Assam

Through Ages: Assam is the anglicized from of the Assamese word Asom which

means uneven or unparalleled According to another interpretation Asom is

the phenotic variation of the word Asom, a Tai mongoloid race ruling over most of

present Assam valley for almost 600 year till the advent of British is 1826.1

The modern name of the state Assam is of recent origin. The state was named

different in various periods of history in earliest times the area was known as

Pragjytishpura which means the city of eastern light. It was so named because

this land in ancient times. According to Dr. Prabal Sharma: Assam had a

reputation of being an orthodox seat of eastern astrology and astronomy. The

above mention name is found in the great epics the Ramayana the Mahabharata

and the puaranas too. In the medieval period Assam was known as Kamrupa. In

classical Sanskrit literature both Pragjyotishpura and Kamrupa occur as.

Alternative names of the country. Kalidasa refers to it by both designations In

epigraphic records the name Kamrupa was first mentioned in the Allahabad

inscription of Samudra gupta in the fifth century2

All that we can say with certainty is that from about 200 B.C. there was a

movement of population from the banks of there was a movement of population

from the banks of Hwang-ho and the Yang-Tse-Kiang in China to India through

1
Assan through ages: Parag Chalia, pg. 13.
2
History of Assamese literature: B.K. Barua, pg.1.

1
Assam and these Mongolioan people along with others who migrated from

northern Burma formed the bulk of the population of Assam. In ancient Sanskrit

texts of the Aryans such as the two great epics the Mahabharata and the Ramayana

and in the Puranas, the inhabitants of Assam are referred to as Miecches, Kiratas

and Cinas (Chinese) in other words as non Aryan Barbarians.

Another very significant feature which distinguishes Assam from the rest of India

is the absence in Assamese society of any rigid caste system which is so

characteristics a feature of all Indian societies.

CULTURAL HERITAGE ASSAM

Assam the very mention of this word brings to ones mind the delightful blend of

culture, heritage, faiths and beliefs of the innumerous ethnic tribes and sub-tribes

residing in this region. The culture and tradition of the state, its music, dance and

literature are all interwoven into the social fabric and cross all barriers of caste,

creed and religion. In fact, a mention of the rich tradition of the state without

referring to the diverse lifestyle, arts, crafts, fair and festivals of the people

residing therein, would be as good as incomplete.

Assam has the largest number of tribes or races in the whole of India. The main

communities of the region include the Aryans i.e. and non-Aryan Mongoloids and

Indo-Iranians. A part from that Bodo (or Kachari), Karbi, Misings, Tiwas, Rabhas,

Deori, Hazong and other tribes have been infused in the rich cultural tapestry of

2
Assam. All these ethnic tribes have their own distinct pattern of dressings,

language, festivals, tradition and heritage. In spite of such variations the people

here live in perfect peace and harmony, a unique trait seen only in this part of the

world. The diversified culture of Assam can also be attributed to the influence of

the different dynasties and empires that resided in the region in different dynasties

and empires that resided in the region in different eras. Around 45 different

languages are spoken by different ethnic communities within Assam. However,

the principal language of the state is Assamese, regarded as the lingua franca of

the entire northeast India. The major festival in Assam is Bihu which is celebrated

by all irrespective of their caste and creed. Some other festivals celebrated with

prompt and grandeur within the state are the Baikhu and Pharkantis of the Rabhas,

Ali Ai ligang by the Mising races have made Assam the home to the most

colourful festivals at once blazing, compelling and measmerizing the varied faith

and belief of its people. Diwali, Holi, Durgapuja, Saraswatipuja, Lakshmipuja,

Kalipuja, Shivaratri are some of the major festivals celebrated by the Hindus of

Assam. Villagers generally associate on the basis of membership of a local center

of devotionalworship called Namghar. Villages are usually made up of families

from a number of distinct castes. In Assam, the caste system, although it exists, is

soft as prominent as in other parts of India.

3
From time immemorial the people of Assam have traditionally been craftsmen.

Artists, sculptuors, Masons, Artisans of ivory, wood, bamboo, cane and hide have

flourished in Assam from ancient times.

Weaving is one traditional craft that every Assamese woman takes pride in. The

Assamese women produces silk and cotton clothes of exquisite designs in their

looms. Assam is renowned for its exquisite silks namely Eri, Pat and the world

famous Muga silk.

The Gamosa is one of the most easily recognizable cultural symbol of the

Assamese people besides the tamol pan (areca nut and betel leaf) which is an

integral part in almost all the socio- religious ceremonies.

