Bihu in Assam, Vishu in Kerala

G.S Paul

The myriad folklore in India is a reflection of the ethnic diversity of the land. Broadly divided to ritualistic and non-ritualistic, they are further vehement expressions of communication between man and Nature.  

In the absence of restrictions imposed by rituals, the latter embodies movements that demonstrate exultation, vivacity, and a spirit of bonhomie among the members of the community. Their role in strengthening the social fabric need not be overemphasized.

The heart beat of celebration

Interestingly most of these, though belonging to different states, fall on the same day. For example, while we in Kerala celebrate Vishu, the Assamese have their Bihu that marks the beginning of the New Year. The main attraction of the celebration is the performance of Bihu dance.

I had the privilege of watching the dance of a 24-member team from Assam Acting Institute presented at Tripunithura as part of the National Theatre Festival organised by Kerala Sangeetha Nataka Akademi more than two decades ago. But the sweet memories still linger in my mind; and can never fade.

 Presented during the harvest season, Bihu commences with the entry of the male dancers in a procession. They are clothed in the traditional attire, most notable being the white head-ties with red lines.

Armed with a variety of musical instruments like dhol, the pepa (the buffalo horn) and toka (a ‘u’ shaped frame) they arrange themselves in a semi-circle after making leaps of joy into the air, very often shouting at the height of their pitch and beating the drums in fast tempos.

Song, costume, and signature moves

The advent of the female dancers appeared more theatrical. First their leader makes her entry with enthralling movements and settles before a microphone thereby taking the lead in singing. Soon, more female dancers followed, attired in esoteric costumes –Chadar (red blouse) and Mekhala (sari).

“These are very expensive and used in Bihu performances only” said Minu Bania, the leader after operose performance lasting  45 minutes.

And soon the women became the centre of attraction, both for male and female dancers and the audience. Their variegated moves were most typical, especially the jerks of the Pelvic region.

Continued application of the same throughout the performance reminded one of the theories of the exponent of modern dance Martha Graham, that “Movements arise from the pelvis and are reflected through the spine, arms and legs”. The connected movements of the shoulders also lent support to the theory.

Interestingly, the leader of the women contingent sprang a surprise by pulling out a long needle-like decoration from her hair and started playing it like a morsing. In fact, this was a decoration common to all the female dancers too.

Asked why such a musical instrument had to be concealed in the hair, Minu quipped, “Since there was no other place to keep it”! This appeared true as the whole body and limbs were executing highly vigorous movements.

The rustic beauty of the performance appeared more endearing as every artiste seemed to inspire the other by casting glances of joy and desire.

Added Indra Bania, the principal of the Institute, “Bihu also provided an opportunity for the young to choose their partners”.