Dipak Kurmi
(The writer can be reached at dipakkurmiglpltd@gmail.com.)
In the verdant landscapes of Assam’s Nagaon district, 16 kilometres west of Nagaon town, lies Batadrava Than (also known as Bardowa), a site of profound spiritual and cultural significance. Here, amidst the echoes of devotional hymns and the vibrant splashes of colour, the Doul Utsav—Assam’s rendition of Holi—unfolds as a living testament to the region’s rich Vaisnavite heritage. This celebration, first introduced to the Brahmaputra Valley by the revered saint Srimanta Sankardev, represents far more than a mere festival; it embodies the intricate tapestry of Assamese folklore, religious tradition, and cultural identity.
The Genesis of Batadrava Than:
A Historical Tapestry
To understand the significance of Doul Utsav at Batadrava Than, one must first trace the historical trajectory that led to its establishment. Before the arrival of the Ahom dynasty, various rulers including the Kachari, Chutia, Koch, and Moran governed different regions of Assam. The areas along the Brahmaputra that remained outside these kingdoms fell under the jurisdiction of a powerful confederacy known as the Bara Bhuyan—literally “twelve landowners”—led by a Shiromoni Bhuyan or chief landowner.
Scholars debate the Bhuyans’ origins, with some tracing their roots to Chotanagpur and others suggesting they originated from coastal areas along the Bay of Bengal. Though predominantly identified as Kayasthas, the Bhuyan community encompassed individuals from various castes, including Brahmin, Doibogya, and even Muslim backgrounds.
According to Assam Buranji (historical chronicles), the Bhuyans initially served as subordinate rulers under the kings of Kamrup or Kamata. However, by the mid-13th century, they had established independent control over territories stretching from Goalpara district to the Subansiri River in the north and the Kapili River in Nagaon to the south. Their dominion eventually diminished under the expansionist campaigns of Koch King Biswa Singha and the Ahom rulers Suhungmung and Suklengmung.
The lineage relevant to Batadrava Than begins with Chandibor, a talented individual who received the title of Shiromoni Bhuyan from King Durlov Narayana of Kamata. Following various migrations due to political unrest, Chandibor’s descendants eventually settled in what is now Bardowa, transforming the flood-prone lowlands into a habitable settlement by constructing ponds and raised roads—giving rise to the name ‘Alipukhuri’ or ‘place full of ponds and roads’. The title of Shiromoni Bhuyan passed down through generations: from Rajdhar to Suryavar, to Kusumbar, who with his wife Satyasandhya, became the parents of Sankara—later known as the great religious preceptor Srimanta Sankardev.
Srimanta Sankardev:
The Apostle of Peace
The life of Srimanta Sankardev stands as a pivotal chapter in Assamese cultural and religious history. Amidst escalating conflicts between the Bhuyans and Kacharis, a retaliatory massacre orchestrated by the Bhuyans prompted Sankardev, a staunch advocate of non-violence, to condemn the bloodshed and depart from Bardowa. His subsequent journey took him across various settlements including Rowta, Gangmow, Komorakat, and Maluwalor-ati, before establishing an eighteen-year residence in Buwahat near Ahatguri in Majuli.
In Buwahat, Sankardev constructed the Belaguri Than and continued propagating his doctrine of “Ek Saran Nam Dharma” (absolute surrender to one god). Here, he encountered his most distinguished disciple, Madhavdeva, who would later carry forward Sankardev’s philosophical legacy.
For approximately 140 years following Sankardev’s departure, Bardowa remained uninhabited until Aai Kanakalata, the granddaughter-in-law of Sankardev, embarked on a quest to rediscover this ancestral site. With the assistance of Damodar Ata (nephew of Chatarbhuj Thakur) and Barphukan Tangshu Phukan of Jaydhwaj Singha, she successfully identified the abandoned structures—the Doul, Manikut, Santijan, Charihati, and the great Silikha tree—confirming Bardowa as the birthplace of Srimanta Sankardev and the cradle of his early Vaisnavite activities.