The gamocha, a white rectangular pie of cotton hand woven cloth with primarily a

red border on two sides and red woven motifs on the other two sides (in some case

red border on three sides and red woven motifs on the fourth side) is put to many

uses. It is used as a towel, as a waistcloth or a loincloth, a Bihu dancer wraps it

around the head in a knot, it is also hung around the neck at the prayer hall and

thrown over the shoulder to signify status or respect, gamochas also known as

bihuwans are offered during Bihu as a token of love.

Significantly the gamocha is used equally by all irrespective of religious and

ethnic backgrounds.

4
Assam is a multiethnic society with diversified culture. Forty five different

languages are spoken by different communities in Assam. Assamese culture is a

rich conglomerate of ethnic practices and assimilated beliefs.

Cane -and bamboo have remained inseparable parts of life in Assam. The Jaapi

the traditional sunshade continues to be the most prestigious of bamboo items of

the state. Metal crafts like Bell metal and brass have been the most commonly

used metal of Assamese artisans. The Xorai and bota have been in use for

centuries to offer beterl nut and paan to welcome guests. Gold, silver and copper

too from a part of traditional metal craft in Assam as far as handlooms are

concerned. It has been mentioned earlier that Assam is the home for several types

of silk, the most prominent and prestigious being Muga, the golden silk exclusive

only to this state. The woman of Assam weave fairy tales in looms. All the ethnic

groups staying in Assam has their own distinctive embroidery to represent their

particular culture. Assam is very rich in wood craft also. The various articles in a

satra and namghar (place of worship) are stiff cut on wood depicting the guru as

asana (pedestal of the lords), apart from various kind of birds and animals figuring

mythology. Modern day khanikar produces articles of commercial values,

including figures of one horned rhino and replicas of the world famous Kamakhya

temple, two items heading the list of demands of a visitor from outside.

Traditional masks have been widely used in folk theatres and bhaonas made with

materials ranging from terracotta to pith to metal, bamboo and wood. Even in the

5
tribals too, varied colourful masks are used. Assamese traditional jewelry include

the doog-doogi, loka paro, bana, gam-kharu, gal-pata, jon-biri, dhol- biri and keru.

The Kumara and the Hiras are the two traditional potter communities of Assam.

While the Kumars use the wheel to produce their pots, the Hiras are probably the

only potters in the world who do not use wheel at all. Also among the Hiras, only

the women folk are engaged in pottery work while their men help them in

procuring the raw materials and selling the wares. The most commonly used

pottery products include earthen pots and pitchers plates, incense stick holders and

earthen lamps.

The people of Assam are very fond of sculpture and various arts form like

graphics, applied art Patuas and Chitrakars thrive in this region and produces

brilliant paintings. During medieval period important works paintings include

Hastividyarnava, the Chitra Bhagawata and Gita Govinda. Local painter used local

paints like hangool and haital. The themes and designings of the famous work of

medieval period namely Chitra Bhagawata have influenced the Assamese

paintings.

The cuisine of Assam is oriented to typical East Indian style. Various local styles

and external influences have contributed in the food preparation. The people

devote less time for food preparation. The people devote less time for food

preparation. Foods are quite healthy. The preparation are less spicy but has strong

aroma due to ample use of fruit and vegetables. Khar is the starter and people

6
ends up with the consumption of tenga. The betel leaves and paan are the last

items in the meal. Fish, rice, porks are favourite eatables.

Rice is the staple food of Assamese. The people consume various preparations of

rice like roasted and grounded rice called Xandoh, boiled husk chira, kamul

Saul. For the breakfast, Assamese use chira with jiggery and Yoghurt. Xandosh

Kamal saul is consumed as snacks. Pithas, as sweet dish is also made of rice and

are used as delicacy for special festival like Bihu. Fish stands next to rice as per its

consumption rate. The people love fishes like rohu, illish, chital. Fish is in

dispensable in the tribal meals. To the Assamese the Tenga is the hot favourite

dish prepared from fish. Green leafy vegetable called Xaak is widely eaten by the

people of the region, especially during Rongali Bihu.

Various pickles and side dishes called pitikas are immensely popular in Assam.

The most popular is the aloo pitika (mashed potatoes). It is teamed up with raw

onions, mustard oil, green chilies and boiled eggs. Soured vegetables called

khorisa are popular.

Assamese people are very hospitable, loving and revered their ancestors, they

show reverence towards betel leaves, symbolic clothes like Gamosa and traditional

silk.

