tag:blogger.com,1999:blog-78232917608286921602024-03-17T20:02:50.226-07:00Assam TourismMofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.comBlogger62125tag:blogger.com,1999:blog-7823291760828692160.post-47052478636347909362008-03-01T04:01:00.000-08:002008-04-26T02:06:50.556-07:00Introducing Assam --A Paradise on Offer !!<object height="355" width="425"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/Cyk5SEUJZu4&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Assam Tourism<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/inaCGtFvIKA&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/inaCGtFvIKA&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Fascinating Collage of Assam<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/8TkSTY5tt6M&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/8TkSTY5tt6M&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />About tourist places in assam<br /><br /><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R526_cEfBQI/AAAAAAAACZM/yB9e_q8_rtQ/s1600-h/muga.JPG"><img id="BLOGGER_PHOTO_ID_5160486347065984258" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R526_cEfBQI/AAAAAAAACZM/yB9e_q8_rtQ/s400/muga.JPG" border="0" /></a> Muga craft<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R526p8EfBMI/AAAAAAAACYs/02bRHCIkyb4/s1600-h/falls.JPG"><img id="BLOGGER_PHOTO_ID_5160485977698796738" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R526p8EfBMI/AAAAAAAACYs/02bRHCIkyb4/s400/falls.JPG" border="0" /></a> waterfalls<br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R526qMEfBNI/AAAAAAAACY0/jeThHFt7KsM/s1600-h/rhino.JPG"><img id="BLOGGER_PHOTO_ID_5160485981993764050" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R526qMEfBNI/AAAAAAAACY0/jeThHFt7KsM/s400/rhino.JPG" border="0" /></a> the One Horned Rhino<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R_SaThqJx_I/AAAAAAAADLw/lRJLuGabwiU/s1600-h/brahmaputra.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R_SaThqJx_I/AAAAAAAADLw/lRJLuGabwiU/s400/brahmaputra.bmp" alt="" id="BLOGGER_PHOTO_ID_5184938731253647346" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R526qMEfBOI/AAAAAAAACY8/_N_zmkK06ko/s1600-h/river.JPG"><img id="BLOGGER_PHOTO_ID_5160485981993764066" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R526qMEfBOI/AAAAAAAACY8/_N_zmkK06ko/s400/river.JPG" border="0" /></a> The Brahmaputra<br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R526qcEfBPI/AAAAAAAACZE/1iFKolWqmso/s1600-h/murtis.JPG"><img id="BLOGGER_PHOTO_ID_5160485986288731378" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R526qcEfBPI/AAAAAAAACZE/1iFKolWqmso/s400/murtis.JPG" border="0" /></a> Old Sculptures <div><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R526DMEfBHI/AAAAAAAACYE/rvWRYAzXHXc/s1600-h/bamboo+houses.JPG"><img id="BLOGGER_PHOTO_ID_5160485311978865778" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R526DMEfBHI/AAAAAAAACYE/rvWRYAzXHXc/s400/bamboo+houses.JPG" border="0" /></a> Bamboo houses<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SBLuadadqgI/AAAAAAAADS0/K9l4PmkB5nA/s1600-h/tea+garnden.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SBLuadadqgI/AAAAAAAADS0/K9l4PmkB5nA/s400/tea+garnden.jpg" alt="" id="BLOGGER_PHOTO_ID_5193475458651236866" border="0" /></a>......beautiful scenic tea gardens with aromas of tea to take your heart away ............<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SBLuadadqhI/AAAAAAAADS8/PKINQouyK4o/s1600-h/aerial+view+of+ghy2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SBLuadadqhI/AAAAAAAADS8/PKINQouyK4o/s400/aerial+view+of+ghy2.jpg" alt="" id="BLOGGER_PHOTO_ID_5193475458651236882" border="0" /></a>..................Beautiful sceneries everywhere ...........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SBLuatadqiI/AAAAAAAADTE/8r3NvXOBomc/s1600-h/view.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SBLuatadqiI/AAAAAAAADTE/8r3NvXOBomc/s400/view.jpg" alt="" id="BLOGGER_PHOTO_ID_5193475462946204194" border="0" /></a>...............amazing cloud covers----------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SBLvY9adqkI/AAAAAAAADTU/JLOX-z1Hcmo/s1600-h/haflong.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SBLvY9adqkI/AAAAAAAADTU/JLOX-z1Hcmo/s400/haflong.jpg" alt="" id="BLOGGER_PHOTO_ID_5193476532393060930" border="0" /></a>....................Cloud cover to take your heart away.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SBLua9adqjI/AAAAAAAADTM/cNG9Bok0MPE/s1600-h/wow.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SBLua9adqjI/AAAAAAAADTM/cNG9Bok0MPE/s400/wow.jpg" alt="" id="BLOGGER_PHOTO_ID_5193475467241171506" border="0" /></a><br />......................enchanting greenary .......................<br /><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R526DsEfBII/AAAAAAAACYM/aKedq5DBVWI/s1600-h/dhulias.JPG"><img id="BLOGGER_PHOTO_ID_5160485320568800386" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R526DsEfBII/AAAAAAAACYM/aKedq5DBVWI/s400/dhulias.JPG" border="0" /></a> Dhols (Drums)<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R526D8EfBJI/AAAAAAAACYU/SwbiEvDgZg8/s1600-h/KOKA+FALLS+AT+PANIMUR.JPG"></a><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R526EMEfBKI/AAAAAAAACYc/4ZKgSS69SSo/s1600-h/orchids.JPG"><img id="BLOGGER_PHOTO_ID_5160485329158735010" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R526EMEfBKI/AAAAAAAACYc/4ZKgSS69SSo/s400/orchids.JPG" border="0" /></a> Orchids<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R526E8EfBLI/AAAAAAAACYk/xpiIH8XRzTA/s1600-h/xoraighat.JPG"><img id="BLOGGER_PHOTO_ID_5160485342043636914" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R526E8EfBLI/AAAAAAAACYk/xpiIH8XRzTA/s400/xoraighat.JPG" border="0" /></a> War Memorial<br /><br /><br /><div><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R520hcEfBDI/AAAAAAAACXk/C-1LmoOZgrU/s1600-h/bihunasoni.jpg"><img id="BLOGGER_PHOTO_ID_5160479234600141874" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R520hcEfBDI/AAAAAAAACXk/C-1LmoOZgrU/s400/bihunasoni.jpg" border="0" /></a> Assamese Belles<br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R520hsEfBEI/AAAAAAAACXs/bx5hhutEFzA/s1600-h/assamese+jewelry.JPG"><img id="BLOGGER_PHOTO_ID_5160479238895109186" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R520hsEfBEI/AAAAAAAACXs/bx5hhutEFzA/s400/assamese+jewelry.JPG" border="0" /></a> Assamese ornaments and garments<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R520h8EfBFI/AAAAAAAACX0/zI5vjhghyQ4/s1600-h/golaghat+nrl.jpg"><img id="BLOGGER_PHOTO_ID_5160479243190076498" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R520h8EfBFI/AAAAAAAACX0/zI5vjhghyQ4/s400/golaghat+nrl.jpg" border="0" /></a> NRL Petrol Depots<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R520h8EfBGI/AAAAAAAACX8/BmImWEH2f6o/s1600-h/stadiums+in+Assam.JPG"><img id="BLOGGER_PHOTO_ID_5160479243190076514" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R520h8EfBGI/AAAAAAAACX8/BmImWEH2f6o/s400/stadiums+in+Assam.JPG" border="0" /></a></div><div>Various Stadiums</div><div></div><div></div><div>---</div><div></div><div>----</div><div></div><div>-----</div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div>I am glad that you have shown interest about knowing something about "<span style="font-size:180%;">Assam</span>" because of which you are reading this blog.</div><div></div><div>--</div><div></div><div>--</div><div></div><div></div><div>Let me try giving you as much information I could as a priviledged resident of this great and Green land called <span style="font-size:180%;">"Assam".</span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;">--</span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;">---</span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;">Assam is a state lying in the NorthEastern Region of India in Asia. It is well connected via Air, Road and Railways from almost every major city in India. </span></div><div><span style="font-size:180%;">---</span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;">--</span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;">A<span style="font-size:100%;">ssam</span> </span><span style="font-size:85%;">is s</span>ituated between 90-96 degree East Longitute and 24-28 degree North Latitude, It is bordered in the North and East by the Kingdom of Bhutan and Arunachal Pradesh(a State of India). Along the south lies Nagaland(a State of India), Manipur (a State of India)and Mizoram(a State of India). Meghalaya(a State of India) lies to her South-West, Bengal(a State of India) and Bangladesh to her West. </div><div></div><div>--</div><div></div><div>---</div><div></div><div></div><div></div><div></div><div>To tell you what to watch out for in Assam are :</div><div></div><div></div><div></div><ul><li><strong>1)</strong> Beautiful wildlife with unique flaura and Fauna</li></ul><p></p><ul><li><strong>2)</strong> picturesque scenaries</li></ul><p></p><ul><li><strong>3)</strong> Tea Gardens and the special Tea</li></ul><p></p><ul><li><strong>4)</strong> Monuments and relics of Ahoms(a dynasty who ruled assam for almost 600 years whom even the mightyMoghuls found difficult to conquer) </li></ul><p></p><ul><li><strong>5)</strong>Temples and Masjids built in ancient times as well as Xatraa and naamghars( place of praising the God, Vishnu) of Vaishanivate movement started by Sri Sankardeva.</li></ul><p></p><ul><li><strong>6)</strong> Unique Jewelry items, handwoven garments made of eri, silk and muga worms.</li></ul><p></p><ul><li><strong>7)</strong>The mighty Brahmaputra River, its tributeries and Waterfalls.</li></ul><p></p><ul><li><strong>8)</strong> Various handicraft and bamboo products, wooden furnitures and artifacts</li></ul><p></p><ul><li><strong>9)</strong> Beautiful village girls in colourful handwoven garments</li></ul><p></p><ul><li><strong>10)</strong> the assamese cuisine mainly rice based, less of oil and raw spices which differs a lot from any other Indian Cuisine as it has its very own flavor, taste and stand. </li></ul><p></p><ul><li><strong>11)</strong> The various trekking, river rafting and adventure sport locations</li></ul><p></p><ul><li><strong>12)</strong> Golf courses</li></ul><p></p><ul><li><strong>13)</strong>Birdview points from Hilltops to view whole green valleys</li></ul><p></p><ul><li><strong>14)</strong>Beautiful stadiums</li></ul><p></p><ul><li><strong>15)</strong>Unique musical organs made of Bamboo and bell metal</li></ul><p></p><ul><li><strong>16)</strong> Bell metal artifacts</li></ul><div></div><div></div><div></div><div></div><div></div><div>AND LOT LOT MORE.............</div><div></div><div></div><div>---</div><div></div><div>--</div><div></div><div>---</div><div></div><div></div><div></div><div></div><div></div><div></div><div>I can assure you that there will not be any dull moment during your stay in this beautiful land.....The places are beautiful, cold and romantic, people are very friendly, warm and hospitable, the guides are knowledgeable, the rides are as majestic as it could be (try the Elephant ride in Kaziranga National Park...you won't forget it for lifetime !!), the food are delicious, the adventures are truely Amazing.....................</div><div></div><div></div><div>----</div><div></div><div>-----</div><div></div><div></div><div></div><div>-----$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$----------</div><div></div><div></div><div></div><div></div><div></div><div></div><div><span style="color: rgb(0, 0, 153);font-size:180%;" >The Hills, the Rhinos, the tea gardens, the Brahmaputra, the orchids,the relics, the village belles await your Arrival !!</span></div><div></div><div>-----$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$----------</div><div></div><div>-----</div><div>---</div><div></div><div></div><div></div><div>As far as the Saying goes, The Great Prince Sukafa came from Swarga(Heaven) to Assam in golden scaffoldings, fell in love with it and made this into a great fertile land !! </div><div></div><div>We are awaiting your arrival with such hopes......</div><div></div><div>We know once you are Here in this paradise, Your Heart will remain here ..... FOREVER !!</div><div></div><div>Scaffoldings are kept hanging for You as we did for our King !!</div><div></div><div>---</div><div></div><div>-----</div><div></div><div>------</div><div></div><div>--------</div><div></div><div>----------</div><div></div><div></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div><span style="font-size:180%;"></span></div><div></div><div></div><div><span style="color: rgb(255, 0, 0);font-size:180%;" >Welcome to Assam !!!</span> </div><div><br /><br /><br /></div><div></div></div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com53tag:blogger.com,1999:blog-7823291760828692160.post-47699158784463865782008-02-29T06:41:00.002-08:002009-11-07T01:55:02.303-08:00References and thanks<a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8ktIBuBeeI/AAAAAAAACt4/10d1ZVzqw2U/s1600-h/GAMOSA.JPG"><img id="BLOGGER_PHOTO_ID_5172715262935398882" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8ktIBuBeeI/AAAAAAAACt4/10d1ZVzqw2U/s400/GAMOSA.JPG" border="0" /></a> This blog is created with the sole purpose of letting people know about Assam.....to answer every query that may raise in a strangers mind about Assam In simple and bold terms my initiative is<br /><br />..<span style="font-size:130%;">TO DEFINE</span> <span style="font-size:180%;color:#ff0000;">ASSAM</span> <span style="font-size:130%;">FOR THE REST OF THE WORLD</span><br /><br />.. and<br /><br />--- NOTHING ELSE...absolutely nothing else ......<br /><br />To create this Blog I have searched and received information<br />through the internet,<br />through Google,<br />through emails from colleagues, friends, relatives, researchers, etc.<br />through news letters from Posoowa, Assam.org, etc<br /><br />Images taken has been from Google or some websites. My special thanks goes to Dibya da for sharing some wonderful photographs.I hope if any body has a concern with certain photographs or material i have included here, please write to me @ my email ID <a href="mailto:mofid.rahman@gmail.com"><span style="color:#ff0000;">mofid.rahman@gmail.com</span></a>, I will immediately delete the concerned image or content.<br /><br />If any religious feelings is hurt or facts misrepresented, I apologize for it and please forgive me for that as I have collected all these information and is posting it to glorify Assam...Nothing Else is on my mind behind my any act in this endevour.<br /><br />I would like to thank <span style="color:#ff0000;">Mr Rajen Baruah, (Houston, USA), Dr.Utpal Bora(USA), Bina Hazarika(England), Bipul Jyoti Saikia</span> ( my bhindeo who is married to my dearest Neighbour Bhon Baa and the Son-In-law of Assamese Writer, Tushoprava Kolita), <span style="color:#ff0000;">Pallav Saikia (now in USA)</span>, <span style="color:#ff0000;">Maheswata Barua, Rini Kakoti(London)</span> and so many of such great personalities of Assam who have advised me or whose work i have found suitable to put up this blog.I would like to thank every person whose work OR help I have taken to put up this blog and duely apologise if his name or reference has been missed !!!<br /><br />My special thanks goes to the <span style="color:#ff0000;">NIC department of Assam</span> for their district wise individual websites. I hope these websites will be more tourism centric than they are at present to showcase each district in their individual glory with far more importance on places which have tourism potential.<br /><br />Last but not the least,I would like to thank <span style="color:#ff0000;">Looitporia</span>, Assam Association of Hyderabad and specially my editor-in Chief for the Looitporia Newsletter, <span style="color:#ff0000;">Labhita Baa</span> for guiding and motivating me to do this research work, which otherwise would not have come to my mind at all though i faced a identity crisis all the time.<br /><br />My only hope is that this would help every guest (stranger) of Assam<br /><br /><span style="color:#663333;">a)to know assam better </span><br /><span style="color:#663333;">b)to think of a visit to Assam to see </span><br /><span style="color:#663333;">------1) wild life in assam </span><br /><span style="color:#663333;">------2) Holy places in Assam </span><br /><span style="color:#663333;">------3)historical places in Assam </span><br /><span style="color:#663333;"></span><br /><span style="color:#663333;">c)to think of doing research about Assam's </span><br /><span style="color:#663333;">1)History </span><br /><span style="color:#663333;">2)Culture </span><br /><span style="color:#663333;">3)Languages </span><br /><span style="color:#663333;">4)Music and dance </span><br /><span style="color:#663333;">5)Vaishnavism and Xatriya Culture </span><br /><span style="color:#663333;">6)Art work </span><br /><span style="color:#663333;">7)Flora and Fauna, etc </span><br /><br />Every care has been taken to verify all the facts related to Assam, yet if any distortion is noted,please let me know.I am open to constructive criticism about this blog.Please always feel free to contact me in case you have any issues regarding this blog at <a href="mailto:mofid.rahman@gmail.com">mofid.rahman@gmail.com</a> Contents of this blog are meant for anyone who wants to use it to project assam better in any work or research pursued by the individual or the organization.<br /><br /><span style="color:#000066;">ধন্যবাদ !!</span><br /><span style="color:#000066;">জয আই অসম !! </span><br /><span style="color:#000066;">জয জযেতো মোৰ চিৰ চেনেহী অসমী আই !!</span><br /><br />Thanks!!<br />Long Live Assam !!<br /><br />--- For the Guest who have visited this blog, I strongly hope you are seriously thinking of arranging a Ticket to India for a tour of Assam Now !!!<br /><br />--------We await your arrival !!<br /><br /><br />+++++--------------<strong><span style="color:#000099;">Assam beckons you</span></strong>--------------+++++++<br /><br /><br />or should I wish you<br /><br /><br />+++++++++-----------<strong><span style="font-size:180%;color:#ff0000;">Bon Voyage to Assam</span></strong> -----------++++++++++++<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8ktIRuBefI/AAAAAAAACuA/bXzKz6BPddI/s1600-h/namaste.jpg"><img id="BLOGGER_PHOTO_ID_5172715267230366194" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8ktIRuBefI/AAAAAAAACuA/bXzKz6BPddI/s400/namaste.jpg" border="0" /></a><br /><div></div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com11tag:blogger.com,1999:blog-7823291760828692160.post-67765909811438734702008-02-29T06:41:00.001-08:002009-11-07T01:59:11.460-08:00some handy Safety tips for Lonely Traveller<p>Holidays and travel with others can be fun, but for many people, there comes a time when you feel the need to spread your wings and set off alone on your travels. Whilst travelling alone can certainly broaden the mind, increase your independence and give you freedom to explore the places of interest to you, it also carries with it the risk of increasing your vulnerability too. </p><p>Before you set off, and when you're in the midst of your journey, it's important to keep in mind safety issues, both to protect yourself and your belongings. You don't want to end up in awkward or tricky situations, compromise your personal safety or run the risk of losing any personal possessions. So what are the key issues you should be aware of and how can you ensure you protect your safety at all times? </p><h4>Advice for men travelling alone</h4><p class="MsoNormal">Although it's often assumed that women travelling alone are the most vulnerable, men on their own need to be aware of safety issues too. </p><p>Choose your accommodation carefully and pick a well-known hotel in a safe area. Maintain a low profile by dressing down and, when you're out and about, walk confidently as if you're familiar with the area. </p><p>Be careful making eye contact, as it may be taken the wrong way. If in doubt, wear sunglasses, as this limits the problem. Also, be aware that flirtatious behaviour isn't regarded in the same light in other countries and can be easily misinterpreted. </p><p>Sometimes single males travelling alone get asked questions about what they're doing. Rather than getting defensive, politely answer the questions and move on. </p><h4><script type="text/javascript"> <!-- google_ad_client = "pub-7691602837285354"; google_ad_width = 250; google_ad_height = 250; google_ad_format = "250x250_as"; google_ad_type = "text_image"; //2007-10-29: Middle google_ad_channel = "5561314509+6616693425"; google_color_border = "ffffff"; google_color_bg = "FFFFFF"; google_color_link = "0066B3"; google_color_url = "003366"; google_color_text = "003366"; //--> </script><br /><script src="http://pagead2.googlesyndication.com/pagead/show_ads.js" type="text/javascript"> </script><br />Advice for women travelling alone </h4><p class="MsoNormal">Many women successfully travel the world alone, and you can do so too, by keeping these safety issues in mind. </p><p>Choose your accommodation carefully. Read reviews and pick well-known hotels or hostels. Think twice if you're offered a room in a potentially unsafe location (e.g. at the end of lengthy corridors) and don't be afraid to inspect the room first. Some hotels have rooms designed for female travellers. If in doubt about the security of a room, take a padlock with you to use on your door at night and keep all valuables close by. </p><p>On public transport, sit next to or near other women or women with children. Likewise, if you need directions, speak to another woman or a man with a child, rather than a man, but don't tell them exactly where you're staying. </p><p>When it comes to exploring, avoid walking in unknown or badly lit places at night. Instead, plan your trips around daylight hours. </p><p>To avoid unwanted male attention, don't make eye contact (easier if you're wearing sunglasses) and wear a wedding ring, even if you're not married. Learn some local lingo, like "Go away," "Leave me alone," or, "I don't want to be disturbed," and calmly walk away from uncomfortable situations. </p><p>Body language is important. Walk tall and confidently, and people will think you are. </p><h4>General safety advice for the lone traveller</h4><p class="MsoNormal">Of course, there's some applicable advice whatever your gender: </p><ul type="disc"><li class="MsoNormal" style="LINE-HEIGHT: normal">Research the places you're going, to find out about any known risks or dangers. </li><li class="MsoNormal" style="LINE-HEIGHT: normal">Make a travel plan. This doesn't have to be every minute detail, but it's good to arrange a basic itinerary in advance. Make a list of the places you'll be staying, what flights, trains or ships you'll be travelling on and any known phone numbers. Take a copy with you and leave copies back at home with friends or relatives. </li><li class="MsoNormal" style="LINE-HEIGHT: normal">Check out the dress code. Many countries have conservative clothing rules that need to be observed, otherwise you'll stand out like a sore thumb. For example, men shouldn't wear shorts or tight clothes, or women shouldn't wear short or skimpy clothing. </li><li class="MsoNormal" style="LINE-HEIGHT: normal">If you're likely to feel self-conscious eating alone, take something with you to do, like reading a book or writing postcards. </li><li class="MsoNormal" style="LINE-HEIGHT: normal">Don't use unlicensed public transport. </li><li class="MsoNormal" style="LINE-HEIGHT: normal">Avoid publicly discussing your travel plans. </li></ul><h4>Safety Solutions</h4><p class="MsoNormal">For extra confidence, learning some basic self-defence moves before you travel may be beneficial. As well as boosting your safety instincts and improving your chances of getting out of a difficult situation if you were to be attacked or mugged, knowing that you've got self-defence skills can help transform fear and worry into power and confidence.</p>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com3tag:blogger.com,1999:blog-7823291760828692160.post-70547052688835544822008-02-29T06:40:00.001-08:002008-04-24T23:40:06.883-07:00Webpages at your disposal -- browsing made Easy !!<a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R_40b75ykNI/AAAAAAAADNQ/WS7LxqAxIlY/s1600-h/rang+ghar.bmp"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R_40b75ykNI/AAAAAAAADNQ/WS7LxqAxIlY/s400/rang+ghar.bmp" border="0" alt=""id="BLOGGER_PHOTO_ID_5187641475318583506" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R_40cr5ykOI/AAAAAAAADNY/Co4zmVDLPbo/s1600-h/bihu_front+page_sample.bmp"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R_40cr5ykOI/AAAAAAAADNY/Co4zmVDLPbo/s400/bihu_front+page_sample.bmp" border="0" alt=""id="BLOGGER_PHOTO_ID_5187641488203485410" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R-JluhqJveI/AAAAAAAAC20/MgPFPzgdr1A/s1600-h/gamoosa.bmp"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R-JluhqJveI/AAAAAAAAC20/MgPFPzgdr1A/s400/gamoosa.bmp" border="0" alt=""id="BLOGGER_PHOTO_ID_5179814371413048802" /></a><br />### 1)<br />Assam Tourism (Non-Official website)--- Where and What to See ? ? ? <br /><a href="http://tourismassam.blogspot.com/2008/01/assam-where-and-what-to-see.html">http://tourismassam.blogspot.com/2008/01/assam-where-and-what-to-see.html</a><br />### 2)<br />Your first arrival in Assam and Hotel Information <br /><a href="http://tourismassam.blogspot.com/2008/01/your-first-arrival-in-assam-and-hotel.html">http://tourismassam.blogspot.com/2008/01/your-first-arrival-in-assam-and-hotel.html</a><br />### 3)<br />conversational Tips <br /><a href="http://tourismassam.blogspot.com/2008/01/conversational-tips.html">http://tourismassam.blogspot.com/2008/01/conversational-tips.html</a><br />### 4)<br />Map of Assam <br /><a href="http://tourismassam.blogspot.com/2008/01/map-of-assam.html">http://tourismassam.blogspot.com/2008/01/map-of-assam.html</a><br />### 5)<br />Your Travel Plan <br /><a href="http://tourismassam.blogspot.com/2008/01/your-travel-plan.html">http://tourismassam.blogspot.com/2008/01/your-travel-plan.html</a><br />### 6)<br />Places to visit in Eastern Assam--Dhemaji District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam.html</a><br />### 7)<br />Places to Visit in Eastern Assam -- Tinsukia District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam_30.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam_30.html</a><br /><br />### 8)<br />Places to Visit in Eastern Assam -- Dibrugarh District<br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam_3243.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam_3243.html</a><br />### 9)<br />Places to Visit in Eastern Assam -- Sivasagar District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam_7023.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam_7023.html</a><br />### 10)<br />Places to Visit in Eastern Assam -- Jorhat District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam-jorhat.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam-jorhat.html</a><br />### 11)<br />Places to visit in Eastern Assam -- Golaghat District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam_31.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-eastern-assam_31.html</a><br />### 12)<br />Places to visit in Western Assam-- Nalbari Dsitrict <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam.html</a><br />### 13)<br />Places to visit in Western Assam -- Barpeta District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam_31.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam_31.html</a><br />### 14)<br />Places to visit in Western Assam -- Bongaigaon District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam_8392.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam_8392.html</a><br />### 15)<br />Places to visit in Western Assam - Goalpara District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam_8114.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam_8114.html</a><br />### 16)<br />Places to visit in Western Assam --Dhubri District <br /><a href="http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam-dhubri.html">http://tourismassam.blogspot.com/2008/01/places-to-visit-in-western-assam-dhubri.html</a><br />### 17)<br />Places to visit in Central Assam - Kamrup District<br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-central-assam-kamrup.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-central-assam-kamrup.html</a><br />### 18)<br />Places to visit in Central Assam - Morigaon District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-central-assam.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-central-assam.html</a><br />### 19)<br />Places to visit in Central Assam -- Nagaon District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-central-assam-nagaon.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-central-assam-nagaon.html</a><br />### 20)<br />Places to visit in Central Assam - Darrang District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-central-assam_04.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-central-assam_04.html</a><br />### 21)<br />Places to visit in North Assam -- Lakhimpur district <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-north-assam.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-north-assam.html</a><br />### 22)<br />Places to visit in North Assam -- Sonitpur District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-north-assam-sonitpur.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-north-assam-sonitpur.html</a><br />### 23)<br />Places to visit in South Assam - Karbi Anglong District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam-karbi.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam-karbi.html</a><br />### 24)<br />Places to visit in South Assam - North Cachar Hills District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam-north.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam-north.html</a><br />### 25)<br />Places to visit in South Assam -Cachar District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam-cachar.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam-cachar.html</a><br />### 26)<br />Places to visit in South Assam - Karimganj District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam.html</a><br />### 27)<br />Places to visit in South Assam - Hailakandi District <br /><a href="http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam_06.html">http://tourismassam.blogspot.com/2008/02/places-to-visit-in-south-assam_06.html</a><br />### 28)<br />WILDLIFE IN ASSAM <br /><a href="http://tourismassam.blogspot.com/2008/02/wildlife-in-assam.html">http://tourismassam.blogspot.com/2008/02/wildlife-in-assam.html</a><br />### 29)<br />Holy places In Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/holy-places-in-assam.html">http://tourismassam.blogspot.com/2008/02/holy-places-in-assam.html</a><br />### 30)<br />Monuments and Museums in Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/monuments-and-museums-in-assam.html">http://tourismassam.blogspot.com/2008/02/monuments-and-museums-in-assam.html</a><br />### 31)<br />Other Attractions <br /><a href="http://tourismassam.blogspot.com/2008/02/other-attractions.html">http://tourismassam.blogspot.com/2008/02/other-attractions.html</a><br />### 32)<br />Various Tours <br /><a href="http://tourismassam.blogspot.com/2008/02/various-tours.html">http://tourismassam.blogspot.com/2008/02/various-tours.html</a><br />### 33)<br />Adventure activities and places in Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/adventure-activities-and-places-in.html">http://tourismassam.blogspot.com/2008/02/adventure-activities-and-places-in.html</a><br />### 34)<br />Tribal Tours through Operators <br /><a href="http://tourismassam.blogspot.com/2008/02/tribal-tours-through-operators.html">http://tourismassam.blogspot.com/2008/02/tribal-tours-through-operators.html</a><br />### 35)<br />About Art and Craft work found in Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/about-art-and-craft-work-found-in-assam.html">http://tourismassam.blogspot.com/2008/02/about-art-and-craft-work-found-in-assam.html</a><br />### 36)<br />Fairs & Festivals to enjoy in Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/fairs-festivals-to-enjoy-in-assam.html">http://tourismassam.blogspot.com/2008/02/fairs-festivals-to-enjoy-in-assam.html</a><br />### 37)<br />Major Stadiums and Sports infrastructure in Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/major-stadiums-and-sports.html">http://tourismassam.blogspot.com/2008/02/major-stadiums-and-sports.html</a><br />### 38)<br />Eco Tourism in Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/eco-tourism-in-assam.html">http://tourismassam.blogspot.com/2008/02/eco-tourism-in-assam.html</a><br />### 39)<br />About the Assamese Culture <br /><a href="http://tourismassam.blogspot.com/2008/02/about-assamese-culture.html">http://tourismassam.blogspot.com/2008/02/about-assamese-culture.html</a><br />### 40)<br />Assamese Cuisine - - Non Spicy yet Uniquely De-li-ci-ousSSSS !!! <br /><a href="http://tourismassam.blogspot.com/2008/02/assamese-cuisine-non-spicy-yet-uniquely.html">http://tourismassam.blogspot.com/2008/02/assamese-cuisine-non-spicy-yet-uniquely.html</a><br />### 41)<br />About Jollywood -- Assamese Cinema <br /><a href="http://tourismassam.blogspot.com/2008/02/about-jollywood-assamese-cinema.html">http://tourismassam.blogspot.com/2008/02/about-jollywood-assamese-cinema.html</a><br />### 42)<br />Bhraymaman theatre --Assamese mobile theatre industry <br /><a href="http://tourismassam.blogspot.com/2008/02/bhraymaman-theatre-assamese-mobile.html">http://tourismassam.blogspot.com/2008/02/bhraymaman-theatre-assamese-mobile.html</a><br />### 43)<br />Assamese Language and Literature <br /><a href="http://tourismassam.blogspot.com/2008/02/assamese-language-and-literature.html">http://tourismassam.blogspot.com/2008/02/assamese-language-and-literature.html</a><br />### 44)<br />Assam's History - A journey from 200BC till now <br /><a href="http://tourismassam.blogspot.com/2008/02/assamese-history-journey-through-ages.html">http://tourismassam.blogspot.com/2008/02/assamese-history-journey-through-ages.html</a><br />### 45)<br />Srimanta Sankardeva's Vaishnavism -- Xatra's, Xatriya dance, Borgeets and Bhaonas <br /><a href="http://tourismassam.blogspot.com/2008/02/srimanta-sankardevas-vaishnavism-xatras.html">http://tourismassam.blogspot.com/2008/02/srimanta-sankardevas-vaishnavism-xatras.html</a><br />### 46)<br />Assamese Dance forms <br /><a href="http://tourismassam.blogspot.com/2008/02/assamese-dance-forms.html">http://tourismassam.blogspot.com/2008/02/assamese-dance-forms.html</a><br />### 47)<br />Music of Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/music-of-assam.html">http://tourismassam.blogspot.com/2008/02/music-of-assam.html</a><br />### 48)<br />Flora and Fauna of Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/flora-and-fauna-of-assam.html">http://tourismassam.blogspot.com/2008/02/flora-and-fauna-of-assam.html</a><br />### 49)<br />Noted Personalities of Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/noted-personalities-of-assam.html">http://tourismassam.blogspot.com/2008/02/noted-personalities-of-assam.html</a><br />### 50)<br />Education in Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/blog-post.html">http://tourismassam.blogspot.com/2008/02/blog-post.html</a><br />### 51)<br />Rural assam day to day life !!! <br /><a href="http://tourismassam.blogspot.com/2008/02/blog-post_29.html">http://tourismassam.blogspot.com/2008/02/blog-post_29.html</a><br />### 52)<br />About Axom Xahitya Xabha (Assam Literary Society) & Bodo Sahitya Sabha <br /><a href="http://tourismassam.blogspot.com/2008/02/blog-post_1957.html">http://tourismassam.blogspot.com/2008/02/blog-post_1957.html</a><br />### 53)<br />Selected Bibliography related to Assam <br /><a href="http://tourismassam.blogspot.com/2008/02/blog-post_8915.html">http://tourismassam.blogspot.com/2008/02/blog-post_8915.html</a><br />### 54)<br />References and thanks <br /><a href="http://tourismassam.blogspot.com/2008/02/references-and-thanks.html">http://tourismassam.blogspot.com/2008/02/references-and-thanks.html</a>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com8tag:blogger.com,1999:blog-7823291760828692160.post-53896979355442385402008-02-29T06:39:00.003-08:002008-07-26T00:30:06.231-07:00References and thanks<a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8ktIBuBeeI/AAAAAAAACt4/10d1ZVzqw2U/s1600-h/GAMOSA.JPG"><img id="BLOGGER_PHOTO_ID_5172715262935398882" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8ktIBuBeeI/AAAAAAAACt4/10d1ZVzqw2U/s400/GAMOSA.JPG" border="0" /></a> This blog is created with the sole purpose of letting people know about Assam.....to answer every query that may raise in a strangers mind about Assam In simple and bold terms my initiative is<br /><br />..<span style="font-size:130%;">TO DEFINE</span> <span style="color: rgb(255, 0, 0);font-size:180%;" >ASSAM</span> <span style="font-size:130%;">FOR THE REST OF THE WORLD</span><br /><br />.. and<br /><br />--- NOTHING ELSE...absolutely nothing else ......<br /><br />To create this Blog I have searched and received information<br />through the internet,<br />through Google,<br />through emails from colleagues, friends, relatives, researchers, etc.<br />through news letters from Posoowa, Assam.org, etc<br /><br />Images taken has been from Google or some websites. My special thanks goes to Dibya da and Gauri Sankar for sharing some wonderful photographs.I hope if any body has a concern with certain photographs or material i have included here, please write to me @ my email ID <a href="mailto:mofid.rahman@gmail.com"><span style="color: rgb(255, 0, 0);">mofid.rahman@gmail.com</span></a>, I will immediately delete the concerned image or content.<br /><br />If any religious feelings is hurt or facts misrepresented, I apologize for it and please forgive me for that as I have collected all these information and is posting it to glorify Assam...Nothing Else is on my mind behind my any act in this endevour.<br /><br />I would like to thank <span style="color: rgb(255, 0, 0);">Mr Rajen Baruah, (Houston, USA), Dr.Utpal Bora(USA), Bina Hazarika(England), Bipul Jyoti Saikia</span> ( my bhindeo who is married to my dearest Neighbour Runjun Baa and the Son-In-law of Assamese Writer, Tushoprava Kolita), <span style="color: rgb(255, 0, 0);">Pallav Saikia (now in USA)</span>, <span style="color: rgb(255, 0, 0);">Maheswata Barua, Rini Kakoti(London)</span> and so many of such great personalities of Assam who have advised me or whose work i have found suitable to put up this blog.I would like to thank every person whose work OR help I have taken to put up this blog and duely apologise if his name or reference has been missed !!!<br /><br />My special thanks goes to the <span style="color: rgb(255, 0, 0);">NIC department of Assam</span> for their district wise individual websites. I hope these websites will be more tourism centric than they are at present to showcase each district in their individual glory with far more importance on places which have tourism potential.<br /><br />I would like to thank Sunita Ba and Labhita Bou for having an exclusive Assamese cuisine related blog each to let others know about the cuisines and delicacies of Assam.I have taken some photographs from their Blogs to showcase the Assamese cuisines as very less amount of photographs are available. For any foreigner these blogs are very informative about Assamese cuisine with beautifully taken photographs and easily comprehensible and well written menus.<br /><br />Last but not the least,I would like to thank <span style="color: rgb(255, 0, 0);">Looitporia</span>, Assam Association of Hyderabad and specially my editor-in Chief for the Looitporia Newsletter, <span style="color: rgb(255, 0, 0);">Labhita Baa</span> for guiding and motivating me to do this research work, which otherwise would not have come to my mind at all though i faced a identity crisis all the time.<br /><br />My only hope is that this would help every guest (stranger) of Assam<br /><br /><span style="color: rgb(102, 51, 51);">a)to know assam better </span><br /><span style="color: rgb(102, 51, 51);">b)to think of a visit to Assam to see </span><br /><span style="color: rgb(102, 51, 51);">------1) wild life in assam </span><br /><span style="color: rgb(102, 51, 51);">------2) Holy places in Assam </span><br /><span style="color: rgb(102, 51, 51);">------3)historical places in Assam </span><br /><span style="color: rgb(102, 51, 51);"></span><br /><span style="color: rgb(102, 51, 51);">c)to think of doing research about Assam's </span><br /><span style="color: rgb(102, 51, 51);">1)History </span><br /><span style="color: rgb(102, 51, 51);">2)Culture </span><br /><span style="color: rgb(102, 51, 51);">3)Languages </span><br /><span style="color: rgb(102, 51, 51);">4)Music and dance </span><br /><span style="color: rgb(102, 51, 51);">5)Vaishnavism and Xatriya Culture </span><br /><span style="color: rgb(102, 51, 51);">6)Art work </span><br /><span style="color: rgb(102, 51, 51);">7)Flora and Fauna, etc </span><br /><br />Every care has been taken to verify all the facts related to Assam, yet if any distortion is noted,please let me know.I am open to constructive criticism about this blog.Please always feel free to contact me in case you have any issues regarding this blog at <a href="mailto:mofid.rahman@gmail.com">mofid.rahman@gmail.com</a> Contents of this blog are meant for anyone who wants to use it to project assam better in any work or research pursued by the individual or the organization.<br /><br /><span style="color: rgb(0, 0, 102);">ধন্যবাদ !!</span><br /><span style="color: rgb(0, 0, 102);"> জয আই অসম !! </span><br /><span style="color: rgb(0, 0, 102);">জয জযেতো মোৰ চিৰ চেনেহী অসমী আই !!</span><br /><br />Thanks!!<br />Long Live Assam !!<br /><br />--- For the Guest who have visited this blog, I strongly hope you are seriously thinking of arranging a Ticket to India for a tour of Assam Now !!!<br /><br />--------We await your arrival !!<br /><br /><br />+++++--------------<strong><span style="color: rgb(0, 0, 153);">Assam beckons you</span></strong>--------------+++++++<br /><br /><br />or should I wish you<br /><br /><br />+++++++++-----------<strong><span style="color: rgb(255, 0, 0);font-size:180%;" >Bon Voyage to Assam</span></strong> -----------++++++++++++<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8ktIRuBefI/AAAAAAAACuA/bXzKz6BPddI/s1600-h/namaste.jpg"><img id="BLOGGER_PHOTO_ID_5172715267230366194" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8ktIRuBefI/AAAAAAAACuA/bXzKz6BPddI/s400/namaste.jpg" border="0" /></a><br /><div> </div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com10tag:blogger.com,1999:blog-7823291760828692160.post-16043907859449622922008-02-29T06:39:00.001-08:002008-04-24T23:33:49.227-07:00Videos related to Assam<p><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dy9x1-jvl6CIynU1D2GV4l42U-QHkEguNPffX_kK92plP61ZKCvQknDT_p0dToDpvnPO1Mqbc_psT4AFnCAig' class='b-hbp-video b-uploaded' frameborder='0'></iframe></p><p>+++++_____ Assam Tourism Part I______++++</p><p><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='302' height='252' src='https://www.blogger.com/video.g?token=AD6v5dyITBW-E59f8JWMa4NTR-cxWj3H6HIGIPXpD-fxiyoP_kCc4mLHAJepM8chCcyPE05N8vykavJl9aTDQhRM-A' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br />+++++_________ Assam Tourism Part II______++++ </p><p></p><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzwTNHNd3Id-c-G2MEIcKM5zBydd2OlqosOPiKpw94H4e9qeSSdFO3ZG44rupquqA346VQ1R0M2uwVGDIZchQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br />------------Rhino in Kaziranga-----------------<br /><p></p><br /><p><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwaPmZMoS8-vgGfIplGzoeHJti6PeR6Puqs2b3psC3MsO_Ajr-a8lvspUANoiVSKl5OsGQmqZN3WP6RCvOLeA' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br />---+++++++Siva Doul in Sivasagar---+++++++<br /><br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyMtiVsazGkDtK01Ngk08o9-bV873OivCHZvXbuo67rJJ5SRkKFr0vq6xnfPoevZ-maByMcnlEgLf12fkqMRA' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /></p>---+++++++Nagaon ---++++++<br /><p><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dx7S3yLfLxKq0bZI9Ba7bQOHt1n9lW5c_99g70iO7abAwVAu7CuWMIjUfNJHbkR3mzVxjVw9r0VWac6LZ_Taw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></p>---+++++++Tezpur ---+++++++<br /><p><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxfDVZ63r0_eKC5bFji_GN2Ma7rfvcj0K_nBZaYbMgxhkRA3MH56RIswjF6A8chVVBTjiBksFVTvfb6lDgeaw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></p><p>+++++Afternoon in Mou Chapori---++++++</p><p><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyPm7RfWNjQBdpTTPeZ5Dy9NNmwFO5dN2QJ4k23h9pLBlW_64uOSwQ1FIs8qGWaisKn7_oqF1uwQG_5pr3qBQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br />+++------------Majuli----+++<br /></p><p></p><br /><p></p><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzVXNVVGmu-DoxBzbwLkixVUkIxQ4RJamHOJ5v6UcJwjU9a24DLkGp2ARUA5ixqbKh2p91_yRX48mC65z9jsQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br />---------Brahmaputra---------------------<br /><p><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxTUwhGobPpSZ2gn-38CyF3KKgrGaRXW7bydg--AVCp9Z5XVs6mSUfdktQMeBDeFU13fJM_E0FHyfgvL7qahg' class='b-hbp-video b-uploaded' frameborder='0'></iframe></p>___________Rhinos________________<br /><p><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyh3GFCcftLG8A0AELynHKqfOhuu-L5JKJEBEY31NdgLgzg72mK5wZaU-WmPGtkRVTrjdPziK8t2Ybe1QItlQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></p>______________Rhinos_____________<br /><p><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzSqR7QYsMrQPKKc00Cj9p6V2tnIW1dXfSrpsylfvh600ONLUPcGT1d3bmRa-DuO_e-Yv7Gjxvz7YGhvV3cww' class='b-hbp-video b-uploaded' frameborder='0'></iframe></p>__Rafting & Kayaking NE India's Subansiri River______<br /><p><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwTM-3kLXcjaXTr6twWvhIsnbzt6BD5vp8dnM06wFcDuik1jo1coEoDDdbgk7why5mH23kmPj8sVAHTXKzGyw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></p><br /><p>+++___View of Brahmaputra River___+++</p><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyBBjmMIyeT9Ey33HNGBcSQu49rrWwjmlVMkgZjkNXqFbuEAajsfVRrddb8TbOjkm2UOXNNGM54rlfKcN9p6A' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br />+++____Majuli____+++<br /><br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/xlCzjliZ38g"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/xlCzjliZ38g" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com11tag:blogger.com,1999:blog-7823291760828692160.post-50706053605861351332008-02-29T06:38:00.003-08:002008-05-05T04:16:18.012-07:00Assam oil -- History and march so far<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SB7sEdadq9I/AAAAAAAADW4/UaXE7Hup46g/s1600-h/isa.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SB7sEdadq9I/AAAAAAAADW4/UaXE7Hup46g/s400/isa.bmp" alt="" id="BLOGGER_PHOTO_ID_5196850581391387602" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SAi6N7x5k4I/AAAAAAAADPA/Ec3r-TJDSE8/s1600-h/DIGBOI.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SAi6N7x5k4I/AAAAAAAADPA/Ec3r-TJDSE8/s400/DIGBOI.bmp" alt="" id="BLOGGER_PHOTO_ID_5190603319092548482" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SAi6OLx5k5I/AAAAAAAADPI/Rrzv4BgEsc0/s1600-h/LOGOS.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SAi6OLx5k5I/AAAAAAAADPI/Rrzv4BgEsc0/s400/LOGOS.bmp" alt="" id="BLOGGER_PHOTO_ID_5190603323387515794" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAi6Obx5k6I/AAAAAAAADPQ/IQbPEh-_m40/s1600-h/DIGBOI1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAi6Obx5k6I/AAAAAAAADPQ/IQbPEh-_m40/s400/DIGBOI1.jpg" alt="" id="BLOGGER_PHOTO_ID_5190603327682483106" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi9_rx5lHI/AAAAAAAADQ4/2gYcBqWFzvY/s1600-h/DIGBOI20.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi9_rx5lHI/AAAAAAAADQ4/2gYcBqWFzvY/s400/DIGBOI20.jpg" 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{}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SAi9pLx5lDI/AAAAAAAADQY/sdeGplsxi8E/s1600-h/DIGBOI10.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SAi9pLx5lDI/AAAAAAAADQY/sdeGplsxi8E/s400/DIGBOI10.jpg" alt="" id="BLOGGER_PHOTO_ID_5190607085778867250" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAi9pbx5lEI/AAAAAAAADQg/7t2aU_z-z7M/s1600-h/DIGBOI11.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAi9pbx5lEI/AAAAAAAADQg/7t2aU_z-z7M/s400/DIGBOI11.jpg" alt="" id="BLOGGER_PHOTO_ID_5190607090073834562" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi9prx5lFI/AAAAAAAADQo/EFR6dEt0C_Y/s1600-h/DIGBOI12.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi9prx5lFI/AAAAAAAADQo/EFR6dEt0C_Y/s400/DIGBOI12.jpg" alt="" id="BLOGGER_PHOTO_ID_5190607094368801874" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SAi9p7x5lGI/AAAAAAAADQw/0jH83Ayv6Yw/s1600-h/DIGBOI13.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SAi9p7x5lGI/AAAAAAAADQw/0jH83Ayv6Yw/s400/DIGBOI13.jpg" alt="" id="BLOGGER_PHOTO_ID_5190607098663769186" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi9Prx5k9I/AAAAAAAADPo/O3c4iiiOW_k/s1600-h/DIGBOI4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" 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id="BLOGGER_PHOTO_ID_5190606669167039474" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAi9Rbx5lAI/AAAAAAAADQA/v311pt1Yo4U/s1600-h/DIGBOI7.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAi9Rbx5lAI/AAAAAAAADQA/v311pt1Yo4U/s400/DIGBOI7.jpg" alt="" id="BLOGGER_PHOTO_ID_5190606677756974082" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi9Rrx5lBI/AAAAAAAADQI/wcDzjrI8F1M/s1600-h/DIGBOI8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi9Rrx5lBI/AAAAAAAADQI/wcDzjrI8F1M/s400/DIGBOI8.jpg" alt="" id="BLOGGER_PHOTO_ID_5190606682051941394" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAi6Obx5k7I/AAAAAAAADPY/a-qS8z1mOp8/s1600-h/DIGBOI2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAi6Obx5k7I/AAAAAAAADPY/a-qS8z1mOp8/s400/DIGBOI2.jpg" alt="" id="BLOGGER_PHOTO_ID_5190603327682483122" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi6Orx5k8I/AAAAAAAADPg/5axwSclzP_Y/s1600-h/DIGBOI3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SAi6Orx5k8I/AAAAAAAADPg/5axwSclzP_Y/s400/DIGBOI3.jpg" alt="" id="BLOGGER_PHOTO_ID_5190603331977450434" border="0" /></a><br /><br />Assam is the first state in the country where in 1889 oil was struck at Digboi. Assam can boast of having the oldest oil refinery in the country. This refinery set up at Digboi, in Tinsukia district, started commercial production in 1901. The refinery, now belonging to the Assam Division of the Indian Oil Corporation, has a refining capacity of 3 lakh tonnes of petrol, kerosene, diesel and other petroleum products.<br /><br />The second refinery in Assam was set up at Noonmati in Guwahati under the public sector. It started production in 1962. It produces liquified petroleum gas (LPG), petrol, kerosene, diesel, furnace oil, coke etc.<br />The third refinery in the region was established at Dhaligoan near Bongaigaon in 1962. It is known as Bongaigaon Refinery and Petro-Chemicals Limited (BRPL).<br />The fourth refinery in the state was established at Numaligarh of Golaghat district in 1999, with a refining capacity of 3 million tonnes of oil and other products.<br /><br />NATURAL GAS<br />Like petroleum, natural gas is a valuable source of power and various other chemical by-products. In Assam, almost all the petroleum producing areas of the Brahmaputra Valley, especially Naharkatia, Moran, Lakuwa and Rudrasagar, contains 'associated natural gas'. The important industries so far built up on the basis of the natural gas of Assam are Namrup Fertilizer Factory, Namrup Thermal Power Project, Production of Carbon Black, Assam Petrochemicals and Assam Gas Company, which provides liquified petroleum gas for domestic use. There are LPG bottling plants at Duliajan, North Guwahati, Silchar etc. The BRPL also uses natural gas as raw material to produce various chemicals.<br />In November 1866, Mr. Good Enafe of the Calcutta Machinery attempted a manual digging of an oil well in the Naharpung area in Upper Assam. After finding no oil at a depth of 120feet he gave up. In March 1867 the first oil well in the Asian continent to be dug using mechanical means was started in the Makum Namdang area also in Upper Assam. They hit oil at 118 feet and over a tone of crude oil was extracted. In 1889 the Assam Railway & Trading Company began massive oil exploration and production in Digboi. 1893 saw the formation of Assam Oil Syndicate to handle oil production in Assam and a complex sprung up in north of Digboi. This fructified in 1901 with the establishing of the Assam Oil Company that started producing 500 barrels of crude oil per day and established a refinery to refine this crude in Digboi itself. In 1911 the Burma Oil Company came to Assam with the intention of oil exploration and production and soon they discovered massive oil reserves in Surma Valley.<br />TODAY IN UPPER ASSAM ALONE THE ANNUAL OIL PRODUCTION IS 5 MILLION TONNES.<br />Later the Oil India Ltd. was set up to extract the natural crude oil and natural gas of Assam. The company set up the oil and gas based Namrup Fertilizer plant, a petrochemical plant in the same area and also a power complex using gas for production of electricity. Further in Duliajan a plant was set up to manufacture Liquid Petroleum Gas or LPG and market the same as cooking gas all over India.<br />ANNUAL PRODUCTION OF CRUDE OIL IN ASSAM<br />Oil well/field Production in million tons Refinery:-<br /> Naharkatia 0.26 million tones<br /> Digboi " 0.75 " "<br /> Noonmati " 1.40 " "<br /> Barauni (Bihar)<br /> Moran 0.60 " " Barauni<br />two-third of Assam's crude oil is refined outside the state.<br />The table below gives the official figures on oil reserves in Assam and the projections on production etc.:-<br />Year (Oil Reserves Annual Production) Projected Production( In million tonnes yield) total depletion (years) of reserves<br />1971 62.90 MT 3.542 MT 17.7 Years 1989 AD<br />1981 89.00 MT 4.373 MT 20.4 years 2002 AD<br />1990 144.95 MT 5.000 MT 29.1 years 2019 AD<br />ASSAM'S CONTRIBUTION TO INDIAN OIL PRODUCTION<br />Year Production in Lakh tonnes Production in Lakh tonnes Percentage (Assam) (Total Indian Output)<br />1974---- 37.4 lakh tonnes 74.91 lakh tonnes 49.92 %<br />1974---- 40.8 " " 111.7 " " 36.52 %<br />1980---- 10.6 " " 49.0 " " 21.63 %<br />1981 43.9 " " 48.8 " " 89.95 %<br />A comparative statement is given below of the average annual revenue which Assam gets in relation to what the central government receives :-<br />Sl No. Item Indian Govt. Assam Govt. Rupees in crores) (Rupees in crores)<br />1. Natural Gas 900.00 (Royality) 481.00 2. Excise &custom 913.00 (Sale) 151.00 Duty 3. Public sector oil 655.oo Companies profits 4, Corporate taxes 145.00 & dividends<br />Total 2623.00 632.00<br />Thus at any given time the Indian colonial government earns for every tone of Assam's oil, Rs. 2623.00, while Assam earns a measly Rs. 632.00 per tone.<br />Further we can see from the profits ONGC has gained from exploitation of Assam's oil the extent to which the Indian State machinery is continuing the colonial legacy of the British.<br />Year Profit (in crores) Production in million tonnes<br />1991-92--- 403.32 ----<br />1992-93----788.20 ----<br />1993-94--- 1271.90 24<br />1994-95--- 1710.00 29<br />1995-96--- 2259.00 34<br />1996-97--- 2674.00 36<br />Petroleum Industry<br />Oil discovery in Assam: 1825<br />Commercial production began: 1899<br />Assam Oil Company (AOC) formed: 1899<br />Burmah Oil Company takes over AOC: 1921<br />Production in 1977: 4.47 million tons<br />Production in 1980: 1.06 million gallons<br />Production in 1981: 4.39million gallons<br /><br />brief background of Assam Oil Company.<br /><br />Following the discovery of Digboi well No.1, systematic drilling began in 1891 by AR&T Co Ltd. which then represented the final frontiers of technology and enterprise at a time when oil exploration was no more than just a gleam in the eye of most nations. However, the company had the vision to recognise that the oil business was a full time business, which could not be mixed up with timber, coal, railways etc. Therefore, a new company known as Assam Oil Company (AOC) was formed in 1899 with a capital of £ 310,000 to take over " the petroleum interests of the AR&T Co. Ltd."<br />ACL is rich in history. It was founded in 1839 by a group of independent entrepreneurs and merchants from Britain. This happened subsequent to the abolishment of the monopoly enjoyed by the East India Company (based in India) to export tea to Britain. The company was setup with a mission of becoming a source of supply of tea to Britain, which till then had been importing poor quality tea from China. The strategy was to produce tea in India, which boosted of high quality tea plantation. The British Parliament incorporated the company via a deed and a royal charter was awarded to the company. Subsequently, the company was also granted the pioneering status, ie, exclusive right for the manufacturing of tea, thus making it impossible for other companies or ventures to produce tea for the next 15 years. Thus, with the commencement of tea production, the product found its way into the different parts of the world.<br />Later in 1840, the company found coal in Assam and in 1881 a company was setup by name Assam Railway and Trading Company (ARTC) to concentrate on business involving timber, railway and coal. The company, while laying down the railways struck oil by accident. The first oil well across the world was drilled in 1859 in Pennsylvania and second at Digboi Assam in 1889 by ARTC of which ACL was the holding company. Assam Oil Company was separately setup in 1889. Subsequently, it was taken over by Burma Oil Company, which was later nationalized to form OIL India Ltd. Historically, the company has been into the business of timber, tea gardens, coal, railways, oil and navigation.<br /><br />Assam oil Division - A Profile<br /><br />A remote place in the extreme northeast corner of the country etched out a place for itself in the industrial history of India over a century ago. This little town, Digboi, is the headquarters of the Assam Oil Division of the Indian Oil Corporation Ltd. and is regarded as the birthplace the country's petroleum industry. It was in this region that the pioneers struck oil in the midst of dense jungles at a time when there was hardly any industrial development in the country.The Digboi Refinery, commissioned in 1901 , is today India's oldest operating refinery and one of the oldest operating refineries in the world. In fact, it was the only refinery in India till the mid 1950's. Earlier owned and operated by the Assam Oil Company ltd. It came into the fold of the Indian Oil Corporation ltd. by an Act of Parliament on 14th.October 1981 and became Assam Oil Division of Indian Oil Ltd.<br /><br />Post Nationalization, phase-wise modernization of the age old Refinery was taken up and a total transforma -tion of the of the Refinery have taken place over the decade or so.Today, with its vastly modernized operations and facilities, Digboi Refinery is an ISO 9002 - ISO 14001 and DNV OHSMS 1997 accredited refinery manufacturing major petroleum products and a wide range of specialty products. Digboi refinery also meets the requirements of BS 8800.<br /> <br />Sequestered in the idyllic hilly reaches of the Northeast, almost under the shadow of the Burma hills, Digboi is about 520 Kms, to the east of Guwahati on National Highway 38. Digboi Township - strewn with green hillocks and undulating plains - is another world in itself.<br /><br />Assam Oil Company Ltd. (AOC) was one of the earliest enterprises in the world engaged in exploration and production of oil. Oil was discovered in Digboi in northeastern part of Assam in 1889 by Assam Railway & Trading Company (Originally formed with the object of drilling for oil, later on Assam Oil Company was created to carry out exploration work in Assam and adjoining areas), which established the predecessor company to AOC that was later acquired by Burmah Oil Company Ltd.(BOC), founded 1896, which played a major role in the oil industry in South Asia for about a century through its subsidiaries and in discovery of oil in the middle east though its significant interest in British Petroleum, and also discovered Yenangyaung Oil Field in 1897 and, in 1901, discovered Chauk (Singu) Oil Field, both in Myanmar. Assam Oil Company was taken over by the BOC in 1910, and between 1910 and 1930, the BOC carried out extensive exploration work in Assam and adjoining areas. In 1937, BOC, Royal Dutch/Shell, and Anglo Iranian Oil Co applied for exploration licensee in India and started geophysical survey. Due to World War II, all activities were suspended. Assam Oil is now a division of Indian Oil.<br /><br />Oil Discovery in India in the state of ASSAM<br /><br />Soon after Edwin L Drake drilled the world's first oil well in 1859 at Titusville, Pennsylvania, USA, history chronicles another exploratory effort in search of the black liquid gold, across continents.<br />In the 1860s, sub surface oil exploration activities started in the dense jungles of Assam in north-east India and in March 1867, oil was struck in the well drilled near Makum. This was the first successful mechanically drilled well in Asia.<br />The first commercial discovery of crude oil in the country was, however, made in 1889 at Digboi when a group of galllant oilmen erected a 20 meter high thatch covered wooden structure at the head of the Brahmaputra valley, in the extreme corner of northeastern India. This modest structure or 'derrick' had little geometric or aesthetic appeal. Nevertheless, it marked the remarkable saga of the quest for petroleum, in Indian shores. The only visitors were the pachyderms, the odd jackal, snakes and many leeches. The environs smelt of the rain - soaked forest mingled with heavy odour of oil seepage all over and thus marked the beginning of the oil industry in India.<br /><br />History of Digboi<br /><br />Digboi Oil Town is a census town (A town with a minimum population of 5,000, at least 75% of male working population engaged in non-agricultural pursuits; and a density of population of at least 400 persons per sq. km) in Tinsukia district in the state of Assam,India.<br /><br />It is said that the town gets its name from the phrase "dig-boy-dig," which is what the English told the labourers as they dug for crude oil. The town's history begins in 1867 when a small group of men from the Assam Railway and Trading Co. found their elephants' legs soaked in black mud, that smelt somewhat like oil. The men began exploring more, and in 1889, the English started a small oil installation. India (and Asia) obtained its first refinery in Digboi in the year 1901. Assam Oil Company was formed in 1899 to look after the running of the oil business in this area. The Digboi oil field produced close to 7,000 barrels/day of crude oil at its peak, which was during World War II. The field was pushed to produce the maximum amount of oil with little regard to reservoir management; as a result, production started to drop almost immediately after the war. The current production from the Digboi fields is about 240 barrels/day. Over 1,000 wells have been drilled at Digboi – the first well in 1889 had stuck oil at 178 feet. In 1989, the Department of Posts, India came out with a stamp commemorating 100 years of the Digboi fields.