Status And Future Of Sericulture And Silk Production In South Asia

A steady trend of increase in demand for synthetic fibre for apparel consumption has been the biggest threat for sericulture and silk production all over world. Present and future of sericulture will depend on the ecology-conscious textile consumers across the globe. Comfort, easy maintenance, functionality, fashion and price are going to be the key parameters of silk apparel consumption. ‘Feel good, look good and do good’ will remain as the core component of apparel demand. However, as a sy mbol of the best royal elegance and an honoured gift, silk will always remain the queen of textiles.

Geo-climatic Location

About 86% of the Indian raw mulberry silk production takes place in the three states of southern India: Karnataka, Tamil Nadu and Andhra Pradesh, where the climatic condition allow production of cocoons all the year around.

A little more than 10% (18-1900 MT annually) of Indian’s raw silk is produced further north, in West Bengal, where it is possible to have four-five cycles of Mulberry silk Moth per year. It is obvious that the potential for producing mulberry raw silk in Bangladesh is far greater than the annual production of 30-60 MT raw silk produced now.

In Pakistan, existing mulberry plantations and rural manpower has potential to rear forty thousand boxes of mulberry silk moth eggs in one rearing season. This potential unfortunately not being utilized due to various reasons.

In many parts of the other South Asian countries one finds soils and climatic conditions which allow profitable sericulture. The hugs silk production in present China, and earlier large productions in Japan, Korea and southern Europe, show that profitable sericulture is possible under climatic condition far north of the main silk producing parts of India.   

Read also:

Muga Silkworm and Muga Silkworm life cycle

Hence, the geo-climatic location of countries in South Asia is not a reason for the small production of raw silk in countries other than India. In several of these countries, the low priority of sericulture and silk production shown by various governments over time has resulted in deplorable condition of sericulture. As said for Pakistan, it is often interest and initiative by cocoon rearers that is keeping sericulture alive. Others factors influencing silk production are found in Traditions and Social Factors.

Traditions

Traditions for sericulture have played an important role for sericulture and silk production. It requires great knowledge and biological understanding to rear silk larvae commercially, a knowledge which cannot be acquired quickly, but most often has been transmitted from one generation to next, in particular through women.

Social Factors and Women’s role

It is a fact that women – throughout the history and everywhere – have been the ones who took care of and reared the silk moth from egg to cocoon. Men have often cultivated mulberry trees and harvested their leaves to feed the larvae.

In some countries the main purpose of rearing silk cocoons may not have been to make a big production but to create work for very poor women, thus helping them and their families to get out of extreme poverty and avoid hunger. This has been the case with some of the government and NGO support given in Bangladesh and private support to tribal women in Assam (India). According to Pakistani Forest Policy Guidelines 1984, sericulture was recognized as a non-timber forest produce which should be promoted to enhance livelihood of forest dependent communities.

Cultural Factors:

Culturally, without silk no ritual is complete as an apparel wear in some form or the other. Despite its labour intensive manufacturing process, silk will always remain bonded with culture and heritage of human kind.

Sericulture industry is one of the very few sectors that provide livelihood to large section of population with its many stake holders: farmers, seed producers, rearers, reelers hand spinners, machine spinners, twisters, hand loom weavers, designers, converters, suppliers, wholesalers, retailers, consumers and more. Sericulture industry one of the longest value supply chain involved.

Read More

Status And Future Of Sericulture And Silk Production In South Asia

A steady trend of increase in demand for synthetic fibre for apparel consumption has been the biggest threat for sericulture and silk production all over world. Present and future of sericulture will depend on the ecology-conscious textile consumers across the globe. Comfort, easy maintenance, functionality, fashion and price are going to be the key parameters of silk apparel consumption. ‘Feel good, look good and do good’ will remain as the core component of apparel demand. However, as a sy mbol of the best royal elegance and an honoured gift, silk will always remain the queen of textiles.

Geo-climatic Location

About 86% of the Indian raw mulberry silk production takes place in the three states of southern India: Karnataka, Tamil Nadu and Andhra Pradesh, where the climatic condition allow production of cocoons all the year around.

A little more than 10% (18-1900 MT annually) of Indian’s raw silk is produced further north, in West Bengal, where it is possible to have four-five cycles of Mulberry silk Moth per year. It is obvious that the potential for producing mulberry raw silk in Bangladesh is far greater than the annual production of 30-60 MT raw silk produced now.

