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CHAPTER-IX

COMPARISON OF HINDI AND ASSAMESE

FOLK SONGS IN SPRING SEASON

THE SPRING SEASON:

With the coming of March, the days grow warmer. The winter crops begin to ripen.

It is neighther very hot nor very cold in this month. The weather becomes very pleasant.

Plant and trees give out new blossoms. In the northern plains, springs is the best season of

the year, with the coming of April, the same cycle of seasons begin once again. It

continues year after year. Temperature around 20-30 degrees. Marriage season. Human

heart keeps on changing. Due to the extream coldness man get bore and at the arrival of the

spring season it get fully excited. So naturally with joyful mind they starts singing. In

Hindi region the songs of spring season starts from Basant Panchami till the end of chait

month. In Assam there, is a different of time in singing of these songs.

9.1. HINDI SPRING FOLKSONGS.

In this the Holi songs and cahiti songs are significant which are sung during the

month of or the Fagun spring season.

9.1.1 SONG OF FAAG OR HOLI:

Holi is a religious spring festival celebrated by Hindu, it is a festival of colours. It is

also known as phagwah or as Doljatra in Orissa and Phakua in Assam and Doljatra Bengali

or Basant Utsav spring festival in West Bengal. Holi is of particular significance in the

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Braja region, locations traditionally connected to the lord Krishna. Mathura, Vrindavan,

Nandagaon and Barsana, which become tourist distinction. During the season of holi.

People throw coloured water and coloured powder at each other. They feel very happy.

They sing and dancing with joy.

Holi is a harvest festival. It falls on the full moon day in the month of phalgun

(March), at this time the wheat and millet crops are ready for harvesting. People light holy

fires on the night before holi. The name holi comes froms holika who was a female demon.

She was herself burnt when she tried to burn prahlada in s fire. Prahlada was a great

devotee of lord Vishnu.

TRADITIONAL HOLI :

The spring season during which the weather chanes, its believed to cause viral fever

and cold. The playfield throwing of natural coloured powder has a medicinal significance,

the colour are traditionally made of Neems, Kumkum, Haldi, Bilva and other medicinal

herbs prescribed by Ayurvedic doctor.

The influence of Holi starts from the day of Basant Panchami but it is celebrate on

the day of Falgun-Shukla Purnima and on the day of Chaita Krishna Pratipada. In the Folk

society it is famous as Holi khel or Prahlad. This festival is also called as Swasthiya

utsav, (festival for health) Krishikotsav (festival of agriculture) and also the Nawanteshti

yajna. Songs which were sung during the month of Falgun as Faag named behind. During

a extreme pleasure and joyness, it cannot be seen any discrimination between the elders

and youngers and big or small. Women also celebrate together with men during playing of

Holi colours. Specially in the place like Assam, Manipur, Bengal and Bheal Sansthal of

Aadivashi as well as the fishermen, Bihar, Uttarpradesh, Rajasthan, Gujrat and also in

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various other places the Holi dances are performed by the male only. The role of women is

also performed by male. Holi is the festival of changing of season. After the bitter coldness

of winter season the spring season comes on the earth which gradually change into hot

weather. Spring wind and pinkish coldness arouse specific romance in peoples heart. The

month is mixing of two seasons during which people desires to get free and do the

enjoyments. In this colourfull month, peoples internal happiness comes out in the musical

tune of the Holi.

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The songs which are sung during the time of Holi is called Jogida in which

mostly indecent words are used. Due to the jouyful and enjoyment of Jogidas oil people

also gets more enthusiasm.

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In another song the Krishna with his friends Huriyara a making dances. In the

meantime, Radha reached there with her friends.

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9.1.2. HORI

This song is sung by the main singer and his associates during the half of every

stanza of this song is sung slowly whereas in the latter half is sung speedily.

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There is a rythem of Holigeet with a recitation style also, which is faster than

Chaital but slow than Bulwariya. Following is an example of this song given below.

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In Belwariya last words of Antara is sung three times but in Hori, the ending

portion of the line repeats twice by saying hay or sakhiree.

9.1.3. CHAITAL

Chaital is a types of song associates by other singers in spring season with slow

rhythm. Because of having its four Aaghat and two Khali it is called Chouital. There

is no such kind of difference in poetic creation of choutal and Hori. With the beginning

words (Bol) of Hori of becomes fast, whereas it is slow in choutal. Its rythems gradually

becomes faster in repeatation. As compare to the ending lines of choutal the lines of Fag

geet is much faster. But, as soon as starts second Antaras, the singer again catches the

Vilambit tune.

The sequence goes on continuously -

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Such songs of choutal wherein antympras is not used can be separated from

Holi due to its vilambit or slow lay (tune). Generally the double chaital has fast lines.

There is the much use of rythem and repetition of words. Mostly in lines there is quatrain

sometimes there is use of barbe of doha and accusation character of poets and there also

use of sawaiya (large be a greature)

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9.1.4 CHAITAL DUGUN

Chaital Dugun has a fast rhythm than a common. The application of harmony and

the stanza are found more than the expectation. Maximum Chonpai, sometimes Barbey of

Doha or a particular meter and saycia is applied in other lines, excepting the first line.

Singing of a verse relating to Chonpai is performed collaborately, but singing of a

long verse relating to long metre is only possible by a single or that of time when the

musical programme is in full swing. Like chontal, the burden of wordings of a choutal

dugun seems slow at the beginning, but is comparison, it is fast than chontal and also

very fast during reportation and gradually arrives in extreme point.

