddesses. The nearby Devi Doul, dedicated to Godess Durga is 60 feet high and 120 feet wide and is

located next to the Siva Temple and the Vishnu Temple. There is a special space for worship known

as the bolisthal beside the temple. The 60 feet tall and 120 feet wide Vishnu Doul was an

architectural marvel in itself. Keeping in mind the Vaishnavite culture prevalent in the city, there is

no idol placed inside this temple, instead it houses the sacred Namghosa and holy books of

Vaishnavism, as taught by Srimanta Sankardev.

Each of my numerous visits to Sivsagar since my childhood days have never ceased to amaze

my mind. With each visit I come back with some hitherto unknown facts about the amazingly brave

Ahom dynasty that ruled Assam during the time when the mighty Moghuls ruled the rest of India

while never allowing the mighty Moghuls to get a toe-hold of their kingdom. Assamese folklore is

replete with numerous episodes of their bravery and military skills, which sadly is largely unknown

to the rest of India, for, how many people have heard of the mighty Ahom general Lachit Borphukan

who had resisted 17 attempts of the mighty army of the Moghul Emperor Aurangzeb without even

once letting go of the Ahom supremacy over Assam? Well, thats another story to be told some other

time.

Shiva doul


Bihu Dance- An Asset

Mery Hazarika B.Tech, 1st year

Electronics and Communication Engineering

Otikoi senehor mugare mohura

Tatukoi senehor maku

Tatukoi senehor rongali bihuti

Nepati kenekoi thaku

Bihu the only festival which never makes me wearisome. The sound of dhol, pepa which

make my taciturn tabernacle alive in my solitary. The onset of spring, that marks the beginning of

bohag month, with the chirping of cuckoo,the blossom of spring orchid,the serene sound of rivulet

bring the sense of love in the heart of lovers. It is a nuncio of peace, joy and happiness. This festival

binds together with a secular spirit. The songs and dances, mostly earthy ones reflected elemental

passion. Primarily a festival of youth, the old however did not lag behind in spirits and movement.

The history of Bihu celebration can be traced to 3500 B. C, when it was celebrated around a month.

BIHU dance It is a folk dance of the state of Assam. It is portrayed by the snappy dance

steps and hand movement. Though the origin of bihu dance is unknown, the first official endorsement

is cited to be when Ahom king Rudra Singha invited bihu dancers to perform at the ranghor field

sometime around 1694 on the occasion of rongali bihu. The dance is usually characterized by definite

stance, movement of the hips, arms, wrists, squats and bends but no jumps. Male and female dance

movements are very similar, with only minor but subtle differences. Every dancer put on themselves

in a beautiful traditional accouter and dance only to the rhythm of customary musical instruments.

The ensemble of the dancers is really an clat one. The dance is performed with ecstasy in

accompaniment with traditional bihu music.

The males are decked in a well formed dhoti and gamocha. A dhoti is a long loi cloth wrapped

around the hips and thighs with one end brought between the legs and tucked into the waist band,

the dhoti resemble baggy, knee-length trousers. Gamocha is an idiosyncratic identity of Assamese

society. This small piece of cloth has high esteem and wide range in Assamese culture. It is also known

as Bihuwan.

The women are dressed in aesthetic garb called mekhela chadar. The bottom portion,

draped from the waist downwards is called the mekhela. It is in the form of a sarong very wide

cylinder of cloth that is folded into pleats to fit around the waist and tucked in. The folds are to the

right, as opposed to the pleats in the nivi style of the saree, which are folded to the left. Strings are

never used to tie the mekhela around the waist, though an underskirt with a string is often used. The

top portion of the two piece dress, called the chadar is a long length of cloth that has one end tucked

into upper portion of the mekhela and the rest draped over and around the rest of the body unlike


the padavai dhavani, the chadar is tucked in triangular folds. A blouse is worn below the chadar. A

riha is still worn as part of the Assamese bridal trousseau over a fitted blouse. Women wear

ostentatious jewelry and their plaits are filled with flowers that match the colour of their attire. The

musicians known as dhulia plays the instrument known as dhol which is a double sided drum,

slung from the neck and played with one stack and a palm.

Assamese people consider dhol to be a dexo badyo or

instrument of god, which is brought to earth by the Pandavas. There

are many dhulias in a group and they show their skills in different

sections of the performance. These rhythmic compositions called seus

are traditionally codified. Before entering the dancing area, the

drummers play a short and brisk rhythm. The seu is changed and

usually the drummers enter the dance area in line.

Pepa, which is a flute like musical instrument and is usually

with very short stem made from small diameter bamboo/cane/reed

with the end away from the mouth capped with the horn of a buffalo,

is generally played at the beginning by a single player who sets the

area to the dance.

Taal is pair of two copper plates which create a soothing sound while beating on each other.

There are several type of taal bor taal, xoru taal, maju taal, khuti taal.

Gogona is made of reed and bamboo sticks.

Two types of gogona are ramdhon gogona and lahori

gogona. Ramdhon gogonas are played by the male

bihu dancers and lahori gogonas by the female ones.