In Pakistan, existing mulberry plantations and rural manpower has potential to rear forty thousand boxes of mulberry silk moth eggs in one rearing season. This potential unfortunately not being utilized due to various reasons.

In many parts of the other South Asian countries one finds soils and climatic conditions which allow profitable sericulture. The hugs silk production in present China, and earlier large productions in Japan, Korea and southern Europe, show that profitable sericulture is possible under climatic condition far north of the main silk producing parts of India.   

Read also:

Muga Silkworm and Muga Silkworm life cycle

Hence, the geo-climatic location of countries in South Asia is not a reason for the small production of raw silk in countries other than India. In several of these countries, the low priority of sericulture and silk production shown by various governments over time has resulted in deplorable condition of sericulture. As said for Pakistan, it is often interest and initiative by cocoon rearers that is keeping sericulture alive. Others factors influencing silk production are found in Traditions and Social Factors.

Traditions

Traditions for sericulture have played an important role for sericulture and silk production. It requires great knowledge and biological understanding to rear silk larvae commercially, a knowledge which cannot be acquired quickly, but most often has been transmitted from one generation to next, in particular through women.

Social Factors and Women’s role

It is a fact that women – throughout the history and everywhere – have been the ones who took care of and reared the silk moth from egg to cocoon. Men have often cultivated mulberry trees and harvested their leaves to feed the larvae.

In some countries the main purpose of rearing silk cocoons may not have been to make a big production but to create work for very poor women, thus helping them and their families to get out of extreme poverty and avoid hunger. This has been the case with some of the government and NGO support given in Bangladesh and private support to tribal women in Assam (India). According to Pakistani Forest Policy Guidelines 1984, sericulture was recognized as a non-timber forest produce which should be promoted to enhance livelihood of forest dependent communities.

Cultural Factors:

Culturally, without silk no ritual is complete as an apparel wear in some form or the other. Despite its labour intensive manufacturing process, silk will always remain bonded with culture and heritage of human kind.

Sericulture industry is one of the very few sectors that provide livelihood to large section of population with its many stake holders: farmers, seed producers, rearers, reelers hand spinners, machine spinners, twisters, hand loom weavers, designers, converters, suppliers, wholesalers, retailers, consumers and more. Sericulture industry one of the longest value supply chain involved.

Read More

About the drama of Maha Purush Madhavadeva

After Sankaradeva, Madhavadeva composed a few numbers of drama which are small in volume and known as Jhumuras. Though these dramas follow the ideas of the dramas of Sankaradeva, they have some other peculiarities. The dramas of Madhavadeva are Chordhara, Pimpara-Guchowa, Arjuna-Bhanjana (Dhadhi-Mathana), Bhumi Letowa and Bhojana Behara. Though it is not confirmed, the following dramas Ras-Jhumura, Kotora-Khelowa, Bhusana Harana and Brahma-Mohan (appended to Bhjana Behara) are said to have been written by Madhavadeva. Arjuna-Bhanjana is accepted as a drama as it contains a definite story. The others are known as Jhumuras and these describe a particular situation of child Krishna’s playful activities which are not full stories. All these Jhumuras are very popular, as they contain all the entertaining activities of child Krishna, like playing with monkeys and other animals along with Gopa-Balakas. These activities  reflect  the simple common village life. These Jhumuras can be considered as the beginning of Assamese children drama. Madhavadeva was very must successful in depicting the child character of Krishna.

Chordhara: 

Chordhara is a Jhumura written by Madhavadeva. The theme of this Jhumura is taken from the verses of ‘Krishna Mangala’ (Bala-Gopala Stuti) written by Lila Suka (Bilva- Mangala). The main character is Krishna. Here, we find that one day child Krishna entered  into a Gopi’s house for stealing Lawanu (butter). The Gopi caught Him and locked Him inside. Then, she called all her neighbouring Gopis to show them the thief Krishna. Krishna also called His friends Sridama, Sudama, Bisala etc. And told them that the Gopis have accused Him as thief. The Gopa-Balaka (Milkman child)  questioned the Gopis why are calling their friend Krishna a thief. Krishna also told the Gopis that He will complain the matter to His mother Yashoda as the Gowalis (Milkman)  are taking the milk themselves and blaming Krishna as thief. Being afraid of Yashoda, the Gopis freed Krishna, but Krishna instead of going back home, asked Lawanus from them. The Gopis, in return, asked Krishna to dance if He wants to have Lawanus. Then, Krishna danced and took Lawanus from the Gopis. In the meantime, Yashoda was wandering in search of Krishna asking each and everyone she met. Failing to get her Son Krishna, she come back home. She cried for lost of her Son. Then, few Gopis informed Yashoda about Krishna Whom the Gopis saw dancing in exchange of getting Lawanus. Yashoda went there, took her Son into her lap and scolded the Gopis.

