The Ahom and the Koch kingdoms of Assam have made a great impact on the nature of the state of Assam today and hence, it’s culture. The Ahoms which ruled the kingdom from 1228-1826, is the pride of all Assamese people because it’s the only kingdom to have defeated the Mughals, 17 times in a battle. Their process of the cultural assimilation of various tribes like the Naga, Moran, Borahi, Chutiya ad Dimasa people made a drastic change in the socio-cultural life of Assam. The Ahoms eventually developed a new ‘Assamese Culture’, parts of which the natives still follow today, which was a mix of both tribal and non-tribal elements. 

Role of Sankardeva in Assamese Culture

Mahapurush Srimanta Sankardev who was born in 1449, till date, remains the colossal figure for the social and religious reform in Assam, while also being a saint, scholar and a playwright.

One of Sankardev’s most highlighted contribution to the Assamese culture is believed to be the Vaishnava movement of the 15^th century, which had both religious and cultural dimensions. He preached the religion of ‘Ek Sarania Nam Dharma’, i.e, absolute worship pf Lord Vishnu, through the movement of the 15^th century. The partial Hinduization of communities that he achieved along with the creation of new socio-religious institutions like the ‘Namghar’ and the ‘Sattra’, has rightfully granted to him the status of a religious pioneer. But to view Sankardev as only a religious reformer and likewise, his reforms being limited to the religious sphere is an extremely contracted perception of his greatness. The Vaishnava moment in its glory also contributed to newer developments in language and literature, performing and fine arts, and also attempted to incorporate foreign elements into the Assamese culture. Sankardev was also able to give religion an artistic form, often linking religion to music. He, and his disciple, Madhavdeva who was as influential, wrote a number of holy songs known as ‘Borgeet’ which remain an important part of Assamese culture now, even hundreds of years after their composition. Sankardev also composed dramas called, ‘Ankia Naat’ and Sattriya dance was a part of it. 

Therefore, Sankardev and later his disciple Madhavdev, have made an immense and irreplaceable contribution to Assamese culture, the remnants of which still remain till date. 

A culture represented in symbols…

A unique feature of Assamese culture is the significance attributed to symbols in it. This cultural practice of associating one’s pride and identity as an Assamese is age-old but still remains important within the domain of culture. 

Perhaps, the most important and popular symbol of Assamese culture is the ‘Gamosa’ which is a rectangular piece of cloth that has red borders and beautifully woven prints. While literally, the Gamosa means a cloth to wipe one’s body with, it’s significance surpasses that function. It often serves as a gift that is given to respectable people while honouring them, as ‘bihuwaans’, i.e, gifts given during Bihu, at Namghars, etc. So deeply is it entrenched in Assamese culture, that in contemporary times, even Covid-19 face masks, along with different types of clothes such as shirts, etc, are made of Gamosa. It is a scarf like cloth that PM Modi is often seen dorning, although it’s frequent reference to as ‘Modi Gamcha’ sparks controversies of cultural appropriation. 

Further, the ‘Xorai’ which is a traditional object of great respect and is made of bell-metal or brass or silver, also acquires great significance in terms of culture. The Xorai is used as a medium for respectful offerings in Namghars and also used as ornaments in many Assamese homes.

Another important symbol is the tamul-paan (areca nut and beatle leaves) which when offered is believed to be a sign of devotion, respect and friendship. 

FESTIVALS AND CELEBRATIONS IN ASSAM

A state as diverse as Assam, which is home to about 18 tribes (Boro, Dimasa, Chutia, Sonowal, Tiwa, Garo, Rabha, Mising, Karbi, and others) and non-tribal population, celebrates a wide number of festivals.

Bihu

Bihu, which is celebrated three times a year, is the most widely celebrated and popular festival in Assam. 

Bohag Bihu or Rongali Bihu, is celebrated by dancing the traditional Bihu dance and singing songs with loved ones, in mid-April.  In mid-October, Kongali Bihu is celebrated. Following this comes the Harvest bihu, known as Bhogali Bihu or Magh Bihu, which is usually celebrated by feasting and burning of community bonfires, known as ‘mezi’, in mid-January. 

