Dr Arunav Nayak & Purandar Kaibarta
Bheldia Jol Puja is the traditional national festival of the Kaibarta-Jalkeot community of the undivided Kamrup region, representing a profound cultural and spiritual bond between human life and water.
The term 'Kai' signifies water or fish, while 'Barta' denotes livelihood or way of living derived from the Dravidian root word 'Kevatta'. Thus, the Kaibarta-Jalkeot people are historically known as a community whose civilization developed around rivers, wetlands and water bodies, sustaining themselves through fishing, agriculture, gems and aquatic resource collection, with a life deeply interconnected with water. In the ancient Kamarupa kingdom, particularly in regions such as Guwahati and Sualkuchi, several Kaibarta-Jalkeot inhabited villages were referred to as Kevatta Gaon. According to the Constitution of India, this indigenous community is recognized under the Scheduled Caste (SC) category as Jaliya Kaibarta or Jalkeot. The community has two subgroups or appellations: Jalkeot and Nadiyal.
Every year, during the monsoon season and before the commencement of fishing activities, the community celebrates Bheldia Jol Puja. Through this sacred observance, they worship the Water God or Water Goddess and pray for abundant fish production, prosperity and the welfare of the entire world. The community is believed to have Austro-Dravidian racial roots and has inhabited this region for centuries. References associated with the ancient Kamrup-Matsyadesh and King Deveswar, mentioned in historical and religious narratives such as the Yogini Tantra for professing the worship of Maa Kamakhya around two thousand years ago, are often regarded as testimonies to their long-standing presence and cultural legacy in this region, which is their ancient homeland. The community also possesses distinctive artistic and cultural traditions, including fishing songs, folk dances and martial performances.
A Unique Tradition of Water Worship and Community Life
Bheldia Jol Puja, one of the most revered and culturally significant festivals of the Kaibarta-Jalkeot people, begins early in the morning according to the prescribed ritual calendar. The festival is deeply connected with the worship of water deities and beautifully reflects the community's nature-centric lifestyle, fishing culture and spiritual beliefs.
The rituals begin with villagers collectively constructing a beautifully crafted "Bhel"-a symbolic boat-like structure made from various parts of banana plants. The making of the Bhel itself becomes a vibrant community event, demonstrating collective participation and cultural unity. Simultaneously, worship and rituals commence at the Than Ghar, or sacred shrine.
The ceremonial atmosphere is enriched by the sounds of traditional instruments, among which the BorDhul (large log drum) holds the highest significance. Accompanied by Tal, Kaila, Bor Kah and buffalo horn instruments (Mohor Xinga), the music serves as an announcement of the sacred occasion. For the Kaibarta-Jalkeot people, no major ritual or festival is considered complete without the resonant sound of the BorDhul.
The worship of water deities is also associated with ancient Tantric and folk-religious traditions. Accordingly, Shiva and various manifestations of the Divine Mother-such as Bhagawati, Kamakhya, Manasa or Marei, Kali and Sitala-are worshipped together. In essence, the festival celebrates the harmonious union of nature, water and divinity.
After the Bhel is prepared, it is decorated with symbolic paintings depicting nature, fish, deities and aquatic motifs. The names of water deities, the host village and sacred symbols are inscribed upon it. Symbolic representations of Shiva, Parvati and Goddess Bhagawati are also portrayed.
A Kol Dil (banana flower) is placed atop the Bhel, considered a sacred symbol of prosperity and auspiciousness. The structure is further adorned with traditional flowers and foliage used in the rituals. Throughout the day, villagers collectively prepare Mah-Prasad, sacred offerings, Bhog and Panchamrit. Ritual offerings include duck eggs, bananas, gram and earthen lamps, among other traditional items. Accompanied by songs, dances and the playful celebration of Faku (holy colours), the Bhel is ceremonially carried and later floated upon the water following prescribed customs; it is a mystical sight to behold.
