Bihu
Dance and the Question of Authenticity: Examining the Crisis of Cultural
Identity in Modern Assam
Bikiraj Mahanta,
PhD Research Scholar,
Cotton University,
Assam, India.
Abstract:
Bihu Dance, a
vital cultural expression of Assam, has long been a symbol of the region’s
identity. In recent decades, the dance has undergone significant
transformations, both in its performance style and its cultural significance,
leading to debates about its authenticity. This research paper explores the
evolving nature of Bihu Dance and its role in the larger crisis of cultural
identity in modern Assam. Drawing on historical accounts, contemporary
performances, and cultural discourse, the study examines the tension between
traditionalist views, which emphasize a return to its original, rural,
community-based practices, and the modernized version of Bihu that has been
commercialized and stylized for public performances. The paper also
investigates the impact of globalization and urbanization on Assamese cultural
forms, highlighting how external influences contribute to both the preservation
and dilution of indigenous practices. Through qualitative analysis and
fieldwork, this research argues that the concept of ‘authenticity’ in cultural
practices is fluid and subjective, shaped by dynamic social, political, and
economic factors. The paper concludes that the ongoing evolution of Bihu Dance,
rather than representing a crisis, is indicative of the resilience of Assamese
cultural identity in the face of modern challenges. By acknowledging the
interplay of tradition and transformation, the research emphasizes the need for
a more inclusive and adaptive understanding of cultural authenticity.
Keywords: Bihu Dance, Authenticity,
Cultural identity, Globalization, Assam
Introduction
Assam, one of the
prominent states of North-East India encompasses numerous ethnic communities.
Bihu is the most significant festival of Assam, celebrated with immense
enthusiasm and joy by the Assamese people. There are three bihus celebrated in
a year- Rongali Bihu (Bohag Bihu), Kangali Bihu (Kati
Bihu), and Bhogali Bihu (Magh Bihu), each marking different
agricultural cycles. Rongali Bihu, observed in mid-April, is the most vibrant,
symbolizing the Assamese New Year and the arrival of spring. Magh Bihu, in
mid-January, is a festival of feasting after the harvest, while Kati Bihu, in
mid-October, is a more solemn occasion focused on prayers for a good crop. The
Bihu festival is not just a festival but a reflection of Assam’s rich cultural
heritage, bringing people together through traditional dance, music, feasting,
and rituals. The festival embodies the spirit of unity, gratitude, and
prosperity, making it an integral part of Assamese life.
Singing and dancing
constitute essential features of the celebration of the Bihu festival. The Bihu
dance, an integral part of Assam’s cultural tapestry, is a dynamic and rhythmic
expression of joy and unity, traditionally performed during the Assamese New
Year celebrations. The Bihunaam (Bihu songs) are mostly woven around the
theme of love and physical yearning and the Bihu dance, mostly performed by
young men and women, reflect youthful passion and joy of life. (Dattaet al.
245)Rooted in agricultural practices and fertility rites, it has evolved into a
symbol of Assamese identity. However, with the forces of globalization,
commercialization, and modernization, the Bihu dance faces a crisis of
authenticity. This paper aims to explore the tension between preserving
traditional practices and adapting to contemporary demands, examining the
implications for cultural identity in modern Assam.
Historical Context and
Cultural Significance
The origins of the Bihu
dance can be traced back to ancient agrarian rituals, where it served as a
medium for invoking fertility and celebrating the harvest. Traditionally
performed in open fields by both men and women, the dance is accompanied by the
melodious strains of traditional instruments like the dhol, pepa,
gagana, khutuli, taal, toka. Over time, it transcended its
agricultural roots, becoming a hallmark of Assamese festivals and a cultural
emblem.
The Alpine people, who
happened to come to Assam after the Austric people were also fond of music and
dance; this creates a ground to hold the belief that the Alpine people played a
conspicuous part in streamlining the existing music and dance- like sex
appealing gestures with their identical musical and dance elements. Evidently,
the racial admixture of the Austric and Alpine people had created, a situation
wherein cultural assimilation was possible and subsequently, as a result of
further racial admixture with the Mongoloid people, springtime Bihu song and
dance assumed a new form.
