The people of Assam have traditionally been craftsmen from time immemorial.Though Assam is mostly known for its exquisite silks and the bamboo and caneproducts, several other crafts are also made here. Cane and Bamboo Cane and bamboo have remained inseparable parts of life in Assam. They happen to be the two most commonly-used items in daily life, ranging from household implements to construction of dwelling houses to weaving accessories to musical instruments. The Jap Cane and bamboo furnitures on the other hand have been a hit both in the domestic as well as the export market, while paati, the traditional mat has found its way into the world of interior decoration. Metal Crafts Bell-metal and brass have been the most commonly used metals for the Assamese The entire population of two townships near Guwahati - Hajo and Sarthebari, are engaged in producing traditional bell-metal and brass articles. They have also usedtheir innovative skills to design modern day articles to compete with the changing times. Gold, silver and copper too form a part of traditional metal craft in Assam and the State Museum in Guwahati has a rich collection of items made of these metals. Gold however is now used only for ornaments. Handlooms Assam is the home of several types of silks, the most prominent and prestigious being muga, the golden silk exclusive only to this state. Muga apart, there is paat, as also eri, the latter being used in manufacture of warm clothes for winter.Of a naturally rich golden colour, muga is the finest of India's wild silks. It is produced only in Assam.
The traditional handloom silks still hold their own in world markets They score over factory-made silks in the richness of their textures and designs, in their individuality, character and classic beauty. No two handwoven silks are exactly alike. Personality of the weaver, her hereditary skill, her innate sense of colour and balance all help to create a unique product. Today, India exports a wide variety of silks to western Europe and the United States, especially as exclusive furnishing The Tribals on the other hand have a wide variety of colourful costumes, some of which have earned International repute through the export market. Weaving in Assam is so replete with artistic sensibility and so intimately linked to folk life that Gandhiji, during his famous tour to promote khadi and swadeshi, was so moved that he remarked : "Assamese women weave fairy tales in their clothes!" Toys The toys of Assam have been broadly classified under four heads : (i) clay toys, (ii) pith, (iii) wooden and bamboo toys, and (iv) cloth and cloth-and-mud toys. While the human figure, especially dolls, brides and grooms, is the most common theme of all kinds of toys, a variety of animals forms have also dominated the clay-toys scene of Assam. Clay traditionally made by the Kumar and Hira communities, have often depicted different animals too, while gods, goddesses and other mythological figures also find importance in the work of traditional artist. Pith or Indian cork has also been used for toy-making since centuries in Assam. Such toys are chiefly made in the Goalpara region and they include figures of gods, animals and birds, the last of which again dominate the over-all output. Wood and bamboo on the other hand have been in use for making toys for several centuries , and like the other mediums, come as birds, animals and human figures. Toys of cloth as also with a mixture of cloth and mud too have constituted part of the rich Assamese toy-making tradition. While the art of making cloth toys have been traditionally handed down from mother to daughter in every household, the cloth-and-mud toys are generally used for puppet theatres. Among the household toys, the bride and the groom are the most common characters, while the other varieties have animals and mythological characters as the plays demand. Pottery
The Kumars and Hiras are two traditional potter communities of Assam and while the Kumars use the wheel to produce his pots, the Hiras are probably the only potters in the world who do not use the wheel at all. Again, among the Hiras, only the womenfolk are The most commonly-used pottery products include earthern pots and pitchers, plates, incense-stick holders, earthern lamps etc, while modern-day decoratives have also found place in their latest designs. Woodcraft Assam has always remained one of the most forest-covered states of the country, and the variety of wood and timber available here have formed a part of the people's culture and ecomony. An Assamese can identify the timber by touching it even in darkness, and can produce a series of items from it. While decorative panels in the royal Ahom palaces of the past and the 600-years old satras or Vaishnative monasteries are intricately carved on wood, a special class of people who excelled in wood carving came to be known as Khanikar , a surname proudly passed down from generation to generation. The various articles in a satra and naam-ghar(place of worship) are stiff cut on wood, depicting the guru asana (pedestal of the lords), apart from various kinds of birds and animals figuring in mythology. Modern-day Khanikar have taken to producing 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. Masks With tribal art and folk elements form the base of Assamese culture, masks havefound an important place in the cultural activities of the people. Masks have been widely used in folk theatres and bhaonas with the materials ranging from terracotta to pith to metal, bamboo and wood. Similarly, among the tribals too, the use of masks is varied and widespread, especially in their colourful dances which again revolve chiefly around thier typical tribal myth and folklore. Such traditional masks have of late found thier way to the modern-day drawing rooms as decorative items and wall-hangings, thus providing self-employment opportunities to those who have been traditionally making them. Jewellery Gold has always constituted the most-used metal for jewellery in Assam, while the use of silver and other metals too have been there for centuries.