Toka is also made up of bamboo stick. One end of a

bamboo is tied with a string and the other end is

splited into two. Now both the sides of the splited end

are pulled apart and left in rhythm to create same

musical notes.

Xutuli is made up of clay and bamboo and is a jaw harp sort of instrument.

Bihuwa playing Pepa

Gogona

Xutuli Bor Taal


Eloto (post courtship) Abong Bernard Ekai

B.Tech, 3rd Year

Mechanical Engineering

Eloto also popularly known as the last initiation, its a colorful and a well-fashioned

ceremony always celebrated when a full grown(mature) man makes a decision through ekitoe

angikaskou (council of elders) to marry apese (pure girl). The girl ,a daughter, and the bride-tobe, must have been raised through a thorough and refine clans norms of both awareness and traditional affiliations, she is required to be well furnished and fabricated in the ways of the traditions and

culture, her demeanor should exposure the proclivity of the adulthood and broad idiosyncrasy of

morality and etiquette. The onset of the celebrations is grazed with a community talk and a series of

discussion with the girls ngikauriak (parents) the discussions encompasses among many other issues the dowry, fertility history of the families, their relationships and confederations. All of these

are important strategic elements of observations and both parties are obliged to adhere to, the

elders informed sagacity is shared to the two newly intended weds, and the precautions on the marriage institutions and its sanctity is illuminated further. Besides moderate and intense discussion,

on all occasion, therere clarifications on consequences of deviations from this norms, and these are invariably articulated in a declaration designed from the wishes of the parents and the expectations

of the community. The denouements should be conveyed in a regulatory framework of terms, the

judges are appointed by marriage council and it includes the paternal uncle of the girl, maternal uncle

of the boy, and a neutral representative of the council of elders. In case of any peccadillo, strong

condemnation and severe excommunication charges are always levied against the victims, and if

found guilty, retribution is imposed on and justice would be served fairly to the parties involved .After

this stage, the marriage date will be decided and agreed upon by the parents.

The second phase of the celebrations is associated with youths, friends and relatives its the

last swing of singing, dancing and partying. Its also the last time of interacting with the lady and the

young man before they becomes husband and wife .So ,it is always the only chance, no one ever

missed this phase everyone ,young and old ,men and women, boys and girls ,and even small children

all would gather to get their share of the jollification. It incorporates mud painting, water soaking,

drinking local brews ,teasing, mocking ,joking and best wishes ,contributions ,advice ,narration

,special recitations in their favor ,gifts ,and also making demands directly from them .The girl aunties

would come and embrace their in-law to be ,they would ask for a ransom from the man ,and the man

must give otherwise the wedding will be held up. Its always the challenging part, it all depends on

the nature of the aunties .But the girl will infallibly make an appeal to her aunties before time in a bid

to proscribe the last minute mess .Subsequently ,the commemoration ends up in a big party ,eating

,people of every creed and all walks of life will gather to pay homage to the new (pair) candidates for

marriage .Thence ,the lady will be magnificently accoutered in a contemporary traditional ensembles

to reflects an end of a stage of youthfulness and innocence to the beginning of a new phase of

marriage and civility .The mans transformation will be bogged down until marriage. This liturgy is an integral part of the custom which binds and strengthens the procedural precedence to the

wedding (akuuta).

Turkana culture, Preliminary prescription of MARRIAGE.


Spring

Bitta Manan University Of Jadavpur

The neatly blooming flowers, peeping out from the branches of the Madari tree, bring the

greeting call of the season spring, creates the enchanting illusion all around. The beauty of the Vaat

phool and the kalmi, stretches out the carpet for the spring. When the gently and pleasantly blowing

breeze passes through the boulevard of Polash, it resonates the humming sound of spring and our

mind take us time to sense that spring has come to our surroundings with all its glory. Nature gets

embellish with a fascinating look embracing various colourful flowers and creates the ambience so

delightful. Wiping out the roughness of winters, the nature is ready to take on the texture once more.

We are also prepared to be colourful along with the nature. The aroma of mango buds makes us

enthralled. The tender touch of nature accomplishes love slowly and silently and fills the heart with

unspeakable joy. To give a proper shape to this rhythm of love, the people of Assam expresses rejoice

with tune of Bihu and with the beat of Dhol. The Bihu festival also makes an inception in the new

crops in the widespread expansion of greenery in Assam. Bihu is celebrated from down the ages in

the social life-style of Assam. The romanticism of Bihu is deeply in touched with the people of Assam.

Forgetting all previous hardship and pain by the rhythmic tune of Bihu, the entire state embraces the

New Year again. The way spring brings new hope and new life on the earth, the Bihu also brings

aspiration to the life of the Assamese people.

At the advent of this spring, it imbibes our life, fulfilled with all sphere. So before ending we

ruminate the Kabigurus magical words,

,


Bihu: True Spirit Lost?

Anindita Roy B.Tech, 1st year

Electronics and Communication Engineering

Borhomthuri 3rd edition (revised)

Education

Transcript of Borhomthuri 3rd edition (revised)