Besides Bihu, Assam also celebrates various other major festivals such as Me-dum-me-phi, which is an ancestor worship festival observed by the whole Ahom community. The Bodos and the Kacharis on the other hand, celebrate the festival of Baishagu with grandeur. 

Assam also celebrates festivals of, Durga Puja, Dol-Jatra, Ambubashi mela, Saraswati Puja, Diwali and all other national and international festivals, perhaps due to the diversity of the population that lives in the region. 

 TRADITIONAL CRAFT INDUSTRIES

Weaving is both a part of women’s lifestyle as well as one of the most important traditional industries in Assam. Assam boasts of having the largest concentration of handlooms and weavers all over India. Mahatma Gandhi, in reference to the traditional weaving industry in Assam, had once praised the women behind the success of the industry, as being able to weave dreams with their looms. These Assamese women, weave silk (of three varieties – eri, muga and pat) and cotton in their looms. Of all the varieties of silk produced, Muga is the most glorious and prestigious one, which is a golden cloth, known worldwide, as being the finest of India’s wild silk. 

Besides the traditional silk and cotton weaves, tribal weaves are also prominent, and as prestigious in Assam. This includes ‘mirjim’ (from Majuli and N.E Assam) on blankets, mattresses and floor coverings and shawls of Karbi Anglong and Dima Hasao districts, Lasingphee blankets of bamboo and cotton in southern Assam’s Cachar district.

Equally important are the traditional bell metal and brass industries of Assam, Hajo and Sarthebari being the primary centre of such crafts. The most prominent objects made in such workshops of ‘kaah’ include Xorais, Botas, and numerous crockery items, etc, which are used for both domestic and religious purposes. 

Further, Cane and bamboo craft, pottery and terracotta, jewellery making, making music instruments, etc, also remain major traditions of art and crafts in Assam. 

TRADITIONAL ASSAMESE CUISINE, ATTIRE, MUSIC AND DANCE

Like the diverse state to which it belongs, Assamese cuisine is also diverse, as it accommodates and satisfies the taste buds of the multi-ethnic population. The traditional Assamese food plate consists of ‘bhaat’ (steamed rice), dal, bhaji (fried vegetables) and a fish or meat curry. Different varieties of meat and fish are a part of the cuisine namely, chicken, mutton, pork, ducks, pigeons, and even silkworms, locusts, eel, wildflower, deer meat, etc.

Some of the most popular and famous items that Assamese cuisine is known for include, ‘khaar’, pura maas mankho, dheakiyasak, pitika etc. Often, the meal must be accompanied by ‘nemu’ which means lemon and the meal ends with the consumption of ‘tamul-paan’. Further, while all this constitutes the main course, Assamese food also boasts of a variety of snacks including ‘pitha’ (made with powdered rice and coconut or other fillings), coconut ladoos, etc. 

Assam tea however remains the single most important beverage which is famous nationally and internationally. It makes an appearance in almost every café nationally. Assam which produces almost half of India’s tea, is known for a deep burgundy red cup of tea with a strong odour. Tea gardens are abundant in Assam, the biggest of which are located in the Upper Assam region

TRADITIONAL ASSAMESE ATTIRE

Moving on to the traditional costumes in Assam, the non-tribal Assamese women wear ‘Mekhela-Sador’ which is a two-piece cloth, that looks almost like a saree, but is not so. The men, on the other hand, wear a Dhoti and drape a piece of cloth known as ‘seleng’ over their body.  

Besides this, the various tribal groups that exist within Assam also have their own distinct and equally beautiful costumes.  For instance, The men of the Dimasa tribe wear a ‘Sgaopha’ or ‘Phagri’ which is a turban-like thing that symbolizes their pride, while the ‘Rigu’ is the standard piece of clothing for women of this tribe. The women of the Bodo tribe wrap their bodies in a piece of cloth known as the ‘Dhokna’.

The diversity of Assam is also reflective in the richness of its folk music, which includes Borgeet, Bihu songs, Mising songs, Karbi songs, etc. Moreover, modern music in Assam is also diverse in the sense that people listen to all sorts of music from the legendary artists like Dr Bhupen Hazarika, Jayanta Hazarika, Khagen Mahanta, to a new younger generation of artists like Zubeen Garg, Papon and others. Guwahati, the capital of Assam, has also seen the growth of newer genres of music like rock, etc. 