The dance is characterized by its brisk
movements, rhythmic footwork, and expressive gestures that symbolize nature,
joy, love, and unity. It is traditionally performed by young men and women
dressed in colourful Assamese attire, with women donning the elegant Mekhela-Sador
and men wearing dhutis and gamuchas. The girls put jetuka on
their hands and put kopouphool (Rhynchostylis retusa) and other seasonal
flower on their khupa (hair bun). The dance is accompanied by the
melodious sounds of traditional instruments like the dhol (drum), pepa
(buffalo horn pipe), taal (cymbals), toka (bamboo instrument), khutuli
(instrument that is made of clay) and gogona (bamboo instrument),
creating a lively atmosphere that brings communities together. Beyond being a
form of entertainment, Bihu dance holds immense cultural and social significance
as it strengthens bonds among people, preserves Assam’s rich heritage, and
serves as a medium of artistic expression. It is also a major attraction in
cultural festivals across India and the world, symbolizing Assam’s unique
identity and artistic brilliance. Over the years, Bihu dance has evolved from a
rural tradition to a global cultural symbol, playing a crucial role in
promoting Assamese traditions and fostering pride among the people of Assam.
The Bihu dance also
holds deep socio-cultural significance, functioning as a communal activity that
fosters unity and inclusivity. It is a vibrant reflection of Assamese life,
embodying values such as harmony, resilience, and respect for nature. Yet, as
the dance became more institutionalized and popularized, it encountered
challenges that have called its authenticity into question.
Bihu Dance: Tradition
and Changes
Gabharu Bihu:
Gabharu Bihu is exclusively confined to the womenfolk. The women, mostly
grownup girls, instituted Gabharu Bihu in abandoned lands preferably
under a tree from the month of Choit and concluded on some convenient day
of Bohag. The Gabharus (women) offer prayer to God placing betel
nut and gamocha under the tree. First, they perform a dance making a
ring or circle singing some ballads. Then some of them dance to the sound of toka
and gogona while others sing the bihunaam. The hope and aspirations
of the women find expression in the bihunaam of Gabharu Bihu. One
of the dancing pair impersonated the role of the male and in some of their
movements they made the gesture of union with their fingers. (Goswami 17) The
girls use to dance a little away from the male eyes, they demarcated their Bihu
ground making a fence around with bamboo twigs pr branches of tree. On a convenient
day of the month of Bohag, the gabharus gave ceremonial parting
to their bihu wrapping a gamocha around a tree and placing an areca nut
and a betel leaf there under. Ghar Bihu, Maiki Bihu, Chenehi Bihu, Jum Bihu,
Zeng Bihu, Toka Bihuare the variations of Gabharu Bihu.
Gabharu Bihu
developed to a performing art in or around the 5th decade of the 20th
century. The variations of Gabharu Bihu are now performed by both
married and unmarried women in publicly organised programs. Among the
variations of Gabharu Bihu, Zeng Bihu is widely famous in Modern
Assam. However, the use of the term Zeng Bihu as a synonym of Gabharu
Bihu is confusing as it is a variation of Gabharu Bihu and the term Zeng
Bihu was not prevalent in 19th century. Zeng Bihu has gained massive
popularity among the people of Assam and stage performances and Zeng Bihu
competitions are being organised on a larger scale compare to before. During
performances as it is not possible to place a real tree on the stage, branches
of trees are placed on the stage and the performers put Gamucha on that
branch of tree acting it as the God or Bihur Debota.
Husori:
Husoriis an essential part of the Bohag Bihu celebrations in
Assam, deeply rooted in the cultural and social life of the Assamese people. It
is a traditional form of Bihu Husori singing and dancing performed in
groups during the Assamese New Year, reflecting the unity and collective spirit
of the region's agrarian society. The exact origins of Husori remain
uncertain, but its long-standing association with Bihu suggests that it has
been an integral part of Assamese traditions for centuries. Some scholars
believe that Husori may have originated as a ritualistic performance
meant to invoke blessings from the gods for a good harvest, while others see it
as a social custom that evolved over time to reinforce unity among villagers.
The word Husori is thought to be derived from the Dimasa Kachari word Ha-chari,
meaning a gathering or assembly. Traditionally, Husori performances take place
in village courtyards, where groups of men visit homes, singing songs, dancing,
and playing traditional instruments like the dhol, taal, pepa,
khutuli and gogona. The songs in Husori usually carry themes
of happiness, nature, love, and sometimes socio-political messages. The
performers bless the household with good fortune, and in return, they are
welcomed with hospitality, offered gamosas, betel nuts, and sometimes
monetary gifts.