Jorhat in Upper Assam is one place where thetraditional Assamese form of manufacture of jewellery is still in vogue, and people flock to Jorhat to get the exquisite Assamese jewellery. Assamese jewellery include the doog-doogi, loka-paro, bana, gaam-kharu, gal-pata, jon-biri, dhol-biri and keru, all of which have also encouraged the modern jewellers to producing similiar designs mechanically. Terracotta Terracotta as a medium has dominated the handicraft scene of Assam since time immemorial. The tradition itself has been handed down from the generation to generation without break. Today we have the descendent of such families engaged in improvised terracotta versions of various common figures of gods and goddesses to mythological characters, while toys, vases, etc have also found a new life. Traditional Paintings The tradition of paintings in Assam can be traced back to several centuries in the past. Ahom palaces and satras and naam-ghar etc still abound in brightly-coloured paintings depicting various stories and events from history and mythology. In fact, the motifs and designs contained in Chitra-Bhagavata have come to become a traditional style for Assamese painters of the later period, and are still in practice today. |
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Tuesday, March 31, 2009
ARTS AND CRAFTS OF ASSAM
pi, the traditional sunshade continues to be the most prestigious of bamboo items of the state, and it has been in use since the days when the great Chinese traveller Hiuen Tsang came to Assam that visitors are welcomed with a jaapi. 
artisan. Traditional utensils and fancy artiicles designed by these artisans are found inevery Assamese household. The Xorai and bota have in use for centuries, to offer betel-nut and paan while welcoming distinguished guests. 
The women of Assam weave fairy tales in their looms. Skill to weave was the primary qualification of a young girl for her eligibility for marriage. This perhaps explains why Assam has the largest concentration of Handlooms and weavers in India. One of the world's finest artistic traditions finds expression in their exquisitely woven 'Eri', 'Muga' and 'Pat' fabrics. 
fabrics. Boutiques and fashion houses, designers and interior decorators have the advantage of getting custom-woven fabrics in thedesigns, weaves and colours of their choice. A service that ensures an exclusive product not easily repeatable by competitors. 
Pottery is probably as old as human civilisation itself. In Assam, pottery can be traced back to many centuries. 
engaged in pottery work, while their men help them in procuring the raw materials and selling the wares. 
Gold was locally available, flowing down several Himalayan rivers, of which Subansiri is the most important. In fact, a particular tribe of people, the Sonowal Kacharis were engaged only for gold-washing in these rivers. 
FESTIVALS IN ASSAM: AN INTRODUCTION
Assam is a land of fairs and festivals. Most of the festivals celebrated in A
The perfect fusion of heritage of her numerous races has made Assam the home of the most colorful festivals which are passionate, compelling and mesmerizing reflecting the true spirit, tradition and lifestlye of the people of Assam.
Six festivals are organised by the Department of Tourism, Govt. of Assam, every year to encourage tourists to visit Assam. They are given below:
| Majuli Festival | 21st - 24th November |
| Elephant Festival | 30th January - 1st February |
| Brahmaputra Beach Festival | (Dates to be announced) |
| Dehing Patkai Festival | 16t h- 19th January |
| Tea Festival | (Dates to be announced) |
| Rongali Utsav (The Spring Festival) | 28th - 30th April |
Deoris, and the Morans celebrate "Bihu" with dances of their own distinctive style. In the more recent times a fairly large scale migration of people from other parts of India like the Santhals, Gonds, Mundas etc. from Bihar, Orissa and Madhya Pradesh, brought as indentured laboures for tea gardens have also carried with them their own distinct cultural heritage which has blossomed forth in exotic festivals like Tussu Puja, Sarak Puja, Karam Puja and captivating dances like the Jhumur.
hati. A few days before the mela, tribes like the Tiwas, Karbis, Khasis, Jaintias from the Meghalaya hills come down with their various products for this mela. On the occasion of the 'mela' a big bazar is held here where these tribes exchange thier products with local people in barter system which is very rare in a civilized modern society.
The first day begins with worship of the cow. The next day which synchronises with the first day of the month of 'Bohag' of the Assamese almanac, the actual merriment begins with the young people of each household reverentialy bowing down to their parents and elders. The supreme deity 'Bathou' or Lord Shiva is worshipped during the festival by offering chicken and rice beer. In the Baishagu dance there is no age or sex bar, all are welcome to join in. The traditional musical instruments that are used in this dance festival are 'Khum' (drum), 'Jotha' (Manjari), 'Khawbang' (Taal), 'Gogona' (Mouth-organ) and 'Siphung' (Flute) etc. It is also customary at the time of closure of the Baishagu festival to offer community prayers at a particular place called 'Garjasali'. 
or the well being of the entire village, the elderly male folk organise Rongker so thatpeople can be free from diseases and natural calamities for the entire year. They pray for a good harvest too. The women are not allowed to enter the worship arena during this festival.