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9.1.5 BELBARIYA

Among the songs of spring season, Belbariya has very fast rhythems. Whereas the

rhythms of choutal are fast and on the other hand the rhythm of Belbariya starts in fastest

mood. Belbariyas lyrics produces not only the sweetness but it gives funning to the

rhythms. With these specialities, it may also be called as Ragh Lahari.

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Belbariya is non-rhyming song based fully on rhythm. But, a types of Belbariya is

also available where harmony is used at the end of the phase. It is assured that such

turnings of songs are developed form of Barwai

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9.1.6. KABIR

This is a single song sung in the month of Falgun which are the song of indencey, active

and lyrical. This song is sung by single singer during the month of Falgun which is

indence, single short and stray song.

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During the last phase of Nineteenth century at the time of national resourection lots

of social and national Kabir were written.

The tradition of this source is still alive.

In the first type of Kabir it has no stay. Sometimes it is sung collaborately with

dhol and Menjire (drums anklet) with its musical instruments in slow mite. The other

form of Kabir is that the prior of the sitting of Holi Mandali (team in a circle) at home

or after coming up at last moment time or sung by walking without the musical instruments

also. The other from of Kabir is single chaste.

9.1.7. JOGIDHA

Jogidha is a mobile type single folksong which is sung during Holi festival. Jogidha

narrated from Hindi word Jogi (Yogi) where the suffix dha is added. During the thene of

Sidh Samant, (persons endowed with super natural powers and feudal kings) Nath panthi

(A mystical mediavel religious sect) and Kabir Panthis (Kabirdas followers religious sect)

used to debate on the scriptures is dual metre through Oolatbasi (A form of expression

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which abounds in apparently curious or abnormal statements). In some of the composition

of Kabir, we get the gesture. Various Jogidha related to question and answer of

Gorakh and Kabir are prevailed in Ganga valley.

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The inspiration of Jogidhe of folksong is the original source of debate of the Nirgun

saint. Such abnormal statements in the form of paradox in Jogidhe are still found. Singing

of Jagidhe is a type of debate on scripture. The Jogidhe singers addressed each other as

Jogi ji. Both singers stand in front of each other and does questions and answers.

The boy who dressed as ladies accompanied both the singers and encourage them

by saying Wah Jogi ji or Wah yar. Some Jogidhe are based on love, ethics and on the

knowledge also.

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When the recreational assembly of Jogidhe to fly in to a rage, competitors forget

about their spiritual surface and used to express physical activities as 222 .

There are the three types of Jogidhe. Bisa, Mukhtal and Baat are other type of

Jogidhe. Bisa comparison to Mukhtal, is sung very fast rhythm. And it has about twenty

scales (Matra) in each steps.

Form, craft, caesura and co-ordinative of Mukhtal is as like Doha is an essay type

poem, is sung with identical matre of Doha. Its plot is bas plot of legends like Ganga Ji

ki baat, Rail ki baat, Rajle Bharthari etc. are based it. Baat lawani and doha of its chand

are almost similar, which are available singing song. About Ganga, Rain, Raja Dhardhari

were on the basis of the subject matter of its tale.

9.1.8. PATKA (DECORATIVE MOULDING)

The women sing the song by encircling and by bitting each others hand

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9.1.9. ULARA

Chaital, Ulara is sung mostly for a short interval. It is a little light song. In

chaital the song is to sing in high or note and it is bigger also that is why Ulara is a

custom for singing

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KAJALIYON

During the time of Holi, the song namely Kaja liyo is chang is sung in

Rajasthan. Like women the male also put Kajal in their eyes in Rajasthan. Rhythm of this

song flows. It is sung during the celebration of Holi. Kaharawa taal is applied for this

song.

It is a amatory song wherein the violin sound is used.

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9.1.11. KARGSIYO

This song is sung with tambourine during the celebration of Holi in Rajasthan. It is

famous desert areas of Rajasthan and Mewar region. It is song is sung in Mishra Kalyan

tune.

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9.1.12 CHAITA

Chaita is named behind the month of Chait. Somewhere it is called as ghat also.

During Basant season, animates and inanimates flora & fauna along with the nature gets

charming and pleasant. The month chait is the first month of spring season in which in all

surroundings produces drowsy and lethargic environment. The spring fascinates the nature,

fully overwhelmed in which the birds and animals, plants and trees, creepers, the fragrance

of winds etc. makes the human heart stirred. Flourishing atmosphere of the nature the

whole environment starts singing.

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Late Shyamnarayan Singh lived in Patna. Basically he was a famous Harmonium

player and also he used to sing the chaitiyan songs. In some of his chaitiayan listeners

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become spell bound. In a chaiti composed by Kabirdas wherin human soul as bride make-

up herself beautifully and comes to meet her lover as supreme God.

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The word Chaiti is degenerated from of Sanskrit Chaitri. The meaning of chetri

is chaitra purnima. In Hindu religion the Purnima has a great importance. According to

the religious belief the day of Purnima is recognized for worship and other religious

function. On the day of Shravana (name of the fifth lunar month of the Hindi calendar)

purnima the sacred Rakshabandhan festival is celebrate. During Bhadov (the sixth month

of the Indian lunar calendar) Purnima a big religious festival of Jain community the

Dashlakshan Parv accomplished Sharad Purnima for its unique splendor, has much

been discussed in Kavya. Similarity, there is a belief that by doing Ganga snan (bath in

Ganga river) on the day of Kartik Purnima, people gets free from sin. This type of

conceptions are mostly found. On the day of Phalgun purnima the Holi ends and thereafter

the month Chait starts. On the day of Chait purnima in this way the chait gets farewell.

