“Once Upon a Time”- Revisiting Oral Traditions of Assam

“Once Upon a Time“- Revisiting Oral Traditions of Assam

RODALI BARUAH

I have always heard folktales and stories orally from my parents and grandparents. With time, they have become etched in my mind too, and I cannot even remember the sources of some of the tales I know by heart, having no written form and script. Well, bedtime stories are a privilege that have gained rarity, and I was fortunate enough to have experienced them. In this digital world, very few people have time to sit down and narrate to their children tales of yore; and the children? They are way more busy. 

    “Once upon a time…” my grandmother started narrating her tales this way when I used to sleep beside her during my childhood. With her words I got transported to fascinating lands of talking animals and malicious souls. When I could read, Lakshminath Bezbaruah‘s Burhi Aair Xadhu became a constant companion. Its tales were so enchanting that you will find very few people who do not know even one story of it by heart. The suffering of Tejimola, the magical Ou Tenga( Elephant apple), the Fox and the Monkey, you name it, we know it. And when I grew up, I realised that the people of Assam, as well as the entire Northeast have a significant heritage of oral traditions. 

    The indigenous communities of Assam each possess unique tales rooted deep in their ways of living. For instance, the Tiwa people of Assam have folktales that tell about their origin, their riverine features, as well as their festivals and deities. In this way, folktales and oral traditions become a way of maintaining and upholding identity in a constantly changing world. The multi-ethnic traditions of Assam are rich in these oral elements, and they add to the beauty of their existence. Regarding the folk tradition of Assam, the works of respected Birendranath Dutta have inspired and pushed me always to delve into their worlds and know more about them. It’s not We/They, it’s Us, and the stories are our treasure. 

    In Assam, even the Bihugeets have been propagated orally. Besides them, there exist very interesting sorts of oral songs. Take for example the working songs sung by people in the fields. The labour is lessened by building a sense of solidarity through songs chanted together. These intangible cultural resources form the core of a society based deep in agriculture and nature. And there comes the Nisukoni Geet, or the lullaby. Countless nights have passed with me falling asleep listening to my mother singing “Amare Maina xubo”( little baby will sleep) to me. The recurring natural symbols like fruits, trees, and flowers are a meaningful feature pointing to the importance of nature in the indigenous communities, and Assam as a whole. 

   The prominence of Ballads in the oral traditions of Assam is considerable. These narrative songs have a special place in Assamese literature, and their historical significance certify them as indispensable organs. These ballads function like short stories, briefing us about a person, an incident, or a legend. Naharar Geet are supposedly the oldest Malitas(ballads), and other famous songs include those of Lachit Borphukan and Joymoti Kuwori. 

    And then comes Daakar Bachan to the picture. Was Daak a real person, or just a fragment of imagination of the masses? We will never know. But we do know that the maxims of this man or myth named Daak has stayed in the Assamese psyche for a long time. It is said that his maxims are comparable to the teachings of the Vedas. The collective experiences of the people have found expression in Daak, and his tales are never-ending. 

    Ever heard about Baak? Buckle up. The ghost legends of Assam are another notch higher. Baak is assumed to be a malicious spirit residing near water bodies. We weren’t allowed to linger near our river Kopili near my maternal uncle’s home after evening, pertaining to the appearance of Baak. The film “Baakor putek” sent thrills down my spines when I watched it years ago. It still does.

The film “Kothanodi” is also commendable in this regard, weaving legends with stories. Prominent malevolent spirits also include Jokhini, Kon Bhoot, and so on. The list also encompasses benevolent spirits like the Bura Dangoriya. This entity assumes the form of an old man clad in white, protecting the areas of prayer like the Namghar. Catching his sight is considered a holy event.

    The nostalgia intertwined with these infinite tales is tremendous. The fear and wonder that revolves around them was enough to keep us awake for many nights. Relishing the art of storytelling, the multicultural society of Assam has created a luminous array of oral traditions, and it is our duty to preserve it. Whether by writing them down, or relating them to the younger ones, reliving these past memories is a happy activity. 

Rodali Baruah, MA 3rd Semester, Department of English, University of Delhi, e-mail:Rodalibaruah239@gmail.com

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