stival of the Mishing Tribe is the most colourful festival held every year on the first Wednesday (Ligange lange) of the month of 'Ginmur Polo' (February-March). 'Ali' means root, seed; 'Ai' means fruit and 'Ligang' means sow. That is why 'ceremonial' sowing of paddy starts on this day. A dance is performed by the young boys and girls, characterized by brisk stepping, flinging and flapping of hands and swaying of hips reflecting youthful passion, reproductive urge and joie-de-vivre.ASSAMESE LITERATURE: A BRIEF OUTLOOK
Assamese literature
Assamese literature is the entire corpus of poetry, novels, short stories, documents etc written in the Assamese language. It also includes such writings and popular ballads in the older forms of the language during its evolution to the contemporary form. The rich literary heritage of the Assamese language can be traced back to the 6th century in the Charyapada, where the earliest elements of the language can be discerned.
Early Assamese (6th to 15th century AD)
The Charyapadas are often cited as the earliest example of Assamese literature. The Charyapadas are Buddhist songs composed in 8th-12th century. These writings bear similarities to Oriya and Bengali languages as well. The phonological and morphological traits of these songs bear very strong resemblance to Assamese some of which are extant.
After the Charyapadas, the period may again be split into (a) Pre-Vaishnavite and (b) Vaishnative sub-periods. The earliest known Assamese writer is Hema Saraswati, who wrote a small poem "Prahrada Charita". In the time of the King Indranarayana (1350-1365) of Kamatapur the two poets Harihara Vipra and Kaviratna Saraswati composed Asvamedha Parva and Jayadratha Vadha respectively. Another poet named Rudra Kandali translated Drona Parva into Assamese. But the most well-known poet of the Pre-Vaishnavite sub period is Madhav Kandali, who rendered Valmiki's Ramayana into Assamese verse (Kotha Ramayana, 14th century) under the patronage of Mahamanikya, a Kachari king of Jayantapura.
Middle Assamese (17th to 19th Century AD)
This is a period of the prose chronicles (Buranji) of the Ahom court. The Ahoms had brought with them an instinct for historical writings. In the Ahom court, historical chronicles were at first composed in their original Tibeto-Chinese language, but when the Ahom rulers adopted Assamese as the court language, historical chronicles began to be written in Assamese. From the beginning of the seventeenth century onwards, court chronicles were written in large numbers. These chronicles or buranjis, as they were called by the Ahoms, broke away from the style of the religious writers. The language is essentially modern except for slight alterations in grammar and spelling.
Modern Assamese
Effect of British rule
The British imposed Bengali in 1836 in Assam after the state was occupied in 1826. Due to a sustained campaign, Assamese was reinstated in 1873 as the state language. Since the initial printing and literary activity occurred in eastern Assam, the Eastern dialect was introduced in schools, courts and offices and soon came to be formally recognized as the Standard Assamese. In recent times, with the growth of Guwahati as the political and commercial center of Assam, the Standard Assamese has moved away from its roots in the Eastern dialect.
Influence of Missionaries
The modern Assamese period began with the publication of the Bible in Assamese prose by the American Baptist Missionaries in 1819. The currently prevalent standard Asamiya has its roots in the Sibsagar dialect of Eastern Assam. As mentioned in Bani Kanta Kakati's "Assamese, its Formation and Development" (1941, Published by Sree Khagendra Narayan Dutta Baruah, LBS Publications, G.N. Bordoloi Road, Gauhati-1, Assam, India) – " The Missionaries made Sibsagar in Eastern Assam the centre of their activities and used the dialect of Sibsagar for their literary purposes". The American Baptist Missionaries were the first to use this dialect in translating the Bible in 1813. These Missionaries established the first printing press in Sibsagar in 1836 and started using the local Asamiya dialect for writing purposes. In 1846 they started a monthly periodical called Arunodoi, and in 1848, Nathan Brown published the first book on Assamese Grammar. The Missionaries published the first Assamese-English Dictionary compiled by M. Bronson in 1867. One of the major contributions of the American Baptist Missionaries to the Assamese language is the reintroduction of Assamese as the official language in Assam. In 1848 missionary Nathan Brown published a treatise on the Assamese language[1]. This treatise gave a strong impetus towards reintroducing Assamese the official language in Assam. In his 1853 official report on the province of Assam, British official Moffat Mills wrote:
Beginning of Modern Literature
The period of modern literature began with the publication the Assamese journal Jonaki (জোনাকী) (1889), which introduced the short story form first by Laxminath Bezbarua. Thus began the Jonaki period of Assamese literature. In 1894 Rajanikanta Bordoloi published the first Assamese novel Mirijiyori (মিৰি জীয়ৰী). The modern Assamese literature has been enriched by the works of Jyoti Prasad Agarwalla, Hem Barua, Atul Chandra Hazarika, Nalini Bala Devi, Navakanta Barua, and others.