With a view to musical glance, Chaiti song has its extreme melody and singing

style as well. After listening the chaiti songs, it can come in to the conclusion that chaiti is

sung in eight scales (matras) particularly.

Melodiousness of chaiti song is also connected with its fine arts. In every words has

its flavor and with that flavor melody tunning is produced. In simple words of chaiti is

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become vital and effective. It may looks amatory even then some angles are full of agony,

which is the soul of the song.

Types of chaiti There are three types of chaiti songs which are given below-

(1) Sadharan chaiti (common)

(2) Jhalkutiya chaiti

(3) Ghato chait

There are also some difference in sadharan (common) chaiti.

(a) Khadi chaiti

(b) Nirgun chaiti

(c) Jhumar chaiti

Chaita is basically a lyrical song but it has been made long expending in some verses.

It is says that chaiti is the contribution of Vishnava. In fact the chaiti is a folksong.

The major part of chaiti is love. In these songs we find the pleasures of husband and

wife and the lovers. Not only the above we also find the mood of affection and national

awareness.

Here is an example where ankelet of the baby Krishna made sands in walking by his

knees in the courtyard accomplished relish.

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In this way in these chaiti songs the entire depiction of popular mind has been

illustrated.

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9.1.13. BARAHMASSA

There are twelve months in a year. When a husband left his wife and goes for a

business to and another country, his wife passed her days in a painful manner. Her heart

become anguish for her husband which also arouse by natural environment. All these are

expressed in a poetic manner is called as Barahmasa or Barahmahi. Amongst the seasonal

song it is very popular. This songs are sung in rainy season. Dr. Shanti Jain has described

Barahmasa under the seasonal songs. Whereas Dr. Hiralal Tiwari has put the description of

Barahmasa under spring season.

Barahmasa generally sung during the rainy season. But there is no restriction to

sing the song in other seasons. Whenever a mood of singing arises them only it can be

sung. In Bhojpuri region Barahmasa songs are sung in everywhere. The rural people like to

sing and listen these songs because they realize together the happiness and sorrow of all

the twelve months. It is, generally starts with the description of Ashad month and ends

with the description of Jeth (May-June period) month. For example, a Barahmasa is

presented below where a heart touching expression of a wife whose husband has gone for

business purpose to the other country.

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The song given below where a separated women express her agony in every month

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It is observed that Barahmasa, generally starts from the first rain of the Ashad

months and ends during hot of Jeth month. The expression of extreme effects of tears and

the separation come out in a broad sequence. Maximum Barahmasa songs are emotionally

immersed from starting to ending. In some barahmas, indicates returning the lover during

the Baisak month and accordingly the month Jeth gone doing hair styling putting vermilion

between parting hairs. In other Barahmasa long lover or husband arrives in Jeth month.

ASSAMESE SPRING FOLK SONGS

9.2.1. BIHU GEET

Bihu song has occupied a prime place amongst the says of spring season. Bihu is

the identity of Assamese culture. Bihu songs are closely associates with Bihu. Today also

the bihu song of its particulars way of its belief, vocal are radiant. The thing which are not

in Bihu songs, those are not seen in Assam, and the things which are not in Assam those

are not found in Bihu songs. It is a carrier of ancient culture fostering the present culture

and for the future culture it is the procreator. In this festival and in its songs we find joyful

glimpse of laugh and tears, happiness and sorrow of the people. There are three types of

Bihu in Assam. They are- Rongali, Kangali and Bhogali Bihu. All these Bihus are

celebrated in various forms of nature. Among these Rongali bihu enriched with its

speciality of Assamese people.

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Generally, Bihu celebrates in a wide and big field which is named as Bihutoli.

When youngstars goes for Bihu dance in the field they fest attract with each other resulting

whatever the expression arise automatically in their heart called as Bihu songs. Bihu songs

are like a mirror of Assamese society. Its language is easy, metres are sweet to listen and

the tune attracts to the heart.

The main theme of Bihu song is the love context of young boys and girls. It get

smells of the unrestrained passion of youthfulness.

Apart from the intense desires of contact, love and affection, separation in love

affairs various depictions of Assamese rural life are found in these songs.

Apart from the natural beauty, the religious belief, happiness and sorrow, hopes and

disappointments of village life with various forms are symbolished in these songs. In this

bihu songs have a reciprocal relationship with dance. Drums, gagna, pempa, singa

flute, manjira etc are used as musical instruments with Bihu songs. Local young boys

and girls putting their traditional germents and do the dance and sung songs. Male wears

dhoti with ganji, the gamocha (towels), and cheleng (surf) while females wears Muga

Mekhela Chadar with Riha and local ornaments in their homes. The bihu songs speaks of

such origin. The following bihu songs gives a glimpse of such psychology which refers to

the muga silk woven at home, is symbolic of Assamese patriotism.

So dear is the muga babbin

So dear the shuttle

Dearer still in Boha of bihu

How also but hold it.