Also Read: 

The Sarawati Puja And The Durga Puja

Pimpara-Guchowa:  

Pimapara- Guchowa is also another Jhumura of Madhavadeva. Accoring to the Charit-Puthi (biographical account of saints), this Jhumura was written by Madhavadeva at Sundaridiya Sattra. In Pimpara (Pipara) Guchowa, one of Gopi found Krishna inside her house and asked about His identity. Krishna told her that He is the younger brother of Balai (Balorama). Gopi again asked Krishna why He was stealing her Lawanus. Krishna replied that He was busy in removing the Pimparas (ants) who were destroying her Lawanus. Then, the Gopi asked why Krishna made her sleeping son awake? Krishna replied that He only wanted to know from the child about His lost calf. Gopi enquired why there is the smell of Lawanus from Krishna’s mouth? Krishna told that she herself ate Lawanu and blaming Krishna. Krishna also told her that He is the Son of Nanda who is the leader of the Gowalas and had Lawanus more than enough in His store. Therefore, Krishna need not go for stealing Lawanus from others. The Gopi told Krishna that she will complain to His mother Yashoda and accordingly did so. Yashoda got angry hearing the complain from Gopi and scolded Krishna. Krishna also replied His mother that she had no child earlier. He came to her and removed ail her worries. Therefore, she should never scold Him.

Arjuna-Bhanjana (Dadhi-Mathana):

Though Arjuna-Bhajana is called Jhumara, it is separate from the others, as it contains a full story and has all the characters of Ankiya drama. The story is taken from the Bhagavata Purana. The theme of the play is uprooting of two Arjuna trees. While Yashoda and her maids were busy churing milk, Krishna was disturbing His mother for not feeding Him. He broke all the pots of milk and curd for which Yashoda tried to punish Him. She caugh hold of Krishna and tried to fasten Him with a rope around His waist with a mortar (Ural). But, she could not tie as the rope got short by two fingers length. She again tried by joining ropes. Yet she failed. Ultimately, Krishna, showing compassion to the devotee mother, Himself accepted the fastening Himself. Then, Jasoda got busy with her work. Krishna pulled the mortar (Ural). The Ural got strucked in between the two Arjuna trees. Krishna gave heavy pull and as a result, both Arjuna trees got uprooted. Thereby, both Nalakuvera and Manigriva, who were crushed to become trees, got released. While Nanda was coming back home, he saw Krishna in that state. He quarrelled with Yashoda for torturing their Son Krishna.  The incident of quarrel between Nanda-Yashoda is the creation of Madhavadeva which is not there in the Bhagavata.

Bhojana-Bihara (Behara) and Brahma-Mohana:

Bhojana-Bihara is the Jhumura written by Madhavadeva. Here, Krishna, along with Gopa-Balakas (friends), while, grazing the cows in the bank of river Yamuna, got hungry. Krishna called all His friend and asked them to sit along with Him and had their meal.  The description of Krishna taking meal, keeping His flute by His side, is unique. To see the scenery, even the gods were  coming down from heaven. In the meantime, all the calves went far away. Sridama saw it and wanted to go to bring back the calves. But, Krishna did not allow Sridama to go; instead, Krishna Himself went for it. Brahma stole aii the cows and Gopa-Balakas. Krishna not finding them used to roam around shouting and calling each and everyone of the herd. Krishna came to know the fact that all these wre stolen by Brahma. In some version of the play, the later part of charming Brahma is added along with Bhonjana-Behara. This play is also known as Brahma-Mohana.