<br /><br /><br />December 18, 2001<br />CENTENARY OF OIL REFINING IN INDIA - FROM MODEST BEGINNING TO SELF-SUFFICIENCY<br />PRIME MINISTER RELEASES POSTAL STAMP ON 100 YEARS OF DIGBOI REFINERY<br /> The Prime Minister Shri Atal Bihari Vajpayee released here today a commemorative postage stamp on completion of 100 years of Indian Oil’s Digboi Refinery, the first refinery in the country. The postal stamp release was organised to mark the completion of a centenary of refining crude oil in the country which started way back in 1901 at Digboi in Assam. Shri Vajpayee commended the tremendous progress made since then making India self reliant in refining of crude oil in the country. He called for further acceleration of efforts towards earning maximum possible self-reliance in exploration and production of oil and gas as well.<br /><br />Speaking on the occasion Shri Naik said that India was one of the pioneers in the world to discover and process crude oil with the setting up of first refinery in Asia at Digboi in 1901 where first commercially producing oil well was drilled in 1889. The fervent call "Dig-Boy-Dig" gave the place its name, Digboi. For over 50 years, Digboi was the only refinery operating in the country. The country has come a long way since then with self-sufficiency in refining capacity which stands at 112.5 Million Tonnes today. Referring to several initiatives taken for the benefit of common man and to ensure oil security of the nation, Shri Naik said that "India Hydrocarbon Vision 2025" was formulated giving a definite direction for the industry and the country. The country is now at the threshold of momentous changes in the oil sector with the scheduled dismantling of Administered Pricing Mechanism (APM) from 31st March, 2002.<br /> Digboi Refinery is the India’s first refinery and one of the oldest operating refineries in the world. In fact it was the only refinery in India till mid 1950s. About the Digboi Refinery, it may be recalled that History was made more than a century back in a remote corner of Assam in the midst of dense jungles when a group of Italian Engineers, commissioned by the Assam Railways and Trading Company to build a railway line from Dibrugarh to Margherita accidentally discovered oil. It was here in Digboi that the first commercially viable oil well in India, known locally as well No. 1, was successfully drilled in September 1889 and the first modern refinery in India was built and commissioned in December 1901.<br /> The 500 barrels per day capacity of the refinery was expanded over the years in order to process the increasing crude oil production from the Digboi Oil filed and subsequent discovery of Nahorkatiya fields in 1953. Earlier owned and operated by the Assam Oil Company Limited, a subsidiary of the Burmah Oil Company Limited, Digboi Refinery was vested with the Indian Oil Corporation Limited (IOCL) by an Act of Parliament on 14th October 1981. Digboi, is now the headquarters of the Assam Oil Division of the IOCL also.<br /> Digboi Refinery was rebuilt in 1923 and most of the units were of 1930 vintage till it came into the fold of IOCL in 1981. Since then, large scale investments have been made by IOCL in the refinery. A modern crude oil distillation unit along with associated utilities and offsite facilities was commissioned in 1996. Subsequently, a Catalytic Reformer Unit, a New Delayed Coking Unit and a Wax Hydrofinishing Unit were commissioned between 1997 and 2001 and the refinery capacity was also enhanced. A state-of-the-art Vacuum Residue Short Path Distillation Unit for producing improved quality Bitumen and feedstock for high melting point Microcrystalline Wax was commissioned in April 2001. With two more major ongoing projects viz. Solvent Dewaxing Unit and Kerosene/Diesel Hydrotreater, Digboi Refinery will soon complete its transition to a state-of-the-art refinery.<br /> With assimilation of technology and development of infrastructure, Digboi Refinery is striving to achieve higher standards of excellence in all fields of operation including safety and environment protection. The refinery is already certified for ISO-9002, ISO-14001 and BS-8800. The refinery produces a wide range of petroleum products including wax, bitumen and also a number of speciality products. The paraffin wax produced in the refinery is one of the finest in the world.<br /> Over the past 100 years, petroleum industry of India with Digboi Refinery as its nucleus has been an integral part of our country’s march towards self-reliance.<br /><br />The authorized and paid up capital of Oil India Limited as on 31st March 2005 are Rs.2500 Million (USD 50 Million) and Rs. 2140 Million ( USD 42.8 Million) respectively with 98.13% holding by the Government of India and 1.87 % by the employees and others. The net worth of the company as on 31st March 2005 is Rs 47110 Million (USD 942.20 Million) Oil India Limited registered an alltime high net profit of Rs. 10610 Million (USD212.2 Million) against a total income of Rs 40970 Million (USD 819.40 Million).<br />OIL is having over 100,000 Sq. Km. of PEL/ML areas for its exploration & production activities.<br />Majority of OIL’s activities is being taken up in the North East from where it’s entire crude oil production and majority of gas production is coming<br />Today, though the crude production is not high, Digboi has the distinction of being the world’s oldest continuously producing oilfield. Digboi refinery, now a division of Indian Oil Corporation, had a capacity of about 0.65 MMTPA as of 2003. The Digboi refinery is the world's oldest oil refinery still in operation.<br />Digboi is now Headquarter of Assam Oil Division of Indian Oil Corporation Limited. The Earliest recorded to the existence of oil in India is found in the memories and despatches of the Army Officers who penetrated the jungles of Upper Assam since 1825. Lt. R. Wilcox, Major A. White, Capt. Francis Jenkins, Capt. P.S. Hanney -- they all saw at different times petroleum exuding from banks of the Dihing River. Mr. C.A. Bruce (1828) and Mr. H.B. Medicott (1865) of the Geological Survey of India also saw oil while prospecting for coal in Upper Assam.<br />Mr. Goodenough of McKillop, Stewart & Co. Calcutta was the first in India to start a systematic programme of drilling for oil in November 1886, at Nahorpung about 30 miles south east of Dibgoi, just seven years after the world's first commecial oil well was drilled in 1859, by Col Willam Drake in Pennsylvania, USA. This hand dug well -- the first oil well in India -- was drilled up to 102 feet and proved dry. However the second well struck oil at Makum near Margherita, about 8 miles from Digboi.<br /><br />Digboi Refinery at Present<br /><br />The Digboi Refinery modernization project was taken up in large scale in order to overcome the technological obsolescence of the old refinery. Subsequently a number of other major projects were undertaken by Assam Oil Division to further revamp and modernise Digboi Refinery. This includes the Wax Hydro-finishing Unit (WHU) which is now under commissioning, the Solvent Dewaxing/Deoiling Unit (SDU) whose target date of commissioning is November 2002. The Target date of commissioning of the Hydrotreater is May'2002 and the target date of commissioning of the Vacuum Residue Short Path Distillation (VRSD) is October 2002. Digboi refinery has been awarded the ISO-14001 and OHSMC certificate.<br /><br />Birding Tours in Digboi Oil Fields<br /><br />The oil producing town of Digboi in eastern Assam, India's first active oil field is now primarily a refining centre. The IOC has recently proposed a nature park surrounding the complex of old derricks and drilling platforms including the lowland forests and pools inside the park. This is the home of some birds like the White-winged Duck. The other birds found here are White-cheeked Partridge, Grey Peacock Pheasant, White-winged Duck, Falcated Duck, Ferruginous Pochard, Bay Woodpecker, Great Hornbill, Wreathed Hornbill, Oriental Pied Hornbill, Red-headed Trogon, Stork-billed Kingfisher, Blue-bearded Bee-eater, Green-billed Malkoha, Asian Barred Owlet, Pompadour Green Pigeon, Pin-tailed Green Pigeon, Green Imperial Pigeon, Grey-headed Lapwing, Besra, Changeable Hawk Eagle, Mountain Hawk Eagle, Pied Falconet, Long-tailed Broadbill, Common Green Magpie, Grey Treepie, Collared Treepie, Black-winged Cuckooshrike, Lesser Racket-tailed Drongo, Greater Racket Tailed Drongo, Large Woodshrike, Dark-sided Thrush, Black-breasted Thrush, Dusky Thrush, Rufous-gorgeted Flycatcher, Daurian Redstart, Black-backed Forktail, Velvet-fronted Nuthatch, White-throated Bulbul, Ashy Bulbul, Grey-breasted Prinia, Chestnut-headed Tesia, Slaty-bellied Tesia, Grey-bellied Tesia, Brownish-flanked Bush Warbler, Mountain Tailorbird, Tickell's Leaf Warbler, Yellow-browed Warbler, Greenish Warbler, Blyth's Leaf Warbler, Rufous-faced Warbler, Chestnut-backed Laughingthrush, Puff-throated Babbler, Pygmy Wren Babbler, Grey-throated Babbler, Striped Tit-Babbler, White-hooded Babbler, Rufous-throated Fulvetta, Blyth's Pipit, Olive-backed Pipit.<br /><br />Digboi Centenary (Assam Oil Industry) Museum<br /><br />As part of the centenary celebrations of the first production oil well in India, the Assam Oil Company (part of Indian Oil) established a museum of the history of the Assam oil industry, behind the refinery at Digboi, which opened in early 2002. There is a fair amount of preserved machinery present, much of it stationary steam. Not illustrated are a number of small simplex and duplex pumps, mostly anonymous but including a couple of examples by Weir. Note that the museum is closed on Monday and nearby is the Digboi War Cemetry, poorly sign posted but as ever a poignant reminder of the futility of war as a means of solving problems<br /><br /><br />The year 1825. Assam is still not a part of (British) India. The Ahoms—Mongoloid people with their roots in Thailand and rulers of Upper Assam since about 1228—are facing a serious crisis arising out of repeated Burmese incursions. The king is compelled to request the British for help in ousting the invaders. The task is accomplished within months. But Assam passes into the hands of the British with the signing of the Treaty of Yandaboo with the Burmese on February 24, 1826.<br />Lieutenant R Wilcox of the 46th Regiment Native Infantry, engaged in pushing out the Burmese, is also entrusted, along with a survey party, to lead a military reconnaissance mission in the extreme eastern part of the Brahmaputra Valley. Marching through thick rain forests full of deadly leeches and numerous other wild animals, Wilcox arrives at the upper reaches of the Namchik river, where he suddenly sees “rising to the surface at Supkhong, great bubbles of gas and green petroleum”.<br />That serendipitous sighting of oil is today in the news with Oil India Limited, an oil and gas company that has gone through corporate twists and turns, preparing to raise funds from the primary market with a public issue.<br />“We have already filed the Draft Red Herring prospectus with market regulator SEBI for our initial public offering,” says Oil India Chairman and Managing Director M R Pasrija, pointing out that it has already signed an MoU with Hindustan Petroleum, Mittal Investments and GAIL for setting up a 15-MTPA grassroots refinery and petrochemical complex at Visakhapatnam. Oil India will offer 2,64,49,982 equity shares of Rs 10 each for cash at a price to be decided through a book-building process.<br /><br />“Oil India already has 26 per cent stake in the Numaligarh Refinery in Assam, while we also have committed 10 per cent share in the mega gas cracker project that is coming up near Dibrugarh,” Pasrija recalled. With Numaligarh’s product pipeline to Siliguri already commissioned, Oil India is currently on the way to complete a gas pipeline from Naharkatiya to Numaligarh, a joint project with NRL and Assam Gas Company Ltd.<br /><br />It is a long story from Namchik river to the bourses for what was a distinct Assam “boxwallah” company. Two years after Wilcox saw the oily sheen on the waters, an English trader called Robert Bruce (who had accompanied Maniram Dutta Barua—later Maniram Dewan—in 1823 in having the first cup of Assamese tea as a guest of Beesa Gam, a Singpho chief near present-day Margherita), who, in 1828, wrote about coming across “many oil seepages upstream of Makum for a distance of about five miles.”<br />Almost 40 years later, in 1865, HB Medlicott of the Geological Survey of India, touring the coalfields of Upper Assam, came across some oil seepages that prompted him to recommend trial boring in the area. “The springs (petroleum) of the Makoom river are by far the most abundant… The locality… exhales olefiant gases… the discharge of gas is so copious and continuous that when lighted, it flames almost without intermission… the abundance of gas suggesting that the reservoir of liquid (if such there by) has not been tapped…” he reported.<br />In less than a year, one Mr Goodenough of McKillop, Stewart & Co obtained permission and started boring the first well at Nahorpung near Jeypore. It was bored by hand, but was abandoned when it turned out to be dry at 102 ft. On March 26, 1867, he struck oil at 118 ft, thus marking the beginning of the oil hunt in Assam, hardly seven years after Colonel William Drake completed his first well in Pennsylvania, US.<br />The output of oil in Assam was not something to write home about. Until 1882. It was in that year that the Assam Railway & Trading (ART) Company was floated by Dr John Berry White, who was also the pioneer of medical education in Assam. ART Company applied for a licence in March 1888 to extract petroleum at a place that later came to be known as Digboi.<br /><br />On October 19, 1889, oil was struck at Digboi at a depth of 178 ft. That historic site stands today proudly as Well No 1 in the heart of Digboi as a museum piece. Also placed at the entrance of the over 100-years-old Digboi refinery is the bottom portion of one of the huge cast iron pans—‘stills’ as they are called—used to treat crude oil in a small refinery—India’s first—that was initially set up at Margherita in 1893.<br /><br />As activities expanded, the directors of ART Company, which dealt with many things including tea, coal, railways, plywood and brickfields, concluded that profitable development of the oilfields could be best secured only by a separate organisation. Thus, in 1899, the Assam Railways & Trading Company promoted another company, the Assam Oil Company, with its headquarters at Digboi. Lord Ribblesdale, chairman of ART Company, became the first chairman of Assam Oil Company.<br />The ART Company however did not immediately relinquish its interest in oil and took a large number of shares in the new company, while the Boards of the two companies remained intimately connected. This continued for about 20 years, until January 1921, when ART’s shares were sold and the UK's Burmah Oil Company (BOC) was appointed commercial and technical managers of AOC. Another smaller entity called the Assam Oil Syndicate too was merged with it to bring oil operations under one single umbrella.<br />Soon after began the construction of India’s first refinery, the Digboi refinery. It was commissioned in 1901 with the 1893 Margherita unit getting merged into it. The refinery initially had a capacity of just 500 barrels a day and produced only kerosene, wax oil for lubrication, fuel oil and greases. While the refinery initially did not proved to be cost-effective with only 380 barrels of crude oil coming in from 100-odd wells in the area, Burmah Oil Company, with proven experience in Burma came in and took it over in 1921.<br /><br />BOC brought in a lot of much-needed expertise and the refinery was entirely rebuilt in 1923. Between 1931 and 1934 several new units, like the Dubbs Cracking plant, Edeleanu Plant and the first atmospheric and vacuum tube stills and oil heaters and fractionating columns were added to it. The Assam Oil Company, wholly owned by Burmah Oil Company made some major discoveries in Naharkatiya and Moran in 1953 and 1956 respectively.<br /><br />The enterprise went into a new phase with the birth of Oil India Ltd (OIL) on February 18, 1959, a joint partnership between AOC/BOC and the Government of India. The new rupee company with headquarters at Digboi (shifted to Duliajan in 1962) was registered with an authorised capital of Rs 50 crore. In July 1961, BOC and the Government of India became equal partners in OIL.Twenty years later, on October 14, 1981, OIL became a full-fledged public-sector undertaking.<br /><br />Almost simultaneously, in 1981, the historic Digboi refinery, along with all marketing assets of Assam Oil Company was vested with the Indian Oil Corporation by an Act of Parliament, while the Digboi oilfield was transferred to Oil India Ltd which itself became a wholly-owned undertaking of the Government of India. But the Digboi refinery along with its original marketing assets continue to enjoy a separate identity known as Assam Oil Division (AOD) within Indian Oil Corporation, with its famous logo of a running one-horned rhinoceros continuing to survive the test of time.<br /><br />“The human race has come a long way since oil was first struck in the deep jungles of Upper Assam,” says Pasrija, CMD of the present-day avatar of the original company that is continuously engaged in exploration of hydro-carbons. “We haven't just emerged from the story of a small group of adventurous persons manually digging for oil, braving all odds in a strange country, but we have today become a global company, with operations spreading out to as many as six nations of the world,” he says.<br /><br />“Though we were originally confined to operations only in the Northeast, today we are present all over, from the Mahanadi and Krishna-Godavari basin on the east coast to Kutch, Saurashtra and Mumbai on the west coast. We are also there in Ganga valley (Uttar Pradesh) and Rajasthan, and have as many as 21 blocks at our disposal across the country,” adds Pasrija.<br /><br />And outside India, Oil India Ltd has its presence in as many as six countries, these being Libya, Gabon, Nigeria, Yemen, Sudan and Iran. “We currently have six blocks in Libya, two in Yemen, and one each in Gabon, Iran and Nigeria apart from working on a pipeline in Sudan,” says Pasrija.<br /><br />Oil India is a pioneer in laying pipelines, having accomplished the gigantic task of laying south-east Asia's longest pipeline in the late 1950s and early 1960s, covering over 1,400 kms from Duliajan to Barauni. With crossings like the one that spans over the mighty Brahmaputra and 77 other rivers, seven suspended crossings, three road bridges and 38 submerged crossings, it was then the most technically advanced single pipeline of its size anywhere in the world.<br /><br />But that is not the end of the story. “Oil India is like a government for us, the people living in the districts of Dibrugarh and Tinsukia,” says Moni Manik Gogoi, who heads a group of young villagers near Naharkatiya that works for uplift of rural areas in collaboration with Oil India Ltd. “We are dependent on Oil India rather than on the state Government for our various needs,” he adds.<br />Oil India constructed and maintains over 1,000 km of roads in the two Assam districts where its activities are most concentrated. “I think what we have been doing for local people is part of our basic responsibility,” says Pasrija.<br />On the social side, young men working with Oil India are also considered the best-available grooms in the state. No doubt Oil India, or in popular parlance the tel company, has also become much a part of Assamese lore, finding frequent mention in Bihu songs and lyrics sung at marriages. In fact, several of Bhupen Hazarika’s immortal numbers refer to Duliajan and Digboi and the tel company as standards of employment and of course development.<br /><br />Times began to change ever since Edwin L Drake drilled the world's first oil well at Titusville, Pennsylvania, in the US in 1859. The news caught the fancy of the colonial entrepreneurs who were then busy harnessing the vast natural resources of the East. Oil was discovered in Digboi in the dense rainforests of Assam by Assam Railways & Trading Company Ltd (AR&T) in 1889.<br />According to popular lore, an elephant working for AR&T in Assam returned with distinct traces of oil in its trail perhaps because of crude seeping out of the ground. "Dig! Boy! Dig," cried the Englishman to his men. Hence the name "Digboi," says one report.<br /><br />But oil exploration never proved to be an easy task. Though the oil strike had led to drilling activity in the region beginning 1891, it took another decade till the first E&P company set foot in India.<br /><br />In 1899, Assam Oil Company (AOC) was formed with £ 310,000 to take over the petroleum interests of AR&T. However, despite its best efforts, AOC could not enhance the production to the desired extent and approached the erstwhile Burmah Oil Company (BOC) of UK — which had already earned its place in history with a series of successful oil strikes in South-East Asia — for technical assistance.<br />The association — the first such tie-up in the Indian oil sector — led to the takeover of AOC's operations by BOC in 1921.<br /><br />BOC's entry marked the beginning of the oil exploration and production age in India leading to more discoveries and enhanced oil production.<br />In 1937, BOC, Royal Dutch Shell and Anglo Iranian Oil Company applied for exploration licence in the country and initiated the first ever geo-physical survey.<br />The early enterprise, which came to a grinding halt due to World War II and later India's Independence, left behind a rich heritage of oil exploration and the country's first integrated oil company, Assam Oil. The company was also the only one of its kind till the advent of Oil India and ONGC soon after Independence.<br />Digboi Well No 1 is now the world's oldest continuously producing oilfield. Digboi Refinery, set up in 1901, is still operational. Both are under the control of OIL.<br />Indian Oil acquired the marketing activity of AOC and has retained the brand `Assam Oil'.<br /><br />Asia's first refinery was set up at Digboi in Assam....at present, under Indian rule.<br />The discoverer of this Digboi oilfield was the Assam Railways & Trading Company Limited (AR&T Co. Ltd.), a registered company of London in 1881,with objectives to explore the rich natural resources of Upper Assam.<br />The earliest recorded reference of oil in Assam can be traced to Lieut. R Wilcox of the 46th Regiment Native Infantry who saw it as "… rising to the surface at Supkhong with great bubbling of gas and green petroleum…" in "Memoir of a survey of Assam and the Neighboring Countries executed in 1825-6-7-8." Asiatic Researches Vol.XVII, pp. 314 - 467.<br />Legend has it that an elephant working for the AR&T Co. Ltd. returned with distinct traces of oil on its trail. The excited owners of the elephant tracked its footprints and found seepage of oil bubbling to the surface.<br />"Dig! Boy! Dig!", cried the Englishman to his men, hence the name "Digboi". Thus this day, a tiny hamlet tucked amidst lush greeneries over rolling hills found a place in the map of the world’s petroleum industry. Albeit very low production, Digboi still retains the distinction of being the world’s oldest continuously producing oilfield.<br />Following the discovery of Digboi well No.1, systematic drilling began in 1891 DIGBOI Full Image A British couple in wax.....at the DIGBOI Oil Museum.....by AR&T Co Ltd. which then represented the final frontiers of technology and enterprise at a time when oil exploration was no more than just a gleam in the eye of most nations. However, the company had the vision to recognise that the oil business was a full time business, which could not be mixed up with timber, coal, railways etc. Therefore, a new company known as Assam Oil Company (AOC) was formed in 1899 with a capital of £ 310,000 to take over " the petroleum interests of the AR&T Co. Ltd."<br /><br />Digboi Refinery-Our Second Century<br />________________________________________<br />Introduction<br />A century ago just before the World War I, history of another kind was in the making in a remote corner of Assam in the midst of the dense and malaria infested jungles by a band of intrepid pioneers searching for black gold. Italian Engineers, commissioned by the Assam Railways and Trading Company, which has already established Tea Gardens, Coal Mines and Timber Mills in the remote North-Eastern part of Assam, to build a railway line from Dibrugarh to Margherita (headquarters A R T & Co.) accidently discovered oil at Digboi. It was here in Digboi that the first commercially viable well in India, known locally as well No.1, was successfully drilled in September'1889 and first modern refinery in India was built and commissioned in December'1901 to supplant a small "batch-still" refinery in Margherita.<br />Digboi Refinery at the initial stages<br />When oil was discovered in remote Digboi there was no habitation in its immediate neighborhood. The jungle was dark and swampy. The forest was so thick and the undergrowth so dense that sunlight could never reach the ground. Once oil was found, the dense jungle made way for the growth of the oil industry in India.<br />Over the past 100 years, Assam Oil and the petroleum industry of India with Digboi as its nucleus has been very much a part of this existing period. While looking back on the past with respect and to the future with confidence, we portray here how Digboi Refinery was successful in meeting the needs and challenges of the times, and how Digboi Refinery played a role in shaping and developing history over the past 100 years.<br />________________________________________<br /><br />History<br />Digboi is now Headquarter of Assam Oil Division of Indian Oil Corporation Limited. The Earliest recorded to the existence of oil in India is found in the memories and despatches of the Army Officers who penetrated the jungles of Upper Assam since 1825. Lt. R. Wilcox, Major A. White, Capt. Francis Jenkins, Capt. P.S. Hanney -- they all saw at different times' petroleum exuding from banks of the river Dehing. Mr. C.A. Bruce(1828) and Mr. H.B.Medicott (1865) of the Geological Survey of India also saw oil while perspecting for coal in Upper Assam.<br /><br />Mr. Goodenough of McKillop, Stewart & Co. Calcutta was the first in India to start a systematic programme of drilling for oil in November'1886, at Nahorpung about 30 miles south east of Dibgoi, just seven years after the World's first commecial oil well was drilled in 1859, by Col Willam Drake in Pennsylvania, USA. This hand dug well-first oil well in India was drilled upto 102 feet and proved dry. However the second well, struck oil at Makum near Margherita, about 8 miles from Digboi. <br /><br />The Assam Railways & Trading Company while extending the Dibrugarh-Sadiya Railway line upto their coal fields in 1882 came across oil seepage near work sites around present Digboi. Although drilling for oil first began in 1886, by Assam Railways and Trading Company, it was not until 1889 that the first commercially viable well was struck at Digboi. India's petroleum industry thus started taking shape with the commercially successful discovery of oil in Digboi. The Assam Oil Company(AOC was formed in 1889 to take over the oil interest of the Assam Railways & Trading Company and the Assam Oil Syndicate, who had carried out the early drilling in the area.<br />The Digboi Refinery was commissioned in December'1901 and supplanted the earlier small refinery unit at Margherita. The Digboi refinery, commissioned in December'1901 is today India's oldest operating refinery. Over the 100 years it has undergone a transition from being an age old refinery to one with state-of-the-art technology comparable to any modern refinery.<br /><br /><br />Digboi Refinery at Present<br />The Digboi Refinery modernization project was taken up in large scale in order to overcome the technological obsolescence of the old refinery. Subsequently a number of other major projects were undertaken by Assam Oil Division to further revamp and modernise Digboi Refinery. This includes the Wax Hydro-finishing Unit(WHU) which is now under commissioning, the Solvent Dewaxing/ Deoiling Unit(SDU) where the target date of commissioning is November'2002. The Target date of commissioning of Hydrotreater is May'2002 and the target date of commissioning of the Vacuum Residue Short Path Distillation(VRSD) is October'2002. Digboi refinery has been awarded the ISO-14001 and OHSMC certificate.<br /><br />With development in technology and infrastructure, Assam Oil Division is moving towards attaining higher standards of excellence. With a name that has existed for over 100 years, ready to meet the challanges of the future with its greatest resource - a committed and talented workforce. Assam Oil Division has always upheld its commitment towards the community at large, as a good corporate citizen. It has been carrying out various developmental activities in the region. In its journey forward it belives in carrying along with it, the community with which it co-exists.<br />Today with its modern technology and facilities, Digboi Refinery produces major petroleum products like fuels, wax, bitumen and range of specialty products. This hundred year old Digboi refinery can very well be said a technical marvel of the past and present.<br /><br />$$$$$$$$$$$$$$$$$$<br /><br />Guwahati Refinery : Indian Oil Corporation Limited<br />Guwahati, Assam<br /><br />$$$$$$$$$$$$$$$$$$<br /><br />1. UNIT PROFILE:<br /><br />Indian Oil Corporation Ltd. is one of the Nine gems among Indian Public Sector Units and only Indian Company to have secured a place in the Hallowed rolls of the “Fortune 500’s corporations of the world”. Ever since its inception, India Oil, besides providing fuel to the country’s progress, has also maintained pace with the most state-of-the-art developments worldwide.<br />Indian Oil has seven operating refineries at Guwahati, Barauni, Haldia, Mathura, Koyali, Digboi and Panipat. Yet another refinery is being set up on the East Coast at Paradip.<br />Guwahati Refinery, the Gangotri of Indian Oil Refineries, is the first refinery commissioned in the 60’s. The refinery is designed to process crude tapped from the nearby wells in Assam. Pandit Jawahar Lal Nehru dedicated the refinery to the nation on 1st of January 1962.<br />Guwahati Refinery is amongst those Indian Refineries who have been rewarded with ISO-9001 certification of International Quality Standards as well as ISO-14001, for Environment Management System and Occupational Health and Safety Management System (OSHMS) which is also a stringent International Standard which very few Indian Companies have achieved till date. Guwahati Refinery has been certified with International Safety Rating System (ISRS) level-6 certification by M/s DNV. These achievements show the deep commitment of Guwahati Refinery to Quality, Safety and Environmental Management System.<br />Guwahati Refinery since its inception has been in the forefront of productivity, quality, safety, environment protection, occupational health and a strong commitment to customer satisfaction.<br />Guwahati Refinery came into operation in the year 1962 with an installed capacity to process 0.75 MTPA of Assam Crude. After debottlenecking the operating process units, the total refining capacity was subsequently enhanced in first stage to 0.85 MMTPA and now to 1.0 MMTPA The Refinery has an elaborate pollution control system to ensure that water generated are adequately treated prior to discharge into the river Brahmaputra. More than 50 % of the treated effluent water is now reused in the refinery.<br />Wide Range of Products: With capacity of 1.0 MMTPA, Guwahati Refinery processes crude oil received from the upper Assam oil fields and caters to the requirement of the petroleum products of north-eastern region.<br />Its product slate includes LPG, Motor Spirit (MS), Kerosene, High Speed Diesel (HSD), Light Diesel Oil (LDO), Straight Run Naphtha (SRN), Raw Petroleum Coke (RPC), and a special cut naphtha (RN) which is used as a feed stock for CRU of Digboi Refinery of<br />Assam Oil Division. Keeping pace with changes in Industrial Environment, Guwahati Refinery is diversifying to produce speciality products like Premium MS & Needle coke etc. for gearing up the cleaner fuel requirements of the country in coming years.<br />Guwahati Refinery is the first refinery in India to produce Needle Coke.<br /><br />2. ENERGY CONSERVATION COMMITMENT, POLICY AND SET-UP:<br /><br />Energy conservation being a key element for achieving performance excellence, the Refinery has been going full stream ahead by modernising plant and equipment. Schemes like heat exchanger train optimisation, installation & commissioning of high efficiency boiler and DM Water plant have contributed significantly towards energy conservation. The yield and energy optimisation projects of Crude Distillation and Delayed Coker Units has been implemented at an approved cost of Rs. 50 crores. Improvement in operational practices, continuous energy audits and periodic oil conservation awareness drives have paid rich dividends and curtailed energy consumption.<br />Towards Modernisation: In its long march of three and a half decades, the Refinery has progressively added new facilities for modernisation and to meet the multifarious challenges such as technological changes, increased product demand, energy conservation and stringent safety and pollution control standards.<br />LPG Recovery Unit (LRU) was added to the Delayed Coker Unit (DCU) in 1994. Additional LPG production of about 10 TMT/Yr. from this unit has provided great respite to the LPG consumers of this region. The Refinery took a big leap towards plant automation by commissioning Distributed Digital Control System (DDCS) in all its process units in October, ’96. Off late Advance process control system has been pit in place for Crude Distillation and Delayed Coking Unit.<br />The new projects that have been commissioned are as follow:<br /><br />1. N2 plant in Nov’01 and ISOSIVE in Jan’02 for production of MS components.<br /><br />2. H2 unit in Oct’02 and HDT in Nov’02 to improve quality of diesel in line with BS-II specification.<br /><br />3. Indmax in June’03 for maximization of LPG & MS from bottom of barrels.<br /><br />Apart from upgrading Refinery product pattern, ATU and SRU were commissioned during July’02 and Dec’02 respectively as a measure towards environment protection.<br /><br />3. ENERGY CONSERVATION ACHIEVEMENT:<br /><br />The Refinery has won laurels for its efforts in energy conservation. The prestigious Jawaharlal Nehru Centenary Award for the best improvement in energy conservation amongst all refineries in India was won for the year 1993-94.<br />In addition, Guwahati Refinery was accorded MOP&NG Award of Best Performance in Steam Leak for the year 1997 and OCF award (first position) in 2003 for achieving minimum steam loss as observed during joint Oil conservation survey carried out by CHT team.<br /><br /><br />1. ENVIRONMENT & SAFETY:<br />The Refinery’s concern for Environmental Protection is demonstrated by full compliance of MINAS (Minimal National Standard) specifications with respect to quality and quantity of its treated effluents. A modern Effluent Treatment Plant (ETP), full fledged Pollution Control Laboratory and the strategy for maximising reuse of treated effluent in the refinery ensure adherence to such exacting standards. The balanced treated effluent is finally discharged into river Brahmaputra, downstream of Guwahati City at Saraighat through a 26 KM long underground pipeline. The emissions from the Refinery as well as ambient air quality in the Refinery fully comply with the notified standards.<br />Extensive tree plantations and development of Ecological Park, Environment Park and Sanjeevini Udyan in and around the Refinery spearhead Refinery’s efforts to the cause of<br />ecological balance. Periodic campaigns are carried out in the neighborhood to bring home the importance of a clean environment.<br />In addition to the routine monitoring of environmental parameters, regulatory bodies also monitor the environmental performance periodically. Besides, a comprehensive EIS study was carried out for the new projects. The study revealed that there will not be adverse impact on the environment due to the projects.<br />SAFETY:<br />Safety is accorded the highest priority at all times. Refinery has a well equipped Modern fire station with elaborate fire protection facilities covering the entire Refinery. Gas Detection System and automatic water sprinkler are also provided in critical areas like LPG facilities. Extensive Awareness Programmes, Safety Audits, Mock Drills on Emergency Preparedness Plans are carried out to ensure safety and alertness.<br />Refinery has an excellent record of safety and has won many National and International Awards.<br /><br />British Safety Council Award Two Times<br /><br />National Safety Award Winner- 9 Times<br />Runner- 18 Times<br /><br />Oil Industry Safety Award Once<br /><br />Oagle Trophy for Safety 7 Times<br /><br />Shreshtha Suraksha Award from Once<br />National Safety Council<br />External Awards.<br />To promote a strong safety culture within GR numbers of Safety Awards/Schemes are in place-<br /><br />• Housekeeping trophy<br /><br />• Best Slogan Award<br /><br />• Contractors Safety Award Scheme.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />BONGAIGAON REFINERY & PETRO CHEMICALS<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />This is the third Refinery in Assam established on February 20, 1974 named BRPL. The foundation stone of this one million tonne capacity Refinery-cum-Petro Chemical Complex at Dhaligaon , 5 kms. from Bongaigaon was laid by Mrs. Indira Gandhi, the then Prime Minister of India.The public sector undertaking completed in about four years times at total cost of over Rs. 96 crores, is the biggest industrial project in Bongaigaon district.This heavy industry complex in an industrially backward district like Bongaigaon is expected to usher in an era of industrial prosperity.<br /><br /><br />1.Location and area covered<br /><br />The plants of BRPL are located by the side of National Highway No. 31C under the Dhaligaon P.S., Bongaigaon, Assam.The area covered by the plants of BRPL is approximately 3200 bighas.<br /><br />2.Functional Capacity<br /><br />The annual Crude Oil processing capacity of the Refinery & Production capacity of different Petrochemical plants are :<br /> i) Refinery : 2.35 million tonnes Crude Oil Processing.<br /> ii) Petrochemicals:<br /> Xylenes : 29,000 tonnes of Para-Xylene production.<br /> DMT : 45,000 tonnes of DMT production.<br /> PSF : 30,000 tonnes of PSF production.<br /><br />3.Capital Involved :The gross & net fixed assets of the company as of 31.03.2000 are as follows:<br /> Gross Assets : Rs. 742 Crores Net<br /> Assets : Rs. 341 Crores<br />4.Number of manpower utilized 1846 as of 31.3.2000<br />5.Annual Production The Crude oil processing & production of major Petrochemical products from different plants in the year 1999-2000 are as follows:<br /> Refinery : 1.9 milion tonnes Crude oil processed<br /> Xylenses : 17,268 tonnes of Para-Xylene produced<br /> DMT : 24,960 tonnes of DMT produced<br /> PSF : 19,531 tonnes of PSF produced<br />6.Variety of Products The major products from different plants are :<br />From Refinery :<br />Liquified Petroleum Gas(LPG), Naphtha, Aviation Turbine Fuel(ATF), Superior Kerosene Oil (SKO), High Speed Diesel (HSD), Light Diesel Oil (LDO), Low Sulphur Heavy Stock(LSHS), Raw Petroleum Coke(RPC), Calcined Petroleum Coke(CPC).<br />From Xylenes :<br />Para-Xylene, Ortho-Xylene, Mixed-Xylene, Various Solvents like Ceenine, Ceeseven, etc.<br />From DMT : DMT<br />From PSF : Annealed Fibre, Related Fibre, Tow & Tops, Methanol<br />8.Required Raw Materials :<br /><br />The raw materials for different plants are :<br />For Refinery :<br /> 1. Indigenous Crude Oil from Assam fields<br /> 2. Imported Crude Oil<br />For Refinery :<br /> 1. Indigenous Crude Oil from Assam fields<br /> 2. Imported Crude Oil<br />For Xylenes :<br /> 1. Special Cut Naphtha from own Refinery<br />For DMT :<br /> 1. DMT from own plant.<br /> 2. Mono-Ethylene Glycol (MEG) (Purchased)<br /><br />$$$$$$$$$$$$$$$$$$$<br /><br />Numaligarh Refinery Limited (NRL)<br /><br />$$$$$$$$$$$$$$$$$$$<br /><br />Nestling in the sylvan environs of the Brahmaputra valley where the beautiful rendezvous of water and land throws up myriad colours, Numaligarh Refinery Limited (NRL), which was set up at Numaligarh in the district of Golaghat (Assam) in accordance with the provisions made in the historic Assam Accord signed on 15th August 1985, has been conceived as a vehicle for speedy industrial and economic development of the region.<br /><br />The 3 MMTPA Numaligarh Refinery Limited was dedicated to the nation by the erstwhile Hon'ble Prime Minister Shri A. B. Vajpayee on 9th July, 1999. NRL has been able to display creditable performance since commencement of commercial production in October, 2000. With its concern, commitment and contribution to socio-economic development of the state combined with a track record of continuous growth, NRL has been conferred the status of Mini Ratna PSU.<br /><br />The present authorized capital of the company is Rs. 1000 crores and paid up capital is Rs. 735.63 crores. The shareholding pattern as on 31-03-2006 is given below :<br /><br /><br />Bharat Petroleum Corporation Limited<br />::<br />61.65%<br /><br />Govt. of Assam<br />::<br />12.35%<br /><br />Oil India Limited<br />::<br />26.00%<br /><br />Total<br />::<br />100%<br /><br /><br />Product Range : Our product range includes LPG, Naphtha, Motor Spirit ( MS), Aviation Turbine Fuel ( ATF)Superior Kerosene Oil ( SKO)High Speed Diesel (HSD), Raw Petroleum Coke ( RPC ) Calcined Petroleum Coke ( CPC) & Sulphur.<br /><br />Retail Segment : Strategic decision was taken to enter into the Retail Distribution segment. Permission was received from Govt. of India to market MS & HSD through a chain of 510 Retail Outlets in a phased manner. Hitherto, scores of retail outlets, aptly christened 'Energy Stations' have already been commissioned in the North East and other parts of India and the process continues.<br /><br />Commitment to the community : NRL is conscious of the fact that the ongoing process of economic reforms is irreversible and the challenge of change on all facets of business and environment is inevitable. So is the fact that the real purpose of business is human well being. This dictum remains the driving force of all our social commitments. In keeping with this ideology, the company has both spawned and sponsored a succession of social initiatives which entail such diverse activities as providing relief to upgrading skill and productivity of the beneficiaries<br /><br />HISTORY:<br /><br />Proposal for a Refinery included in "Assam Accord" as a part of Government of India's offered economic package :: August 15, 1985<br /><br />IBP Co. Limited appointed as implementing agency<br />(Equity Structure IBP : 51%, GOA: 10%, Public : 39%) :: June 23, 1989<br /><br />Environmental clearance received :: May 31, 1991<br /><br />EIL Appointed as Prime Consultant :: August 28, 1992<br /><br />Foundation stone laid by former Prime Minister Shri P V Narasimha Rao ::July 3, 1992<br /><br />CCEA( Cabinet Committee of Economic Affairs) approval Accorded :: July 15, 1992<br /><br />Numaligarh Refinery incorporated :: April 22, 1993<br /><br />BPCL inducted as major promoter BPCL:32%,IBP:19%,GOA:10%,Public:39% :: June 2,1995<br /><br />Approved Commissioning :: April, 1999<br /><br />NRL dedicated to the Nation by Prime Minister Shri A. B. Vajpayee :: July 9, 1999<br /><br />Commencement of Commercial Operations :: October, 2000<br /><br />NRL becomes subsidiary of BPCL :: March, 2001<br /><br /><br /><br />$$$$$$$$$$$$$$$$$$<br /><br />About the Indian Petroleum Industry:<br /><br />$$$$$$$$$$$$$$$$$$<br /><br /><br />REFINERIES IN INDIA<br />1.1 As of July, 2005 there are a total of 18 refineries in the country comprising 17 in the Public Sector, one in the private sector. The company-wise locations and capacity of the refineries as on 1.7.2005 are given below:<br />S.NO. Name of the company Location of the Refinery Capacity(MMTPA)*<br />1. Indian Oil Corporation Limited (IOCL) Guwahati 1.00<br />2. IOCL Barauni 6.00<br />3. IOCL Koyali 13.70<br />4. IOCL Haldia 6.00<br />5. IOCL Mathura 8.00<br />6. IOCL Digboi 0.65<br />7. IOCL Panipat 6.00<br />8. Hindustan Petroleum Corporation Limited (HPCL) Mumbai 5.50<br />9. HPCL Visakhapatnam 7.50<br />10. Bharat Petroleum Corporation Limited (BPCL) Mumbai 6.90<br />11. Chennai Petroleum Corporation Limited (CPCL) Manali 9.50<br />12. CPCL Nagapattnam 1.00<br />13. Kochi Refineries Ltd. (KRL) Kochi 7.50<br />14. Bongaigaon Refinery & Petrochemicals Ltd. (BRPL) Bongaigaon 2.35<br />15. Numaligarh Refinery Ltd.(NRL) Numaligarh 3.00<br />16. Mangalore Refinery & Petrochemicals Ltd. (MRPL) Mangalore 9.69<br />17. Tatipaka refinery (ONGC) Andhra Pradesh 0.078<br />18. Reliance Petroleum Ltd. (RPL).Pvt. Sector Jamnagar 33.00<br />TOTAL 127.37<br />* Million Metric Tonnes Per Annum<br />• THE BRIEF DESCRIPTIONS OF THE ABOVE REFINERIES ARE AS FOLLOWS<br />2.1 Guwahati Refinery, IOCL (ASSAM)<br />Guwahati Refinery, the first in public sector, was set up in collaboration with Rumania at a cost of Rs.17.29 crores and commissioned on 1st January, 1962 with a design capacity of 0.75 MMTPA. The present capacity of this Refinery is 1.00 MMTPA. Hydrotreater Unit for improving the Quality of diesel has been installed and was commissioned in 2002. The refinery has also installed in 2003 Indmax Unit, a novel technology developed by its R&D Centre for upgrading heavy ends LPG, motor spirit and diesel oil.<br />2.2 Barauni Refinery, IOCL (BIHAR)<br />Barauni Refinery in Eastern India was built in collaboration with the Soviet Union at a cost of Rs.49.4 crores and went on stream in July, 1964. By November, 1967, the initial capacity of 2 MMTPA was expanded to 3 MMTPA by 1969. The present capacity of this refineries is 6.00 MMTPA. A Catalytic Reformer Unit (CRU) was also added to the refinery in 1997 for production of unleaded motor spirit. Projects are also planned for meeting future fuel quality requirements.<br />2.3 Koyali Refinery- IOCL (Gujarat)<br />The Gujarat Refinery was built with Soviet assistance at a cost of Rs.26.00 crores and went on stream in October, 1965. The Refinery had an initial installed capacity of 2 MMTPA and was designed to process crude from Ankleshwar, Kalol and Nawagam oilfields of Oil & Natural Gas Commission in Gujarat. In September, 1967, the capacity of the Refinery was expanded to 3 MMTPA. The capacity of the Refinery was further increased to 4.3 MMTPA through debottlenecking measures and to 7.3 MMTPA in October, 1978 by implementing an expansion project of Rs.56.07 crores. With the implementation of additional processing facilities the Refinery could achieve capacity of 9.5 MMTPA in 1989. The refining capacity was further expanded to 12.5 MMTPA with commissioning of 3.0 MMTPA CDU in September, 1999. The present refining capacity of this refinery is 13.70 MMTPA. In order to meet future fuel quality requirement, MS quality improvement facilities are planned to be installed by 2006.<br />2.4 Haldia Refinery - IOCL (WEST BENGAL)<br />The Haldia Refinery for processing 2.5 MMTPA of Middle East crude was commissioned in January, 1975 with two sectors - one for producing fuel products and the other for Lube base stocks. The fuel sector was built with French collaboration and the Lube sector with Romanian collaboration. The refining capacity of the Refinery was increased to 2.75 MMTPA in 1989 through debottlenecking measures. The refining capacity was further expanded to 3.75 MMTPA with the commissioning of new crude distillation unit of 1.0 MMTPA in March, 1997. The present refining capacity of this Refinery is 6.00 MMTPA.<br />2.5 Mathura Refinery - IOCL (UTTAR PRADESH)<br />The Mathura Refinery with a capacity of 6.00 MMTPA was set up at a cost of Rs.253.92 crores. The Refinery was commissioned in January, 1982 excluding FCCU and Sulphur Recovery Units which were commissioned in Jan, 1983. The refining capacity of this refinery was expanded to 7.5 MMTPA in 1989 by debottlenecking and revamping. A DHDS Unit was commissioned in 1989 for production of HSD with low sulphur content of 0.25% wt. ( max.). The present refining capacity of this Refinery is 8.00 MMTPA.<br />2.6 Digboi Refinery (ASSAM)<br />The Refinery was set up at Digboi in 1901 by Assam Oil Company Limited. The Indian Oil Corporation Ltd. took over the Refinery and marketing management of Assam Oil Company Ltd. with effect from 14.10.1981 and created a separate division. This division has both Refinery and marketing operations. The Refinery at Digboi had an installed capacity 0.50 MMTPA. The refining capacity of the Refinery was increased to 0.65 MMTPA by modernization of Refinery in July, 1996. A new delayed Coking Unit of 1,70,000 TPA capacity was commissioned in 1999. A new Solvent Dewaxing Unit for maximizing production of micro-crystalline wax was installed and commissioned in 2003. The refinery has also installed Hydrotreater to to improve the quality of diesel.<br />2.7 Panipat Refinery - IOCL (HARYANA)<br />The refinery was set up in 1998 at Baholi Village in Distt. Panipat, Haryana at an cost of Rs.3868 crores. The refining capacity of this refinery is 6.00 MMTPA. The expansion of refining capacity from 6 MMTPA to 12 MMTPA is in under implementation and is expected to completed by end 2005.<br />2.8 Mumbai Refinery (HPCL) (MAHARASHTRA)<br />The Refinery at Mumbai came into stream in 1954 under the ownership of ESSO. In March, 1974, Govt. of India acquired it. Hindustan Petroleum Corporation Ltd. was formed on 15.7.1974 after the merger of these companies. The capacity of the Mumbai Refinery of HPCL was 3.5 MMTPA which was increased to 5.5 MMTPA during 1986 after implementation of expansion programme.<br />2.9 Visakh Refinery (HPCL) (ANDHRA PRADESH)<br />In 1957, Visakh Refinery went on stream under the ownership of M/s Caltex India Ltd. In May, 1978, M/s Caltex Oil Refinery (India) was amalgamated with Hindustan Petroleum Corporation Ltd. The installed capacity of 1.5 MMTPA was increased to 4.5 MMTPA in 1985 and 7.5 MMTPA in 1999, through an expansion programme.<br />2.10 Bharat Petroleum Corporation Ltd. (BPCL) (MAHARASHTRA)<br />The Refinery at Mumbai came into stream in January, 1955 under the ownership of Burmah-Shell Refineries Ltd. Following the Government's acquisition of the Burmah-Shell, ame of the Refinery was changed to Bharat Refineries Limited on 11.2.1976. In August, 1977, the Company was given its permanent name, viz. Bharat Petroleum Corporation Ltd. The installed capacity of 5.25 MMTPA was increased to 6 MMTPA in 1985. The present refining capacity of the refinery is 6.9 MMTPA.<br />2.11.Manali Refinery -Chennai Petroleum Corporation Ltd. (CPCL)-Tamil Nadu<br />Chennai Petroleum Corporation Limited (CPCL), formerly known as Madras Refineries Limited (MRL) was formed as a joint venture in 1965 between the Government of India (GOI), AMOCO and National Iranian Oil Company (NIOC) having a share holding in the ratio 74%: 13%: 13% respectively. From the grassroots stage CPCL Refinery was set up with an installed capacity of 2.5 Million Tonnes Per Annum (MMTPA) in a record time of 27 months at a cost of Rs. 43 crore without any time or cost over run.<br /><br />In 1985, AMOCO disinvested in favour of GOI and the shareholding percentage of GOI and NIOC stood revised at 84.62% and 15.38% respectively. Later GOI disinvested 16.92% of the paid up capital in favor of Unit Trust of India, Mutual Funds, Insurance Companies and Banks on 19th May 1992, thereby reducing its holding to 67.7 %. The public issue of CPCL shares at a premium of Rs. 70 (Rs. 90 to FIIs) in 1994 was over subscribed to an extent of 27 times and added a large shareholder base of over 90000.As a part of the restructuring steps taken up by the Government of India, Indian Oil Corporation Limited ( IOCL) acquired equity from GOI in 2000-01 Currently IOC holds 51.88% while NIOC continued its holding at 15.40%. In view of the CPCL become subsidiary of IOCL in 2001. The Manali Refinery has a capacity of 9.5 MMTPA and is one of the most complex refineries in India with Fuel, Lube, Wax and Petrochemical feedstocks production facilities.<br />2.12 Cauvery Basin Refinery-CPCL (Nagapattinam-Tamil Nadu)<br />CPCL's second refinery is located at Cauvery Basin at Nagapattinam. The initial unit was set up in Nagapattinam with a capacity of 0.5 MMTPA in 1993 and later on its capacity was enhanced to 1.0 MMTPA.<br />2.13 Kochi Refineries Limited (KRL) (KERALA)<br />The Kochi Refineries Ltd. is a public sector undertaking set up in pursuance of a formation agreement dated 27th April, 1963 between Govt. of India, Phillips Petroleum Co. of USA and Duncan Brothers of Calcutta with an authorised capital of Rs.15 crores. Subsequently, the authorised capital was increased to Rs.75 crores and the paid up capital in March, 1989 stood at Rs.68.47 crores after issue of shares on rights basis. During the year, the Phillips Petroleum Company also completed withdrawal of their equity by disinvesting of shares. With this, in March 1989, Government was holding 61.58 percentage of equity shares of the Company. At present authorized capita of KRL is Rs 1150 crore and paid up capital Rs. 138.47 crore. M/s Bharat Petroleum Corporation Limited ( BPCL) holds 54.81% of the total shares, the balance of the shares being held by Government of Kerala, Financial Institutions and the Public. The installed capacity of 2.5 MMTPA was increased to 3.3 in September, 1973 and to 4.5 MMTPA in November, 1994. The capacity of the Refinery was further increased to 7.5 MMTPA in December, 95.<br />2.14 Bongaigaon Refinery & Petrochemicals Ltd. (BRPL) (ASSAM)<br />On 20th January, 1974, M/s BRPL was incorporated in Assam under the Companies Act, 1956 with an authorised capital of Rs.50 crores. With the objective of installation of the Refinery having a crude processing capacity of 1 MMTPA and a Petrochemicals Complex consisting of Xylene, Di-Methyl Terephthalate (DMT) and Polyester Staple Fibre (PSF) Units. The complex was built and commissioned in phases. The capacity of Crude Distillation Unit was increased to 1.35 MMTPA from April, 1987 by debottlenecking. Now the authorised capital (equity) of the company is Rs.200 crores. The paid-up capital as on date is Rs.199.82 crores. As a part of the restructuring steps taken up by Govt. of India, Indian Oil Corporation Limited acquired Govt's equity in 2000-01. In view of this BRPL became subsididary of IOCL in 2001.The capacity of the Refinery has been increased to 2.35 MMTPA in June, 1995 by installing additional unit.<br />2.15 Numaligarh Refinery Limited (ASSAM)<br />Numaligarh Refinery, Popularly known as " Assam Accord Refinery" has been set up a grass -root refinery at Numaligarh in the district of Golaghat ( assam) in fulfilment of the commitment made by Government of India in the historic " Assam Accord" , signed on 15-8-1985 at an approved cost of Rs, 2,724 crore.<br /><br />Numaligarh Refinery Limited ( NRL) was incorporated on 22-4-1993. Presently Bharat Petroleum Corporation Limited holds 51% of the company's equity. The other equity holder are Government of Assam, Oil Industry Development Board and Oil India Limited with equity participation of 10% each. The balance 19% equity is earmarked for a Public Issue. The refining capacity of this refinery is 3.0 MMTPA.<br />2.16 Mangalore Refinery and Petrochemicals Ltd. (MRPL) (KARNATAKA)<br />Government approved on 11.4.1991 the setting up a 3.0 MMTPA Oil Refinery at Mangalore at an estimated cost of Rs.1160 crores, including foreign exchange component of Rs.300 crores. The project has been implemented by a Joint Venture Company with Hindustan Petroleum Corporation Limited, Mumbai and Indian Rayon and Industrial Limited, Gujarat as Co-promoters. The Refinery was commissioned in March, 1996. MRPL which was a Joint Sector Company become a PSU subsequent on acquisition of its majority shares by ONGC. The capacity of the refinery was assessed at 3.69 MMTPA and has been further expanded to 9.69 MMTPA in September, 1999.<br />2.17 Tatipaka Refinery- ONGC ( Andhra Pradesh)<br />A mini refinery of ONGC with capacity of about 0.1 MMTPA with an approved cost of Rs.29.9 crore was commissioned in September, 2001 at Tatipaka in East Godavari District of Andhra Pradesh.<br />2.18 Reliance Petroleum Limited (RPL) Private Sector JAMNAGAR (GUJARAT)<br />The Private Sector Refinery (RPL) was commissioned on 14th July, 1999 with an installed capacity of 27 MMTPA at Jamnagar. The present capacity of this refinery is 33.00 MMTPA.<br />• REFINING CAPACITY AND CAPACITY UTILISATION<br />3.1 To meet the growing demand of petroleum products, the refining capacity in the country has been gradually increased over the years by setting up of new refineries in the country as well as by expanding the refining capacity of the existing refineries. The total refining capacity in the country as on 1.7.2005 stands at 127.37 MMTPA.<br />3.2 The refining capacity, actual crude throughput and capacity utilisation during the last five years are indicated below :<br /> 2000-01 2001-02 2002-03 2003-04 2004-05<br />1. Refining Capacity(As on 1st April) 114.59 114.66 116.96 127.37 127.37<br />2. Actual Crude throughput (MMTPA) 103.1 106.5 10.6 118.7 124.3<br />3. Capacity Utilisation (%) 91.00 93.00 95.00 99.00 ---<br /><br />• EXPANSION OF EXISTING REFINERIES<br />Expansion plans of refining capacities of existing refineries are as under:-<br />(i) Expansion of Panipat Refinery of IOCL from 6 MMTPA to 12 MMTPA is under implementation at an estimated cost of Rs.4165 crore and is expected to be completed by end of 2005.<br />(ii) Expansion of Mumbai Refinery of BPCL from 6.9 MMTPA to 12 MMTPA is also under implementation at an estimated cost of Rs.1831 crore. The project is expected to be completed by July, 2005.<br />(iii) HPCL is expending the refining capacity of Mumbai Refinery from 5,5 MMTPA to 7.9 MMTPA with an estimated cost of Rs. 1152 crore. The project is expected to be completed by December, 2006.<br />(iv) Expansion of visakh refinery of HPCL from 7.5 MMTPA to 8.33 MMTPA is under implementation at an estimated cost of Rs. 1635 crore. The project is expected to be completed by December-2006.<br />Following three new refineries has been planned.<br />Name of Refineries Capacity Expenditure Act./Ant Compl.Date<br />IOC, Paradip 9 MMTPA 8312 March-2010<br />BPC, Bina 6 MMT 6354 Sept.-2009<br />HPC,Bhatinda 9 MMT 9806 Dece.-2006<br />********<br />GUIDELINES FOR LAYING PETROLEYM PRODUCT PIPELINES<br />In a major decision towards deregulation of oil sector and to attract investment in the petroleum product pipelines, in November, 2002, Government had laid down a new Petroleum Product Pipeline Policy for laying pipelines in the country on common carrier principle. Guidelines for laying petroleum product pipelines were notified on 20.11.2002. Supplementary guidelines in this regard have also been notified on 26-10-2004.<br />********<br />AUTO FUEL POLICY<br />Schedule for introducing improved quality fuels as per Auto Fuel Policy.<br />(i) Euro-III Petrol & Diesel has been introduced from 1-4-2005 in all 11 identifies cities ( Delhi/National Capital Region, Mumbai, kolkata, Chennai, Bangalore, Hyderabad, Ahmedabad, Pune, Surat, Kanpur & Agra) in line with Auto Fuel Policy.<br />(ii) BS-II Petrol throughout the country has been introduced w.e.f 1-4-2005 in line with Auto Fuel Policy.<br />(iii) BS-II Diesel in all states except Rajasthan, West U.P, Utranchal, M.P, Punjab H.P and Jammu & Kashmir has been introduced from 1-4-2005 as per Auto Fuel Policy.<br />(iv) As per the revised programme BS-II diesel has been introduced in Rajasthan from 1-6-2005 and in West U.P and Uttaranchal from 1-7-2005.<br />(v) Introduction of BSII Diesel is proposed in a phased manner as per the revised programme as under:<br />(a) M.P from 1-9-2005<br />(b) Punjab, H.P and J&K from 1-10-2005<br /><br />PETROLEUM<br />The recoverable reserve of crude oil in India is about 739 million tonne. As per a conservative estimate, India has oil and gas reserve of 7000 million tonne in deep sea area. The total hydrocarbon resource in the country is equivalent to 21 billion tonne of oil. The development of the indigenous oil industry in the country has been a high priority area since the mid-1970`s, largely with the discovery of oil in Bombay High off shore. Rapid strides were made in the crude oil production in the last 50 years-from mere 0.25 million tonnes in 1947 to the present 33.86 million tonnes. India today has the skill and technical know-how in the oil sector, comparable to the best in the world.<br /><br /><br />CRUDE OIL PRODUCTION:<br />The search for oil in India began in 1866 when McKillop Steward Co. drilled a well near Jaypore in Upper Assam and struck oil. This was barely seven years after oil was discovered by Col. Drake in Pennsylvania, USA. In 1882, the Assam Railway and Trading Company acquired rights for exploration of about 30 square miles area. It struck oil, in 1889 at Digboi marking the beginning of oil production in India. In 1893, rights were granted to the Assam Oil Syndicate which erected a small refinery at Margharita to refine the oil produced at Digboi. By 1931, the crude oil production rose to about 250,000 tonne per year and exploration activities spread out all over the Assam-Arakan region.<br /><br />Oil industry in India is almost entirely in the public sector, but private participation is now increasing. Oil and Natural Gas Corporation Ltd (ONGC) and Oil India Ltd. (OIL) are the two national oil companies engaged in exploration and production of crude oil and natural gas. These two companies together account for more than 92% of the total crude oil production. Of the total production of 33.862 million tonnes in 1997-98, the share of ONGC was 28.25 million tonne (83%), that of OIL, 3.10 million tonne (9.5%) and private and joint venture companies, 2.51 million tonne(7.5%). About one third of the total crude oil production is from onshore, mainly in Gujarat , Assam and Nagaland. Offshore primarily comes from the Bombay High region.