With changing times, Husori
has undergone significant transformations in terms of both style and purpose.
Earlier, it was purely a community-based practice restricted to villages, where
performances were spontaneous and deeply connected to the rural way of life.
However, with urbanization, Husori has moved beyond village courtyards
and into organized stages, competitions, and cultural festivals. Modern husori
groups now participate in large-scale events, often showcasing synchronized
performances with elaborate costumes and musical arrangements. The traditional
themes have also expanded, incorporating contemporary issues such as
environmental awareness, social harmony, and even political messages. This
shift reflects the adaptability of husori to modern sensibilities while
maintaining its cultural essence. Moreover, while husori was initially a
male-dominated tradition, recent years have seen an increasing number of
mixed-gender husori groups. Bordoisilabihuhusori dol,
Rongmanbihuhusori dol, Serekaparbihuhusori dol, Choraideubihuhusori dol, Cheu
bihuhusori dol etc. are some of the examples of mix-gendered husori
groups of Assam. However, mixed-gender husori groups cannot be regarded as
authentic husori groups, since husori has traditionally been
confined to men. Such mixed-gender performances are more appropriately
associated with Mukoli Bihu or Rati Bihu.
Rati Bihu:
Rati Bihu, also known as Chotor Bihu, is an integral part of the Bohag
Bihu celebrations in Assam. The tradition of Rati Bihu dates back to
ancient times and has undergone several transformations over the centuries. The
origins of Rati Bihu can be traced to prehistoric Austric, Alpine, and
Mongoloid cultures, where song and dance were integral to agricultural
fertility rituals. The Austric people considered the earth as a mother figure
and performed phallic worship as part of their fertility rites. These rituals,
combined with the musical traditions of the Alpine and the bamboo-made
instruments of the Mongoloid communities, contributed to the evolution of Rati
Bihu as a celebration of productivity, both in terms of agriculture and
human relationships. During medieval Assam, Rati Bihu was widely
practiced among various tribes of Mongoloid origin. It was a social institution
that provided a platform for young men and women to interact, choose life
partners, and even elope. The festival retained its significance until the
early nineteenth century, when the Burmese invasion of Assam led to a decline
in its observance. However, by the early twentieth century, Rati Bihu
was revived in a modified form, albeit with reduced emphasis on agricultural
fertility. Despite this, it remained a festival that allowed young people to
exchange hearts and form romantic relationships. The festival was typically
celebrated in isolated locations such as Bihu grounds or under large trees. The
participants, usually young boys and girls of marriageable age, gathered at
night and performed songs and dances by the moonlight or torchlight. Musical
instruments such as the dhol, pepa, tal, gagana, xutuli and toka
were played to accompany the festivities. Elders known as Gabhuru Bora
were present to ensure that the event remained orderly. The tradition also
included antiphonal singing, where boys and girls alternated their songs in a
playful, often flirtatious manner. The most distinctive aspect of Rati Bihu
was its role in courtship. It was a socially sanctioned event where young
lovers could express their affections without fear of societal stigma. The
proficiency of boys in drumming, piping, and dancing often played a role in
their desirability as life partners. In some cases, girls would even flee from
their homes to meet their prospective husbands at the Bihu ground. Over time,
these relationships were regularized by the local communities. The celebrations
of Rati Bihu culminated on the sixth day of Bohag with the Bihu
Urwa ceremony, where all participants gathered in a common area, offered
betel nuts to the Bihu god, and performed collective singing and dancing. This
event marked the farewell to Bihu and was often a day when young lovers eloped.
While Rati Bihu
as a fertility festival has largely faded, its influence persists in modern
forms like Gabharu Bihu and Mukali Bihu. Despite its
transformation, the festival remains a symbol of love, freedom, and cultural
heritage in Assam.
Mukali Bihu:
Mukali Bihu is the modern adaptation of the ancient Rati Bihu,
which was originally performed at night by both men and women. The word mukali
signifies openness and freedom, and Mukali Bihu embodies this spirit by
being performed publicly, either on platforms or in open grounds. Over time,
many of the features of Rati Bihu have been incorporated into Mukali
Bihu, ensuring the continuity of traditional Bihu elements while making it
more accessible to the public.