Apart from the Bihu Dance, which is performed during the festival of Bihu, Sattriya dance is perhaps the most respected and a prominent part of Assamese culture. It is a major classical dance of India, which was created by Srimanta Sankardeva. The core of these dances is mythological stories, represented in an artistic manner. 

Other dances in Assam also include the Jumu Nach, Ali Ai Ligang Dance, Deodhani, Bhortal Nritya, Bagurumba, Khamba Lim, etc. 

CONCLUSION

Therefore, the land of the red river and blue hills displays a colourful mix of cultures of the multi-ethnic population that resides in the region. This intermixture of tribal and non-tribal elements in its culture gives the culture of the Assamese, a unique character, which beholds and captivates anyone who visits Assam and bonds the people of Assam to their homeland eternally. 

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The art and handicrafts sector is the second largest employment generator after agriculture. According to the 2011 Census, there are over 68 lakh artisans in the country, of which 55 per cent of them are women.

A Tradition Since and For Ages 

India, among other things, is known for her soft power. This soft power stems from our very own civilisation, the Indus. The Indus Valley civilisation is witness to a diverse variety of artisanship. Ancient cities of Chanhudaro (present-day Pakistan), Kalibangan, famous for bangle making (Present-day Rajasthan ) among others were famous for crafts ranging from bead, bangle, pot and seal making. Produce from Indus Valley was exported to far lands of Afghanistan, Oman, Mesopotamia, and this brought in gold and silver in a fairly good amount to the Indus. When we use the word ‘Indian’ before artisanship, we refer to the tradition of thousands of years, we refer to Bandhej from Rajasthan, Pashmina shawls from Kashmir, wooden toys from Chhattisgarh, Jharkhand and Punjab, pottery from Uttar Pradesh in orange, brown and dark red to black and dark red in Himachal Pradesh (owning to its heritage to Indus Valley ). The blue pottery of  Jaipur adorns our rooms till date but the larger question is, despite India’s roots submerged in artisanship for ages, why do our artisans not receive the credit they deserve? Why do they live a life of penury? We will look at the reasons why. 

A Change in the Attitude of Buyers Post Globalisation

With the age of globalisation, the world is moving at an ever speedy pace. Most of us have secluded ourselves to the urban-mall-going fancies of life, not that it is wrong but it is an attitudinal problem where we refrain to stop our vehicle for a few minutes to acknowledge the products made by an artisan standing at a stall all day for a few hundred rupees. The same middle and upper-middle-class do not refrain to buy the same product at a much higher price in an expensive shopping complex. This move is not just that of convenience, rather it is important to ask the question, why was there an artisan, a craftsman standing on the street in the first place? If they had a choice, would they still sell their craft on the streets?

Competition with Machine-Made Goods

Companies solely work for profit-making and this zest for profit-making has put many artisans out of work. It takes hours to make a pot or put beads in a zardozi saree on the contrary, machine-made fabric is easier to make, considering, the same fabric is manufactured in thousands of pieces in a single day. The gap between machine made and hand made goods is hard to bridge, but with measures like save our artisans’ campaign, putting active pressure on famous clothing brands to employ to fulfil their corporate sector responsibility (CSR) in promoting rural artisans and creating social media presence for artisans to sell their produce depending on the changing taste and preference for the consumers might just help bridge the gap. 

Lack of Incentives for the Youth 

Most artisans believe that the current generation is uninterested in handicraft due to lack of recognition and monitory value, Easier alternatives, strenuous work hours, etc. Most artisans are found reluctant to have their children follow their steps as they don’t believe there’s a  bright future in the line of artisanship. With an increase in the educational base, the unwillingness to work in a line of uncertainty increases. This may be one of the very serious challenges to the present-day state of artisans.

Infrastructural Bottlenecks

Most artisans are on the belief that lack of infrastructural facilities retard the growth of the handicraft industry and the same number of respondents have to face grumble from the customers concerning the quality and durability of handcrafted products. The types of equipment used to make the products are mostly outdated and time-consuming, this not only limits the number of products an artisan can make in a day but also impacts the quality of the product made. 