<br /><br />To attract private sector, New Exploration Licensing Policy ( NELP) was announced in March 1997, with incentives like zero cess liability, rebate on royalty payments and international oil price for discoveries. Offers from Indian and foreign companies for development of discovered oil fields as well as for exploration of oil and gas in various blocks have been invited . So far, Private Sharing Contracts (PSC) have been signed with 22 private companies to accelerate exploration and production of oil, and more contracts are under process. Since 1991, offers under nine rounds of bidding have been invited and several blocks have been assigned for private participation in exploration.<br /><br />India is also helping other countries in exploration and production of oil. ONGC Videsh Ltd., a public sector company which successfully operated in lran, lraq and Tanzania, is now perusing oil exploration in Vietnam, Kahzakhstan, Azerbaijan, Russia, Egypt, Yemen, Cambodia and Tunisia.<br /><br /><br />REFINING:<br />The total refining capacity of the 14 refineries in the country in March 1998 was 61.55 million tonne, compared to just 0.25 million tonne from only one refinery in Digboi in 1947. All these 14 refineries are operated by mega public sector enterprises. Out of these, six refineries are operated by Indian Oil Corporation (IOC), a Fortune 500 company. IOC, the leader in aviation fuel business in the country with market share of 68.5%, sold 43.8 million tonne of petroleum products and earned net profit of Rs. 15.74 billion in 1997-98. Hindustan Petroleum Corporation Ltd (HPCL) has two refineries. Madras Refineries Limited (MRL), Bharat Petroleum Corporation Ltd (BPCL), Cochin Refineries Ltd (CRL), Bongaigaon Refinery & Petrochemicals Ltd (BRPL), Mangalore Refinery and Petrochemicals Ltd (MRPL) and Numaligarh Refineries Ltd (NRL) have one refinery each .<br /><br />Six new refineries are coming up, mainly in private and joint venture sector. The seventh refinery of IOC in Panipat will be commissioned soon. Two private sector refineries are at advanced stage of implementation in Gujarat.<br /><br />The refinery capacity in the country will be doubled to 131 million tonne in the next 5 years, as against the estimated demand of 112 million tonne. This means India will have excess refining capacity by 2002. The capacity will further increase to about 170 million tonne as against the estimated demand of 156 million tonne in 2007.<br /><br /><br />IMPORT AND EXPORT:<br />India imported 34.49 million tonne of crude oil valued at Rs. 159 billion and 19.53 million tonne of petroleum products worth Rs. 124.31 billion in 1997-98. The country also exported 2.83 million tonne of petroleum products valued at Rs. 17.32 billion. The net import of crude oil and petroleum products, therefore, was 51.197 million tonne valued at Rs. 265.97 billion.<br /><br />Today half of the country`s requirement is met by indigenous prodcution. The oil consumption is likely to increase to 112 million tonne in 2002. The production of crude oil which was 10.5 million tonne in 1980-81, increased to 30.16 million tonne in1985-86, 33.02 million tonne in 1990-91 and 35.16 million tonne in1995-96. It declined to 32.9 million tonne in 1996-97, but rose to 33.82 million tonne in 1997-98. Unless, further discoveries are made, the gap between domestic supply and demand may further widen. A number of oil fields are being developed besides making investment climate conducive for private sector participation.<br /><br /><br />Consumption and Production<br />(In Million Tonnes)<br />Year Consumption Production<br />1994-95 67.4 32.23<br />1995-96 74.7 35.16<br />1996-97 79.2 32.90<br />1997-98 82.8 33.82<br />Source: Annual Report 1997-98<br /><br /><br />PIPELINES:<br />In 1947, there were only one crude oil pipeline, pumping crude from the Digboi field to the Digboi refinery and a 37-km. long product pipeline from Digboi to Tinsukia, owned and operated by Assam Oil Company. Today there is an extensive network of nearly 14,000 kms. of pipelines to carry gas, crude oil and petroleum products to various parts of the country.<br /><br /><br />PRICING REFORMS:<br />The Government has been controlling the prices of all oil products. In a major policy initiative, it was decided to dismantle Administered Pricing Mechanism (APM) in phases from April 1998. The Retention Pricing Scheme (RPS) for all refineries has been abolished and only five petro-products, Liquified Petroleum Gas, Motor Spirit, Aviation Turbine Fuel, High Speed Diesel and Kerosene have been retained as controlled products. Naphtha has been decontrolled and placed under restricted list for import for power generation. Power plants with less than 2000 MW capacity can freely import it for power generation. The consumer price of High Speed Diesel (HSD) is being fixed on import parity basis upto ex-storage point.<br /><br />As part of the reforms, the Government have decanalised and allowed free imports of Furnace Oil (except low sulphur heavy stock/low sulphur waxy residue). The imports of crude Oil have also been delicenced under Actual user condition by private and Joint Sector Oil Refineries through notification issued on July 13,1998.<br /><br /><br />MARKETING AND DISTRIBUTION::<br />Vast marketing and distribution network has ensured availability of petroleum products throughout the country including remote and inaccessible areas. There are 16,935 retail outlets dispensing petrol, 5538 LPG distributors and diesel and 6382 kerosene outlets in the country. The industry has a tankage of 14 million kilolitres spread all over the country. Petroleum products and LPG are mainly marketed by the three public sector companies – IOC, HPCL and BPCL. Parallel marketing of kerosene and LPG by private parties was permitted in 1993. At present there are 117 parties for kerosene and 18 for LPG.<br /><br /><br />NATURAL GAS<br />Natural Gas currently accounts for about 8% of energy consumption in the country. Current demand for natural gas is 89 million cubic meter per day as against domestic availability of about 63 million per day. The total production of Natural Gas in 1997-98 was 24.72 million cubic metre, compared to 22.74 million cubic metre in 1996-97. About one fourth of total Natural Gas production is from onshore.<br /><br />In 1970-71, LPG availability in India was only 0.18 million tonne covering 0.15 million households. Today in 1997-98, 4.61 million tonnes of LPG is sold to over 33.4 million households. About 4.1 million new customers were enrolled in 1997-98 alone. It is proposed to enrol about 21 million new LPG customers including 5 million new enrolments in rural sector within 5 years. Apart from IOC, HPCL and BPCL, there are a few private parties marketing LPG.<br /><br />LPG is now being extracted in India at Duliajan (Assam), Bijaipur (M.P.), Hazira and Vaghodia (Gujarat), Uran (Maharashtra) and Nagpattanam (Tamil Nadu). Two new plants being set up at Lakwa in Assam and at Usar in Maharashtra are expected to be commissioned in 1998-99. A LPG extraction plant at Auraiya in U.P is scheduled to be commissioned in June 2000.<br /><br />Natural Gas, associated with oil production which was flared at the well head in earlier days is now being harnessed and supplied for power generation to<br /><br />Gas based power plants, as raw-material to fertilizer plants and other industrial units including petrochemical industry. Natural Gas production has risen from `nil` at the time of independence to about 25 billion cubic metres today. It is taken to the consumer through an extensive network of 4100 km gas pipeline system, notable among them is the Hazira-Bijapur-Jagdishpur (HBJ) system of 2660 km (including spur lines), which has been set up and operated by Gas Authority of India Ltd. (GAIL) on most modern lines and is comparable to the best in the world. GAIL is the largest company in India for handling post-exploration activities relating to Natural Gas including transmission, processing, distribution and marketing. It handles 59 MMSCM of gas per day. GAIL is also one of the largest LPG producer in the country.<br /><br /><br />LNG<br />The demand for Natural Gas has been increasing. In order to bridge the gap between the demand and supply, efforts are being made to augment the natural gas availability in the country by importing Liquified Natural Gas (LNG) from surplus countries. A number of LNG terminals are being planned to be set up along the west and east coast to facilitate import of the high tech resource. Petronet LNG Ltd, set up jointly by ONGC, GAIL, IOC and BPCL has short listed seven global companies for supply of LNG.<br /><br />Oil companies aim to provide unleaded petrol throughout the country by 2000.These companies are already supplying unleaded petrol and HSD with reduced sulpher content in many cities. Conservation of petroleum products and control of pollution are also the thrust areas.<br /><br />COAL BED METHANE (CBM)<br />Coal Bed Methane (CBM) is a new energy resource. India has rich resource of CBM estimated at 1000 billion tonne, compared to 200 billion tonne reserve of coal and lignite. It is mainly found in Gondwana basin, spread over Bihar, West Bengal, Madhya Pradesh and Maharashtra. A new policy has been announced on exploration of this energy source with a number of concessions, to attract foreign and private Indian companies.<br /><br />$$$$$$$$$$$$$$$$$$$$<br />Oil exploring Companies:<br />$$$$$$$$$$$$$$$$$$$$<br /><br />Oil and Natural Gas Commission (ONGC):<br />1947 - 1960 During the pre-independence period, the Assam Oil Company in the northeastern and Attock Oil company in northwestern part of the undivided India were the only oil companies producing oil in the country, with minimal exploration input. The major part of Indian sedimentary basins was deemed to be unfit for development of oil and gas resources.<br /><br />After independence, the national Government realized the importance oil and gas for rapid industrial development and its strategic role in defense. Consequently, while framing the Industrial Policy Statement of 1948, the development of petroleum industry in the country was considered to be of utmost necessity.<br /><br />Until 1955, private oil companies mainly carried out exploration of hydrocarbon resources of India. In Assam, the Assam Oil Company was producing oil at Digboi (discovered in 1889) and the Oil India Ltd. (a 50% joint venture between Government of India and Burmah Oil Company) was engaged in developing two newly discovered large fields Naharkatiya and Moran in Assam. In West Bengal, the Indo-Stanvac Petroleum project (a joint venture between Government of India and Standard Vacuum Oil Company of USA) was engaged in exploration work. The vast sedimentary tract in other parts of India and adjoining offshore remained largely unexplored.<br /><br />In 1955, Government of India decided to develop the oil and natural gas resources in the various regions of the country as part of the Public Sector development. With this objective, an Oil and Natural Gas Directorate was set up towards the end of 1955, as a subordinate office under the then Ministry of Natural Resources and Scientific Research. The department was constituted with a nucleus of geoscientists from the Geological survey of India.<br /><br />A delegation under the leadership of Mr. K D Malviya, the then Minister of Natural Resources, visited several European countries to study the status of oil industry in those countries and to facilitate the training of Indian professionals for exploring potential oil and gas reserves. Foreign experts from USA, West Germany, Romania and erstwhile U.S.S.R visited India and helped the government with their expertise. Finally, the visiting Soviet experts drew up a detailed plan for geological and geophysical surveys and drilling operations to be carried out in the 2nd Five Year Plan (1956-57 to 1960-61).<br /><br />In April 1956, the Government of India adopted the Industrial Policy Resolution, which placed mineral oil industry among the schedule 'A' industries, the future development of which was to be the sole and exclusive responsibility of the state.<br /><br />Soon, after the formation of the Oil and Natural Gas Directorate, it became apparent that it would not be possible for the Directorate with its limited financial and administrative powers as subordinate office of the Government, to function efficiently. So in August, 1956, the Directorate was raised to the status of a commission with enhanced powers, although it continued to be under the government. In October 1959, the Commission was converted into a statutory body by an act of the Indian Parliament, which enhanced powers of the commission further. The main functions of the Oil and Natural Gas Commission subject to the provisions of the Act, were "to plan, promote, organize and implement programmes for development of Petroleum Resources and the production and sale of petroleum and petroleum products produced by it, and to perform such other functions as the Central Government may, from time to time, assign to it ". The act further outlined the activities and steps to be taken by ONGC in fulfilling its mandate. 1961 - 1990 Since its inception, ONGC has been instrumental in transforming the country's limited upstream sector into a large viable playing field, with its activities spread throughout India and significantly in overseas territories. In the inland areas, ONGC not only found new resources in Assam but also established new oil province in Cambay basin (Gujarat), while adding new petroliferous areas in the Assam-Arakan Fold Belt and East coast basins (both inland and offshore).<br />ONGC went offshore in early 70's and discovered a giant oil field in the form of Bombay High, now known as Mumbai High. This discovery, along with subsequent discoveries of huge oil and gas fields in Western offshore changed the oil scenario of the country. Subsequently, over 5 billion tonnes of hydrocarbons, which were present in the country, were discovered. The most important contribution of ONGC, however, is its self-reliance and development of core competence in E&P activities at a globally competitive level.<br /> After 1990 The liberalized economic policy, adopted by the Government of India in July 1991, sought to deregulate and de-license the core sectors (including petroleum sector) with partial disinvestments of government equity in Public Sector Undertakings and other measures. As a consequence thereof, ONGC was re-organized as a limited Company under the Company's Act, 1956 in February 1994.<br /><br />After the conversion of business of the erstwhile Oil & Natural Gas Commission to that of Oil & Natural Gas Corporation Limited in 1993, the Government disinvested 2 per cent of its shares through competitive bidding. Subsequently, ONGC expanded its equity by another 2 per cent by offering shares to its employees.<br /><br />During March 1999, ONGC, Indian Oil Corporation (IOC) - a downstream giant and Gas Authority of India Limited (GAIL) - the only gas marketing company, agreed to have cross holding in each other's stock. This paved the way for long-term strategic alliances both for the domestic and overseas business opportunities in the energy value chain, amongst themselves. Consequent to this the Government sold off 10 per cent of its share holding in ONGC to IOC and 2.5 per cent to GAIL. With this, the Government holding in ONGC came down to 84.11 per cent.<br /><br />In the year 2002-03, after taking over MRPL from the A V Birla Group, ONGC diversified into the downstream sector. ONGC will soon be entering into the retailing business. ONGC has also entered the global field through its subsidiary, ONGC Videsh Ltd. (OVL). ONGC has made major investments in Vietnam, Sakhalin and Sudan and earned its first hydrocarbon revenue from its investment in Vietnam.<br />India was left with only one major producing field--Digboi, Assam--which had been discovered in 1890. Despite extensive surveys throughout Assam, no other fields of any significance had been discovered. Digboi and its local refinery had been of profound strategic significance after the fall of Burma in 1942. It had furnished oil to Allied air bases from which supplies were flown to China. It would take several years for India's new leaders to learn the strategic and economic importance of domestic oil supplies.<br />During World War II, petroleum supplies were regulated by a committee in London, and prices were set in India by a committee chaired by Burmah-Shell. Wartime rationing continued until 1950, and a shortage of oil products continued to be exacerbated by the limited domestic production and refining facilities. Relations with Burmah-Shell and other foreign companies continued to sour after independence in 1947. They advised India against building its own refinery on the grounds that it could only be run at a financial loss. India's vulnerability to the pressures of the international oil market became clear after 1950, when the Iranian political leader Mussadegh nationalized a huge refinery at Abadan that Burmah-Shell had previously used to supply much of India's needs. Iran was in the sterling area, and when this source was cut off India was forced to use its scarce dollar reserves to buy oil elsewhere.<br />The foreign companies were then persuaded to build two refineries, but the government remained skeptical about the costs of oil exploration. After the war, the Assam Oil Company, a subsidiary of British-owned Burmah Oil, had resumed exploration with little success. Assam finally achieved a major find at Nakhortiya in 1953, but a row ensued between Burmah and the government. The government refused Burmah any right to refine or market this oil and would only allow the company joint ownership in production. As a result Burmah refused to undertake further exploration. Soon afterward, the government claimed Burmah-Shell and other foreign companies were charging excessive prices for imported oil. A controversy ensued over the companies' refusal to refine imported Soviet oil.<br />These controversies helped lead to the creation of ONGC. Burmah retained control of Digboi but development in the other Assam fields was taken over by a new company, Oil India Ltd., of which the government owned one-third and Assam Oil held two-thirds. By 1981, the Indian government had acquired 100% of Oil India.<br />Burmah and Oil India were originally confined to the Assam fields, where ONGC was excluded. After 1956 no new concessions were granted to foreign companies for onshore exploration. ONGC became the principal exploration company in India. A Soviet consultant and several Soviet geophysicists were engaged. At first, exploration and drilling with equipment provided by the Soviet and Romanian governments yielded disappointing results. The Indian financial press criticized ONGC and the government for wasting the taxpayers' money. But this attitude began to change after an important find at Cambay, Gujurat, in 1958. A chain of new finds followed.<br />Soviet and Romanian experts became enthusiastic about India's potential reserves. They estimated that 42% of the country's land area was composed of oil-yielding sedimentary rock with even more lucrative possibilities offshore. Soviet-supplied exploration and production technology, however, was widely regarded as inferior, and the government looked for other sources of assistance, especially after a 1963 offshore exploration revealed promising structures beneath the Gulf of Cambay.<br />In 1959, the government had revised legislation to make it easier for foreign companies to undertake exploration work in some areas without the participation of ONGC. However, the government's preference for agreements in which explorers accepted a majority government stake in the crude-producing company was known. The government launched a campaign to persuade foreign companies to undertake exploration.<br />The French Institute of Petroleum provided some assistance, and some contracts were given to French and Italian firms. Press reports indicated that Shell, Caltex, Gulf, and Esso were interested, but in the end there were no major deals. There were more lucrative fields elsewhere, with fewer government conditions made.<br />With limited technology and Soviet help, ONGC's progress in developing new wells and in production was slow during the 1960s. The government's inability to attract foreign investment came under frequent criticism. More promising offshore geological structures were found during systematic surveys by the Soviet ship Akademic Arkhangeleisky during the period 1964-1967.<br />Finally, in 1974, ONGC discovered the major Bombay High offshore field with a strike from the advanced Japanese-built Sagar Samrat drilling platform. The strain on foreign exchange caused by the 1973 Arab oil boycott brought a redoubling of exploration efforts. Further offshore oil and gas was discovered at Godavari and gas off Portonovo and the Andaman islands in 1980.<br />The importance of ONGC's new gas discoveries was underscored by the government's decision in 1984 to set up the separate Gas Authority of India Ltd. (GAIL) to process, market, and distribute all forms of natural gas. After the government acquired the remaining foreign interests of Burmah in the Assam Oil Company in 1981, Oil India Ltd. was given an expanded role as the second public sector undertaking engaged in oil exploration and production. Previously, Oil India had been restricted to eastern areas of the country.<br />ONGC seeks to help the country achieve self-reliance in oil-related equipment, materials, and services. ONGC has tried to speed up this indigenization by working with a consortium of Indian firms that includes Hindustan Shipyard Ltd., Burn Standard Company Ltd., Confederation of Engineering Industry, and Larsen & Toubro. The company reports that this progress has resulted in the domestic industry supply of over 50% of the oil industry's equipment and materials requirements.<br />In its early days, ONGC experienced difficulties in obtaining up-to-date petroleum technology. It has assigned a high priority to research and technology, which the company states are now on a level with that used in explorations anywhere in the world. ONGC's research efforts date back to the founding of its Kashava Malaviya Institute of Petroleum Exploration in Dehra dun in 1963. The Malaviya Institute is responsible for applied research in petroleum geology, geophysics, and well logging techniques. ONGC has six other research bodies. ONGC's policy is to run these institutes as profit centers.<br />Exploration efforts have been expanded to many new areas including Krishna-Godavari, Cauvery, Tripura, Cachar, Dhansiri Valley, and Ravasan. The number of active rigs grew from 41 in 1981 to 144 in 1990. Future plans include the Ganges Valley, Himalayan foothills, Bengal, Kerala, and Konikan. Offshore, the firm's deep water unit has been formed to function as the central agency for planning, programming, and implementing exploration in deep water along India's coasts.<br />As the government's agency, ONGC has presided over an increasingly liberalized policy of encouraging foreign oil companies to explore offshore and they have responded with increasing interest. In 1987, the Indian government invited foreign oil companies to bid for 27 offshore exploration blocks in the third round of initiatives to encourage foreign investment in India's offshore industry. This effort was made more successful than the previous rounds in which many companies refused to participate because they alleged that the government had reserved the most favorable sites for ONGC and Oil India. Twelve bids for nine blocks covering a total of 121,000 square kilometers were received from seven companies. Chevron, Texaco, Broken Hill Proprietary of Australia, and International Petroleum of Canada eventually signed deals allowing them to put 40% equity in a joint venture or to pull out if seismic data were not promising. In 1990, the government announced plans for a fourth round. Private Indian companies would be allowed to acquire concessions for the first time, but there are no current plans to privatize ONGC itself. In 1989 ONGC signed a joint exploration agreement in the Gulf of Thailand, signed drilling contracts with National Iraqi Oil Company, and raised money in the Tokyo and Swiss bond markets.<br />In 1981-1982, the ONGC redefined its goals and objectives and prepared a corporate plan spanning 20 years from 1985 to 2005; more recently, this plan has been updated to 2015. The emphasis is on accelerated exploration and production strategies. From 1990 production levels of about 30 million tons of crude oil it envisages by 2015 production of 75 million tons.<br />Over the 1980s and early 1990s, ONGC has shown steady growth in crude oil and gas production, rig counts, profits, and contributions to India's exchequer. India hopes to achieve self-sufficiency in fuel by the year 2005. As the company most active in the western offshore, India's most important oil and gas area, ONGC is essential to this task.<br />Additional Details<br />• State Owned Company<br />• Incorporated: 1959<br />• Employees: 47,757<br />• Sales: Rs82.00 billion (US$4.52 billion)<br /><br />$$$$$$$$$$$$$$$$$$$<br /><br />Indian Oil Corporation Ltd.<br /><br />$$$$$$$$$$$$$$$$$$$<br /><br />The Indian Oil Corporation Ltd. operates as the largest company in India in terms of turnover and is the only Indian company to rank in the Fortune "Global 500" listing. The oil concern is administratively controlled by India's Ministry of Petroleum and Natural Gas, a government entity that owns just over 90 percent of the firm. Since 1959, this refining, marketing, and international trading company served the Indian state with the important task of reducing India's dependence on foreign oil and thus conserving valuable foreign exchange. That changed in April 2002, however, when the Indian government deregulated its petroleum industry and ended Indian Oil's monopoly on crude oil imports. The firm owns and operates seven of the 17 refineries in India, controlling nearly 40 percent of the country's refining capacity.<br />Origins<br />Indian Oil owes its origins to the Indian government's conflicts with foreign-owned oil companies in the period immediately following India's independence in 1947. The leaders of the newly independent state found that much of the country's oil industry was effectively in the hands of a private monopoly led by a combination of British-owned oil companies Burmah and Shell and U.S. companies Standard-Vacuum and Caltex.<br />An indigenous Indian industry barely existed. During the 1930s, a small number of Indian oil traders had managed to trade outside the international cartel. They imported motor spirit, diesel, and kerosene, mainly from the Soviet Union, at less than world market prices. Supplies were irregular, and they lacked marketing networks that could effectively compete with the multinationals.<br />Burmah-Shell entered into price wars against these independents, causing protests in the national press, which demanded government-set minimum and maximum prices for kerosene--a basic cooking and lighting requirement for India's people--and motor spirit. No action was taken, but some of the independents managed to survive until World War II, when they were taken over by the colonial government for wartime purposes.<br />During the war, the supply of petroleum products in India was regulated by a committee in London. Within India, a committee under the chairmanship of the general manager of Burmah-Shell and composed of oil company representatives pooled the supply and worked out a set price. Prices were regulated by the government, and the government coordinated the supply of oil in accordance with defense policy.<br />The Indian Oil Industry Evolves: Late 1940s-60s<br />Wartime rationing lasted until 1950, and a shortage of oil products continued until well after independence. The government's 1948 Industrial Policy Resolution declared the oil industry to be an area of the economy that should be reserved for state ownership and control, stipulating that all new units should be government-owned unless specifically authorized. India remained effectively tied to a colonial supply system, however. Oil could only be afforded if imported from a country in the sterling area rather than from countries where it had to be paid for in dollars. In 1949, India asked the oil companies of Britain and the United States to offer advice on a refinery project to make the country more self-sufficient in oil. The joint technical committee advised against the project and said it could only be run at a considerable loss.<br />The oil companies were prepared to consider building two refineries, but only if these refineries were allowed to sell products at a price ten percent above world parity price. The government refused, but within two years an event in the Persian Gulf caused the companies to change their minds and build the refineries. The companies had lost their huge refinery at Abadan in Iran to Prime Minister Mussadegh's nationalization decree and were unable to supply India's petroleum needs from a sterling-area country. With the severe foreign exchange problems created, the foreign companies feared new Iranian competition within India. Even more important, the government began to discuss setting up a refinery by itself.<br />Between 1954 and 1957, two refineries were built by Burmah-Shell and Standard-Vacuum at Bombay, and another was built at Vizagapatnam by Caltex. During the same period the companies found themselves in increasing conflict with the government.<br />The government came into disagreement with Burmah Oil over the Nahorkatiya oil field shortly after its discovery in 1953. It refused Burmah the right to refine or market this oil and insisted on joint ownership in crude production. Burmah then temporarily suspended all exploration activities in India.<br />Shortly afterward, the government accused the companies of charging excessive prices for importing oil. The companies also refused to refine Soviet oil that the government had secured on very favorable terms. The government was impatient with the companies' reluctance to expand refining capacity or train sufficient Indian personnel. In 1958, the government formed its own refinery company, Indian Refineries Ltd. With Soviet and Romanian assistance, the company was able to build its own refineries at Noonmati, Barauni, and Koyali. Foreign companies were told that they would not be allowed to build any new refineries unless they agreed to a majority shareholding by the Indian government.<br />In 1959, the Indian Oil Company was founded as a statutory body. At first, its objective was to supply oil products to Indian state enterprise. Then it was made responsible for the sale of the products of state refineries. After a 1961 price war with the foreign companies, it emerged as the nation's major marketing body for the export and import of oil and gas.<br />Growing Soviet imports led the foreign companies to respond with a price war in August 1961. At this time, Indian Oil had no retail outlets and could sell only to bulk consumers. The oil companies undercut Indian Oil's prices and left it with storage problems. Indian Oil then offered even lower prices. The foreign companies were the ultimate losers because the government was persuaded that a policy of allowing Indian Oil dominance in the market was correct. This policy allowed Indian Oil the market share of the output of all refineries that were partly or wholly owned by the government. Foreign oil companies would only be allowed such market share as equaled their share of refinery capacity.<br />Indian Oil Corporation: 1964 to the 1990s<br />In September 1964, Indian Refineries Ltd. and the Indian Oil Company were merged to form the Indian Oil Corporation. The government announced that all future refinery partnerships would be required to sell their products through Indian Oil.<br />It was widely expected that Indian Oil and India's Oil and Natural Gas Commission (ONGC) would eventually be merged into a single state monopoly company. Both companies grew vastly in size and sales volume but, despite close links, they remained separate. ONGC retained control of most of the country's exploration and production capacity. Indian Oil remained responsible for refining and marketing.<br />During this same decade, India found that rapid industrialization meant a large fuel bill, which was a steady drain on foreign exchange. To meet the crisis, the government prohibited imported petroleum and petroleum product imports by private companies. In effect, Indian Oil was given a monopoly on oil imports.<br />A policy of state control was reinforced by India's closer economic and political links with the Soviet Union and its isolation from the mainstream of western multinational capitalism. Although India identified its international political stance as non-aligned, the government became increasingly friendly with the Soviet Bloc, because the United States and China were seen as too closely linked to India's major rival, Pakistan. India and the USSR entered into a number of trade deals. One of the most important of these trade pacts allowed Indian Oil to import oil from the USSR and Romania at prices lower than those prevailing in world markets and to pay in local currency, rather than dollars or other convertible currencies.<br />For a time, no more foreign refineries were allowed. By the mid-1960s, government policy was modified to allow expansions of foreign-owned refinery capacity. The Indian Oil Corporation worked out barter agreements with major oil companies in order to facilitate distribution of refinery products.<br />In the 1970s, the Oil and Natural Gas Commission of India, with the help of Soviet and other foreign companies, made several important new finds off the west coast of India, but this increased domestic supply was unable to keep up with demand. When international prices rose steeply after the 1973 Arab oil boycott, India's foreign exchange problems mounted. Indian Oil's role as the country's monopoly buyer gave the company an increasingly important role in the economy. While the Soviet Union continued to be an important supplier, Indian Oil also bought Saudi, Iraqi, Kuwaiti, and United Arab Emirate oil. India became the largest single purchaser of crude on the Dubai spot market.<br />The government decided to nationalize the country's remaining refineries. The Burmah-Shell refinery at Bombay and the Caltex refinery at Vizagapatnam were taken over in 1976. The Burmah-Shell refinery became the main asset of a new state company, Bharat Petroleum Ltd. Caltex Oil Refining (India) Ltd. was amalgamated with another state company, Hindustan Petroleum Corporation Ltd., in March 1978. Hindustan had become fully Indian-owned on October 1, 1976, when Esso's 26 percent share was bought out. On October 14, 1981, Burmah Oil's remaining interests in the Assam Oil Company were nationalized, and Indian Oil took over its refining and marketing activities. Half of India's 12 refineries belonged to Indian Oil. The other half belonged to other state-owned companies.<br />By the end of the 1980s, India's oil consumption continued to grow at eight percent per year, and Indian Oil expanded its capacity to about 150 million barrels of crude per annum. In 1989, Indian Oil announced plans to build a new refinery at Pradip and modernize the Digboi refinery, India's oldest. However, the government's Public Investment Board refused to approve a 120,000 barrels-per-day refinery at Daitari in Orissa because it feared future over-capacity.<br />By the early 1990s, Indian Oil refined, produced, and transported petroleum products throughout India. Indian Oil produced crude oil, base oil, formula products, lubricants, greases, and other petroleum products. It was organized into three divisions. The refineries and pipelines division had six refineries, located at Gwahati, Barauni, Gujarat, Haldia, Mathura, and Digboi. Together, the six represented 45 percent of the country's refining capacity. The division also laid and managed oil pipelines. The marketing division was responsible for storage and distribution and controlled about 60 percent of the total oil industry sales. The Assam Oil division controlled the marketing and distribution activities of the formerly British-owned company.<br />Indian Oil also established its own research center at Faridabad near New Delhi for testing lubricants and other petroleum products. It developed lubricants under the brand names Servo and Servoprime. The center also designed fuel-efficient equipment.<br />Changes in the Oil Industry: Late 1990s and Beyond<br />The oil industry in India changed dramatically throughout the 1990s and into the new millennium. Reform in the downstream hydrocarbon sector--the sector in which Indian Oil was the market leader--began as early in 1991 and continued throughout the decade. In 1997, the government announced that the Administered Pricing Mechanism (APM) would be dismantled by 2002.<br />To prepare for the increased competition that deregulation would bring, Indian Oil added a seventh refinery to its holdings in 1998 when the Panipat facility was commissioned. The company also looked to strengthen its industry position by forming joint ventures. In 1993, the firm teamed up with Balmer Lawrie & Co. and NYCO SA of France to create Avi-Oil India Ltd., a manufacturer of oil products used by defense and civil aviation firms. One year later, Indo Mobil Ltd. was formed in a 50-50 joint venture with Exxon Mobil. The new company imported and blended Mobil brand lubricants for marketing in India, Nepal, and Bhutan. In addition, Indian Oil was involved in the formation of ten major ventures from 1996 through 2000.<br />Indian Oil also entered the public arena as the government divested nearly 10 percent of the company. In 2000, Indian Oil and ONGC traded a 10 percent equity stake in each other in a strategic alliance that would better position the two after the APM dismantling, which was scheduled for 2002. According to a 1999 Hindu article, Indian Oil Corporation's strategy at this time was "to become a diversified, integrated global energy corporation." The article went on to claim that "while maintaining its leadership in oil refining, marketing and pipeline transportation, it aims for higher growth through integration and diversification. For this, it is harnessing new business opportunities in petrochemicals, power, lube marketing, exploration and production ... and fuel management in this country and abroad."<br />In early 2002, Indian Oil acquired IBP, a state-owned petroleum marketing company. The firm also purchased a 26 percent stake in financially troubled Haldia Petrochemicals Ltd. In April of that year, Indian Oil's monopoly over crude imports ended as deregulation of the petroleum industry went into effect. As a result, the company faced increased competition from large international firms as well as new domestic entrants to the market. During the first 45 days of deregulation, Indian Oil lost Rs7.25 billion, a signal that the India's largest oil refiner would indeed face challenges as a result of the changes.<br />Nevertheless, Indian Oil management believed that the deregulation would bring lucrative opportunities to the company and would eventually allow it to become one of the top 100 companies on the Fortune 500--in 2001 the company was ranked 209. With demand for petroleum products in India projected to grow from 148 million metric tons in 2006 to 368 million metric tons by 2025, Indian Oil believed it was well positioned for future growth and prosperity.<br />Indian Oil Corporation (IOC) is a name that every Indian is familiar with; it is the country’s largest commercial enterprise – the flagship corporate of the nation, ranked 135th on the prestigious Fortune 500 list. The corporation began its operation in 1959 as Indian Oil Company Ltd. The IOC was formed in the year 1964 with the amalgamation of the Indian Refineries Ltd. The Indian Oil Corporation and its subsidiaries account for 47% share in petroleum products market, 40.4% share in refining capacity and 67% downstream sector pipelines capacity in India. The Indian Oil Group of companies owns and operates 10 of India's 19 refineries with a combined refining capacity of 60.2 million metric tons per annum. Indian Oil also operates the largest and the widest network of fuel stations in the country, numbering about 16,600. The Corporation's also maintains cross-country crude oil and product pipeline network spanning about 9,300 km, the largest in the country, to meet the vital energy needs of the consumers in an efficient manner. It supplies Indane cooking gas to over 47.5 million households through a network of 4,990 Indane distributors.<br />It is a Corporation which has an accumulated refining experience of over a century – Digboi Refinery, in operation since 1901. The Digboi Refinery is the oldest refinery in the world. Indian Oil Corporation is also a company that has been lending its expertise for nearly two decades to various countries in several specialized areas of refining, marketing, transportation, training and R&D to countries like Sri Lanka, Kuwait, Bahrain, Iraq, Abu Dhabi, Tanzania, Ethiopia, Algeria, Nigeria, Nepal, Bhutan, Maldives, Malaysia and Zambia.<br />Today the Indian Oil Corporation is a dominant player in the Indian Petroleum industry whose interests spreads through out the whole Indian sub-continent. The Corporation is headquartered at New Delhi , the present Chairman being Mr. Sarthak Behuria. The Corporation has also earned a global reputation of being the 20th largest petroleum company in the world and the distinction of being the # 1 petroleum trading company among the National Oil Companies in the Asia Pacific Region. The IOC has annual revenue of about INR 2175.338 Billion or $53.7 Billion USD (March 2007) and employs about 3,216 people (2006). IOC is the Largest Commercial Enterprise with $51 bn Turnover & Product Sales of Nearly 55 Million Tonnes in 2006-07, with an all-India Marketing Network Of 32,500 Sales Points Indane Cooking Gas to Over 46.4 Million Households SERVO Lubes and Greases with 450 Grades . In short, it is a company that is a brand in itself and a name that you could trust.<br />The IOC being the flagship corporate of the Nation has an impressive presence even in our home state of Manipur; this is truly unique of the company. Truly unique because any other industry player or company with a name to boot always thinks twice before putting their stake in a state like Manipur – with this sort of law and order, instability the only stability, which industrial houses and companies would invest. Simple logic, as simple as ABC!! There are 16 retail outlets of Indian Oil Corporation, along with 7 Indane (LPG Distributor) in Manipur. Quite an impressive presence of a truly global company, considering the many inevitable pitfalls involved in investing in a state of lawlessness – Manipur. A truly remarkable feature of a Corporation (Semi Government) is that profit making is not the sole motive or the driving force. Instead, it is the essential service that it could render to the public at large that is paramount.<br />The IOC is divided into many divisions per se<br />1) The Refineries Division<br />2) Marketing Division<br />3) Assam Oil Division<br />4) IBP Division<br />5) Pipelines Division and<br /><br />subsidiaries like Bongaigoan Refineries and Petro Chemical limited, Chennai Petroleum Corporation Limited, Indian Oil Technologies limited, Indian Oil Mauritius Limited, Indian Oil Middle East FZE, Lanka IOC Private Limmited.<br /><br />Principal Subsidiaries: Indo Mobil Ltd. (50%); Avi-Oil Ltd. (25%); Indian Oiltanking Ltd. (25%); Petronet India Ltd. (16%); Petronet VK Ltd. (26%); Petronet CTM Ltd. (26%); Petronet CIPL Ltd. (12.5%); IndianOil Petronas Ltd. (50%); IndianOil Panipat Power Consortium Ltd. (26%); IndianOil TCG Petrochem Ltd. (50%); Librizol India Pvt. Ltd. (50%).<br />Principal Competitors: Bharat Petroleum Corporation Ltd.; Hindustand Petroleum Corporation Ltd.; Royal Dutch/Shell Group of Companies.<br />Chronology<br />• Key Dates:<br />• 1948: India's government passes the Industrial Policy Resolution, which states that its oil industry should be state-owned and operated.<br />• 1958: The government forms its own refinery company, Indian Refineries Ltd.<br />• 1959: Indian Oil Company is founded as a statutory body to supply oil products to Indian state enterprise.<br />• 1964: Indian Refineries and Indian Oil Company merge to form the Indian Oil Corporation.<br />• 1976: The Burmah-Shell and the Caltex refineries are nationalized.<br />• 1981: Half of India's 12 refineries are operated by Indian Oil.<br />• 1998: The company's seventh refinery is commissioned at Panipat.<br />• 2002: The Indian petroleum industry is deregulated.<br />Additional Details<br />• Public Company<br />• Incorporated: 1964<br />• Employees: 32,266<br />• Sales: Rs 113.32 billion ($24.2 billion) (2001)<br />• Stock Exchanges: Mumbai<br />• Ticker Symbol: 530965<br />• NAIC: 324110 Petroleum Refineries<br /><br />IndianOil was incorporated on June 30, 1959 under the name and style of Indian Oil Company Ltd. Upon merger with Indian Refineries Ltd. on September 1, 1964, the name of the company was changed to Indian Oil Corporation Limited.<br /><br />IndianOil has its Registered Office at:<br />IndianOil Bhavan<br />G-9, Ali Yavar Jung Marg<br />Bandra (East)<br />Mumbai - 400 051, India<br /><br />Guwahati Refinery, the first public sector refinery of the country, was built with Romanian collaboration and was inagurated by the first Prime Minister of India, Pandit JawaharLal Nehru, on 1st January 1962. IndianOil refineries registered a record throughput of 35.3 million tonnes during the financial year@ surpassing the previous best of 33.8 million tonnes in 2001-2002.<br /><br />IndianOil commissioned India's first product pipeline, the Guwahati - Siliguri pipeline, in 1965. This 435-Km pipeline connecting Guwahati Refinery to different installations was designed to carry about 0.818 MMT of oil per year. As on 1st April 2003 IndianOil operates the country's largest network of 7170 km of crude and product pipeline with a total capacity of 52.75 million metric tonnes per annum#.<br /><br />From a small begining with a sale of 0.032 million kilolitres, IndianOil achieved sales of 10 million kilolitres with a turnover of Rs. 635 crore* and profit Rs. 22.5 crore by the late 60's. From then on, the company has grown from strength to strength and presently the company sold 46.46 million tonnes of petroleum products in the domestic market during the financial year 2003@.<br /><br />* Rupees One Crore = US $ 0.21 million (approx) as on 31.3.2003<br /># One Million Metric Tonne per annum = 20,000 bpd<br />@ Financial Year = 1st April 2002-31st March 2003<br /><br />$$$$$$$$$$$$$$$$$$$<br /><br />Oil India Ltd (OIL)<br /><br />$$$$$$$$$$$$$$$$$$$<br /><br />Starting with a small lease in the Nahorkatiya main area, Oil India has expanded its operational activities in Upper Assam including the nearby areas of Arunachal Pradesh. Starting with oil Strike Nahorkatiya and Moran fields, continued exploration and development through the years has led to discoveries of a number of oil/gas fields in Assam & Arunachal Pradesh thereby expanding its reserve base. Oil India has so far drilled more than 212 exploratory wells and 797 development wells in the region(as on 01.01.04). The status of reserves of crude oil & gas in Assam & Arunachal Pradesh (excepting, Kharsang field in Arunachal pradesh, which is under Joint Venture Contract) as on 01.04.2003 are as under: -<br /> Oil (MMT) Gas (BSCM)<br />In-Place Reserves 625.35 224.55<br />Gross Ultimate Recovery 193.42 152.62<br />Cumulative Production 120.21 53.81<br />Balance Recoverable Reserves 73.21 100.75<br /><br /><br />Oil India has maintained an increasing trend in crude oil production during last ten years. The crude production, which was hovering around 2.50MMT in early Nineties rose to 2.81 MTPA in 1993-94, and crossed the figure of 3.0 MTPA during 1997-98. Since then, crude production is hovering around that figure till 2001-2002. Oil India recorded crude oil Production of 2.95MMT during the year 2002-2003.The gas production and sales during 2002-2003 were 1743.311 MMSCUM and 1237.300 MMSCUM respectively.<br /><br />As part of exploration and development efforts, a number of activities are underway or planned in Assam and adjoining areas of Arunachal Pradesh.<br /><br />In Assam, where exploration and development activities are confined to the South Bank of river Brahmaputra, the Company is stepping up its exploratory efforts in the logistically difficult areas like Brahmaputra River bed, Belt of Schuppen, Township areas etc. In adjoining Arunachal Pradesh, efforts are in full swing to step up exploratory efforts in Manabhum and Kumchai area. Overall plans are afoot to:<br /><br />Continue intensive exploration and development activities in the traditional/matured areas of south bank of river Brahmaputra by way of extensive 3D seismic, drilling and stepping up IOR activities as per recommendations of integrated Basin Modeling study.<br />Re vitalise the old oil fields MRN, NHK, & ZLN by implementing recommendations of re-vitalisation study carried out by international consultant viz, Drilling of in-fill wells, enhancement of water injection and identification of new prospects etc.<br />Carry out detailed Review of the identified prospects of South bank by international structural geology experts.<br />Carry out detailed reservoir engineering studies studies of Paleocene - Lower Eocene fields of the Upper assam Basin.<br />Intensification of exploration activities viz. geophysical activities (seismic, MT. Gravity etc) in the logistically difficult hilly terrains of Manabhum and Kumchai for generation of hydrocarbon prospects.<br />Establish the hydrocarbon prospectivity of sub-thrust prospects in Belt of Schuppen area in Assam.<br />Augment production through various measures including drilling of horizontal wells.<br />Initiation of seismic exploration activities in Brahmaputra River bed.<br />Revitalise the greater Jorajan oil field to explore the locked up hydrocarbon potential of Tipam Reservoirs and have a relook for deeper prospects.<br />Develop the non-associated gas resources of Assam as per technical recommendation of consultants/in-house study.<br />Introduction of new technology for application in prospect generation and reservoir charcaterisation viz, Scisclass, Material Balance etc.<br />The Oil Hunt<br />•<br />Soon after Edwin L Drake drilled the world's first oil well in 1859 at Titusville, Pennsylvania, USA, history chronicles another exploratory effort in search of the black liquid gold, across continents.<br /><br />In the 1860s sub surface oil exploration activities started in the dense jungles of Assam in north-east India and in March 1867, oil was struck in the well drilled near Makum. This was the first successful mechanically drilled well in Asia.<br /><br />The first commercial discovery of crude oil in the country was, however, made in 1889 at Digboi when a group of galllant oilmen erected a 20 meter high thatch covered wooden structure at the head of the Brahmaputra valley, in the extreme corner of northeastern India. This modest structure or 'derrick' had little geometric or aesthetic appeal. Nevertheless, it marked the remarkable saga of the quest for the fugitive fuel - 'petroleum', in Indian shores. The only visitors were the pachyderms, the odd jackal, snakes and a hundred thousand leeches. The environs smelt of the rain - soaked forest mingled with heavy odour of oil seepage all over and thus marked the beginning of the oil industry in India.<br /><br />The discoverer of this Digboi oilfield was the Assam Railways & Trading Company Limited (AR&T Co. Ltd.), a registered company of London in 1881,with objectives to explore the rich natural resources of Upper Assam.<br /><br />The earliest recorded reference of oil in Assam can be traced to Lieut. R Wilcox of the 46th Regiment Native Infantry who saw it as ". rising to the surface at Supkhong with great bubbling of gas and green petroleum." in " Memoir of a survey of Assam and the Neighboring Countries executed in 1825-6-7-8." Asiatic Researches Vol.XVII, pp. 314 - 467.<br /><br />Legend has it that an elephant working for the AR&T Co. Ltd. returned with distinct traces of oil on its trail. The excited owners of the elephant tracked its footprints and found seepage of oil bubbling to the surface.<br />" Dig! Boy! Dig! ", cried the Englishman to his men, hence the name "Digboi". Thus this day, a tiny hamlet tucked amidst lush greeneries over rolling hills found a place in the map of the world’s petroleum industry. Albeit very low production, Digboi still retains the distinction of being the world’s oldest continuously producing oilfield.<br />The Evolution of Oil India Limited<br /><br />By arrangement with the AR &T Co Ltd., the Burmah Oil Company (BOC) of U.K. who was at that time operating in Burma across the Patkai Hills took over the operation of AOC in 1921. BOC/AOC continued development of Digboi oilfield and intensified exploration activities. In 1953, the first oil discovery of independent India was made at Nahorkatiya near Digboi and then at Moran in 1956. The success at Nahorkatiya was the culmination of a long story of failure, frustration and despair in the oil exploration activities of Upper Assam. It was also the prelude to a string of oil exploration programmes elsewhere in the country.<br /><br />Oil India Private Ltd. was incorporated on February 18, 1959 for the purpose of development and production of the discovered prospects of Nahorkatiya and<br />Moran and to increase the pace of exploration in the Northeast India. It was registered as a Rupee Company with two-third shares owned by AOC / BOC and one-third by the Government of India (GOI). By a subsequent agreement on 27th July, 1961, GOI and BOC transformed OIL to a Joint Venture Company (JVC) with equal partnership.<br />OIL remained a Joint Venture Company for over two decades. The atmosphere of tolerance and adjustment between the partners was such that once our late Prime Minister Mrs. Indira Gandhi remarked :<br />"OIL is a fine example of the co-operation between the Public and Private Sectors."<br /><br />On 14th October 1981 Oil India Limited (OIL) became a wholly owned Government of India enterprise by taking over BOC’s 50% equity and the management of Digboi oilfields changed hands from the erstwhile AOC to OIL. During this span of time, a total of 1001 wells were drilled in the Digboi oilfield in an area of only 13 sq kms with peak production achievement of 900 Kilo Litres per day (KLPD)Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com82tag:blogger.com,1999:blog-7823291760828692160.post-3423359056113344432008-02-29T06:38:00.002-08:002008-05-05T04:22:19.441-07:00About Assam Tea<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SB7tYNadq-I/AAAAAAAADXA/iV2Ohcc-1dk/s1600-h/road.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SB7tYNadq-I/AAAAAAAADXA/iV2Ohcc-1dk/s400/road.jpg" alt="" id="BLOGGER_PHOTO_ID_5196852020205431778" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAhj4bx5k1I/AAAAAAAADOo/aV9CrD9bUXk/s1600-h/tea.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAhj4bx5k1I/AAAAAAAADOo/aV9CrD9bUXk/s400/tea.jpg" alt="" id="BLOGGER_PHOTO_ID_5190508391725372242" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAiFobx5k2I/AAAAAAAADOw/CpANSt3AaCE/s1600-h/acl.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAiFobx5k2I/AAAAAAAADOw/CpANSt3AaCE/s400/acl.bmp" alt="" id="BLOGGER_PHOTO_ID_5190545500242809698" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAiFpbx5k3I/AAAAAAAADO4/yeMFy3LClJY/s1600-h/acl1.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAiFpbx5k3I/AAAAAAAADO4/yeMFy3LClJY/s400/acl1.bmp" alt="" id="BLOGGER_PHOTO_ID_5190545517422678898" border="0" /></a><br /><br /><br /><br />Assam Tea is a black tea named after the region of its production: Assam, India. This tea grown at sea level is known for its body, briskness, malty flavor, and strong, bright color. Assam teas, or blends containing Assam, are often sold as "breakfast" teas. English Breakfast tea, Irish Breakfast tea, and Scottish Breakfast Tea are common generic names.<br /><br />Though "Assam" generally denotes the distinctive black teas from Assam, the region produces relatively smaller quantities of green and white teas as well with their own distinctive characteristics.<br /><br />Historically, Assam is the second commercial tea production region after southern China. Southern China and Assam are the only two regions in the world with native tea plants. Assam tea revolutionized tea drinking habits in the 19th century since the tea, produced from a different variety of the tea plant, yielded a different kind of tea.<br /><br />Geography<br /><br />The tea plant (Camellia sinensis var assamica) is grown in the lowlands of Assam, unlike Darjeelings and Nilgiris which are grown in the highlands.<br /><br />History<br /><br />The cradle of the tea plant is a region that encompasses the Assam state in northeastern India, the eastern and southern parts of China, and northern Myanmar. Spontaneous (wild) growth of the assamica variant is observed in an area ranging from the Indian state of Assam to the Chinese province Yunnan and the northern part of Myanmar.[1]<br /><br />The earliest reference to tea drinking in India is found in the writings of a Dutch seafarer, who wrote of tea being both eaten and drunk in India in 1598.[2]<br /><br />There exists a 10th century CE Sanskrit medical text from Assam called Nidana that mentions leaves called shamapatra from which shamapani is made. Historians are conflicted as to whether this is the first mention of tea in India.<br /><br />Before the commercialization of tea began in Assam, the leaves of the tea plant were chewed by the local villagers with little or no processing. This continues in certain inaccessible regions of southeastern Assam, as well as in neighboring regions of Myanmar.<br /><br />Bodos (pronounced BO-ROs) were the earliest settlers of Assam.[citation needed] It is likely that Bodos may have brought tea and rice to Assam. However, Robert Bruce is said to have re-discovered the tea plant growing wild in the region. According to another account, the Assamese nobleman, Maniram Dewan, led Robert Bruce to the plant in 1823. Before his death in 1825, Robert passed on his knowledge to his brother Charles, who sent seeds of the plant to Calcutta in 1831. In 1833 the British lost the monopoly of the Tea trade with China and the Tea Committee dispatched the secretary George Gordon to China to study the methods and begin tea plantation in Assam. He returned with the Chinese variety and workers. Imported labor from Bihar and Orissa would later form a significant demographic group in Assam. It was found that the local variety of plant was more suited to the local climate. Crossing with the Chinese tea plant led to Indian hybrid tea, which has great variability and vigour. This has been called the most important evolution of the commercial tea plant.<br /><br />On May 8, 1838 350 pounds (159 kg) of Assam tea were dispatched to London, and sold at India House, London on January 10, 1839. Drinkers were impressed with the tea, and the tea industry in Assam was born. Charles Bruce and others, including Maniram Dewan, began clearing the jungles and establishing tea estates.<br /><br />On February 26, 1858 Maniram Dewan, the sole native tea planter, was hanged on charges of conspiracy and participation in the Sepoy Mutiny of 1857 against the British on the basis of an intercepted letter.<br /><br />Modern developments in the tea industry<br /><br />Since the 19th century, most tea has been planted using the same techniques without seed selection. The industry continued to grow slowly but steadily during the 20th century. In the 1970s small scale tea cultivators with farms smaller than one hectare began growing tea. Cultivation on small farms increased during the 1990s and today accounts for over 10% of the tea produced in Assam. Tea cultivation remains a vital industry in the region employing 17% of the workforce.<br /><br />Today, Assam produces more than half the tea grown in India. On the international market, Assam Tea can be identified by the official logo chosen by the Tea Board of India. Most Assam tea is sold through the Auction Centre at Guwahati. Recently, India's tea industry has faced a crisis with prices dropping due to reduced exports and domestic consumption. However, Assam tea exports to the United States are expected to increase as more Americans are drinking tea and seeking tea of higher quality.<br /><br />###############################################<br />###############################################<br /><br /><br /><br />Of the agriculture-based industries, tea occupies an important place in Assam. The plants used to grow naturally in the Upper Brahmaputra valley. Robert Bruce, an official of the British empire, who is credited with the discovery of tea in Assam in 1823, gave publicity of the existence of the plant, the leaves of which were boiled to prepare the tea.<br />In Assam, tea is grown both in the Brahmaputra and Barak plains. Tinsukia, Dibrugarh, Sibsagar, Jorhat, Golaghat, Nagaon and Sonitpur are the districts where tea gardens are mostly found. Assam produces 51% of the tea produced in India and about 1/6th of the tea produced in the world.<br />In 1911 a Tea Research Centre was started at Toklai in Jorhat for developing more scientific and fruitful methods of cultivating tea plants, applying fertilizer, testing soil, selecting sites for garden and processing tea leaves. This is the oldest and largest Tea Research Centre in the world.<br />Instant tea project was established at the Tea Research Centre of Toklai Experimental Station in 1974. Instant tea is a golden coloured powder which dissolves in hot or cold water easily.<br />For a better marketing of the tea produced in Assam and the entire North Eastern States, a Tea Auction Centre - Guwahati Tea Auction Centre - was established in 1970 at Guwahati. This is the world's largest CTC tea auction centre and the world's second largest in terms of total tea. It now auctions more than 150 million kg of tea valued at more than Rs 550.00 crores annually.<br />Tea industry has contributed substantially to the economy of Assam. About 17 percent of the workers of Assam are engaged in the tea industry.<br />India exported only around 156.7 million kilograms of tea last year compared to 218.7 million kilograms in the previous year, recording a shortfall of 62 million kilograms. Sources said that in 2006, around 98.81 million kilograms of north Indian tea was exported and the figure came down to 84.05 last year. Similarly, around 119 million kilograms of south Indian tea was exported in 2006 and the figure came down to 72.65 million kilograms last year. With Assam producing more than 50 percent of tea produced in India, the overall decline of the volume of exports will seriously affect the tea industry in the state in the days to come.