One of the most distinctive features of Bheldia Jol Puja is the ritual use of pigeons. One or two pairs of pigeons are kept inside partially enclosed bamboo cages placed upon two ceremonial Bhels. According to folk belief, if the rituals are properly performed and the water deities are pleased, the pigeons fly away freely at the moment the Bhel is floated. Their release is regarded as a sacred sign of divine blessings and auspicious fortune.
As the Bhel becomes considerably heavy after decoration, it cannot be carried by a single person and numerous villagers shoulder it together, carrying it from the Than Ghar through the entire village. Along the route, people offer prayers, scatter rice grains towards the Bhel and seek blessings. Visiting every household and locality forms an important part of the ritual, symbolizing communal harmony and the sharing of divine blessings.
Finally, the Bhel is taken to a nearby wetland, river or water body-on this occasion, it was floated in the Brahmaputra River. There, water deities are worshipped, and the Bhel is ceremonially set afloat.
At this solemn moment, the community collectively prays for peace, prosperity, ecological balance, successful fish production and the welfare of all living beings and humanity.
Thus, Bheldia Jol Puja is not merely a religious ceremony; it is a living embodiment of the Kaibarta-Jalkeot community's folk beliefs, nature worship, heritage and collective identity.
Cultural Performances and Living Traditions
Alongside the principal rituals of this year's Bheldia Jol Puja, nearly one hundred artists presented the distinctive cultural heritage of the Kaibarta-Jalkeot community.
The folk culture of old Kamrup among this community is centred around indigenous musical instruments such as the BorDhul, Tal, Kaila, Mohor Xinga, Thekra and Bor Kah, accompanied by traditional songs, chants, martial arts and festival-based folk dances.
Among their many folk performances, the "Mas Dhora Nritya", or Fishing Dance, occupies a unique place. This dance not only portrays fishing techniques but also reflects the community's distinct way of life. Performances traditionally begin with depictions of Bheldia Jol Puja and Beelmara, followed by demonstrations of fishing tools and methods such as Jakhe, Kuk, Pol, Asra-Koilengi nets, Jati Jal, Kos, Sangli and fishing by boat.
The performances also symbolically portray ancient practices such as preparing lime from burnt shells; preserving fish through sun-drying and traditional smoking methods (Khorika/Bindit fish); and the Pohari system, which is viewed as an example of women's economic participation and empowerment.
Equally remarkable are the community's traditional martial and acrobatic arts, which are believed to have been practised for centuries. These include performances on broken glass, leaping through rings of fire, and various forms of gymnastics and yogic disciplines. Beyond entertainment, such practices historically served to maintain physical fitness, courage and self-defence capabilities, reflecting the resilience and bravery of the community. These traditions are often associated with memories of the ancient Kamrup-Matsyadesh and the historic Kaibarta Rebellion of 1075 AD, regarded by many as one of the earliest successful popular uprisings in the Indian subcontinent.
Preserving Identity and Heritage
The preservation of these cultural traditions and ritual practices has been made possible through the collective efforts of the people of Satrapara Hazarikapara village and the Kaibarta-Jalkeot Xongho, which represents the Kaibarta-Jalkeot community of undivided Kamrup. The organisation has played a significant leadership role in safeguarding the community's traditions and national identity.
People from various Kaibarta-Jalkeot villages spread across undivided Kamrup-including Nalbari, Bajali, Kamrup Rural and Kamrup Metropolitan districts-actively participate in the festival. Special recognition is also due to the cultural wing Kaibarta Dhulia Dol, Axom, whose office bearers, organizers and artists have devoted years to preserving the community's artistic heritage. Their efforts have ensured that numerous traditional arts, rituals and folk customs continue to survive and flourish.
Together, these initiatives represent a collective endeavour to preserve and celebrate the Kaibarta-Jalkeot community's unique artistic traditions, festivals, customs and ancestral heritage for future generations.
(The authors are members of the Kaibarta-Jalkeot Xongho & Kaibarta Dhulia Dol, Axom)