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In a other Bihu song it is says that at the end of chait month and at the beginning

Baisakh month the Bhebale Greeposs becomes blossomed. Once it is start to praise Bihu,

have no ending

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During the spring season, male and female openly sungs Bihu songs and does

dance by expressing their joy of heart, viz

25

Previously it was mentioned that there are three types of Bihu. Rangali Bihu

(Bohag Bihu) which is celebrated before the paddy cultivation of the paddy crops. In this

occasion, the animals which are use in harvesting like bull, cow etc are to be worship so

that the coming year becomes wealthy. Bihu (Baisakh Bihu), starts from Chait Shankranti.

This festival is celebrate whole a month but the first seven days are most important. The

first Bihu is called Garu Bihu on that day bulls are to be bathe and after then oil is put in

their horns and prays for their. The cattles are washed, smeared with ground turmeric and

other pastes, struck with springs of Dighalati and Makhilati and endeared to be healthy

and productive. The wording of song of Garu Bihu is given below -

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The old cattle ropes are cut away through the legs and a new rope are tied to them

and they are allowed to roam any where they wished for the entire day.

During the occassion of Rangali Bihu, farmers prepare the fields for cultivation of

paddy and there is feeling of joy around. The women make pitha, laroo (traditional food

made of rice and coconut) and Jalpan which gives the real essence of the season. Rangali

Bihu festival continues ran to seven days. First Garu Bihu, Manuh Bihu, Hat Bihu,

Senehi Bihu, Maiki Bihu, Rangali Bihu and Sera Bihu. Actually first day is to pay

respect to cows and other days for social activities. Next day Manuh Bihu which would the

new years day. The day after the Garu Bihu is called the Manuh Bihu. Elders are shown

respect, with gift of Bihuwan (Gamosa), a hachoti (kerchief) a chelenge and their blessing

are saught. Children are given new clothes. Singing of Husori begin on this day and people

visit their relatives and friends.

Bihu is a festival of spring season which comes from the hearts of the Assamese

people. Tribals and non-tribals used to does dance in joy with the coming of Bihu. Lovers

takes the opportunity of this seasonal joy to express their feeling of hearts before their

beloved.

9.2.2. HUCHARI

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Creation of Huchari geet is quit popular amongst the Assamese people. This is the

gift of various species of Arya. Later on with great influence with the Naam-Dharma of

Shankardev, it was spread to everywhere. During the occasion of Rangali Bihu the

Shepherd boy or the young, aged makes small groups altogether and sung the Huchari

songs. The Huchari has mainly two parts (1) one is Huchari Kritan and another one is

Bihu Naam. The first one is accomplished with the spiritual manner and the second part

is related with natural excitement, but without sexual desires. It is a radiance of the natural

beauty. There is a tradition to sung Bihu songs upto Saat Bihu Shinga, khol, drum,

manjira, flute etc with various other instrument the groups goes door to door and sings the

auspicious Bihu songs and also gives lots of blessing for wealthy of the household. In

Nitya parlak, Huchari (tance related) there is no covering of indecency. The narration of

these Huchari songs are based on glorious life of Shri Krishna, Radha, Satyabhama etc.

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Huchari songs indicates splendor of nature, the glory of the festivals, social,

cultural status etc. thus -

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At the end this song, sung as

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In the month of Baisakh the songs relating to remove of Sath sagh are also sung.

The narration of these songs are based on glorious life of Shri Krishna, Radha, Satyabhama

etc.

9.2.3. HOLIGEET FAKUWA, FAGUWA OR DEOL (DOUL)

On the day of full moon of Phalgun month in Assam, where songs of (Fagun

purnima) Phakuwa or Dewali festival are sung is called Holi songs. On the day of Holi

Krishna-Yatra (travelling with statue or Lord Krishna) is inaugurated in in Bardowa Thai

(Nagaon District), Dol Govinda Than (North Guwahati) and Khatara Satra (Darrang

District) and also different Naamghar in various villages and towns.

The great saint Shankardeva and Madhavdeva has also described in their

compositions about playing of Holi by Krishna.(2)

On the day, people plays Holi with

colour Gulal. The celebration is related to the Vaishnavite religion in Assam.

The theme of Holi songs is the description of spring season, the depiction of the

pleasant natural and playing of Holi by Radha and Gopees with Krishna is Braj region.

Although it is related with the custom of Vishnavite religion in Assam, but in fact it

is the festival of joy and passion. Vasantostav is also celebrates in different regions in

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India. In ancient India the festival was celebrated as named by - Survasantak,

Udaksachedika and Madanotsav as well.

On the next day of Dol Purnima (Phalgun Purnima) it is called Gandh. On this

day the children, boys and girls, wifes altogether makes Holika gathering upada, I kara

and yalti and in the evening they do the flaming, which is called Mashdah or

Wahanostsav.

On the occation of Doul Purnima the Doul puja is observed and on the very next

day Holi or Suwari festival is celebrates. On the occasion of Suwari children, young

boys and girls, aged persons etc get together plays joyfully with colours and put the colours

to travelers and mark with Pichkari. The people are playing colours also does dancing

and singing in Jolly mood. People makes group and goes door to door with musical

instruments and sings the holi songs.

In Assam, the Holi songs are influenced by Vishnavite religion. The great saint

Shankardeva has also described the characteristics of the Holi plays by SriKrishna.