Also Read:
Srimanta Sankaradeva, Madhavadeva And Their Contribution

Bhumi Letowa:

In Bhumi-Letowa, Krishna kept His flute aside and was stealing Lawanu. In the meantime,   Krishna saw His cry lying on the ground. Yashoda got pity on her Son and tried to console Krishna saying that she will fed Him with fresh Lawanu as soon as the Gowala (Milkman) bring the milk. But, Krishna wanted Lawanu then and there. Yashoda faild to convince Him and took Lawanu which wew kept inside the temple for offering to God Hari and she offered these Lawanu to Krishna. Krishna got satisfied and began dancing.

Ras-Jhumura:

In Ras-Jhumura, Madhavadeva describes the proudly Gopi name Radha, who intended to ride over Krishna’s shoulder and lost her most beloved Krishna.  Then, Radha repented for her mistake and prayed Krishna crying to pardon. According to some scholars, it cannot be from the pen of Madhavadeva because of the subject matter is not to that level of writings of Madhavadeva.  

Kotora-Khelowa:  

                    

In Kotora-Khelowa, Madhavadeva showed the Gopa-Balakas teasing the Gowalis while they were carrying milk products for selling. The Gopa-Balakas obstructed them in all their ways trough Yamuna. The Gowalis called Jabara for their rescue and help. Jabara came but had to flee away being unable to bear the attack from Gopa-Balakas. The gowalis had to surrender and offer their milk products in return of dance by Krishna.       

Read More

About the drama of Maha Purush Madhavadeva

After Sankaradeva, Madhavadeva composed a few numbers of drama which are small in volume and known as Jhumuras. Though these dramas follow the ideas of the dramas of Sankaradeva, they have some other peculiarities. The dramas of Madhavadeva are Chordhara, Pimpara-Guchowa, Arjuna-Bhanjana (Dhadhi-Mathana), Bhumi Letowa and Bhojana Behara. Though it is not confirmed, the following dramas Ras-Jhumura, Kotora-Khelowa, Bhusana Harana and Brahma-Mohan (appended to Bhjana Behara) are said to have been written by Madhavadeva. Arjuna-Bhanjana is accepted as a drama as it contains a definite story. The others are known as Jhumuras and these describe a particular situation of child Krishna’s playful activities which are not full stories. All these Jhumuras are very popular, as they contain all the entertaining activities of child Krishna, like playing with monkeys and other animals along with Gopa-Balakas. These activities  reflect  the simple common village life. These Jhumuras can be considered as the beginning of Assamese children drama. Madhavadeva was very must successful in depicting the child character of Krishna.

Chordhara: 

Chordhara is a Jhumura written by Madhavadeva. The theme of this Jhumura is taken from the verses of ‘Krishna Mangala’ (Bala-Gopala Stuti) written by Lila Suka (Bilva- Mangala). The main character is Krishna. Here, we find that one day child Krishna entered  into a Gopi’s house for stealing Lawanu (butter). The Gopi caught Him and locked Him inside. Then, she called all her neighbouring Gopis to show them the thief Krishna. Krishna also called His friends Sridama, Sudama, Bisala etc. And told them that the Gopis have accused Him as thief. The Gopa-Balaka (Milkman child)  questioned the Gopis why are calling their friend Krishna a thief. Krishna also told the Gopis that He will complain the matter to His mother Yashoda as the Gowalis (Milkman)  are taking the milk themselves and blaming Krishna as thief. Being afraid of Yashoda, the Gopis freed Krishna, but Krishna instead of going back home, asked Lawanus from them. The Gopis, in return, asked Krishna to dance if He wants to have Lawanus. Then, Krishna danced and took Lawanus from the Gopis. In the meantime, Yashoda was wandering in search of Krishna asking each and everyone she met. Failing to get her Son Krishna, she come back home. She cried for lost of her Son. Then, few Gopis informed Yashoda about Krishna Whom the Gopis saw dancing in exchange of getting Lawanus. Yashoda went there, took her Son into her lap and scolded the Gopis.