Change in Taste and Preferences of Consumers 

We must note here that change is the law of nature and today’s generation is fast changing. Hence, only those who can accept change with time can survive in today’s day and age. Thus, artisans must be trained to deliver quality products that after the demands of today’s market. Now we will discuss the steps taken to uplift artisans in the country. 

Handicrafts constitute a huge part of the unorganised sector. They’ve sustained through globalisation and continue to be in demand in the foreign market. However, the artisan who works in his/her/their vicinity or it migrates to another city, hardly gets enough to sustain their livelihood. Women constitute 55% of the workforce who largely remain aloof from the organised sector drowned under the burden of dual responsibility, one at home and the other without any social security. To solve this issue, several steps are taken. Some of them are as follows-

Research and Development Scheme 

 The scheme is formulated based on evaluation and research conducted by the governmental, research and developmental team. The following initiative was introduced to receive feedback on economic, social and promotional aspects of various crafts and artisans in the sector. Surveys are conducted on certain specific crafts on which there is no substantial information available, regarding problems to availability of raw materials, technology, and more.

Marketing Support and Assistance to Artisans 

Under this scheme marketing support is provided to artisans to help them participate in melas and marketing events in India and abroad, buyer-seller meets are organised to help the artisan get the link needed to showcase the talent. Financial assistance is further provided to hep participate in marketing events in foreign lands, cultural exchange programs during craft exposure programs. The purpose of the initiative is to form a link between an artisan at home to the global market and provide the financial assistance required to fulfil the desired goal. 

Ambedkar Hastshilp Vikas Yojana (AHVY)

The programme mainly focuses on community empowerment. Under the scheme, artisans are motivated to join Self-help groups (SHG’s). After this, the implementing agency will be responsible for further assistance and reform required for the same. A 25-day workshop is the highlight of Ambedkar hastshilp Vikas Yojana. In the workshop, artisans will be provided with training to create new prototypes to suit the changing taste and preference of the consumers, this will make artisans reach bigger markets at home and abroad. However, the larger question is what more needs to be done to uplift artisans from the life of penury?

• The most important aspects of inclusive development is social security, the government must ensure social security by the Ministry of Rural Development. The ministry needs to ensure that there are enough subsistence facilities available to the artisans on the ground and for their families.
• Estimation of raw material requirement, over 32 major craft categories use diverse types of raw materials. While most of the natural resource-based raw materials are locally available, over the years the reserves have been depleting largely due to lack of sustainable utilisation. To overcome the issue of cost competitiveness it is important to undertake bulk procurement through raw material bank scheme under AHVY. 
• We need to study the characteristics of the kind of loans demanded by artisans and provide for them accordingly. According to a report of NITI Aayog, most artisans require short term loans, mostly ranging for 1 to 6 months, credit requirement per artisan amounts to Rs. 0.15 lakhs, the need of the hour is easy credit, regional rural banks, cooperative banks and post office banks must ensure easy credit at customary rates to the customers so that artisans don’t have to depend on money lenders and fall in the debt trap.  
• Use of social media and NGO’s, social media provides a platform to every artist. If you have a talent, and you can showcase it to the world through social media and earn both respect and income. NGO’s in this regard must provide the necessary knowledge of social media once the digital divide is dismantled. With over 560 million internet users in the country, we are slowly but getting on the other side of the digital divide and there’s no better way to instantly become closer to a world that is appreciative of your craft and at the same time ensures you steady income. 
• Attitudinal change is extremely important. We often associate occupations with certain castes and attach prejudices with it. This not only hampers our overall development as informed individuals but also attaches a stigma concerning occupations. This attitudinal change will only come when schools and colleges sensitise young students on issues of caste prejudices, gender typing of roles among others. The emphasis on vocational studies cannot be emphasised further, students must be encouraged to learn at least one craft in their school lives, this will not only help them become in the touch of their creative side but also prepare them for a world where academic excellence is equally valued to craft. 

One must remember words of Leo Tolstoy,

“Art is not a handicraft it is a transmission of feeling the life has experienced” 

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