There are enough descriptions of playing Holi, is found in Bargeet of the great

saint Madhavdeva which are devided under Vrindawan Leela of Sri Krishna, viz-

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The theme of Holi song is description of the spring season as arrives with Phalguna

month. Happiness, joy and passion of youthfulness, natural beauty of birds like- cuckoo,

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Holi plays by Sri Krishna with Radha and Gopee(s) in Vrindawan abode etc. An example

of Holi song is given below, as-

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9.2.4. CHAITALI

In ancient time when students takes the education with free of costs, they used to

donate something to their guides (Guru) as per their capacity during Baisakh month or

once in a year. In this line, it is seen that Kabir made his spiritual guide to Ramanand and

similarly, Swami Vivekananda to Ramkrishna Param Hans, while ShriRama had made

Vishwamitra as his spiritual guide.

Spiritual leaders were travelled with their pupils during this month for the purpose

to beg donations. This is called as chaitpuri. After reaching peoples home, guides sing

admire songs of Lakshmi, Sawaswati and Lord Krishna in a dignified way. Such songs are

known as Chaitali song. The theme of these songs is to gain sympathy and association

from the spiritual guides.

Travelling villages to village by singing Chaitali in whole the month, whatever

they got donation, offered it before the Guru on the auspicious day of Shankranti. Guru

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felt satisfaction and blessed to them. Now the society has changed where Gurukul

education and singing the chaitali come to an end today.

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Dr. Basanta Kumar Bhattacharya, in this regard says that the song has composed by

the great saint Srimanta Shankardeva signifies as Deh bicharar geet and is the creation of

an expert poet.

9.2.5 BAIKHU

Baikhu is the most chief hervesting song and dance of Rabha tribe of Assam.

These are the special part of the religious festival of the community. The word Baikhu

means the recreation accorded by the God. Bai means the God, whereas khu denoted

to give.

At the beginning of harvesting work, Rabha tribe worships the goddess Devi

Khoksi / Sisora. They believes that the beginning of Baisakh and Jeth month, when

worships the Goddess Lakshmi, she gets delighted and visibly appears. Folk people by

sacrificing pig to her and prays for wealthy and fulfillment of harvestings. They also pray

for the rain as per their requirements and peoples wellbeing free from various deases. The

priest and the old people performs songs during the puja is called Baikhu songs.

Example-

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The above song indicates that muds and water of Baikhu festival spreads like

pitchkari? We are nothing? Come- we both keep hands to hand together sing and dance.

9.2.6. SATHAR GEET

Alike Bihu songs of spring season, Sathargeet also the song of love and

attachment. Rabha tribe believes that Sathargeet is the form of the reproduction.

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The way the seeds are sproat from the womb of the earth, in the same way by the

meeting of male and female gives re-births. On the basis of new birth the young boys and

girls sung love-attachments and get excited. They inspires the earth for coitionthrough

these love attachment songs. Married women or men were not considered to participate in

sathar dance. They were restricted to become spectetors of the festivals. The significance

of the song is that young girls and boys do not touch each other while performing the

dance. They perform it whole night. During the performance of dance if they starts like and

attracts to some one, on the next very day their marriage solemnized according to their

social customs.

This union is accepted as pure and radiant. It is includes sexual submissions in the

dance and passionate melody in the song. There is an example of sasthar geet is given

below-

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The song indicate that dancer boy speaks to his lover as the beginning of the year,

I oftenly remember you. I get distracted. I become like a mad.

In the same context another song is given below

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32

After the boys version, the girl says Hey lad, what are you saying? Tell me, the

truth. I like you and dedicate my love to you. Whether I am like by you or not, tell me.

9.2.7. BHATHELI

Bhatheli is the oldest harvesting festivalprevails in the lower part of Assam, places

like-Ulabari, Aarikuchi, Chandkuchi, Sandhya, Ramdiya etc. Some people consider it as a

physical form of Madan Kamdevas worship. According to Dr. Banikant Kakati,

Bhatheli word derives from the word Bhattlika. Bhattalika means the sky or the sky

orbit.

Bhatheli festival continues from the first week of Baishakh month to sankranti of

Jeth month. The observance of the festival is differing according to place or sometime it is

observed on broad day light with fanfare. In North Kamrup it is celebrated on the seventh

day of Baishakh month. In the thirteenth day of Baisakh, Bhatheli celebrated by saints. In

this way the festival is customary prevailing in the villages, like- Kamarkuchi Ulubari,

Arikuchi, Chankuchi, Sandhya, Ramdiya etc.

As like peoples feelings of excitement during Bihu festival in upper Assam, in the

same way people of lower Assam get excited in Bhathelifestival. It is called Suri

(Suweri), in south Kamrup area, while Deul festival in Mangaldai sub division. In some

places of Goalpara district the festival is named by visuwa and Suri. On the other hand,

last day of Phakuwa (Holi) day is known as suri in Barpeta district. The Muslim

community calls Bhatheli as Madar . In various places of Assam, Madar has various

Page | 190

holy abodes. Bhatheli symbolized integration amongst different cast and creeds,

communities and races.

Generally, two parts of bamboo is used in Bhatheli. One part is a common form,

while the second part is used in a multi form. In addition, a small size bamboo is put in to

the earth and built shed on it with bananas leafs. It means Bhatheli is a hut, built of

banana leafs. A throne is made inside of the hut where the idol of Lord Vishnu and Lord

Krishna is placed. People afterwards, travelled in the locality with those idols. It is called a

samadal jatra. In some places the children, young boys and girls does the imitating

thereselvesand present scenes like- Dadhimanthan etc. Basically, Bhatheli is a joyful

festival of all community. Various sports and fares are also organized during the festival. It

is open to take part in Bhatheli for all casts, communities and religions. Below a songis

quoted which is sung during worship.