7
Assam can thus be considered to be an epitome of scenic beauty mixed with robust

cultural inheritance of its residents. Melancholic Bihu, music and humdrum

lifestyle creates a mood of creativity and joy among the inhabitants.

Assam can be termed as the mixmg pot where culture, heritage, tradition, lifestyle,

faith and belief of her Aryan and Non-Aryan, numerous tribes and sub-tribes,

Mongoloids and Australilans drawn from various hives at different points of time

have gone into form the Assamese culture-a fascinating and exotic recipe of

delightful flavours. The culture of Assam is a rich tapestry infused with

multicoloured yarns of distinguished heritage of all the races that populate her.

Assam is a land of fairs and festivals. Most of the festivals celebrated in Assam

have their roots in the diverse faith and beliefs of her inhabitants but a spirit of

accommodation and togetherness characterizes the celebration of all festivals. The

fusion of heritage of Assams numerous races has made Assam the home of the

most colourful festivals which are paminate, congealing and mesmerizing

reflecting the true spirit, tradition and lifestyle of the people of Assam.

MUSIC CULTURE OF ASSAM

Assamese traditional regional music is replete with the tunes preserved in the

valleys of Assam. The general musical forms are consistent with the traits of the

8
north-eastern part of the sub-continent.3 As earlier mentioned due to

ethnologically richness, Assamese music has been influenced a lot by different

branches of people who came to settle here and have made a lot of contributions to

the regional music and more so in the folk music.

A wide variety of racial cells originating from different tribes spread out in the

valley. Assamese borrowed freely and immensely from the people of the who

were immigrants in the long part. The Ahom rulers, originally belonging to Shan

family of Burma, who conquered Assam, were small in number. They were

receptive and accepted Vaishnavism. The general language of the people was a

conglomeration of Assamese Burmese group and Boro speeches Boro, Rabhas,

Garo and Tiwa).

There has been a strong tradition of music in Assam (or ancient Kamrupa) from

the earliest times , when the great Chinese traveller, Hsuan Tsang, visited the

capital of the seventh century Kamrupa King Bhaskaravarman; he was entertained

with music and dance almost every day for a month.

King Vanamalavarman of Kamrupa (9th century) exacted a temple of Hatakasulin

Siva, and this was properly endowed with danseuses. In the copper plate

inscriptions of this king, the boats in the waves of the Lauhitya or Brahmaputra are

linked to dancing women agitated at the approach of men dancers.

3
Music of Eastern India: Sukumar Roy; pg. 153.

9
During the reign of King Bhaskaravarman, a maid -in-waiting, who was adept in

dancing and music, died on the funeral pyre of Bhaskaravarman, a great lover of

these art. In the Bargaon inscription of another succeeding Kamrupa Monarch,

Ratnapala, obeisance is paid to Nateswara Sankara, the master of dances always,

exhibiting tandava.

In the tantric text, Kalika Purana, written in Kamrupa in the 11th or 12th century

there are several references to vocal and instrumental music in connection with

different rituals.

An inscription of King Iswaraghosa (10th and 11th centuries) refers to professional

singers, called sutas, who sang the glory of monarchs royal father Dharalaghosa.4

The music of Assam or for that matter any state be categorized into:-

i) Classical Music

ii) Folk Music

CLASSICAL MUSIC CULTURE OF ASSAM:-

The raga music of Assam is very old which is passed teacher to disciple in the

form of guru shishya parampara.5

The charayas written in north eastern India from the 18th to the 11th century A.D.

by Buddhist siddhas were tuned to several classical Ragas Patamanjari, Gavada,

4
Information from the book: ASSAM:-S. Barkataki
5
Music culture of North East India: Dr. prabal Sharma, pg. 67.

10
Aru, Gunjari, Devakiri, Deshka, Bhairavi, Kamoda, Dhamasi, Ramarkiri, Varadi,

Baladd, Sabari, Mallari, Malan, Malrai-Gavada, Kaknu Gunjari and Vangala. The

84 tantric Buddhist Siddhas exterted immense influence over the whole of the

eastern region of India, and their sons mut have carried the rhythm of raga music

very far and wide in those distant days.