One of the key
transformations in Mukali Bihu is the modification of Rati Bihu’s
songs and dances to suit contemporary tastes. The festival retains its essence,
with young boys and girls playing traditional musical instruments such as the dhol,
pepa, and gagana, while girls dance in rhythm with the beats. The
call-and-response style of Bihu songs, an essential characteristic of Rati
Bihu, continues to be an integral part of Mukali Bihu, making it
both entertaining and nostalgic.
The Guwahati Bihu
Sanmilani (also known as Latashil Bihu) was the first well organized monsobihu
(stage bihu) of Guwahati. In 1952 the first monsobihu of Guwahati was
organised at Latashil ground and since then the idea of monsobihu has
become increasingly popular among the people of Assam. The term mukalibihu
was first used to replace Jum bihu in Jamugurihat of Sonitpur district in the
year 1957 (Baishya 160). Since then, it has gained widespread popularity across
Assam. Unlike its predecessor, Mukali Bihu is performed in organized
public settings rather than as an informal rural gathering. The evolution of Mukali
Bihu reflects the broader transition of Bihu festivals from being rooted in
agricultural traditions to becoming major cultural celebrations. While earlier
Bihu ceremonies like Bihu uruwa were directly linked to agrarian life,
modern Mukali Bihu is more focused on entertainment. This shift marks a
departure from its pastoral origins, making Bihu a festival that transcends
seasons and is celebrated beyond its traditional timeframe.
The Crisis of
Authenticity
Authenticity, in the
context of cultural practices, refers to the preservation of original forms and
meanings. In recent times, the authenticity of Bihu dance has been steadily
eroding due to commercialization, modernization, and external influences. This
gradual loss of authenticity has, in turn, led to a weakening of Assam’s
cultural identity. In the case of the Bihu dance, the concept of authenticity
has become increasingly contested due to its evolving nature. Several factors
contribute to this crisis:
1. Commercialization:
The commodification of the Bihu dance for tourism and entertainment purposes
has led to significant alterations in its presentation. Performances are often
adapted to cater to urban audiences and global tastes, diluting traditional
elements
2. Competitive
Approach: The advent of stage performances, competitions, and reality shows has
altered the spontaneous and celebratory essence of Bihu dance. The focus has
shifted from community participation to choreographed, structured performances
aimed at entertainment rather than cultural preservation. Efforts to
standardize the Bihu dance for competitions and festivals have inadvertently
homogenized its diverse regional variations. This has led to a loss of the
local distinctiveness that once defined the practice.
3.
Influence of Social media: Social media
platforms and modern entertainment industries have played a role in shaping a
new, more commercialized version of Bihu dance. This digital adaptation often
prioritizes glamour and spectacle over authenticity, leading younger
generations to perceive an altered version of their cultural heritage.
- Loss of Oral Traditions and Indigenous
Knowledge: Bihu dance was traditionally taught informally within
communities, passing from one generation to another. With urbanization and
changing lifestyles, these traditional learning methods are being replaced
by structured dance schools, where modifications are made to suit modern
tastes.
5. Media
Representation: The portrayal of the Bihu dance in films, television, and
digital platforms often prioritizes aesthetic appeal over cultural accuracy,
perpetuating a skewed version of its traditions. The representation of Bihu
dance in Assamese VCDs, music videos etc. are mostly well choreographed and
modernised.
Impact on Cultural
Identity
The crisis of
authenticity in the Bihu dance has profound implications for Assamese cultural
identity. As the dance undergoes transformation, it raises critical questions
about ownership, representation, and preservation,
1. Identity
Politics: The tension between modern and traditional forms of the Bihu dance
reflects broader struggles within Assam’s socio-political landscape, where
cultural practices are central to assertions of identity and autonomy.
2. Generational
Divide: While the earlier generations focus on maintaining traditional
practices, the majority of the younger performers tend to promote innovation
and adaptation, causing intergenerational conflicts regarding the future of the
dance. When Bihu dance loses its authentic character, it generates a rift
between the current generation and the lifestyle of their ancestors. Such
disconnection compromises cultural continuity and creates a diluted sense of
identity.