....

,

,

,

Page | 191

M

,

! 33

Here, a song is given below which is a laughing entertainment between Bhabi

(elder brothers wife) and Dewar (husbands younger brother).

Song:

()

,

One another song indicates the dearth and basic needs of folk life.

Song:

,

M M

,

34

There is tradition to sing a song prevails in Palahgadh temple at Tangla on the

eighth day of Baishakh month. These songs are sung on the occasion of bamboo and dolls

marriage ceremony.

,

Page | 192

[ r

,

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9.2.8. CHAIT PARAB

CHAITALI GEET

Chaitali geet are sung in different rural celebrations during the month of Chait.

Since the ancient education was arranged to provide in Pathshala and Sanskrit Tol. The

tradition is still prevailing, a rare. Pupils took free education in Pathshala. According to

their Gurus (spiritual guise) instruction every year in the month of Chait, pupil used to beg

donations door to door from the villages. This travelling pupil is called as chaitpuri.

After reaching peoples home, they sing admire songs of Lakshmi, Sawaswati and Lord

Krishna in a dignified way. Such songs are known as Chaitali song. The theme of these

songs is to gain sympathy and association from the spiritual guides.

Travelling house to house by singing Chaitali in whole the month, whatever they

got donation, offered it before the Guru on the auspicious day of Shankranti. Guru

felt satisfaction and blessed to them. Now the society has changed where Gurukul

education and singing the Chaitali come to an end today.

Chaitali song-

Guru Batima

N e

Page | 193

K

N

N

t

36

9.2.9. CHADHAK PUJA

Chadhak puja or Chait parav is a spring festival of tea tribes of Assam and in the

society of the Golapara region.

As the songs are sung during the month of Chait and therefore, it is called Chait

parav or Chadhak puja. The puja is ultimate form of Lord Shiva as observed in dual month

of Chait. It is a social celebration and the puja lasts for seven days.

Songs and dances are the important part of this puja. An example of song of Chait

parav is given below-

*

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Page | 194

s

[ 37

Rules and customs of this puja differ place to place.

9.2.10. MADAN UTSAV

Madanotsav is a notable spring festival of ancient India. The festival is celebrated

on Madan Trayodasi tithi (thirteenth day of lunar calander month of Chait). The

comprehensive description of the festival is found in Garudh Purana, Bhavishya Purana

(chapter-135) and in the Matsya Purana (chapter-74). Apart form this, famous Sanskrit

poet Kalidasa also mentioned about the festival in his composition Shakuntaalam, Also it

is found a fascinating depiction of Madanotsav in Malti Madhav of Bhawbhuti and in the

first part of drama Ratnavali of Shriharsh.

According to the book Souragam, madan Kamadeva is worshiped with the leafs

of Daman tree on the fourteenth day of bright fortnight of Chait month.

Apart from these descriptions, other descriptions are also available in

Kalikapurana written in 9th

century in Assam. The famous essaist Damodar Mishra of

14th century exposed the festival in his holy book Smritisagar saar while Yoginitantra of

16th

century also described the festival. In Hajo, the festival Madanotsav is celebrated

upon the hillock of Madan Kamdeva. The secondary form of the Madanotava is said as

Page | 195

Madan Chaitali. While wandering the idols of the Gods Madhava, Kedareshwara and

Kameshwara in the locality, songs and dances are performed during the time.

The puja celebrates in the Raktpeeth on the day of Madan Chaturdashi, is the

Bamboo worship (Baans puja) as described in the preface of Shastra(scripture). The

celebration is symbolizing form of Madan Kaamdeva, which by centralizing a decorative

bamboo expressed different activities by singing and dancing. The theme of these songs is

also related to the love of Radha and Krishna.

There is an example of song relating to the birth of Kaamdeva is given below-

s

! * !

....38

9.2.11. KHERAI UTSAV

Kherai is the spring festival celebrated by Bodo Kachari community of Assam.

They enjoy this spring festival with Great Spirit and enthuism. The dance from which is

associated with this festival is called Kherai. It is also specially called as Krishiparak

nritya( a dance relating to harvesting) which is based on religion. The festival celebrates

annually two times. In fact, the festival is celebrated after cutting crops and taking them

homes, during Poush and Magh month. Villagers assembled in the field and celebrate the

Kherai festival whole night. In a particular plant Siju (stem of cactus) tree and covers it

alaround with bamboo. People call the Siju tree as Bathou. The same is known as Bedi

(specially raised place) also. On this Bedi, people lit earthen lamps in the names of

different god and goddess. By sitting near the Bedi they worship the god and chant

Page | 196

mantra. The person who performs the puja is called Duori. If god becomes pleased by

chanting of mantra then enters into the body of Douri. To prove the incident, it seems that

Douri starts trembling and dancing in different styles. By looking this, other people also

starts dancing. The notable thing of the dance is that it has no song. The dance is

performed on the tune of flute and the steps of Kham. There are sixteen tunes and

postures. The flute and Kham used in this dance are bigger than used in other dances. This

may be almost three to four feet tall. Musical instruments, like- kara nal, dhak-dhol,

gagana, banhi, shinga, kanh bati, badang duppa, taka etc. used by Rabha tribes with

colourfull songs are noted in the song quoted below, it is in this way

39

It is observed that, Kherai geet is more significant and popular then in the songs of

Bodo dances.