The Satra Institution:
Custodians of Tradition
Upon rediscovering Bardowa, Damodar Ata and Aai Kanakalata established a permanent “Satra” (Vaisnavite monastery), which became known as Bardowa Satra. This institution, along with Narowa Satra (founded by Damodar Ata in North Lakhimpur), emerged as the leading centre of the Purush Samhati (lineage).
Following Damodar Ata’s death, a dispute over Bardowa Satra arose between his son Ramakanta and Aai Kanakalata’s grandson Anantaraya. Political instability brought about by Mirzumla’s invasion in 1662 forced both claimants eastward to escape Muslim oppression. Though peace eventually returned, neither Ramakanta nor Anantaraya returned to Bardowa. Instead, under King Chakradhvaja Singha’s patronage, they established new Satras in eastern Assam: Narowa Satra (reclaimed by Ramakanta) and two additional Satras (founded by Anantaraya) which gained prominence as Kowamara and Salaguri.
Bardowa Satra, initially managed jointly by descendants of both families, faced near ruin by the late 18th century due to destructive internal quarrels. Intervention by the royal court resulted in a division: the portion controlled by Ramakanta’s lineage became known as Narowa Satra, while Anantaraya’s descendants managed what became Salaguri Satra. The larger section of Bardowa (allocated to Ramdeva Ata, son of Ramakanta) was designated “Borhisha,” while the smaller portion (given to Ramcharan, great-grandson of Anantaraya) became known as “Chatuhissa” or “Saruphal.” These two Satras continue to conduct the religious rituals at Batadrava Than and contribute to its management and development.
The Origin of Doul Utsav in Batadrava Than
A “Than” designates a sacred site preserving relics associated with a saint or venerated figure. Batadrava Than houses such artefacts connected to Srimanta Sankardev, including foot impressions carved in stone (pada-sila) and footwear (paduka) believed to belong to Sankardev, Madhavdeva, or other apostles.
The inception of Doul Utsav in Assam is credited to Srimanta Sankardev, who introduced and popularized this celebration in the region. Historical accounts suggest that Sankardev celebrated Doul Utsav only once in his lifetime, at Bardowa, despite his subsequent migrations to various locations.
In his composition “Kirtan,” Sankardev describes the Doul Utsav:
“Range phaku khela chaytyana Bonomali
Duhate phakur gunda shichanta Murari”
(With joy plays Holi the forest-garlanded one [Krishna],
With both hands sprinkle coloured powder on the enemy (Demon Mur) destroyer [Krishna])
Conflicting narratives surround the origin of this celebration at Bardowa. According to “Guru Charit” by Ramcharan Thakur, while excavating for the construction of the Kirtanghar (prayer hall), Sankardev discovered a four-armed (chaturbhuj) idol, which inspired him to celebrate Doul Utsav. The text also describes the “meshadaha” ritual and “Yajna” ceremonies as components of this festival. This account has provoked scholarly debate, as it appears to contradict Sankardev’s fundamental teaching of “Ek Saran Nam Dharma,” which explicitly prohibits idol worship and sacrificial rituals. Some scholars reconcile this apparent contradiction by suggesting that Sankardev, then only 21 years old and surrounded by influential Brahmins, might have been persuaded to incorporate these elements. Others propose that at this early stage, Sankardev was more focused on exploring Krishna culture within the fractured cultural landscape rather than establishing religious doctrines.
Alternative accounts appear in various texts: “Dritiya Skandha of the Bhagawat” mentions celebrants carrying staffs, umbrellas, and fans while chanting “Jai Jai Krishna” and sprinkling coloured powder; “Guru Charit” by Ramananda Dwija and Dyatari Thakur references the creation of Madan Gopal and Jagannath idols by an artisan named Kurula Barhoi for the celebration; “Katha Guru Charit” claims a Vasudeva idol was discovered while digging the foundation for Charihati in Bardowa; and “Bardowa Guru Charit” suggests that Sankardev initiated the festival at the request of Ramrai and other relatives who wished to experience celebrations Sankardev had witnessed during his pilgrimages. This last account faces chronological challenges, as historical records indicate Ramrai only associated with Sankardev during his later years in Barpeta, making Ramrai’s influence on the Bardowa celebration historically improbable.