<br />India produced 955.91 million kilograms of tea in 2006 and the figure came down to 944 million kilograms last year.<br />INDIAN TEA INDUSTRY<br />The tea industry in India is about 170 years old. It occupies an important place and plays a very useful part in the national economy. Robert Bruce in 1823 discovered tea plants growing wild in upper Brahmaputra Valley. In 1838 the first Indian tea from Assam was sent to United Kingdom for public sale. Thereafter, it was extended to other parts of the country between 50's and 60's of the last century.<br />However, owing to certain specific soil and climatic requirements its cultivation was confined to only certain parts of the country. Tea plantations in India are mainly located in rural hills and backward areas<br />of North-eastern and Southern States. Major tea growing areas of the country are concentrated in Assam, West Bengal, Tamil Nadu and Kerala. The other areas where tea is grown to a small extent are Karnataka, Tripura, Himachal Pradesh, Uttaranchal, Arunachal Pradesh, Manipur, Sikkim, Nagaland, Meghalaya, Mizoram, Bihar and Orissa.<br />Unlike most other tea producing and exporting countries, India has dual manufacturing base. India produces both CTC and Orthodox teas in addition to green tea. The weightage lies with the former due to domestic consumers’ preference. Orthodox tea production is balanced basically with the export demand. Production of green tea in India is small. The competitors to India in tea export are<br />Sri Lanka, Kenya, China, Indonesia and Vietnam.<br /><br />Tea is an agro-based commodity and is subjected to vagaries of nature. Despite adverse agro climatic condition experienced in tea growing areas in many years, Indian Tea Plantation Industry is able to maintain substantial growth in relation to volume of Indian tea production during the last one decade.<br />There has been a dramatic tilt in tea disposal in favour of domestic market since fifties. While at the time of Independence only 79 M.Kgs or about 31% of total production of 255 M.Kgs of tea was retained for internal consumption, in 2006 as much as 771 M.Kgs or about 81% of total production of 956 M.Kgs of tea went for domestic consumption. Such a massive increase in domestic consumption has been due to increase in population, greater urbanisation, increase in income and standard of living etc.<br />Indian tea export has been an important foreign exchange earner for the country. There was an inherent growth in export earnings from tea over the years. Till 70s’, UK was the major buyer of Indian tea Since 80s’ USSR became the largest buyer of Indian tea due to existence of the trade agreement between India and erstwhile USSR. USSR happened to be the major buyer of Indian tea accounting for more than 50% of the total Indian export till 1991. However, with the disintegration of USSR and abolition of Central Buying Mechanism, Indian tea exports suffered a set back from 1992-93. However, Indian Tea exports to Russia/CIS countries recovered from the setback since 1993 under Rupee Debt Repayment Route facilities as also due to long term agreement on tea entered into between Russia and India. Depressed scenario again started since 2001 due to change in consumption pattern, i.e. switch over from CTC to Orthodox as per consumer preference and thus India has lost the Russian market. Another reason for decline in export of Indian tea to Russia is offering of teas at lower prices by China, South Asian countries like Indonesia and Vietnam. The major competitive countries in tea in the world are Sri Lanka, Kenya, China and Indonesia. China is the major producer of green tea while Sri Lanka and<br />Indonesia are producing mainly orthodox varieties of tea. Kenya is basically a CTC tea producing country. While India is facing competition from Sri Lanka and Indonesia with regard to export of orthodox teas and from China with regard to green tea export, it is facing competition from Kenya and from other African countries in exporting CTC teas.<br />Because of absence of large domestic base and due to comparatively small range of exportable items, Sri Lanka and Kenya have an edge over India to offload their teas in any international markets. This is one of the reasons of higher volume of export by Sri Lanka and Kenya compared to India. Another important point is that, U.K has substantial interest in tea cultivation in Kenya. Most of the sterling companies, after Indianisation due to implementation of FERA Act started tea cultivation in Kenya. So, it makes business sense for U.K. to buy tea from Kenya and Kenya became the largest supplier of tea to U.K.<br />Tea is an essential item of domestic consumption and is the major beverage in India. Tea is also considered as the cheapest beverage amongst the beverages available in India. Tea Industry provides gainful direct employment to more than a million workers mainly drawn from the backward and socially weaker section of the society. It is also a substantial foreign exchange earner and provides sizeable<br />amount of revenue to the State and Central Exchequer. The total turnover of the Indian tea industry is in the vicinity of Rs.8000 Crs. Presently, Indian tea industry is having (as on 31.12.2006 )<br />• 1655 registered Tea Manufacturers,<br />• 2008 registered Tea Exporters,<br />• 5148 number of registered tea buyers,<br />• Nine tea Auction centres.<br /><br />* * * ***************************************************<br />Assam Company Limited- pioneer in the evolution of the tea industry<br />* * * ***************************************************<br />Heritage<br />The story of the Assam Company is intricately associated with the beginning and evolution of the tea industry in the Indian sub-continent. Assam Company was the pioneer in the evolution of the tea industry in Assam and has a unique status in the story of tea in India. Today, the Company has established itself as one of the leading producers of Assam tea of the finest quality, grown and manufactured in the group's own gardens.<br />The tea industry in Assam owes its origins to a river gunboat commander called Charles Alexander Bruce. In 1825 he braved the mighty Brahmaputra to sow the seeds of the tea plant in the wilderness of Assam. After quite a long hiatus of around fourteen years, Bruce managed to get official approval for commercial cultivation and the first consignment of Assam tea left Indian shores for the London market. This consignment had twelve packages of tea which belonged to Assam Company.<br />The warm reception given to this new tea provided the initial impetus to the formation of the first commercial tea Company in the world - The Assam Company. The founders were distinguished British merchants and such Indian luminaries as Prince Dwarkanath Tagore (grandfather of poet and Nobel Laureate Rabindranath Tagore), Babu Motilal Sil and others. Outstanding personalities subsequently served as directors like Richard Twinings, James Warren and William Duncan.<br />The Assam Company was formed at a meeting of merchants in London on 12th February 1839 with a capital of £500,000 in 10,000 shares of £50 each, of which 8000 were to be allotted to Great Britain and 2000 to India. The name of the Company was decided upon keeping in mind the fact that lime, coal and oil were all to be found in the region and there was a distinct possibility of trading in any or all of these commodities, besides tea. Hence, The Assam Company rather than The Assam Tea Company was chosen, though tea was to be the main business. The Company acquired two-thirds of the government's Experimental Tea Gardens, together with permission to settle on other lands.<br />The Assam Company was first formed with the objective of tea cultivation in India. Some people of repute with the requisite capital had met in Calcutta for the same purpose; the Company was to be called The Bengal Tea Association. The two companies merged with the stipulation that 1400 of the 2000 shares would be given to the promoters of the Bengal Tea Association. Charles Alexander Bruce joined the Company's service on 1st March 1840, as he was the only person with any knowledge of tea cultivation and manufacture. From 1844 the Company was on the upswing, with performance and profits enhanced, which was primarily due to two outstanding entrepreneurs of the time, Henry Burkinyoung and William Roberts. In 1845, the Company was granted a Deed of British Parliament and was awarded the Royal Charter by Queen Victoria in recognition of its pioneering excellence.<br />In 1846, the Company declared its first dividend, but a period of crisis prevailed for some time as resources, lives and energy were strained to the utmost by the prevailing conditions in Assam. In 1852, the silver lining appeared at last with a modest dividend and the tide turned for the Company.<br />The Company 's progress was consistent, together with the emphasis on the quality of its product. In 1978, after the momentous years of the post-independence era, the Partition of the country and the World War, the Indian undertakings of The Assam Company along with those of five other sterling companies, were amalgamated to constitute what was known as The Assam Company (India) Limited. The new Company went public one year later, to an enthusiastic response.<br />Over the years the Company has maintained its close allegiance to tea, specializing in the cultivation, manufacture and marketing of some of the finest Assam teas in the world. Keeping pace with technology and modern management practices, the Company has grown to be a major player in the industry.<br />Assam Company Limited is a group company comprising of professional companies engaged in multifaceted activities like Tea plantation, Oil & Gas exploration, production & supply, Road Transportation etc., and a heritage company since 1839.<br />Assam Railway Trading Company and River Steam & Navigating Company, one of the group companies of ACL, is the key initiator for development of North East. Assam Railway Trading Company laid first railway track through the heartland of Assam.<br />Assam Railway Trading Company had infrastructure from Lower Assam to Upper Assam by which all the resources grown and available in Assam, were transported by the Railway to Pandu and thereafter by the water ways (River Steam & Navigating Company) for onwards shipment overseas.Oil & Gas Limited, another group company of ACL, is into exploration, production and supply of oil and natural gas in several parts of north east India where the oldest well exists at Digboi. The company is in oil exploration and supply in Australia. The Company is in negotiation with Libya for undertaking Oil & Gas exploration concessions. The company is looking for further exploration in the countries like Sudan, Myanmar , Kazakistan and some other central Asian provinces for its global forays in the oil & exploration business.<br />Assam Company is one of fewest heritage companies in India serving to the development of industries over 165 year. It is the first tea plantation company in India started its tea garden in North East India in 1839. Assam Company is the first company to explore oil in Assam in the year 1889. It is indeed a story that the engineers supervising the wood felling and carrying through elephants, found mark of oil on the feet of the elephants. They reached the spot and asked the laborers to dig saying "Dig Boy, Dig". In fact, this was phenomenally known as Digboi, the oldest Well of the country located in Upper Assam.<br />Assam Company is the only non-government company that has been exploring oil in north east India and desires to expand its exploration in the basin of Bay of Bengal.<br />Landmarks<br />Assam Company Ltd (ACL) was founded in 1839 and is the pioneer tea plantation company in the world. It is the first tea plantation company of India started its first tea garden in 1839. ACL is also the first company to explore oil in Assam in the year 1889.<br />In 1845, the Company by a Deed of British Parliament was awarded the "Royal Charter" by Her Majesty Queen Victoria, the then Empress of India in recognition of excellence.<br />In 2005, Mr. David Dewherst, Hon'ble Lt. Governor of Texas, USA, presented the "Wooden Hammer of Texas" to Dr. KK Jajodia, the Chairman of Assam Group of Companies.<br /><br />Tea is a gift of the British Raj to India and through India to the world, successfully achieved through ACL, which continues to be recognized as the "Jewel of the Crown" of the Tea Industry.<br />• In India Oil was first discovered in North East by an associate of Assam Company Limited.<br />• After liberalization of Indian Govt. policies in 1991 - 1992, ACL diversified into the oil and gas industry focusing on exploration, development, and production in North East India.<br />• One of the leading producers of the most exquisite, high quality, premium teas.<br />• Operates 16 factories, 16 tea estates and gardens spread over 15,000 hacs.<br />• Employs over 32,000 people with well laid out infrastructure, duly supported by planned social welfare activities.<br />• Preparing the platform to expand its value on the global tea market.<br />• ACL actively takes interest in the field of wild life preservation<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$<br />VARIOUS News on Tea Industry::::<br />$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Newer technologies to revive Indian tea industry:-<br />Indian scientists here are devising new cost effective technologies to cut down tea production expenses and upgrade factorymachinery in an attempt to revive the country's beleaguered tea industry.<br />India's $1.5 billion tea industry is facing a crisis with prices dropping in the weekly auctions, besides a slump in export figures. A team of experts at the Tocklai Experimental Station in the heart of India's tea-growing state of Assam is working overtime these days to come up with newer technologies to tide over the crisis faced by the tea industry.<br />The Tocklai Station located in the tea-growing town of Jorhat in eastern Assam was set up in 1901 and is currently the world's biggest facility for tea research.<br />"We are currently working on some innovative projects to try and develop technologies that help in bringing down the cost of tea production," said Mridul Hazarika, director the Tocklai Station.<br />"We are progressing well with our mission and hope to complete the project soon," Hazarika told IANS.India is the world's largest tea producer with Assam accounting for about 55 percent of the total 825 million kg produced in 2004. Tea exports had plummeted from 200 million kg in 2002 to 170 million kg last year, while a kg of good quality Assam tea that fetched Rs.100 five years ago today sells at around Rs.65 in the weekly auctions.<br />The slump in tea prices was largely attributed to cheap and inferior quality teas produced by many new tea-growing countries, thereby pushing premium quality Indian teas to facing stiffer competition in the global market.<br />Moreover, there are complaints that quality of Indian tea has deteriorated over the years with planters not conforming to a uniformset of parameters for tea production.<br />"We are now using on an experimental basis an automated tea factory to standardise parameters for tea production. The automated factory will help in online monitoring of the entire process of tea production, which in turn will ensure better quality," Hazarika said.<br />Though tea as an industry is more than a century old, almost all Indian gardens are still using manual methods in their factories for tea production. "The quality of tea produced in our experimental automated factory is indeed encouraging and we hope we can disseminate the technology soon among the industry," another scientist at the station said.<br />Close to a hundred gardens in Assam have closed down in the past three years with planters unable to sustain the crashing prices of the beverage in the auctions.<br />"Unless we are able to cut down the tea production costs, it will be difficult to compete in the world market. We hope scientists at the Tocklai Station are able to come to our rescue by developing cost effective technologies soon," said B. Sharma, a senior planter.<br />The Union Commerce Ministry is launching a series of initiatives to revive the tea industry, including boosting exports to new markets like Pakistan and Iran, increasing value addition and launching a Rs. 4,700-crore special purpose tea fund in the current fiscal.<br />The Ministry is planning a series of "tea festivals'' in key producing States like Assam, while the Tea Board is expected to revive the system of setting up tea centres abroad.<br />According to Minister of State for Commerce Jairam Ramesh, India's role as a leading tea exporter has diminished over the years on account of competition from countries like Sri Lanka, Kenya and Vietnam. The country's total tea exports were now estimated to net $350 million annually, a small percentage of the country's total exports, he said.<br />At the same time, he told The Hindu the tea industry provided direct and indirect employment to as many as 2.5 million people in Assam, West Bengal, Kerala and Tamil Nadu. It was, therefore, essential to revive the fortunes of this traditional plantation crop, he said.<br />As a first step, he said, the Centre had set up a Rs. 4,700-crore special purpose tea fund for which an initial Rs. 100 crore had been provided. Disbursement for the tea sector from this fund would begin in November. The main aim of the fund would be to help in replanting of the tea crop in many old plantations where replanting was urgently required to improve the health of the crop.<br />Secondly, he said, a series of marketing initiatives were under way to tap the growing markets of Pakistan, Iran, Egypt and Iraq. A high level team was expected to go to Pakistan shortly to explore the prospects for doubling tea exports to 20 million kg in the current fiscal. Similarly, the Iran market was considered highly prospective, while efforts would have to be made to restore exports to Iraq. Mr. Ramesh said the system of setting up tea centres abroad was also proposed to be restored by setting up two such centres in Cairo (Egupt) and Teheran (Iran). This would be implemented through public-private partnership, he said.<br />In addition, promote the domestic tea industry and to create a marketing platform for the crop, it had been decided to hold an India International Tea Festival annually. The first festival would be held in Guwahati in August, he said. Thirdly, he said, efforts were being made to improve the value addition by giving a focus on products like organic and green tea.<br />The system of electronic auctions was also proposed to be expanded from the present level of 50 per cent of total sales to 100 per cent over the next year. Mr. Ramesh said a meeting of the tea industry would be convened on June 1 to consider plans in this regard as well as the proposal to set up special e-auction centres in Coonoor, Coimbatore, Chennai, Kolkata, Siliguri, Guwahati, Jorhat and Dibrugarh.<br />"A kilogram of good quality Assam tea sells at Rs.60, which is about Rs.2.5 higher than last year. Compared to 2005, exports have gone up by about eight million kilogram to 200 million kg last year."<br />They were once the domain of aristocrats, with hardnosed British sahibs on horseback supervising them. But tea plantations in Assam have come full circle as hundreds of small farmers have taken to growing the crop.<br />The profession has now shifted from the rich to the common man, especially unemployed youths who have taken up tea cultivation as a business venture. Some even cultivate it in their backyards.<br />Monoram Gogoi was until recently wandering aimlessly after completing his post graduation in economics.<br />'I decided to grow tea in about 25 hectares of land sometime in 2002. Unlike the British sahibs who gave orders, I work alongside the workers for the whole day,' Gogoi old IANS.<br />He is already reaping the benefits, producing about 30,000 kg of green tea leaves annually.<br />The small tea growers sell the leaves to the nearby big plantations where it is processed - a kilogram of green tea leaves is sold at Rs.8 to Rs.12 depending on the market.<br />'There are more than 43,000 small tea growers in Assam producing about nine percent of the state's total annual production,' Basudeb Banerjee, chairman of the Tea Board of India, told IANS.<br />Assam is considered the heart of India's $1.5 billion tea industry and accounts for about 55 percent of the total annual production of 955 kg last year.<br />'Most of us were born amidst tea gardens and so we thought why not give a try to cultivating on our own as getting a government job in Assam is very tough. The plan clicked,' said Arindam Saikia, another small tea farmer.<br />Across this tea-growing belt in eastern Assam, people in large numbers have started growing the crop in 20 to 25 hectares of land, some even cultivating tea in their backyards.<br />'We have been provided with technical support and advice by experts at the Assam Agriculture University in Jorhat and also help from the Tocklai Tea Research Station for better yield and quality,' Gogoi said.<br />The Tea Board is now setting up a special cell to cater to the needs of the small tea cultivators - already the Board has helped set up 47 self-help groups comprising of about 15 members each to grow tea.<br />'The production cost for green tea leaves for small growers is just about 25 percent and so the profit margin is reasonably good,' said Madhusudan Khandait, secretary of the Assam Chah Mazdoor Sangha, the apex tea workers trade union.<br />'The fact that many of the youths are now taking up tea cultivation is a sign of prosperity and will surely ease the growing unemployment problem in the state,' Chief Minister Tarun Gogoi told IANS.<br />Spurred by the mushrooming growth of small tea growers, the Indian commerce ministry recently took a team of young tea farmers from Assam to Kenya and Sri Lanka to help them get first hand knowledge about the success of small tea cultivation in the two countries.<br />'The idea was to give them exposure and get vital skills from tea growers in Kenya and Sri Lanka,' Minister of State for Commerce Jairam Ramesh said.<br />The Indian tea industry was facing a crisis with prices dropping in the weekly auctions since 1998. The slump in prices was largely attributed to cheap and inferior quality teas produced by many new tea-growing countries, thereby pushing premium quality Indian teas to facing stiffer competition in the global market.<br />But the industry is showing signs of resurgence with prices firming up in the auctions and exports increasing as well.<br />A kilogram of good quality Assam tea sells at Rs.60, which is about Rs.2.5 higher than last year. Compared to 2005, exports have gone up by about eight million kilogram to 200 million kg last year.<br />'Despite the tea industry not doing very well in recent years, the income generated from the small plantations is good enough in comparison to doing nothing,' said Kaustav Saikia, a small tea grower in the eastern Dibrugarh district.<br />Assam Tea Industry In search of lost glory<br />Not deterred by colas and instant drinks flooding the market, tea as refreshing and invigorating beverage rules the roost. Going by this fact, Assam tea industry ‘rejuvenates’ itself to find the old glory.<br />ASSAM is the biggest producer of quality tea, contributing anything between 53 and 60 per cent to country’s total tea production. According to Dr. S. K. Bhuyan as per his book “Anglo-Assamese relations: 1771-1826,” the tea plant was discovered in 1823 by Robert Bruce, merchant and soldier of fortune, during his visit to Rongpur, where he was imprisoned by the Burmese. A Singpho chief furnished Bruce with some plants. In 1824 Robert Bruce gave some plants to his brother C. A. Bruce who handed them over to David Scott. Scott in turn gave a few specimens to the Botanical Garden, Calcutta. The discovery of tea plant in Assam enabled the East India Company to develop a trade, which China has hitherto monopolised.<br />C. A. Bruce was appointed superintendent of the government tea forest, who in 1837 sent 46 boxes of Assam tea to the tea committee. When in 1824, Dr. N. Wallich of Botanical Garden identified these specimens it was the beginning of the scientific study of tea in India. Dr. Wallich visited Assam in 1834 and submitted his report in 1835.<br />The biggest research centre of tea in the world, situated in Jorhat was started in Calcutta in 1900 by the India Tea Association. In 1904, a laboratory was started at Heelea- kah Tea Estate near Mariani. In 1912, the laboratory was shifted to Jocklai and was renamed as Jocklai experimental station. In 1964, the experimental station became Tea Research Association (TRA). The Assam Company was accordingly formed in England in 1839 with a capital of Rs. 5 lakh. The Assam Company with its headquarters in Nazira is the oldest commercial tea company of Assam which is still functioning. The second company was formed in 1859 as the Jorhat Tea Company and even today its central office is at Jorhat.<br />The first consignment of 12 boxes of tea manufactured by the Singpho chiefs were shipped from Calcutta to London in 1835. The first auction of tea took place in London on May 26, 1841, which was conducted by Ms McKenzie Lyll & Company. 35 chests of tea made by the Singphos and 95 chests from the government plantation of Assam were offered.<br />The first Indian to start planting of tea was an Assamese nobleman Maniram Dutta Barma, popularly known as Maniram Dewan. He was a Dewan of Assam Company until resigned in 1841 to start his own tea estate. He had two gardens at Jorhat and near Sonari. But the British hanged him in 1858 for taking part in mutiny in 1857. After Maniram Dewan’s pioneering efforts, many others, mostly Assamese, came forward to plant tea. Someswar Sharma became the first Indian superintendent of the tea industry of the Manband Tea Company. After independence things started changing. The British dominated industry changed hands. Although the Jalans, Saharias, Ahmeds, Kanois, Darshan Lalls and few others were already there, the reputed industrialists of India like the Birla, Poddar, Paul, Shetia, Rhuia and Tata amongst other became the biggest producer of Assam tea.<br /><br />From 1823, the tea industry in Assam valley came a long way. Today there are about six lakh tea garden workers engaged in 850 tea gardens.<br /><br />There are a number of bodies that coordinate the whole tea industry of Assam. The Tea Board is the main body that looks into the tea promotion with offices in Guwahati, Tripura, Jorhat, Tezpur and Silchar. N. K. Das is the chairman of the board. In the 9th five year Plan the board has sanctioned Rs. 1554.28 lakh to the North-East, of which 74.93 lakh is grant-in-aid. The board provides subsidy on machinery and equipment and also provides finance scheme (up to 50 lakh) for the benefit of the planters.<br />The Tea Association of India is another significant body having about 160 tea gardens of Assam under its purview. It also has some more tea gardens of North Bengal and Tripura under its cover. The Assam Branch of the India Tea Association (ABITA) is also an important body that acts as a chamber of commerce. Formed way back in 1889, it promotes the interest of the tea industry. It safeguards the interests of tea industry and its workers. It has about 282 tea gardens under its purview with officers at Dibrugarh, Jorhat and Tezpur. There are a number of other bodies like the Assam Tea Planters Association, Bharatiya Cha Parishad and the Assam Cha Mazdoor Sangh. Apart from other functions, these bodies play a pivotal role in defending the interest of the workers such as wages, provident fund, bonus, etc.<br />Assam has CTC and orthodox leaf varieties of tea as also the dust. For the year 2001-2002, there was good demand for the liquoring variety of CTC leaf. The major blender lent good support. Western India buyers were active on liquoring sorts. Tata tea was selective in purchase. 94.4. million kgs of CTC leaf was auctioned at an average price of 70.58 per kg. There was also a fair demand for the orthodox variation. Prices followed quality. North Indian buyers absorbed the bulk of orthodox offerings.<br />There was selective demand for the dust variety. There was good demand for liquoring dust. Major blender lent good support. Tata Tea competed for liquoring dust. Western India markets continued to support teas in premium segment. 42.8 million of dust variety was auctioned at an average 64.64 per kg. For the year 2000-2001, 97474, 897.9 kg of CTC tea of Assam was sold at an average price of Rs. 72. 5 per kg. In the orthodox variety 828148.9 kgs were sold at an average price of Rs. 67.56 per kg. As for dust 43,344, 637.2 kgs were sold at an average price of Rs. 70.83. All the three varieties combined, a total of 141,637,648 kgs of Assam tea was sold at an average price of Rs. 71. 97 per kg.<br />In 2000, the total area of Assam under tea production was 26739 hectares and total production of tea (in thousand kgs) was 451236, thus showing a yield (kg/hectare) of 1688. However, in 2001, the production of tea (in thousand kgs) dipped to 450132, thus falling by 1104 thousand kgs from the previous year’s production. 2001 figures of Indian tea export (in million kgs) show a total figure of 164.19. The main countries to which the tea is going are CIS countries (including Russia and Khazakhistan) — 77.46 million kgs; UK — 15.41 million kgs; UAE — 19.65 million kgs; Iraq — 14.14 million kgs; Polland — 7.59 million kgs and the USA — 5.35 million kgs.<br />While the tea industry in Assam grew, but with the passage of time it also started facing many problems. With the coming of cola age, aerated drinks and many other ready to pick bottle drinks flooded the market. The present crisis in the tea industry started in 1999, when unprecedented drought during the early part of the season led to drastic production cuts. Year 2000 saw the marginal improvement in production but there was a sharp drop in price realisation. Production in Assam in 2001 was low compared to the national average. During the year, prices further declined. Export also dropped by 27 million kgs and Assam could export only 18 million kgs of tea. It is believed that Assam is losing exports due to wrong production mix and also because of the inability to compete with the other tea producing countries due to high cost of production. The quality of Assam tea has also deteriorated in the past couple of years as planters are paying more stress on quantity over quality.<br />Tea gardens being stretched over vast pieces of land in the countryside and suburban areas, providing security cover to the gardens has become a demanding task. Militancy is also telling heavily on the industry. With good housing, health, education along with better salaries and wages, the labourers here enjoy better facilities than any one engaged in somewhere else. Today prolific singers, sportspersons, academicians and even politicians are coming up from the garden areas of Assam, which truly reflect their condition.<br />Assam tea industry now hopes to turn a new leaf with little help from consultancy major A. F. Furguson and Company. The Tea Board has sought the help of this firm for recommending ways to revive the old glory of tea industry in Assam. The Union Commerce Ministry has also appointed Accenture, a reputed consultancy firm to recommend remedial measures for the tea industry. These firms have emphatically laid stress on quality.<br />Meanwhile, the Union Ministry of Commerce has promised to make every endeavour to develop the tea industry of Assam with healthy flow of funds. An all-party delegation, led by the Speaker of Assam Assembly Prithivi Majhi had an interaction with the Central Commerce Ministry In New Delhi in April this year. The delegation has given a memorandum to the ministry asking it to safeguard the long-term interests of the tea industry. It is believed that the Centre has initiated a series of measures for the development and protection of the industry. Union Commerce Minister Murasoli Maran had said that the Tea Board would consider the suggestion to concentrate of specific markets like Egypt, Polland, Iraq, Afghanistan and Russia, while implementing a medium term export strategy on tea. The Tea Board has introduced a scheme of subsidy for the manufacture of orthodox tea, which is preferred in the international market. These would support the manufacturers to switch from CTC to orthodox tea manufacturing. This scheme has a 50 per cent for small scale producers and 25 per cent subsidy for the estate factories. A generic promotion campaign has also been launched for improving consumption of tea within the country in the wake of stiff competition faced from soft drinks and other products.<br />According to the directorate of tea, there are about 28,000 small tea gardens in the State producing about 70 million kgs tea annually. The State Government is thinking of registering the small tea gardens with the labour department. The Tea Board has opened a cell at the Assam Agricultural University to train small tea growers with the aim of improving the quality of Assam tea. A similar training session for small growers would also be started at Jocklai Research Station. chairman of the Tea Board N. K. Das informed that a cooperative of small growers was floated in Assam and the Tea Board would help it to purchase a factory of its own which in turn would help produce quality tea. Recently a group of tea makers of small tea growers from Assam visited Kangra valley of Himachal Pradesh to learn about mechanised plucking and new methods pruning tea bushes. Kangra valley is known for producing orthodox tea of a high quality. The group that was sponsored by the Tea Board returned with a wealth of information. The Tea Board will also introduce an export rating system soon to control the quality of Assam tea. The tea research association is also taking measures in Jocklai for producing quality tea.<br />Tea and Assam are synonymous with each other. The State, its government, the people, and the various bodies along with the Central Government must go whole hog in restoring the golden days of Assam tea.<br /><br />Total surrender to the global market forces has jeopardized the Indian tea industry and the millions who depend on it for livelihood. The absence of any rehabilitative measures for those who are displaced economically and socially betrays� the altruistic tone of the globalizing forces. The past generations of the tea garden workers had lived and died in the same tea estates that they were born. In absence of a good education system or professional training, the avenues of social and economic mobility for the present generation are sealed. The minimum wage in the tea gardens is still anchored at Rs. 48.50 a day. Most of the workers live in squalid and unhygienic conditions without access to decent medical facilities by any standards. Hundreds of people die from gastrointestinal diseases each year and preventable deaths from malaria and diarrhea are also common among children.<br /><br />*********************************<br />E-Brewing For More Business<br />*********************************<br />Assam hopes to revive the tea industry’s flagging fortunes using the Internet.<br /><br />THE HAMMER that comes down at the world’s largest CTC tea auction centre just might become a thing of the past if the modernisers have their way. In a bid to revive the fading aroma of Assam’s tea industry, the joint forum of three Assam-based tea associations — the Assam Tea Planters’ Association (ATPA), Bharatiya Cha Parishad (BCP) and North Eastern Tea Association (NETA) — has now decided to usher in e-auctioning of tea.<br />The Forum felt that poor price realisation in the auction market was one of the reasons why the industry was suffering. “A design correction of the age-old auction system can correct the system for fair price recovery. The design of the present auction is restrictive, allowing only a limited number of participants: this makes the auctions less competitive and more prone to collusion and cartelisation,” points out a BCP official.<br />If the e-auction idea takes off, it will be a major break in tradition. India’s first tea auction was held in Kolkata in 1861, and in 1970, the Guwahati Tea Auction Centre was established to market Assam tea better. It auctions over 150 million kilogrammes of tea.<br />With over a million workers directly employed by the industry in Assam, tea is the brew of business in Assam and the rest of the Northeast. Naturally, the industry’s prolonged recession (since 2000) has the workers and businessmen worried, with poor yield from old bushes and higher social costs the main causes.<br />Aware of the industry’s problems, the Ministry of Commerce has prepared a draft policy paper to be circulated among the members of the Tea Board. Among other views, the Joint Forum pointed out the lacunae in the auction procedure. “The e-auction will enable any buyer from any part of the world to access it,” says BCP chairman Ranjit Chaliha<br />A study of auction systems in a other commodities shows that quality signalling is vital: the more informed the buyer, the more aggressive the bidding process. Next, anonymity of the participants (buyers/bidders) is integral to a fair price mechanism. There is support for the proposal that the identity of buyers should be displayed at the closure of sale. But there is less support for the proposal that sellers/garden marks be anonymous because that might be inimical to brand building.<br />The advantage of the e-auction is that buyers can offer bids without being physically present, subject to their membership with the concerned auction committee. That could mean active participation from all segments of buyers.<br />Also, the closing of the bidding process should be done sequentially. The Forum suggested that the closing be done 100 lots at a time and grade wise, with a gap of half an hour between each closing. The auction design must minimise the possibility of trade/bids being clustered at the end of the sale. But the Forum does not agree that the entire grade of tea in each sale be bulked into one lot: because quality can vary considerably. Breaking up each lot into different invoices must continue, but the lot sizes should be standardised.<br />Among the other proposals that closure of trade be under the respective price methodology; the same buyer be allowed to bid in multiple offers, quoting a different price and quantity; and that the reserve price be known only to the auctioneer and concerned seller.<br />The government has signaled its willingness to go ahead by approving the appointment of NSE-IT to design an e-auction system, but progress has been slow. With the Tea Board electing to join the process, it’s possible that Assam’s most important industry is infused with a stronger flavour than at present.<br />India's Tea Industry and Assam<br />India, the largest producer and consumer of tea in the world, accounts for around 28 per cent of world production and 13 per cent of world trade. However, the production as well as export of tea has shown a declining trend in the recent years of the current decade. Thus, while the production increased from 835.6 million kg in 1997-98 to 848 million kg in 2000-01, it started declining thereafter from 847 million kg in 2001-02 to 830 million kg in 2004-05 and further down to only 667 million kg in 2005-06. Exports of tea, on the other hand has shown a further deterioration from 211 million kg in 1997-98 to 189 million kg in 1999¬2000 and from 204 million kg in 2000-01 to 183 million kg in 2003-04 and to just 101 million kg in 2005-06. In spite of almost stagnant rupee value in the period, the value of India's tea exports has come down from Rs. 2192 crore in 1998-99 to Rs. 1637 crore in 2003-04 and to less than RS.1000 crore in 2005-06. Thus our tea exports as proportion to production has declined from 24 percent in 1998¬99 to 15 percent in 2005-06, though it was 25 percent in the previous year.<br />In recent years, some quantity of tea is also imported for blending and re¬exports. The quantity of such imports went up from just 9 million kg in 1998-99 to 32.5 million kg in 2004-05 and it declined to 8 million kg in 2005-06.<br />One cannot forget that the major driving force behind the country's tea¬sector growth is the prospect of eastern India's tea industry, particularly of Assam which not only produces around 53 percent of the country's total production, but also employs more than 10 percent of the stat&s work force or around 12 lakh people. However, the share of Assam in the country's tea production in course of last three-and-half decades has remained confined to a narrow range from 51<br />per cent in 1970-71 to 53 per cent in 2003¬04 due to decline in per hectare productivity though the area under the plantation rose from 182 thousand hectares to 280 thousand hectares in the period with the number of tea estates rising from just 750 to as many as 32,000.<br />It may be noted here that the sudden rise in the number of tea gardens of Assam and its area under tea (to around three lakh hectares), particularly since the latter half of 1990's was due to the unemployed youths taking to small scale tea production as their profession. There are around 2500 small tea gardens in Assam today adding to the State’s total production by more than 50 million kg. This is certainly a welcome change. But, since they grow in small scale, they cannot go for factory manufacturing and, hence, have to sell out only green leaves to the large estates which often subject them to exploitation. The addition to tea hectarage by around 50 thousand hectares in the latter half of 1990's was possible mainly through conversion of agricultural land with below 10 hectares being the cut off point of land for small tea growers.<br />There are, however, a number of problems of tea industry of Assam. A considerable number of teagardens of the State have gone sick over the period due to lack of infrastructure, modernisation and efficient management. The Assam Tea Corporation, a state-level public sector enterprise, for example, is not functioning at all. The amount of good will that Assam tea had long been enjoying in the international market has now been eroded to a great extent. Though Assam tea is still earning around 50 per cent of the foreign exchange earned by India's tea industry, its demand is already in recession due to better quality-tea supplied by countries like Sri Lanka, Cuba etc at comparatively lower prices.<br />That the fate of India's tea industry is largely dependent on what happens to its eastern sector of Assam and West Bengal is well known. What is seriously worrying the tea industry is that even though India still produces 27 percent of global tea output, the quality of product is sadly doubted in the global market. It is a fact that the planters of major tea growing states, themselves were not careful enough about the deterioration of quality during heydays and their negligence gradually turned more than 30 per cent of tea bushes into infructus plants. Studies confirm that the root cause of closure of a number of tea gardens in parts of the country was low productivity and lack of investment in plant development activities.<br />India's tea market is facing yet another paradox which could be explained in terms of glaring gulf between the price received by producer and the price charged by dealers and retailers. The common consumer in the market is confused of the fact that while the producers are facing the crisis created by a<br />market glut and decline of prices, often voiced by the corporates, the benefit of low price does not come to the common consumers. The reason perhaps lies in non-conformity with regulated market behaviour of producers among whom many are found to be selling out their produce directly without routing it through auction centres.<br />This apart, the most serious ailment remains not only low productivity but also with quality of produce due to low investment on infrastructure and low managerial efficiency. The problems of high cost production and stagnant productivity need be addressed on an urgent basis. It is heartening to note, however, that some important steps in recent times have been taken for development and modernisation of the sector. The most important of them are the following:<br />Withdrawal of additional excise duty of Re 1.00 per kg on tea as announced in the Union Budget 2005-06.<br />Sanctioning of two schemes viz grant of subsidy for production of orthodox teas and assistance to the two Research and Development institutions, viz Tea Research Association at Tocklia (Assam) and United Planters' Association for Southern India Tea Research Foundation with an estimated outlay of Rs. 93 crore for financing Planning Commission is very positive about finding a solution of the tea crisis which the industry has long been suffering from. The Union Commerce Ministry proposed to unveil a 15-year programme for massive replantation and rejuvenation of the tea industry.<br />The "Special Tea Fund" to be created now will greatly benefit the tea growing states of Assam, West Bengal, Tamil Nadu, Kerala and Utlaranchal. The revival package for tea industry had already been assured of fiscal and tax incentives and of cost effectiveness for both domestic and export markets. The Union Commerce Minister also assured that it would provide a concrete support with special thrust on regeneration of old and replenishable tea bushes. The package which was proposed is also supposed to frame a marketing strategy to give the tea in the global market.<br />While the package if implemented promptly and with all sincerity, will go a long way to rescue the tea industry from its long drawn crisis, what is fearing now to the stakeholders is that the budgetary announcement of service tax on auctioneering could increase the tea prices if the tax liability is to be borne by the tea growers. If it is so, the market competition would be still tougher and it would affect the global demand for Indian tea. However, the other budgetary action of reducing customs duty on bulk plastics, used for packaging, from 10 per cent to 5 per cent would encourage value addition activity of tea industry because or the reduction of packaging cost.<br />What is necessary at the moment is that the tea industry get modernised with a change in technique of plantation, improvement of encouragement to the electronic tea auction and managerial excellence. If the "Special Purpose Tea Fund" with the already promised revolving corpus of Rs 1000 crore with a target of replantation in 1.7 lakh hectares over a period of 15 years, is established without further delay, the industry could be expected to get back its pride of place in international competitiveness and drive to road of prosperity.<br />Introduction to Tea Festival:<br />The Tea Festival is held in the district of Jorhat in the northeastern state of Assam in India. Jorhat is well-known for its extensive tea gardens, and is the nerve centre of the tea industry. Jorhat has the world famous Teklai Experimental Centre. In this place research work is carried out to find new varieties of tea and also the curative effects of green tea. The island of Majuli, the largest island on the Brahmaputra, and the Nambar Forest Reserve can be visited from Jorhat. In Majuli there are numerous monasteries and the Nambar Forest Reserve is famous for being a regenerating hot spring.<br />Description of Tea Festival:<br />The Tea Festival of Jorhat in Assam is celebrated in various parts of the state. The Tea Festival in Jorhat is all about tea, music and gaiety. The Tea Festival in Jorhat brings about a world of festivity with a warm and traditional cordial reception. The Jorhat Tea Festival offers an excellent package of fun and excitement. The celebrations of the Festival of Tea in Jorhat include visit to the tea gardens, playing golf, safaris into the jungles, tasting delicious food items, shopping and cultural entertainment. The adventure sports on offer include angling and rafting in turbulent rivers. The Tea Festival of Jorhat in Assam is a pleasant blend of a business trip and a pleasure trip. Along with the beauty and cultural diversity of Assam, tourists can also meet the warm hearted people of Assam.<br />Time of Celebration of Tea Festival:<br />The Tea Festival in Jorhat, in the state of Assam, is celebrated every year with great enjoyment, fun and entertainment.<br />NEWS::<br />THE tea industry in India, the world's leading producer, is in trouble -- a victim not only of global economics but also of its inability to lure new, younger drinkers. Things are so bad, in fact, that some producers are pinning their hopes on seemingly shaky markets like Afghanistan.<br />In the upper reaches of Assam, the tea-growing belt in the northeast, where India's first tea plants were discovered nearly two centuries ago, Ranjit Chaliha has made a living off his 465-acre Korangani tea gardens for 41 years.<br />But over the last year, Mr. Chaliha has lost much of his enthusiasm for tea growing. His gardens, he said, have taken ''a huge beating.''<br />With a glut in global tea production and a slump in tea exports here, prices are so low that Mr. Chaliha has had an annual loss for the first time in years.<br />In the auction last week in Guwahati, the world's main auction hub since Britain closed tea auctions a couple of years ago, Mr. Chaliha's tea sold for 45 rupees (93 cents) a kilogram, or 2.2 pounds. Two years ago, the same quality tea fetched 60 rupees ($1.24). The difference is making a huge dent in Mr. Chaliha's bottom line, as he sells about 1.1 million pounds of tea annually. ''The low prices are killing us,'' he said.<br />Over half of all Indian tea transactions between growers and buyers are conducted through auctions. For the growers, auctioneers, warehouse keepers and buyers at the busy auctions in Guwahati, the mood is somber.<br />Trying to think creatively, India's tea producers are looking for new markets. They are even preparing to send a delegation to Afghanistan, a big tea importer, to explore how to increase sales there now that a semblance of order has been restored.<br />Another producers' group, from southern India, has petitioned India's finance minister for tax breaks -- at least until prices strengthen.<br />None of this is likely to be of immediate help to Mr. Chaliha. Like most Indian tea, his product is of only medium quality, as determined by brightness, strength and flavor. Bright yellow tea, for instance, is considered to be of better quality than blackish tea.<br />Compared with teas produced by other countries, like Kenya and Sri Lanka, the quality of Indian teas has dropped considerably in the last five years. Rising labor costs and declining yields have driven producers to trade quality for quantity, leading tea drinkers across India to experiment with the variety of other tea available on store shelves -- or to switch to other drinks.<br />But the lower prices are dooming many tea plantations in Assam, which accounts for more than half of India's tea production. Mr. Chaliha said that a neighbor who owned a similar-sized tea garden had sold out to a trader, and that another planter in the area had just put his estate up for sale. Other gardens have leased out their factories to tide them over through the bad times.<br />Small and medium-size growers are beginning to question the economic viability of the crop.<br />''If things don't improve, I shudder to think what will happen to us next year,'' said Mr. Chaliha, who employs 350 year-round workers and an extra 350 during the picking season in northeastern India, from March to December. For the moment, he is surviving on his savings.<br />PRICES are low even for the premium Assam and Darjeeling tea crop, most of which is exported, said Jayanta Kakati, secretary of Guwahati's tea center. Typically, tea growers take a two-month break from picking at a time when the plants are nearly dormant. This year, however, there has been so much price anxiety at the auctions that the hiatus was extended by two weeks.<br />The longer shutdown, growers hoped, would clear out excess supply and strengthen prices. ''We are trying to balance supply and demand,'' Mr. Kakati said.<br />There are no signs yet that such measures are helping, and the story is much the same for those down the tea production chain.<br />Suruj Barua, who owns the Ajoli Tea Company in Guwahati, which buys leaves and packages them for bulk sale in the domestic market, said he also had been suffering.<br />From 783,000 pounds two years ago, Mr. Barua cut production to 682,000 last year. This year, he cut that further, to 550,000. ''The market is simply not supporting the teas that I produce,'' said Mr. Barua, estimating his losses at about 4.7 cents a pound.<br />Mr. Barua's company, with 35 employees, has slipped into the red this year.<br />India's tea producers are at a price disadvantage internationally partly because they are bound by law to pay certain minimum wages, while those in countries like Vietnam and Argentina, which compete with India's lower-grade teas, are not.<br />In Mr. Barua's case, his labor bill has nearly doubled in four years. In 1998, he paid laborers 49 cents for an eight-hour day. This year, he paid 87 cents. ''The margins of those manufacturers who make their own teas are being squeezed,'' said H. R. Khusrokhan, managing director of Tata Tea, India's largest tea producer.<br />Tata Tea acquired the Tetley Group of Britain two years ago, and the combined company ranks as the world's No. 2 tea company, after Unilever.<br />The Indian tea industry is also suffering because tea exports to traditional buyers like Russia have fallen in the last decade. While the Indian Tea Association had projected total exports of 473 million pounds for 2001, the total was only about 407 million.<br />In coming years, India's tea production is expected to be in surplus and domestic consumption stagnant. In the domestic market, some tea drinkers are being enticed away by soft drinks from abroad. Tea producers have yet to join forces to mount a strong promotion to encourage more tea drinking among Indians.<br />SOME tea makers are promoting individual brands, in the hope of increasing consumption. For instance, Hindustan Lever, Unilever's Indian subsidiary, ran a campaign riding on the popularity of the country's leading percussion, or tabla, player, Ustad Zakir Hussain.<br />In the commercial, Mr. Hussain throws out a challenge, saying he is willing to give up playing the tabla if somebody will bring him tea better than Taj Mahal, a Unilever brand.<br />This April, when an Indian value-added tax is introduced on tea, producers are likely to pass the levy on to consumers. Tea producers are asking the government to exempt tea from the tax, the way that essentials like milk, eggs and bread are.<br />The desperation in the plea is an indication that the tea industry sees even tougher times ahead. ''In a planter's life there are ups and downs,'' Mr. Chaliha said, ''but it has never been so bad.''<br />Price of Assam tea falls<br />19-May-2003 - The average price of leaf grade Assam tea fell by 10 per cent to 64.20 rupees (€1.17) per kg at the Calcutta auction last week, according to Reuters report.<br />A few months ago, the tea was selling for anything up to €1.82 per kg.In leaf grade orthodox teas, the average price at the auction was less than half a per cent lower at 72.32 rupees per kg compared to the previous Friday.<br />These figures follow months of sluggish activity within the Indian tea export market.<br />Iraq had been a major market until the recent conflict, and there has been increasingly stiff competition from countries such as Sri Lanka and Vietnam.<br />India's beleaguered tea industry has stressed the need for a regulatory authority to monitor quality of the beverage to help arrest the sharp plunge in tea prices and save planters from ruin.<br />Many tea industry experts believe that a decline in quality of Indian tea has led to the crash in prices.<br />The Assam government is soon expected to convene a meeting of tea industry captains, experts and federal commerce ministry officials.<br />Assam accounts for 55 per cent of the country's total annual production of 806 million kg.<br />Tea Industry (largest industry in Assam)<br />First tea plantation started in Assam: 1835 Land under plantation in 1871: 300,000 acres Land under plantation in 1981: 494,000 acres Yield in 1933: 99 million kilograms Yield in 1938: 118 million kilograms Yield in 1982: 303 million kilograms No of plantations in 1971: 750 No of plantations in 1981: 777 Number of people employed in 1938: 486,250 Number of people employed in 1942: 497,106 Number of people employed in 1980: 449,000 Number of people dependent on tea industry (current): about 12-15% of Assam's population Guwahati Tea Auction Center (GTAC) inaugurated: Sep 25, 1970<br />Sale at GTAC in 1971-72: 21,998 thousand kilograms Sale at GTAC in 1974-75: 26,626 thousand kilograms Sale at GTAC in 1980: 6,256,000 thousand kilograms Sale at GTAC in 1981: 6,497,000 thousand kilograms Sale at GTAC in 1982: 7,534,000 thousand kilograms Assam tea - History<br />There exists a 10-th century CE Sanskrit medical text from Assam called Nidana that mentions leaves called shamapatra from which shamapani is made. Historians are conflicted as to whether this is the first mention of tea in India.<br />Before the commercialization of tea began in Assam, the leaves of the tea plant were chewed by the local villagers with little processing. This continues in certain inaccessible regions near Assam.<br />Assam tea - Beginning<br />Robert Bruce is said to have discovered the tea plant growing wild in the region. According to another account, the Assamese nobleman, Maniram Dewan, lead Robert Bruce to the plant in 1823. Before his death in 1825, Bruce passed on his knowledge to his brother Charles, who sent seeds of the plant to Calcutta in 1831. In 1833 the British lost the monopoly of the Tea trade with China and the Tea Committee dispatched the secretary George Gordon to China to study the methods and begin tea plantation in Assam. He returned with the Chinese variety and workers. Imported labor from Bihar and Orissa would later form a significant demographic group in Assam. It was found that the local variety of plant was more suited to the local climate. Crossing with the Chinese tea plant led to Indian hybrid tea, which has great variability and vigour. This has been called the most important evolution of the commercial tea plant.<br />On May 8, 1838 350 pounds (159 kg) of Assam tea were dispatched to London, and sold at India House, London on January 10, 1839. Drinkers were impressed with the tea, and the tea industry in Assam was born. Charles Bruce and others, including Maniram Dewan, began clearing the jungles and establishing tea estates.<br />On February 26, 1858 Maniram Dewan, the sole native tea planter, was hanged on charges of conspiracy and participation in the Sepoy Mutiny of 1857 against the British on the basis of an intercepted letter.<br />Assam tea - Modern Developments in the Tea Industry<br />Today, Assam produces more than half the tea grown in India. On the international market, Assam Tea can be identified by the official logo chosen by the Tea Board of India. Most Assam tea is sold through the Auction Centre at Guwahati.<br />Since the tea industry in Assam was established, most tea has been planted unselected by seed using the same practices as in the 19th century. The industry continued to grow slowly but steadily during the 20th century.<br />In the 1970s small scale tea cultivators with farms smaller than one hectare began growing tea. Cultivation on small farms increased during the 1990s and today accounts for over 10% of the tea produced in Assam. Tea cultivation remains a vital industry in the region employing 17% of the workforce.<br />Recently, India's tea industry has faced a crisis with prices dropping due to reduced exports and domestic consumption. However, Assam tea exports to the United States are expected to increase as more Americans are drinking tea and seeking higher quality.<br /><br />$$$$$$$$$$$$$$$<br /><br />About Tea Plant (Camellia sinensis)<br /><br />$$$$$$$$$$$$$$$<br /><br /><br />Camellia sinensis is the tea plant, the plant species whose leaves and leaf buds are used to produce tea. It is of the genus Camellia (Chinese: 茶花; pinyin: Cháhuā), a genus of flowering plants in the family Theaceae, native to eastern, southern and south eastern Asia. White tea, green tea, oolong and black tea are all harvested from this species, but are processed differently to attain different levels of oxidation. Kukicha (twig tea) is also harvested from camellia sinensis, but uses twigs and stems rather than leaves.<br /><br />The name sinensis means Chinese in Latin. Camellia is taken from the Latinized name of Rev. Georg Kamel, S.J. (1661-1706), a Czech-born Jesuit priest who became both a prominent botanist and a missionary to the Philippines (it is not uncommon for members of the Catholic Jesuit order to combine careers in scholarship with their religious work). Though Kamel did not discover or name the plant, Karl von Linnaeus, the creator of the system of taxonomy still used today, chose his name for the genus of this tree to honor kamel's contributions to science. Older names for the tea plant include Thea bohea, Thea sinensis and Thea viridis.<br /><br />Description<br /><br />Camellia sinensis is native to mainland South and Southeast Asia, but is today cultivated across the world, in tropical and subtropical regions. It is an evergreen shrub or small tree that is usually trimmed to below two metres (six feet) when cultivated for its leaves. It has a strong taproot. The flowers are yellow-white, 2.5–4 cm in diameter, with 7 to 8 petals.<br /><br />The seeds of Camellia sinensis and Camellia oleifera can be pressed to yield tea oil, a sweetish seasoning and cooking oil that should not be confused with tea tree oil, an essential oil that is used for medical and cosmetical purposes and originates from the leaves of a different plant.<br />Camellia sinensis plant, with cross-section of the flower (lower left) and seeds (lower right).<br />Camellia sinensis plant, with cross-section of the flower (lower left) and seeds (lower right).<br /><br />The leaves are 4–15 cm long and 2–5 cm broad. Fresh leaves contain about 4% caffeine.[1] The young, light green leaves are preferably harvested for tea production; they have short white hairs on the underside. Older leaves are deeper green. Different leaf ages produce differing tea qualities, since their chemical compositions are different. Usually, the tip (bud) and the first two to three leaves are harvested for processing. This hand picking is repeated every one to two weeks.