Bihu April 14

Like some other Indian festivals, the festival is associated with agriculture, and rice in particular. Bohag Bihu is a sowing festival, Kati Bihu is associated with crop protection and worship of plants and crops and is an animist form of the festival, while Bhogali Bihu is a harvest festival.

Some hang brass, copper or silver pots on poles outside their homes, while children wear flower garlands and then greet the New Year as they walk through rural streets. All three celebrations are Assamese festivals worshiping Krishna, cattle, family elders, fertility and the mother goddess, but the celebrations and rituals reflect influences from Southeast Asian and Chinese cultures.Tibetan.

The word Bihu is derived from the Deori (a Boro-Garo language) word Bisu which means "excessive joy". The original form of Bihu continues among the Chutias, the Sonowal Kacharis and the Deoris. These groups, known as Sadiyal Kacharis, were associated with the historical Sadiya kingdom. The other branches of Bodo-Kacharis which include Boros, Dimasas, Rabhas, Tiwas, etc. also celebrate these days since ancient times. The Boros call it Baisagu, while the Dimasas, Tiwa and Rabha call it Bushu or Bushu Dima, Pisu, Dumsi respectively.

In local folklore, it is said that Bordoisila (Bardai Sikhla in Bodo) (meaning northwest winds in Assamese) was the daughter of God Earth who married a husband from a distant land. Bordoisila visits her mother's house once a year in spring, which indicates the beginning and leaves after a few days, which indicates the end of the festival. 

Assam experiences a strong gale at this time which marks the beginning of Bihu and another strong gale after its departure which is devastating. The word Bordoisila is derived from the Bodo word Bordaisikhla which means "daughter of the storm" (Sikhla meaning girl and Bardai meaning storm). There is even a dance of the same name performed among the Boro during Baisagu which indicates the origin of Bihu in the Bodo-Kachari groups.

The first reference to these festivals is found in the copper inscription of King Chutia Lakshminarayan. The inscription was found in the Ghilamara area of Lakhimpur district in 1935 and it was published in 1401 AD. It states that King Lakshminarayan donated land grants to the Brahmins on this occasion. It reads,

“Etasmay Shashana prada Lakshminarayana Nripa
Utrijya Bisuye Punya Ravidev Dvijanme »
— Copper plate, Ghilamara (1401)

This means that on the pious occasion of this blessed day, a Brahmin named Dvija Ravidev was granted land by the king. This indicates that this day played an important role in the social life of the people of Assam at that time.

The wooden Khol played at Majuli in early times (similar to the Mayamora Khul, Manipuri Pung) was later transformed into the terracotta Mridanga (similar to those played in eastern India) by the Vaishnavite saint Sankardev so that it can be used in art forms like dances and dramas.

Yet another reference to this festival can be found in the Deodhai Buranji which mentions that the capital of the Chutia kingdom, Sadiya was suddenly attacked by Ahom forces on the first day of the festival in 1524 (first Wednesday of Bohag/Vaisakha), when people were busy celebrating. General Ahom Phrasenmung Borgohain, on the advice of a General Chutia (who sided with the enemies), performed on Bihu Dhul (on the day of Ujha Bisu, i.e. 7 Bohag/ Vaisakha) to deceive the Chutias, which ultimately led to their defeat.

In early texts, Bohag Bihu celebrations began from the first week of the month of Chaitra (Chot in Assamese). The period from the first week of Chaitra till the end was known as Raati Bihu or Chotor Bihu. During this period, young people danced at night in the Than (temple) enclosure. 

The last day of Chaitra or the first Tuesday of Bohag was the end of Rati Bihu. This was known as Uruka (derived from Deori-Chutia Urukuwa meaning to finish). The dancers at the Deodhani temple danced all night and were believed to be possessed by the goddess Kechai-khati (kolimoti), signaling that she had descended to earth from heaven (Bihu nomai ona). This belief of the goddess arriving every year during the festival is still found in songs like,

“Kolimoti and bai ghuri Bohagoloi
Ahibi ne nai?
Friend thakim friend thakim
Baatoloi sai. »

The day after Uruka i.e. first Wednesday was celebrated as Goru Bihu. This tradition of cattle rites is the same as that followed by the Boros in Bwisagu indicating the common roots of the two festivals. During the night, people danced in separate groups in the Thans where animal sacrifices took place. 

After the sacrifices to the goddess, the young people visited the houses of the village, which was the beginning of Husori. This old tradition of removing Husori from the temple is still followed by the Deoris, some Sonowals, Chutias and Morans as well as the people of Sadiya. In other communities, the temple has been replaced by the Namghar. The Bohag Bihu festivities continued for a week and ended with the rite by which the goddess bid farewell. In this rite, a boat was first prepared from banana stem and decorated with flowers and offerings. 

Then it was transported to the banks of the river where a duck/chicken was placed inside the boat and left to float as a symbol of sacrifice. After performing the rite, the people returned home, singing along the way with the rhythms of Dhul and the tunes of Pepa.

Some ancient Assamese folklore still alludes to this tradition.

“Hasoti e chot Bisoti e chot.
Budhe Goru Bihu Mangale Uruka.
Bihu goi asili kot.

“Boge dhari khale luitor hihu,
Mangal nude Uruka Budh nude Goru Bihu
Tar pasor dina Manisor Bihu.

“Husori e chot asili kot.
Sadiyar ahotor tolot,
Husori e chot asili kot.
Friend je ulomu jot Dubori nogoje tot.

“Kundilor agolit ukhokoi Himolu.
Tate law kuruwai bah.
Sadiyar rajate sari haal goxani
Taloi namaskar koru.
Hunare jakhala Rupor hetamari
Ahe sari haali nami.

The modern form of Bihu dance is derived from the Faat Bihu dance celebrated in Dhakuakhana, Lakhimpur. The performers were called by the Ahom king Rudra Singha in 1694 to dance in the royal Rang Ghar arena. The origin of Faat Bihu dates back to Sadiya. The word Faat in Deori-chutia language means “to emigrate”. After the defeat of the Sadiyal Kacharis in Sadiya, the survivors were moved from Sadiya to different places in the kingdom. 

A group of these people moved from Sadiya to Dibrugarh and finally settled in Harhi Sapori, Dhakuakhana. These people had brought the idols of the god and goddess with them and established a temple now known as Harhi Dewaloi. It was here that the first form of modern dance was developed. Later, in the 19th century, this dance form was also adopted by the other communities and started being performed in Mahguli sapori, Dhakuakhana by Chutias, Sonowals, Deoris, Ahoms, Mishing, etc.