Assam, a northeastern state in India, is known for its rich cultural heritage and diverse traditions that have been passed down through generations. Among the many festivities that take place in this beautiful land, one stands out for its vibrancy and ample energy - Bihu. This popular and widely celebrated festival of Assam is associated with the agricultural cycle and marks the change of seasons. There are three different forms of Bihu - Magh Bihu, Kati Bihu, and Bohag Bihu - corresponding to different phases of the agricultural calendar. Magh Bihu, also known as Bhogali Bihu, is celebrated in January and marks the end of the harvest season. Kati Bihu is celebrated in October during the sowing season, and Bohag Bihu, also known as Rongali Bihu, is celebrated in April to mark the arrival of spring and the beginning of the new agricultural season.
Magh Bihu and Kati Bihu are primarily agrarian festivals and have not faced significant issues in terms of cultural integration with mainland India. However, Bohag Bihu, the most popular and widely celebrated form of Bihu, has been a point of contention between ancient tribal fertility cults and Vedic Hinduism. During the initial stage of cultural integration, Indo-Aryan philosophy struggled to accept the erotic songs and mingling of boys and girls in open spaces, which were common in tribal life and an integral part of Bohag Bihu celebrations. However, some of the Bihu songs prevailing in those days can be considered offensive even from the perspective of a modern, liberal, and open society. (চাউলৰ চিকুণ খুঁদু ঐ লাহৰী/ চাউলৰ চিকুণ খুঁদু/ডেকাৰে চিকুণ/ভৰিৰে কলাফুল/ গাভৰুৰ চিকুণ দু*) (“বাঘে গৰু ধৰাদি ধৰিম ঐ লাহৰী/ যিদিনা অকলে পাম/ নিচেই কুমলীয়া বুকুৰ সুমথিৰা/ অকলে বহি লৈ খাম”).
After the fall of the Ahom Empire, the newly educated Assamese, who had risen from the Aryan societal belief system, developed a strong aversion towards Bihu and other elements of tribal culture. During the 1890s, Assamese intellectuals like Ratneswar Mahanta argued that Bohag Bihu was originally a religious function and that the erotic themes of youth and vigor were later introduced by "wicked people". (কিন্তু কোনে হৰি/লাজ পৰিহৰি/চলালে বিহুত নিলাজ গীত" "এঁৱা গাখীৰত কোন কাৰণত গোবৰৰ ছিটা মিহলি হ'ল/ কোন দুৰাচাৰে দুষ্ট ব্যৱহাৰে সমস্ত দেশক ডুবাই গ'ল).
This led to an appeal to the educated Assamese youth to rally against Bihu and diffuse it with religious significance, advocating for a more "cultured" celebration of the festival. (শিক্ষিতসকল দিয়া সবে বল, বিহুত নিলাজ সংগীত গুছি/ ইশ্বৰ ভজন হওঁক কীৰ্তন, অপবিত্ৰ ভাব হওঁক শুচি). People like Holiram Dhekial Phukan (Assistant Magistrate in the British Era) even tried to divide Assam based on the rituals of Bohag Bihu, labeling one side of Assam as cultured and the other side as “not so cultured”... (এই প্ৰথা সৌমাৰতেই (উজনিত) অধিক, কামৰূপত নাই). Famous writer Benudhar Sarma also expressed similar sentiments, stating that the eroticism associated with Bohag Bihu has brought disgrace to this festival.... its emergence is more in Upper Assam.
“ব’হাগ বিহুৰ লীলা-খেলাই বিহু উৎসৱটো কলঙ্কিত কৰিছে…. ইয়াৰ উৎপত্তি উজনি অসমত বেছি”. Sharma further classified Bihu into two parts: the "Obscene" Part, which involved Bihua-Bihuwatis dancing under trees and singing various songs, and the "Pure" Part, which included activities like bathing and feeding cattle, seeking blessings from elders, etc. Poet Kamalakanta Bhatta and intellectuals like Gunabhiram Barua also wrote articles using strong words (বিভিচাৰ, নিৰ্লজ্জ, অশ্লীল) against Bihu. The controversy surrounding Bihu peaked when Budhindranath Delihial Bhattacharya, known for his work on the Anglo-Assamese Dictionary, formally requested the British administration to ban Bihu in 1898.