<br /><br />The three most common types of tea are green, oolong and black (others include yellow, white, compressed and flavoured teas). All use the same leaves of the same plant. Green tea is steamed (Japanese method) or roasted (Chinese method) very soon after picking to stop the oxidation process. Oolong tea is left to oxidize a bit longer and is the type used by most Chinese restaurants. Black tea is oxidized for the longest period of time which produces the darkest of the teas. White tea, a delicacy in the orient now beginning to be found in Western shops, is made from "tea needles," the newest, still folded shoots of leaves at the end of branches. Further distinctions are made to denote the size of the leaves used (the youngest, smallest leaves are generally held to have the highest quality flavor), and the region of origin (in much the same way wine is classified).<br /><br /><br /><br />Tea cultivation.<br /><br />Camellia sinensis is mainly cultivated in tropical and sub-tropical climates, in areas with at least 50 inches of rainfall a year. However, it is commercially cultivated from the equator to as far north as Cornwall on the UK mainland[2]. Many high quality teas are grown at high elevations, up to 1500 meters (5,000 ft), as the plants grow more slowly and acquire a better flavor.<br /><br />Tea plants will grow into a tree if left undisturbed, but cultivated plants are pruned to waist height for ease of plucking. Two principal varieties are used, the small-leaved Chinese variety plant (C. sinensis sinensis) and the large-leaved Assamese plant (C. sinensis assamica), used mainly for Black tea.<br /><br />Varieties<br /><br />Several varieties of C. sinensis are used for tea production:<br /><br />Assamese variety<br /><br />The most volume comes from the Assam variety (sometimes called C. sinensis var. assamica or C. assamica), predominantly grown in the Assam region. It is a small tree (single stemmed) with large leaves. In the wild it reaches a height of 6 to 20 meters (20–65 feet) and is native to north-east India, Myanmar, Vietnam, and south China. In tea estates it is kept trimmed to just above waist level. A lowland plant, it requires a high rainfall but good drainage. It does not tolerate extreme temperatures. Discovered in 1823 (though used earlier by local people in their brews), it is one of the two original tea plants. All Assam teas and most Ceylon teas are from this plant. The Assam plant produces malty, earthy drinks, unlike the generally flowery yield of the China plant.Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com43tag:blogger.com,1999:blog-7823291760828692160.post-79318395754807321202008-02-29T06:38:00.001-08:002008-03-14T09:17:07.856-07:00Selected Bibliography related to Assam$$$$$$$$$$$$$$$$$$$$$$<br /><br />Selected bibliography about books on assam<br /><br />$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />Nagendra Nath Acharyya. The History of Medieval Assam. Dutta Baruah, Gauhati, 1966. NYPG, CUBG, DCLC, FLFG, MNUG, NYRG, PAUG. <br />2 <br />S. K. Agnihotri. Rural Development Through Land Reforms. Periodical Experts Book Agency, Delhi, 1986. DCLC, CUBG, IAUG, MIUG, NYCX, PAUG. <br />3 <br />Atikuddin Ahmed b1957. The Anatomy of Rural Poverty in Assam. Mittal Publications, Delhi, 1987. DCLC, CUBG, MIUG, PAUG. <br />4 <br />Alban Ali. Assam. Indian Branch, Oxford University Press, Bombay, 1946. MNUG. <br />5 <br />H. Antrobus. A History of the Assam Company, 1839-1953. Private Printing. by T. and A. Constable, Edinburgh, 1957. CUBG, CUDG, MNUG. <br />6 <br />Assam Agricultural University. Agricultural Atlas of Assam. Faculty of Agriculture, Assam Agricultural University, Jorhat, 1 edition, 1985. DCLC. <br />7 <br />Assam Science Society. Proceedings of the Symposium on Co-ordination of Research Activities in the North Eastern Region of India, with Reference to the Mineral, Agricultural, and Forest Resources of the Region, 1975. Assam Science Society, Gauhati, 1976? DCLC, IAUG, MNUX, NYCX, PAUG. <br />8 <br />Assam Science Society. Souvenir, Mid Term Symposium on Harnessing the River Brahmaputra. Assam Science Society, Gauhati, 1978. DCLC. <br />9 <br />Assam Science Society. Benudhar Sharma Commemoration Volume. Assam Science Society, 1987. DCLC, CUBG, NYCX, NYPG, PAUG. <br />10 <br />Baha-Ullah 1817-1892. (Kalimat Maknunah Assamese) Bahaullara Nigurha Upadesa. Bahai-Publishing Trust, New Delhi, 1979. NYPG. <br />11 <br />A. K. Baishya. Ferns and Fern-Allies of Meghalaya State, India. Scientific Publishers, Jodhpur, India, 1982. NYCX, MNUX, PAUG. <br />12 <br />Prabin Baishya. Small and Cottage Industries. Manas Publications, Delhi, 1989. DCLC, MIUG, PAUG. <br />13 <br />Prabin Baishya. Small and Cottage Industries. Manas Publications, Delhi, 1989. DCLC, MIUG, PAUG. <br />14 <br />Mahendra Bara. 1857 in Assam. Lawyer's Book Stall, Gauhati, 1957. DCLC, CUDP. <br />15 <br />Mahendra Bara. The Evolution of the Assamese Script. Asam Sahitya Sabha, Jorhat, 1981. DCLC, IAUG, MIUG, NYCC, NYCX, NYPG, PAUG. <br />16 <br />Hiteswara Barabaruwa 1876-1939. Ahomara Dina. Asama Prakasana Parishada, Guwahati, 1981. DCLC, NYPG. <br />17 <br />Prabin Kumar Barakataki. Bihure Baliya Ba. Barakataki Company, Jorhat, 197? NYPG. <br />18 <br />Srinath Duara Barbarua. Tungkhungia Buranji. H. Milford, Oxford University Press, Bombay, 1933. DCLC, MNUG, NYAG, NYPG, NYRG, PAUG-1, PAUG-2. <br />19 <br />Srinath Duara Barbarua. Tungkhungia Buranji. Department of Historical and Antiquarian Studies in Assam, Gauhati, 1968. DCLC, MNUG, NYPG, NYRG, PAUG-1, PAUG-2. <br />20 <br />Rajanikanta Bardalai. Manomati. published by Jnanapith, Patna on behalf of Sahitya Akademi, New Delhi, 1967. a novel; in Hindi; MIUG. <br />21 <br />Gopinath Bardaloi 1891-1950. Gopinath Bardalai. Asam Prakasana Parishad, Guwahati, 1979. Addresses, essays, lectures; DCLC, ILRC, NYPG. <br />22 <br />Gopal Bardoloi. Economy of North East India. LBS Publication, Ambari, Guwahati, 1st edition, 1986. DCLC, CUBG, PAUG. <br />23 <br />M.N. Bardoloi, editor. Our Festivals. Director of Information and Public Relations, NEFA, Shillong. DCLC. <br />24 <br />Nirmal Probha Bardoloi. Asamar Loka-Samskrti. distributor: Lawyers' Book Stall, Guwahati, 1972. NYPG. <br />25 <br />Nirmal Probha Bardoloi, editor. Assamese Short Stories: An Anthology. Vikash, New Delhi, 1982. NYSG, CUBG, DCLC, IAUG, MIUG, NYCG, NYPG, NYRG, PAUG. <br />26 <br />Prasanta Bardoloi. Manar Panacai. 1976. Poems; ILRC. <br />27 <br />U. N. Bardoloi. Local Finance in Assam. Dutta Baruah, Gauhati, 1972. DCLC, MNUG, NYCX, NYPG. <br />28 <br />U. N. Bardoloi. Asamar Arthanaitik Paristhiti. 1974. ILRC, NYPG. <br />29 <br />U. N. Bardoloi. Collected Economic Papers. Dutta Baruah, Gauhati, 1976. CUBG, DCLC, MNUG, NYRG. <br />30 <br />Nabinchandra Bardoloi 1875-1936. Works. 1975. ILRC, NYPG. <br />31 <br />Muktinath Bardoloi b1910. Land of the Hornbill and Myna. North-East Frontier Agency, Shillong, 1971. DCLC, CUBG, NYCG, NYPG, NYRG, PAUG. <br />32 <br />Ratnakanta Barkakati 1897-1962. Sewali. Lawyer's Book Stall, Guwahati, 1962. ILRC, NYPG. <br />33 <br />Ratnakanta Barkakati 1897-1962. Ratnakanta Barakakatir Gadya-Sambhar. Lawyer's Book Stall, Guwahati, 1st edition, 1977. ILRC, NYPG. <br />34 <br />Sukumar Barkath. Hastibidyarnnara Sarasamgraha (English & Assamese), 18th Century. Publication Board, Assam, Gauhati, 1976. DCLC, CTYG, IAUG, MABA, MIUG, MNUG, NYCG, NYCX, NYPG, PAUG, TXKA. <br />35 <br />George M. Barker. A Tea Palnter's Life in Assam. Thacker, Spink & Co., Calcutta, 1884. PAUG, CCSG, CUBU, MNUG. <br />36 <br />Ramesh Chandra Barooah. The Demographic Aspects of Family Planning. Shillong, 2nd edition. MDNM, MNUG. <br />37 <br />Siva Prasad Barooah. Assam to Reshape Her Own Destiny. Jyan Bharati Prakason, Assam Office, Gauhati, 1980? CUBG, NYCG, NYRG, PAUG. <br />38 <br />Nirode K. Barooah b1937. David Scott In North-East India, 1802-1831. Munshiram Manoharlal, New Delhi, 1970. DCLC, CASX, CUBG, FLFG, IAUG, ILNG, MNUG, NHDG, NYAG, NYRG. <br />39 <br />H. K. Barpujari. Assam in the Days of the Company, 1826-1858. Lawyer's Book Stall, Gauhati, 1st edition, 1963. FLFG, MNUG, NYAG, NYPG, NYRG. <br />40 <br />H. K. Barpujari. Problem of the Hill Tribes: North-East Frontier. Lawyer's Book Stall, Gauhati, 1st edition, 1970-1981. NYPG, CUBG, CUDG, DCLC, IAUG, ILNG, MDJG, MIUG, MNUG, NYCG, NYRG, PAUG. <br />41 <br />H. K. Barpujari. Political History of Assam. Department for the Preparation of Political History of Assam, Government of Assam, Gauhati, 1st edition, 1977. NYPG, CUBG, DCLC, IAUG, ILNG, MIUG, MNUG, NYCG, NYCX, NYRG, PAUG. <br />42 <br />H. K. Barpujari. Assam in the Days of the Company, 1826-1858. Gauhati, Spectrum Publications, Gauhati, 2nd edition, 1980. DCLC, CUBG, FLFG, IAUG, MIUG, MNUG, NYCX, NYCG, NYPG, NYRG, PAUG. <br />43 <br />H. K. Barpujari. Amerikan Michanerisakal aru Unabimsa Satikar Asam. Asam Sahitya Sabha, Jorhat, 1983. Microform, DCLC, NYPG. <br />44 <br />H. K. Barpujari. The American Missionaries and North-East India, 1836-1900 A.D. Spectrum Publications, Guwahati, 1986. DCLC, CGTT, CTYT, CUBG, IAUG, MIUG, MNUG, NJPT, NYCG, NYCX, NYPG, NYRG, PAUG, UTBG. <br />45 <br />H. K. Barpujari. An Account of Assam and her Administration, 1603-1822. Spectrum Publications, Guwahati, 1988. DCLC, CUBG, IAUG, MIUG, NJPG, NYCG, NYPG, PAUG. <br />46 <br />H. K. Barpujari. The Comprehensive History of Assam. Assam Publication Board, Guwahati, 1st edition, 1990. DCLC. <br />47 <br />Bimala Kanta Barua, editor. Ahom Lexicons. Department of Historical and Antiquarian Studies in Assam, Gauhati, 1964. NYPG, MNUG. <br />48 <br />Birinchi Kumar Barua. Assamese Literature. Published for the P. E. N. All-India Centre, by the International Book House, Bombay, 1941. CUBG, RIBG, CASX, MNUG. <br />49 <br />Birinchi Kumar Barua. Early Geography of Assam. K.K. Barooah, Nowgong, 1952. CUBG. <br />50 <br />Birinchi Kumar Barua. Studies in Early Assamese Literature. Nowgong, Assam, 1st ed edition, 1953. NYCX. <br />51 <br />Birinchi Kumar Barua. Modern Assamese Literature. Lawyer's Book Stall, Gauhati, Assam, 1957. MNUG. <br />52 <br />Birinchi Kumar Barua. Sankardeva. Assam Academy for Cultural Relations, Gauhati, Assam, 1960. CGTT. <br />53 <br />Birinchi Kumar Barua. History of Assamese Literature, Honolulu. East-West Center Press, Gauhati, Assam, 1965, c1964. IAUG, CASX, CBPX, CCSG, CUDG, FLFG, FLUG, MNUG, NYBG, RIBG, NYPG, CUBG, MNUG, NYRG. <br />54 <br />Birinchi Kumar Barua. A Cultural History Of Assam. Lawyer's Book Stall, Gauhati, 2nd edition, 1969. DCLC, NYRG, OHCA. <br />55 <br />Golap Chandra Barua. Ahom-Assamese-English Dictionary. Published under the authority of the Assam administration, Printed at the Baptist Mission Press, Calcutta, 1920. ILNG, PAUG, NYCX. <br />56 <br />Hem Barua. Modern Assamese Poetry. Kavita, New Delhi, 1960. CUBG, NYRG. <br />57 <br />Hem Barua. Assamese Literature. National Book Trust, New Delhi, 1965. NYPG, FLUG, MDJG, MNUG. <br />58 <br />Indira Barua. Social Relations in an Ahom Village. Sterling, New Delhi, c1978. NYPG, CUBG, DCLC, IAUG, MDJG, MIUG, MNUG, NYCG, NYCX, NYRG, PAUG. <br />59 <br />Kamaleswar Barua. Proposed Organization for Department of Planning and Development for the Province of Assam, India. 1950. CUBG. <br />60 <br />Harakanta Barua 1813-1900. Asama Buranji. Department of Historical and Antiquarian Studies, Assam, Gauhati, 1962. NYPG. <br />61 <br />Prafulla Chandra Barua b1899. Assamese Proverbs. Lawyer's Book Stall, Gauhati, 1st edition, 1962. NYPG, CUDG, FLUG. <br />62 <br />Prafulla Chandra. Barua b1899. Fundamentals of Assamese Culture. Gauhati, 1st edition, 1965. NYPG, MNUG. <br />63 <br />Abhay Baruwa. Bihu Janakrshtir Baisishtya. Student Stores, Guwahati, 1989. DCLC. <br />64 <br />Ajit Baruwa. Brahmaputra Ityadi Padya. Ajit Baruwa, Guwahati, 1989. DCLC. <br />65 <br />Nirod Kumar Baruwa. Gopinath Bardoloi. Publication Board, Assam, Guwahati, 1980. DCLC. <br />66 <br />Nirmal Kumar Basu b1915. Assam in the Ahom Age, 1228-1826. Sanskrit Pustak Bhandar, Calcutta, 1970. NYPG, CUBG, DCLC, ILNG, MDJG, MNUG, PAUG. <br />67 <br />C. (Christopher) Becker. Early History of the Catholic Missions in Northeast India, 1890-1915. Firma KLM, under the auspices of Vendrame Missiological Institute, Sacred Heart College, Shillong, Calcutta, 1st edition, 1980. [Im Stromtal des Brahmaputra. English]. DCLC, CGTT, CTYT, CUBG, FLFG, IAUG, MIUG, MNUG, NJPG, NJRG, NYCT, NYCX, NYPG, NYRG, PATG, PAUG. <br />68 <br />C. (Christopher) Becker. Early History of the Catholic Missions in Northeast India, 1598-1890. Firma KLM, under the auspices of Vendrame Institute, Sacred Heart College, Shillong, Calcutta, 1st edition, 1989. [Im Stromtal Des Brahmaputra. 1. Bd. ENGLISH]. CSUG, CUBG, DCLC, NJPT, NYCX, NYPG, PAUG. <br />69 <br />Rana Partap Behal. Forms of Labour Protests in the Assam Valley Tea Plantations, 1900-1947. Nehru Memorial Museum and Library, New Delhi, 1980? Microform. DCLC. <br />70 <br />Rana Partap Behal. The Emergence of a Plantation Economy. Nehru Memorial Museum and Library, New Delhi, 1985. Microform. DCLC. <br />71 <br />Lakshminath Bezbaroa 1864-1938. Tales of a Grandfather From Assam. Indian Institute of Culture, Bangalore, 1955. FLUG, CUBG, NYCX. <br />72 <br />Narayan Bezbarua. Maunatara Antaralat. New Book Stall, Guwahati, 1965. NYPG. <br />73 <br />Lakshminath Bezbarua 1868-1938. Mahapurusha Srisankaradewa Aru Srimadhawadewa. 1963. ILRC, NYPG. <br />74 <br />Lakshminath Bezbarua 1868-1938. Tattwa-Katha. 1963. ILRC, NYPG. <br />75 <br />Lakshminath Bezbarua 1868-1938. Barabaruwar Bulani. Sahitya-Prakash, Guwahati, 1st edition, 1964. ILRC, NYPG. <br />76 <br />Lakshminath Bezbarua 1868-1938. Asamiya Bhasha Aru Sahitya. 1968. ILRC. <br />77 <br />Lakshminath Bezbarua 1868-1938. Bejabaruwar Prabandha Bachani. 1968. ILRC. <br />78 <br />Lakshminath Bezbarua 1868-1938. Kenhokali. 1968. ILRC. <br />79 <br />Lakshminath Bezbarua 1868-1938. Patralekha. 1968. ILRC. <br />80 <br />Lakshminath Bezbarua 1868-1938. Bejabaruwa Granthawali. 1969-70. PAUG, ILRC. <br />81 <br />Anima Bharali. Beli Phular Sapon. Lawyer's Book Stall, Guwahati, 1963. ILRC, NYPG. <br />82 <br />Sahajananda Bharali. Siwasagar Natyasamajar Itibrtta. Bharali, Guwahati, 1978. ILRC, NYPG. <br />83 <br />Sailen Bharali. Asamiya Sahityar Aitihasik Upanyas. Bani Prakash, Pathsala, 1895 sak, i.e., 1973. ILRC, NYPG. <br />84 <br />Sailen Bharali. Sahityar Katha. Oriental Book Company, Guwahati, 1973. NYPG. <br />85 <br />Sailen Bharali. Adhunik Asamiya Sahitya. New Book Stall, Guwahati, 1976. NYPG. <br />86 <br />Sailen Bharali. Tragic Outlook in Assamese Drama. Shree, Delhi, 1st edition, 1980. DCLC, CUBG, IAUG, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />87 <br />Sailen Bharali. Adhunik Asamiya Sahityar Itihas. Candra Prakash, Tihu and Guwahati, 1989. DCLC. <br />88 <br />Dev Dutt Bharti b1925. Sataluja Se Brahmaputra Taka. 1968. PAUG. <br />89 <br />Mridul Bhattacharjee. Assam, Agonies and Grievances. National Pub. House, New Delhi, 1985. IAUG, CUBG, NYCG, PAUG, DCLC, MIUG. <br />90 <br />Jatindra Mohan Bhattacharjee b1908. Asamiya Puthira Talika Samanwaya. Esiyatika Sosaiti, Calcutta, 1989. DCLC. <br />91 <br />S. C. Bhattacharya. Classification of Citrus Fruits of Assam. Indian Council of Agricultural Research, Delhi, 1956. MNUX. <br />92 <br />Buddhindranath Bhattacharyya 1865-1945. The Pronouncing Anglo-Assamese Dictionary. Lawyer's Book Stall, Gauhati, 4th edition, 1964. NYRG. <br />93 <br />Harichandra Bhattacharyya b1908. Origin and Development of the Assamese Drama and the Stage, From the Earliest Times Upto 1940. Barua Agency, Gauhati, 1st edition, 1964. MNUG, CUBG, NYRG. <br />94 <br />Birendra Kumar Bhattacharyya b1924. Humour & Satire in Assamese Literature. Sterling, New Delhi, c1982. DCLC, CUBG, IAUG, MIUG, NVRG, NYCG, NYCX, NYPG, NYRG, NYSG, PAUG. <br />95 <br />Nripendra Narayan Bhupa, Maharajah of Cooch Behar, 1862-1911. Thirty-Seven Years of Big Game Shooting in Cooch Behar, the Duars, and Assam. R. Ward, London, 1908. ILRC. <br />96 <br />B.C. Bhuyan. Political Development of the North East. Omsons Publications, New Delhi, 1989. PAUG, CUBG, DCLC, NYCG, NYPG. <br />97 <br />Prafulla Kumar Bhuyan. The Regional Fiscal Economics of Assam. Chugh, Allahabad, 1984. DCLC, CUBG, MNUG, NYCX, PAUG. <br />98 <br />Suryya Kumar Bhuyan. Early British Relations With Assam. Assam Secretariat Press, Shillong, 1928. PAUG, MNUG. <br />99 <br />Suryya Kumar Bhuyan. Padshaha-Buranji. Kamarupa Anusandhan Samiti, or, the Assam Research Society, Gauhati, Assam, 1st edition, 1935. DCLC. <br />100 <br />Suryya Kumar Bhuyan. Annals of the Delhi Badshahate. Department of Historical and Antiquarian Studies, Government of Assam, Gauhati, 1st edition, 1947. NYCX, NYRG. <br />101 <br />Suryya Kumar Bhuyan. Lachit Barphukan and His Times. Department of Historical and Antiquarian Studies, Government of Assam, Gauhati, 1st edition, 1947. RIBG, MNUG. <br />102 <br />Suryya Kumar Bhuyan. Anglo-Assamese Relations, 1771-1826. Department of Historical and Antiquarian Studies in Assam, Gauhati, Assam, 1949. MNUG, NYAG, NYRG, RIBG. <br />103 <br />Suryya Kumar Bhuyan. Early British Relations With Assam. Department of Historical and Antiquarian Studies in Assam, Shillong, 1949. CUBG, NYCX. <br />104 <br />Suryya Kumar Bhuyan. Atan Buragohain and His Times. Lawyer's Book Stall, Gauhati, 1st edition, 1957. DCLC, CUDP. <br />105 <br />Suryya Kumar Bhuyan. Asam Buranji. Department of Historical and Antiquarian Studies, Government of Assam, Gauhati, 1960. NYPG. <br />106 <br />Suryya Kumar Bhuyan, editor. Deodhai Asam Buranji. Department of Historical and Antiquarian Studies, Gauhati, Assam, 2nd edition, 1962. ILRC, NYPG. <br />107 <br />Suryya Kumar Bhuyan. Men I Have Met. Lawyer's Book Stall, Guwahati, 1st edition, 1962. MNUG. <br />108 <br />Suryya Kumar Bhuyan. Studies in the Literature of Assam. Lawyer's Book Stall, Guwahati, 1st edition, 1962. DCLC, MNUG. <br />109 <br />Suryya Kumar Bhuyan. Studies in the Literature of Assam. Lawyer's Book Stall, Guwahati, 2nd edition, 1962. MNUG, NYPG. <br />110 <br />Suryya Kumar Bhuyan, editor. Asamara Padya-Buranji. Department of Historical and Antiquarian Studies, Assam, Gauhati, 2nd edition, 1964. PAUG, NYPG. <br />111 <br />Suryya Kumar Bhuyan, editor. Satasari Asama Buranji. Gauhati University, Gauhati, Assam, 1964. NYPG. <br />112 <br />Suryya Kumar Bhuyan. Studies in the History of Assam. published by Laksheswari Bhuyan, Gauhati, 1965. MNUG, NYPG. <br />113 <br />Suryya Kumar Bhuyan. Anglo-Assamese Relations, 1771-1826. Lawyer's Book Stall, Gauhati, 1974. MNUG, NYRG, RIBG, DCLC, CSUG, NYCG, PAUG. <br />114 <br />Suryya Kumar Bhuyan. Swargadew Rajeswarasimha. Asam Prakasan Parishada, Gauhati, 1975. ILRC, NYPG. <br />115 <br />Suryya Kumar Bhuyan. Asam Buranjir Katha. Purbancal Prakas, Guwahati, 1989. DCLC. <br />116 <br />Nakul Chandra Bhuyan 1895-1968. Radhakanta Sandikai Danariya. 1961. ILRC. <br />117 <br />Nakul Chandra Bhuyan 1895-1968. Galpar Sarai. Jorhat, 1962. NYPG. <br />118 <br />Max Biehl. Die Ernahrungswirtschaftliche Nutzbarmachung des Brahmaputra- Wassers fur Indien und Pakistan. J. C. B. Mohr, Tubingen, 1965. CSCW, CUDG, MNUG, NYCX, NJRG, PAUG. <br />119 <br />N. L. Bor. A Sketch of the Vegetation of the Aka Hills, Assam. Norman Loftus, Manager of Publications, Delhi, 1938. PAUG. <br />120 <br />Hemlata Bora. Seujiya Paharara Maje Maje. 1962. ILRC. <br />121 <br />Hemlata Bora. Seujiya Paharara Kahini. 1964. ILRC. <br />122 <br />Mahim Bora. Deha Garaka Prema. Madarna Shtorca, Calcutta, 1st edition, 1976. DCLC. <br />123 <br />Prafulla Prasad Bora. Cinema in Assam. Performing Arts Centre, Gauhati, 1978. NYPG, CUBG, DCLC, IAUG, MIUG, MNUG, PAUG. <br />124 <br />Rajendra Bora. Maharana Pratapa. Lokayata Sodha Samsthana, Jayapura, 1969? MIUG, ILRC, NYRG. <br />125 <br />Satyanath Bora 1860-1925. Kendrasabha. 1969. ILRC. <br />126 <br />Ramacandra Bora b1923. Carvaka-Darsana. 1964? ILRC. <br />127 <br />Ramacandra Bora b1923. Loka-Sahitya. Lokayata Sodha Samsthana, Jodhapura, 1969? ILRC, PAUG, NYPG. <br />128 <br />Lakshminandan Bora b1931. Nisara Purabi. Mitra Ejenci, Tinicukiya, 1st edition, 1962. ILRC, NYPG. <br />129 <br />Ajit Kumar Bora b1942. Pattern of Land Utilization in Assam. Manas Publications, Delhi, 1986. DCLC, MIUG, MNUG, NYCX, NYPG, PAUG. <br />130 <br />Dimbeswar Bora b1942. Asta Akasara Ram. Asama Buka Dipo, Guwahati, 1965. ILRC, NYPG. <br />131 <br />Dimbeswar Bora b1942. Nacaghara. Granthalaya, Nagaon, Assam, 1st edition, 1980. DCLC. <br />132 <br />Jayasree Borah b1956. Spatial Structure of Urban Influence in the Neighbouring Areas of Gauhati City. Inter-India Publications, New Delhi, 1985. DCLC, CUBG, IAUG, MIUG, NVRG, NYBG, NYCX, NYPG, PAUG. <br />133 <br />Renu Prova Momin Bordoloi. The Pitcher Plant. Dutta Baruah, Gauhati, 1st edition, 1977. DCLC, CUBG-1, CUBG-2, CUDG, IAUG, MNUG, NYCX, PAUG. <br />134 <br />Budhindranath Bordoloi b1932. District Handbook: United Mikir and North Cachar Hills. Tribal Research Institute, Shillong, 1st edition, 1972. CUBG. <br />135 <br />Budhindranath Bordoloi b1932. The Dimasa Kacharis of the North Cachar Hills District of Assam. The Director of Information & Public Relations, Government of Assam, Gauhati, 1st edition, 1976. MDJG, NYBG. <br />136 <br />Budhindranath Bordoloi b1932. Chomangkan, The Death Ceremony Performed by the Karbis. Tribal Research Institute, Assam, Guwahati, 1st edition, 1982. DCLC, CUBG, IAUG, ILRC, MIUG, MNUG, NYCG, NYCX, NYPG, NYRG, PAUG, UTBG. <br />137 <br />Budhindranath Bordoloi b1932. The Dimasa Kacharis of Assam. Tribal Research Institute, Assam, Guwahati, 2nd edition, 1984. DCLC, CUBG, IAUG, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />138 <br />Budhindranath Bordoloi b1932. Tribes of Assam. Tribal Research Institute, Guwahati, 1st edition, 1987. DCLC, CUBG, NYCG, NYCX, NYPG, PAUG. <br />139 <br />Jnanadabhiram Borooah. Folk Tales of Assam. The Timber and Stores Agency, Howrah, 1916. MNUG. <br />140 <br />Matilal Bose. Social History of Assam. Concept Publishing Company, New Delhi, 1989. DCLC, NYCG, NYPG, PAUG, RIBG. <br />141 <br />A. W. Botham. Catalogue of the Provincial Coin Cabinet. Eastern Book House, Allahabad, 2nd edition, 1986. CJPA. <br />142 <br />Brahmaputra. Brahmaputra, Ispatera Taloyara (Khasi and Jaintia Hills--History). Arati Prakashan, Calcutta, 1976. PAUG. <br />143 <br />Department of Oriental Printed Books British Museum and Manuscripts. Catalogue of the Marathi, Gujarati, Bengali, Assamese, Oriya, Pushtu, and Sindhi Manuscripts in the Library of the British Museum. British Museum, London, 1905. MNUG, PAUG, CUBG. <br />144 <br />1812-1883 Bronson, Miles. A Dictionary in Assamese and English. American Baptist Mission Press, Sibsagar, 1st edition, 1867. PAUG. <br />145 <br />William Barclay Brown. An Outline Grammar of the Deori Chutiya Language Spoken in Upper Assam with an Introduction, Illustrative Sentences, and Short Vocabulary. Printed at the Assam Secretariat Printing Office, Shillong, 1895. Microform. UKBX. <br />146 <br />Francis Hamilton Buchanan 1762-1829. An Account of Assam. Government of Assam, Department of Historical and Antiquarian Studies, Gauhati, 2nd edition, 1963. MNUG, NYPG. <br />147 <br />Audrey Cantile. The Assamese. Curzon, London, 1984. UKBP,DCLC, CASX, CSCW, CSUG, CTYG, CTYT, CUBG, CUDG, FLFG, IAUG, ILNG, MDJG, MIUG, MNUG, NHDG, NJPG, NJRG, NVRG, NYBG, NYCX, NYPG, NYRG, NYSG, NYUG, OKUG, PAUG, RIBG, UTBG, NYCG. <br />148 <br />L.N. Chakravarty b1909. Parasuram Kunda. Director of Information and Public Relations, Government of Arunachal Pradesh, Shillong, 1977. DCLC. <br />149 <br />Archana Chakravarty b1946. History of Education in Assam, 1826-1919. Mittal Publications, Delhi, 1st edition, 1989. DCLC, PAUG. <br />150 <br />Birendra Chandra Chakravorty. British Relation with the Hill Tribes of Assam since 1858. K. L. Mukhopadhyay, Calcutta, 1st edition, 1964. MNUG. <br />151 <br />Suniti Kumar Chatterji b1890. The Place of Assam in the History and Civilization of India. Gauhati University, Gauhati, 1955. CUBG, MNUG. <br />152 <br />Nartsupha Chatthip. Khwamchua La Phithikam Khong Chaothai Ahom Chak Kanan Ahom-Buranchi Phasa Thai. Sun Watthanatham Changwat Chiang Mai, Sun Sinlapa Watthanatham, Witthayalai Khru Chiang Mai, Chiang Mai, 2528 [1985]. Microform. DCLC. <br />153 <br />P. D. Chaudhury. Ancient Treasures of Assam Through Assam State Museum. Published by Government of Assam for Assam State Museum, Gauhati, 1st edition, 1959. IAUG. <br />154 <br />Shiv Kumar Chauhan b1937. Caste, Status and Power. Classical Pub. Company, A 91/2 Naraina, Phase 1, New D elhi-110028, 1st edition, 1980. DCLC, CUBG, IAUG, ILRC, MDJG, MIUG, MNUG, NJPG, NYBG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />155 <br />Dilip Kumar Chottopadhyay. History of the Assamese Movement Since 1947. 1988. NYBY. <br />156 <br />Pratap Chandra Choudhury. The History of Civilization of the People of Assam to the Twelfth Century A.D. Department of Historical and Antiquarian Studies in Assam, Gauhati, 2nd edition, 1966. MNUG. <br />157 <br />R. D. (Rabin Dev) Choudhury b1944. Archaeology of the Brahmaputra Valley of Assam. Agam Kala Prakashan, Delhi, 1985. DCLC, CJPA, CUBG, IAUG, MIUG, MNUG, NJPG, NYCG, NYCX, NYMA, NYPG, PAUG. <br />158 <br />M. K Cinivacan. Tamilnadu Assam Akiratu? Cennai, 198-. ILRC. NYCX. <br />159 <br />Brahmaputra Beckons Publication Committee. The Brahmaputra Beckons. Brahmaputra Beckons Publication Committee, Madras, Tamilnadu, 1982. DCLC, CUBG, IAUG, MIUG, MNUG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />160 <br />Thomas Thornville Cooper 1839-1878. The Mishmee Hills. H. S. King and Co., London, 1873. MNUG. <br />161 <br />David Crole. Tea. Crosby Lockwood, London, 1897. CUBU. <br />162 <br />Bhakta Das. A Glimpse of the Scheduled Castes and Their Socio-Economic Development in Assam. Omsons Publications, New Delhi, 1st edition, 1986. NYCG, DCLC, CUBG, IAUG, MIUG, MNUG, NYCX, PAUG. <br />163 <br />Bhuban Mohan Das. Anthropometry of the Tribal Groups of Assam, India. Coconut Grove, Florida, Field Research Project, 1970. CUBG. <br />164 <br />Bhuban Mohan Das b1933. The Assamese Hindus and Muslims. Department of Anthropology, Gauhati University, Gauhati, 1980. Microfilm. DCLC. <br />165 <br />Bhuban Mohan Das b1933. The Assamese Muslims. Dept. of Anthropology, Gauhati University, 1980. Microfilm. DCLC. <br />166 <br />Bhuban Mohan Das b1933. The People of Assam. Gian Pub, Delhi, c1987. DCLC, CUBG, IAUG, MIUG, NYCG, NYPG, PAUG. <br />167 <br />Susanat Krishna Dass. Spotlight on Assam. Premier Book Service, Chanderpur, Maharastra, 1st edition, 1989. DCLC, CUBG, MIUG, NYCG, NYCX, NYPG, PAUG. <br />168 <br />Susanta Krishna Dass. Dynamics of Taxation in a Developing Economy. Omsons Publications, Guwahati, 1st edition, 1987. DCLC, CUBG, MAHL, MIUG, PAUG. <br />169 <br />Birendranath Datta and Dilip Kumar Kalia, editors. Ciphum-Gumgam : Asamar Bhaiyamar Janajatiya Goshthisamuhar Git Pad. Loka-sahityar rahaghara grantharaji; 1. Distributor: Granthapith, Guwahati, 1986. Contributed articles on the folk-songs of Assam; DCLC, NYPG. <br />170 <br />Birendranatha Datta. Folk Toys of Assam. Government of Assam, Directorate of Cultural Affairs, Guwahati, 1986. DCLC NYCG NYCX PAUG. <br />171 <br />Dilip Kumar Datta. Bhupen Hajarikar Git aru Jiwan Rath. Sribhumi Publishing Company, Calcutta, 1982. DCLC, ILRC, NYPG. <br />172 <br />Kiran Chandra De b1871. Report on the Fisheries of Eastern Bengal and Assam. Printed at the Eastern Bengal and Assam Secretariat Printing Office, Shillong, 1910. CUDG. <br />173 <br />Keya Deb. Impact of Plantations on the Agrarian Structure of the Brahmaputra Valley. Centre for Studies in Social Sciences, Calcutta, 1979. DCLC. <br />174 <br />Renu Debi b1934. Progress of Education in Assam. Omsons Publications, Guwahati, 1st edition, 1987. DCLC CUBG IAUG MIUG NYPG PAUG. <br />175 <br />Girindra Natha Deka. Bandha Duwar. G. N. Deka, Gauhati, 1980. DCLC, ILRC. <br />176 <br />Harekrishna Deka. Ratir Sobhajatra. Gauhati Book Stall, Gauhati, 1st edition, 1981. DCLC, ILRC. <br />177 <br />Kanakasen Deka. Suryya Puwat Nuthe. Jatindranarayana Chaudhuri; Distributor: Lawyers Book Stall, Shillong, 1964. ILRC, NYPG. <br />178 <br />Kanakasen Deka. YOUTHS IN TURMOIL. Gurupada Chaudhury, Calcutta, 1st edition, 1991. DCLC. <br />179 <br />Mineswar Deka. A Guide To Eri Culture. Information Wing, Directorate of Sericulture and Weaving, Meghalaya, Shillong, 1989. DCLC. <br />180 <br />Mineswar Deka. A Guide To Muga Culture. Information Wing, Directorate of Sericulture and Weaving, Meghalaya, Shillong, 1989. DCLC. <br />181 <br />Hitesh Deka b1924. Simar Kajiya. Dattabaruwa, Gauhati, 1963. NYPG. <br />182 <br />Hitesh Deka b1924. Acal Manuh. Gauhati, 1965. NYPG. <br />183 <br />Pranaw Jyoti Deka b1940. Batahat Pataka Kampe. 1978. ILRC. <br />184 <br />Pranaw Jyoti Deka b1940. Jyoti Dwibhashik Abhidhan. Pranawajyoti Deka, Guwahati, 1st edition, 1990. DCLC. <br />185 <br />Lakshmi Devi. Ahom-Tribal Relations. to be had at Assam Book Depot, Calcutta, 1st edition, 1968. DCLC, ILRC, MNUG, NYUG, PAUG. <br />186 <br />Kesawananda Dewa Goswami. Post-Sankaradeva Vaisnava Faith and Culture of Assam. Sri Stguru Publications, Delhi, 1st edition, 1988. DCLC, CUBG, NYCG, NYPG, PAUG. <br />187 <br />Vijay Kumar Dewan. Assam Issue. V. K. Dewan, Delhi, 1st edition, 1985. DCLC. <br />188 <br />Mahendranath Dube b1942. Purvottara Bharatiya Bhashaom ke Sarvanama. Sakti Prakasana, Varanasi, 1st edition, 1980. DCLC, ILRC, MIUG, MNUG, NYCX, NYPG, PAUG. <br />189 <br />Keshab Narayan Dutt. A Hand Book to the Old Records of the Assam Secretariat. Education Department, Shillong, 1959. CUBG. <br />190 <br />Anima Dutta b1938. Assam Vaishnavism, Its Twentieth Century Voice, Lakshminath Bezbaroa. Mittal Publications, New Delhi, 1st edition, 1989. NYPG, DCLC, NYCG, PAUG. <br />191 <br />Sristidhar Dutta b1945. The Mataks and their Kingdom. Chugh Publications, Allahabad, 1985. DCLC, CUBG, IAUG, MDJG, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />192 <br />Nikunjalata Dutta b1951. Village Panchayats in India. Mittal Publications, New Delhi, 1st edition, 1989. DCLC, CUBG, NYCX, PAUG. <br />193 <br />Monoranjan Dutta b1961. Sculpture of Assam. Agam Kala Prakashan, Delhi, 1990. DCLC, NYCG, NYCX, NYPG, PAUG. <br />194 <br />P. N. Dutta Baruah b1947. An Intensive Course in Assmese. Central Institute of Indian Languages, Mysore, 1980. DCLC, CSUG, CUBG, IAUG, ILRC, MIUG, NYCX, NYPG, NYRG, PAUG. <br />195 <br />Jatindranath Duwara. Kabi Aru Kabi-Pratibha. Students Emporium, Dibrugarh, 1988. DCLC. <br />196 <br />Sidney Endle 1840?-1907. Outline of the Kachari (Baro) Language as Spoken in District Darrang, Assam. Shillong, 1884. Printed at the Assam Secretariat Press, Microform, UKBX. <br />197 <br />John Ebenezer Esslemont 1874-1925. Bahaulla aru Adhunika Yuga [Bahaullah and the New Era Assamese]. Bahai Prakasaka Samiti, Natuna Dilli, 1 edition, 1945. NYPG. <br />198 <br />Oscar Flex. Pflanzerleben In Indien. Nicolai, Berlin, 1873. CUBG. <br />199 <br />Edward Albert Gait 1863-1950. A History of Assam. Thacker, Spink & Co., Calcutta, 3rd, revised edition, 1926. CUBG, CGTT, CUDG, MNUG. <br />200 <br />Edward Albert Gait b1863. A History of Assam. Thacker, Spink & Co., Calcutta, 1906. PATG. <br />201 <br />Edward Albert Gait b1863. A History of Assam. Thacker, Spink & Co., Calcutta, 2nd, revised edition, 1926. CUBG, MNUG. <br />202 <br />George Alexander Gammie. Report on a Botanical Tour in the Lakhimpur District, Assam. Periodical Experts Book Agency, Delhi, 1978? FLFG. <br />203 <br />Jayakanta Gandhiya b1944. Huncari, Mukali Bihu, aru Bihunac. Banalata, Dibrugarh, 2nd edition, 1988. DCLC. <br />204 <br />Lokanatha Ghosha. The Modern History of the Indian Chiefs, Rajas, Zamindars, etc. Part II: The Native Aristocracy and Gentry ... of Bengal, Behar, Orissa, North-Western Provinces, Panjab, Rajputana, Central India, Central Provinces, Assam, Bombay, Haiderabad, Maisur, and Madras ... Down to the Present Time. J.N. Ghose, Calcutta, 1881. Microform, CUBG. <br />205 <br />Humphrey Gilbert-Carter 1884-1969. Useful Plants of the District of Lakhimpur in Assam. Bishen Singh Mahendra Pal Singh, Dehra Dun, 1978. <br />206 <br />W. Glanius. A Relation of an Unfortunate Voyage to the Kingdome of Bengala. Printed for Henry Bonwick, London, 1682. Microform, OHLG, CSUG, PAUG. <br />207 <br />P. C. Gogoi. Our Forests And Forest Resources In Assam. M. A. Islam, Chief Conservator of Forests, Assam, Gauhati, 1976. DCLC, CUBG, ILRC, MNUX. <br />208 <br />Padmeswar Gogoi b1907. The Tai and the Tai Kingdoms. Department of Publication, Gauhati University, Gauhati, 1968. NYPG, DCLC, ILRC, MNUG, PAUG. <br />209 <br />Padmeswar Gogoi b1907. Asamat Pracalita Pauranik Akhyanasamuhar Mul-Bicar. Gogoi, Guwahati, 1971. NYPG, DCLC, ILRC. <br />210 <br />Padmeswar Gogoi b1907. Tai-Ahom Religion And Customs. Publication Board, Assam, Gauhati, 1976. NYPG, CTYG, CUBG, DCLC, IAUG, ILRC, MIUG, MNUG, NYCG, NYCX, NYRG, PAUG. <br />211 <br />Lila Gogoi b1927. Bihugit Aru Banaghosha. Lawyers Book Stall, Guwahati, 1961. NYPG. <br />212 <br />Lila Gogoi b1927. Nil Khamar Cithi. Lawyers Book Stall, Guwahati, 1963. NYPG. <br />213 <br />Lila Gogoi b1927. Simantar Mati Aru Manuh. 1963. ILRC. <br />214 <br />Lila Gogoi b1927. Giti Malanca. Dibrugarh Book Stall, Dibrugarh, 1964. NYPG. <br />215 <br />Lila Gogoi b1927. Asamiya Loka-Sahityar Ruparaekha. 1968. PAUG. <br />216 <br />Lila Gogoi b1927. The Tai Khamtis. Chowkhamoon Gohain (Namsoom), Chowkham, NEFA, 1971. DCLC, ILRC, MDJG, MNUG, NYCX, NYPG, PAUG. <br />217 <br />Lila Gogoi b1927. Sahitya-Samskriti-Buranji. Distributor: New Book Stall, Dibrugarh, 1972. NYPG. <br />218 <br />Lila Gogoi b1927. Biyerim Cithi. Sri Makhanacandra Hajarika, Dibrugarh, 1st edition, 1976. NYPG. <br />219 <br />Lila Gogoi b1927. Brikodar Baruwar Biya. Bani Mandir, Dibrugarh, 1st edition, 1977-78. DCLC, IRLC. <br />220 <br />Lila Gogoi b1927. The Buranjis, Historical Literature of Assam. Omsons Publications, New Delhi, 1986. CASX, CUBG, DCLC, IAUG, MIUG, MNUG, NYCG, NYCX, NYPG, PAUG. <br />221 <br />Lila Gogoi b1927. Asamiya Loka-Sahityar Ruparekha. Students Emporium, 3rd edition, 1987. DCLC. <br />222 <br />Golap Chandra Barua, translator and editor, editor. Ahom-Buranji, from the Earliest Time to the End of Ahom Rule. Spectrum Publications, Guwahati, 1985. CUBG, DCLC, IAUG, MIUG, NYCG, NYPG, NYCX, NYRG, PAUG. <br />223 <br />Dulal C. Goswami. Brahmaputra River, Assam (India). 1982,c1983. MDJG. <br />224 <br />Golockchandra Goswami. An Introduction to Assamese Phonology. Deccan College Postgraduate and Research Institute, Poona, 1st edition, 1966. DCLC, MNUG, NYCX, PAUG. <br />225 <br />Golockchandra Goswami. Structure of Assamese. Department of Publication, Gauhati University, Gauhati, 1st edition, 1982. With a Foreword by M.B. Emeneau, CSUG, PAUG. <br />226 <br />Upendranath Goswami. A Study on Kamrupi. Dept. of Historical Antiquarian Studies, Government of Assam, Gauhati, 1st edition, 1970. DCLC, CUBG, MIUG, MNUG, NYCX, NYPG, PAUG. <br />227 <br />Upendranath Goswami. An Introduction to Assamese. Mani-Manik Prakash, Gauhati, 1978. DCLC, CUBG, IAUG, ILRC, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />228 <br />Surendra Kumar Goswami 1929-1985. A History of Revenue Administration in Assam, 1228-1826 A.D. Spectrum Publications, Delhi, 1986. CUBG, DCLC, IAUG, MIUG, MNUG, NYBG, NYCG, NYPG, PAUG. <br />229 <br />Praphulladutta Goswami b1910. Bihu Songs of Assam. Lawyer's Book Stall, Gauhati, 1957. CUDG, MIUG, NYRG. <br />230 <br />Praphulladutta Goswami b1910. The Springtime Bihu of Assam. Lawyer's Book Stall, Gauhati, 1st edition, 1966. DCLC, CUBG, ILNG, MNUG, PAUG. <br />231 <br />Praphulladatta Goswami b1919. Folk-Literature of Assam. Department of Historical and Antiquarian Studies in Assam, Gauhati, 1954. CUBG, NYRG. <br />232 <br />Praphulladatta Goswami b1919. Ballads and Tales of Assam. Department of Publication, Gauhati University, Gauhati, Assam, 1960. NYRG. <br />233 <br />Praphulladatta Goswami b1919. Folk-Literature of Assam. Department of Historical and Antiquarian Studies in Assam, Gauhati, 2nd edition, 1965. PASG, MNUG, PAUG. <br />234 <br />Praphulladatta Goswami b1919. Bohag Bihu of Assam and Bihu Songs. Publication Board, Government of Assam, Guwahati, 1988. DCLC, CUBG, NYCG, NYCX, NYPG, PAUG. <br />235 <br />Prabhas Chandra Goswami b1925. The Economic Development of Assam. Asia Publishing House, Bombay and London, 1963. CASX, CUBG, CUDG, MNUG, NYCX, NYRG, PASG, RIBG. <br />236 <br />Prabhas Chandra Goswami b1926. Studies in the Economics of Farm Management in Nowgong District (Assam). Directorate of Economics and Statistics, Ministry of Agriculture and Irrigation, Government of India, New Delhi, 1977. ILRC, MNUX, NYPG, PAUG. <br />237 <br />Homeswar Goswami b1943. Population Trends in the Brahmaputra Valley, 1881-1931. Mittal Publications, Delhi, India, 1985. DCLC, CUBG, IAUG, MIUG, MNUG, NJPG, NYCG, NYCX, NYPG, PAUG, RIBG. <br />238 <br />Shrutidev Goswami b1947. Aspects of Revenue Administration in Assam, 1826-1874. Mittal Publications, Delhi, India, 1987. CUBG, DCLC, IAUG, MIUG, NYCG, PAUG. <br />239 <br />Government of Assam. The Assam Code Containing the Regulations and Local Acts in Force in the Province of Assam. Calcutta, 1915. MNUL. <br />240 <br />Government of Assam. Assam Record Hand Book, 1925. Assam Government Press, Shillong, 1958. CUBG. <br />241 <br />Government of Assam. The Assam Inspection Manual. Assam Government Press, Shillong, 1959. CUBG. <br />242 <br />Government of Assam. The Assam Adhiars Protection and Regulation Act, 1948. Harkumari Prakash Bhawan, Gauhati, 1st edition, 1964. CUBG, MNUL. <br />243 <br />Government of Assam. The Assam Land and Revenue Regulation, 1886. New Book Stall, Gauhati, 1 edition, 1965. MNUL. <br />244 <br />Government of Assam. Assam District Gazetteers. Inter Documentation, Zug, Switzerland, 197-? Microform, CUBG. <br />245 <br />Government of Assam. Report on the Displacement of Tribals Due to Installation of Major Irrigation Project. Tribal Research Institute, Guwahati, 1984. Microform, DCLC. <br />246 <br />Government of Assam, DGP. Assam at a Glance. Guwahati, 1986? Microform, DCLC. <br />247 <br />Government of Assam, Directorate of Economics and Statistics. Power Statistics Assam, 1986-87. Guwahati, 1987. Microform, DCLC. <br />248 <br />Government of Assam, Directorate of Economics and Statistics. Progress of Banking in Assam, 1986. Guwahati, 1988. Microform, DCLC. <br />249 <br />Government of Assam, Directorate of Economics and Statistics, Government of Assam. Child in Assam, 1985. Directorate of Economics and Statistics, Government of Assam,, Guwahati, 1988. Microform, DCLC. <br />250 <br />Government of Assam, Directorate of Evaluation. Report on the Unemployment Among the Scheduled Caste Population in Assam. Shillong, 1972. ILRC. <br />251 <br />Government of Assam, Directorate of Evaluation and Monitoring. Study on the Gaon Panchayat Level Co-Operative Societies in Assam. Directorate of Evaluation and Monitoring, Planning and Development Department, Government of Assam, Dispur, 1976. CUBG. <br />252 <br />Government of Assam, Directorate of Evaluation and Monitoring. Study on the Functioning of the Non-formal Education Programme at the Sub-divisional Level, Hailakandi Sub-division. Gauhati, 1977. ILRC. <br />253 <br />Government of Assam, Directorate of Evaluation and Monitoring, Planning and Development Department. Study on the Ayurvedic Dispensaries in Assam. Dispur, 1976. ILRC. <br />254 <br />Government of Assam, Directorate of Evaluation and Monitoring, Planning and Development Department. Study on the Working of the Mahkuma Parishad, Golaghat. Dispur, 1975. ILRC. <br />255 <br />Government of Assam, Directorate of Information & Public Relations. Assam, 1961. Print Craft Private Limited, Digboi, 1961? CUBG. <br />256 <br />Government of Assam, Directorate of Information and Publicity. Introducing Assam and Her Agriculture---Citrus Wealth of Assam. CUBG. <br />257 <br />Government of Assam, Economics and Statistics Department. The Report on the Survey Conducted in the Jute Growing Areas of Assam for Study of Indebtedness Among the Cultivators, 1963. Shillong, 1964? PAUG. <br />258 <br />Government of Assam, Economics and Statistics Department. Economic Background for Formulation of Fourth Five Year Plan [of Assam]. Shillong, 1966. PAUG. <br />259 <br />Government of Assam, Evaluation & Monitoring Division, Planning & Development Department. A Compendium of Recommendations and Suggestions of the State Evaluation Committee on Evaluation Report. Gauhati, 1981. DCLC. <br />260 <br />Government of Assam, Finance Department. Budget Manual of the Government of Assam. Shillong, 3rd edition, 1960. CUBG CUBG-1. <br />261 <br />Government of Assam, Government Press. The Assam Stamp Manual. Shillong. NYCL. <br />262 <br />Government of Assam, Government Press. The Assam Code, 1939. Shillong, 1939. MNUL. <br />263 <br />Government of Assam, Planning and Development Department. Third Five Year Plan, Assam, 1961-1966. Shillong, 1961. PAUG. <br />264 <br />Government of Assam, Planning and Development Department, Evaluation and Monitoring Division. Study on Performance of Assam Fisheries Development Corporation. Evaluation and Monitoring Division, Planning and Development Department., Government of Assam, Dispur, 1985. Microform, DCLC. <br />265 <br />Government of Assam, Planning and Development Department, Evaluation and Monitoring Division. A Study on the Integrated Child Development Scheme, Assam. 1985. Microform, DCLC. <br />266 <br />Government of Assam, Planning and Development Department, Evaluation and Monitoring Division. Study on the Rural Electrification Programme in Cachar & Karimgang [i.e. Karimganj] Districts. Evaluation & Monitoring Division, Planning & Development Department, Government of Assam, Dispur, 1985. Microform, DCLC. <br />267 <br />Government of Assam, Publication Board. Best of Assam Movement, A Pictorial. Guwahati, 1st edition, 1987. MIUG, DCLC, NYCG, NYPG, PAUG. <br />268 <br />Government of Assam, Task Force on Economic Development of Assam. Report of the Task Force on Economic Development of Assam. Assam Government Press, Guwahati, 1988. Microform, DCLC. <br />269 <br />Government of Assam, Tribal Research Institute. Report on the Evaluation Studies of the Integrated Tribal Development Project, Kokrajhar (Assam). Tribal Research Institute, Assam, Guwahati, 1985. Microform, DCLC. <br />270 <br />Government of India, Central Board for the Prevention and Control of Water Pollution. The Brahmaputra Basin. New Delhi, 1984. Microform. DCLC. <br />271 <br />William Griffith 1810-1845. Report on the Tea Plant of Upper Assam. Calcutta, 1838. RIBG. <br />272 <br />William Griffith 1810-1845. Journals of Travels in Assam, Burma, Bootan, Affghanistan and the Neighbouring Countries. Bishop's College Press, Calcutta, 1847. CUDG. <br />273 <br />J. F. Gruning. Recruitment of Labour for Tea Gardens in Assam. Shillong?, 1909. CUBG. <br />274 <br />Amalendu Guha. Planter-Raj to Swaraj. Indian Council of Historical Research, distributor: People's Publishing House, New Delhi, 1977. NYPG, COSG, CUBG, CUDG, DCLC, FLFG, FLUG, IAUG, ILNG, ILRC, MIUG, MNUG, NYBG, NYCG, NYCX, NYRG, NYSG, PAUG. <br />275 <br />Amalendu Guha. The Ahom Political System. Centre for Studies in Social Sciences, Calcutta, 1983. Microform. DCLC. <br />276 <br />Amalendu Guha. Neo-Vaishnavism to Insurgency. Centre for Studies in Social Sciences, Calcutta, 1984. Microform, DCLC. <br />277 <br />Amalendu Guha. The Decline of the Ahom Kingdom of Assam, 1765-1826. Centre for Studies in Social Sciences, Calcutta, 1986. Microform, DCLC. <br />278 <br />Amalendu Guha. The Decline of India's Cotton Handicrafts, 1800-1905. Centre for Studies in Social Sciences, Calcutta, 1989. Microform, DCLC. <br />279 <br />Amalendu Guha. Medieval and Early Colonial Assam. Centre for Studies in Social Sciences, by K.P. Bagchi & Company, Calcutta, 1991. DCLC. <br />280 <br />Philip Richard Thornhagh Gurdon. Some Assamese Proverbs. The Assam Secretariat Printing Office, Shillong, 1896. MIUG. <br />281 <br />Chowdhury Emdadul Haque. Impacts of River-Bank Erosion Hazard in the Brahmaputra-Jamuna Floodplan. National Library of Canada, Ottawa, 1989. Microform. ONCG. <br />282 <br />Richard Harlan 1796-1843. Description of a Species of Orang, From the North-Eastern Province of British East India, Lately the Kingdom of Assam. NYCX. <br />283 <br />Bhupen Hazarika. Bahnimana Brahmaputra. Bani Mandira, Dibrugara, 1980. DCLC, ILRC. <br />284 <br />Bhupen Hazarika. Sundarar Saru-Bar Aliyedi. Bani Mandira, Dibrugarh, 1980. DCLC, ILRC. <br />285 <br />Bhupen Hazarika. Samayar Pakhi Ghomrat Uthi. Bani Mandira, Dibrugarh, 1st edition, 1981. DCLC, ILRC. <br />286 <br />Bijay Bhushan Hazarika. Political Life in Assam During the Nineteenth Century. Gian Pub. House, Delhi, India, 1987. CUBG, DCLC, MIUG, NYCG, NYPG, NYRG, PAUG. <br />287 <br />Bisweswar Hazarika. Assamese Language. Joya Prakashan, 1985. CSUG. <br />288 <br />Parikshit Hazarika. Asamiya Prawandha-Manjari. Pancawatana Pharmma, Hauli, 1964. NYPG. <br />289 <br />Parikshit Hazarika. Sahityar Jeuti. Oriental Book Company, Guwahati, 1st edition, 1973. NYPG. <br />290 <br />Rajendra Nath Hazarika. Sahityalekha. published by Hazarika, Guwahati, 1975. <br />291 <br />Atulchandra Hazarika b1906, editor. Maraha Phulara Karani. Lawyer's Book Stall, Guwahati, 1962. NYPG. <br />292 <br />Atulchandra Hazarika b1906. Kamarupa-Ratnamala. Kamarupa Sahitya Parishada, Guwahati, 1973. NYPG. <br />293 <br />Atulchandra Hazarika b1906. Smrtir Papari. Dattabaruwa, Guwahati, 1977. NYPG. <br />294 <br />Fredrick William Hope 1797-1862. Descriptions of Some New Insects Collected in Assam by William Griffith. R. Taylor, London, 1841. Microform, OHLG, FLFG. <br />295 <br />Fredrick William Hope 1797-1862. Descriptions of Some Nondescript Insects From Assam. R. Taylor, London, 1841. Microform, OHLG, FLFG. <br />296 <br />William Wilson Hunter 1840-1900. A Statistical Account of Assam. Trubner & Co., London, 1879. MNUG. <br />297 <br />John Henry Hutton 1885-1968. Problems of Reconstruction in the Assam Hills. Royal Anthropological Institute of Great Britain and Ireland, London, 1945? NYRG. <br />298 <br />T. Jones. Bengal (India) Correspondence Relating to Vernacular Education in the Lower Provinces of Bengal; Returns Relating to Native Printing Presses and Publications in Bengal; A Return of the Names and Writings of 515 Persons Connected with Bengali Literature. Calcutta, 1855. Microform. CUBG. <br />299 <br />Banikanta Kakati. Aspects Of Early Assamese Literature. Gauhati University, Gauhati, 2nd edition, 1959. DCLC, CUDG, NYRG. <br />300 <br />Banikanta Kakati. Assamese, Its Formation and Development. Lawyer's Book Stall, Gauhati, Assam, 2 edition, 1962. CUBG, MNUG, NYPG. <br />301 <br />Banikanta Kakati. Assamese, Its Formation And Development. Lawyer's Book Stall, Gauhati, 2nd edition, 1962. CUBG, MNUG, NYPG. <br />302 <br />Satis Chandra Kakati. Discovery of Assam. Guha, Calcutta, 2nd revised edition, 1964. PAUG. <br />303 <br />Satis Chandra Kakati. From Pandav Nagar To Jawahar Nagar. Dutta Baruah, Gauhati, 1st edition, 1976. NYRG, CUBG, ILRC, NYPG, CTYG, CUBG, DCLC, IAUG, MNUG, PAUG. <br />304 <br />Satisacandra Kakati. Discovery of Assam. Kakati, Gauhati, 1 edition, 1958. CUBG. <br />305 <br />Banikanta Kakati d1952. Assamese, Its Formation and Development. Government of Assam, Department of Historical and Antiquarian Studies, Narayani Handiqui Historical Institute, Gauhati, Assam, 1 edition, 1941. CASX. <br />306 <br />Banikanta Kakati d1952. The Mother Goddess Kamakhya. Lawyer's Book Stall, Guwahati, 1948, 1967 printing. DCLC, CASX, CUDG, ILRC, MNUG, NYPG, PAUG. <br />307 <br />Banikanta Kakati d1952. Aspects of Early Assamese Literature. Gauhati University, Gauhati, Assam, 1953. MNUG. <br />308 <br />Banikanta Kakati d1952. The Mother-Goddess Kamakhya, or, Studies in the Fusion of Aryan and Primitive Beliefs of Assam. Lawyer's Book Stall, Gauhati, Assam, 1961. PAUG. <br />309 <br />Banikanta Kakati d1952. Kalita Jatira Itibritta. Lawyer's Book Stall, Guwahati, 1962. DCLC. <br />310 <br />Banikanta Kakati d1952. Banikanta-Cayanika. Sahitya Akademi, New Delhi, 1981. PROSE WORKS. SELECTIONS. 1982; ILRC, NYPG. <br />311 <br />Benudhar Kalita. Phulagurir Dhewa. 1961. Sepoy Rebellion, 1857-1858, Phulaguri, India; WA WAU. <br />312 <br />Dhaneswar Kalita. Traditional Performances of South Kamrup. Gian Publishing House, New Delhi, 1991. NYCG, DCLC. <br />313 <br />Dhaneswar Kalita. Traditional Performances of South Kamrup. Gian Publishing House, New Delhi, 1991. NYCG, DCLC. <br />314 <br />Harendra Nath Kalita. Atitara Smriti. Oriental Book Company, Guwahati, 1961. NYPG. <br />315 <br />Naren Kalita, editor. A Descriptive Catalogue of Manuscripts Preserved at The Library of the Srimanta Sankaradeva Research Institute, Batadrava. Srimanta Sankaradeva Research Institute Library, Batadrava, Nagaon, 1990. Sepoy Rebellion, 1857-1858, Phulaguri, India; DCLC. <br />316 <br />Ramesh Chandra Kalita. Suwalakuchira Buranji. Brindawana Prakas, Guwahati, 1979. DCLC, ILRC, NYPG. <br />317 <br />Ramesh Chandra Kalita. Bharatar Swadhinata Andolanat Asamiya Chatrar Bhumika, 1826-1947. Samanway Granthalay, Nalbari, 1986. DCLC. <br />318 <br />Ramesh Chandra Kalita. Bharatar Swadhinata Andolanat Asamiya Chatrar Bhumika, 1826-1947. Samanway Granthalay, Nalbari, 1986. DCLC. <br />319 <br />Samina Kalita. Lokanayaka Amiya Kumar. Tyagabir Hema Baruwa Nyasa Samiti, Guwahati, 1st edition, 1978. DCLC. <br />320 <br />Satyaranjan Kalita. Upalabdhi. 1976. WA WAU. <br />321 <br />Dandinath Kalita 1890-1955. Asam-sandhya. Nalbari, 1975. Chandrakanta Singha, King of Assam, 1811-1821; Poetry; WA WAU. <br />322 <br />Bharat Chandra Kalita b1937. Military Activities in Medieval Assam. Daya Publishing House, Delhi, 1988. CUBG, DCLC, MIUG, NYCG, NYPG, PAUG. <br />323 <br />Kanailal Motilal Kapadia. The Matrilianeal Social Organisation of the Nagas of Assam. The Popular Book Depot, Bombay, 1950. CUBG. <br />324 <br />Kautalya. [Arthasastra. Assamese & Sanskrit] Kautiliya Arthasastra. Asama Prakasana Parishada, Guwahati, 1977. DCLC. <br />325 <br />S. P. Kay. An English-Mikir Vocabulary. Shillong, 1904. Printed at the Assam Secretariat Printing Office. CSCW. <br />326 <br />Abu Obaida Ansari Khan b1954. Statistical Analysis of Bank Erosion of the Brahmaputra River in Bangladesh. National Library of Canada, Ottawa, 1989. Microform. ONCG. <br />327 <br />Francis Kingdon-Ward 1885-1958. Assam Adventure. Travel Book Club, London, 1942. FLFG. <br />328 <br />Krsnalilasukamuni 1193-1293. Bilvamangalaviracitam Krsnastotram. Lawyer's Book Stall, Gauhati, 1 edition, 1962. PAUG. <br />329 <br />Lila Bahadura Kshatri b1932. Brahmaputraka Cheu-Chau. Syama Prakasana, Darjilina, 1986. DCLC. <br />330 <br />D. P. Kumar. Challenge to India's Unity. B. R. Publishing Corporation, New Delhi, 1990. NYCG. <br />331 <br />Rebati Mohan Lahiri. The Annexation of Assam, (1824-1854). General Printers & Publishers, Calcutta, pref. 1954. NYAG. <br />332 <br />Bina Lahkar. Development in Women Education. Omsons Publications, Guwahati, 1 edition, 1987. CUBG, DCLC, MIUG, PASG, PAUG. <br />333 <br />Vinay D. Lall. Human Settlement Strategy for Assam. Society for Development Studies, New Delhi, 1990. DCLC, PAUG. <br />334 <br />Bipul Kumar Mahanta. Anya Eka Maha Samudra. published by Bipul Kumar Mahanta, Guwahati, 1987. DCLC. <br />335 <br />Cakradhar Mahanta. Srimanta Sankaradewara Dharmma aru Parampara. Amar Prakasana, Jorhat, 1973. NYPG. <br />336 <br />Kesab Mahanta. Asamiya Ramayani Sahitya. published by Bapacandra Mahanta, and Kesada Mahanta, Jorhat, 1984. DCLC. <br />337 <br />Keshav Mahanta. Agantuk. Sribhumi Publishing Company, Calcutta, 1963. NYPG. <br />338 <br />Lakshmikanta Mahanta. Jiwan Kiyano Lage. Sribhumi Publishing Company, 1964. NYPG. <br />339 <br />Mohanacandra Mahanta. Cinta-Bibidha. Padmapani, Guwahati, 1988. DCLC. <br />340 <br />Prafulla Kumar Mahanta. The Tussle Between the Citizens and Foreigners in Assam. Vikas Publishing House, New Delhi, c1986. DCLC, CUBG, CUDG, IAUG, ILNG, MIUG, MNUG, NJPG, NYBG, NYCG, NYCX, NYPG, PAUG. <br />341 <br />Puwaram Mahanta. Baradowa-Gurucarita. Guwahati Book Stall, Guwahati, 1977. DCLC, ILRC, NYPG. <br />342 <br />Ratneswar Mahanta 1864-1893. Ratneswara Mahanta Racanawali. Asam Prakasan Parishad, Guwahati, 1977. Works, NYPG. <br />343 <br />Kanak Chandra Mahanta b1926. Asamiya Biswakosha. Aniruddha Prakasana, Guwahati, 1980-1985. DCLC, ILRC, NYPG. <br />344 <br />Bapacandra Mahanta b1928. Aitihasika Patabhumita Mahapurusha Samkaradewa. published by Bapacandra Mahanta and Kesada Mahanta, Jorhat, 1st edition, 1988. DCLC. <br />345 <br />Bapacandra Mahanta b1928. Samajika Patabhumisahita Asamake Baragita. published by Kamalakumari Phaundesana, Jorhat, 1st edition, 1988. DCLC. <br />346 <br />Pona Mahanta b1943. Western Influence on Modern Assamese Drama. Mittal Publications, Delhi, India, 1985. DCLC, CUBG, IAUG, MIUG, MNUG, NYCG, NYCX, NYPG, PAUG. <br />347 <br />Dharani Dhar Mali. Economic Problems & Planning in Assam. Omsons Publications, New Delhi, 1st edition, 1989. CUBG, DCLC, PAUG. <br />348 <br />Manipuri Sahitya Parishad. Historical and Cultural Relations Between Manipur, Assam, and Bengal. Manipuri Sahitya Parishad, Imphal, 1986. DCLC, CUBG, IAUG, NYPG, PAUG. <br />349 <br />James Wood Mason 1846-1893. Report on the Tea-Mite and the Tea-Bug of Assam. Taylor and Francis, London, 1884. MNUX. <br />350 <br />Laxman Prasad Mathur b1922. Oil in India. New Delhi, 1964. PASG. <br />351 <br />John M'Cosh. Topography of Assam. Logos Press, New Delhi, 1986. NHDG. <br />352 <br />Kaliram Medhi. Asamiya Byakarana aru Bhashatattwa. Asama Prakasana Parishada, Guwahati, 1978. DCLC, ILRC, NYPG. <br />353 <br />Kaliram Medhi. Studies in the Vaisnava Literature & Culture of Assam. Asom Sahitya Sabha, Jorhat, 1978. DCLC, CUBG, IAUG, ILRC, MIUG, NYCG, NYPG, NYRG, PAUG. <br />354 <br />Kaliram Medhi. Kalirama Medhi Racanawali. Asom Sahitya Sabha, Jorhat, 1979. Works, DCLC, ILRC, NYPG. <br />355 <br />Kaliram Medhi. Assamese Grammar and Origin of the Assamese Language. Publication Board, Government of Assam, Guwahati, 1st edition, 1988. DCLC, CUBG, NYCG, NYPG, PAUG. <br />356 <br />Kunja Medhi. State Politics in India. Omsons Publications, New Delhi, 1st edition, 1988. DCLC, CUBG, MIUG, NYCG, NYCX, PAUG. <br />357 <br />Nayan Kumar Medhi. Eta Sonali Puwara Babe. Granthapith, Barapeta, Assam, 1981. DCLC. <br />358 <br />Shyam Bhadra Medhi. Transport System and Economic Development in Assam. Assam Publication Board, Gauhati, 1978. DCLC, CUBG, ILRC, MIUG, NYCG, NYCX, NYPG, PAUG. <br />359 <br />Nathan Mirza. Baharistan-I-Ghaybi. Government of Assam, Department of Historical and Antiquarian Studies, Narayani Handiqui Historical Institute, Gauhati, Assam, 1936. Originally written in 1642. MNUG. <br />360 <br />Tilottoma. Misra. Literature and Society in Assam. Omsons Publications, Guwahati, 1st edition, 1987. DCLC, CUBG, IAUG, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG, NYPG. <br />361 <br />P. H. Moore b1857. Twenty Years in Assam, or, Leaves From My Journal. Baptist Mission Press, Calcutta, 1901. CTYT. <br />362 <br />R.C. Muirhead-Thomson. Assam Valley. Luzac, London, 1948. CASX, CCSG, CUDG, IAUG, MNUG, NYAG, NYRG, PAUG, RIBG. <br />363 <br />A. M. Mukherjee. Vaishnavism in Assam and Bengal. Granthana, Belari, Bardhaman, 1st edition, 1986. DCLC. <br />364 <br />John Murray (Firm). A Handbook for Travellers in India, Burma and Ceylon. J. Murray, London, 5th edition, 1905. OHCA, QMCA. <br />365 <br />John Murray (Firm). A Handbook for Travellers in India, Burma and Ceylon. J. Murray, London, 5th edition, 1907. NYCG. <br />366 <br />Prasot Na Nakhon. Photchananukrom Thai Ahom---Thai. Mahawitthayalai Sinlapakon, Krung Thep, 2534 [1991]. MIUG, NYCX. <br />367 <br />Pritish Nandy. From the Outer Banks of the Brahmaputra. New Rivers Press, New York, 1st edition, 1969. DCLC, CASX, CUBU, FLUG, IAUG, NYCX, NYUG, NYCG. <br />368 <br />M. Narimattam. The Valley in Blossom. Spectrum Publications, Guwahati, 1988. DCLC, MIUG, NYCG, NYCX, NYPG, PAUG. <br />369 <br />Purneswar Nath, editor. Dandinatha Kalita, Kriti aru Krititwa. Tezpur Sahitya Sabha, Tezpur, 1990. Birth centenary volume on Dandinatha Kalita, 1890-1955, Assamese poet and dramatist; comprises contributed articles. <br />370 <br />Rajmohan Nath b1900. The Back-Ground of Assamese Culture. A. K. Nath, Shillong, 1st edition, 1948. CUBG, MDJG, MIUG, MNUG, NYUG, PAUG. <br />371 <br />Rajmohan Nath b1900. The Back-Ground of Assamese Culture. Dutta Baruah, Gauhati, 2nd edition, 1978. CUBG, DCLC, IAUG, ILRC, MIUG, MNUG, NYCG, NYCX, NYRG, PAUG. <br />372 <br />Maheswar Neog b1918. The Art of Painting in Assam. Gauhati, Assam, 1959. OHCA. <br />373 <br />Maheswar Neog b1918. Anandaram Dhekiyal Phukan. Asam Sahitya-Sabha, Jorhat, Assam, 1977. DCLC, IAUG, MIUG, NYCG, NYCX, NYPG, PAUG. <br />374 <br />Maheswar Neog b1918. Early History of the Vaisnava Faith and Movement in Assam. Motilal Banarsidass, Delhi, 2nd edition, 1980. NYBY, CSCW, CUDG, IAUG, NHDG, NJPG, PAUG. <br />375 <br />Maheswar Neog b1918. Tradition and Style. Asam Sahitya Sabha, Jorhat, Assam, 1981. PAUG, CUBG, DCLC, IAUG, NYCG, NYCX, NYPG. <br />376 <br />Maheswar Neog b1918 and H.K. Barpujari, editors. Professor Suryya Kumar Bhuyan Commemoration Volume. Local Committee, XXII session, All India Oriental Conference, Gauhati, Assam, 1966. IAUG, PAUG. <br />377 <br />Callum. Earl Owen. Manhunt in Burma and Assam. 1990. DCLC. <br />378 <br />Chujiro Ozaki b1910. Development of Plantation Management. Asian Productivity Organization, 1969. <br />379 <br />Debi Prasanna Pattanayak b1931. A Controlled Historical Reconstruction of Oriya, Assamese, Bengali, and Hindi. University Microfilms, Ann Arbor, 1965. CUBG. <br />380 <br />Debi Prasanna Pattanayak b1931. A Controlled Historical Reconstruction of Oriya, Assamese, Bengali, and Hindi. Mouton, The Hague, 1966. DCLC, CASX, CSCW, CSUG, CUDG, FLFG, FLUG, IAUG, ILNG, MNUG, NYBG, NYCX, NYRG, PASG, PAUG. <br />381 <br />Madan Chandra Paul b1955. Dimensions of Tribal Movements in India. Inter-India Publications, New Delhi, 1989, c1985. CUBG, MDJG, NYCG, NYPG. <br />382 <br />Nomal C. (Nomal Chandra) Pegu b1928. The Mishings of the Brahmaputra Valley. Monumati Pegu, Dhemaji, Assam, 1981. DCLC, CUBG, IAUG, ILRC, MIUG, MNUG, NJPG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />383 <br />People's Institute for Development and Training. Report of Training Programme for Women Weavers Co-Operative Societies of Sonitpur Distr[i]ct, Assam. New Delhi, 1987. Microform. DCLC. <br />384 <br />W. Pettigrew. Forty Years in Manipur, Assam. Mrs. M. Asenath, and Mrs. K. Ruth, Imphal, 1986. DCLC, NYCG, NYPG. <br />385 <br />L.N. Phukan. Our Flood Problem. Jorhat, 1966. DCLC, NYCX. <br />386 <br />Mitra Phukan. Mamani's Adventure. Children's Book Trust, New Delhi, 1987. DCLC, NYPG. <br />387 <br />P.N. Phukan. Nematode Pests of Crop Plants. Directorate of Research, Assam Agricultural University, Jorhat, 1980. DCLC, CUBG, ILRC, MNUX. <br />388 <br />Umananda Phukan. The Ex-Tea Garden Labour Population in Assam. B.R. Publishing Corporation, Delhi, 1984. DCLC, CSCW, CUDG, IAUG, MIUG, NYCG, NYCX, PAUG. <br />389 <br />Umananda Phukan. Agricultural Development in Assam, 1950-1985. Mittal Publications, New Delhi, 1990. DCLC, NYCX, PAUG. <br />390 <br />Anandaram Dhekial Phukan 1829-1859. Anandaram Dhekiyal Phukanar Racana Samgrah. Lawyer's Book Stall, Guwahati, 1977. NYPG. <br />391 <br />Tarunram Phukan 1877-1939. Tarunarama Phukana Racanawali. Asam Prakasan Parishada, Guwahati, 1977. [works]; DCLC, NYPG. <br />392 <br />Nilamani Phukan b1880. Satadhara. Asam Rashtrabhasha Pracar Samiti, Guwahati, 1962. NYPG. <br />393 <br />Kamini Phukan b1940. Apuni Bicar Kariba. Saikia Brothers Book Stall, North Lakhimpur, 1964. NYPG. <br />394 <br />Amrit Chandra Phukan b1943. Personnel Administration in the Tea Industry of Assam. Archita Publication, Jorhat, 1st edition, 1979. DCLC, CUBG, ILRC, NYPG, PAUG. <br />395 <br />Meriyana Di Piu b1928. [Games of NEFA. Assamese] Uttara Puba Simanta Bibhagara Janajatiya Khela-Dhemali. Uttara Puba Simanta Bibhagara hai Tathya aru Janasamparka Bibhagara Sancalaka, Shillong, 197-. DCLC. <br />396 <br />Fitzwilliam Thomas Pollok. Sport in British Burmah, Assam and the Cassyah and Jyntiah Hills. Chapman & Hall, London, 1879. MNUG. <br />397 <br />Rahim Quraishi. The Assam Blood Bath. American Trust Publications, c1984. <br />398 <br />Lili Rabel. Khasi. Louisiana State University Press, Baton Rouge, 1961. NYUG, CASX, CCSG, FLFG, FLUG, IAUG, MNUG-1, MNUG-2, NYCX, NYRG, PASG, UTBG. <br />399 <br />Hamid Naseem Rafiabadi b1958. Assam from Agitation to Accord. Genuine Publications & Media, New Delhi, 1988. DCLC, MIUG, NYCG, NYPG, PAUG. <br />400 <br />Sarbbeswara Rajaguru. Medieval Assamese Society, 1228-1826. Asami, Nagaon, Assam, 1988. NYCG, NYPG. <br />401 <br />Benudhar Rajkhowa 1872-1955. Assamese Popular Superstitions and Assamese Demonology. Department of Folklore Research, Gauhati University,, Gauhati, 1973. NYPG, CTYG, CUBG, DCLC, MDJG, MNUG, NYCG, NYCX, NYRG, PAUG, UTBG. <br />402 <br />A. R. Ramsden b1897. Assam Planter. J. Gifford Limited, London, 1945. MNUG, CSUG, CUDG. <br />403 <br />Sukumara Ray b1912. Music of Eastern India. K.L. Mukhopadhyay., Calcutta, 1st edition, 1973. CASX, CUBG, CUDP, CSUG, DCLC, ILRC, NHDG, MDJS, NYAG, NYBS, NYCX, NYPG, PASG, PATG, PAUG, RIBG. <br />404 <br />Sukumara Ray b1912. Music of Eastern India. K.L.M. Firma, Calcutta, 2nd edition, revised and enlarged edition, 1985. PAUG, CUDG, NYCG. <br />405 <br />Amy Helen (Disney) Reid. Wake Up, Women of Assam! Printed at the Assam Government Press, Shillong, 1942. PAUG. <br />406 <br />Robert Neil Reid 1883-1964. History of the Frontier Areas Bordering on Assam. Eastern Publishing House, Delhi, 1983. CUBG. <br />407 <br />Prabhat Chandra Sabhapandit. Sociological Study of the Post-War Assamese Novel. Omsons Publication, Guwahati, 1st edition, 1988. DCLC, MIUG, NYCG, NYCX, NYPG, PAUG. <br />408 <br />Sahityarathi Lakshminath Bezbaroa Birth Centenary Celebration Committee. Assamese Language and Literature and Sahityarathi Lakshminath Bezbaroa. Delhi, 1968. DCLC, CUBG, MNUG. <br />409 <br />Padma Dhar Saikia. A Study of Loans Advanced by Land Mortgage Banks and Their Utilisation in Assam. Agro-Economic Research Centre for North-East India, Assam Agricultural University, Jorhat, Assam, 1969. DCLC. <br />410 <br />Padma Dhar Saikia. Impact of Improved Agricultural Implements in Crop Production in Assam. Agro-Economic Research Centre for North-East India, Assam Agricultural University, Jorhat, Assam, 1982. DCLC. <br />411 <br />Padma Dhar Saikia. Indian Rural Women. Mittal Publications, Delhi, India, 1986. DCLC, CUBG, IAUG, MIUG, MNUG, NYCG, NYCX, PAUG, RIBG. <br />412 <br />Nagen Saikiya. Background of Modern Assamese Literature. Omsons Publications, New Delhi, 1st edition, 1988. DCLC, NYCG, NYPG, PAUG. <br />413 <br />Emilio Salgari 1862-1911. A Orillas del Brahmaputra. Ediciones Orbis, Barcelona, c1987. CLAG. <br />414 <br />Sanjayya. Assam. Spectrum Publications, Gauhati, 1980. DCLC, CUBG, NYCG, NYCX, NYPG, PAUG. <br />415 <br />Anjali Sarma. Among the Luminaries in Assam. Mittal Publications, New Delhi, 1990. NYCG. <br />416 <br />Paresh Chandra Deva Sarma. Assamese Tutor. Lawyer's Book Stall, Gauhati, 1962. MNUG, NYPG. <br />417 <br />Pradip Chandra Sarma. Architecture of Assam. Agam Kala Prakashan, Delhi, 1988. NYCX, CASX, CJPA, CUBG, DCFO, MAHA, MIUG, NHDG, NYCG, NYMA, PAUG, QMCA. <br />418 <br />Satyendranath Sarma b1917. Epics and Puranas in Early Assamese Literature. Gauhati, Distributor: Bani Prakash, Gauhati, 1972. NYPG, ILRC, NYCX, PAUG. <br />419 <br />Satyendranath Sarma b1917. Assamese Literature. Harrassowitz, Wiesbaden, 1976. NYPG, CASX, CTYG, CUBG, CUDG, DCLC, IAUG, ILNG, MIUG, MNUG, NYCG NYCX, NYRG, NYUG, PAUG, RIBG. <br />420 <br />Satyendranath Sarma b1917. A Socio-Economic & Cultural History of Medieval Assam, 1200 A.D.