Culture and its evolution
Main article: Culture of Assam
Assamese culture is traditionally a hybrid one developed due to assimilation of ethno-cultural groups in the past. Therefore, both local elements or the local elements in Sanskritised forms are distinctly found.[44] The major milestones in evolution of Assamese culture are:
- Assimilation in the Kamarupa Kingdom for almost 700 years (under the Varmans for 300 years, Salastambhas and Palas for each 200 years).[16]
- Establishment of the Ahom dynasty in the 13th century AD and assimilation for next 600 years.[16]
- Assimilation in the Koch Kingdom (15th–16th century AD) of western Assam and Kachari Kingdom (12th–18th century AD) of central and southern Assam.[16]
- Vaishnava Movement led by Srimanta Shankardeva (Xonkordeu) and its contribution and cultural changes.Vaishanav Movement, the 15th century religio-cultural movement under the leadership of great Srimanta Sankardeva (Xonkordeu) and his disciples have provided another dimension to Assamese culture. A renewed Hinduisation in local forms took place, which was initially greatly supported by the Koch and later by the Ahom Kingdoms. The resultant social institutions such as namghar and sattra (the Vaishnav Monasteries) have become part of Assamese way life. The movement contributed greatly towards language, literature and performing and fine arts. It is also noticed that many a times, Vaishnav Movement attempted to introduce alien cultural attributes and modify the way of life of common people. Brajavali a language specially created by introducing words from other Indian languages had failed as a language but left its traces on the Assamese language. Moreover, new alien rules were also introduced changing people's food habits and other aspects of cultural life. This had a greater impact on alienation of many local ethno-cultural and political groups in the later periods.
Historically, it is not difficult to understand that on one hand, during the strong politico-economic systems under stronger dynasties, greater cultural assimilations created common attributes of Assamese culture, while on the other during smaller politico-economic systems or during political disintegration, more localised attributes were created with spatial differentiation. Time-factor for such integrations and differentiations has also played extremely important role along with the position of individual events in the entire series of sequential events.
With rich traditions, the modern culture is greatly influenced by events in the British and the Post-British Era. The language was standardised by the American Baptist Missionaries such as Nathan Brown, Dr. Miles Bronson and local pundits such as Hemchandra Barua with the form available in the Sibsagar (Sivasagar) District (the ex-nerve centre of the Ahom Kingdom). A renewed Sanskritisation was increasingly adopted for developing Assamese language and grammar. A new wave of Western and northern Indian influence was apparent in the performing arts and literature.
Increasing efforts of standardisation in the 20th century alienated the localised forms present in different areas and with the less-assimilated ethno-cultural groups (many source-cultures). However, Assamese culture in its hybrid form and nature is one of the richest, still developing and in true sense is a 'cultural system' with sub-systems. It is interesting that many source-cultures of Assamese cultural-system are still surviving either as sub-systems or as sister entities, for e.g. Bodo or Karbi or Mishing. It is important to keep the broader system closer to its roots and at the same time to focus on development of the sub-systems.
Some of the common and unique cultural traits in the region are peoples' respect towards areca-nut and betel leaves, symbolic clothes (Gamosa, Arnai, etc.), traditional silk garments and towards forefathers and elderly. Moreover, great hospitality and Bamboo culture are common.
[edit]Symbolism
Symbolism is an ancient cultural practice in Assam and is still a very important part of Assamese way of life. Various elements are being used to represent beliefs, feelings, pride, identity, etc.Tamulpan, Xorai and Gamosa are three important symbolic elements in Assamese culture. Tamulpan (the areca nut and betel leaves) or guapan (gua from kwa) are considered along with the Gamosa (a typical woven cotton or silk cloth with embroidery) as the offers of devotion, respect and friendship. The Tamulpan-tradition is an ancient one and is being followed since time-immemorial with roots in the aboriginal Austro-Asiatic culture. Xorai is a traditionally manufactured bell-metal article of great respect and is used as a container-medium while performing respectful offers. Moreover, symbolically many ethno-cultural groups use specific clothes to portray respect and pride.
There were many other symbolic elements and designs, but are now only found in literature, art, sculpture, architecture, etc. or in use today for only religious purposes. The typical designs of assamese-lion, dragon, flying-lion, etc. were used for symbolising various purposes and occasions. The archaeological sites such as the Madan Kamdev (c. 9th–10th AD) exhibits mass-scale use of lions, dragon-lions and many other figures of demons to show case power and prosperity. The Vaishnava monasteries and many other architectural sites of late medieval period also showcase use of lions and dragons for symbolic effects.
[edit]Languages
See also: Assamese language, Assamese literature, Bodo language, Sylheti language, and Bishnupriya Manipuri language
Assamese and Bodo are the major indigenous and official languages while Bengali holds official status in the three districts in the Barak Valley and is the second most widely spoken language of the state (27%).[46]
Traditionally Assamese was the language of the commons (of mixed origin – Austroasiatic, Tibeto-Burman, Prakrit) in the ancient Kamarupa and in the medieval kingdoms of Kamatapur,Kachari, Chutiya, Borahi, Ahom and Koch. Traces of the language is found in many poems by Luipa, Sarahapa, etc. in Charyapada (c.7th–8th AD). Modern dialects Kamrupi, Goalpariya, etc. are the remnant of this language. Moreover, Assamese in its traditional form was used by the ethno-cultural groups in the region as lingua-franca, which spread during the stronger kingdoms and was required for needed economic integration. Localised forms of the language still exist in Nagaland, Arunachal Pradesh. The form used in the upper Assam was enriched by the advent of Tai-Shans in the 13th century.