The Contemporary Celebration:
A Living Heritage
Today, Doul Utsav at Batadrava Than alternates annually between Sri Narowa Satra and Sri Salaguri Satra. This tradition of celebration by one xatra during one Phakua Purnima (Holi Full Moon Night) and the other xatra the following year continues uninterrupted. The five-day festival dedicates the first three days to primary religious rituals, followed by two days of cultural programmes, devotional services, and worship, attracting thousands of devotees from the day of “Gandha” through the conclusion.
The festival commences with the “Gandha” ritual when the movable idol of Lord Govinda is ceremonially transported from the Kirtanghar to a decorated temporary stage (robhatoli) accompanied by Gayan Bayan (singers and musicians) performing “Gandhagit”:
“Karoto gandhas bidhi bihar gopal
Sokol gupo gupi nanda jasuda adi
Mongol kora soba bhal”
(Lord Gopal performs the ritual of Gandha,
All the cowherd boys and girls, Nanda, Yashoda and others,
May all be blessed with auspiciousness.
The xatras follow slightly different protocols for this ceremony. Sri Salaguri Satra transports the idol to “Gandhaghar,” a temporary straw and bamboo structure on the bank of Akasiganga, where, after ritualistic bathing with scented water and adorning with new garments and ornaments, the idol is installed on the temporary stage before the Gandhaghar is set ablaze. The “Meshdaha” ritual traditionally involved burning a goat alongside the hut, but contemporary practice substitutes a rice-flour ball (laru) containing a goat effigy that is burnt with the structure. Sri Narowa Satra omits both the Gandhaghar construction and the Meshdaha ritual, instead bathing and adorning the idol near the main seat of the temporary stage before installation, accompanied by Gayan Bayan singing:
“Bhai dekhi komolapati doular upora
Bikunthar nath doul rosa keli kora”
(Brothers, see Komalapati [Krishna] on the Doul,
The Lord of Vaikuntha enjoys the pleasure of the Doul.
The idol remains there until the following day when it is moved to the Doul Mandir. Throughout the night, devotees maintain vigil with hymns and prayers.
On Purnima day, the afternoon witnesses Nam Kirtan (devotional songs) performed by Gayan Bayan before the idol. Amidst religious fervour enhanced by instruments including khol (drum), tal (cymbals), doba (drum), Nagara (kettle drum), and sankhoo (conch shell), coloured powder (phaku) is sprinkled over Lord Govinda:
“Ae phaku khelia karunamoi ae nanda kumar
Debor durlov keli phadur bihar
Phaku pori shyam tanu kora tiri miri
Robir kirona jen morokot giri”
(The compassionate son of Nanda plays with colours,
A rare pleasure-game of the gods,
The dark-complexioned body covered with colours shimmers,
Like sunlight on an emerald mountain)
That night, after ritual bathing and redressing, the idol returns to its seat while devotional services continue through the third day, “protipod.” Following Nam Kirtan in the Kirtanghar, the idol is placed on a decorated chariot and processed toward the Doul Mandir and surrounding areas, accompanied by devotees singing “Biyanam” (marriage songs), playing traditional instruments, and joyfully throwing coloured powder:
“Karpur kusum phagu oti subasito
Gupo gupi soba khela huwa anondito
Aaur aaure phaku mare anjali bjotiya
Phagu nase hase Kirtan koriya”
(Fragrant-coloured powder of camphor and flowers,
All the cowherd boys and girls play joyfully,
Everyone throws handfuls of colour at each other,
Dancing and laughing while performing Kirtan)
At the Doul Mandir, the idol completes seven circumambulations, symbolizing Lord Govinda’s journey through seven Vaikunthas (heavenly realms). During its return to the Kirtanghar, households offer welcome and seek blessings, with special xatriya rituals performed at both xattradhikar and dekaxattradhikar residences of both xatras. Upon reaching the Kirtanghar, Sri Sri Salaguri Satra (though not Sri Sri Narowa Satra) performs the “Duwardhra Anusthan” or door obstruction ritual around 10 PM, staging a mock conflict between those who accompanied Lord Govinda to the Doul Mandir and those who remained at the Kirtanghar. This dramatic reenactment references Krishna’s extended celebration of Holi at Ghunusha’s house without Rukmini’s consent, resulting in her barring his reentry until certain conditions were met:
“Lakshir kasok dhori asa sorbojoi Dui sukla stuti kori lakshik buloi
Karunaya suni lakshi dila dwar aeri
Grihak poshila soba koribor huri”
(Holding Lakshmi’s waist, Sarbajaya arrives; praising Lakshmi with sweet words
Hearing with compassion, Lakshmi opened the door
All entered the house with joy)
Some scholars consider this episode a later incorporation rather than part of Sankardev’s original celebration, suggesting it reflects his subsequent exposure to observances at Jagannath Puri.