Among the different forms of Vaishanvas music of Assam the three forms that has

the raga concept are known as:

i) Borgit or noble songs

ii) Ankiya git or songs in a drama

iii) Oja-pali

BORGET MEANS --- GREAT SONGS

The Great Vaishanvas leader Shankaradeva and his disciple Madhaveda were the

creator of Bargia. In total there are hundred and ninety one bargits and all are set

to rangas. Songs which are composed by poets and saints other than Shankardeva

and Madavadeva, even if they were in the same raga and talas and contain the

same thoughts and sentiments and written in the same lanauge are not termed as

Boregeets. At different point of time the borgeets are referred as Boble numbers

(i) or great song/song classical (2) or hold songs.

Each of the Bargits is timed to a particular raga, which is indicated at the top. Taal

is not generally mentioned; and much stress has been laid on this matter by the

11
master musicians or the traditional musicians of the satras. A particular Bargita

can be sung in any tala, the Asowari raga is commonly set tu yati tata, Kalyana

raga to khar-mana tala, and so on.

ANKAR GEET OR ANKIYA GEET

Shrimanta Shankardeva composed Anikyageet for Anikyanatas or plays. These are

sung on special occasions like Doul festival, anniversaries of the two gurus and

other festivals. The Ankiya geets are performed with Anikya nats. Ankiya means

one act and geet means songs. In Ankiya nat, performance begins in the morning

with singing and dancing to the music of drums, the entourage emerging from the

Agni-Gad ie. archway of lights opposite the shrine.

OJA PALI

Oja Pali is an ancient performing art form of Assam, performed by a group of

chorus singers and dancers, it is performed only by men and combines narrative

singing and dancing and dramatic interludes. Usually performed by a group of 4 or

5 men of who the chief performer is the Oja who is accompanied by 3 or 4

Palis, hence the name Oja-Pali. Oja-Pali is a classical form representing the rich

tradition and cultural heritage of the state. The dancers sing and play small

cymbals, relating stories from the Epics and the Puranas. The Ojapali songs are

basically in the Sanskrits language and are of two types (i) Malanci Geet (ii) Jagar.

This traditional art form is seen in lower Assam, in the districts of Darrang,

12
Nalbari, Kamrup etc. As there are five members in an Ojapali group, it is also

called Panchali. Some people believe that Panchal (Kanuj) is the home of the

Panchali art from. It is a group of chorus singers and dancers. It consists of gita

(music), nritya (dance) and abhinaya (acting) Ac Sarangadeva in his Sangeet

Ratnakar defines Sangita (music) as Gitam, Vadyam tatha nrtyam trayam

Sangita Muchyate. So Oja-pali music may righlty be called Sangeeta. It is purely

a classical art form. Music is an integral part of Oja-Pali art form, although the

words of the songs and verses (i.e. padas) tell the story.

FOLK SONGS OF ASSAM

Folk songs in all its variety and richness account for Assams distinctive position

in this field. Assam the north eastern state of India is inhabited by different groups

of people who came and settled in that part at different periods. These people

belonging to different ethnic groups have contributed a lot to the growth of a

composite culture through synthesis and assimilation. Moreover each group has

still retained some distinctive characteristics in the cultural domain of their own.

The region of Assam is a rich confluence of varieties of tradition and culture. Folk

songs are in important aspect of culture. Assamese folk songs are extremely rich

and variegated. Diverse racial and ethnic groups of people used to live in Assam

for centuries together.

They have contributed a lot to enrich the Assamese culture in various ways.

Despite it, they have also retained their distinctive identity in the fields of oral

13
literature, art and culture and more particularly in the fields of folk song and

music. Songs and dances go hand in hand virtually with all facets of the daily life

of the Assamese people viz, boating, fishing, bathing, spinning weaving, wedding

etc.

A lot of collection work has been done particularly in the field of the Assamese

folk song material, but not much analysis on scientific lines has been attempted

except by few researchers and scholars. Scientific analysis of the folk songs of

some of the tribes like Hazongs remained almost untouched. The folk songs of

Assam are the richest in volume, range and variety in respect of text, content or

texture, but the songs of the tribal languages have not been systematically

collected, much less classified and nalayzed properly. Any discussion of study on

folklore including folk songs of particular area must be prefaced by a short

analysis of the ethnic and cultural amalgamation that have been taking place in the

region through the ages. There were quite a few indigenous communities in the

Brahmputra valley. The coming of the Ahom in the early thirteenth century laid

tremendous impact not only in the political history of Assam but also in the socio

cultural development of the state.

I have concentrated on the musical contents, qualities and feature through

scientific lines examining the basic notes and rhytm associated with the folk songs

of Assam. I have also tried to list different musical instruments used with

14
particular types of folk song and their role in the folk songs along with some of the

basic elements of music to described the musical contents.