-1800 A.D. Pratima Devi, Guwahati, 1st edition, 1989. DCLC, NYCG, NYPG, PAUG. <br />421 <br />Amulya Chandra Sarma b1934. Tai Ahom System of Government. B.R. Publishing Corporation, Delhi, 1986. DCLC, CUBG, IAUG, MIUG, NJPG, NYCG, NYCX, NYPG, PAUG. <br />422 <br />S. Sasanananda. History of Buddhism in Assam, C. 300 B.C.-1200 A.D. Bahri Publications, New Delhi, 1986. DCLC, CUBG, IAUG, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />423 <br />Abdus Sattar b1922. Prasanga-Kosha. Jorhat, 1963. NYPG. <br />424 <br />Seminar on Fluvial Process and Geomorphology of the Brahmaputra Basin (1972 October 5-6: Calcutta, India). Proceedings of the Seminar on Fluvial Process and Geomorphology of the Brahmaputra Basin. Geological Survey of India, Published by order of the Government of India, Calcutta, 1981. CUBG, CSUG, CTYG, CUDG, DCLC, IAUG, ILRC, NYCX, NYRG, NYSG, PAUG. <br />425 <br />T. K. Sen. The Fish Fauna of Assam and the Neighbouring Northeastern States of India. Zoological Survey of India, Calcutta, 1985. DCLC, CUBG, NYCX. <br />426 <br />Mukunda Madhava Sharma. Assamese for All. Asam Sahitya Sabha, Jorhat, 1963. NYPG, MNUG. <br />427 <br />Tarun C. Sharma. Prehistoric Archaeology of Assam. 1966. Microform. PAUG. <br />428 <br />P. N. Shastri b1923. The Writers Workshop Handbook of Assamese Literature. Writers Workshop, Calcutta, c1972. NYPG, CSUG, DCLC, ILRC, MNUG, NYCX, PAUG. <br />429 <br />H. Singh. NMR Characterisation of Lubricating Oil Base Stocks Derived from Assam and Darius Crude Oils. Institute of Petroleum, London, 1985. UKBP. <br />430 <br />Manju Singh b1964. Assam, Politics of Migration & Quest for Identity. Anita Publications, Jaipur, India, 1990. DCLC, NYCG, NYCX, NYPG, PAUG. <br />431 <br />William L. Smith b1942. Ramayana Traditions in Eastern India. Department of Indology, University of Stockholm, Stockholm, 1988. COSG, DCLC, MIUG, NYCG, NYPG, PAUG. <br />432 <br />C. Strickland. The Mosquito Factor in the Malaria of Assam Tea Gardens. s.n., Calcutta, 1925. MNUM. <br />433 <br />Cyril Strickland. Deltaic Formation with Special Reference to the Hydrographic Processes of the Ganges and the Brahmaputra. Longmans, Green & Co., Ltd., Calcutta, 1940. MNUG, CUDG, MNUG-1. <br />434 <br />Anna Canada Swain b1889. Youth Unafraid. New York, 1935. RIBG. <br />435 <br />Wolfgang Ullrich. Kaziranga. J. Neumann-Neudamm, Melsungen, c1971. NYPG. <br />436 <br />Dayarama Uwari b1944. Bodo Language Through English and Assamese. Uwari, Gauhati, 1st edition, 1980. DCLC, NYCG, NYCX. <br />437 <br />Kapila Vatsyayan. Gita-Govinda in the Assam School of Painting. Publication Board, Assam, Guwahati, 1986. DCLC, CUBG, DCFO, IAUG, NYCG, NYPG, PAUG. <br />438 <br />V. Venkata Rao. Local Self-Government in India. S. Chand, New Delhi, 1980. DCLC, CUBG, IAUG, MIUG, MNUG, NYCG, NYPG, NYRG, PAUG. <br />439 <br />V. Venkata Rao. A Century of Government and Politics in North East India, 1874-1980. S. Chand, New Delhi, 1983. DCLC, CUBG, ILRC, MIUG, NJPG, NJRG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />440 <br />Brind Bihari Verma. Agriculture and Land Ownership System among the Primitive People of Assam. D. Rangaiya for Bharatiya Adimjati Sevak Sangh, Delhi, 1956. CUBG. <br />441 <br />Christoph von Furer-Haimendorf b1909. [Die Nackten Nagas] The Naked Nagas, Head-Hunters of Assam in Peace and War. Thacker, Spink, Calcutta, 1946. CASX, MNUG, NYAG, RIBG. <br />442 <br />L. A. (Laurence Austine) Waddell 1854-1938. The Tribes of the Brahmaputra Valley. Sanskaran Prakashak, Delhi, 1901, 1975 Printing. MDJG. <br />443 <br />L. A. (Laurence Austine) Waddell 1854-1938. The Tribes of the Brahmaputra Valley. Logos Press, New Delhi, 1986. PAUG. <br />444 <br />Myron Weiner. When Migrants Succeed and Natives Fail. Center for International Studies, Massachusetts Institute of Technology, Cambridge, Massachusetts, 1975. IAUG, CSCW, CSUG, NYAG. <br />445 <br />James Alban Wilson b1865. Sport and Service in Assam and Elsewhere,. Hutchinson & Co., London, 1924. MNUG, CSFX. <br />446 <br />Eric James Winter. The Species of Shade Trees Used on Tea Gardens. Indian Tea Association, 1940. CUBG. <br />447 <br />T. C. McCombie Young. Kala-Azar In Assam. H.K. Lewis & Co. Ltd., London, 1924. CUBG, NYRG. <br />448 <br />Mohammad Q. (Mohammad Quamruz) Zaman. The Socioeconomic and Political Dynamics of Adjustment to Riverbank Erosion Hazard and Population Resettlement in the Brahmaputra-Jamuna Floodplain. National Library of Canada, Ottawa, 1989. Microform. ONCG. <br /><br />A Selected Bibliography on Assamese Language and Literature<br />________________________________________<br /><br />1 <br />Mahendra Bara. The Evolution of the Assamese Script. Asam Sahitya Sabha, Jorhat, 1981. DCLC, IAUG, MIUG, NYCC, NYCX, NYPG, PAUG. <br />2 <br />Nirmal Probha Bardoloi, editor. Assamese Short Stories: An Anthology. Vikash, New Delhi, 1982. NYSG, CUBG, DCLC, IAUG, MIUG, NYCG, NYPG, NYRG, PAUG. <br />3 <br />Ratnakanta Barkakati 1897-1962. Ratnakanta Barakakatir Gadya-Sambhar. Lawyer's Book Stall, Guwahati, 1st edition, 1977. ILRC, NYPG. <br />4 <br />Sukumar Barkath. Hastibidyarnnara Sarasamgraha (English & Assamese), 18th Century. Publication Board, Assam, Gauhati, 1976. DCLC, CTYG, IAUG, MABA, MIUG, MNUG, NYCG, NYCX, NYPG, PAUG, TXKA. <br />5 <br />H. K. Barpujari. Amerikan Michanerisakal aru Unabimsa Satikar Asam. Asam Sahitya Sabha, Jorhat, 1983. Microform, DCLC, NYPG. <br />6 <br />H. K. Barpujari. The American Missionaries and North-East India, 1836-1900 A.D. Spectrum Publications, Guwahati, 1986. DCLC, CGTT, CTYT, CUBG, IAUG, MIUG, MNUG, NJPT, NYCG, NYCX, NYPG, NYRG, PAUG, UTBG. <br />7 <br />Bimala Kanta Barua, editor. Ahom Lexicons. Department of Historical and Antiquarian Studies in Assam, Gauhati, 1964. NYPG, MNUG. <br />8 <br />Birinchi Kumar Barua. Assamese Literature. Published for the P. E. N. All-India Centre, by the International Book House, Bombay, 1941. CUBG, RIBG, CASX, MNUG. <br />9 <br />Birinchi Kumar Barua. Studies in Early Assamese Literature. Nowgong, Assam, 1st ed edition, 1953. NYCX. <br />10 <br />Birinchi Kumar Barua. Modern Assamese Literature. Lawyer's Book Stall, Gauhati, Assam, 1957. MNUG. <br />11 <br />Birinchi Kumar Barua. Sankardeva. Assam Academy for Cultural Relations, Gauhati, Assam, 1960. CGTT. <br />12 <br />Birinchi Kumar Barua. History of Assamese Literature East-West Center Press, Gauhati, Assam, 1965, c1964. IAUG, CASX, CBPX, CCSG, CUDG, FLFG, FLUG, MNUG, NYBG, RIBG, NYPG, CUBG, MNUG, NYRG. <br />13 <br />Birinchi Kumar Barua. A Cultural History Of Assam. Lawyer's Book Stall, Gauhati, 2nd edition, 1969. DCLC, NYRG, OHCA. <br />14 <br />Golap Chandra Barua. Ahom-Assamese-English Dictionary. Published under the authority of the Assam administration, Printed at the Baptist Mission Press, Calcutta, 1920. ILNG, PAUG, NYCX. <br />15 <br />Hem Barua. Modern Assamese Poetry. Kavita, New Delhi, 1960. CUBG, NYRG. <br />16 <br />Hem Barua. Assamese Literature. National Book Trust, New Delhi, 1965. NYPG, FLUG, MDJG, MNUG. <br />17 <br />Prafulla Chandra Barua b1899. Assamese Proverbs. Lawyer's Book Stall, Gauhati, 1st edition, 1962. NYPG, CUDG, FLUG. <br />18 <br />Ajit Baruwa. Brahmaputra Ityadi Padya. Ajit Baruwa, Guwahati, 1989. DCLC. <br />19 <br />Lakshminath Bezbarua 1868-1938. Asamiya Bhasha Aru Sahitya. 1968. ILRC. <br />20 <br />Lakshminath Bezbarua 1868-1938. Bejabaruwar Prabandha Bachani. 1968. ILRC. <br />21 <br />Lakshminath Bezbarua 1868-1938. Bejabaruwa Granthawali. 1969-70. PAUG, ILRC. <br />22 <br />Sailen Bharali. Asamiya Sahityar Aitihasik Upanyas. Bani Prakash, Pathsala, 1895 sak, i.e., 1973. ILRC, NYPG. <br />23 <br />Sailen Bharali. Sahityar Katha. Oriental Book Company, Guwahati, 1973. NYPG. <br />24 <br />Sailen Bharali. Adhunik Asamiya Sahitya. New Book Stall, Guwahati, 1976. NYPG. <br />25 <br />Sailen Bharali. Tragic Outlook in Assamese Drama. Shree, Delhi, 1st edition, 1980. DCLC, CUBG, IAUG, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />26 <br />Sailen Bharali. Adhunik Asamiya Sahityar Itihas. Candra Prakash, Tihu and Guwahati, 1989. DCLC. <br />27 <br />Jatindra Mohan Bhattacharjee b1908. Asamiya Puthira Talika Samanwaya. Esiyatika Sosaiti, Calcutta, 1989. DCLC. <br />28 <br />Buddhindranath Bhattacharyya 1865-1945. The Pronouncing Anglo-Assamese Dictionary. Lawyer's Book Stall, Gauhati, 4th edition, 1964. NYRG. <br />29 <br />Harichandra Bhattacharyya b1908. Origin and Development of the Assamese Drama and the Stage, From the Earliest Times Upto 1940. Barua Agency, Gauhati, 1st edition, 1964. MNUG, CUBG, NYRG. <br />30 <br />Birendra Kumar Bhattacharyya b1924. Humour & Satire in Assamese Literature. Sterling, New Delhi, c1982. DCLC, CUBG, IAUG, MIUG, NVRG, NYCG, NYCX, NYPG, NYRG, NYSG, PAUG. <br />31 <br />Suryya Kumar Bhuyan. Studies in the Literature of Assam. Lawyer's Book Stall, Guwahati, 1st edition, 1962. DCLC, MNUG. <br />32 <br />Suryya Kumar Bhuyan. Studies in the Literature of Assam. Lawyer's Book Stall, Guwahati, 2nd edition, 1962. MNUG, NYPG. <br />33 <br />Nakul Chandra Bhuyan 1895-1968. Galpar Sarai. Jorhat, 1962. NYPG. <br />34 <br />Ramacandra Bora b1923. Loka-Sahitya. Lokayata Sodha Samsthana, Jodhapura, 1969? ILRC, PAUG, NYPG. <br />35 <br />Dimbeswar Bora b1942. Nacaghara. Granthalaya, Nagaon, Assam, 1st edition, 1980. DCLC. <br />36 <br />Jnanadabhiram Borooah. Folk Tales of Assam. The Timber and Stores Agency, Howrah, 1916. MNUG. <br />37 <br />Department of Oriental Printed Books British Museum and Manuscripts. Catalogue of the Marathi, Gujarati, Bengali, Assamese, Oriya, Pushtu, and Sindhi Manuscripts in the Library of the British Museum. British Museum, London, 1905. MNUG, PAUG, CUBG. <br />38 <br />1812-1883 Bronson, Miles. A Dictionary in Assamese and English. American Baptist Mission Press, Sibsagar, 1st edition, 1867. PAUG. <br />39 <br />William Barclay Brown. An Outline Grammar of the Deori Chutiya Language Spoken in Upper Assam with an Introduction, Illustrative Sentences, and Short Vocabulary. Printed at the Assam Secretariat Printing Office, Shillong, 1895. Microform. UKBX. <br />40 <br />Birendranath Datta and Dilip Kumar Kalia, editors. Ciphum-Gumgam : Asamar Bhaiyamar Janajatiya Goshthisamuhar Git Pad. Loka-sahityar rahaghara grantharaji; 1. Distributor: Granthapith, Guwahati, 1986. Contributed articles on the folk-songs of Assam; DCLC, NYPG. <br />41 <br />Pranaw Jyoti Deka b1940. Jyoti Dwibhashik Abhidhan. Pranawajyoti Deka, Guwahati, 1st edition, 1990. DCLC. <br />42 <br />Mahendranath Dube b1942. Purvottara Bharatiya Bhashaom ke Sarvanama. Sakti Prakasana, Varanasi, 1st edition, 1980. DCLC, ILRC, MIUG, MNUG, NYCX, NYPG, PAUG. <br />43 <br />P. N. Dutta Baruah b1947. An Intensive Course in Assamese. Central Institute of Indian Languages, Mysore, 1980. DCLC, CSUG, CUBG, IAUG, ILRC, MIUG, NYCX, NYPG, NYRG, PAUG. <br />44 <br />Jatindranath Duwara. Kabi Aru Kabi-Pratibha. Students Emporium, Dibrugarh, 1988. DCLC. <br />45 <br />Sidney Endle 1840?-1907. Outline of the Kachari (Baro) Language as Spoken in District Darrang, Assam. Shillong, 1884. Printed at the Assam Secretariat Press, Microform, UKBX. <br />46 <br />Jayakanta Gandhiya b1944. Huncari, Mukali Bihu, aru Bihunac. Banalata, Dibrugarh, 2nd edition, 1988. DCLC. <br />47 <br />Padmeswar Gogoi b1907. Asamat Pracalita Pauranik Akhyanasamuhar Mul-Bicar. Gogoi, Guwahati, 1971. NYPG, DCLC, ILRC. <br />48 <br />Lila Gogoi b1927. Bihugit Aru Banaghosha. Lawyers Book Stall, Guwahati, 1961. NYPG. <br />49 <br />Lila Gogoi b1927. Asamiya Loka-Sahityar Ruparaekha. 1968. PAUG. <br />50 <br />Lila Gogoi b1927. Sahitya-Samskriti-Buranji. Distributor: New Book Stall, Dibrugarh, 1972. NYPG. <br />51 <br />Lila Gogoi b1927. The Buranjis, Historical Literature of Assam. Omsons Publications, New Delhi, 1986. CASX, CUBG, DCLC, IAUG, MIUG, MNUG, NYCG, NYCX, NYPG, PAUG. <br />52 <br />Lila Gogoi b1927. Asamiya Loka-Sahityar Ruparekha. Students Emporium, 3rd edition, 1987. DCLC. <br />53 <br />Golockchandra Goswami. An Introduction to Assamese Phonology. Deccan College Postgraduate and Research Institute, Poona, 1st edition, 1966. DCLC, MNUG, NYCX, PAUG. <br />54 <br />Golockchandra Goswami. Structure of Assamese. Department of Publication, Gauhati University, Gauhati, 1st edition, 1982. With a Foreword by M.B. Emeneau, CSUG, PAUG. <br />55 <br />Upendranath Goswami. A Study on Kamrupi. Dept. of Historical Antiquarian Studies, Government of Assam, Gauhati, 1st edition, 1970. DCLC, CUBG, MIUG, MNUG, NYCX, NYPG, PAUG. <br />56 <br />Upendranath Goswami. An Introduction to Assamese. Mani-Manik Prakash, Gauhati, 1978. DCLC, CUBG, IAUG, ILRC, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG. <br />57 <br />Praphulladutta Goswami b1910. Bihu Songs of Assam. Lawyer's Book Stall, Gauhati, 1957. CUDG, MIUG, NYRG. <br />58 <br />Praphulladutta Goswami b1910. The Springtime Bihu of Assam. Lawyer's Book Stall, Gauhati, 1st edition, 1966. DCLC, CUBG, ILNG, MNUG, PAUG. <br />59 <br />Praphulladatta Goswami b1919. Folk-Literature of Assam. Department of Historical and Antiquarian Studies in Assam, Gauhati, 1954. CUBG, NYRG. <br />60 <br />Praphulladatta Goswami b1919. Ballads and Tales of Assam. Department of Publication, Gauhati University, Gauhati, Assam, 1960. NYRG. <br />61 <br />Praphulladatta Goswami b1919. Folk-Literature of Assam. Department of Historical and Antiquarian Studies in Assam, Gauhati, 2nd edition, 1965. PASG, MNUG, PAUG. <br />62 <br />Praphulladatta Goswami b1919. Bohag Bihu of Assam and Bihu Songs. Publication Board, Government of Assam, Guwahati, 1988. DCLC, CUBG, NYCG, NYCX, NYPG, PAUG. <br />63 <br />Philip Richard Thornhagh Gurdon. Some Assamese Proverbs. The Assam Secretariat Printing Office, Shillong, 1896. MIUG. <br />64 <br />Bisweswar Hazarika. Assamese Language. Joya Prakashan, 1985. CSUG. <br />65 <br />Parikshit Hazarika. Asamiya Prawandha-Manjari. Pancawatana Pharmma, Hauli, 1964. NYPG. <br />66 <br />Parikshit Hazarika. Sahityar Jeuti. Oriental Book Company, Guwahati, 1st edition, 1973. NYPG. <br />67 <br />Rajendra Nath Hazarika. Sahityalekha. published by Hazarika, Guwahati, 1975. <br />68 <br />Atulchandra Hazarika b1906. Kamarupa-Ratnamala. Kamarupa Sahitya Parishada, Guwahati, 1973. NYPG. <br />69 <br />T. Jones. Bengal (India) Correspondence Relating to Vernacular Education in the Lower Provinces of Bengal; Returns Relating to Native Printing Presses and Publications in Bengal; A Return of the Names and Writings of 515 Persons Connected with Bengali Literature. Calcutta, 1855. Microform. CUBG. <br />70 <br />Banikanta Kakati. Aspects Of Early Assamese Literature. Gauhati University, Gauhati, 2nd edition, 1959. DCLC, CUDG, NYRG. <br />71 <br />Banikanta Kakati. Assamese, Its Formation and Development. Lawyer's Book Stall, Gauhati, Assam, 2 edition, 1962. CUBG, MNUG, NYPG. <br />72 <br />Banikanta Kakati. Assamese, Its Formation And Development. Lawyer's Book Stall, Gauhati, 2nd edition, 1962. CUBG, MNUG, NYPG. <br />73 <br />Banikanta Kakati d1952. Assamese, Its Formation and Development. Government of Assam, Department of Historical and Antiquarian Studies, Narayani Handiqui Historical Institute, Gauhati, Assam, 1 edition, 1941. CASX. <br />74 <br />Banikanta Kakati d1952. Aspects of Early Assamese Literature. Gauhati University, Gauhati, Assam, 1953. MNUG. <br />75 <br />Banikanta Kakati d1952. Banikanta-Cayanika. Sahitya Akademi, New Delhi, 1981. PROSE WORKS. SELECTIONS. 1982; ILRC, NYPG. <br />76 <br />Naren Kalita, editor. A Descriptive Catalogue of Manuscripts Preserved at The Library of the Srimanta Sankaradeva Research Institute, Batadrava. Srimanta Sankaradeva Research Institute Library, Batadrava, Nagaon, 1990. Sepoy Rebellion, 1857-1858, Phulaguri, India; DCLC. <br />77 <br />Dandinath Kalita 1890-1955. Asam-sandhya. Nalbari, 1975. Chandrakanta Singha, King of Assam, 1811-1821; Poetry; WA WAU. <br />78 <br />S. P. Kay. An English-Mikir Vocabulary. Shillong, 1904. Printed at the Assam Secretariat Printing Office. CSCW. <br />79 <br />Kesab Mahanta. Asamiya Ramayani Sahitya. published by Bapacandra Mahanta, and Kesada Mahanta, Jorhat, 1984. DCLC. <br />80 <br />Ratneswar Mahanta 1864-1893. Ratneswara Mahanta Racanawali. Asam Prakasan Parishad, Guwahati, 1977. Works, NYPG. <br />81 <br />Pona Mahanta b1943. Western Influence on Modern Assamese Drama. Mittal Publications, Delhi, India, 1985. DCLC, CUBG, IAUG, MIUG, MNUG, NYCG, NYCX, NYPG, PAUG. <br />82 <br />Kaliram Medhi. Asamiya Byakarana aru Bhashatattwa. Asama Prakasana Parishada, Guwahati, 1978. DCLC, ILRC, NYPG. <br />83 <br />Kaliram Medhi. Studies in the Vaisnava Literature & Culture of Assam. Asom Sahitya Sabha, Jorhat, 1978. DCLC, CUBG, IAUG, ILRC, MIUG, NYCG, NYPG, NYRG, PAUG. <br />84 <br />Kaliram Medhi. Kalirama Medhi Racanawali. Asom Sahitya Sabha, Jorhat, 1979. Works, DCLC, ILRC, NYPG. <br />85 <br />Kaliram Medhi. Assamese Grammar and Origin of the Assamese Language. Publication Board, Government of Assam, Guwahati, 1st edition, 1988. DCLC, CUBG, NYCG, NYPG, PAUG. <br />86 <br />Tilottoma. Misra. Literature and Society in Assam. Omsons Publications, Guwahati, 1st edition, 1987. DCLC, CUBG, IAUG, MIUG, NYCG, NYCX, NYPG, NYRG, PAUG, NYPG. <br />87 <br />Purneswar Nath, editor. Dandinatha Kalita, Kriti aru Krititwa. Tezpur Sahitya Sabha, Tezpur, 1990. Birth centenary volume on Dandinatha Kalita, 1890-1955, Assamese poet and dramatist; comprises contributed articles. <br />88 <br />Debi Prasanna Pattanayak b1931. A Controlled Historical Reconstruction of Oriya, Assamese, Bengali, and Hindi. University Microfilms, Ann Arbor, 1965. CUBG. <br />89 <br />Debi Prasanna Pattanayak b1931. A Controlled Historical Reconstruction of Oriya, Assamese, Bengali, and Hindi. Mouton, The Hague, 1966. DCLC, CASX, CSCW, CSUG, CUDG, FLFG, FLUG, IAUG, ILNG, MNUG, NYBG, NYCX, NYRG, PASG, PAUG. <br />90 <br />Anandaram Dhekial Phukan 1829-1859. Anandaram Dhekiyal Phukanar Racana Samgrah. Lawyer's Book Stall, Guwahati, 1977. NYPG. <br />91 <br />Tarunram Phukan 1877-1939. Tarunarama Phukana Racanawali. Asam Prakasan Parishada, Guwahati, 1977. [works]; DCLC, NYPG. <br />92 <br />Prabhat Chandra Sabhapandit. Sociological Study of the Post-War Assamese Novel. Omsons Publication, Guwahati, 1st edition, 1988. DCLC, MIUG, NYCG, NYCX, NYPG, PAUG. <br />93 <br />Sahityarathi Lakshminath Bezbaroa Birth Centenary Celebration Committee. Assamese Language and Literature and Sahityarathi Lakshminath Bezbaroa. Delhi, 1968. DCLC, CUBG, MNUG. <br />94 <br />Nagen Saikiya. Background of Modern Assamese Literature. Omsons Publications, New Delhi, 1st edition, 1988. DCLC, NYCG, NYPG, PAUG. <br />95 <br />Paresh Chandra Deva Sarma. Assamese Tutor. Lawyer's Book Stall, Gauhati, 1962. MNUG, NYPG. <br />96 <br />Satyendranath Sarma b1917. Epics and Puranas in Early Assamese Literature. Gauhati, Distributor: Bani Prakash, Gauhati, 1972. NYPG, ILRC, NYCX, PAUG. <br />97 <br />Satyendranath Sarma b1917. Assamese Literature. Harrassowitz, Wiesbaden, 1976. NYPG, CASX, CTYG, CUBG, CUDG, DCLC, IAUG, ILNG, MIUG, MNUG, NYCG NYCX, NYRG, NYUG, PAUG, RIBG. <br />98 <br />Mukunda Madhava Sharma. Assamese for All. Asam Sahitya Sabha, Jorhat, 1963. NYPG, MNUG. <br />99 <br />P. N. Shastri b1923. The Writers Workshop Handbook of Assamese Literature. Writers Workshop, Calcutta, c1972. NYPG, CSUG, DCLC, ILRC, MNUG, NYCX, PAUG. <br />100 <br />Dayarama Uwari b1944. Bodo Language Through English and Assamese. Uwari, Gauhati, 1st edition, 1980. DCLC, NYCG, NYCX.Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com4tag:blogger.com,1999:blog-7823291760828692160.post-91219941666246540822008-02-29T06:37:00.003-08:002008-03-14T09:04:00.950-07:00About Axom Xahitya Xabha (Assam Literary Society) & Bodo Sahitya Sabha<a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9qgii2QURI/AAAAAAAAC00/uA2GMhe3a4c/s1600-h/ass%2Blogo.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9qgii2QURI/AAAAAAAAC00/uA2GMhe3a4c/s400/ass%2Blogo.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5177627236946170130" /></a><br /><br /><br />The Axom Xahitya Xabha (Assamese: অসম সাহিত্য সভা, Ôxôm Xahityô Xôbha or "Assam Literary Society") was founded in 1917 in Assam, India to promote the culture of Assam and Assamese literature. Presently it has about one thousand branches all over Assam and also outside the state. The central office is at Jorhat a city of historical importance. The branches and the district units also have their offices in their respective places.<br /><br />Till 1826 A.D. Assam was ruled mainly by Ahom and Koch dynasties. In 1826, Assam came under the rule of the British, and in the process it had become a part of the political map of India. Of course Assam was always an integral part of the cultural map of India.<br /><br />However , the history of modern Assam, modern Assamese language and literature and culture found their starting points in the early part of the 19th century. Since 1872 some efforts were made to build up some organisations to work for the development of Assamese language, literature and culture of the modern period.<br /><br />Ôxôm Xahityô Xôbha was the final results of all those efforts. In 1917 it came into being. The first conference was held in the month of December 1917 under the presidentship of Padmanath Gohain Baruah, a big name in the history of modern Assamese literature. Since then the annual conference, nowadays biennial, is held with great pomp and grandeur, and a writer of high reputation is elected to the presidency of the Society.<br /><br />The conference of the Society become a big literary festival, unique in its character, which is attended by thousands of people. The writers of the state assemble, exchange their views and address the people. <br /><br />Objectives of Axom Xahitya Xabha<br /><br />Since 1926, it has been publishing a quarterly research journal regularly. Besides publications, the Sabha holds writer's meet, poet's meet, seminars, talks, meet the author programmes, memorial celebrations ( of the writes of the past etc. ). The Sabha confers three very prestigious titles to the creative writers and scholars. <br />Also, it conducts thirty endowment funds to award the writers, scholars and artists of the state. Asam Sahitya Sabha carries the cultural aspirations of the people of Assam. It has been trying to propagate the human and democratic values.<br /><br />For the all round development of the language, literature and culture,Asam Sahitya Sabha has been taking various programmes including the publications of Dictionary, Grammar, Research woks, monographs on languages, literature, culture, tribes and races etc., books on literary criticism, complete works of the great writers of Assam etc. The number of titles published till date is about 500 ( five hundred ).<br /><br /><br /><br />$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />AXOM XAHITYA XABHA Presidents<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Year Name Place<br />• 1917 Padma Nath Gohain Barua, Sivasagar <br />• 1918 Chandra Dhar Barua, Goalpara <br />• 1919 Kaliram Medhi, Barpeta <br />• 1920 Hem Chandra Goswami, Tezpur <br />• 1923 Amrit Bhushan Dev Adhikari, Jorhat <br />• 1924 Kanaklal Barua, Dibrugarh <br />• 1924 Lakshmi Nath Bezbarua, Guwahati <br />• 1925 Rajani Kanta Bordoloi, Nagaon <br />• 1926 Benu Dhar Rajkhowa, Dhubri <br />• 1927 Tarun Ram Phukan, Goalpara <br />• 1929 Kamala Kanta Bhattacharyya, Jorhat <br />• 1930 Mafijuddin Ahmed Hazarika, Golaghat <br />• 1931 Nagendra Narayan Choudhury, Sivasagar <br />• 1933 Jnanadabhiram Barua, North Lakhimpur <br />• 1934 Ananda Chandra Agarwalla, Mangaldoi <br />• 1936 Raghunath Choudhari, Tezpur <br />• 1937 Krishna Kanta Handique, Guwahati <br />• 1940 Moidul Islam Bora, Jorhat <br />• 1944 Nilamoni Phukan, Sivasagar <br />• 1947 Nilamoni Phukan, Dibrugarh <br />• 1950 Ambikagiri Roy Choudhury, Margherita <br />• 1953 Surya Kumar Bhuyan, Shillong <br />• 1955 Nalini Bala Devi, Jorhat <br />• 1955 Jatindra Nath Duarah, Guwahati <br />• 1956 Benudhar Sarma, Dhubri <br />• 1958 Padmadhar Chaliha, Tinsukia <br />• 1959 Atul Chandra Hazarika, Nagaon <br />• 1960 Trailokya Nath Goswami, Palashbari <br />• 1961 Trailokya Nath Goswami, Goalpara <br />• 1963 Ratna Kanta Borkakati, Nazira <br />• 1964 Mitradev Mahanta, Digboi <br />• 1965 Dimbeshwar Neog, Nalbari <br />• 1966 Binanda Chandra Barua, North Lakhimpur <br />• 1967 Nakul Chandra Bhuyan, Dibrugarh <br />• 1968 Jnyana Nath Bora, Tezpur <br />• 1969 Ananda Chandra Barua, Barpeta <br />• 1970 Upendra Chandra Lekharu, Dhing <br />• 1971 Tirtha Nath Sarma, Makum <br />• 1972 Hem Barua, Dhubri <br />• 1973 Giridhar Sarma, Rangiya <br />• 1974 Maheshwar Neog, Mangaldoi <br />• 1975 Satyendra Nath Sarma, Titabor <br />• 1976 Jagyneshwar Sarma, Tihu <br />• 1977 Syed Abdul Malik, Abhayapuri <br />• 1978 Prasannalal Choudhury, Golaghat <br />• 1979 Atul Chandra Barua, Sualkuchi <br />• 1980 Jatindra Nath Goswami, Raha <br />• 1981 Sitanath Brahma Choudhury, Tinsukia <br />• 1982 Sitanath Brahma Choudhury, Diphu <br />• 1983 Birendra Kumar Bhattacaryya, Bongaigaon <br />• 1985 Jogesh Das, Bihpuria <br />• 1986 Biren Borkotoki, Kampur <br />• 1987 Mahendra Bora, Pathsala <br />• 1988 Kirthi Nath Hazarika, Hailakandi <br />• 1989 Mahim Bora, Dumduma <br />• 1990 Naba Kanta Barua, Bishwanath Chariali <br />• 1991 Nirmal Prabha Bordoloi, Dhudhnoi <br />• 1992 Lakshyadhar Choudhury, Goreshwar <br />• 1993 Bhupen Hazarika, Sivasagar <br />• 1994 Lila Gogoi, Morigaon <br />• 1995 Hitesh Deka, Sarthebari <br />• 1996 Laksminandan Bora, Bokakhat <br />• 1997 Nagen Saikia, Bilashipara <br />• 1998 Nagen Saikia, Howraghat <br />• 1999 Chandra Prasad Saikia, Hajo <br />• 2000 Chandra Prasad Saikia, Jorhat <br />• 2001 Homen Borgohain, Dibrugarh <br />• 2002 Homen Borgohain, Kalgachia <br />• 2003 Birendra Nath Dutta, North Lakhimpur <br />• 2004 Birendra Nath Dutta, Hojai <br />• 2005 Kanak Sen Deka, Siphajhar <br />• 2006 Kanak Sen Deka, Belsar <br />• 2007 Kanak Sen Deka, Chapar<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Some related information regarding Asom Xahitya Xabha<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1) What was foundation name of Asom Sahitya Sabha? When it was established ? Who were first president and secretary?<br /><br /> Foundation name of Asom Sahitya Sabha Was Sadau Asom <br /> Sahitya Sanmilan.<br /> It was established on 26th December 1917.<br /> 1st President was Pamanath Gohain<br /> 1st Secretary was Sarat ch. Goswami.<br /><br />2. From when Asom Sahitya Sabha was renamed? <br /> <br /> From 5th May 1924<br /><br />3 Who is monographer of the symbol ? When it was drawn?<br /> <br /> Jugal Das. It was drawn on 28th October 1960. <br /><br />4) From when political persons are attending Asom Sahitya <br />Sabha?<br /><br /> In 1952 , Assam C.M. Bishnuram Medhi inagruated the function in Shillong. <br /> <br />Who was the first president for Asom Sahitya Sabha<br />for consecutive two times?<br /><br /> Bagmibar Nilmoni Phookan presided the Sabha in 1946 at Sivasagar and in 1948 at Dibrugarh conference.<br /> <br />Where is the head office of Asom Sahitya Sabhalocated?<br />Who and when opened it?<br /><br /> Chandrakanta Bhawan is the main office of the Sabha and is situated in the heart of Jorhat city.<br /> It was opened by Sir John Kere , then Governor of Assam <br />on 2nd December 1926. <br /><br />7. Which are opening and closing songs of Asom Sahitya Sabha?<br /><br /> Opening ------ Bajak Daba Bajak Sankh.<br /> Closing ------O mor Aponar Desh.<br /><br />8. What is the highest title of Asom Sahitya Sabha?<br /> Sadasya Mahiyan.<br /><br />9. Asom Sahitya Sabha observed a week on the demise day of Jyoti Prokash Agarwalla. What is the week?<br /> Asom Sahitya Sabha Sapatah.<br /><br />Address:<br /><br />Asom Sahitya Sabha, <br />Dighlipukhuri, Guwahati, Assam 781001 India <br />Country: India <br />Phone: <br />91-361-2515830<br />91-361-2223146; <br /><br />91-9435048146 (mobile) <br /><br /><br />$$$$$$$$$$$$$$$$$$$$$<br />Bodo Sahitya Sabha<br />$$$$$$$$$$$$$$$$$$$$$<br /><br />On November 16, 1952, the Bodo Sahitya Sabha, the vanguard of Bodo language and literature, was founded at Basugaon, in the district of Kokrajhar, Assam consisting of representatives of Assam, West Bengal, Meghalaya, Nagaland, Tripura and Nepal in abroad.<br /><br />Early work<br />After India obtained independence, a critical mass of Bodo intellectuals realized the need for preservation of Bodo language. Many early Bodo authors studied in schools and colleges, where medium of instruction was either Assamese or Bangla. Bodo intellectuals felt that Bodo language must be preserved and developed at par with Assamese and Bangla languages. Bodo people realized very late that the education was the key component to the overall development of Bodo people and their language. After prolonged struggle and determination of the Bodo Sahitya Sabha (Bodo Literary Organization), the Bodo language was introduced as a medium of instruction at primary level in 1963 and then at secondary level in 1968. Bodo language and literature has been recognized as one of the Major Indian Languages (MIL) in Gauhati, Dibrugarh and North-Eastern Hill Universities. In 1985, Bodo has been recognized as an associated state official language of Assam.<br /><br /><br />Recent development<br />Now the language has attained a position of pride with the opening of the Post-Graduate Courses in Bodo language and literature in the University of Gauhati in 1996. Moreover,under the aegis of the commission for Scientific and Technical terminology, HRD Ministry, the Govt. of India, the Bodo Sahitya Sabha is preparing more than forty thousand scientific and technical terms in Bodo language. Further, it is promised, the Sahitya Academy would accord "Bhasa Sonman"(respect for language) to the Bodo language and literature as an initial token of full-fledged recognition to it. Furthermore, the Govt. of India, in principle, has recognized the necessity of inclusion of the Bodo language and lterature in the Eighth Schedule of the Constitution of India.<br /><br />Contributions<br />Moreover the Bodo Sahitya Sabha has to its credit a large number of books on prose, poetry, drama, short story, novel, biography, travelogue, children's literature & criticism.Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com1tag:blogger.com,1999:blog-7823291760828692160.post-88957335209529534942008-02-29T06:37:00.001-08:002008-06-12T07:23:55.304-07:00Rural assam day to day life !!!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SFEwpcm48tI/AAAAAAAADgU/KriM7KLtSrg/s1600-h/GAO.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SFEwpcm48tI/AAAAAAAADgU/KriM7KLtSrg/s400/GAO.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5210999732456452818" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SFEwpndR5kI/AAAAAAAADgc/CgNaoyQF4ho/s1600-h/GAOO.JPG"><img style="display:block; 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display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R-JN1hqJvRI/AAAAAAAAC1M/QVPnCYb2E9c/s400/r1.jpg" alt="" id="BLOGGER_PHOTO_ID_5179788103393066258" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-JN1xqJvSI/AAAAAAAAC1U/zfMZwOarqw4/s1600-h/r2.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-JN1xqJvSI/AAAAAAAAC1U/zfMZwOarqw4/s400/r2.bmp" alt="" id="BLOGGER_PHOTO_ID_5179788107688033570" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-JN1xqJvTI/AAAAAAAAC1c/7FwqMoYveCo/s1600-h/r3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-JN1xqJvTI/AAAAAAAAC1c/7FwqMoYveCo/s400/r3.jpg" alt="" id="BLOGGER_PHOTO_ID_5179788107688033586" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R-JN2BqJvUI/AAAAAAAAC1k/pwonKm0acAQ/s1600-h/r4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R-JN2BqJvUI/AAAAAAAAC1k/pwonKm0acAQ/s400/r4.jpg" alt="" id="BLOGGER_PHOTO_ID_5179788111983000898" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R-JN2BqJvVI/AAAAAAAAC1s/RJYZK9mYoos/s1600-h/r5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R-JN2BqJvVI/AAAAAAAAC1s/RJYZK9mYoos/s400/r5.jpg" alt="" id="BLOGGER_PHOTO_ID_5179788111983000914" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9lFVy2QUBI/AAAAAAAACy0/rKb2ZK44ILM/s1600-h/rural+assama.bmp"><img id="BLOGGER_PHOTO_ID_5177245487367999506" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9lFVy2QUBI/AAAAAAAACy0/rKb2ZK44ILM/s400/rural+assama.bmp" border="0" /></a> ------------------------------RURAL ASSAM------------------------------------<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9lFWi2QUCI/AAAAAAAACy8/t6ZWdRmbt4o/s1600-h/housing.bmp"><img id="BLOGGER_PHOTO_ID_5177245500252901410" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9lFWi2QUCI/AAAAAAAACy8/t6ZWdRmbt4o/s400/housing.bmp" border="0" /></a> ----------------------------------An assam type house---------------------------<br /><div><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9lC5i2QT_I/AAAAAAAACyk/WZ5Jt1Ua2MY/s1600-h/paddy+field.bmp"><img id="BLOGGER_PHOTO_ID_5177242803013439474" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9lC5i2QT_I/AAAAAAAACyk/WZ5Jt1Ua2MY/s400/paddy+field.bmp" border="0" /></a> ------------------------paddy field------------------------------------<br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9lC6C2QUAI/AAAAAAAACys/PywHcii3CX4/s1600-h/cultivation.bmp"><img id="BLOGGER_PHOTO_ID_5177242811603374082" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9lC6C2QUAI/AAAAAAAACys/PywHcii3CX4/s400/cultivation.bmp" border="0" /></a><br /><br /><div><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9lB_C2QT6I/AAAAAAAACx8/5Lq0GNdIM7w/s1600-h/paddy+field.bmp"></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R9lB_S2QT7I/AAAAAAAACyE/-ibyN_XN9SA/s1600-h/kitchen.bmp"><img id="BLOGGER_PHOTO_ID_5177241802286059442" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R9lB_S2QT7I/AAAAAAAACyE/-ibyN_XN9SA/s400/kitchen.bmp" border="0" /></a> ------------------------------In kitchen (chowka)---------------------------------<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9lB_i2QT8I/AAAAAAAACyM/_5wDqgU0t5U/s1600-h/assamese+thali.bmp"><img id="BLOGGER_PHOTO_ID_5177241806581026754" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9lB_i2QT8I/AAAAAAAACyM/_5wDqgU0t5U/s400/assamese+thali.bmp" border="0" /></a> -------------------------------Traditional meal in traditional Kaahi and baati's---------------------------<br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9lB_y2QT9I/AAAAAAAACyU/p-DVFlruzWU/s1600-h/dheki.JPG"><img id="BLOGGER_PHOTO_ID_5177241810875994066" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9lB_y2QT9I/AAAAAAAACyU/p-DVFlruzWU/s400/dheki.JPG" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9lCAC2QT-I/AAAAAAAACyc/QebKDEKJW9E/s1600-h/paddy+field.bmp"></a>-----------------------the rice crusher (Dheki)---------------------------------<br /><br /><br /><div><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9k_1C2QT1I/AAAAAAAACxU/H89XAeDOTbI/s1600-h/duck1.bmp"><img id="BLOGGER_PHOTO_ID_5177239427169144658" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9k_1C2QT1I/AAAAAAAACxU/H89XAeDOTbI/s400/duck1.bmp" border="0" /></a> ---------------------------ladies in charge of poultry----------------------------<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9k_1i2QT2I/AAAAAAAACxc/DnTmAa8Svpo/s1600-h/bhoral.bmp"><img id="BLOGGER_PHOTO_ID_5177239435759079266" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9k_1i2QT2I/AAAAAAAACxc/DnTmAa8Svpo/s400/bhoral.bmp" border="0" /></a> ------------------------------Rice store house (bhoral)-------------------------<br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9k_1y2QT3I/AAAAAAAACxk/M0S05yaYzvU/s1600-h/goohali.bmp"><img id="BLOGGER_PHOTO_ID_5177239440054046578" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9k_1y2QT3I/AAAAAAAACxk/M0S05yaYzvU/s400/goohali.bmp" border="0" /></a> -------------------------------cow shelter houses (Go-hali)--------------------<br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9k_6y2QT4I/AAAAAAAACxs/j31h7AQuZys/s1600-h/handloom.bmp"><img id="BLOGGER_PHOTO_ID_5177239525953392514" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9k_6y2QT4I/AAAAAAAACxs/j31h7AQuZys/s400/handloom.bmp" border="0" /></a> -----------------------------------the handloom (Taat Xaal)---------------------<br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9k_7C2QT5I/AAAAAAAACx0/uvijbr5BOnQ/s1600-h/paakghar.bmp"><img id="BLOGGER_PHOTO_ID_5177239530248359826" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9k_7C2QT5I/AAAAAAAACx0/uvijbr5BOnQ/s400/paakghar.bmp" border="0" /></a><br />-----------------------------------chouka at paakghar-----------------------<br /><br /><br /><div><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9k7fi2QTwI/AAAAAAAACws/s2oPbgWelGA/s1600-h/domkol.bmp"><img id="BLOGGER_PHOTO_ID_5177234659755446018" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9k7fi2QTwI/AAAAAAAACws/s2oPbgWelGA/s400/domkol.bmp" border="0" /></a> -------------------------------lady using handpump (domkol)-------------------------<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9k7gi2QTxI/AAAAAAAACw0/PfCIBEuGWRA/s1600-h/poultry.bmp"><img id="BLOGGER_PHOTO_ID_5177234676935315218" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9k7gi2QTxI/AAAAAAAACw0/PfCIBEuGWRA/s400/poultry.bmp" border="0" /></a> -------------------------------poultry houses------------------------------<br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9k7gy2QTyI/AAAAAAAACw8/_sUbGYKGKoE/s1600-h/poultry2.bmp"><img id="BLOGGER_PHOTO_ID_5177234681230282530" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9k7gy2QTyI/AAAAAAAACw8/_sUbGYKGKoE/s400/poultry2.bmp" border="0" /></a> -----------------------------lady with poultries----------------------------------<br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R9k7hS2QTzI/AAAAAAAACxE/1kBhpuyvWq8/s1600-h/poultry1.bmp"><img id="BLOGGER_PHOTO_ID_5177234689820217138" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R9k7hS2QTzI/AAAAAAAACxE/1kBhpuyvWq8/s400/poultry1.bmp" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9k7hy2QT0I/AAAAAAAACxM/1c5BRAQYBPg/s1600-h/duck.bmp"><img id="BLOGGER_PHOTO_ID_5177234698410151746" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9k7hy2QT0I/AAAAAAAACxM/1c5BRAQYBPg/s400/duck.bmp" border="0" /></a><br /><br /><br /><br /><br /><div>A traditional middle class Rural Assam household has some common features like<br /><br />1) Assam type houses made of wood, bamboo with a inverted “v” like dome.<br /><br />2) Drawing room with Wooden furniture set, small sitting furniture made of bamboo (Murha) to sit. Bell metal accessory to keep betel nut and betel leaf (Paan tamulor bota) for the home use as well as giving it to the visitor after meal/breakfast. Bell metal cultural showpiece (Xorai) on a wooden table in the drawing room and Jaapi on the wall.<br /><br />3) Dining room with a round/rectangular table with four/six sitting capacity.a cover over a tray with food is usually seen in assamese houses.<br /><br />4) A puja ghar with photos altars of the revered deity.<br />Bedroom with wooden beds. It also has tables for the children to read over which you can have lamp with chimney or torch. Wooden manually usable fan (bichoni) is also kept for use In the bedroom as well as in drawing room<br /><br />5) Assamese Kitchen called as Aakhol Ghor or paakghar normally has two parts. First the dining area plus a small cooking space for tea etc. And the next bigger and more functional room is the actual kitchen with at least two earthen fire places (chowka)<br /><br />Various cooking accessories found in a traditional rural assamese household are<br />the keraahi (iron woks) where most of the cooking and frying is done,<br />the pressure cooker --the most universal cooking accessory<br />the rimmed, deep, flat-bottomed dekchi<br />the handi - a special large pot for cooking rice and the handleless modification of the sauce pan -<br />the tawa (griddle) on which rotis and parotas are made<br />hetaa or Koroch (ladle),<br />the khonti (metal spatula),<br />the ghutni (wooden hand blender) ,<br />the wooden belona (round pastry board and rolling pin).<br /><br />6) Bathroom (ga dhua ghar) with a Indian style latrine.<br /><br />At the back yard the following could be seen:<br /><br />1) Poultries (Murgi/ Haanh goral)<br /><br />2) Dairy farm (guhali)<br /><br />3) Weaving loom (Taat Saal)<br /><br />4) Small multipurpose rice storage house (Bhoral ) where rice stocks and agricultural tools like sickle(kachi), plough(nangal), plough share(Haal), Khurpi, daa, kotaari etc are kept.<br /><br />5) Rice crusher (Dheki)<br /><br />6) Domestic gardens at the backyard where cabbage, cauliflower,radish, Cow peas, potato,carrot, corn, sugarcane, onion, garlic, ginger, pumpkin, bottleguard, White gourd, brinjal, Broad/Butter Beans, Custard Apple,lemon, Corriander, Drumstick, lady finger, tomato, Mint Leaves, cucumber, chillies,spinach, Star Fruit trees, betel-nut, betel leaf, mango trees, coconut trees, banana trees, papaya trees, dry plum trees, Goose berry (aamlokhi) trees, Pomegranate trees, Olive trees, pine apple trees, guava trees, jack fruit trees,etc. are reared or cultivated.<br /><br />7) Tulasi trees are revered with sprinkling of holy water as a mark of devotion.<br /><br />8) A pond at the backyard whose water is used for water at home after filtering for drinking purpose, to bring water for bath or toilet, to wash cloths etc.<br /><br />9) A handpump (domkol)to collect water for necessary work.<br /><br />10) A big vessel for making food for the cows.<br /><br />11) A big empty space (varanda, chutal) for all the members to sit, talk or sun tanning.<br /><br />A boundary made of bamboo called jeura protects the home from trespassing cows. It has horizontal bamboo blockings called nongola.<br /><br /><br />The ladies usually are busy with the household chores like sweeping the floors, cooking, cleaning of utensils, washing of clothes etc as well as taking care of the chickens and ducks.<br /><br />The gents would go to the paddy fields with the cows and the required agricultural tools like plough(nangal), plough share(Haal), sickle(kachi), Khurpi, daa, kotaari etc to take care of the rice cultivation.</div></div></div></div></div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com6tag:blogger.com,1999:blog-7823291760828692160.post-16412058474901742372008-02-29T06:36:00.001-08:002008-04-10T04:00:52.151-07:00Education in Assam<a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R95y2S2QUSI/AAAAAAAAC08/93O7cm9eO_k/s1600-h/educational+facts.bmp"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R95y2S2QUSI/AAAAAAAAC08/93O7cm9eO_k/s400/educational+facts.bmp" border="0" alt=""id="BLOGGER_PHOTO_ID_5178702898620551458" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R95y2i2QUTI/AAAAAAAAC1E/vHUjLz4IX_A/s1600-h/data.bmp"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R95y2i2QUTI/AAAAAAAAC1E/vHUjLz4IX_A/s400/data.bmp" border="0" alt=""id="BLOGGER_PHOTO_ID_5178702902915518770" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8wGgBuBevI/AAAAAAAACwA/2BlKH1XOuN0/s1600-h/ASSAMESE+STUDENTS.bmp"><img id="BLOGGER_PHOTO_ID_5173517219228908274" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8wGgBuBevI/AAAAAAAACwA/2BlKH1XOuN0/s400/ASSAMESE+STUDENTS.bmp" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8wGgRuBewI/AAAAAAAACwI/NKlE4EnKzrY/s1600-h/GU1.bmp"><img id="BLOGGER_PHOTO_ID_5173517223523875586" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8wGgRuBewI/AAAAAAAACwI/NKlE4EnKzrY/s400/GU1.bmp" border="0" /></a> .............................................GAUHATI UNIVERSITY, GUWAHATI..............................<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8wGghuBexI/AAAAAAAACwQ/nZsWC-Se9kw/s1600-h/GU2.bmp"><img id="BLOGGER_PHOTO_ID_5173517227818842898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8wGghuBexI/AAAAAAAACwQ/nZsWC-Se9kw/s400/GU2.bmp" border="0" /></a> <a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8wGgxuBeyI/AAAAAAAACwY/uGjkOtHCgVg/s1600-h/GU3.bmp"><img id="BLOGGER_PHOTO_ID_5173517232113810210" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8wGgxuBeyI/AAAAAAAACwY/uGjkOtHCgVg/s400/GU3.bmp" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8wGhBuBezI/AAAAAAAACwg/9T-7g8Gj3RU/s1600-h/TUUUUU.bmp"><img id="BLOGGER_PHOTO_ID_5173517236408777522" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8wGhBuBezI/AAAAAAAACwg/9T-7g8Gj3RU/s400/TUUUUU.bmp" border="0" /></a> ......................................TEZPUR UNIVERSITY, TEZPUR ........................................<br /><br /><div><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8vi1BuBeqI/AAAAAAAACvY/8OFwKVren4o/s1600-h/IITGHY.bmp"><img id="BLOGGER_PHOTO_ID_5173477997587561122" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8vi1BuBeqI/AAAAAAAACvY/8OFwKVren4o/s400/IITGHY.bmp" border="0" /></a> ...........................................IIT, GUWAHATI....................................................<br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8vi1RuBerI/AAAAAAAACvg/Wbx9Qp_NGkc/s1600-h/AEC.bmp"><img id="BLOGGER_PHOTO_ID_5173478001882528434" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8vi1RuBerI/AAAAAAAACvg/Wbx9Qp_NGkc/s400/AEC.bmp" border="0" /></a>...................ASSAM ENGINEERING COLLEGE, GUWAHATI ......................................<br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8vi1huBesI/AAAAAAAACvo/10FjCfVbk3Y/s1600-h/JEC.bmp"><img id="BLOGGER_PHOTO_ID_5173478006177495746" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8vi1huBesI/AAAAAAAACvo/10FjCfVbk3Y/s400/JEC.bmp" border="0" /></a> .................................................JORHAT ENGINEERING COLLEGE, JORHAT ......................<br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R_3y8r5ykMI/AAAAAAAADNI/0PV4nSgCtG0/s1600-h/TU.bmp"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R_3y8r5ykMI/AAAAAAAADNI/0PV4nSgCtG0/s400/TU.bmp" border="0" alt=""id="BLOGGER_PHOTO_ID_5187569470191866050" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8vi1xuBetI/AAAAAAAACvw/Ic_YXH8tuHI/s1600-h/TCU.bmp"><img id="BLOGGER_PHOTO_ID_5173478010472463058" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8vi1xuBetI/AAAAAAAACvw/Ic_YXH8tuHI/s400/TCU.bmp" border="0" /></a> ...................................TEZPUR UNIVERSITY, TEZPUR ........................................<a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8vi2BuBeuI/AAAAAAAACv4/0cZgY4q6gLE/s1600-h/NIT+SILCHAR.bmp"><img id="BLOGGER_PHOTO_ID_5173478014767430370" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8vi2BuBeuI/AAAAAAAACv4/0cZgY4q6gLE/s400/NIT+SILCHAR.bmp" border="0" /></a> .............................NATIONAL INSTITUTE OF TECHNOLOGY, SILCHAR ......................................<br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8li1RuBeiI/AAAAAAAACuY/TV4u45nqO0w/s1600-h/aec+n+jec.JPG"></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8li1huBejI/AAAAAAAACug/QkIkLB6f1Ig/s1600-h/tezpur+univ.JPG"></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8li1xuBekI/AAAAAAAACuo/TGGDE7H9ROM/s1600-h/National+Institute+of+Technology,+Silchar.JPG"></a><br /><div>Assam has numerous educational institutions with a substantial portion of the population in the 15 to 25 age group in the major towns being computer literate.The state has a literacy rate of 52.89%. The female literacy in this region of 43.03% is higher then the national average of 39.19%. Assam has four universities and one agricultural university. It also has 3 medical colleges and one for aquaculture. With reference to technical education, the state has 4 engineering colleges including an IIT (Indian Institute of Technology), 23 vocational training institutes (ITI), 8 polytechnics and 1 junior technical school. There is a big gap between the national average and state figure in terms of technical education and all efforts are being made to achieve the national average by end of IXth Plan.As per The Assam Private University Act 2007, the following incentives are available to private investors:Legal Coverage provided<br />University to be self financed<br />Sponsoring body to estabalish endowment fund of Rs. 10 Million in tribal area and Rs. 20 million in other areas.<br />Allows campus in the state and study centres at different places In the field of education,<br /><br />the primary objective of state government is the universalisation of primary education and qualitative improvement of higher education. The number of educational institutions in Assam in the year 2004-05 is listed below: </div><div><br />Type of Institution : Number, Teacher, Enrolment<br />1.University: 5, N.A, 13371<br /><br />2.Institute of National Importance: 1, N.A, N.A<br />3.College for General Education<br />(a) Arts. Science and Commerce College :317, 10462, 370338</div><div>(b) Junior College : 125, 1614, 35672<br /></div><div>4. College for Professional Education<br />(a) Agriculture and Forestry : 2, N.A., N.A.</div><div>(b) Engineering :3, 444, 3810</div><div>(c) Law : 20, 166, 7165</div><div>(d) Veterinary: 2, 187, 736</div><div>(e) Medical College (including) Homeo/ Ayurvedic/Dental/Pharmacy/Nursing : 7, 805, 2556<br /></div><div>5. School for General Education<br />(a) Higher Secondary School: 620, 21201, 515524</div><div>(b) High/post Basic School : 4629,54224 , 1081585</div><div>(c) Middle/Senior Basic School: 8143, 73147, 1106711</div><div>(d) Primary/Jr. Basic School: 30068,83720,2624942</div><div>(e) Pre-primary/Pre Basic School: 199, 199, 746390<br /></div><div>6. Institution for Professional Education :<br />(Under Graduate)<br />(a) Polytechnic Institution 8 NA, 4500</div><div>(b) Technical Industrial Arts and Craft School 32, NA, 4560</div><div><br /></div><div>7. Teachers Training institution </div><div>(a) Teachers Training college 40, 340, 2387</div><div>(b) Teachers Training School 1, NA, NA<br /></div><div>8. School for Vocational Professional, Special and Education.<br />(a) Commerce 36, 152, 6423</div><div>(b) Music and Dancing 43, 252, 5492</div><div>(c) Arts and Craft 26, 95, 678</div><div>(d) Junior Technical 6, 98, 495</div><div>(e) Handicapped 5, 98, 555</div><div>(f) Juvenile Delinquent (Jail School) 4,5, 189</div><div>Source: Statistical Hand Book, Assam, 2006. </div><div><br /></div><div></div><div>Primary education: </div><div></div><div>For achieving universal elementary education, Sarva Siksha Abhijan (SSA) and other schemes have been started. Some of the important indicators of elementary education are stated below: Total population (2001 census) : 2,66,55,528 </div><div><br /></div><div>Children population 5-13 years: 52,37,964 </div><div><br /></div><div>Children enrolled in schools: 46,28,181 </div><div><br /></div><div>Children out of school:4 ,24,845 </div><div><br /></div><div>Average teacher per school:- </div><div><br /></div><div>Lower Primary: 3 </div><div><br /></div><div>Upper Primary: 7 </div><div></div><div><br /></div><div>Till 2004, Assam has 30068 primary schools and 7704 upper primary schools. Secondary and Higher Secondary education: As on 2004, Assam has 3719 secondary schools and 788 higher secondary schools. During 2003-04, the state government granted an amount of Rs.5 lakh per schools to 20 nos. of govt. high school for renovation of their building. The state also introduced Rajib Gandhi Computer Literary Programme in some higher secondary schools. The state has recently made strides in setting up several high standard institutions to provide education in the field of engineering and management. Assam has an overall literacy rate of 64.28%. While male literacy rate is at 71.93%, the female literacy rate however is only at 56.03%, a cause for concern for the State Government.<br /><br />Higher Education: At present there are five universities in the state. There are altogether 363 institutions for higher education serving by 12425 nos. of teachers in the state during 2002-03. Out of these institutions there are only four govt. colleges. Technical Education: The technical education is one of the most crucial of resources development. The current courses with intake capacity of some institutions are given below: Sl. No. Institutions Intake capacity Nature of course </div><div><br />1 Two State Engineering Colleges: 510 Degree<br />2 Regional Engineering College, 50% seats for Assam: 105 Degree<br />3 Reserved seats in different Engineering Colleges outside Assam : 102 Degree<br />4 Nine State Polytechnics<br />(i) 1170 Diploma </div><div>(ii) 180 Post Diploma </div><div><br />One important institution in the field of technical education is IIT, Guwahati established in 1994. Adult Education: The state is also emphasizing on adult education with the help of some NGOs and through Total Literacy Campaign (TLC). Literacy Rate (in percent): 1991 Census: 52.89% 2001 Census: 64.28%<br /><br />Assam has five Universities, four Govt. Engineering colleges and three Govt. Medical colleges </div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Gauhati University, Guwahati </div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Established in 1948 under the Gauhati University Act, 1947 (Assam Act, XVI of 1947), Gauhati University is the first University in North East India.The campus area of the University is lush green and pollution free and the area in and around the Univeristy houses a population of about 5000 including the 3000 students residing in the 22 halls of residence.Facilities such as parks, playgrounds, auditorium, indoor stadium etc. are available in the campus. The University is conveniently located at Jalukbari within the Guwahati city area. It is 10 kms from the Borjhar International Airport on National Highway No. 37 and 10 kms from Guwahati Railway Station. The capital complex of Assam at Dispur is 22 kms away from the University.<br /></div><div><br /><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Assam University, Silchar </div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div>Assam University came into existence through Assam (Central) University Act, 1989 (Act. No. XIII). It was established in 1994.Since it's inception, the University is steadily becoming an excellent centre of learning. With it's 120 plus multi-disciplinary faculty from all over the country, the University sustains a complete approach to higher education. The University has eight Schools on major disciplines. They are Social Sciences, Humanities, Languages, Life Sciences, Physical Sciences, Environmental Sciences, Information Sciences and Management Studies. There are 24 Departments under these eight Schools. The campus, situated in Dargakona, about 20 kms from Silchar in South Assam, is set amid scenic hills. The 600 acres of the Univeristy campus is surrounded by lakes and mountains providing an ideal and peaceful environment for academic pursuit.The five districts under the jurisdiction of Assam University have as many as 51 Undergraduate Colleges, which speak of the depth of the intellectual and educational interests in the region. </div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />The Assam Agricultural University, Jorhat</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div> </div><div></div><div></div><div>It was established in 1969 under the Assam Agricultural University Act l968 (Assam Act XXIV of l968) vide Governor's notification LJL l8/67/l0 dated the 2nd January l969. The University has ben set up to educate people in agriculture and other allied branches of learning, furthering the advancement of learning and prosecution of research in agriculture & other allied sciences in addition to undertaking the extension of such sciences specially to the rural people of the state. The University has a number of campuses with its headquarters located at Borbheta, about 5 km from both bus station and railway station of Jorhat town, which is well connected to Guwahati, the capital of Assam by air/bus/train. There are six Directorates under the Assam Agricultural University. They are the Directorate of Research (Agriculture), the Directorate of Research (Veterinary), the Directorate of Extension Education. the Directorate of Post Graduate Studies, the Directorate of Students' Welfare and the Directorate of Physical Plant. </div><div><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Dibrugarh University, Dibrugarh</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div></div><div><br /></div><div>The easternmost University of India, it was set up in 1965 under the provisions of the Dibrugarh University Act, 1965 enacted by the Assam Legislative Assembly. It is a teaching-cum-affiliating University with limited residential facilities. The University has been accredited by National Assessment and Accreditation Council (NAAC) with an institutional score of 71% (B grade). It is a member of the Association of Indian Universities (AIU) and the Association of Commonwealth Universities (ACU). The Degrees conferred by this :University are recognised in India and abroad on a reciprocal basis. The University is situated at Rajabheta, about 5 kilometers from Dibrugarh town in the eastern part of Assam and is well linked by road, rail, air and waterways to Guwahati and the rest of the country. The University Campus extends over an area of more than 500 acres of which 60 acres are still covered under tea plantation.The territorial jurisdiction of Dibrugarh University covers seven districts of Upper Assam, Viz., Dibrugarh, Tinsukia, Sibsagar, Jorhat, Golaghat, Dhemaji and Lakhimpur.<br /></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Tezpur University, Tezpur</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />It was established by an Act of Parliament (Act. No. 45, 1993) in 1994. The University is primarily a residential one with the campus spread over an area of 242 acres. It is located at Napaam, about 15 kms. from Tezpur town which is well linked by road and rail with the rest of the state and the country. There is also a bi-weekly flight service between Kolkata and Tezpur. The Student Teacher ratio in this University is one of the lowest in the country, which means closer attention to the student. The average class size is about 25 and hence the classroom environment is entirely cohesive for one-to-one discussions. The Univeristy offers scholarships to the meritorious students in various categories viz. Govt. Scholarship for SC/ST/OBC/MOBC students, National Scholarship and Organisational Scholarship such as Williamson Magor’s Scholarship, NEC Scholarship, DBT Scholarship, Jindal Trust Scholarship etc.<br /></div><div><br /></div><div></div><div>Latest entrant***</div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$</div><div>Krishna Kanta Handique State Open University</div><div>$$$$$$$$$$$$$$$$$$$$$</div><div> </div><div></div><div>This open University is established under the provision of the Krishna Kanta Handique State Open University, Act’ 05 enacted by the Govt. of Assam & published in the Assam Gazette (extraordinary) dt 29/9/05.<br />The University has been recognised and academic programmes approved by the Distance Education Council (DEC), Govt. of India vide letter no. DEC/Misei/07/5957 dated 03-10-07.<br />The jurisdiction of the University covers the whole of the State of Assam and beyond. The motto of the University is ‘Education Beyond Barriers’ of age, academic background and geographical boundaries.<br />The Chancellor and Vice-Chancellor of the University are as follows:<br />Chancellor :Lt. General (Retd.) Ajai Singh, PVSM, AVSM,His Excellency the Governor of Assam<br />Vice-Chancellor :Prof. Srinath Baruah<br />University Address :K K Handique State Open UniversityDispur, Guwahati (India)</div><div>University site : <a href="http://www.kkhsou.org/">http://www.kkhsou.org/</a><br /></div><div></div><div></div><div><br /><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Assam Engineering College,Guwahati</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div></div><div><br /></div><div>Bordered by the Deepor Beel, a vast natural Wetland now declared a bird sanctuary, and set amidst the lush green hills on the outskirts of Guwahati city, Assam Engineering College campus offers a tranquil and pollution free environment conducive to study.Established in the year 1955, this is the first undergraduate engineering college in northeastern India and has been the hub of many intellectual and extra-curricular activities in Assam for almost half a century. The discpilines of engineering offered by this college are Civil, Chemical, Computer Science & Engineering, Electrical, Electronics and Telecommunications, Industrial & Production, Instrumentation and Mechanical. It also offers a three year post-graduate course leading to a Masters in Computer Applications (MCA) degree.