The festival concludes with Lord Govinda’s return to the Kirtanghar and placement on his customary seat, traditionally accompanied by the Kirtana “range phaku kheli chatyana bonomali, jai jagganath Krishna surjya bhoilana udita” (With joy plays Holi the forest-garlanded one, Victory to Lord Jagannath, Krishna has risen like the sun).
The Musical Heritage:
Songs of Devotion
The Vaisnavite tradition espoused by Sankardev maintains that spiritual liberation doesn’t require complete renunciation of worldly life but can be achieved through remembrance and recitation of the divine name. His “Ek Sarana Nam Dharma” doctrine held that sincere devotees could attain liberation by reciting, singing, muttering, or remembering God’s names, or by listening to accounts of divine glory.
To facilitate devotional cultivation, Sankardev and Madhavdeva translated numerous religious scriptures for common accessibility and composed literature, prayer songs, and lyrics set to classical ragas, infused with sublime thoughts and intense devotion. Over time, these practices—hymn singing, prayer chanting with musical accompaniment, and scriptural reading and explication—became integral to xatra prayer services.
The Doul Utsav features various Nam Kirtana, Bargeet, and Phakuwa Diha performances by Gayan-Bayan and devotees, accompanied by traditional instruments. During the festival, devotees modify the standard Kirtana by incorporating two additional compositions, with a tradition of singing “range phaku khela chaitnaya bonomali, jai Jagganath Krishnasurjya bhoilanta udita” (With joy plays Holi the forest-garlanded one, Victory to Lord Jagannath, Krishna has risen like the sun). Women perform this Kirtana during morning and afternoon Prasangas, switching to “Phakuwa Diha” for the final Kirtana.
These anonymous compositions, whose exact origins and dates remain untraceable, emerged organically from devotional gatherings at Batadrava Than. Scholar Sri Gajen Rajkhowa has made significant contributions toward preserving these nearly extinct songs, compiling them in “Bardowat Basartu aru Aai sokolor Diha Naam.”
Beyond Festival: Cultural
Cohesion and Exchange
The Doul Utsav at Batadrava Than transcends mere festivity to serve as a nexus of social cohesion and cultural exchange. As with Holi celebrations across India, it unites diverse participants in joyous communal expression while preserving distinctive regional traditions that reflect Assam’s unique historical and spiritual landscape.
The festival’s continuing vitality demonstrates how religious observances evolve while maintaining core cultural values. Despite varying historical interpretations of its origins and the adaptations of certain rituals over time (such as the symbolic rather than literal Meshdaha practice), the essence of devotional celebration remains intact across generations. Through the interplay of myth, history, ritual, music, and communal participation, Batadrava Than’s Doul Utsav offers a window into Assam’s cultural soul—a living heritage that continues to resonate with spiritual significance while adapting to contemporary sensibilities. As devotees gather each year amidst splashes of colour and devotional melodies, they participate not merely in a festival but in the ongoing narrative of Assamese cultural identity, shaped profoundly by the Vaisnavite tradition pioneered by Srimanta Sankardev nearly five centuries ago.
The enduring legacy of this celebration serves as a testament to the resilience of Indigenous cultural expressions and their capacity to foster community bonds while accommodating changing social norms—a vibrant reminder that festivals function not merely as religious observances but as living repositories of collective memory and shared identity.