‘Otikoi senehor Mugare Mohura, Tatukoi senehor Maku,
Tatukoi senehor bohaagor bihuti, napati kenekoi thaku…’

Come April and my mind is constantly buoyed by the strains of the dhol playing somewhere in the background. Somehow it’s impossible to visualize Rongali Bihu without the strains of the dhol, pepa, gogona. One may forego the traditional rituals of maah, halodhi and jetuka but one can’t do without a foray into Latasil field where the real action of Bihu takes place. All my life I have stayed at a stone’s throw distance away of the field, which may have led to my mind doing a gig every time Bihu is mentioned. Traditionally Bihu is celebrated with Bihu dance and Bihugeets in the village fields and courtyards, with groups of youths going from house to house, singing Bihu songs, which is known as Husori. The same practice slowly got transformed to holding community functions mainly in towns and cities where cultural functions are held; such functions are based on Bihu dance and Bihugeets, which depict mainly Bihu dances and songs.

In fact it was Latasil Field which had has made its mark in history by being the first field to have hosted the Bihu dance by borrowing the trend from the villages and bringing it to the city.

The rural festival made its transition to urban life when it was for the first time brought to the stage in Latasil field in Guwahati by the Guwahati Bihu Sanmilani in 1962, promoted by leading citizens like Radha Govinda Baruah and others. Unlike the rural version where the dancers performed on a natural backdrop, here the dancers danced on a makeshift elevated stage in an open area that came to be known as a Bihutoli. As time passed numerous such Bihutolis came up in an around the city like the Chandmari Bihutoli, Rajgarh Bihutoli, Bhorolu Bihutoli, etc. The performances are not confined to the Bihu dance form, but may incorporate all forms of theatrical performances to keep the audience enthralled well into the early hours. Performances could include stand-up comedy, to concerts by solo singers. The stage form of Bihu has become so popular, that organizers have begun extending the celebrations to Bohagi Bidai, or farewell to the Bohag month, which are similar performances held a month later. Bihu dance competitions like the Bihu Kuori, Buari Bihu, Husori competion etc are organized in such bihutolis.

The folk songs associated with Bohaag Bihu are known as Bihugeets. Bihugeet is symbolic of communication of love and romance among the village youth and the village belles. The dances are accompanied by traditional Assamese instruments like the Dhol (the Drum), Pepa, Gagana, Toka, etc.

The Bihu dance is an inherent part of Rongali Bihu. It is also a fertility festival, where the Bihu dance with its sensuous movements using the hips, arms, etc, by the young women call out to celebrate their fertility. In this aspect, the Bihu Bance can also be called a mating ritual by the young men and women. There are very few Assamese who wouldn’t want to break into a dance once they hear the rhythmic Bihugeet. Another such exciting dance is the Bhangra of the Punjabis, which has a similar effect on people.

‘Husori’ is an indispensable part of the Rangali Bihu. It is one of the several functions celebrated in the Rangali Bihu festival. It is sung on the very first day of Goru Bihu. On that day, at night, the youngmen,under the guidance of the elders, go from house to house singing a kind of Bihu song known as ‘Husori’.

In rural areas village elders move from household to households singing carols, also in the style of Bihugeets, called husoris. It possibly derives from the Dimasa Kachari word formation ‘ha’ (land) and ‘char’ (move over): hachari. Villages could have more than one Husori band, and they would visit households in a village non-contiguous to itself, first singing carols at the Naamghar. The Husori singers then visit individual households, by first announcing their arrival at the gate (podulimukh) with drum beats. The singers are traditionally welcomed into the courtyard where they sing the husori songs and perform a ring dance. At the end of the performance they are thanked with an offering of tamul in a xorai, whereupon the singers bless the household for the coming year. If there is bereavement in the family, or the family does not invite the Husori singers due to an illness, the Husori band offers blessings from podulimukh and move on. Generally the singers are all male.

Showing respect to the ‘Husori’ team, each family of the village honour the team with a piece of ‘Cheleng’ cloth, one beautifully designed ‘Gamocha’ and a few rupees. ‘Husori’ is sung for about a week. The money collected by singing the ‘Husori’ is often spent on the developmental work of the village. Female dancers also participate in the Husori these days unlike old times.

My childhood was spent sitting in the first row of the Bihutoli in Latasil where I watched the dancers from close range. I never failed to accompany my father who used to be in the committee of organizers. Though today I may not be a regular among the audience but it is a ritual on my part to be there at least once during the celebrations.

Truly Bohag Bihu is a harbinger of song and dance to the people of Assam. The dhol. Toka, pepa permeates the air and the melodious Bihugeets seems to dispel all negativity by ringing in cheer and gaiety. These songs represent the joy of life. The lyrics have a wide range from love, natural beauty, social awareness etc. However, the Bihugeets are best during the Rongali Bihu season as during other parts of the year they seem to lose their sheen. Therefore it is a trend of musicians and singers to release their new Bihu albums during this season.

So this Bihu if you want to feel the essence of ‘rong’ in Rongali Bihu, do grab a Bihu album and let the thunderous beats of the dhol cleanse your spirit and fill it with joyous abundance. Surely Bohag Bihu is closest to our hearts and we definitely can’t do without celebrating it in this season of joy and mirth.