Also Read: 

The Sarawati Puja And The Durga Puja

Pimpara-Guchowa:  

Pimapara- Guchowa is also another Jhumura of Madhavadeva. Accoring to the Charit-Puthi (biographical account of saints), this Jhumura was written by Madhavadeva at Sundaridiya Sattra. In Pimpara (Pipara) Guchowa, one of Gopi found Krishna inside her house and asked about His identity. Krishna told her that He is the younger brother of Balai (Balorama). Gopi again asked Krishna why He was stealing her Lawanus. Krishna replied that He was busy in removing the Pimparas (ants) who were destroying her Lawanus. Then, the Gopi asked why Krishna made her sleeping son awake? Krishna replied that He only wanted to know from the child about His lost calf. Gopi enquired why there is the smell of Lawanus from Krishna’s mouth? Krishna told that she herself ate Lawanu and blaming Krishna. Krishna also told her that He is the Son of Nanda who is the leader of the Gowalas and had Lawanus more than enough in His store. Therefore, Krishna need not go for stealing Lawanus from others. The Gopi told Krishna that she will complain to His mother Yashoda and accordingly did so. Yashoda got angry hearing the complain from Gopi and scolded Krishna. Krishna also replied His mother that she had no child earlier. He came to her and removed ail her worries. Therefore, she should never scold Him.

Arjuna-Bhanjana (Dadhi-Mathana):

Though Arjuna-Bhajana is called Jhumara, it is separate from the others, as it contains a full story and has all the characters of Ankiya drama. The story is taken from the Bhagavata Purana. The theme of the play is uprooting of two Arjuna trees. While Yashoda and her maids were busy churing milk, Krishna was disturbing His mother for not feeding Him. He broke all the pots of milk and curd for which Yashoda tried to punish Him. She caugh hold of Krishna and tried to fasten Him with a rope around His waist with a mortar (Ural). But, she could not tie as the rope got short by two fingers length. She again tried by joining ropes. Yet she failed. Ultimately, Krishna, showing compassion to the devotee mother, Himself accepted the fastening Himself. Then, Jasoda got busy with her work. Krishna pulled the mortar (Ural). The Ural got strucked in between the two Arjuna trees. Krishna gave heavy pull and as a result, both Arjuna trees got uprooted. Thereby, both Nalakuvera and Manigriva, who were crushed to become trees, got released. While Nanda was coming back home, he saw Krishna in that state. He quarrelled with Yashoda for torturing their Son Krishna.  The incident of quarrel between Nanda-Yashoda is the creation of Madhavadeva which is not there in the Bhagavata.

Bhojana-Bihara (Behara) and Brahma-Mohana:

Bhojana-Bihara is the Jhumura written by Madhavadeva. Here, Krishna, along with Gopa-Balakas (friends), while, grazing the cows in the bank of river Yamuna, got hungry. Krishna called all His friend and asked them to sit along with Him and had their meal.  The description of Krishna taking meal, keeping His flute by His side, is unique. To see the scenery, even the gods were  coming down from heaven. In the meantime, all the calves went far away. Sridama saw it and wanted to go to bring back the calves. But, Krishna did not allow Sridama to go; instead, Krishna Himself went for it. Brahma stole aii the cows and Gopa-Balakas. Krishna not finding them used to roam around shouting and calling each and everyone of the herd. Krishna came to know the fact that all these wre stolen by Brahma. In some version of the play, the later part of charming Brahma is added along with Bhonjana-Behara. This play is also known as Brahma-Mohana.

Also Read:
Srimanta Sankaradeva, Madhavadeva And Their Contribution

Bhumi Letowa:

In Bhumi-Letowa, Krishna kept His flute aside and was stealing Lawanu. In the meantime,   Krishna saw His cry lying on the ground. Yashoda got pity on her Son and tried to console Krishna saying that she will fed Him with fresh Lawanu as soon as the Gowala (Milkman) bring the milk. But, Krishna wanted Lawanu then and there. Yashoda faild to convince Him and took Lawanu which wew kept inside the temple for offering to God Hari and she offered these Lawanu to Krishna. Krishna got satisfied and began dancing.

Ras-Jhumura:

In Ras-Jhumura, Madhavadeva describes the proudly Gopi name Radha, who intended to ride over Krishna’s shoulder and lost her most beloved Krishna.  Then, Radha repented for her mistake and prayed Krishna crying to pardon. According to some scholars, it cannot be from the pen of Madhavadeva because of the subject matter is not to that level of writings of Madhavadeva.  

