Bhaona: Its origin and development

POST-SANKARI PERIOD: After the death of Sankerdeva, his disciples, from Madhavdeva to Gopal Ata or Daityari Thakur, haven’t intended to keep Bhaona in strict conformity with his original ethos. Bhaona was refurbished with new linguistic flavour and story content. This is for the sake of time and realistic acceptance among the common masses. Some formalities of Bhaona have been shown nominally. These are, for example, Nandi (Benedictory verses) or Mukti managala (Sutradhara prays for forgiveness of God for any fault at the end) as roles of Bhaona.

LANGUAGE: Moreover, changes occurred in language as well. Instead of ‘Brajawali’, the prevalent Assamese language of that period adopted it to popularise it, eschewing the elite Brajawali language. In the ensuing years after the 17th century, many Xatras (monasteries) flourished and began to challenge a few existing orthodox Xatras. These ‘xatradhikars’ (heads of a monastery) wrote many Bhaona scripts in modern Assamese or Brajawali mixed Assamese. These devotees of Sankardeva named the plays only written by Sankardeva or Madhavdeva as ANKIYA NAT. This may be in deference to the great saints.

Among the new generation, the cultural aspects of Bhaona have been emphasised, and the easy entertainment side is more meticulously displayed. Therefore, Bhaona is surviving to the present day more and more among all classes and communities in Assam.

Types OF Bhaona: Bhaona evolved into many forms based on the overall theme or structure of Ankiya Bhaona, such as: Phaujiya Bhaona (started in Koch Behar),

Mukha Bhaona (Bhaona performed wearing a mask mainly in Majuli),

Matribhasha Bhaona (Bhaona of the Assamese mother tongue popular in upper Assam)

Baresohoria and Hazari Bhaona (simultaneous performance of many Bhaonas under a single pandal in the middle of the north and south banks of Assam)

Dhura Bhaona, which originated from the Dhup kirtan of Bengal, flourished in Barpeta and Kamalabari monasteries.

Dhuliya/Khuliya Bhaona, Sabah Bhaona, Juri, and Cukraganar Bhaona (Sutradhara characters not available), Buka Bhaona, Pani Bhaona, and many other little-known terms of Bhaona are available in every nook and corner of Assam.

6: English Bhaona: Nowadays, with easy cultural exchange across the globe and the fast development of digital media, the taste and outlook of people are changing. Bhaona, except for the pivotal theme, can’t be performed as a mediaeval drama overlooking modern trends. This will be done merely in the name of showcasing or preserving our heritage. The pattern to safeguard rich cultural heritage has to be changed with running time. The fruit of these thoughts is newly added to the popular dimension of Bhaona. That is English Bhaona under the directorship of Arup Saikia, Gitimallika, and Girimallika as joint coordinators.

Besides modern Indian languages, recently, from 2018 onwards, Bhaona has been popularly staged in English in India and abroad as well. The classical or traditional undertone of Bhaona has been echoed in songs, dialogues, dance, footsteps, etc., although in a foreign language.

MOULDING OF BHAONA: Bhaona is a product of composite culture and an unseen thread that contributes to uniting the people of Assam.

Bhaona is, of course, a product of the pan-India bhakti movement initiated by Sankerdev in Assam. But the infrastructure or ingredients are taken locally to create feelings among the people of Assam as part of their own culture. Pre-Sankari folk festivals of Assam, like oja pali, puppet dance,kushan gaan, etc., have a great influence on Assamese Bhaona. The imitating shadow of Rasleela or Yakshagana is apparently hidden. Moreover, Sankerdev infringed on the rules of ancient Sanskrit drama. Where scenes like fighting, love scenes, marriage, murder, etc. are prohibited. But Sankerdev dramatised these beautifully in Rukmini Horon (the abduction of Rukmini) and others also.

Overview: The costume of Bhaona is unique and prepared from locally available materials. The pag, or headgear, worn by Gayan and Bayan (orchestra) and Sutradhar (anchor and director) vary from place to place. This is for local influence and innovative measures by various xatras (monasteries). Among many designs, koshapatiya pag is more common or popular for Sutradhara. The kosha (wooden vessel) is perceived to be used to wash the feet of the Lord. That symbolises the benediction of God. On the other hand, Gayan-Bayan’s pag is a little small. It’s called khekerupatiya or gosai pag, which exposes the forehead. Some other pags are also available, like thukura or koldiliya (shaped like a flower from a banana tree), etc.

Frequent ethnic conflict was common during Sankerdev’s time. So he felt it necessary to construct a harmonious platform for all communities in the name of Bhaona. The existing folk culture, dresses, ornaments, and customs of Assam are artistically blended with the performance of Bhaona to form a unified Socio-cultural force in Assam.

The ghuri, or lehenga, of Sutradhara may be taken from Ojapali. Unlike in Sanskrit drama, the dress of Sutradhara’s character is depicted as neither female nor male. The Sutradhara is only considered a form of God to run the whole drama. The jackets worn by Sutradhar and other actors may be from Tiwa or Mising. The tangali (waist wrapper) is found among the Bhuyan clan in mediaeval Assam.

Unique Entry and Exit: The entry and exit of actors’ footsteps to the various tunes of Sankerdev’s devotional song “Borgeet” is only in Bhaona. A white curtain (Aar Kapur) hides actors before entry. Removing the curtain at the time of entry implies dispelling illusions to enter the divine world.

The agnigarh (fort of light) is a spiritual feature of Bhaona. It’s an arch under which actors enter. Nine lamps were lit over the arch to demonstrate nine modes of devotion. A piece of bamboo lit by pouring mustard oil is called “Aaria”. Before Agnigarh, it enlightens the arena and symbolises Shravana (listening) and kirtan (recitation).

Impact OF Bhaona: Bhaona influences Assam very deeply in language, economy, and society.

Social: New titles related toBhaona,a like Gyan, Bayan,and Pathakk, are born.The manufacturerr of crackersise called Khanikar.

ECONOMY: Bhaona being a cultural industry, its economic implications are inevitable. The professions of makeup artist, costume maker, and singer are naturally formed. The role and system of hiring orchestras are very prevalent nowadays.

Language: To start with, Bhaona has been performed in Brajawal. Itis as mixture of eastern Indian languages. So, Brajawali hasdecorated thed Assamese modern language with many new words from Bengali, Oriya,Maithali,i etc.

How TO Survive: Bhaona is displaying the broader culture of north-eastern India. Bhaona has to be presented as a competitor to popular modern festivals or dramas. The use of ongoing dramatic infrastructure like a decorated proscenium or thrust stage is very necessary. The traditional Namghar (Assamese prayer house) or traverse stage may not sustain its glory intact for popular cultural survival.

Moreover, mode of expression, dialogue, lighting, orchestra, language, costume, etc., should have a glimpse of unique beauty surmounting fundamental barriers. Now it is a moral responsibility for the people of Assam to emulate the legacy of Bhaona with greater acceptability and ingenuous empathy in different forms as time demands.