In mid-1899, the British administration issued an order banning Bihu celebrations, which caused outrage among the common Assamese people. However, there was no collective intellectual effort to counter these anti-Bihu measures initially. The opposition came only in the form of Bihu songs. “পৰথমে ইচৰে জগত সৰজিলে / তাৰ পাছত সৰজিলে জীৱ/ সেইজন ইচৰে পীৰিতি কৰিলে/ আমিনো নকৰিম কিয়?” “ঢাপে ঢাপে চৰিলে ঢাপলিকা চৰাইটি/ বাঘলৈয়ো নকৰে ভয়/ লক্ষীমপুৰ জিলাৰ/সোলেঙী গাভৰু/চেহাবলৈ নকৰে ভয়”. In late 1899, a Dhuliya (Bihu drummer) from Nagaon, Ananda Das and and his dancer sister Chenimai, came to Guwahati and danced Bihu for an hour in front of the District Governor's residence to prove that Bihu is not obscene. The British administration lifted the ban on Bihu after hearing such objections.
Even after the ban on Bihu was lifted, efforts to tarnish its image continued. For example, in Miles Bronson's "Assamese Dictionary" published in 1867, the meaning of the word "Husori," an associated form of Bihu songs and dance, was defined as "The procession of going from house to house with dhol, etc seeking blessings." However, Hemchandra Baroua's definition in "Hemkosh" portrayed Husori as "People dancing and singing and begging for money during the Bohag Bihu." Amidst such criticisms, there were champions of Assamese literature who defended Bihu's cultural significance and fought against its demonization. One such notable figure was Laxminath Bezbaruah, known for his intellectual brilliance and wit.
Bezbaruah argued in his literary work that if the Holi festival was not considered obscene, then how could Bohag Bihu be considered obscene? He believed that any rust in Assamese culture could be rubbed off and that there was no reason to be ashamed of one's culture. He wrote in his article series 'Bihu' in the magazine Banhi, "We will continue to be what we are. What is the reason to be ashamed of our culture? No, any culture is pure gold in this world. Whether it is right or wrong, we are Assamese." Balinarayan Bora, an engineer by profession, in his article on Bihu, named the three Bihu as 'Bhogali', 'Rangali', and 'Kangali' based on their scientific and social characteristics.
He rejected terms like 'obscene' and 'shameless' used to describe Bohag Bihu. Bora also emphasized that Bihu is a celebration of nature, and the initial form of any cultural festival normally remains good. However, with time, many unnecessary elements are added to the rituals, hence, it is the responsibility of social reformers to preserve the essence of Bihu and abandon the useless parts. The former President of the Assam Sahitya Sabha, Gyanadaviram Baruah, had a contrasting view compared to his father Gunabhiram Baruah, who strongly opposed Bihu. Gyanadaviram Baruah asked, "Is there any Assamese who cannot go crazy at the word 'Bihu'? Doesn't the word Bihu make the old man young?" His words reflected the emotional connection that Assamese people have with Bihu, despite the criticisms it faced. Eminent personalities like Rajnikant Bordoloi, Daimbeswar Neog, Surjyakumar Bhuyan, and others wrote extensively in favor of the beauty and richness of Bohag Bihu culture. Bihu, as the festival of the soul of the commoners, lived on in all its glory, ignoring the attempts to discredit it.
During the late 1930s, there was a fresh attempt to ban or abolish Bihu by projecting Durga Puja as an alternative and the national festival of Assam. However, writers like Bezbaruah had already spoken out against this, stating, "Don't kill our Bihu with your jealousy. I have seen your enthusiasm during Durga Puja, but Durga Puja is imported just a few days ago to Assam, while Bihu is our ancestral festival." In the post-independence era, Bihu underwent significant changes and adaptations to suit the evolving cultural landscape of Assam. As Assamese nationalism took root and the need for a national language and cultural identity became paramount, Bihu gradually gained recognition as a symbol of Assamese identity and pride. It also became a part of the market economy, with its importance growing even more. In the present-day scenario, the cultural clash that was prominent in the 1900s has become history, although remnants of it can still be found in Bihu songs and obviously, in some political statements.
In conclusion, despite facing challenges and controversies in its history, Bihu has stood the test of time and remains a cherished festival of the soul of every Assamese. It has evolved, adapted, and gained recognition as a symbol of Assamese identity, and continues to be celebrated with pride and joy by the people of Assam.
(The article is based on the various writings of Tunujyoti Gogoi, Jiten Bezbaruah, and DJ Choudhary)