CEREMONIAL FOLK SONGS OF ASSAM BIFURCATION VARIOUS

ETHNIC GROUPS

Ceremonial folk songs of Assam

Among all the ceremonial songs, Bihu stands at the pinnacle bearing the most

importance. The Bihu is a festival most anticipated and celebrated with a

tremendous amount of reel and enthusiasm. The festival brings together all the

Assamese people, irrespective of their caste, creed and religious beliefs. Some of

the Bihu festivals of the tribes celebrated on the same lines of their Hindu counter

parts are as follows, Ali-Ai- Ligang of the Misings, Bihu of the Deoris, Moran

Bihu of the Moran tribes, Bwisagu of the Boros, Domahi of the Karbis etc.

Assamese folk songs originated from the tribal culture of the state. Having a

historical heritage of several centuries the folk songs of Assam (whether of

Hindus, tribes or any other religion or caste) collectively expresses the inherit

tradition and cultural opulence of the state.

Assamese speaking Hindus represent two thirds of states population and

indigenous Tibeto- Burmen tribal groups make up another 16 percent of the total

(estimate). The state has the largest number of tribes within their variety in

traditional folk music, dresses, culture and exotic way of life. Tribes have their

15
own distinctive folk songs and some of their traditions are so unique and lively

that these course wonders to others. A majority of the Assamese is the follower of

Vaishnavism (a sect of Hinduism). These people are considered to be the

Assamese Hindus. The Vaishnavas do not believe in idol worshiping and perform

Namkirtana where the glory of lord Vishnu is recited. The Assamese Hindus have

their own distinctive set of folk songs and festivals like theBihugeet,

Binyaminaam e.t.c. celebrated with enthusiasm and in tune with all other ethnic

groups settled in Assam. Some of the Assamese folk songs are

categorizedaccording to regions. They are called Regional folk song. These folk

songs do not represent a particular tribe or caste but represent all the people

residing together (irrespective of caste) in particular region. Some of the regional

lifesongs are Goalporia lokageet and Kamrupi lokageet. The study consists of folk

songs of both tribal and non-tribal ceremonial folk songs. The folk songs of Assam

encompass a great variety of occasions and events celebrate.

The folk songs of Assam belong to the whole community and are an expression of

the creative interface between reality and the imaginative life. They reveal not

only the individual talents of the people, but the collective traditions from which

they and their art form springs.

Bifurcation of the ceremonial folk songs:- The music of Assam, can be divided

into various categories of folk music. In the present study a bifurcation is done

between the ceremonies of the Assamese Hindus and the ceremonies of some of

16
the major tribes of Assam. The demography trends had been discussed in the

previous chapters.

The Various ethnic group of Assam

The people of Assam inhabit a multi ethnic, multi linguistic and mulit religious

society. The selection of the major ethnic groups had been done in this research

work which constitutes 72% of the population of the Brahmaputra valley which

constitutes 69% of Assams total area.

The major ethnic groups studied are as follows:-

1. ASSEMESE HINDUS

2. THE BOROS

3. THE KARBIS

4. THE MISINGS

5. THE DEORIS

6. THE RABHAS

7. THE TIWAS

8. THE HAZONGS)

ASSAMESE HINDUS

This segment is the major part of the population of Assam. Assamese speaking

Hindus constitutes around two third of states population. According to 2001

census, the Assam Hindus constituted 64.9% of the total population of Assam.

17
THE BOROS

It is the major tribal community of Assam. Boros are considered as the earliest

immigrants in Assam and are said to be the most culturally rich community of the

north western parts of the state. Boro derived from the term Bod which means

Tibet, thus signifying that majority of the Bodos came from Bhutan planes. The 6 th

schedule of the constitution of India has conferred the Bodo tribal community the

status and prestige of a plain tribe. Bodo tribes are found in several places of

Assam. These Bodo tribes are amongst the primitive settlers of the valley of

Assam. Kokrajhar town is regarded as the hub of the Bodo tribal community.

Other main concentration includes the Brahmaputra valleys and also its adjacent

areas.

Language:- As far as the languages are concerned Bodo tribal people speak Bodo

language which has been derived from famous Tibeto-Burmese language family.

