English Bhaona: Dramatic pride of Assam

Arup Saikia

Since the beginning of human life, beyond gathering food, other parts of human nature have been growing too. Every human and animal has some instinctual desire or nature. It might differ from one to another, but overall, it’s similar. Culture comes from playing and interacting with others. Enjoying time with our own kind is the earliest and purest form of culture. Back in the Stone Age, hunting methods were shown in nomadic camps, often using whole body movements and tools resembling weapons. This was the first form of performing arts in human history. Over time, as people evolved, different ethnic groups with their own cultures appeared. All traditional cultures come from this origin.

The northeastern part of India is like a small version of this. It has as many diverse groups as the rest of India or even some parts of the world. We’re focusing here on the traditional culture of Assam, particularly the revolutionary aspects of Assamese folk art – Bhaona, performed in a foreign language (English).

Bhaona is central to Assam’s culture. In medieval Assam, when political unrest and bad religious practices were causing division, Sankardev, a 15th-century polymath, started the Bhakti Movement. Simply put, the Bhakti movement promoted equality and brotherhood, awakening the Assamese to a renaissance.

Bhaona is a result of the Bhakti or Vaishnavite movement. After Sankardev’s death, monasteries, prayer houses, and individuals played key roles in developing Ankiya Bhaona into various forms. Despite many challenges, different kinds of Bhaona have emerged, like Dhura, Fouzi, Matribhasha, Buka, Hazari, Baresohoria, and others. The latest is Bhaona in English, known as English Bhaona.

CONCEPT

English Bhaona comes from the rich culture of Jamugurihat in the Sonitpur district. It was inspired by the famous Baresohoria Bhaona. A descendant of Sankardev, Hukai Dekagiri, started the first Baresohoria Bhaona (People’s Bhaona) in Jamugurihat in 1797. The excitement of the people and the high quality of the performances made me, as the leader of Prajanmya Unmesh, want to share it with the world. It’s important to mention that Prajanmya Unmesh is a well-known group focused on culture, and its team has been showing English Bhaona in India and other countries. But at first, we wondered where and how we should perform it. Would people who are not from Assam or even India understand Bhaona’s original Brajawali language well?

SINGAPORE CONNECTION

Back in early 2017, we went to Singapore for a cultural seminar. Besides the seminar, while visiting the famous Merlion park in Singapore, we saw a Chinese group performing a traditional drama. They were dressed in a way that reminded us of Assamese Bhaona, with similar crowns and loose outer clothes. The women wore dresses like the Bodo-Kachari style from Assam but with a Mongolian look. Their drama was different from Bhaona because it wasn’t about religion but everyday life. The plot was light and funny, involving one actor hiding another actor’s things. The villains were not as scary as in our Bhaona.

The cultural and biological similarities between northeast India and Southeast Asian countries are clear. Saint Sankardev used local materials for Bhaona, like costumes, music, and dance. Even though we were in another country, it felt like we were not far from Assam, India.

(a)  LANGUAGE FACTOR:  The actors were throwing dialogue in their vernacular Chinese language. Simultaneously, interpretation was also going on, only of substance. As we keenly observed, the non-Chinese spectators were equally not enthusiastic while enjoying the drama. Virtually, interpretation can’t equally sustain the original tempo of a drama. Curiously we were compelled to ask fellow Chinese spectators about the theme and suspense of the drama.

This is actually a mini version of Assamese Bhaona done by Chino-Mongolian people. China and nearby countries are the ancestors’ land of some Assamese. We enjoyed it. But language was posing a barrier between us.

(b)  ENGLISH LANGUAGE:  The original striking feature of Bhaona is in the Brajawali language. Brajawali is an admixture of many eastern Indian languages like Maithili, Oriya, Prakrit, Bengali, etc. This is Sankardev’s effort to synthesize a common language that would be easily understood by all linguistic groups of eastern India. Thereby to reach out intensively beyond the borders of Assam. Imitating the footsteps of Sankardev, we have selected the English language, which on the other hand, can greatly enhance the extent of its reach across the globe. Not only English but also other languages, including Russian, were taken later in very few shows. This way, after Brajawali and Matribhashar Bhaona, English Bhaona was born.

 SCRIPT & PREPARATION

“Udyog Parva,” the fifth epic of Mahabharata, was selected for the first performance. As the political capital of our country, New Delhi was chosen for wider publicity. I have directed the Bhaona and translated the script also. Ms. Girimallika Saikia and Ms. Gitimallika Baidya discharged their responsibility as joint coordinators. Artists were obtained from among the students of senior secondary schools and colleges having brilliant academic careers. Selecting artists of the new generation having cultural backgrounds is really a tough job.

Rehearsal had been done almost for two and a half months. Being the first Bhaona in the English language by local artists, people were very excited, including media houses. Almost all regional and national media extensively covered Bhaona news. Media persons named it as English Bhaona.

PERFORMANCE

On 15th September 2018, Srimanta Sankardev Bhawan, New Delhi, was selected as the venue for our show. Dr. Kapila Vatsyayan, a renowned scholar of international fame, inaugurated the event. She is also a Rockefeller, Padma Vibhushan, and Sankardev awardee, besides many more to mention. The environment of the venue was bustling in the evening. Back home, people were watching a live telecast. Dr. Kapila Vatsyayan in her brief speech after the end of the show said, “It’s an English adaptation of Mahabharata. Not only the dialogue but also songs, laments (Bilap) were all in English. The extraordinary features of Bhaona–entry and exit of actors’ footsteps synchronizing to the tune of English-rendered songs. This is really amazing and it’s emphasized to preserve the roles and regulations of Bhaona with sequence. I have seen, only language is The actors spoke in their local Chinese language. At the same time, there was interpretation, but only of the main points. As we watched closely, we noticed that the non-Chinese audience wasn’t as excited while watching the drama. It seems that translation can’t keep up with the original feel of a drama. We got so curious that we ended up asking some Chinese audience members about the drama’s theme and suspense.