9.2.12. ALI-AI-LRIGANG

Ali-Ai-Lrigang is a harvesting fectival of Missing tribe of Assam. The festival

Page | 197

is celebrated in every year on the first Wednesday of Phalgun month. The meaning Ali-

Ai-Lrigang is described as- Ali denotes the crops which are produced inside the land,

like- potato, Carrot, Raddish etc. The word Ai denotes the fruits which are employed in

the tree and the meaning of Lrigang is execution of harvesting works. All together it

meant- the first day of putting seeds. The main crops harvesting in Missing society is

paddy, mustard, potato, tuberous arum plant, brinjal etc. They regarded the first

Wednesday day as an auspicious day of the first week of Phalgun month and therefore, the

harvesting works is started from that very day. And accordingly the festival is started. On

that very day a specific plot of land is choosed for Lrigang. The place pargetted clean and

tidy. After then foods and water are kept there on the name of their ancestors. The

auspicious place make purified by sprinkling Apang which is a special alchohol of

Missing community. The work is done by the chief person of the tribe uttering the name of

sun and moon. This ritual customery is called Penam.

After the prayer, food arrangement is made for the assembeled people. Rice is

cocked and ticing by a leaf which is called Purang. Fish, meat of pig and Apang are the

associate foods are taken with the rice.

After the feast is over, they all together do dance and bless to each other. The dance

of the festival is called Gumrag Paksh, while songs which are sung with dance are called

Nitam.

After completion of cropping works, young boys and girls performed dance by

making curvature form. The dance signifies rhythm and postures rather than the song.

Artists presents their different postures as hunting, fishing, plantation of paddy, cutting

works of paddy plants, weaving clothes etc. Ali Ayi Lrigang festival is celebrated up to

Page | 198

five days. In some places it is celebrated more or less than five days. Some restrictions are

imposed to all during the festival. This are- digging of earth, cutting of trees, killing the

living creatures and also not to eat fruits.

But before the festival is starts they do the hunting works which is considerd as a

prime custom. Costume and ornament of dancer artists are very artistically designed.

Missing tribe like the Aye Nitam song, this is compared with Assamese Bihu song. The

words of the song indicated natural submission of love. After the finishing the religious

programme, young girls and boys goes door to door for dancing. The dance is also called

Missing Bihu. Below a Missing Bihu song is quoted in this way-

e

!

Page | 199

40

Because of the modernism and inspite of changing comes in dress and culture, food

habits, dances of Missing Tribem Ali-Ai-Lrigang festival has its importance still today.

9.2.13. SUWERI

It is the southern kamrup Sari or Suweri is a spring festival of south kamrup

region in Assam. The acting plays in Dadhimathan Bhaona are prime attraction of this

festival. Sari or the Suweri is called to those qualities that remembering the name of

Lord Krishna with honour. In earlier days, only male artists were permitted to take part in

Dadhimanthan Bhaona. But in changing time, the role of Gopi and Yashoda are plays by

females. There are much more crowd assembled in the suweri performance place.

Song:

K

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O! u 41

9.2.14. PAICHANGKEN

Page | 200

Paichangken is an important festival of Tai-Buddhist community. In fact, it is

relating to the spring season. It is celebrated on the last day of Chait month. Admiring the

eulogy Lik Changken or the holy book is started before a month ago. In accordance with

reckoning astrology of Tai people, the actual timings as like hours, minutes etc.prescribed.

Monks brings the idol of Lord Buddha from Boudh Vihar and placed it in Kympha or a

temple. Youth sung songs whole night and provide security for the idol. In this way they

organize religious fare, cultural programmes, also. The festival lasts continues up to three

days. After its completion, the idol returned back to Baudh Vihar complying all rules and

rituals and hope for peoples welfare, peace and harmony. After some days they adeau the

old year and expects peace for up coming New Year. In this way they observed the

paichangken festival.

Paichangken has its resemblance with Assamese Bihu and Deol festival as

well as festival of other states of North eastern region. Tai and Boudhist people of South

Asia celebrates paichangken festival with their different names.

Paichangken festival is celebrates amongst Aitan or Aitania, Khamyang, Turung

communities of Arunachal Pradesh. Apart from this, the festival is gaining popularity

amongst Maan, Khamti thun, liu liyem communities of Berma, Ai, Lai, Nyua, fu-an

communities of Thailand, Tainge, Tai khau, Tai dam, Thu, Tung communities of Vietnam

and amongst communities of Bhai, Xuang, Knung and Bu-Yui of South China. 40

9.3. COMPARISON OF BOTH SONGS

9.3.1. SIMILARITIES

Page | 201

Songs found under spring season, are- Phag (Holi), Chaita in Hindi whereas Bihu

and Phagua in Assamese. It is noticed that there is an emotional equality in these songs of

both region. Some similarities can be seen in springal songs of Hindi and Assamese, as-

In Hindi

()

In Assamese

,

N , 42

Holi (Phagun) festival is also named by Swasthya Utsav (festival of health),

Krishkotsav (festival of agriculture) and Nawanveshti (festival of new corn).

On the day of Holi colours playing, women of both region takes part with male.