For writing, majority of these Bodo tribes of the primitive ages make use of the

Roman script and Assamese script. As a recent phenomenon, this Bodo tribal

community has taken up the Nagari script. There are also some eminent scholars

who are of the opinion that the Bodo language has developed their indigenous

script, which is popularly called Deodhai. The tribal group is known for their rich

and diverse culture. Cultural exuberance of the whole of the society of the Bodo

tribal community incorporates elements like dancing, singing, language etc.

18
Like many other tribal community of Indian subcontinent, these Bodo tribes have

got orientation towards religion as well as spiritualism. Despite the advancement

of Hinduism amongst the Bodo tribal community the majority of Boro Hindus

follow a set of rules called Brahma Dharma.

Also there are various religious practices and beliefs that have been adapted by all

the Boro tribal people over the years. In the ancient years, Bodo tribes fete their

ancestors However in the contemporary period these Bodo tribes have undertaken

the diverse practices like Bathouism Hinduism and Christianity. To be precise,

Bathouism is a special type of worship of progenitors, better known as

Obonglaoree Fairs and festivals constitute a significant part of the culture of the

Bodo people. One of the most cherished festivals of this tribal group is Baishagu.

Other festivals include Kherai etc. The Bodo people are popularly known for their

colorful folk dances and folk songs.

THEHAZONGS

The Hajongs like most of the tribes of northeastern India, are of Mongoloid origin.

Their first settlement in India was in the Kamrup district of Assam and this was

their home for a long time. Following natural calamities a major portion of the

tribe settled in areas of west Bengal, Meghalaya, Arunachal Pradesh and also in

hilly parts of Bangladesh. Hajongs follow Hindu customs and also take Hindu

titles. Every Hajong family has a temple for worship called Deo Ghar and they

offer prayers in the morning and evening. Hajong community is patriarchal and

19
father or elder man is the chief of a Hazong family, Hazongs live in groups and the

area of a group is called a Para or Gaon. A Hajong village is like an

autonomous kingdom. For every Hazong man it is compulsory to take membership

of a Gaon. Hajongs live on agriculture. After marriage the Hazong bride goes to

the bridegrooms house. Polygamy and divorce is rarely seen in the tribe. Hajongs

have close cultural links with the Garos.

The men of this tribe wear gamocha as a lower garment and women wear Pathin, a

standard size piece of cloth with broad and medium borders with a typical colour

combination (with red as the main colour).

Like many other aborigines, Hajongs are basically a farming community. At one

time they were accustomed to Jhurri farming but now they follow plough

farming. Side by side with rice and other crops they grow cotton and make fabrics

at home. In addition to these activities, people belonging to the Hajong community

collects wood from jungles and do some other kinds of work.

In terms of religious beliefs Hajongs are close to Hindus. Hajongs worship Durga

and other Hindu Gods and goddesses. But Lord Shiva is their chief deity. They

observe a number of bratas (vows) including the kartik brata performed in the

month of Kartik (October- November). Girls and women dance and sing in brata

ceremonies. Hajongs also worship the Brahmaputra River. Like Hindu Brahmins,

Hajongs wear paita (the holy thread) on their bodies. Hajongs are believers in

reincarnation too.

20
Rice is the staple food of the Hajongs. Fruits vegetables, muttons, pork, duks and

chicken are other major items of their diet. Hajong men wear dhuti and women

wear a piece of cloth to cover the upper part of the body and a separate piece for

the waist downward. They usually wear homemade clothes. Hajongs lead simple

lives. Most families live in thatched houses. Relatively better off families have tin

- shed or brick built houses. Houses are neat and clean reflecting neatness of their

life style. As modernization is making people life standard in different turn, more

and more Hazongs are dwelling house in town and cities. Like other ethnic groups

hazongs build and maintain community houses for other purposes. Hazongs have

an alphabet.

Their spoken language is a mixture of local dialects. Speaking in colloquial

Bangla is a common practice among them. The Hazong language later got mixed

with Assamese and Bangla. Modern education is being gradually spread in

Hazong society.

PLAIN KARBIS (DUMRALI KARBIS)

Racially the Karbis belong to the Mongoloid group and linguistically they belong

to the Tibeto- Burman group. The original home of the various people speaking

Tibeto burman languages was in western China near the Yan- Tee-Kiang and

Hwang-Ho rivers and from these places they went down courses of the

Brahmaputra the Chindwin and Irrawadoly and entered India and Burma. The

Karbis along with other entered Assam from central Asia in one of the waves of

21
migration. But it is very difficult to trace the history of the early settlement of the

Karbis through any written documents and other evidence like archeological

remains etc.

