We can hardly think of Bohaag Bihu without remembering the Bihugeet. In fact, the festival of Bihu, particularly Rongali Bihu is incomplete without the rendition of the bihugeet to the accompaniment of the reverberating dhol(drum) , the throbbing gogona, the rhythm of the toka, and the melody of the baahi(flute) and the mohor xingor pepa (instrument made out of buffalo horn); and the eternal Bihu dance matching steps.
And yet, the bihuget has undergone its own journey since the beginnings of time, evolving through the ages.It traces its origins to the distant past when, primitive man, leaving behind his nomadic life, began living in settlements. Probably at such a time during his spare hours or even while engrossed in his daily activities man’s creativity had sprouted –pouring forth impromptu tunes and verses. These melodious notes were derived from nature; and so were the verses –(which were) impressions and inspirations of nature’s myriad forms. Thus nature is central to the bihugeet.
Almost all festivals the world over have economic victory as their major driving force. And Bihu too is no exception. Even the Vedic yagya had as its primary objective prayers for increase of production. Since societies were essentially agrarian increase in production implied (the need for ) increase in the fertility of the soil. For this purpose in the ancient times different societies performed different rituals songs and dances, songs which had overtly erotic sentiments. It was believed that such songs and dances would stimulate Mother Earth and heighten her productivity. Thus love, passion, the sensual urge have found expression in the bihugeet. However, there is much more to the bihugeet than these. The bihugeet is the living reservoir of the Assamese culture. It is man’s intense desire for life. It is the succour for the (city-going) multitudes distanced from the joy and sweat of work in the fields. The melody of the Bihugeet revives life just as the season of Spring(Bohaag) rejuvenates barren nature. The bihugeet in true ,earthy colours give expression to the hopes, aspirations joys, sorrows, emotions and experiences of the people. However, for a long time, and for diverse reasons many people particularly the so-called educated class and /or the middle class had strong reservations about these (Bihu) songs and dances. There were people who would even term it obscene. However, with time and with its simplicity and grandeur, the Bihugeet has won over its obstacles, establishing itself as an art form , as the song of life. As somebody has rightly said whatever is not in the bihugeet is not to be found in Assamese social life.
At the same time in its long journey down the meshes of time the bihugeet has added different elements repertoire. Under the influence of the Neo-Vaishnavite movement under Sri Sri Sankardeva and Sri Sri Madhavdeva, words like ‘Ram’, ‘Krishna’, ‘Gobinda’, ‘Gobindaai-Ram’ were incorpoprated into the bihugeet. For instance—
“Joidoul Xivadoul Oi Ram, Ranghar Karenghar Oi Ram
Axomor Bijoy Kiriti Hari Gopaalo Gobindo Ram”
During the Ahom reign, the bihugeet, underwent many additions. In the eighteenth century during the reign of Swargadeo Rudrasingha the festival of Bihu earned royal patronage. Bihu songs and dances came to be performed by villagers before the Swargadeo(king) at Ranghar Baakori besides at the households of other important ministers and the Ahom nobility. For instance—
“Swargadeo Olale, Batsorar Mukholoi
Duliyai Paatile Dola
Kaanote Jilikil Nora Jangfai
Gaate Gomsengor Solaa”
[The Swargadeo appears at the gateway/The palanquin bearer readies his palanquin(dola)/Nora Jangfai(traditional jewellery) glitters on his(the Swargadeo’s) earlobes/As he dons himself in the finest robes]
Again, commemorating the Swargadeo’s hunting trips(for they were expert hunters), somebody had sung-
“Swargadeo Goisil Pohu Mariboloi
Sungote Godhuli Hol,
Kunworiye Xudhile Kom Kiye Buli
Jaal Faali Horina Gol”
[The Swargadeo had been to hunt deer, and it got late in the evening, what do I answer the Kunwori(queen) when she asks about the hunt, the deer ran away tearing the trap]
The bravery of the Ahom general Lachit Borphukan in a historical event like the famous battle at Saraighat (where an ailing Lachit led the Assamese army to victory over the Mughals) have been immortalized in such compositions as—
“Saraighatot Kandile Lachit Borphukane
Barhamputrai Xolaale Bhex,
Xonar Axomot Kinu Jui Laagise
Sokut Nai Tuponir Lex”
[Lachit creid at Saraighat , and the Brahmaputra changed its form/What fire swathes the Golden Axom, all sleep have deserted
during the British rule again, many significant changes came over the bihugeet. The Britishers set up tea gardens all over Assam. Consequently, somebody sang—
“Mohoriloi Jabagoi MOharani hobagoi
Sokit Bohi Khabagoi Bhat,
Bagaanor Cooliye Babuwoni Bulibo
Xiu hobo Omaator-maat.”
[If you get married to a mohori (clerk), you’ll live like a queen(maharani)/you’ll sit
on chairs and eat/the labourers(coolie) will call you babuwoni, even that will sound pleasing to the ear].
The British rule ushered in radical shifts/changes in the lifestyle of the Assamese people , and the above geet throws such a hint. Among others, one of the blessings(if we might use the term) of the British rule was the railways that improved transport and communication. That moment too was crystallized for posterity with a bihugeetlike—
“Ukiyai Ukiyai, Relgaari Solile
Dibrut Godhuli Hol;
Tomaak Anim Buli Bore Ghore Xajilu
Goru Bondha Gohali HOl”
[Screeching loudly, the train(relgaari) moved on/Dusk fell on Dibru/Dreaming of bringing you home, I built a bor ghar(the house in which the owner sleeps and valuable possessions are kept)/ that has now turned into a gohali(cowshed)]
We also learn about the different artifacts of our culture from our bihugeet. For instance, when we sing—
“Gogona Aaaroni Gogona Puroni
Gogona Kihere Baai
Dufaale Dusoti Maajote Esoti
Mugaxuta Logaaye Baai”
--we are teaching our future about the musical instrument gogona.
At the same time, the bihugeet cries out in protest against discriminations of caste that hinder the union of two lovers—
“Saut Saute Jopona Doete
Bindhile Aghoya Hule
Tomaar Mone Gole Muru Mone Gole
Ki Koribo Kalita Kule.”
Spring is not only the season of the young(the young at heart), it is also the season when passions are in a tumult. Bihugeet speak of the passion throbbing the bosom of lovers—
“Dhole bai dhuliyai khole bai khuliyai
Kar ghoror nasoniye nase
Osor sapi sapi nahiba nasoni
Tomar gat mohani ase.”
[the dhuliya plays the dhol the khuliya plays the khol/to which family does the dancer belong/do not draw near O fair dancer/you have charm in you] or else
“Haah hoi porimgoi tomare pukhurit
Paro hoi porimgoi saalot
Ghame hoi bagorim tumare xorirot
Makhi hoi suma dim gaalot”
[I shall be a swan and swim in your pond/I shall be a pigeon and perch on your roof/I shall ne a streak of sweat and roll down your body/I shall be a fly and kiss your cheeks]
However—
“Sote goye goye bohaage paalehi
Phulile bhebeli lota
Koino koi thakote oroke nopore
Rongali bihure kotha.”
with the month of sot drawing to an end and the arrival of Bohaag, the bhebeli creeper is in full bloom, there will be no end, (even) if I go on talking of Bihu[and in this context, the Bihugeet. Therefore, with the belief that we shall meet again to continue our discussion on this beautiful art form, here’s wishing you all a colourful and melodious Rongali Bihu…