Kotora-Khelowa:  

                    

In Kotora-Khelowa, Madhavadeva showed the Gopa-Balakas teasing the Gowalis while they were carrying milk products for selling. The Gopa-Balakas obstructed them in all their ways trough Yamuna. The Gowalis called Jabara for their rescue and help. Jabara came but had to flee away being unable to bear the attack from Gopa-Balakas. The gowalis had to surrender and offer their milk products in return of dance by Krishna.       

Read More

The Sarawati Puja and The Durga Puja

Saraswati puja essay

The Sarawati Puja

The Sarawati Puja is a Hindu festival. It is mainly a festival of the student. Sarawati is the goddess of learning, music and fine arts. She is the daughter of the goddess Durga and wife of Vishnu. The puja is celebrated on the panchami of the full moon of the month of Magha (Assamese Calendar). Generally  it falls in the month of February. In all the educational institutions and in the private houses the goddess is worshipped.

The image is all white. She sits on white lotus. The goddess hold a lute and a book in her hands. Her vehicle is a white duck. The duck is also all white. Whiteness is the sign of peace and purity.

On this day, all students think of the goddess. The pray to her for the blessing. During the festival the students are in good mood. They place the image in the puja Mandap on the night before the puja and decorate it with flowers. That day student do not take anything till the puja is over. Cultural functions, dramatic performances, etc. Are held on the puja night. In the afternoon they entertain the invited guest.

The puja lasts for one day only. On the following day, in the agternoon the image is taken round and immersed in water.

Durga puja essay

The Durga Puja

The Durja puja is a great festival. It is a religious festival of the Hindus. Goddess Durga is the symbol of power and strength. The image of Durga is worshipped.

The Durga puja is celebrated in the month of  September, October. Rama Chandra, the King of Ayodhya celebrated it in autumn for gaining strength to fight Ravana, the king of Lanka. This is the origin of the Durga puja festival.

In the image Durga stands in the middle. She stands on a lion. Durga has te hands. She holds a weapon on each hand. She is about to kill the demon. Her daughter Lakshmi and Sarawati stand on her right and left. Lakshmi is the goddess of wealth and Sarawati is the goddess of learning. Her son, Ganesh and Kartick are placed on the right and left of Lakshmi and Sarawati respectively.

The Puja begins on the sixth day of the new moon. It continues for these days. On the last day the image is immersed in water.

The Hindus feel great joy during the puja, people put on new clothes. During these days they forget all other things. They pay homage to the image. At night Jatra performances are held at many puja places.

On the last day the image of the goddess is carried in a procession and immersed in water. Large number of people gather to see the ceremony.                

Read More

The Sarawati Puja and The Durga Puja

Saraswati puja essay

The Sarawati Puja

The Sarawati Puja is a Hindu festival. It is mainly a festival of the student. Sarawati is the goddess of learning, music and fine arts. She is the daughter of the goddess Durga and wife of Vishnu. The puja is celebrated on the panchami of the full moon of the month of Magha (Assamese Calendar). Generally  it falls in the month of February. In all the educational institutions and in the private houses the goddess is worshipped.

The image is all white. She sits on white lotus. The goddess hold a lute and a book in her hands. Her vehicle is a white duck. The duck is also all white. Whiteness is the sign of peace and purity.

On this day, all students think of the goddess. The pray to her for the blessing. During the festival the students are in good mood. They place the image in the puja Mandap on the night before the puja and decorate it with flowers. That day student do not take anything till the puja is over. Cultural functions, dramatic performances, etc. Are held on the puja night. In the afternoon they entertain the invited guest.

The puja lasts for one day only. On the following day, in the agternoon the image is taken round and immersed in water.

Durga puja essay

The Durga Puja

The Durja puja is a great festival. It is a religious festival of the Hindus. Goddess Durga is the symbol of power and strength. The image of Durga is worshipped.

The Durga puja is celebrated in the month of  September, October. Rama Chandra, the King of Ayodhya celebrated it in autumn for gaining strength to fight Ravana, the king of Lanka. This is the origin of the Durga puja festival.

In the image Durga stands in the middle. She stands on a lion. Durga has te hands. She holds a weapon on each hand. She is about to kill the demon. Her daughter Lakshmi and Sarawati stand on her right and left. Lakshmi is the goddess of wealth and Sarawati is the goddess of learning. Her son, Ganesh and Kartick are placed on the right and left of Lakshmi and Sarawati respectively.