Linguistically modern Assamese traces its roots to the version developed by the American Missionaries based on the local form in practice near Sibsagar (Xiwoxagor) district. Assamese (Oxomeeya) is a rich language due to its hybrid nature with its unique characteristics of pronunciation and softness. Assamese literature is one of the richest.
Bodo is an ancient language of Assam. Spatial distribution patterns of the ethno-cultural groups, cultural traits and the phenomenon of naming all the major rivers in the North East Region with Bodo-Kachari words (e.g. Dihing, Dibru, Dihong, D/Tista, Dikrai, etc.) reveal that it was the most important language in the ancient times. Bodo is presently spoken largely in the Lower Assam (Bodo Territorial Council area). After years of neglect, now Bodo language is getting attention and its literature is developing. Other native languages of Tibeto-Burman origin and related to Bodo-Kachari are DEORI Mishing, Karbi, Dimasa, Rabha, Tiwa, etc. Rajbongshi also known as Kamatapuri/Goalpariya is also widely spoken by the people of western Assam.
Nepali is also spoken in almost all parts of the state.There are approximately thirty lakhs of Nepali speakers spreading over the area of all the district of Assam. Assamese language being the main language, they are well versed in it. Assamese language is the main medium in educational institutions but Nepali language is also taught as a major Indian language. In Guwahati and Digboi, many Jr. basic School and Jr. high School are Nepali medium where all the teachers are Nepali. As a major Indian language, Nepali is included by Assam State Secondary Board, Assam Higher Secondary Council and Gauhati University in their HSCL, higher secondary and graduation level respectively, in some jr. basic and higher secondary schools and colleges, Nepali teachers and lecturers are also appointed. In these institutions, Nepali and literature are taught.
There are smaller groups of people speaking Tai-Phake, Tai-Aiton, Tai-Khamti, Tai-Khamyang etc., some of the Tai languages. The Tai-Ahom language (brought by Sukaphaa and his followers), which is no more a spoken language today is getting attentions for research after centuries long care and preservation by the Bailungs (traditional priests). There are also small groups of people speaking Manipuri,Khasi, Garo, Hmar, Kuki, Zeme Naga etc. in different parts.
Bengali is the official language in Barak Valley and the widely spoken language there is Sylheti, a dialect of Bengali. Bengali is also largely spoken in the western districts of Dhubri, Barpeta and Goalpara.
Santali or Santhali is also spoken widely by the tribal population in the tea garden districts of Assam. these people who were initially brought as tea estate labourers by the British to Assam have now made it their home state.
Bishnupriya Manipuri language is also spoken by a small minority of people in Barak Valley.
[edit]Festivals
There are several important traditional festivals in Assam. Bihu is the most important and common and celebrated all over Assam. Durga Puja is another festival celebrated with great enthusiasm.Muslims celebrate two Eids with much eagernes in all over Assam.
Bihu is a series of three prominent festivals. Primarily a non-religious festival celebrated to mark the seasons and the significant points of a cultivator's life over a yearly cycle. Three Bihus, rongali or bohag, celebrated with the coming of spring and the beginning of the sowing season; kongali or kati, the barren bihu when the fields are lush but the barns are empty; and the bhogali or magh, the thanksgiving when the crops have been harvested and the barns are full. Bihu songs and Bihu dance are associated to rongali bihu. The day before the each bihu is known as 'uruka'. The first day of 'rongali bihu' is called 'Goru bihu' (the bihu of the cows), when the cows are taken to the nearby rivers or ponds to be bathed with special care. In recent times the form and nature of celebration has changed with the growth of urban centres.
Moreover, there are other important traditional festivals being celebrated every year on different occasions at different places. Many of these are celebrated by different ethno-cultural groups (sub and sister cultures). Some of these are:
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[edit]Performing arts
See also: Music of Assam
Assam has rich tradition of performing arts. Ankiya Nat (Onkeeya Naat) is a traditional Vaishnav dance-drama (Bhaona) form popular since 15th century AD It makes use of large masks of gods, goddesses, demons and animals and in between the plays a Sutradhar(Xutrodhar) keeps on telling the story. The Bihu dance and Hucory performed during theBohag Bihu, Kushan nritra of Rajbongshi's, Bagurumba and Bordoicikhla dance of Bodos,Mishing Bihu, Banjar Kekan performed during Chomangkan by Karbis are some of the major folk dances. Sattriya (Xotriya) dance related to Vaishnav tradition is a classical form of dance.
Moreover, there are several other age-old dance-forms such as Barpeta’s Bhortal Nritya,Deodhoni Nritya, Oja Paali, Beula Dance, Ka Shad Inglong Kardom, Nimso Kerung, etc. The tradition of modern moving theatres is typical of Assam with immense popularity of many large theatre groups such as Kohinoor, Srimanta Sankardev, Abahan, Bhagyadevi, Hengul, Rajmahal, Apsara, etc.
At the same time musical tradition is also rich. Folk songs and music related to Bihu and other festivals dates back to time-immemorial. Borgeet, the popular Vaishnav songs are written and composed in 15th century. Assam has large numbers of traditional musical instruments including several types of drums,string instruments, flutes, cymbals, pipes, etc.
The indigenous folk music has substantially influenced the growth of a modern idiom, that finds expression in the music of such artists like Jyoti Prasad Agarwala,Bishnuprasad Rabha, Parvati Prasad Baruwa, Bhupen Hazarika, Pratima Barua Pandey, Anima Choudhury,Luit Konwar Rudra Baruah, Jayanta Hazarika, Khagen Mahanta, Deepali Borthakur, "Ganashilpi" Dilip Sarma, Sudakshina Sarma among many others. Among the new generation, Zubeen Garg, Jitul Sonowal, Angaraag Mahanta and Joi Barua have a great fan following.
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