<br /></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Indian Institute of Technology Guwahati </div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div></div><div><br /></div><div>This premier institute of engineering, science and technology is the sixth member of the IIT fraternity established in the year 1994. The academic programme of IIT Guwahati commenced in 1995. Indian Institute of Technology, Guwahati, currently has eleven departments covering all the major engineering and science disciplines, offering B. Tech., B. Des., M. Tech., Ph.D. and M.Sc. programmes. Within a short period of time, IIT Guwahati has been able to build upthe necessary infrastructure for carrying out advanced research and has been equipped with state-of-the-art scientific and engineering instruments. Located on a sprawling 285 hectares plot of land on the north bank of the river Brahmaputra, it is about 20 kms. from the heart of Guwahati city. Beautifully set in an ambience perfect for learning with the majestic Brahmaputra on one side and lush hills and vast open spaces on the others, the infrastrucutre boasts of state of the art facilties. </div><div><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Jorhat Engineering College, Jorhat </div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div></div><div><br /></div><div>Was established in the year 1960. The College is affiliated to the Dibrugarh University and is also recognized by A.I.C.T.E.. It offers Undergraduate Courses in Civil Engineering, Electrical Engineering, Mechanical Engineering, Computer Science & Engineering and Instrumentation Engineering. Post Graduate Courses offered are Master of Computer Applications (MCA) and Production & Industrial Engineering.The college is located at a distance of 3 km from Jorhat Town and 8 km from Jorhat Airport. Jorhat is well connected to Guwahati and the rest of the country by bus, road, rail and air. </div><div><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />National Institute of Technology, Silchar</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div></div><div><br /></div><div>Established in the year 1967, this college is affiliated to the Assam Univeristy (a central university under ACT Xlll). Located in Silchar, in the Cachar district of Assam, the campus is set amidst a peaceful, green and pollution free environment. REC Silchar maintains a high degree of quality in the field of engineering and sciences. Along with teaching, sponsored projects are carried out by the faculty and students in addition to offering consultancy to the industries in that region </div><div><br /></div><div></div><div></div><div>Latest Entrant:</div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$$$$$$$$<br /></div><div>Girijananda Chowdhury Institute of Management and Technology, Guwahati</div><div>(Private)</div><div>$$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div>Azara, Hatkhowapara</div><div>Guwahati,Kamrup</div><div>Assam,India<br />Pin Code: 781017</div><div><br /></div><div></div><div>Establishment: 2006<br />Institution Type: Private College<br />Recognition: Approved by the All India Council for Technical Education (AICTE), New Delhi; AICTE Region: Eastern</div><div></div><div><br /></div><div>courses offered by the institution :<br />Computer Science & Engineering - AICTE Approved Intake: 60 seats for 2006-07 & 2007-08<br />Electronics & Communication Engineering - AICTE Approved Intake: 60 seats for 2006-07 & 2007-08<br />Applied Electronics & Instrumentation Engineering - AICTE Approved Intake: 60 seats for 2006-07 & 2007-08<br />Information Technology - AICTE Approved Intake: 60 seats for 2006-07 & 2007-08<br />Mechanical Engineering - AICTE Approved Intake: 7; 60 seats for 2007-08<br />Master of Business Administration (MBA) - AICTE Approved Intake: 60 seats for 2007-08<br /></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Assam Medical College, Dibrugarh </div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div> </div><div></div><div></div><div>Assam Medical College was formally established on November 3, 1947 at Dibrugarh. It was earlier known as Dr. John Berry White Medical School, which was established in 1902. It has the distiction of being the first medical college in the entire North-eastern region of India. It now serves as the tertiary medical referral centre for the entire upper Assam as well as the some areas of neighbouring states, especially Arunachal Pradesh.The college is set in the midst of several tea estates and the buildings are remnants of the original British architecture, although several new constructions have come up recently under the joint collaboration of both the North Eastern Council and State Government to upgrade the college to a premier medical institution once again. In addition to the medical courses, also available are paramedical courses, viz. Nursing and Midwifery and Diploma in Pharmacy. </div><div><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Gauhati Medical College and Hospital, Guwahati </div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />With increasing demands for health care and health education, the need for more medical colleges in Assam was keenly felt. On the 20th September, 1960, the functioning of the Gauhati Medical College was formally inaugurated. Affiliated to the Gauhati University, The Gauhati Medical College has enjoyed a prestigious status in the country for its academic pursuits and patient care. It is also a referral centre for speciality and superspeciality treatment. Superspecialities provided are Cardiology, Cardiothoracic Surgery, Neurology, Neurosurgery, Endocrinology, Nephrology, Urology, Paediatric Surgery and Plastic Surgery.<br /></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Silchar Medical College & Hospital, Silchar</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div>The Silchar Medical College and Hospital was established in the year 1968. Since its inception, the SMC Hospital has been serving the entire southern part of Assam and its neighbouring states like Mizoram, North Tripura, West Manipur and South Meghalaya. The Silchar Medical College & Hospital remains the only referral hospital in the southern part of Assam. In 1977-78, the main hospital building complex at its permanent site was commissioned and this huge three-storied hospital building houses it's many departments including their out-patient departments (O.P.D.), wards, operation theatres, x-rays centres, laboratory facilities etc. </div><div><br /></div><div></div><div></div><div>Other institutions for professional education :</div><div><br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Homeopathic Colleges in Assam<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1. <br /><br />Dr.J.K.Saikia Govt.Homoeopathic Medical College<br />(Affiliated to Dibrugarh University, Dibrugarh) <br />Near Gymkhana Club Road, Distt <br />Courses : B.H.M.S.<br />----------------------------------<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$<br />2. Assam Govt. Homoeopathic Medical College and Hospital<br />(Affiliated to Guwahati University, Guwahati) <br />Mull Singh Road, Lakhingar P.O. Haibergaon,<br />Dist. Nagaon-782 002.<br />Courses : B.H.M.S.<br />-------------------------------<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />3. Swahid Jadav Nath Govt. Homoeopathic Medical College<br />(Affiliated to Guwahati University, Guwahati) <br />Vill. Bagharbari, P.O. Khanapara,<br />Guwahati-781 002<br />Courses : B.H.M.S<br />---------------------------<br /><br />$$$$$$$$$$$$$$$$$$$$<br />Ayurvedic Colleges in Assam<br />$$$$$$$$$$$$$$$$$$$$<br /><br />1. <br /><br />Government Ayurvedic College<br />(Affiliated to Guwahati University, Guwahati) <br />P.O.Guwahati University,<br />Jalukbari,Guwahati – 781 014(Assam)<br />Courses:Ayurvedacharya, Ayurved Vachaspati,<br />Kayachikitsa, Ay. Siddhant & Darshan.<br />No. of seats: 50 <br />-------------------------------<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Law Colleges in Assam<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />1. Assam University (School of Social Sciences) <br />Silchar - 788 011, Assam <br />Phone : 91-03842-270801, 270806 <br />Fax : 91-03842-270802, 270849 <br />Email : aulib@sancharnet.in<br />Website : http://www.assamuniversity.nic.in<br />Course : BA. LLB <br /><br />2. Bongaigaon Law College (BCI Approved)<br />Bongaigaon Assam<br />Courses: LL.B 3 Years and 5 Years<br /><br />3. Dispur Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Gopal Boro HS Buildings, Ganeshguri,<br />Guwahati- 6<br />Phone: 0361-2564475 <br /><br />4. Gauhati University (Faculty of Law) <br />(BCI Approved)<br />(Affiliated to Gauhati University)<br />Guwahati- 781014, Assam, INDIA <br />Phone : +91-361-2671152, 2671220,2671152, 2671220 <br />Website : http://www.gu.nic.in<br />Course : LLM, Ph.D. <br /><br />5. A.K. Chanda Law College (BCI Approved)<br />(Affiliated to Assam University)<br />Silchar, 3 Cachar Assam <br />Course : LLB <br /><br />6. Barpeta Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Dist:Barpeta P.O:Barpeta - 781301 (Assam) <br />Course : LLB <br /><br />7. Dhubri Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Dhubri 783301 Assam <br />Course : LLB <br /><br />8. D H S K Law College <br />(Affiliated to Dibrugarh University)<br />Dibrugarh Assam <br />Course : LLB <br /><br />9. Diphu Law College (BCI Approved)<br />(Affiliated to Assam University)<br />Diphu, Karbi Anglong <br /><br />10. Dr R K Barua Law College <br />(Affiliated to Dibrugarh University)<br />Dibrugarh Assam <br /><br />11. Gengaigaon Law College <br />(Affiliated to Gauhati University)<br />BONGAIGAON<br /><br />12. Goalpara Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Goalpara, Assam <br /><br />13. Golaghat Law College <br />(Affiliated to Dibrugarh University)<br />Golaghat, Assam<br /> <br />14. Govt B R M Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Kamrup, Assam <br /><br />15. J B Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Kamrup, Assam <br /><br />16. Jorhat Law College (BCI Approved)<br />(Affiliated to Dibrugarh University)<br />Jorhat, Assam <br /><br />17. Karimganj Law College (BCI Approved)<br />(Affiliated to Assam University)<br />KARIMGANJ, Assam <br /><br />18. Kokrajhar Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Kokrajhar 783370 <br />Assam<br />Courses: LL.B 3 year<br /><br />19. Mangaldai Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Mangaldai Assam<br />Courses:<br /><br />20. North Lakhimpur Law College (BCI Approved)<br />(Affiliated to Dibrugarh University)<br />Lakhimpur, Assam <br /><br />21. Nowgong Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Nowgong, Assam <br /><br />22. Nalbari Law College (BCI Approved)<br />(Affiliated to Gauhati University)<br />Nalbari Assam<br />Courses: LL.B 3 years<br /><br />23. Sibsagar Law College <br />(Affiliated to Dibrugarh University)<br />Sibsagar, Assam <br /><br />24. Tinsukia Law College (BCI Approved)<br />(Affiliated to Dibrugarh University)<br />Tinsukhia, Assam <br /><br />25. Tezpur Law College, Tezpur (BCI Approved)<br />(Affiliated to Gauhati University)<br />P.O.Napaam Sonitpur Assam 784 028<br />Email: tryniam@yahoo.com<br />Website: http://tezu.ernet.in/ <br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Mass Communication Colleges in Assam<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1. Assam University ( School of Information Sciences) <br />Silchar - 788 011, Assam <br /><br />Phone : 91-03842-270801, 270806 <br />Fax : 91-03842-270802, 270849 <br />Email : aulib@sancharnet.in<br />Website : http://www.assamuniversity.nic.in<br /><br />Course : MMC (Mass Communication) <br /><br />2. Gauhati University (Department of Journalism & Mass Communication)<br />Guwahati- 781014, ASSAM, INDIA <br /><br />Phone : +91-361-2671152, 2671220, 2671152, 2671220 <br />Website : http://www.gu.nic.in<br /><br />Course : BCJ (Post Graduate ), Ph.D. <br /><br />3. National Education Foundation <br />G.S. Road, Near Bora Service, Ulubari, <br />Guwahati-781007, Assam, India <br /><br />Phone : 91-0361-2523372, 2452424, 2458575, 2458576 <br />Fax : 91-0361-2452424 <br />E-Mail : director@nefcollege.org<br />Website : http://www.nefcollege.org<br /><br />Course : BJMC <br /><br />4. Tezpur University (Department of Mass Communication & Journalism) <br />Napaam, Sonitpur, <br />Tezpur : 784028, Assam, India<br />Phone : 03712-267254 (0)<br />E-Mail : uttamkp@tezu.ernet.in<br />Website : www.tezu.ernet.in<br />Course : Master's in Mass Communication & Journalism<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Hotel Management Colleges in Assam<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1. Food Craft Institute<br />Beltola Basistha Road, Ajanta Path, P.O. Beltola, Guwahati 781028 (Assam)<br />2. Institute of Hotel Management<br />G.S.Road, Bhangagarh,<br />Guwahati – 781005<br />Phone: 0361-2452273<br />E-Mail: ihmctanghy@hotmail.com<br />Courses: Bachelor of Science in Hospitality and Hotel Administration<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Architecture Colleges in Assam<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1.Guwahati College of Architecture <br />(AICTE Approved) <br />(Affiliated to Guwahati University Guwahati)<br />101, Dona Towers, G.S.Road, Guwahati-781005 (Assam)<br />Tel: 0361-2599087<br />Telefax: 0361-2547022<br />E-mail: guw_archcollege@rediffmail.com,guw_archcollege@rediffmail.com,abani@bom3.vsnl.net.in <br /><br />Courses : B.Arch.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Research Centres in Assam<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1.<br />Regional Research Laboratory<br />P.O. JORHAT 785006 (Assam)<br />EPABX lines: 0376-2370117, 2370121, and 2370139<br />Fax: 2370011 (Director)<br />Reception EPABX/2213<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Biotechnology Colleges in Assam<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1. Assam Agricultural University (faculty of Agriculture) <br />Jorhat Assam - 785 013 <br />Phone : 0376 2340001/13<br />Course : B.Sc. (Agri. Biotechnology), M.Sc. (Agri. Biotech.) <br />Website : http://www.aau.ac.in<br /><br />2. Biswanath College of Agriculture <br />Course : B.Sc. (Agri. Biotechnology) <br /><br />3. Assam University ( School of Life Sciences) <br />Silchar - 788 011, Assam <br />Phone : 91-03842-270801, 270806 <br />Fax : 91-03842-270802, 270849 <br />Email :aulib@sancharnet.in<br />Website : http://www.assamuniversity.nic.in<br />Course : M.Sc. (Biotech.) <br /><br />4.Gauhati University (Department of Biotechnology) <br />Guwahati- 781014, Assam <br />Phone : 91-361-2570231 <br />Fax : 91-361-2570133 <br />Email : giasuddinahmed@hotmail.com<br />Website : www.gubiotech.org<br />Course : M.Sc., Ph.D. (Biotech.) ; Food Biotechnology <br /><br />5. Tezpur University<br />Napaam, Tezpur – 784025, Assam <br />Course : MSc. Molecular Biology and Biotechnology <br /><br />6. Pandu College (Department of Biotechnology) <br />Guwahati -781 012, Assam, India. <br />Phone : 0361 - 2570450, 2673698 <br />Fax : 0361 – 2570450 <br />Email : info@panducollege.org<br />Website : http://panducollege.org<br /><br />7. Indian Institute of Technology, Guwahati <br />(Department of Biotechnology) <br />Guwahati 781039 Assam, India <br />Phone : +91 - 361 – 2583000 <br />Fax : +91 - 361 – 2690762 <br />Email : pro [AT] iitg.ernet.in <br />Website : http://www.iitg.ernet.in <br />Course : B.Tech. & Ph. D. in Biotechnology <br /><br /><br /></div><div></div><div></div><div>$$$$$$$$$$$$$$$$$</div><div>Polytechnics in Assam: </div><div>$$$$$$$$$$$$$$$$$<br /><br />(1) Assam Engineering Institute, Chandmari, Guwahati - 781003, Ph- 0361 - 2550852.</div><div>(2) Girls' Polytechnic, Bamunimaidan, Guwahati- 781021, Ph-0361-2550208.</div><div>(3) Assam Textile Institute, Ambari, Guwahati-781001, Ph- 0361- 2544116.</div><div>(4) Nowgong Polytechnic, Nogong-782001, Ph- 03672- 2540320.</div><div>(5) H.R.H. The Prince of Wales Institute of Engineering & Technology, Jorhat-785001, Ph-0376-2320074.</div><div>(6) Dibrugarh Polytechnic, Lahowal, Dibrugarh- 786010, Ph-0373- 2381749.</div><div>(7) Silchar Polytechnic, Mehepur, Silchar- 788005, Ph- 03842-240273.</div><div>(8) Bongaigaon Polytechnic, Bongaigaon-783380, Ph-03664-228997.</div><div>(9) Residential Girls' Polytechnic, Golaghat-785621, Ph-03774-284548.</div><div>(10) Junior Technical School, Goalpara-783121, Ph-03663-240139.</div><div>(11) Junior Technical School, Sivasaghar, Assam, Ph-03772-22602.</div><div> </div><div></div><div>$$$$$$$$$$$$$$$$$</div><div>1.Assam Engineering Institute, Guwahati</div><div>$$$$$$$$$$$$$$$$$</div><div><br />Chandmari, M.R.D. Road, </div><div>P.O. Silpukhuri, Guwahati 781 003, Kamrup</div><div></div><div>Established in 1948.</div><div></div><div>Courses Offered:<br />Chemical Engineering---30 seats<br />Civil Engineering ----90 seats<br />Computer Engineering---30 seats<br />Electrical Engineering--30 seats<br />Mechanical Engineering--30 seats<br />Electronics & Telecomm. Engg.--30 seats<br />P. D. in Computer Application--30 seats<br />Automobile Engineering--30 seats<br />Mechatronics ----------20 seats</div><div> </div><div></div><div>$$$$$$$$$$$$$$$$$$</div><div>2.Padmashhree Chandraprabha Saikiani Girl's Polytechnic</div><div>(Formerly Girl's Polytechnic)</div><div>$$$$$$$$$$$$$$$$$$</div><div> </div><div></div><div>Bamuni Maidan, Beltola, Guwahati 781 021Kamrup (M) </div><div></div><div>Established in 1964 </div><div></div><div>Courses offered : </div><div>Architectural Assistantship ------- 30 seats<br />Civil Engineering & Planning ------- 30 seats</div><div>Modern Office Management ------- 30 seats</div><div>Computer Engineering & Appl. ---- 30 seats </div><div> </div><div></div><div>$$$$$$$$$$$$$$$$$$</div><div>3.Assam Textile Institute, Guwahati </div><div>$$$$$$$$$$$$$$$$$$</div><div> </div><div></div><div>Ambaari, Guwahati Dist. Kamrup, Assam 781001 </div><div>0361-544116/564693 </div><div></div><div>Established in 1920. </div><div></div><div>Course(s) Offered: Textile Technology, Garment Technology, Fashion Technology</div><div></div><div>Course offered: Diploma in Textile Technology </div><div><br /> </div><div>$$$$$$$$$$$$$$$</div><div>4. Nowgong Polytechnic</div><div>$$$$$$$$$$$$$$$</div><div> </div><div></div><div>Poly Road, Nowgong 782 001 </div><div></div><div>Established in 1961.</div><div></div><div>Courses offered : </div><div>Civil Engineering------- 60 seats</div><div>Electrical Engineering ------- 30 seats</div><div>Mechanical Engineering ------- 30 seats</div><div>Computer Engineering ------- 20 seats</div><div> </div><div></div><div>$$$$$$$$$$$$$$$$$<br />5.H. R. H. The Prince of Wales Institute of Engineering & Technology, Jorhat<br />$$$$$$$$$$$$$$$$$ </div><div><br />Prince Of Wales institute is located at the heart of Jorhat town. It was Established in 1927. The Institute has 31 acres of beautiful campus with a congenial academic atmosphere. The Institute is fully Govt. funded and is affiliated to State Council for Technical Education, Assam and under the control of Directorate of Technical Education, Assam. At present the institute offers 3 years full time Diploma courses in seven disciplines.<br /><br />Civil Engineering----------------------60 Seats</div><div>Electrical Engineering ---------------- 35 Seats</div><div>Mechanical Engineering -------------- 35 Seats</div><div>Agricultural Engineering --------------30 Seats</div><div>Automobile Engineering ------------- 30 Seats</div><div>Electronics & Teleco. Engineering ----30 Seats</div><div>Instrumentation Technology ---------30 Seats</div><div>TOTAL ================ 250 Seats </div><div> </div><div>Students of 10 plus, 10-2 with minimum qualifying marks of 45% in Mathematics and Science in HSLC are selected through Polytechnic Admission Test(PAT) conducted by Directorate of Technical Education, Assam.The Institute offers co-educational facility and provides all courses under Multi-point Entry and Credit System(MPECS), which allows a student to enter a course on a credit scale based on their entry qualifications.Exemptions is granted to those students who have already passed the subjects Physics, Chemistry, Mathematics and English in HSSLC or equivalent examinations in Science stream in a single sitting. They need not appear again in these four subjects in the Polytechnic examinations. Further, it allows students to choose courses of their own choice.<br /><br />CONTACT ADDRESS:<br />Principal, H.R.H. The Prince of Wales Instt. of Engg. & Technology,<br />Gar-ali, Charai Bahi<br />Jorhat, Assam, India . 785 001.<br />Phone : 91-376-320074(O/R)/330109(o)<br />Fax : 91-376-328557(O)<br />e-mail : <a href="mailto:powiet@gw1.dot.net.in">powiet@gw1.dot.net.in</a> </div><div> </div><div></div><div>$$$$$$$$$$$$$$</div><div>6.Dibrugarh Polytechnic</div><div>$$$$$$$$$$$$$$</div><div> </div><div></div><div>Lahowal, Dibrugarh 786 010, Dibrugarh </div><div></div><div>Established in 1965. </div><div></div><div>Course(s) Offered: Diplomas in </div><div>Civil Engineering --40 Seats</div><div>Mechanical Engineering--30 Seats</div><div>Electrical Engineering--30 Seats</div><div>Mining Engineering--15 Seats</div><div>Tea Technology--15 Seats</div><div>Information Technology--15 Seats</div><div>Electronics & Telecom. Engg.--15 Seats </div><div><br />$$$$$$$$$$$$$$$$$</div><div>7.Silchar Polytechnic</div><div>$$$$$$$$$$$$$$$$$ </div><div> </div><div></div><div>Meharpur, Silchar 788 015, Cachar </div><div></div><div>Established in 1960 </div><div></div><div>Civil Engineering ---90 seats</div><div>Electrical Engineering---30 seats</div><div>Mechanical Engineering ---40 seats</div><div>Electronics & Telecomm Engg. ---20 seats</div><div> </div><div></div><div>$$$$$$$$$$$$$$$$$$$$<br />8.Bongaigaon Polytechnic<br />$$$$$$$$$$$$$$$$$$$$<br /><br />Goal Para, Bongaigaon 783380<br />(03664)228997<br /><br />Established in 1986.<br /><br />Course(s) Offered:<br />1. Diploma in Automobile Engineering --15 seats<br />2. Diploma in Civil Engineering --60 Seats<br />3. Diploma in Electrical Engineering -- 15 seats<br /><br />$$$$$$$$$$$$$$$$$</div><div>9.Residential Girls' Polytechnic, Pulibor</div><div>$$$$$$$$$$$$$$$$$</div><div> </div><div></div><div>Pandit Hemchandra Goswami PathPulibor, Moukhua 785 621, Golaghat </div><div></div><div>Established in 1991.</div><div></div><div>Courses offered:</div><div></div><div>Textile Chemistry & Design ---30 Seats</div><div>Electronics & Telecomm. Engineering ---30 Seats<br /><br />$$$$$$$$$$$$$$$<br />Jyoti Chitraban Film and Television Institute, Guwahati<br />$$$$$$$$$$$$$$$<br /><br />Kahilipara, Guwahati 781 019, Kamrup<br /><br />Established in 1999<br /><br />Courses offered :<br />Audiography & Sound Engineering --- 11 seatsFilm & Video Editing --- 11 seats<br />Motion Picture Photography --- 11 seats<br /><br />$$$$$$$$$$$$$$$$$$$</div><div>Indian Institute of Handloom Technology, Guwahati</div><div>$$$$$$$$$$$$$$$$$$$</div><div><br />National Highway No.37, Jawahar Nagar, Khanapara<br />Guwahati 781 022, Kamrup</div><div></div><div>Eastablished in 1982.</div><div></div><div>Courses offered: Handloom Technology ---30 seats</div><div><br /></div><div></div><div>$$$$$$$$$$$$$</div><div><a title="Permanent Link: College of Home Science," href="http://institutions.education4india.com/5025/college-of-home-science/">College of Home Science,</a> Jorhat</div><div>$$$$$$$$$$$$$ </div><div><br />College of home science, </div><div>Assam agricultural university,</div><div><br /></div><div>Jorhat , Assam</div><div><br /></div><div>Website: <a href="http://www.aau.ac.in/">http://www.aau.ac.in/</a> </div><div><br /></div><div></div><div>The Assam Agricultural University was established in 1969 under the Assam Agricultural University Act 1968 </div><div><br /></div><div>Course(s) Offered: M.Sc Nutrition and Dietetics </div><div><br /></div><div>a) M.Sc Food and Nutrition </div><div><br /></div><div>Eligibility:B.Sc home science . </div><div><br /></div><div>Duration :2 years </div><div> </div><div></div></div><div><div>$$$$$$$$$$$$$$$$$<br />Institution of Engineers , Guwahati<br />$$$$$$$$$$$$$$$$$<br /><br />Institution of Engineers Building, 1st Floor,<br />Panbazar Over Bridge East Lane, Guwahati 781001<br /><br />Courses:<br />Computer Science,<br />Electronics and Electrical Communication,<br />Mechanical Engg. </div><div><br /></div><div></div><div></div><div>$$$$$$$$$$$$$$$$$$</div><div>Dr.B.Barooah Cancer Institute (BBCI), Gauhati</div><div>$$$$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div>Dr.B.Barooah Cancer Institute (BBCI), Gauhati was set up in 1974 as a private Institute by voluntary organization for the treatment of cancer patients. It was the first and only Institute of this kind in the entire North Eastern Region. It was recognized by the Central Government as Regional Institute of Cancer Treatment and Research in 1980 and taken over by the Government of Assam in 1986. In August 1989, the State Government of Assam entered into an Agreement with NEC and the Department of Atomic Energy (Tripartite Agreement) with the objective of the mobilizing resources for the development of the Institute. In pursuance of this Agreement, Plan of Action, detailed Revitalization Plan, Phase-I was prepared and implemented from 1989 onwards at an approved cost of Rs.8.62 crores which was completed by March, 1995. However, since the project could not achieve the desired objective during this period and the Institute required further development for rendering adequate service to the cancer patients, the Tripartite Agreement was further renewed on 9th October, 1997 and the Revitalization Plan, Phase-II is under operation. The sharing pattern of non-recurring expenditure is 45% each by the NEC and the Department of Atomic Energy and 10% by the Government of Assam.<br />The funding pattern of non-recurring expenditure is 33.33% each amongst NEC, DAE and the Government of Assam. At present, 85 beds are available in the Hospital which will be upgraded to 250. The revised costs for the project is Rs.13.12 crores for Phase I and Rs.43.61 crores for Phase II.</div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$</div><div>Regional Dental College, Guwahati</div><div>$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div>Regional Dental College, Guwahati-781 032</div><div>It is a recognised Govt. college.</div><div>Courses Offered: BDS(20 seats)</div><div>Qualification Required: 10 +2 pattern in Science group</div><div></div><div></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$<br />Regional Nursing College, Guwahati</div><div>$$$$$$$$$$$$$$$$$$</div><div><br />The Regional College of Nursing, Guwahati is the only institute of its only kind in the North Eastern Region which has been established in 1977 to impart nursing education to the 7 states of NER. This Institute has been receiving financial assistance from NEC since 6th Plan onwards for development and expansion.<br />The Institute is imparting nursing courses for B.Sc Degree and has an intake capacity of 50. It is proposed to introduce a P.G. Course in nursing and admission capacity for the girl students of Assam and other North Eastern States are proposed to be increased. Till today more than 450 students became graduate and are rendering their services in different parts of North Eastern Region. The Institute is affiliated to the Guwahati University and permanently recognised by the Indian Nursing Council. The proposal for upgradation of the Institute for offering P.G courses has been approved under NEC for the IX Plan. The components of NEC's support would be (a) Construction of college building and teaching block, (b) Construction of 100 seated hostel (c) Salary for addl. staff and (d) Books, journals and furniture. </div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$</div><div>J.K Saikia Homeopathic College, Jorhat </div><div>$$$$$$$$$$$$$$$</div><div><br />Homoeopathy Medicine is another popular discipline recognised by Government of India by a Parliament Act known as 'Central Council of Homoeopathy Act 1973'. Unfortunately development is Homoeopathy manpower is grossly lacking in the entire north east region with only few recognised institute situated at Jorhat, Nagaon, Guwahati, Assam which had been taken over by Government of Assam during 1988-89. Dr.J.K.Saikia Homoeopathy Medicine College has already got the provisional permission for admission in degree courses by Government of Assam and got recognised by Central Council of Homoeopathy during the year 1995-96. This College is proposed to be developed as a Regional College of Homoeopathy with minimum 30 admissions per year. In order to do so NEC will extend the necessary financial support for the College to be developed so as it acts as a model institute to serve the purpose for development of skilled manpower in the discipline in the entire north east region:<br />The objectives of the institute are -<br />The institute will impart Degree courses to the suitable candidates of north east region.<br />It will engage itself in further developmental research activities.<br />Training to the inservice personnels as well as Para-Medicals in the line to give self-sufficiency for the entire north east region.</div><div></div><div><br /></div><div>$$$$$$$$$$$$$$$$$<br />Ayurvedic Government College, Jalukbari</div><div>$$$$$$$$$$$$$$$$$</div><div><br />Ayurvedic Medicine is one of the major components of Indian system of medicine and is very popular among the general population and it can be introduced and practised here in the north east region by virtue of its easy availability by different laboratories. The required herbal treasure is found abundantly in the region and is traditionally used in curing many diseases. There is however no recognised Institute in the region except Government Ayurvedic College, Guwahati which had been established during the year 1948. The College has been imparting BAMS degree duly recognised by the Central Council of India medicine and the College has also an attached 100 bedded hospital with different wings. As per latest report availabale, so far 1500 Ayurvedic Doctors have graduated from and been trained by this College.<br />The College is presently in a dilapidated condition and therefore, there is a justifiable need for financial support from NEC. There is also a need to bring the College to a level whereby PG Courses can be introduced with research facilities to make it an ideal research institute which will be of great help to the entire NE Region. The NEC's funding towards infrastructure development is being considered in view of increasing the number of seats in degree course from present 50 to 75 and atleast 10 in PG Course.</div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$$<br />Sankardeva Netralaya Hospital, Guwahati</div><div>$$$$$$$$$$$$$$$$</div><div><br /></div><div>Shri Sankaradeva Netralaya (SSN) located at Beltola, Guwahati is a high-tech Eye Hospital of the North East functioning from 14th October, 1994. It is a unit of Shri Kanchi Shankara Health and Educational Foundation, a Charitable Trust registered in Assam on 13.1.1994. It operates with technical collaboration with the Sankar Netralaya and Medical Research Foundation, Chennai. The SSN is governed by a Board of Trustees. In keeping with the objective of the Shri Kanchi Health & Medical Foundation the SSN, Guwahati has been providing highest quality eye-care to all patients attending the hospital, up-to-date training facilities to different eye health-care professionals, quality service free of cost to the poor and eye-care services in rural centres periodically amongst other related activities. The SSN, obtains assistance mostly by way of donations from philanthropists of the region, Govt. of Assam, Tea Companies, Charitable Trusts, Corporate Bodies and even individuals. Not with-standing the donations, the SSN has had a felt-need for obtaining substantial assistance from governmental sources to upgrade and expand its infrastructure and commitantly eye-care facilities including free treatment to an extent for the indigent members of the public from the North East.<br />Within the scope of its above-referred objectives, it has been decided that financial assistance will be extended to SSN, Guwahati by NEC during the 9th Five Year Plan period. The assistance will augment its equipment facilities and to a larger extent facilitate the construction of civil works.</div><div> </div><div></div><div>$$$$$$$$$$$$$$$$$$$$$$<br />National College of Alternative Medicines, Sivasagar</div><div>$$$$$$$$$$$$$$$$$$$$$$</div><div><br />Accredited Assam Council of Alter systems of Medicines, Sivasagar.<br />Address For Communication :<br />West Jamuna road, New Colony, ward No II<br />P.O. & dist : Sivasagar<br />Pin – 785650 (ASSAM)<br />Phone : (03772) 224667.<br />Course offered :<br />DIMY (Diploma of Integrated Medicines YAMANEHPATHIC)<br />BIMY (Bachelor of Integrated Medicines YAMANEHPATHIC)<br />MIMY ( Master of Integrated Medicines YAMANEHPATHIC)<br />Ph.D (A.M.) YAMANEHPATHIC<br />All are three years course with six months Housemanship, Six months Internship and Viva-voce for Final certificate R.M.P.<br />Para-Medical Courses:<br />1. Nutrition,Dieteties And------One Year-------Diploma in DNHE </div><div>Health Education<br />2. Nurshing -------------------One Year--------Diploma in Nurshing<br />3. Hospital Administration-----One Year--------PG Diploma<br />4. Acupuncture----------------One Year-------Diploma in Acupuncture (Dac)<br />5. Acupressure----------------One Year-------Diploma in Acupressure (Dacup)<br />6. Laboratory Technician------One Year-------Certificate Course in Lab. Tech.<br />Educational Qualification required:<br />H.S.L.C/H.S.S.L.C/ Graduate or equivalent from recognised institute in any discipline.<br />Fees :<br />Admission Fees --- Rs. 2000/- Monthly Fees ----- Rs. 300/-</div><div></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$</div><div>Indian Institute of Entrepreneurship, (IIE), Guwahati</div><div>$$$$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div></div><div>With an aim to undertake training, research and consultancy activities in the small industry sector focusing on entrepreneurship development, the Indian Institute of Entrepreneurship (IIE) was established in the year 1993 at Guwahati by the erstwhile Ministry of Industry (now Ministry of Small Scale Industry) , Government of India as an autonomous national institute. The institute started its operations from April 1994 with North East Council (NEC) ,Govts of Assam, Arunachal Pradesh and Nagaland and SIDBI as other stakeholders.The policy direction and guidance is provided to the Institute by its Board of Management whose Chairman is the Secretary to the Government of India , Ministry of Small Scale Industries. The governing council of the institute is headed by Chairman, NEC and the Executive Committee is headed by the Secretary SSI & ARI, Govt. of India.The Institute is located at Lalmati, Basistha Charili, 37 NH bypass. It is 5 km from Dispur Capital complex ,10 km from Railway Station and 30 km from LGBI Airport.</div><div></div><div></div><div>The activities of the Institute include identification of training needs, designing and organizing programmers both for development functionaries and entrepreneurs; evolving effective training strategies and methodologies for different target groups and locations; organize seminars, workshops and conferences for providing fora for interaction and exchange of views by various agencies and entrepreneurs; undertaking research on entrepreneurship development, documenting and disseminating information needed for policy formulation and implementation on self-employment and entrepreneurship.The Institute acts as a catalyst for entrepreneurship development by creating an environment for entrepreneurship in the support system, developing new entrepreneurship, helping in the growth of existing entrepreneurs and propagation of entrepreneurial education<br /><br />LIST OF MANAGEMENT COLLEGES IN ASSAM<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Assam Institute of Management (AIM)</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div></div><div>Navagiri Road, Chandmari, Guwahati-781003 </div><div>PGDM 120<br /></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />North Eastern Regional Institute of Management (NERIM)</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div>Parukutti Bhavan, Nabin Nagar, RGB Road Guwahati, Assam, India, Pin-781024 </div><div><br /></div><div>M.B.A 60 </div><div><br /></div><div>Tel: 91-361- 453293/ 452450/453437 </div><div><br /></div><div>E-mail: <a href="mailto:nerimindia@hotmail.com">mailto:nerimindia@hotmail.com</a></div><div><br /></div><div>Web:<a href="http://www.nerimindia.com/">www.nerimindia.com/</a> </div><div><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Tezpur university School of Management Science</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div>P.O.Box-72, Tezpur 784001, Distt. Sonitpur (Assam) </div><div><br /></div><div>M.B.A 60 </div><div><br /></div><div>Tel: 03712-267007 Web:<a href="http://www.tezu.ernet.in/">http://www.tezu.ernet.in/</a><br /></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Department of Business Administration, GU</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div>Gopinath Bardoloai Nagar, Guwahati 781014 (Assam) M.B.A 30<br /></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />National Education Foundation(NEF)</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div></div><div>G.S. Road, Near Bora Service, Guwahati- 781007 (Assam). </div><div><br /></div><div>BBA </div><div><br /></div><div>Tel : 452424, 523372 </div><div><br /></div><div>Fax : 0361-452424 </div><div><br /></div><div>Email:nefghy@gw1.dot.net.in<br /></div><div><br /></div><div>$$$$$$$$$$$$$$$<br />List fo colleges are (In alphabetical Order) </div><div>$$$$$$$$$$$$$$$<br /><br />A L Choudhury CollegeAffiliated to Assam University,Algapur, Hailakandi Courses offered : LLB<br />Amguri College,Affiliated to Dibrugarh UniversityAmguriCourses offered: BA<br />A Swahind Pedi Phukan CollegeAffiliated to Dibrugarh UniversityNamti<br />Abhayapuri CollegeAffiliated to Gauhati UniversityAbhayapuri, BongaigaonCourses offered: BA.<br />Anandram Dhekial Phukon CollegeAffiliated to Gauhati UniversityNowgong.Courses offered: BA, BSc.BA<br />B N College of AgriculturalAffiliated to Assam Agriculture UniversityViswanatha Chariall, SonitpurCourses offered: B.Sc<br />Bh. B CollegeAffiliated to Gauhati UniversitySarupeta, BarpetaCourses offered: BA.<br />B N CollegeAffiliated to Gauhati UniversityP 0 Dhubri, DhubriCourses offered: BA, BSc.<br />B P Chaliha CollegeAffiliated to Gauhati UniversityNagarbera, DisH. KamrupCourses offered: BA, BSc.<br />Bagdhar Brahma Krishan CollegeAffiliated to Gauhati UniversityJalah, Jalghat<br />Bajali College, PathsalaAffiliated to Gauhati UniversityBaxpetaCourses offered: BA, BSc.<br />Baosal B K K CollegeAffiliated to Gauhati UniversityBarpeta, NagaonCourses offered: BA.<br />Bapujee CollegeAffiliated to Gauhati UniversitySarthebari, Dist BarpetaCourses offered: PUC / B.A.<br />Barama CollegeAffiliated to Gauhati UniversityNalbari, BaramaCourses offered: BA.<br />Barbhag CollegeAffiliated to Gauhati UniversityP O Kalag, KamrupCourses offered: BA<br />Barnagar College SorbhogAffiliated to Gauhati UniversityBarpetaCourses offered: BA<br />Barpeta Law CollegeAffiliated to Gauhati UniversityBarpetaCourses offered: LLB<br />Barpeta Road Howly CollegeAffiliated to Gauhati UniversityHowly, BarpetaCourses offered: BA, BCom.<br />Bijni CollegeAffiliated to Gauhati UniversityP O Bijni, Distt KorkajharCourses offered: BA.<br />Bilasipara CollegeAffiliated to Gauhati UniversityBilasipara, DhuberiCourses offered: BA<br />Biswanath CollegeAffiliated to Gauhati UniversityBiswanath Chariali SonitpurCourses offered: BA, BCom.<br />Bongaigaon CollegeAffiliated to Gauhati UniversityP O Bongaigaon, BongaigaonCourses offered: BA, BCom.<br />Banskandi CollegeAffiliated to Assam UniversityCachar<br />Badarpur Women's CollegeAffiliated to Assam UniversityBadarpur<br />Bokajan CollegeAffiliated to Assam UniversityBokajan<br />Chargola College Public CollegeAffiliated to Assam UniversityKarimganj<br />College of Fisheries SciencesAffiliated to Assam Agriculture UniversityRahaCourses offered: B.F.Sc<br />Chaiduar CollegeAffiliated to Gauhati UniversityGohpur, SonitpurCourses offered: BA<br />Chhayagaon CollegeAffiliated to Gauhati UniversityKamrup, ChhayagaonCourses offered: BA<br />Chilarai CollegeAffiliated to Gauhati UniversityGolokganjCourses offered: BA.<br />D D R CollegeAffiliated to Dibrugarh UniversityChabuaCourses offered: BA.<br />Demow CollegeAffiliated to Dibrugarh UniversityDemowCourses offered: BA.<br />D K D CollegeAffiliated to Dibrugarh UniversityDergaon, SibsagarCourses offered: BA, BSc, BCom.<br />Debraj Roy CollegeAffiliated to Dibrugarh UniversitySidsagar.Courses offered: BA, BSc.<br />Dhemaji CollegeAffiliated to Dibrugarh UniversityAkemajiCourses offered: BA, BSc.<br />Dom Dooma CollegeAffiliated to Dibrugarh UniversityDoom Dooma.Courses offered: BA, BCom.<br />Duliajan CollegeAffiliated to Dibrugarh UniversityDuliaianCourses offered: BA, BSc.<br />Dikhowmukh CollegeAffiliated to Dibrugarh UniversitySibiagarCourses offered: BA.<br />Diphu B.Ed. CollegeAffiliated to Assam Agriculture UniversityP O DiphuCourses offered: B.Ed<br />Diphu Law CollegeAffiliated to Assam Agriculture UniversityP O DiphuCourses offered: LLB<br />Diphu Girls' CollegeAffiliated to Assam Agriculture UniversityDharamtala, P O Diphu<br />Diphu Govt CollegeAffiliated to Assam Agriculture UniversityDiphuCourses offered : BA,BCom, BSc-(P/Hons)<br />Gargaon CollegeAffiliated to Dibrugarh UniversityPO Simalugura, SibsagarCourses offered: BA, BCom, MCom.<br />Golaghat Commerce CollegeAffiliated to Dibrugarh UniversityJyoti Nagar, GolaghatCourses offered: BA, BCom, MCom.<br />Gogamukh CollegeAffiliated to Dibrugarh UniversityGogamukh. Dist, DhemajiCourses offered: BA.<br />H P B Girls CollegeAffiliated to Dibrugarh UniversityGolaghatCourses offered: BA.<br />H C D G CollegeAffiliated to Dibrugarh UniversityNitaipukhuri, SibsagarCourses offered: BA.<br />Haflong Govt. CollegeAffiliated to Assam UniversityHaflongCourses offered: BA, BSc<br />Hailakandi Women's CollegeAffiliated to Assam UniversityHailakandi<br />Hailakandi B.Ed. CollegeAffiliated to Assam UniversityNazarul Sarani<br />Howraghat CollegeAffiliated to Assam UniversityHowraghat<br />J B Hagjer CollegeAffiliated to Assam UniversityUmrangso<br />Janata CollegeAffiliated to Assam UniversityKabuganj<br />J B CollegeAffiliated to Dibrugah UniversityJorhatCourses offered: BA, BCom, BSc.<br />Jengraimukh CollegeAffiliated to Dibrugah UniversityJengraimukh, MajuliCourses offered: BA.<br />Jhanjhi H N S CollegeAffiliated to Dibrugah UniversityJhanjiCourses offered: BA, BCom.<br />J D S G CollegeAffiliated to Dibrugah UniversityBokakhatCourses offered: BA, BCom.<br />Jorha Amalgamated CollegeAffiliated to Dibrugah UniversityJorhat<br />Jorhat CollegeAffiliated to Dibrugah UniversityJorhatCourses offered: BA.<br />Kapila CollegeAffiliated to Assam UniversityKheroni<br />Karimganj Law CollegeAffiliated to Assam UniversityKarimganj<br />Karimganj CollegeAffiliated to Assam UniversityKarimganj<br />Kamargaon CollegeAffiliated to Dibrugah UniversityKamargaon, GolaghatCourses offered: BA<br />Lala Rural CollegeAffiliated to Assam UniversityLala<br />M C D CollegeAffiliated to Assam UniversitySonaimukh<br />M K Dey CollegeAffiliated to Assam UniversityArnraghat<br />Maibang Degree CollegeAffiliated to Assam UniversityMaibang<br />Moinul Hoque Science Memorial CollegeAffiliated to Assam UniversityHailakandi<br />Majuli CollegeAffiliated to Dibrugah UniversityKamalbari, SibsagarCourses offered: BA, BSc, BCom.<br />Mariani CollegeAffiliated to Dibrugah UniversityMarianiCourses offered: BA, BCom.<br />Margherit CollegeAffiliated to Dibrugah UniversityMargheritaCourses offered: BA.<br />Moran CollegeAffiliated to Dibrugah UniversityMoran, SibsagarCourses offered: BA, BSc.<br />Murkong Selek CollegeAffiliated to Dibrugah UniversityJonaiCourses offered: BA<br />Nehru CollegeAffiliated to Assam UniversityPailapool<br />Nilam Bazar CollegeAffiliated to Assam UniversityMaibang<br />Naharkatiya CollegeAffiliated to Dibrugah UniversityNaharkatiyaCourses offered: BA, BCom.<br />N N Saikia CollegeAffiliated to Dibrugah UniversityTitaborCourses offered: BA, BSc.<br />North Bank CollegeAffiliated to Dibrugah UniversityGhilamaraCourses offered: BA, BSc.<br />Namrup CollegeAffiliated to Dibrugah UniversityNamrupCourses offered: BA, BSc.<br />Patharkandi CollegeAffiliated to Assam UniversityPatharkandi<br />Postgraduate Training CollegeAffiliated to Dibrugah UniversityJorhatCourses offered: BEd<br />Rangsina CollegeAffiliated to Assam UniversityPatharkandi<br />Rangsina CollegeAffiliated to Assam UniversityDonkamukam<br />Rukasen CollegeAffiliated to Assam UniversityBakalia<br />Ramakrishna CollegeAffiliated to Assam UniversityRamakrishnanagar<br />R S Girls CollegeAffiliated to Assam UniversityKarimganj<br />S S CollegeAffiliated to Assam UniversityHailakandiCourses offered: BA, B.Sc<br />S C Dey CollegeAffiliated to Assam UniversityKalinagar<br />S K Roy CollegeAffiliated to Assam UniversityKatlicherra<br />S M Dev CollegeAffiliated to Assam UniversityLakhipur<br />S R CollegeAffiliated to Assam UniversityKalain<br />Swami Vivekananda CollegeAffiliated to Assam UniversityChandkhira<br />Sadiya CollegeAffiliated to Dibrugah UniversitySadiyaCourses offered: BA<br />Sarupathar CollegeAffiliated to Dibrugah UniversitySarupatharCourses offered: BA.<br />Science CollegeAffiliated to Dibrugah UniversityCheniamaguriCourses offered: BSc.<br />Sibsagar CollegeAffiliated to Dibrugah UniversitySibsagarCourses offered: BA, BSc.<br />Sibsagar Commmerce CollegeAffiliated to Dibrugah UniversitySibsagarCourses offered: BCom.<br />Sibsagar Girls CollegeAffiliated to Dibrugah UniversitySibsagarCourses offered: BA, BSc.<br />Silapathar CollegeAffiliated to Dibrugah UniversitySilapatharCourses offered: BA.<br />Sonari CollegeAffiliated to Dibrugah UniversitySonariCourses offered: BA.<br />Swahid Maniram Devan CollegeAffiliated to Dibrugah UniversityCharing. P O Charing, SibsagarCourses offered: BA.<br />Tinsukia Commerce CollegeAffiliated to Dibrugah UniversitySripuria, TinsukiaCourses offered: BCom.<br />Tinsukia CollegeAffiliated to Dibrugah UniversityTinsukiaCourses offered: BA, BCom, BSc.<br />Tengakhat CollegeAffiliated to Dibrugah UniversityTengakhatCourses offered: BA.<br />Tingkhong CollegeAffiliated to Dibrugah UniversityTingkhongCourses offered: BA.<br />U M K CollegeAffiliated to Dibrugah UniversityP O Ratampur Miri, Majuli, Dist. JorhatCourses offered: BA.<br />West Silchar CollegeAffiliated to Assam UniversityBarjatrapur<br />Dakshin Kamrup CollegeAffiliated to Gauhati UniversityMirza, KamrupCourses offered: BA.<br />Damdama College, KamrupAffiliated to Gauhati UniversityGauhati<br />Darrang CollegeAffiliated to Gauhati UniversityTezpur, P O Tezpur, SonitpurCourses offered: BA, BSc, BCom.<br />Dhing CollegeAffiliated to Gauhati UniversityDhing.NowgongCourses offered: BA.<br />Dhubri Law CollegeAffiliated to Gauhati UniversityP O Bidyapasa DhubriCourses offered: LLB.<br />Dimoria CollegeAffiliated to Gauhati UniversityP O Khetri, Kamrup<br />Diphu Govt CollegeAffiliated to Gauhati UniversityDiphu.Mikir HillsCourses offered: BA, BSc.<br />Diphu Law CollegeAffiliated to Gauhati UniversityKarbi Anglong. DiphuCourses offered: LLB<br />Dispur CollegeAffiliated to Gauhati UniversityDispur<br />Dr B K Baroah CollegeAffiliated to Gauhati UniversityPuranigudam, NowgongCourses offered: BA<br />Gauhati CollegeAffiliated to Gauhati UniversityP O Bamunimaidam, GauhatiCourses offered: BCom, BA<br />Gauhati Commerce CollegeAffiliated to Gauhati UniversityKamrup, GauhatiCourses offered: BCom<br />Goreswar CollegeAffiliated to Gauhati UniversityKamrup, GoreswarCourses offered: BA.<br />Gossaigaon CollegeAffiliated to Gauhati UniversityGossaigaon, KokrajharCourses offered: BA, HS.<br />Govt College of Arts And CraftsAffiliated to Gauhati UniversityCourses offered: B.F.A.<br />Govt Law CollegeAffiliated to Gauhati UniversityKamrup, GauhatiCourses offered: LLB<br />Haflong Govt CollegeAffiliated to Gauhati UniversityHaflong, Dist North CacharCourses offered: BA, BSc.<br />Handique Girls CollegeAffiliated to Gauhati UniversityKamrup, GauhatiCourses offered: BA, BSc.<br />Hojai CollegeAffiliated to Gauhati UniversityHojai, NowgongCourses offered: BA.<br />Janta CollegeAffiliated to Gauhati UniversityKabuganj, CacharCourses offered: BA.<br />J B Law CollegeAffiliated to Gauhati UniversityKamrup, GauhatiCourses offered: LLB<br />Jagiroad CollegeAffiliated to Gauhati UniversityJagiroad, Marigan<br />Jawaharlal Nehru CollegeAffiliated to Gauhati UniversityBoko, KamrupCourses offered: BA.<br />K R B Girls CollegeAffiliated to Gauhati UniversityKamrup, GauhatiCourses offered: BA.<br />Kaliabor CollegeAffiliated to Gauhati UniversityKunwritol, NowgongCourses offered: BA.<br />Kamrup CollegeAffiliated to Gauhati UniversityChamata, NalbariCourses offered: BA.<br />Kampur CollegeAffiliated to Gauhati UniversityNowgongCourses offered: BA.<br />Kapili Anchalik CollegeAffiliated to Gauhati UniversityNowgong, Jagiroad<br />Karimganj CollegeAffiliated to Gauhati UniversityKarimaganjCourses offered: BA, BSc, BCom.<br />Khagarijan CollegeAffiliated to Gauhati UniversityNowgong<br />Kokrajhar CollegeAffiliated to Gauhati UniversityKokrajharCourses offered: BA, BSc.<br />Lala Rural CollegeAffiliated to Gauhati UniversityLala.CocharCourses offered: BA.<br />Lalit Ch Bharati CollegeAffiliated to Gauhati UniversityMaligaonCourses offered: BA.<br />Loknayak Omeo Kumar Das CollegeAffiliated to Gauhati UniversitySonitpur, DhekiajuliCourses offered: BA.<br />Lumding CollegeAffiliated to Gauhati UniversityNowgong, LumdingCourses offered: BA.<br />M C CollegeAffiliated to Gauhati UniversityBarpetaCourses offered: BA, BSc.<br />M C Das CollegeAffiliated to Gauhati UniversityCachar, SanaimukhCourses offered: BA.<br />Madhya Kamrup CollegeAffiliated to Gauhati UniversityBarpeta, ChengaCourses offered: BA.<br />Mangaldoi CollegeAffiliated to Gauhati UniversityMangaldoi, DarrangCourses offered: BA, BSc.<br />Mangaldoi Teachers Training CollegeAffiliated to Gauhati UniversityDarrang, MangaldoiCourses offered: BT.<br />Mankachar CollegeAffiliated to Gauhati UniversityDhubri, MankacharCourses offered: BA.<br />Marigaon CollegeAffiliated to Gauhati UniversityMarigaon, NowgongCourses offered: BA.<br />N C CollegeAffiliated to Gauhati UniversityP O Badarpur, Distt KarimganjCourses offered: BA.<br />Nabichandra CollegeAffiliated to Gauhati UniversityBadarpur, Karimganj<br />Nabajyoti CollegeAffiliated to Gauhati UniversityKalgachia, BarpetaCourses offered: BA,BSc.<br />Nalbari CollegeAffiliated to Gauhati UniversityNalbariCourses offered: BA, BSc.<br />Nehru CollegeAffiliated to Gauhati UniversityPailapool.CacharCourses offered: BA.<br />North Kamrup CollegeAffiliated to Gauhati UniversityBarpeta, Baghmara<br />Nowgong CollegeAffiliated to Gauhati UniversityNagaonCourses offered: BA, BSc, BCom, P.G.(Arts).<br />Nowgong Girls CollegeAffiliated to Gauhati UniversityNowgongCourses offered: BA.<br />Nowgong Law CollegeAffiliated to Gauhati UniversityNowgongCourses offered: LLB<br />North Gauhati CollegeAffiliated to Gauhati UniversityKamrup, North GauhatiCourses offered: BA, BSc.<br />P U B Kamrup CollegeAffiliated to Gauhati UniversityKamrup, Baihata CharialiCourses offered: BA<br />Postgraduate Training CollegeAffiliated to Gauhati UniversityKokrajharCourses offered: BEd.<br />Pramathes Barua CollegeAffiliated to Gauhati UniversityPO Gauripur, Dhuleri<br />Rabindra Sadan Girls CollegeAffiliated to Gauhati UniversityKarimganj, Distt. Karimganj<br />Raha CollegeAffiliated to Gauhati UniversityRaha NowgongCourses offered: BA.<br />Ramkrishna Nagar CollegeAffiliated to Gauhati UniversityKarimganj, Ramkrishna NagarCourses offered: BA<br />Rangapara CollegeAffiliated to Gauhati UniversityRangapara, Sonitpur<br />Rangia CollegeAffiliated to Gauhati UniversityRangia KamrupCourses offered: BA<br />S B M S CollegeAffiliated to Gauhati UniversitySoalkuclii, KamryCourses offered: BA<br />S S CollegeAffiliated to Gauhati UniversityHailakandi, CachaCourses offered: BA, BSc.<br />Sapatgram CollegeAffiliated to Gauhati UniversityKokrajhar Saptgram<br />Sikshan MahavidyalayaAffiliated to Gauhati UniversityNowgongCourses offered: BA<br />Sipajhar CollegeAffiliated to Gauhati UniversityDarrong, SipajharCourses offered: BA.<br />State College of MusicAffiliated to Gauhati UniversityGuwahatiCourses offered: BMus.<br />Suren Das CollegeAffiliated to Gauhati UniversityKamrup Hajo<br />T H B CollegeAffiliated to Gauhati UniversityJamugurihat, SonitpurCourses offered: BA.<br />Tangla CollegeAffiliated to Gauhati UniversityTangla.DarrangCourses offered: BA, BCom.<br />Tezpur CollegeAffiliated to Gauhati UniversityTezpur, SonitpurCourses offered: BA.<br />Tezpur Law CollegeAffiliated to Gauhati UniversitySonitpur, TezpurCourses offered: LLB.<br />Teachers Training CollegeAffiliated to Gauhati UniversitySonitpur, TezpurCourses offered: BT<br />Thongnokbe CollegeAffiliated to Assam UniversityDokmoka<br />Vivekananda College of EducationAffiliated to Assam UniversityKarimganj<br />Tezpr UniversityNapaam, Sonitpur, Tezpur 784025Ph: +91-3712-67003. 67004, 67007-9<br />Vice-Chancellor: Prof. BhattacharyyaRegistrar: Dr. M.R.SharmaBusiness Administration / Business Management<br />Tezpr University - School of Management SciencesDepartment of Business Administration, Tezpur 784001<br />Udalghri CollegeAffiliated to Gauhati UniversityDarrang, Udalghri</div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /></div><div>SOME FAMOUS COLLEGES OF ASSAM:</div><div>$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$</div><div> </div><div></div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div>COTTON COLLEGE:</div><div><br /></div><div>$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div><br />Cotton College was declared open on May 27, 1901 by <a title="Sir" href="http://en.wikipedia.org/wiki/Sir">Sir</a> <a title="Henry John Stedman Cotton" href="http://en.wikipedia.org/wiki/Henry_John_Stedman_Cotton">Henry John Stedman Cotton</a>, the then Chief Commissioner of the erstwhile British province of Assam. The college was named after Sir Henry, as the "Cotton College", in appreciation of his genuine concern for the cause of higher education in the province. The college was started with 5 professors, which included Frederick William Sudmerson, the first principal of the college, and 39 students.<br />Cotton College was the epicentre of the freedom movement and the literary and cultural movements of the country to build the identity of Assam as a distinct integral component of the Nation.<br />From a small undergraduate college, Cotton College has now become a postgraduate institution, integrated with undergraduate education having enrolled 5000 students and 244 teachers, among 21 undergraduate and 20 post graduate departments in science, humanities and social science faculties.<br />On October 16, 1992, the college was declared as a postgraduate institution, an occasion celebrated in a solemn ceremony with Shankar Dayal Sharma, the then-President of India.<br />Cotton College celebrated its centenary with year-long program from May 27, 2001 to May 26, 2002. Krishan Kant, the then-Vice President of India graced the closing ceremony.<br />Cotton College has produced numerous talents including politicians, authors, athletes, and artists.</div><div><br /></div><div></div><div>It offers</div><div><br /></div><div>10+2 COURSE : Study for the Higher Secondary School Leaving Certificate is possible in both the Arts and Science streams. This qualification is awarded upon successful completion of two years of study followed by relevant examinations.<br /><a id="BA" name="BA"></a><br />BA : The Bachelor of Arts graduate degree is possible in various fields of study. This degree is awarded upon successful completion of three years of study followed by relevant examinations.<br /><a id="BSc" name="BSc"></a><br />BSc : The Bachelor of Science graduate degree is possible in various fields of study. This degree is awarded upon successful completion of three years of study followed by relevant examinations.<br /></div><div>MA : The Master of Arts post graduate degree is possible in various fields of study. This degree is awarded upon successful completion of two years of study followed by relevant examinations. </div><div></div><div>MSc : The Master of Science post graduate degree is possible in various fields of study. This degree is awarded upon successful completion of two years of study followed by relevant examinations.<br /><a id="PhD" name="PhD"></a><br />PhD : Doctoral studies are also possible in selected fields under the guidance of recognised experts.</div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$$$$$</div><div>Jagannath Barooah College, Jorhat</div><div>$$$$$$$$$$$$$$$$$$$</div><div></div><div><br /></div><div>Jagannath Barooah College, briefly J. B. College is a premier institute of higher education located in Jorhat, a city cultural heritage and glorious historical background in the upper part of the Brahmaputra Valley of Assam. Since its inception in 1930, the college has already marched a long way and has celebrated its Platinum Jubilee in the year 2005. The institute has already been accredited by NAAC in 2003 and awarded B+ grade on the basis of its performance in the field of higher education.</div><div></div><div><br /></div><div>Behind the establishment of this premier seat of higher education lies the selfless and enthusiastic commitment of a tiny but highly learned group of scholars of this culturally rich city who, in fact, shaped the destiny of the academic milieu of the North East region in general and the entire Brahmaputra Valley in particular. The valuable contributions made by this dedicated group had subsequently led to the formal initiation of an initiation of an institution known as Upper Assam College in Jorhat in 19th August 1930. Less than a month later, i.e., on 4th September 1930, the first Governing Body (GB) Meeting of the Upper Assam College resolved to name the college as Jorhat College and this continued till 1938 when, in a resolution of another GB Meeting, it was again decided to rename the college as Jagannath Barooah College in the memory of Jagannath Barooah, the first Graduate of Upper Assam. Late Murulidhar Barooah, the grandson of Jagannath Barooah donated the entire land and the Barpatra Kutir (existing office and teachers’ common room) to the college. The founder Principal of this oldest institution of the region was Prof. Krishna Kanta Handique, world renowned orientalist, distinguished scholar and academician. The other dedicated founder teachers were Prof. Tulshi Narayan Sarma (Founder Secretary), Jagneswar Sarma, Phanidhar Dutta, Prafulla Pran Changkakati and Gunagobinda Dutta. With a small batch of 14 students in 1930, the college was started first with Intermediate of Arts (IA), which received formal affiliation from Calcutta University in 1931. Thereafter the events of the college moved rapidly. In 1939 the Intermediate of Commerce (I.Com), in 1941 the Bachelor of Arts (B.A.), in 1944 the Bachelor of Commerce (B.Com), in 1949 – 1950 the Intermediate of Science (I.Sc) and in 1952 – 1953 the Bachelor of Science (B.Sc) streams were opened. From 1931 to 1948, the college was affiliated to the Calcutta University and from 1948 to 1965 to the Gauhati University. Since the establishment of Dibrugarh University in 1965, the college has been affiliated to it. The college now has a diversified field of teaching.</div><div></div><div><br /></div><div>$$$$$$$$$$$$$$</div><div>Darrang College</div><div>$$$$$$$$$$$$$$</div><div><br /></div><div></div><div>Darrang College also sometimes referred to at times as the Nalanda of the North Bank was started in July 1945 with 8 teachers and 112 students in the roll. Late Kamakhya Prasad Tripathy, a veteran freedom fighter and trade union leader came forward to shoulder the responsibility of the founder Principal of the College. Initially the Classes were held at the banglow of Mr. Ducci, an Italian gentleman who sold the property to the College.<br />Subsequently, the College was shifted for nearly two years to the American Base Hospital campus at Mission Chariali, then to the Dak Bunglow in the heart of the town, and finally to the present site in the month of October, 1951.<br />Darrang College has had an eventful career since its inception. His Holiness the Dalai Lama of Tibet visited the College in 1959 after his historic flight from his own land; followed Smt. Indira Gandhi in 1963.<br />Ever since the College settled in its permanent site, it has been maintaining a high academic standard all through. Darrang College has multiple disciplines for study leading to a Bachelor degree in Arts, Science or Commerece from the Gauhati University.</div><div></div><div><br /></div><div>$$$$$$$$$$$$$$$$$</div><div>Dibrugarh Hanumanbux Surajmal Kanoi (DHSK) College. </div><div>$$$$$$$$$$$$$$$$$</div><div></div><div><br /></div><div>Address : K.C. Gogoi Path, P.O. Dibrugarh, Dist: Dibrugarh, Assam. Pin- 786001. </div><div><br /></div><div>Date of Establishment : 15-06-1945 </div><div><br /></div><div>Phone: 0373-23241 </div><div><br /></div><div>Website: <a href="http://www.dhsk.org/">http://www.dhsk.org/</a>, </div><div><br /></div><div>e-mail: <a href="mailto:">www.dhskcoll@yahoo.in</a> </div><div><br /></div><div>Fax: 0373-2321351</div><div><br /></div><div>Affiliating University : Dibrugarh University, Dibrugarh-786004. </div><div><br /></div><div>The College Under UGC : According to 2(f) 12(B) </div><div><br /></div><div>Year and Grade by NAAC : Year 2003, Grade: B++ </div><div> </div><div>Dibrugarh Hanumanbux Surajmal Kanoi College, one of the most prestigious educational institutions of upper Assam, has undertaken the noble plan of imparting education to the students of a huge locality extending even beyond Jorhat district following its exemplary reputations of past years. In this year, i.e. 2005-06, the college is fully prepared to impart all kinds of knowledge to the students with the help of a batch of most experience hard working, diligent teachers with illuminating careers.<br />But, in spite of galaxy of brilliant teachers and their untiring efforts to develop the horizon of the mental and intellectual world of the students, we, the DHSK College teachers’ family intimately feels that the teaching of traditional subjects is not sufficient to the students in the perspective of newer concepts of higher education. The changing scenario of higher education strongly demands that the students must be able to put his/her education to bring changes in socio-economic fields. Keeping this in view, the DHSK College is going to introduce a series of career oriented courses i.e. Short-Term Certificate Courses with a view to enable the students to achieve socio-economic establishment after completion of their formal education.<br />In addition to this, the DHSK College administration opens a Gymnasium Hall for the physical development of the students. The college playground is proposed to be constructed so that the outdoor games can be played easily at any time of the year. A Yoga Centre of the benefit of the students is also going to establish by the end of August/September, 2005.<br />The College Auditorium is one of the most important factors for intellectual development of the students where seminars, symposia and other talent search & development programmes can be held. The present Auditorium of the college requires some repairing and the college is taking plan make it a modern one.<br />From this academic session the NCC Group HQ, Dibrugarh has permitted to introduce Senior Wing NCC (Girls Cadet) under Coy ‘A’, 10 Assam Bn NCC at DHSK College.<br />In the field of academic development the college has planned to hold UGC Seminars and Conferences in National and State Level and necessary steps for UGC Financial Aid has been taken to that instant. Moreover, organizations like PILGRIMAGE, SPIC-MACAY, SOFEC etc. are also going to organize various development programmes among students.<br />The college taking the plan to computerize the college library and is going to install the SOUL, suggested by INFLIBNET, software for library accessibility, which will directly facilitate the students to have newer information regarding higher education.