People seem cheerful by heart and mind. Happiness and cheerfulness of youthfulness,

beauty of cuckoo bird, hopes and expectations of people with naturs beauty come out in

the form of beautiful lyrics.

9.3.2. DISSIMILARITIES

In Assam and in Hindi region, various songs are found which are sung due to the

change in nature. All these are spring seasons songs which have emotional equality in

spite of unequality in the form and in practice.

More Vaishnavite influence is noticed in Holi or Phag / Phakuwa songs. In fact the

festival is regarded as happiness and pleasure of people.

In Hindi song, there is an influence noticed of auspiciousness, in which a real

description of happiness, joy and enthusiasm is observed.

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Apart from the description of Radha, Krishna, Sita and Rama, the name of

Hanumana is also found in these songs, whereas the name of Radha, Krishna and Gopi is

only considered in Assamese songs.

Less number of songs of the spring season is found in Hindi belt whereas these are

abundand in Assamese. Bihu song is more significant and it has no particular time to sing.

Considering the positive situation, Bihu songs are sung in Assam.

In Hindi, the custom to sing song is found more in women rather then the men, but

in Assamese male and female both sung folk songs. Both parts (unification and separation

of lover/beloved in poetic composition) of beauty in these songs are found in Hindi as well

as in Assamese with more examples.

9.3.3. CONCLUSION

Spring seasons songs are available in abundant quantity in both the regions. Phag,

Chaita songs of Hindi shows happiness, joyness and whereas the Assamese Bihu and

Huchori has the same feelings. The theme of these songs of both regions indicates natural

splendor, amorous decoration, and pleasant minds feelings. It is also observed that the

style to sing thses songs in both region are searate due to their regional characteristics. In

the Bihu songs of Assam, both male and female takes part in its dancing, but in Hindi

Chaita only male takes part.

Apart from natural beauty tfound in these songs, its also focuses on family

affection, social life and religious belief of folk people also.

The study reveals that the spring seasonis most attractive and fascinating amongst

all seasons. It signified as king of all seasons. Bihu songs play a significant role in

Assamese folk, rural and urban life.

Page | 203

As the season is at the door step, the environment all around becomes melodious,

delightful and merriment. A new life starts to awake all round. Nature has becomes

musical with the tune of cuckoo and fill with flowers and fruits. Festival, like-

Basant Panchami, Maghi Purnima, Shivratri, Holi, Shilavimi, Chaitra Shankranti, Chaiti

Navratri, Gangor, Ramnavami, Mahavir Jayanti, Baisakhi, Sarhul the Bihu are celebrated

during the year. It is observed that birds and aimals get equal importance of both regions as

described in folk songs of the region,

Page | 204

References

1. Dr. Shanti Jain -Lokgeeton ke sandarbh aur ayam, pg-267

2. Dr. Shanti Jain, -Lokgeeton ke sandarbh aur ayam, pg-267

3. Dr. Shivchand Prasad - Braj aur Bhujpuri Lok sanskritic ka tulanatmok adhyayan

pg-532




7. Dr. Hiralal Tiwari - Lokgeeton ke sandarbh aur ayam, pg-299, 300

8. Dr. Hiralal Tiwari - Lokgeeton ke sandarbh aur ayam, pg-300

9. Dr. Hiralal Tiwari -Ganga Ghati ke geet, pg-57

10. Dr. Hiralal Tiwari -Ganga Ghati ke geet, pg-57

11. Dr. Hiralal Tiwari - Lokgeeton ke sandarbh aur ayam, page-301, 302

12. Dr. Hiralal Tiwari - Lokgeeton ke sandarbh aur ayam, page-302





17. Dr. Hiralal Prasad, Bhojpuri aur Assomiya Lokgeet, Page-27

18. Dr. Krishnadev Upadhyaya -Bhojpuri Lok Sahitya, pg-169

19. Dr. Krishnadev Upadhyaya -Bhojpuri Lok Sahitya, pg-168

20. Sri Prafulla Dutta Goswami -Bara mahar tera geet, pg-139


Page | 205


23. Bhupendra Nath Raychoudhury-Assamiya lok shaitya ki bhumika, Page-45

24. Dr. Basant Kumar Bhattacharya -Asamiya Lokgeet Samikshya, pg-20

25. Anupam Kumar - Assam ke Lokgeet, pg-82

26. Anupam Kumar -Assam ke Lokgeet, pg-83, 84

27. Gagan Hajong, Paresh Chandra Hajong Assamar lok sanskriti, pg-41

28. Balgopal -Gopini Kirtan, Pg-49, 50


30. Dr. Prafulldutta Goswami -Gowalpariya lokgeet sangraha, pg-97

31. Dr. Pramod Chandra Bhattacharya -Assamar Lok utsav, pg-97

32. Anupam Kumar -Assam ke Lokgeet, Pg-36

33. Anupam Kumar -Assam ke Lokgeet, Pg-36

34. Dr. Kanak Chandra Sahariya -Darangi Lokgeet sangrah, pg-122


36. Chau Lokeswar Gogoi Assamar loka sanskriti -3, pg-430


38. Bhupendra Nath Raychoudhury-Assamiya lok shaitya ki bhumika, pg-38

39. Dr. Prafulldutta Goswami -Gowalpariya lokgeet sangraha, pg-51

40. Dr. Pramod Chandra Bhattacharya -Assamar Lok utsav, pg-97

41. Chau Lokeswar Gogoi Assamar loka sanskriti -3, pg-430


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