From the point of view of habitation the Karbis are divided into 3(three) groups

namely CHINTHONG RONGHANG and AMRI. These groups are otherwise

known as Chinthong, Nilip- ronghang and Amri Marlong. Those who live in the

plains districts are called DUMRALI. Fundamentally these groups do not differ

each other and they should not be confused with clans.

Among the festivals observed by the Karbis mention may be made of the

Rongken Hacha-kekan chomangkan etc. While the former four festivals are

socio religious in nature and the latter is a social one.

The Karbis have their traditional dresses which are artistically designed. These

dresses are woven at their family looms. There are separate dress for men and

women. The aged men use an artistically designed shirt called Choy- nangpo

and the shirt used by the young men is called Choy-hongthor. The men use a

cloth called Rikong. But nowadays most of the male persons have abandoned its

use. Only in the remote interior places, Rikong is found to be used specially by

married and aged persons.

The Karbis mentioned as the MIKIRS in the constitution order of govt. of India

constitute an important ethnic group in hill area of Assam. However they never

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call themselves MIKIR but call themselves Karbi and sometimes Arleng which

literally means a man. Although at present they are found to inhabit in the Karbi

Anglong district nevertheless some Karbi inhabited pockets are found in the north

Cachar hills, Kamrup, Morigaon, Nagaon and Sonitputr districts also. Besides the

Karbi tribe there are also a large number of other tribal communities like Tiwa in

the Morigaon district, residing as friendly neighbours of the Karbis.

THE MISINGS

Misings, an Indo- Mongoloid group of people live in the eastern region of the

Brahmaputra valley of Assam, India, with habitations scattered now in eight

districts of the state viz, Tinsukia, Dibrugarh,Dhemaji, Lakhimpur, Sibsagar,

Jorhat ,Golaghat and Sonitpur. They migrated from eastern Himalayan regions in

Tibet in the hoary past and finally settled down in the fertile Brahmaputra valley

of Assam after having long centuries in the Siang region of present day Arunachal

Pradesh. While migrating to Assam the Misings followed mainly the course of the

Brahmaputra, gradually spreading to other stretches of land lying on the banks of

its tributaries like the Dihing, Disang, Dikhow, the Subangiri, the Ranganadi,the

Dikrong etc. They are therefore basically a rivarian tribe, but erosions of the river

Brahmaputra have forced a section of Misings to move to other places away from

rivers. Their population has some concentration in the districts of Dhemaji,

Lakhimpur and the Majuli subdivision of the Jorhat districts. There is a small

population of Mising in Arunachal also.

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In the Brahmaputra valley the Mising have undergone a process of amalgamation.

The culture and civilization of their Assamese speaking Hindu neighbors both

Aryans and non- Aryans have influenced their native culture extensively over the

past centuries.

The traditional religious beliefs and practices amongst the Mising are animistic in

nature. They believe in different supernatural beings haunting the earth, usually

unseen. These supematural beliefs fall into four categories, viz, uyu or ui

(usually malevolent spirits inhabiting the water, the wood, the skies etc. capable of

causing great harm including physical devastation), epom- yapom (spirits

inhabiting tall big trees who are generally not very harmful but who may abduct

human beings occasionally, cause some physical or mental impairment and release

them later). Barring the eporn- yapom all the supernatural beings need to

propitiated with sacrificial offerings (usually domestic fowl), both periodically and

on specific occasions of illness, disaster etc. Even the benevolent guardian spirits

are propitiated from times to time for the all round wellbeing of a household.

Nature worship as such is not a common practice amongst Misings. But the god

of thunder is propitiated from time to time and although not worshipped or

propitiated, the sun (who they call and dohnyi Mother sun) and the moon are

invoked on all auspicious occasions. The leader of their animistic faith is called a

Mibu their priest or medicine man, who is supposed to be born with special

power of communion with supernatural beings.

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The two chief traditional festivals of the Misings are the Ali- ai- ligang and the

Porag, both connected with the agricultural cycle.

DEORITRIBE

The Deori tribal community is one of the four of shutiya tribal member and is

also linked to the Bodo-garo. It is believed that after being ill treated by Mongol

rulers, these Deori tribal people came down to India via Tibet Burma and then had

taken refuge in the mountainous regions of Cachar hills. It has also been said that

the Deori tribe incorporates three groups Tengapaina, Borogoya and Dibongias

and these three groups are ramified into twenty four separate clans. Though the

Deori tribe is basically concentrated in Assam the people of this tribe are also

centered in some other states like Nagaland and Arunachal Pradesh. Deoris are

mainly found Lakhimpur and Sibsagar and speak both Assamese and their own

language. Agriculture is the main source of income for the deoris. In many Deori

villages there are traditional community weaving centers of the girls too.