In 1917 the Oxom Xahityo Xobha(অসম সাহিত্য সভা) was formed as a guardian of the Assamese society and the forum for the development of Assamese language and literature. Padmanath Gohain Baruah was the first president of the society
A BRIEF HISTORY OF ASSAMESE CINEMA
A BRIEF HISTORY OF ASSAMESE CINEMA
1930s
The origin of Assamese Cinema can be traced back to the dreams and imagination of a revolutionary visionary Rupkonwar Jyotiprasad Agarwala, who was also a distinguished poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese Film Joymati in 1935, under the banner of Critrakala Movietone. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, had to shoulder the added responsibilities as the script writer, producer, director, choreographer, editor, set and costume designer, lyricist and music director. The film, completed with a budget of 60,000 rupees was released on March 10, 1935. The picture failed miserably. It is unfortunate that like so many early Indian films , the negatives and complete prints of Joymati are missing. Some effort has been made privately by Altaf Mazid to restore and sub-title whatever is left of the prints.[3] Despite the significant financial loss from Joymati the second picture Indramalati was filmed between 1937 and 1938 finally released in 1939.
1940s
Remaining strong in the face of adversity, Agarwala made another film after a lapse of two years titled Indramalati. It was his second and last film. The eminent composer and singer of Assam Bhupen Hazarika, played a stellar role in the play. With the passing away of Jyotiprasad, the Assamese film scene witnessed a temporary lull for about a couple of years. But things changed with the onset of World War II, Taking advantage of this, Rohini Kr. Baruah made a film on a relevant historical topic called Manomati in 1941. It was followed by films like Parvati Prasad Baruva's Rupahi (1946), Kamal Narayan Choudhury's Badan Barphukan (1947), Phani Sharma's Siraj, Asit Sen's Biplabi, Prabin Phukan's Parghat and Suresh Goswami's Runumi etc.
1950s
The most remarkable film of the fifties was Piyali Phukan which went on to win a National award.The movie was produced by eminent film producer Gama Prasad Agarwalla under the aegis of Rup Jyoti Productions. The film was directed by Phani Sharma and music was composed by a young Bhupen Hazarika. The film was about the life of the freedom fighter Piyali Phukan, who stood against the British Rule. He was executed by the British on charges of Treason. This film technically was very advanced during that time. In 1955, a new talent Nip Barua made his directorial debut with Smrit Paras. His subsequent films Mak Aaru Moram and Ranga Police bagged many state awards and the silver medal at the national level. Bhupen Hazarika also produced and directed his first film Era Bator Sur. Prabhat Mukherjee made a film on the universality of mother-hood, Puberun (1959),which was shown in The Berlin Film Festival.
1960s
The next notable film production was Lachit Borphukan by Sarbeswar Chakraborty. Bhupen Hazarika made his unforgettable musical Shakuntala in 1961 which proved equally successful with critics and the press winning the president's silver medal. Following this, a chain of films went into regular production and got released which included Nip Barua's Narakasur, Anil Choudhury's Matri Swarga, Brojen Barua's Itu Situ Bahuto and Mukta & Anwar Hussain's Tejimala.
By the middle of the sixties, film began to be produced in Assam on a regular basis. However, between 1935 and 1970 a total of 62 films were produced. Besides the film makers already referred to, many others engaged in film making during the period included Pravin Sharma, Saila Barua, Abdul Mazid, Amar Pathak, Indukal Pattazarika, Diben Barua, Debkumar Basu, Amulya Manna, Gauri Barman, Atul Bardoloi, Sujit Singh, Nalin Duara and Prafulla Barua.
1970s
During the period of 1970-82 a total of 57 Assamese films were made. New directors started emerging on the horizon. Samarendra Narayan Deb's Aranya (1970), Kamal Choudhury's Bhaity (1972) the first colour film of Assam, Manoranjan Sur's Uttaran (1973), Deuti Barua's Bristi (1974) Pulok Gogoi's Khoj (1974) Padum Barua's Ganga Chilanir Pakhi (1976) and Dr. Bhabendranath Saikia's Sandhya Raag (1977) and Atul Bordoloi's Kollol (1978) are films worth - mentioning.
1980-
Notable directors of contemporary Assamese Cinema are Jahnu Baruah (who directed Aparoopa, Papori, Haladhia Choraye Baodhan Khai, Banani, Firingoti and Hkhagoroloi Bohu Door); Sanjeev Hazarika (Haladhar, Meemanxa) and Bhabendra Nath Saikia who directed Sandhya Raag, Anirbaan, Agnisnaan, Sarothi, Kolahol, Abartan, Itihaas and Kaal Sandhya). Other directors include Santwana Bordoloi who directed Adajya and Bidyut Chakraborty who made Rag Birag, both of which have won National & International Awards.
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