This felt like a smaller version of Assamese Bhaona performed by Chino-Mongolian people. China and nearby countries are where some Assamese ancestors come from. We liked it, but the language was a barrier for us.

The special thing about Bhaona is it’s in the Brajawali language. Brajawali mixes several eastern Indian languages like Maithili, Oriya, Prakrit, Bengali, etc. Sankardev created this language to make a common language that everyone in eastern India could understand easily. This was to spread it further than just Assam. Following Sankardev, we chose English, which lets us share it with people all over the world. We also used Russian and a few other languages in some shows. So, after Brajawali and Matribhashar Bhaona, we created English Bhaona.

SCRIPT & PREPARATION

We picked “Udyog Parva” from the Mahabharata for our debut show. We chose New Delhi, the political heart, to draw more eyes. I took the helm for directing and translating the script. Ms. Girimallika Saikia and Ms. Gitimallika Baidya were pivotal in coordination. Our cast was selected from high-performing students in senior secondary schools and colleges, challenging given we sought those with a cultural inclination.

Rehearsals stretched over roughly two and a half months. Being the inaugural English Bhaona with local talent sparked widespread excitement, including media interest. The coverage was extensive, universally dubbing it English Bhaona.

PERFORMANCE

The event unfolded on 15th September 2018 at Srimanta Sankardev Bhawan in New Delhi. Dr. Kapila Vatsyayan, esteemed in scholarly circles, graced the opening. The venue buzzed that evening, with a live broadcast reaching homes. Post-performance, Dr. Vatsyayan remarked on its rendition of the Mahabharata in English, noting not only dialogues but also songs and laments were translated. She lauded the sync of actor movements with the English musical scores, stressing the importance of adhering to traditional Bhaona structures while embracing the linguistic shift. All Bhaona elements, from the orchestra to the final rituals, remained untouched except for language, she observed, highlighting the challenge of aligning English synonyms with Bhaona’s unique delivery.

Dr. Malaya Khaund of JNU labeled the translation a milestone in Assamese literature, keen to experience the age-old poetic narrations in English.

The Assamese media collective, encompassing News Live, Dy365, News18, Prag, Assam Talk, Sentinel, Assam Tribune, among others, heralded the event as a historic moment for Assamese theatre.

The success in Delhi was merely the beginning. Coordinator Ms. Gitimallika Baidya underscored the significance of introducing Bhaona to metropolitan audiences. The plan proceeded flawlessly, with India’s major cities, including Mumbai, welcoming the sacred spectacle of the Assamese tradition.

FOREIGN DEBUT:

Coordinator Ms. Girimallika embarked on the quest to globalize the untouched charm of Assamese Indian culture. Bhaona, embodying the rich cultural tapestry of medieval India, served as our medium. Revering Sankardev as ‘Jagat Guru’ (Global Mentor), we aspired for international embrace, paving our path worldwide. Ms. Baidya engaged with the Assamese diaspora, leading to performances across several developed nations, including Moscow, St. Petersburg, Finland, Singapore, Macau, Dubai, and Abu Dhabi, with the Assam government backing us considerably. Beyond “Udyoga Parva,” our repertoire expanded to include tales from the Ramayana and Ankiya Keligopal, akin to Rasleela yet distinctively presented as Bhaona. Our venture into performing Keli Gopal in English might well be a pioneering effort from India. Government dignitaries from Assam/India graced several occasions, marking our cultural footprint on the global stage.

EFFECT:

Every country has its traditional plays or culture. Assamese Bhaona is just as special and unique as any other. Some parts of Bhaona, like the way actors move and the roles they play, are even more interesting. The way the narrator comes in and out, the sad songs, and the orchestra really impress people a lot. Bhaona is not just about dance or talking. It’s a mix of singing, dancing, talking, and music. Drama began in Greece about 2500 years ago with famous writers like Aeschylus, Sophocles, and Euripides, who lived before 450BC. Sankardev’s plays were influenced by old Indian dramas. But Bhaona has parts that didn’t come from European or old Indian drama. It blends Aryan, local Assamese, and Southeast Asian cultures. Sankardev’s special touch in bringing these together is what makes Bhaona stand out. In our shows, even people from other countries got a glimpse of Assam’s rich culture.

Bhaona is changing to focus more on art than just religion. People usually prefer art over religion. This change is a big part of what makes English Bhaona different.

CRITICISM & OBSTACLES:

The way people think shows the culture of a place. Bhaona has changed a lot over time. People are now okay with Bhaona in different languages, including Assamese. But some Assamese people think using English is strange. Critics say that changing the language messes up Bhaona’s themes and ways of showing things. There have been some protests about this. As the director, I argued that language shouldn’t stop us from sharing our culture. Even Sankardev didn’t use just Assamese; he used Brajawali to reach more people. I believe that in any play, the emotions and how it’s shown are what matter most.

Money problems, trouble with visas for young students, and organizing shows in other countries can be tough.

To really make a change, an artist needs to be rich, brave, smart, and healthy. The first Assamese filmmaker, Jyoti Prasad Aggarwal, is a great example.

FUTURE PLAN:

We want to keep performing in more countries and in more languages. Sharing languages can connect people’s minds, but translation can touch their hearts. We aim to celebrate Sankardev as a cultural icon, just like Leonardo Da Vinci and Michelangelo. To do this, we need to show Sankardev in many different ways, not just as a religious leader. This is our goal for Assamese culture.

Note: This article has been edited to maintain the author’s original style.