3. Cultural
Commodification: Commercialization of the Bihu dance threatens to turn it into
an event that is solely performed for entertainment, removing its deeper
symbolism and communal meaning.
4. Loss
of Traditional Values and Community Cohesion: Bihu dance was not merely a show;
it was a way of building social bonds and reinforcing Assamese culture. The
commercialized and competitive versions diminish the spirit of participation,
causing a loss of communal involvement.
5. Homogenization
of Cultural Expressions: In an era where globalization influences all aspects
of life, cultures risk losing their unique characteristics. If Bihu dance continues
to be modified to fit mainstream entertainment standards, it may eventually
lose its distinctiveness, blending into a generic pan-Indian or global cultural
framework.
6. Threat
to Indigenous Knowledge and Practices: The diminution of authenticity within
the Bihu dance indicates a broader phenomenon of indigenous knowledge system
loss. The traditional music, body movements, few parts of musical instruments
and dress that come along with Bihu are being gradually replaced by
contemporary substitutes, which result in loss of traditional craftsmanship and
artistic expression.
Balancing Tradition and
Modernity
Navigating the delicate
balance between honouring tradition and embracing change requires a nuanced
approach. To balance the tradition and modernity, we may do
1. Documentation
and Research: Comprehensive documentation of traditional Bihu practices can
serve as a reference for future generations, ensuring that the original forms
and meanings are not lost.
2. Promotion of Traditional Teaching Methods: Encouraging
community-based learning where elders pass down authentic Bihu dance techniques
to younger generations can help sustain its original form.
Involving local communities in decisions about the representation and
performance of the Bihu dance can help preserve its authenticity while allowing
space for innovation.
3. Community
Participation: Involving local communities in decisions about the
representation and performance of the Bihu dance can help preserve its
authenticity while allowing space for innovation.
4. Promoting
Regional Diversity: Encouraging the celebration of regional variations within
the Bihu dance can help maintain its rich diversity and resist homogenization.
5. Educational
Initiatives: Incorporating lessons on the cultural significance of the Bihu dance
into educational curricula can foster greater awareness and appreciation among
younger generations. Schools and cultural organizations should emphasize the
importance of preserving Assamese heritage, ensuring that modernization does
not come at the cost of authenticity.
Conclusion
The Bihu dance stands
at the crossroads of tradition and modernity, embodying the complexities of
cultural identity in a globalized world. While its evolution is inevitable, the
preservation of its authenticity remains crucial to maintaining its cultural
significance. By fostering a balanced approach that respects both tradition and
innovation, Assam can ensure that the Bihu dance continues to thrive as a
living, dynamic expression of its heritage. This study underscores the importance
of addressing the broader challenges faced by intangible cultural heritage in a
rapidly changing world, offering insights that resonate beyond the boundaries
of Assam. The erosion of authenticity in Bihu dance is a reflection of the
larger struggle to maintain cultural identity in a rapidly changing world.
While innovation and adaptation are essential for any tradition to survive,
they should not come at the expense of cultural integrity. Assam’s identity is
deeply intertwined with its traditional art forms, and efforts must be made to
balance progress with preservation. By recognizing the importance of
authenticity in Bihu dance, Assamese society can safeguard its rich heritage
for generations to come.
Works
Cited
English
Book
Datta,
Birendranath. Folkloric Foragings in India’s North-East. ABILAC, 1999.
Datta,
Birendranath, et. al. A Handbook of Folklore Material of North-East India.
ABILAC, 2015.
Goswami,
Prafulladatta. Festivals of Assam. ABILAC, 1995.
Assamese
Book
Borah,
Debojit (ed.). Uttar Pubanchalor Janagosthiya Loka-Sanskriti. Fourth
Edition, M. R. Publication, 2018.
Bora,
Jayanta Kr. (ed.). Bihu aru tar Prakritik Sitra. First edition, Sampriti
Publication, 2023.
Gogoi,
Lila. Asamar Sanskriti. Twelveth edition, Banalata, 2019.
Goswami,
Prafulladatta. Asamiya Jana-Sahitya. Bani Prakash Mandir, 2021.
PhD
Thesis
Baishya,
Alakesh. Bihu Festival of Assam: A Study of the Change in Tradition.
2004. Gauhati University, PhD Thesis. Shodhganga, http://hdl.handle.net/10603/69700