Agriculture is the main occupation of the Deori tribe, with about ninety percent of

the populations involved in it. Their houses are built along the river banks and

made of bamboo with thatched roofs.

Deoris worship the household deities and Hindu gods. Bihu is the major festival

celebrated by the Deoris. They also observe the Magh bihu and the Bohag bihu. At

the time of these festive occasions they perform many religious songs and dances.

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The Deoris believe in supreme power called Kundimama who is worshipped in

different form by different clans. Each village of this tribe features a place of

worship called Thaan ghar. This is the site of worship for various gods and

goddesses. It also witnesses animal sacrifices which is an integral part of the tribal

rituals.

TIWA TRIBE

Tiwa is a tribal community inhabiting the states of Assam and Meghalaya in

Northeast India. They are recognized as a scheduled tribe within the state of

Assam. They are known as Lalungs in the Assamese literature. A striking

peculiarity of the Tiwa is their division into two sub- groups: Hill Tiwa and Plain

displaying very contrasted cultural features.

The hill Tiwas live in the North- eastern corner of Ri-Bhoi district (Meghlaya).

They speak a Tibeto -Burman language of the Bodo-up. They are divided into a

dozen of clans recognized by specific names which they use as patronymics. Their

descent system can be said to be said to be ambilineal. In most cases the husband

goes to live in her wifes family settlement (matrilocality) and their children are

included in their mother clan. However in about 30% of the unions the woman

comes to live with her husband. In this case children take the name of their father.

This trend is on the rise under the influence of neighboring populations who are

mostly patrilineal. About half of the hill Tiwas follows their traditional religion.

It is based on the worship of local deties The other halves have been converted to

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Christianity since since 950. The hill Tiwa society is organized around seven old

villages which constitute political as well as ritual centers. Each of them harbors a

chief (1oro) who performs judicial and religious duties for network of settlements,

old villages are also characterized by their bachelor dormitory.

Plain Tiwas live on the flat lands of the southern bank of the Brahmaputra valley

mostly in Morigaon aand Nogaon districts. The vast majority speaks Assamese as

their mother tongue. Tiwa language is still spoken on the foothills and in rare

villages of plains. Their descent system is definitely patrilineal. Their patronymics

does not consist in their clans names but in common Assamese names instead

(mostly Pator and Bordoloi). Their religion shares many elements with Assamese

Hinduism but remains specific.

RABHA TRIBE

Rabha tribal community in one of the Scheduled tribes of the Indian territory.

Apart from Assam these Rabha tribes are also found in other state of Indian like

west Bengal etc. In the state of Assam itself the concentration of these Rabha

tribes are namely Goalpara and Kamrup districts. In west Bengal this tribal group

is scattered in and around Coochbehar and Jalpaiguri districts. This tribal

community is ramified in two major segment viz, Maitoria and Rangdoniya group.

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The Rabha tribe has excelled in the cultural heritage, as has been displayed in its

various aspects. Apart from practicing animistic rituals, the Rabhas follow a

distinct belief which is an amalgamation of the Hindu and animistic rituals and

customs. Differences are found among the rituals and practices of the village and

forest Rabha groups.

Most people of the Rabha tribal community speak own beautiful Rabha language.

An interesting aspect in that since the Rabha tribe have a belonging to the famous

Indo- Mongloid tribal group these Rabha tribes also bear similarities the other

members of the Boro tribes like Kachari, Hazongs, Garo etc.

Fairs and festivals are part and parcel of the exuberant culture of the Rabha tribal

community. These Rabha tribal people celebrate all main festivals of Indian

territory. These include Janmashtami, Durga Puja, Diwali, Id, Muharram, Me-

dam-me phi, the birth and death anniversaries of the vaishnavite saints Shrimanta

Shankardev and Shri Madhavdev. Apart from there the Rabha people celebrate the

Farkhanthi festival and the Baikhu festival. The people of Rabha community

celebrate the festive occasions with dance music and songs with great merriment.

These people have a distinct from of dance namely Nakchung Reni which they

perform when they celebrate the fishing. There are some of the local festivals

which these rabha tribes fete, in great festivity. During the spring season all the

Rabha tribal community fetes the Baikho festival in commemoration of the

worship of the goddess of wealth, locally known as Baikho.

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