The Puja begins on the sixth day of the new moon. It continues for these days. On the last day the image is immersed in water.

The Hindus feel great joy during the puja, people put on new clothes. During these days they forget all other things. They pay homage to the image. At night Jatra performances are held at many puja places.

On the last day the image of the goddess is carried in a procession and immersed in water. Large number of people gather to see the ceremony.                

Read More

Srimanta Sankaradeva, Madhavadeva and their contribution

Srimanta Sankaradeva

Sankaradeva was born in the year 1449 A.D. at Bardowa in Nagaon district of Assam, India.  His father was Kusumbara Bhuyan and his mother was Satyasandhya. Sankaradeva lost his parents in his early childhood. Grandmother Khersuti brought him up and the  age of 12, he was admitted to the Mahendra Kandali’s Tol (School). While starting to learn the alphabets (Assamese Language) , Sankaradeva said to have composed his first poem(Karatala Kamala Kamala Dala Nayana...) without applying any vowel signs.

After finishing his education, he married Suryavati Aai. She gave birth to a female child, Manu and passed away. After the death of his wife, Sankaradeva lost his interest in household life. Sankaradeva married his daughter  to Hari and then decided to go for a long pilgrimage which covered long twelve years. He visited the holy centres of India and started his Bhakti movement ( Ekasarana Nama-Dharma). Along with it, he staged the ‘Chinha Yatra’, the first dramatic show in Assam. There was quarrels between the Bhuyans and the Kacharis. Therefore, Sankaradeva, with his kith and kin  disciples, left Bardowa to Rauta and then to Gangmau. Again, he marched eastward to Dhuwahat-Belaguri. There, he met Madhavadeva. In Dhuwahat, the Ahom King Chuhungmung ordered them to trap wild elephants; but they failed, for which they took away Hari (son- in-law of Sankaradeva) and Madhavadeva. The King ordered that Hari Jowai sould be given capital punishment. Accordingly, he was beheaded. This tragic incident made him to move west. They took shelter at Patbausi and stayed there for about 20 years. He went for second pilgrimage, and on return, he had to face the curse of Kosh King Naranarayana at the instance of a hostile group who viley reported the King against him. Sankaradeva could easily win the heart of the King by dint of his scholarly and unerring arguments. Naranarayana wanted to get initiated into the faith of the Guru Sankaradeva. But, Sankaradeva did not agree to give initiation to the King and 1586 A.D., in the month of Bhadra (Assamese Calendar), the saint closed his is eventful mortal life. Contribution of Sankaradeva to literature and cultural life of Assam is innumerable. His greatest contribution to Assamese literature is the ‘Kirtan-Ghosa’. Through the field of religion, literature, music, drama, Sankaradeva is alive in the hearts of the people of Assam.

Madhavadeva:

In 1489 A.D. at Narayanpur of Lakhimpur district of Assam, India, Madhavadeva was born. His father was Govindagiri and Monorama was his mother. He spent his early childhood with much difficulty staying at different places. While wandering through many places, he met Sankaradeva at Dhuwahat. Originally, he was a Sakta. But, after coming to the contract of Sankaradeva, Madhavadeva was convinced about the faith of Guru and received religious initiation from Sankaradeva. This union of Sankaradeva and Madhavadeva is known as ‘Manikanchan-Sanyog’ Madhavadeva propagated the Vaisavite faith of Sankaradeva throughout the nook and corner of lower part of Assam. The Guru Sankaradeva used to call him ‘Barar-Pu’. In the second pilgrimage of Sankaradeva, he was main established by Madhavadeva. In 1596 A.D., in the month of Bhadra (Assamese Calendar), at the age of 107 years, Madhavadeva ended his life.

Contribution of Madhavadeva to literature and cultural life of Assam is innumerable. His greatest contribution to Assamese literature is the ‘Nam-Ghosa’. Contribution to Sattriya Nritya by Madhavadeva are also innumerable. He introduced Chali Nach, Behar Nach and other Gitar Nach are also his notable creations. Excepting the present form of ‘Rajaghariya’ parth of Chali Nach, the eight units of other Chali Nach were created by Madhavadeva which has been continuously practising and performing in the group of Kamalabari Sattras. After Sankaradeva, Madhavadeva kept the Assamese people united through his religions, cultural and social activities.                                   

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