<br />The internet connectivity has already been done in the college and its service will be extended to the students very soon. The college has its own Fax facility (0373-2321351). A website of the college (http/dhsk.org) with all information has already been introduced although some relevant data will have to be updated very soon.<br />The college has an association of ex-students called DHSK College Alumni Association. This is developed in an organizational pattern so that the college may be benefited both academically and financially cherishing the love and help of the ex-students. </div><div></div><div><br /></div><div>$$$$$$$$$$$$$</div><div>Nalbari College</div><div>$$$$$$$$$$$$$</div><div></div><div><br /></div><div>Nalbari College was established in the year 1945 and was affiliated to the Calcutta University. After the establishment of the Gauhati University in 1948 it came under this University. It is one of the oldest and largest colleges in Assam. It was the only college for higher education in the whole area from Mangaldai to Bongaigaon. Beginning with a modest scale with only 28 students, the college today has student strength of about three thousand with Higher Secondary courses in both Arts & Science, T.D.C. Arts & Science courses with major in all subjects except Statistics and P.G. course in Assamese. The college is run under deficit system of grants under State Govt. and with regular grants from U.G.C.<br />Nalbari College is located in Japarkuchi village at a distance of one km. from Nalbari town. At present the college has many buildings to accommodate the students, two hostels – one for the boys and another for girls, residential quarters for 4th grade employees, canteen, playground, auditorium, P.G. building etc. in a total land area of 16.10 acres (appx.).<br />From its inception, Nalbari College has been successfully providing knowledge and higher learning, and has produced thousands of graduates, post graduates, teachers, scholars of national reorganization. Alumni of this college have attained significant position in the field of education, literature, govt. & non-govt. organization, P.S.U’s, art & culture, political administration, business and in the field of science & technology. More than 80% of the school and college teachers of Nalbari and surrounding districts are alumni of this college. Nalbari College is now preparing itself to meet the future challenges in education in the 21st century and as a part of its preparation has initiated several developmental and innovative plans. In order to identify the strengths and weaknesses, Nalbari College has been offered the B+ grade by the National Assessment and Accreditation Council (NAAC).<br />Nalbari College has hitherto taken a pioneering role in promoting higher education in the entire North Bank of Brahmaputra since its establishment. Under the Principalship of the renowned educationist and literatuer late T.N. Goswami. the students from various parts of undivided Assam came to study at Nalbari College and showed proficiency in study. Students from our college have shown brilliant results in various departments of Gauhati University. Nalbari College has produced best graduates of the University many times and they have brought name and fame to the University in various departments.</div><div> </div><div></div><div>$$$$$$$$$$$$$$$</div><div>B. Borooah College, Guwahati</div><div>$$$$$$$$$$$$$$$</div><div> </div><div></div><div>Guwahati-7, Assam. (Estd. 1943)<br />Phone: 0361-2543538 </div><div></div><div>B. Borooah College was established in the year 1943 in the name of Bholanath Borooah, a doyen of Assamese business and a close asociate of Sahityarathi Lakshminath Bezbarua.Assams third oldest educational institution, the 64-year-old B. Borooah College's founder principal was also the states first chief minister, Gopinath Bordoloi.<br /><br />It Grew Under The Shadow Of World War II and as a part of the nationalistic struggle against foreign rule. Classes started from 15 September 1943 AD with 15 students.Pioneering The Education In North East India:They first started it as a night college in Today's Kamrup Academy of Guwahati to give an opportunity to the poor students.Great men led great academic past which include Bharat Ratna Gopinath Bardoloi, the first chief minister of Assam, Hem Barua, Surendra Mohan Das, Dr. Promod Ch. Barthakur, Dulal Ch. Barthakur, Prasanna Kumar Sarma etc.</div><div><br />Course Affiliated to GU: B. A. / B. Sc.<br />Intake: </div><div>B. A.: 1st Year- 400, 2nd Year- 400, 3rd Year- 400; </div><div>B. Sc.: 1st Year- 400, 2nd Year- 400, 3rd Year- 400; </div><div>M. Sc.: Previous- 10, Final- 10; </div><div><br />Major Subjects: </div><div></div><div>B. A.: English, Assamese, Political Science, Economics, History, Sanskrit, Education, Philosophy, Geography</div><div></div><div>B. Sc.: Physics, Chemistry, Botany, Zoology, Mathematics, Geography, Economics</div><div> </div><div></div><div>$$$$$$$$$$$$$$$$$$$$</div><div>Arya Vidyapeeth College, Guwahati</div><div>$$$$$$$$$$$$$$$$$$$$</div><div> </div><div></div><div>Arya Vidyapeeth College, situated in the heart of Guwahati city is one of the premier institutions of higher learning in not only Assam but the whole of North East of India. Arya Vidyapeeth College was established on 29th July , 1958. It is the most prominent member in the family of Arya Vidyapeeth - a chain of educational institutions starting from primary level to post graduate level . Innumerable students have come to the college and left the campus after receiving their desired degree and they have made their mark in different levels of social, political and academic life.There may be a few places in the whole country where an alumnus of this institution may not be found. Many of them have brought glories by shining in overseas too. Our Visions , Missions, Goals and Objectives reflect our determination. One is welcome to take advantage of the same and cash in on this opportunity. </div><div><br /></div><div></div><div>$$$$$$$$$$$$$$</div><div>Dergaon Kamal Dowerah College or DKD College, Dergaon</div><div>$$$$$$$$$$$$$$</div><div><br /></div><div></div><div></div><div>Dergaon Kamal Dowerah College which is now a premier institution under Dibrugarh University had a humble beginning. The public in general and a host of leading personalities of the locality felt the necessity of establishing an institution for higher education at post-matric level and the result was the decision to start initially an Arts college. In 1962 the classes were started in a public theatre hall (Bapuji Mondir) and, after four years the establishment was shifted to its present site loca`ted in scenic surrounding with glorious historic background just6 on the outskirt of Dergaon town.<br />A munificent donation from Late Kamal Dowerah, a pious and benevolent citizen of the locality, helped the promoters to give a concrete shape to the project and in memento of it the institution was christened as DERGAON KAMAL DOWERAH COLLEGE. The pioneering efforts of Late D N Kakaty, Naren Sarma and H K Mahanta, the founder President, Secretary and Principal respectively helped it enormously in attaining its present prestigious status.<br />The College celebrated its silver jubilee in 1987and has completed forty five years of its glorious existence. Through these years it had made significant strides in its development to become one of the best institutions under Dibrugarh University imparting instructions up to Major level in different streams and PG semester course in Economics to a student population of more than two thousand. The college been assessed by NAAC in 2003 and accredited B+ level. Moreover it was worth mentioning here that among 150 colleges selected by UGC from all over India, our college was also selected as a “College with Potential for Excellence” in 2005. A Network Resource Centre(NRC) with internet connectivity has been set up in the college recently with grant from the UGC. NERDP has proposed to construct an Information Centre building providing with computers, a multistoried Girls Hostel, a double storied Girls Common Room in the college within a short period.</div><div></div><div><br /></div><div>$$$$$$$$$$$$$$$$$</div><div>Debraj Roy College or DR College, Golaghat</div><div>$$$$$$$$$$$$$$$$$</div><div></div><div><br /></div><div>Debraj Roy College came into being in the wake of independence of the country around 1949. In the post independence period here was a seething atmosphere of great joy and excitement all over the country and this tempo was also felt in an isolated and sleepy town at Golaghat. There was a craze for higher education among all sections of the people, particularly the students. At that time, there was only one college at Jorhat for upper Assam region. Higher Education was out of reach for the general students of this educationally backward district. This consideration led some spirited persons of the district to establish a college at Golaghat. This premier institution of higher education may be regarded as the brain child of Ajyodhya Prasad Goswami, who was then a student leader, Biplobi Bir Sankar Ch. Baruah, a revolutionary leader of freedom movement, Golap Ch. Goswami,Dr. Promodaviram Das, Jadunath Saikia, etc. the college was initially 'started' on 1st Sept' 1949, at the premises of Govt. Bezbarooah High School (now a higher secondary school) and then shifted to mission compound and was known as Golaghat College and affiliated to Gauhati University. With the subsequent shifting to the present site in 1952, the college was renamed as Debraj Roy CollegeBy naming the college as Debraj Roy College, a well deserved tribute was paid to late Debraj Roy, the founder of Bogidhala Tea & Trading Company, Goalghat, on whose cherished memory his illustrious son Surendra Nath Ray, the then M.D. of Bogidhala Tea & Tarding Company, donated a considerable amount for the construction of the main building of the college. In the same year the Government of Assam also allotted about 14 acres of land for the college at the persent site. This was the first college of the district (then subdivision of undivided Sibsagar District) and born of necessity and out of the awareness infused by the national freedom movement. Besides providing education to common mass, transmission and generation of knowledge the other main objective of the college was the socio-economic development of the country as a whole and the region in particular. The college is situated in an ideal location in the heart of the town just in front of the Circuit House. The serene atmosphere with calm green surrounding is conductive to academic pursuits. Starting with just 57 students (Boys 43 and Girls 14) in the year of its inception, the college has marched along with time and is now; one of the foremost institutions of higher education in the state. For transmission of scientific knowledge among the masses, the science section of the college was started in 1960. Till 1965 the college was affiliated to Gauhati University in 1965, the Govt. of Assam by an act brought the college under Dibrugarh University along other leading Colleges in upper Assam districts Now, it is a full fledged degree college and offers students the facilities for studies in science and humanities. The classes of the Arts section are held in two shifts, morning and day. The morning shift starts at 6.30 a.m and ends at 12.30 p.m. The day shift stars at 9.15 a.m. The college has able to meet the aspirations of the people of the district over the year and has played a key role in socio-economic development of the backward district in particular and the region as a whole. Almost all the L.P. schools, High schools, Higher Secondary schools, Junior and Senior U.G. Colleges have drawn inspirations from this premier institution. The college provides an excellent opportunity for interaction among students coming from various ethnic and linguistic background The present enrolment in the college is around 1700 (excluding private and casual students), which may be considered good considering the fact that at present there are eight other DGIA college, in the district. To prepare the students to meet the challenges of the modern world and to inculate them with the spirit of leadership in different avenues, have all along been the guiding principles of the college. Over the years, the college has been maintaining fairly good record of performance in different university and council examinations. And the products of this institution now has held many responsible positions of society. The fifty years of the college's glorious achievements and its relentless contribution to the sphere of higher education have been befittingly marked by its Golden Jubilee Celebration, with a year long academic and development programmes from 1st Sept' 1998. As a result the college now presents a new look both academically and infrastructurally. There was overwhelming public response and co-operation in the development activities of the institution. </div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$$$$$$$<br />Madhab Choudhury College, Barpeta or M.C.College, Barpeta</div><div>$$$$$$$$$$$$$$$$$$$$$</div><div><br /></div><div>Madhab Choudhury College</div><div><br /></div><div>Barpeta, Assam (India)<br />Phone No. +91 3665 252222 (O) </div><div><br /></div><div>Email:- <a href="mailto:info@mccasam.org">info@mccasam.org</a><br />Website:- <a href="http://www.mccasam.org/">http://www.mccasam.org/</a></div><div><br /></div><div></div><div>Madhab Choudhury College, Barpeta, the third oldest non-government college in undivided Assam, was established in the year 1939, when the entire India rose up vigorously against the colonial rule. The inception of this college was a manifestation of an aspiration of a few visionaries who, imbued with the ideals of the freedom struggle, desired to contribute to building a vibrant, resurgent, progressive and enlightened India, and with modern, liberal, secular and scientific education in this part of the country. Smt. Jibanlata Choudhury, a philanthropic lady of Barpeta, came forward to help them reach their goal, and generously donated Rupees ten thousand to begin the process of establishment of this college. The untiring efforts of its founders along with public donations added to it made this pioneering academic institution in the North East India take its complete shape, and finally this college, bearing the name of the husband of this generous lady, was inaugurated by Loka Priya Gopinath Bordoloi, ‘Prime Minister’ of the Assam as he was then called, on the 14 th of July, 1939.<br />Since then, this college has been undergoing a relentless process of growing up. The college that started with twelve teachers and about thirty students has 74 teachers and about two thousand students at present. Born as and arts college, M.C. College introduced its science stream in 1959; an at present it has been able to translate its promise to provide students of this locality with apt facilities for learning in both the streams in to a reality.In the year 2003, the National Assessment and Accredition Council (N.A.A.C.) assessed the college and awarded it with ‘B’ grade. This assessment of the N.A.A.C. has now formed the soil in which the college desires to germinate the seeds of its future. </div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$$</div><div>B.H. College, Howly</div><div>$$$$$$$$$$$$$$$$<br /><br />An intense desire and untiring effort of the founders lit the light of B.H. College in 1966, to impart Higher Education to the people of Barpeta Road – Howly locality. The selfless devotion and sacrifice of the local people have graduated this institution into a famous college in Assam and now it is standing with glory as their cherished offspring. B.H. College, is the only full-fledged three- faculty institution in Lower Assam which offers The provision for post-graduation in Commerce. The strength of this institution lies in its academic achievements and healthy environment. A rural college, essentially catering to the academic needs of the local youths coming from families of cultivators and poverty stricken multitade, requires a very soft and careful managerial acumen in its built-up process. The armature of this institution is strong enough to meet the growing challenges of Higher Education.</div><div><br /></div><div></div><div>$$$$$$$$$$$$$$$$</div><div>Nowgong College, Nagaon</div><div>$$$$$$$$$$$$$$$$</div><div> </div><div></div><div></div><div>Nowgong College, established on August 7, 1944, is one of the premier colleges of Assam. The college, established with permission from the University of Calcutta, has been playing a pivotal role in the cause of higher education since its inception. Thanks to the unsparing efforts of the teachers, the existence of the college soon made itself felt. It contributed largely in awakening people towards values of higher education.<br />The high hopes and zealous efforts of people like late Matiram Bora and others were answered by succeeding batches of students and a set of dedicated and ideal teachers. The college had a distinctive blazon of its own and it played a significant role in the social and intellectual life of the state. We can still look back for inspiration to some of the extraordinary achievers of public life who were alumni of this institution. The college celebrated its Golden jubilee in its fiftieth year, in 1994.<br />Located in the heart of the Nagaon town the Nowgong College started its journey with only 140 students under the able stewardship of Sahityacharyya Janeswar Sarma. With about 100 teachers, now, the college primarily imparts undergraduate level education with facilities for Major Course in all the faculties of Arts, science and Commerce. The college has been conducting post-graduate course in Assamese under the University of Gauhati. </div><div> </div><div></div><div>$$$$$$$$$$$$$$$</div><div>Handique Girls College, Guwahati</div><div>$$$$$$$$$$$$$$$</div><div> </div><div></div><div>Handique Girls College was founded in 1939 as Gauhati Girls' College by Late Mrs Rajabala Das, M.A, a pioneer in womens' education with the patronage of Late R.K Handique. This was the first college of women in the State of Assam and was born of necessity out of the awareness infused by the National Freedom Movement to overcome superstition and social prejudices in the education of women. Mahatma Gandhi's encouragement and enlightenment of women induced them to participate in public demonstrations in large numbers all over India for the liberation of motherland. A proper education of women became the first step towards shedding of their own and society's barriers for participation in public life. A few fortunate women of Assam managed to go to colleges and Universities outside the state in pursuit of higher education and their return created an enlightened body of women, aware, competent and determined to help their less fortunate sisters. Mrs Rajabala Das was one of them and with her progressive outlook and great organizational capacity, she succeeded in setting up a separate college in Assam to meet the growing demand for higher education for women and became its first principal.The first college for women in Assam was thus born and it was quite healthy under the post natal care of one who knew how to bring it up. The college took its shape from the personality of its founder principal who combined in herself a progressive outlook with a firm belief that social traditions and conventions must not be completely erased or overlooked. Throughout her life she tried to inculcate in her students liberalism in thought and conservation in expression to fuse the lofty ideal of dynamism in appropriate social context.<br />The college was initially set up with the patronage and name of Late Dr. K.K. Handique, a member of the same philanthropic Handique family, donated a generous sum to the college for its expansion and development. The college was subsequently renamed Handique Girls College.<br />Mrs Rajabala Das remained the principal from 1939 to 1965. During her tenure a devoted team of teachers worked hard with fortitude to make the college one of the best colleges under Calcutta University. The Vice Chancellor of Calcutta University was so pleased with the progress and work ethics of the college that he readily agreed to admit it to the privileges of the university by extending affiliations up to honors level in Arts.</div><div> </div><div></div><div>$$$$$$$$$$$$</div><div>Sivasagar girls’ College</div><div>$$$$$$$$$$$$</div><div> </div><div></div><div>The premier Girls’ College in Sivasagar District exclusively meant for Women Higher Education in educating the women of this region.<br />This College was established in 1964 as a Sivasagar Girls’ College on the bank of BorPhukhuri and near the famous Siva-Dol. This College having both Arts and Science streams for both Degree and Higher Secondary Level serves the need of Higher Education for women of this region. This College have Hostel Facility for girls’ students from distant places, for better education well stocked library with reading room facility is available in the college premises. This College also have Common Room with minor games facilities for the mental growth of the students.<br />The performance of the students from this College in Higher Secondary and Degree Examination is consistently good. Particularly in the last three years the best candidate in the district in Higher Secondary & Degree Examination were from this College.<br />Many renowned female personalities in Assam are the ex-students of this College.<br /><br /><br /></div><a id="See_also" name="See_also"></a></div><br /><br /><br />Functioning of colleges and schools in Assam:<br /><br />According to the University Grants Commission (UGC), 27 Government Colleges and 185 Private Colleges are functioning in Assam under Section 2(f) and 12(b) of the UGC Act, 1956. <br /><br />Kendriya Vidyalayas are composite co-educational schools having classes from I to XII. At present 50 Kendriya Vidyalayas are functional in the state of Assam. The total number of students in these Kendriya Vidyalayas is 18,248 (as on 30th September, 2007) and 1,272 teachers are in position.<br /> <br />Navodaya Vidyalaya Samiti has a mandate to establish one Jawahar Navodaya Vidyalaya (JNV) in each district of the country. These Vidyalayas are meant for imparting education to the children from Class VI to Class XII and are affiliated to the Central Board of Secondary Education(CBSE). These Vidyalayas are co-educational and residential in nature. <br /><br />27 JNVs have been sanctioned in the state of Assam. There is no provision to set up lower primary level JNVs in the country as well as in Assam. Hence, there are no students in the JNVs at lower primary level. <br /><br />There are 165 Post Graduate Teachers (PGTs), 180 Trained Graduate Teachers (TGTs) and 114 Miscellaneous Category Teachers working in the JNVs in Assam. <br />According to the Central board of Secondary Education (CBSE), as on 31st December, 2007 there were 136 schools including 69 unaided independent private schools affiliated with CBSE. <br /><br />CBSE does not maintain the data about the total number of teachers and the number of students of its affiliated schools. <br /><br />However, the number of students registered with CBSE for board exam from the state of Assam during the year 2007-08 were 7188 (Class X), 5388 (Class XII), 7740 (class X) 6164 (Class XII) respectively. <br /><br />Under the Sarva Shiksha Abhiyan (SSA), there are 42,667 schools in the state of Assam and the number of students and teachers are 41,94,417 and 1,55,922 respectively. <br /><br />The Mid-day-Meal scheme covers children studying at primary stage of education in Government, Local Body and Government-aided schools and centers run under Education Granted Scheme / Alternative and Innovative Scheme. The scheme has been extended up to the upper primary stage of education i.e. up to class VIII with effect from 1st October, 2007 in 3479 educational backward blocks of the country including 81 blocks of state of Assam. The scheme does not cover children studying in privately managed and unaided institutions.<br /><br />$$$$$$$$$$$$$$$$$$$$<br />Some schools of Assam:<br />$$$$$$$$$$$$$$$$$$$$<br /><br />Sl. No. Educational Institution Name and Address Exam<br />1 Air Force School, Afs Jorhat, Jorhat, CBSE CLASS X<br />2 Army School, Missamari, Sonitpur, CBSE CLASS X<br />3 Army School, Solmara, Sonitpur, CBSE CLASS X<br />4 Army School, Basistha 151 Base Hospital c/o 99 Apo Sonitpur, CBSE CLASS X<br />5 Army School,Dinjan,Tinsukia,CBSE CLASS X<br />6 Army School, Narangi Satagaon,Guwahati, CBSE CLASS XII<br />7 Assam Rifles School, H Q Arunachal And Assam Range, Nafabari,Jorhat,CBSE CLASS X<br />8 Assam Sainik School, P.O. Rajapara, Golpara, CBSE CLASS XII<br />9 Assumption School, Chokihola,p.O. 782475,Karbi Anglong,ASSAM SENIOR SECONDARY EXAMINATION<br />10 Auxilium Girls High School,Tangla,ASSAM SENIOR SECONDARY EXAMINATION<br />11 Bosco Bible School,Hijaguri,ASSAM SENIOR SECONDARY EXAMINATION<br />12 Budding Bugs School,D M Lohia Road,Tinsukia,CBSE CLASS X<br />13 Carmel School,Digboi, Upper Assam,Tinsukia,ASSAM SENIOR SECONDARY EXAMINATION<br />14 Carmel School,Cinnamara .P.O. Jorhat. ICSE<br />15 Carmel School,Tezpur,Sonitpur, CBSE CLASS X<br />16 Carmel School, Digboi upper Assam, Digboi,ICSE<br />17 Christ Jyothi High School, Prem Nagar, dhing Road, Nagaon,ASSAM SENIOR SECONDARY EXAMINATION<br />18 Christ King High School, Gogamukh, North Lakhimpur, ASSAM SENIOR SECONDARY EXAMINATION<br />19 Christ The King School, Sojong, dongkamokam, w. Karbi Anglong, ASSAM SENIOR SECONDARY EXAMINATION<br />20 Delhi Public School, O N G C, Nazira,CBSE CLASS X<br />21 Delhi Public School,Iocl Township, digboi, Tinsukia,CBSE CLASS XII<br />22 Delhi Public School, Brpl Complex, dhaligaon,Bongaigoan,CBSE CLASS X<br />23 Delhi Public School,Oil India Ltd po Duliajan,Dibrugarh,CBSE CLASS X<br />24 Delhi Public School,Numaligarh, c/o Numaligarh Refinery Township,Golaghat, CBSE CLASS XII<br />25 Don Bosco Girls High School,Ursuline Convent, p.O. Cinnamara,Jorhat,ASSAM SENIOR SECONDARY EXAMINATION<br />26 Don Bosco High School,Hojai,Nagaon,CBSE CLASS XII<br />27 Don Bosco High School,Mikamulsatra,Tezpur,CBSE CLASS XII<br />28 Don Bosco High School,Nizkamulsatra,Tezpur,CBSE CLASS XII<br />29 Don Bosco High School,Lumding,Nagaon,CBSE CLASS XII<br />30 Don Bosco High School,Dimakuchi, gogamukh,Darang,ASSAM SENIOR SECONDARY EXAMINATION<br />31 Don Bosco High School,Mangaladai,Darang,CBSE CLASS XII<br />32 Don Bosco High School,Damra,Goalpara,ASSAM SENIOR SECONDARY EXAMINATION<br />33 Don Bosco High School,Dhekiajuli,ASSAM SENIOR SECONDARY EXAMINATION<br />34 Don Bosco High School,Silapathar,CBSE CLASS XII<br />35 Don Bosco High School,Guwahati,CBSE CLASS XII<br />36 Don Bosco High School,Maligaon,Guwahati,CBSE CLASS XII<br />37 Don Bosco High School,Sonaighuli sawkuchi.Guwahati,CBSE CLASS XII<br />38 Don Bosco High School,Bengtol, Kokrajhar, ASSAM SENIOR SECONDARY EXAMINATION<br />39 Don Bosco High School,Diphu east Karbi anglong,CBSE CLASS XII<br />40 Don Bosco High School BoysConvoy Road, Dibrugarh,ASSAM SENIOR SECONDARY EXAMINATION<br />41 Don Bosco School,Kokrajhar,CBSE CLASS X<br />42 Don Bosco School,Sashipur, daranga,Nalbari,ICSE<br />43 Don Bosco School,Doom Dooma,Tinsukia,CBSE CLASS XII<br />44 Don Bosco School. Po Kunwari bhagchung, Jorhat,CBSE CLASS XII<br />45 Don Bosco School, Jirikyndeng kheroni west Karbi Anglong,CBSE CLASS XII<br />46 Don Bosco School,Umswai jagi Road west Karbi Anglong,CBSE CLASS XII<br />47 Don Bosco School,North Chachar Hills,Haflong,CBSE CLASS XII<br />48 Don Bosco School, Hamren, Haflong,CBSE CLASS XII<br />49 Don Bosco School,Station Road amguri,Sibsagar,CBSE CLASS XII<br />50 Dreamflower School, B R P L Complex,Dhaligaon,CBSE CLASS X<br />51 Faculty Sr Secondary School,G.N.B. Road, ambari,Guwahati,CBSE CLASS XII<br />52 Fansalian High School,Dhemaji,Assam,CBSE CLASS XII<br />53 Fransalian High School,Dhemaji,Jonai,CBSE CLASS XII<br />54 Gauhati Public School,Bamuni Maidan,Guwahati,CBSE CLASS X<br />55 Gauhati Public School,Panjabari,Guwahati,CBSE CLASS XII<br />56 Guru Teg Bahadur AcademyAt/po/distt Tinsukia,CBSE CLASS X<br />57 Gurukul Grammar School,Pub-Gita Nagar Zoo Narengi Road.Guwahati,CBSE CLASS X<br />58 Happy Convent School,G T B Road,Dhuburi,CBSE CLASS X<br />59 Hfc Model School,Namrup,Parbatpur,CBSE CLASS XII<br />60 Hindustani Kendriya Vidyalaya,Dinesh Ojha Road, bhangagarh,Guwahati,CBSE CLASS X<br />61 Holy Child School,Krishna Nagar,Guwahati,CBSE CLASS XII<br />62 Holy Child School,Hijuguri,Tinsukia,CBSE CLASS XII<br />63 Holy Cross School,Silchar,CBSE CLASS XII<br />64 Holy Family School,Via Dhanseri east Karbi anglong,Japrajan,CBSE CLASS XII<br />65 Holy Name School,P B No. 25,Sibsagar,CBSE CLASS XII<br />66 Jawahar Navodaya Vidyalaya,Kalaigaon,Darang,CBSE CLASS X<br />67 Jawahar Navodaya Vidyalaya,Howly dist Barpeta,CBSE CLASS X<br />68 Jawahar Navodaya Vidyalaya,Doomardallong po Bamunbari,Dibrugarh,CBSE CLASS X<br />69 Jawahar Navodaya Vidyalaya,Gossiagaon po Ranchaidham,Kokrajhar,CBSE CLASS X<br />70 Jawahar Navodaya Vidyalaya,Dudhnoi,Golpara,CBSE CLASS X<br />71 Jawahar Navodaya Vidyalaya,Lakhimpuri Distt Po Bihpuria,Lakhinpur,CBSE CLASS X<br />72 Jawahar Navodaya Vidyalaya,Mirza,Kamrup,CBSE CLASS X<br />73 Jawahar Navodaya Vidyalaya,Morigaon,Morigaon,CBSE CLASS X<br />74 Jawahar Navodaya Vidyalaya,Sensowa No 2 po Chinatoli,Golaghat,CBSE CLASS X<br />75 Jawahar Navodaya Vidyalaya,Diphu,Karbi Anglong,CBSE CLASS XII<br />76 Jawahar Navodaya Vidyalaya,Kadamani po Chariali,Sonitpur,CBSE CLASS XII<br />77 Jawahar Navodaya Vidyalaya,Purana Titabar,Jorhat,CBSE CLASS X<br />78 Jawahar Navodaya Vidyalaya,Pailapool po- Pailapool,Cachar,CBSE CLASS X<br />79 Jawahar Navodaya Vidyalaya,Womens I T I Campus po Borgui,Tinsukia,CBSE CLASS XII<br />80 Jawahar Navodaya Vidyalaya,Mukalmua(kaldi) po Bartala,Nalbari,CBSE CLASS XII<br />81 Jawahar Navodaya Vidyalaya,Ramakrishna Nagar P.O., karimganj,CBSE CLASS XII<br />82 Jawahar Navodaya Vidyalaya,po Lakshmisahar,Hailakandi,CBSE CLASS X<br />83 Jawahar Navodaya Vidyalaya,Tom-Tom Tola Po- Chakimukh,Sibsagar,CBSE CLASS XII<br />84 Jyoti Niwas High School,Jagiroad,Marigaon,CBSE CLASS XII<br />85 Kendriya Vidyalaya,Cachar, HPC, panchgram,Hailakandi,CBSE CLASS XII<br />86 Kendriya Vidyalaya,S.S.B. Haflong, n.C.Hills,Haflong,CBSE CLASS XII<br />87 Kendriya Vidyalaya,O N G C, srikona,Silchar,CBSE CLASS XII<br />88 Kendriya Vidyalaya,Ongc, nazira,Sibsagar,CBSE CLASS XII<br />89 Kendriya Vidyalaya,Settlement Road,Karimganj,CBSE CLASS X<br />90 Kendriya Vidyalaya,Hijuguri Railway Colony,Tinsukia,CBSE CLASS XII<br />91 Kendriya Vidyalaya,Lekhapani,Tinsukia,CBSE CLASS X<br />92 Kendriya Vidyalaya,Po Sookreting, doom Dooma,Tinsukia,CBSE CLASS X<br />93 Kendriya Vidyalaya,Masimpur po- Arunachal,Cachar,CBSE CLASS X<br />94 Kendriya Vidyalaya,Jorhat Air Force Station po7 dist- Jorhat,CBSE CLASS XII<br />95 Kendriya Vidyalaya,Nagaon,CBSE CLASS XII<br />96 Kendriya Vidyalaya,H.P.C.L., jagiroad,Nagaon,CBSE CLASS XII<br />97 Kendriya Vidyalaya,New Railway Lumding,Nagaon,CBSE CLASS XII<br />98 Kendriya Vidyalaya,Missa Cantt, Nagaon,CBSE CLASS X<br />99 Kendriya Vidyalaya,Lokra,Sonitpur,CBSE CLASS XII<br />100 Kendriya Vidyalaya,P.O. Shibajinagar, missamari,Sonitpur,CBSE CLASS XII<br />101 Kendriya Vidyalaya,Hatimatha,Kokrajhar,CBSE CLASS XII<br />102 Kendriya Vidyalaya,Narangi, satgaon,Guwahati,CBSE CLASS XII<br />103 Kendriya Vidyalaya,Crpf, amerigog,six Mile,Guwahati,CBSE CLASS XII<br />104 Kendriya Vidyalaya,I.O.C.,noonmati,kamrup,Guwahati,CBSE CLASS XII<br />105 Kendriya Vidyalaya,Borjhar,mountain Shadow P.O.,azara,Guwahati,CBSE CLASS XII<br />106 Kendriya Vidyalaya,Khanapara,Guwahati,CBSE CLASS XII<br />107 Kendriya Vidyalaya,Maligaon, dist Kamrup,Guwahati,CBSE CLASS XII<br />108 Kendriya Vidyalaya,A.F.S.,kumbhirgram,Cachar,CBSE CLASS XII<br />109 Kendriya Vidyalaya,Silchar,Cachar,CBSE CLASS XII<br />110 Kendriya Vidyalaya,Dholcher,Cachar,CBSE CLASS X<br />111 Kendriya Vidyalaya,Police Reserve Colony,Nangaon,CBSE CLASS XII<br />112 Kendriya Vidyalaya,P.O. Gautam Bast, khatkhati,Karbi,CBSE CLASS X<br />113 Kendriya Vidyalaya,Cci,Bokajan - Assam CBSE CLASS XII<br />114 Kendriya Vidyalaya,New Bongaigaon,nf Railway,Bongaigoan,CBSE CLASS XII<br />115 Kendriya Vidyalaya,Panbari, b.S.F. Campus, alamganj,Dhuburi,CBSE CLASS X<br />116 Kendriya Vidyalaya,Via- Panitola,Dibrugarh,CBSE CLASS XII<br />117 Kendriya Vidyalaya,Chabua Air Force Satation,chabua,Dibrugarh,CBSE CLASS XII<br />118 Kendriya Vidyalaya,H.F.C. Namrup, p.O. Parbatpur,Dibrugarh,CBSE CLASS XII<br />119 Kendriya Vidyalaya,#42, wing Afs, mohanbari,Dibrugarh,CBSE CLASS X<br />120 Kendriya Vidyalaya,Distt Karbi anglong,Diphu,CBSE CLASS XII<br />121 Kendriya Vidyalaya,Oil India Limited duliajan,Dibrugarh,CBSE CLASS XII<br />122 Kendriya Vidyalaya,No.1P.O. Dekargaon,Tezpur,CBSE CLASS XII<br />123 Kendriya Vidyalaya, No.1Ongc Colony,Sibsagar,CBSE CLASS XII<br />124 Kendriya Vidyalaya, No.2A.F.S. Tezpur, p.O. Salanibari,Sonitpur,CBSE CLASS XII<br />125 Kendriya Vidyalaya, No.2New Ongc Colony, cinnamara,Jorhat,CBSE CLASS XII<br />126 Kristo Jyoti School,Bokakhat,Golaghat,CBSE CLASS XII<br />127 Kristu Jyoti School,East Karbi Analong,Dokmoka,CBSE CLASS XII<br />128 Little Flower School,Hatigaon dispur,Guwahati,CBSE CLASS XII<br />129 Little Flower School,Dibrugarh,CBSE CLASS XII<br />130 Little Flower School,Hidim Teron Village east Karbi Analong,Morigaon,CBSE CLASS XII<br />131 Maharishi Vidya Mandir,Silpukhuri,Guwahati,CBSE CLASS X<br />132 Maria'S Public School,Birkuchi Narangi,Guwahati,CBSE CLASS X<br />133 Montfort School,Baghy Po B No 41,Golaghat,CBSE CLASS XII<br />134 Montfort School.P O Bo No 14 chabua.Dibrugarh.CBSE CLASS XII<br />135 National School.Near Ganesh Mandir new Guwahati.Guwahati.CBSE CLASS X<br />136 Neepco School.Umrangso,N C Hills,CBSE CLASS X<br />137 Oil Valley School,Bogapani Colony p O Bogapani,Digboi,CBSE CLASS X<br />138 Sacred Heart ConventGolaghat,Golaghat,CBSE CLASS XII<br />139 Sacred Heart Convent,Golaghat,CBSE CLASS XII<br />140 Sacred Heart High School,Mazgaon,Tezpur,CBSE CLASS XII<br />141 Sacred Heart High School,Udalguri,CBSE CLASS XII<br />142 Sacred Heart High School,Rowta,CBSE CLASS XII<br />143 Sacred Heart School,North Cachar Hills,Umrongso,CBSE CLASS XII<br />144 Sboa Public School,Nh 37 Gorchuk,Guwahati,CBSE CLASS X<br />145 Shrimanta Shankar Academy,Dispur,Guwahati,CBSE CLASS X<br />146 St. Agnes School,N C Hills,Haflong,CBSE CLASS XII<br />147 St. Anthonys High School,Gossaigaon,Kokrajhar,CBSE CLASS XII<br />148 St. Francis Assisi School,Po Borhala rajabari,Jorhat,CBSE CLASS XII<br />149 St. Francis Xaviers High School,Dotma,Kokrajhar,CBSE CLASS XII<br />150 St. Johns High School,Barama,Nalbari,CBSE CLASS XII<br />151 St. Josephs Boys High School,Barpeta Road,Barpeta CBSE CLASS XII<br />152 St. Josephs High School,Baganpara,Nalbari,CBSE CLASS XII<br />153 St. Josephs High School,Tezpur,CBSE CLASS XII<br />154 St. Josephs High School,Moranhat,Sibsagar,CBSE CLASS XII<br />155 St. Josephs School,Sonari,Sibsagar,CBSE CLASS XII<br />156 St. Josephs School,Dolomara pb No 8 karbi Analong,Bokakhat,CBSE CLASS XII<br />157 St. Marys Convent,Dibrugarh,CBSE CLASS XII<br />158 St. Marys Girls High School,Barpeta Road,Barpeta,CBSE CLASS XII<br />159 St. Marys Girls High School,Guwahati,CBSE CLASS XII<br />160 St. Marys Girls High School,Maligaon,Guwahati,CBSE CLASS XII<br />161 St. Marys High School,Pb No 19,North Lakhimpur,CBSE CLASS XII<br />162 St. Marys School,Marherita,Tinsukia,CBSE CLASS XII<br />163 St. Marys School,Dibrugarh,CBSE CLASS XII<br />164 St. Marys School,C/o Bishops House east Karbi Analong,Diphu,CBSE CLASS XII<br />165 St. Xavier'S School,Harmutty, merbil,Lakhinpur,CBSE CLASS X<br />166 The Assam Valley School,P.O. And T.O. Balipara,Sonitpur,ISC, ICSE<br />167 The Little Stars School,Borbil No 1, digboi,Tinsukia,CBSE CLASS XII<br />168 The Little Stars School,Borbil No 2, digboi,Tinsukia,CBSE CLASS X<br />169 The Miles Bronson Resid School,Kahikuchi Borjhar,Guwahati,CBSE CLASS XII<br />170 Tinsukia English Academy,Manav Kalyan Namghar Road,cheerpatty,Tinsukia,CBSE CLASS X<br />171 Vivekananda Kendra Vidyalaya,East Chowkidingee,Dibrugarh,CBSE CLASS X<br />172 Vivekananda Kendra Vidyalaya,Mission Road,Golaghat,CBSE CLASS X<br />173 Vivekananda Kendra Vidyalaya,Kendra Prathishthan, p.O. Laipuli Via,Panitola, CBSE CLASS XII<br />174 Vivekananda Kendra Vidyalaya,Baragolai,Dibrugarh,CBSE CLASS XII<br />175 Vivekananda Kendra Vidyalaya (nec)Baragolai Po Margherita,Tinsukia,CBSE CLASS XIIMofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com10tag:blogger.com,1999:blog-7823291760828692160.post-36349045345164886712008-02-29T06:19:00.000-08:002008-07-07T02:22:46.985-07:00Noted Personalities of Assam<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SDbezmwB_CI/AAAAAAAADZ4/hY3zFcnxuNg/s1600-h/With+Nabakanta+Barua.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SDbezmwB_CI/AAAAAAAADZ4/hY3zFcnxuNg/s400/With+Nabakanta+Barua.jpg" alt="" id="BLOGGER_PHOTO_ID_5203591397629885474" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SDbez2wB_DI/AAAAAAAADaA/3Ny1nlWKhOE/s1600-h/INDIRA.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SDbez2wB_DI/AAAAAAAADaA/3Ny1nlWKhOE/s400/INDIRA.jpg" alt="" id="BLOGGER_PHOTO_ID_5203591401924852786" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SDbez2wB_EI/AAAAAAAADaI/nTeq4AG1mvk/s1600-h/RG.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SDbez2wB_EI/AAAAAAAADaI/nTeq4AG1mvk/s400/RG.jpg" alt="" id="BLOGGER_PHOTO_ID_5203591401924852802" border="0" /></a><br /><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9p_wy2QUHI/AAAAAAAACzk/SJFOEOE9LuE/s1600-h/sankardeva.bmp"><img id="BLOGGER_PHOTO_ID_5177591197875589234" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9p_wy2QUHI/AAAAAAAACzk/SJFOEOE9LuE/s400/sankardeva.bmp" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9p_xS2QUII/AAAAAAAACzs/aoOi65bv2SE/s1600-h/assam+icons.bmp"><img id="BLOGGER_PHOTO_ID_5177591206465523842" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R9p_xS2QUII/AAAAAAAACzs/aoOi65bv2SE/s400/assam+icons.bmp" border="0" /></a><br /><div><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R9p6Pi2QUEI/AAAAAAAACzM/kGngID7tYMY/s1600-h/sankardeva.bmp"></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9p6Py2QUFI/AAAAAAAACzU/Z5WxXBDhA4I/s1600-h/laksminath_bezbarua.bmp"><img id="BLOGGER_PHOTO_ID_5177585133381767250" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R9p6Py2QUFI/AAAAAAAACzU/Z5WxXBDhA4I/s400/laksminath_bezbarua.bmp" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R9p6QC2QUGI/AAAAAAAACzc/-nN44LGL0NI/s1600-h/nathan.bmp"><img id="BLOGGER_PHOTO_ID_5177585137676734562" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R9p6QC2QUGI/AAAAAAAACzc/-nN44LGL0NI/s400/nathan.bmp" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SDbZdWwB-_I/AAAAAAAADZg/1SYovI-wJJc/s1600-h/With+Nabakanta+Barua.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SDbZdWwB-_I/AAAAAAAADZg/1SYovI-wJJc/s400/With+Nabakanta+Barua.jpg" alt="" id="BLOGGER_PHOTO_ID_5203585517819657202" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SDbZdWwB_AI/AAAAAAAADZo/77HeSvixY8k/s1600-h/INDIRA.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SDbZdWwB_AI/AAAAAAAADZo/77HeSvixY8k/s400/INDIRA.jpg" alt="" id="BLOGGER_PHOTO_ID_5203585517819657218" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SDbZd2wB_BI/AAAAAAAADZw/XzDuHX3qQAw/s1600-h/RG.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SDbZd2wB_BI/AAAAAAAADZw/XzDuHX3qQAw/s400/RG.jpg" alt="" id="BLOGGER_PHOTO_ID_5203585526409591826" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-zw6T1zpI/AAAAAAAADfc/gIIByJ42q4g/s1600-h/ambikagiri+raichowdhury.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-zw6T1zpI/AAAAAAAADfc/gIIByJ42q4g/s400/ambikagiri+raichowdhury.jpg" alt="" id="BLOGGER_PHOTO_ID_5210580946758520466" border="0" /></a><br />..................Ambikagiri Roy Chowdhury....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-zxSDqlkI/AAAAAAAADfk/cEvHX7wldko/s1600-h/atulchandra+hazarika.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-zxSDqlkI/AAAAAAAADfk/cEvHX7wldko/s400/atulchandra+hazarika.jpg" alt="" id="BLOGGER_PHOTO_ID_5210580953133127234" border="0" /></a><br />..................Atul Chandra Hazarika....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-zxmQfuII/AAAAAAAADfs/iJceP3FY3yM/s1600-h/benudhar+sharmaa.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-zxmQfuII/AAAAAAAADfs/iJceP3FY3yM/s400/benudhar+sharmaa.jpg" alt="" id="BLOGGER_PHOTO_ID_5210580958555650178" border="0" /></a><br />......................Benudhar Sharma...........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-xmZeRaQI/AAAAAAAADe8/0oBFkDXohNw/s1600-h/brajen+baruwa.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-xmZeRaQI/AAAAAAAADe8/0oBFkDXohNw/s400/brajen+baruwa.jpg" alt="" id="BLOGGER_PHOTO_ID_5210578567121955074" border="0" /></a><br />..................Brajen Baruah....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-xmx8Kh0I/AAAAAAAADfE/AMhMbiHeWPo/s1600-h/bishnu+rava.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-xmx8Kh0I/AAAAAAAADfE/AMhMbiHeWPo/s400/bishnu+rava.jpg" alt="" id="BLOGGER_PHOTO_ID_5210578573689784130" border="0" /></a><br />..................Bishnu Prasad Rabha....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-xnEgznQI/AAAAAAAADfM/WoIH5DPkhas/s1600-h/birendra+kumar+bhattacharya.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-xnEgznQI/AAAAAAAADfM/WoIH5DPkhas/s400/birendra+kumar+bhattacharya.jpg" alt="" id="BLOGGER_PHOTO_ID_5210578578675309826" border="0" /></a><br />..................Birendra Kumar Bhattacharya....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-xnldakDI/AAAAAAAADfU/TZUDhQd7sBw/s1600-h/bhabendra+nath+saikia.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-xnldakDI/AAAAAAAADfU/TZUDhQd7sBw/s400/bhabendra+nath+saikia.jpg" alt="" id="BLOGGER_PHOTO_ID_5210578587519455282" border="0" /></a><br />....................Bhabendranath Saikia....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-xl7Z3bwI/AAAAAAAADe0/-pGdWK0mxeo/s1600-h/chandra+kr+agarwala.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-xl7Z3bwI/AAAAAAAADe0/-pGdWK0mxeo/s400/chandra+kr+agarwala.jpg" alt="" id="BLOGGER_PHOTO_ID_5210578559050411778" border="0" /></a><br />..................Chandra Kumar Agarwala....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wev_PdFI/AAAAAAAADeM/FY3paIfrSiw/s1600-h/jatindranath+duwarah.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wev_PdFI/AAAAAAAADeM/FY3paIfrSiw/s400/jatindranath+duwarah.jpg" alt="" id="BLOGGER_PHOTO_ID_5210577336215237714" border="0" /></a><br />.....................Jatindranath Duwarah.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wew4qWZI/AAAAAAAADeU/-TN8KW6Xem8/s1600-h/hemchandra+goswami.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wew4qWZI/AAAAAAAADeU/-TN8KW6Xem8/s400/hemchandra+goswami.jpg" alt="" id="BLOGGER_PHOTO_ID_5210577336456075666" border="0" /></a><br />.....................Hemchandra Goswami.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-wfETo7eI/AAAAAAAADec/MK2c1rPrm6U/s1600-h/drsuryakumar+bhuyan.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-wfETo7eI/AAAAAAAADec/MK2c1rPrm6U/s400/drsuryakumar+bhuyan.jpg" alt="" id="BLOGGER_PHOTO_ID_5210577341669502434" border="0" /></a><br />.....................Dr. Surya Kumar Bhuyan.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wfSPcG8I/AAAAAAAADek/plFO2NaJDO8/s1600-h/dr+birinchi+baruah.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wfSPcG8I/AAAAAAAADek/plFO2NaJDO8/s400/dr+birinchi+baruah.jpg" alt="" id="BLOGGER_PHOTO_ID_5210577345409981378" border="0" /></a><br />.....................Dr. Birinchi Kumar baruah.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-wf1Qr8-I/AAAAAAAADes/CgQGluWZi6U/s1600-h/dr+banikanto+kakoty.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-wf1Qr8-I/AAAAAAAADes/CgQGluWZi6U/s400/dr+banikanto+kakoty.jpg" alt="" id="BLOGGER_PHOTO_ID_5210577354810455010" border="0" /></a><br />.....................Dr. Bani Kanto kakoty.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-sq2ZxJnI/AAAAAAAADc8/MMoPzEpupmg/s1600-h/laxmi+nath+phookan.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-sq2ZxJnI/AAAAAAAADc8/MMoPzEpupmg/s400/laxmi+nath+phookan.jpg" alt="" id="BLOGGER_PHOTO_ID_5210573146049029746" border="0" /></a><br />...................Laxminath Phukan........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-sraOIglI/AAAAAAAADdE/yhMc8EyFbCY/s1600-h/kkhandique.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-sraOIglI/AAAAAAAADdE/yhMc8EyFbCY/s400/kkhandique.jpg" alt="" id="BLOGGER_PHOTO_ID_5210573155663905362" border="0" /></a><br />...................Krishna Kanto Handique........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssIi9bUI/AAAAAAAADdM/qQNYuYaPPn8/s1600-h/keshav+mahanta.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssIi9bUI/AAAAAAAADdM/qQNYuYaPPn8/s400/keshav+mahanta.jpg" alt="" id="BLOGGER_PHOTO_ID_5210573168099290434" border="0" /></a><br />...................Keshab Mahanta........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssYlY6cI/AAAAAAAADdU/PjkbyLpXRTc/s1600-h/kamalakanta+bhattacharya.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssYlY6cI/AAAAAAAADdU/PjkbyLpXRTc/s400/kamalakanta+bhattacharya.jpg" alt="" id="BLOGGER_PHOTO_ID_5210573172404447682" border="0" /></a><br />...................Kamalakanta Bhattacharya........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssydyPOI/AAAAAAAADdc/bGG5jl89FTE/s1600-h/jyoti+agarwala.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssydyPOI/AAAAAAAADdc/bGG5jl89FTE/s400/jyoti+agarwala.jpg" alt="" id="BLOGGER_PHOTO_ID_5210573179351874786" border="0" /></a><br />...................Jyoti Prasad Agarwalla........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-qBqImkWI/AAAAAAAADcU/We_eTBo7gLM/s1600-h/nabakanta+baruah.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-qBqImkWI/AAAAAAAADcU/We_eTBo7gLM/s400/nabakanta+baruah.jpg" alt="" id="BLOGGER_PHOTO_ID_5210570239357915490" border="0" /></a><br />............Nabakanta Baruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-qB5UMFkI/AAAAAAAADcc/zr28eb9Qp9s/s1600-h/mofizuddin+ahmed+hazarika.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-qB5UMFkI/AAAAAAAADcc/zr28eb9Qp9s/s400/mofizuddin+ahmed+hazarika.jpg" alt="" id="BLOGGER_PHOTO_ID_5210570243433043522" border="0" /></a><br />............Mofizuddin Ahmed Hazarika................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-qCPXMcxI/AAAAAAAADck/NnEEVcUMEe4/s1600-h/mitra+dev.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-qCPXMcxI/AAAAAAAADck/NnEEVcUMEe4/s400/mitra+dev.jpg" alt="" id="BLOGGER_PHOTO_ID_5210570249351230226" border="0" /></a><br />............Mitrodev Mahanta................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-qCY558xI/AAAAAAAADcs/ubNiTqBQ3qc/s1600-h/maheswar+neog.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-qCY558xI/AAAAAAAADcs/ubNiTqBQ3qc/s400/maheswar+neog.jpg" alt="" id="BLOGGER_PHOTO_ID_5210570251912737554" border="0" /></a><br />............Maheswar Neog................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-qCvZLeEI/AAAAAAAADc0/zzvyAfgnrK8/s1600-h/laxminath+Bezbaruah.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-qCvZLeEI/AAAAAAAADc0/zzvyAfgnrK8/s400/laxminath+Bezbaruah.jpg" alt="" id="BLOGGER_PHOTO_ID_5210570257949489218" border="0" /></a><br />............Lakshminath Bezbaruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-otrVt75I/AAAAAAAADbs/56BaQ-ZWF1U/s1600-h/phoni+sarma.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-otrVt75I/AAAAAAAADbs/56BaQ-ZWF1U/s400/phoni+sarma.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568796572348306" border="0" /></a><br />............Phoni Sarma................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-otzOwjZI/AAAAAAAADb0/7Ekpe_D4ZTk/s1600-h/parbati+prasad+barua.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-otzOwjZI/AAAAAAAADb0/7Ekpe_D4ZTk/s400/parbati+prasad+barua.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568798690643346" border="0" /></a><br />............Parbati Prasad Baruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-ouBu38hI/AAAAAAAADb8/wIgh-3mNJu4/s1600-h/padmanath+gohai+baruwa.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-ouBu38hI/AAAAAAAADb8/wIgh-3mNJu4/s400/padmanath+gohai+baruwa.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568802583441938" border="0" /></a><br />............Padmanath Gohain Baruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-ouWK10hI/AAAAAAAADcE/p5cYdcxaM1M/s1600-h/nip+barua.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-ouWK10hI/AAAAAAAADcE/p5cYdcxaM1M/s400/nip+barua.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568808069452306" border="0" /></a><br />............Nip Baruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-oujI_lOI/AAAAAAAADcM/Pkv7Jdraphk/s1600-h/nalinibala+devi.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-oujI_lOI/AAAAAAAADcM/Pkv7Jdraphk/s400/nalinibala+devi.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568811551364322" border="0" /></a><br />............Nalinibala Devi................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-oDHFwtpI/AAAAAAAADbE/4TfsMyd6JI8/s1600-h/xilobhadraaa.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-oDHFwtpI/AAAAAAAADbE/4TfsMyd6JI8/s400/xilobhadraaa.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568065287239314" border="0" /></a><br />............Xilobhadro- Rebotimohan dutta chowdhury................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oE83UjeI/AAAAAAAADbM/GOt92EQhoqA/s1600-h/syed+abdulmalik.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oE83UjeI/AAAAAAAADbM/GOt92EQhoqA/s400/syed+abdulmalik.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568096902057442" border="0" /></a><br />............Syed Abdul Malik................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oFe9eHpI/AAAAAAAADbU/MUXycXJ2SBk/s1600-h/saurav+chalihaa.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oFe9eHpI/AAAAAAAADbU/MUXycXJ2SBk/s400/saurav+chalihaa.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568106054655634" border="0" /></a><br />............Saurav Kumar Chaliha................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-oFyp7XCI/AAAAAAAADbc/Fmmdrd5ITdM/s1600-h/rajani+kanto+bordoloi.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-oFyp7XCI/AAAAAAAADbc/Fmmdrd5ITdM/s400/rajani+kanto+bordoloi.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568111341394978" border="0" /></a><br />............Rojoni Kanta bordoloi................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oGOsHQ7I/AAAAAAAADbk/ZyIXflyNXlI/s1600-h/raghunath+choudhary.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oGOsHQ7I/AAAAAAAADbk/ZyIXflyNXlI/s400/raghunath+choudhary.jpg" alt="" id="BLOGGER_PHOTO_ID_5210568118866756530" border="0" /></a><br />............Raghunath chowdhury................<br /><br /><br /><div>--Chaolung Chukapha (????-1268)<br />--Madhab Kandali<br />--Srimanta Sankardeva<br />--Sri Madhabdeva (1522-1596)<br />--Harideb (1426-1566)<br />--Damodardeb (????-1520)<br />--Naranarayan (16??-????)<br />--Chilarai (1510-1571)<br />--Ram Saraswati<br />--Ananta Kandali<br />--Mathuradas Burha-ata (1490-1596)<br />--Aniruddhadeb (1553-1626)<br />--Bhattadeb (1558-????)<br />--Swargadeo Pratap Xingha<br />--Mumai Tamuli Barbarua<br />--Ajan Fakir (1610-????)<br />--Swargadeo Jaidhwaj Xingha<br />--<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.assam.org/mod.php?mod=userpage&menu=90409&page_id=178" target="_blank">Lachit Barphukan</a>(????-1671)<br />--Swargadeo Chakradhwaj Xingha (????-1670)<br />--Aton Buragohain<br />--Swargadeo Godadhar Xingha (????-1695)<br />--Xati Joimoti (????-1679)<br />--Swargadeo Rudra Xingha (????-1714)<br />--Bor-roja Phuleswaree<br />--Keertichandra Barbarua (1699-1769)<br />--Purnananda Buragohain<br />--Swargadeo Chandrakanta Xingha (1798--<br />-<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.assam.org/mod.php?mod=userpage&menu=90411&page_id=181" target="_blank">Maniram Dewan</a> (1806-1858)<br />--Anandaram Dhekialphukan (1829-1859)<br />--Nidhi Lebi Farwel<br />--Gunabhiram Barua (1834-1894)<br />--Hemchandra Barua (1835-1896)<br />--Anandaram Barua (1850-1889)<br />--Manik Chandra Barua (1851-1915)<br />--Jagannath Barua (1851-1907)<br />--Bholanath Barua (1853-1923)<br />--Kamalakanta Bhattacharya (1855-1936)<br />--Radhanath Handique (1857-1952)<br />--Lambodar Bora (1860-1892)<br />--Satyanath Bora (1860-1925)<br />--Lakshmiram Barua (1865-1913)<br />--Rajanikanta Bordoloi (1867-1940)<br />--Chandrakumar Agarwala (1811-1938)<br />--Lakshminath Bezbarua (1868-1938)<br />--Padmanath Gohainbarua (1867-1946)<br />--Hemchandra Goswami (1872-1928)<br />--Kanaklal Barua (1872-1940)<br />--Nabinchandra Bordoloi (1875-1936)<br />--Tarunram Phukan (1877-1939)<br />--Sir Sayed Sadulla (1885-1955)<br />--Kaliram Medhi (1880-1954)<br />--Neelamani Phukan (1880-1978)<br />--Gyandabhiram Barua (1880-1955)<br />--Peetambar Debagoswami (1885-1962)<br />--Harinarayan Dutta Barua (1807-1958)<br />--Ambikagiri Raichoudhury (1885-1967)<br />--Saratchandra Goswami (1887-1944)<br />--Bishnuram Medhi (1888-1981)<br />--<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.assam.org/mod.php?mod=userpage&menu=90406&page_id=175" target="_blank">Gopinath Bordoloi</a> (1890-1950)<br />--Dr Suryakumar Bhuyan (1892-1964)<br />--Rajbala Das (1893-1985)<br />--Tyagbeer Hem Barua (1893-1945)<br />--Dr Bhubaneswar Barua (1893-1956)<br />--Lakshminath Phukan (1894-1975)<br />--Dr Dinanath Sarma (1894-1978)<br />--Brazanath Sarma (1894-1960)<br />--Benudhar Sarma (1894-1981)<br />--Dr Banikanta Kakoti (1894-1952)<br />--Amiyo Kumar Das (1895-1975)<br />--Lakshmidhar Sarma (1897-1933)<br />--<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.assam.org/mod.php?mod=userpage&menu=90408&page_id=177" target="_blank">Krishnakanta Handique</a> (1898-1982)<br />--Premnarayan Dutta (1899-1965)<br />--Dr Moidul Islam Bora (1899-1944)<br />--Rajmohan Nath (1899-1964)<br />--Radhagobinda Barua (1900-1977)<br />--Chandraprabha Saikiani (1901-1972)<br />--Holiram Deka (1901-1962)<br />--<a onclick="return top.js.OpenExtLink(window,event,this)" href="http://www.assam.org/mod.php?mod=userpage&menu=90407&page_id=176" target="_blank">Jyotiprasad Agarwala</a> (1903-1951)<br />--Bhimbar Deuri (1903-1947)<br />--Pramathesh Barua (1903-1951)<br />--Guruprasad Das (1904-1982)<br />--Kushal Konwar (1905-1943)<br />--Dr Hiranyachandra Bhuyan (1905-1973)<br />--Fakharuddin Ali Ahmed (1848-1977)<br />--Sitanath Brahma Choudhuri (1808-1982)<br />--Dr Birinchi Kumar Barua (1908-1964)<br />--Bishnuprasad Rabha (1909-1969)<br />--Phani Sarma (1910-1970)<br />--Amalprabha Das (1911-1994)<br />--Hemanga Biswas (1912-1987)<br />--Debakanta Barua (1914-1996)<br />--Hem Barua (1915-1977)<br />--Dr Maheswar Neog (1915-1995)<br />--Moghai Oja (1916-1978)<br />--Dr Bhobananda Dutta (1918-1959)<br />--Sayed Abdul Malik (1919-2000)<br />--Tarunchandra Pamegam (1924-1983)<br />--Dr Birendra Kumar Bhattacharya (1924-1997)<br />--Pilik Choudhury (1929-)<br />--Hiteswar Saikia (1934-1996)<br />--Haribar Bipra<br />--Swarga Narayan (????-1539)<br />--Mula Gabharu<br />--Bongshi Gopaldeb (1470--<br />--Padmapriya Aai<br />--Pikchai Chetiaphukan<br />--Rabha-Bir Parshuram<br />--Debera Barbarua<br />--Ruchinath Kandali (18th century)<br />--Lalukxola Barphukan<br />--Kuranganayani<br />--Badan Barphukan<br />--Xarbananda Xinha<br />--Kaliabhomora Barphukan<br />--Tularam Xenapati (????-1850)<br />--Atmaram Sarma (1787-1855)<br />--Jaduram Dekabarua (1801-1869)<br />--Haliram Dhekian Phukan (1802-1832)<br />--Deenanath Bezbarua (1813-1895)<br />--Duttadeb Goswami (1818-1904)<br />--Bahadur Gaoburha (????-1891)<br />--Ramakanta Choudhury (1846-1889)<br />--Holiram Mahanta Thakur (1846-1950)<br />--Col. Sibaram Bora (1847-1907)<br />--Baldeb Mahanta (1950-)<br />--Pundit Dhireswaracharya (1851-1919)<br />--Gobinda Bezbarua (1851-1919)<br />--Balinarayan Bora (1852-1927)<br />--Radhanath Changkakoti (1853-1923)<br />--Padmabati Debi Phukanani (1853-1927)<br />--Phanidhar Chaliha (1855-1923)<br />--Bhubanram Das (1856-1916)<br />--Dr Arangshya (1857-1886)<br />--Bholanath Das (1858-1929)<br />--Kalicharan Brahma (1860-1938)<br />--Krishnakanta Bhattacharya (1863-1951)<br />--Madhabchandra Bardalai (1864-1907)<br />--Ratneswar Mahanta (1864-1893)<br />--Ghanashyam Barua (1867-1923)<br />--Durgaprasad Majindar Barua (1867-1928)<br />--Mafijuddin Ahmed Hazarika (1880-1958)<br />--Panindranath Gogoi (1871-1900)<br />--Swarnalata Devi (1871-1932)<br />--Benudhar Rajkhowa (1872-1955)<br />--Chandradhar Barua (1874-1961)<br />--Anandachandra Agarwala (1874-1939)<br />--Radhanath Phukan (1875-1964)<br />--Hiteswar Barbarua (1876-1939)<br />Anandoram Barooah<br />-Young Mukunda Kakati<br />-Atul Chandra Hazarika (1903-1986)<br />-Ananda chandra Baruah (1906-1982)<br />-Ganesh Gogoi (1910-1938)<br />-Parag Chaliha<br />-Raghunath Chodhary (1879-1968)<br />-Durgeswar Sharmah (1882-1961)<br />-Nakul Ch. Bhuyan (1895-1968)<br />-Jatindranath Doarah(1892-1968)<br />-Shailadhar Rajkhowa (1890-1968)<br />-Ratnakanta Borkakoti(1897-1963)<br />-Padmadhar Chaliha (1895-1969)<br />-Prashnalal Choudhary(1898-1985)<br />-Dimbeswar Neog (1899-1966)<br />-Parboti Prashad Baruah (1908-1968)<br />-Gyannath Borah (1890-1968)<br />-Mahendra Bora<br />-Purushatam Das<br />-Lila Gogoi<br /><br /><br />Englishmen who contributed towards Assam :<br /><br />-Sir Barry John White - Assam Medical college founder<br />-Sudmarson - First Principal of Cotton college<br />-Stilwell - Brain behind the great road connecting Assam (Near Lido of Dibrugarh) to south eastAsia<br />-Robart Brosh - Inventor of liquid gold - Tea<br />--Miles Bronson<br />--Nathan Braun<br />--Henri Studman Cotton<br />--Edward Gait<br /><br />To read more about some of these great Assamese personalities and their contributions please click on the links below:<br /><br /><a href="http://www.assamlook.com/icons_of_assam.htm#MAHAPURUSH">MULA GABHARU</a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#BHANUMATI">BHANUMATI</a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#MADHABDEVA">MADHABDEVA </a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#MANIRAM">MANIRAM DEWAN</a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#KUSHAL">KUSHAL KONWAR </a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#JATINDRANATH">JATINDRANATH DUARAH</a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#KRISHNAKANTA">KRISHNAKANTA HANDIQUE </a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#BAGMIBOR%E2%80%9D">"BAGMIBOR” NILAMONI PHUKAN </a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#TARUNRAM">TARUNRAM PHUKAN </a><br /><a href="http://www.assamlook.com/icons_of_assam2.htm#BHABENDRANATH">BHABENDRANATH SAIKIA</a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#BHATTADEVA">BHATTADEVA </a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#AMBIKAGIRI">AMBIKAGIRI RAICHOUDHURY </a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#ANUNDORAM">ANUNDORAM BARUAH</a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#BIRENDRA">BIRENDRA KUMAR BHATTACHARYA</a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#BISHNUPRASAD">BISHNUPRASAD RABHA </a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#BISHNURAM">BISHNURAM MEDHI</a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#DIMBESWAR">DIMBESWAR NEOG</a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#FAKHRUDDIN">FAKHRUDDIN ALI AHMED </a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#GOPINATH">GOPINATH BORDOLOI </a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#LAKSHMINATH">LAKSHMINATH BEZBARUAH </a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#MAHESAWAR">MAHESAWAR NEOG </a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#SYED">SYED ABDUL MALIK </a><br /><a href="http://www.assamlook.com/iocons_of_assam_3.htm#BHUPEN">BHUPEN HAZARIKA </a></div><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$$$$$$$$$</div><br /><br /><div></div><br /><br /><div>A brief about some of these great personalities</div><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$$$$$$$$$</div></div><br /><div><br /></div><br /><div></div><br /><p></p><br /><p>#####################</p><br /><p>Lachit Borphukan --the commander who defeated the mighty Moghuls</p><br /><p>#####################<br /><br />Lachit Borphukan was a commander and <a title="Borphukan" href="http://en.wikipedia.org/wiki/Borphukan">Borphukan</a> in the <a title="Ahom kingdom" href="http://en.wikipedia.org/wiki/Ahom_kingdom">Ahom kingdom</a> known in particular for his successful leadership in the <a title="1671" href="http://en.wikipedia.org/wiki/1671">1671</a> <a title="Battle of Saraighat" href="http://en.wikipedia.org/wiki/Battle_of_Saraighat">Battle of Saraighat</a> that thwarted a strong attempt by Mughal forces under the command of Ramsingh I to take back Kamrup. His heroism during the last and decisive battle, when he inspired a dispirited and retreating Ahom naval force to fight back in spite of an illness, has made him into a national hero. He died about a year later due to causes unrelated to that particular illness.<br />Brief life<br />Lachit Borphukan, was the son of <a title="Momai Tamuli Borbarua" href="http://en.wikipedia.org/wiki/Momai_Tamuli_Borbarua">Momai Tamuli Borbarua</a> who, starting from humble beginnings, had risen to become the first Borbarua (Governor of upper Assam and Commander-in-Chief of the Ahom army) under Prataap Singha. Thus Lachit Borphukan had the benefit of the upbringing the children of nobility of his times. His father arranged for his education in humanities, scriptures and military skills; as he grew up he was given positions of responsibility. It is also recorded that Lachit was made the scarf-bearer (Soladhara Barua) of the Ahom <a title="Swargadeo" href="http://en.wikipedia.org/wiki/Swargadeo">Swargadeo</a>, a position equivalent to a Private Secretaryship, which was regarded as the first step in career of an ambitious diplomat and politician. The various other offices held by Lachit before his appointment as the Commander of the army included was the Superintendent of the Royal Horses (Ghora Barua), Commander of the strategic Simulgarh Fort and Superintendent of the Royal Household Guards or (Dolakaxaria Barua) to the Ahom king, Chakradhwaj Singha.<br />At the time of his appointment as commander-in-chief Lachit held the office of Dolakasharia Barua. The king summoned him to his presence when he was sitting on his royal sedan; and in order to test the efficiency of the general-elect, he asked Lachit to instruct the Dulias or sedan-bearers about the performance of their duties. Lachit stood the ordeal well; and the king broached the subject to Lachit, saying-"The enemies are in our immediate neighbourhood. How will it be possible to capture their leaders Syed Firoz and Syed Sana? The man whom I am going to appoint as general must be endowed with unusual grit, stamina and depth of judgement." To this Lachit replied, "Could it be that there is no man fit enough in Your Majesty's realm? What are the enemies? They are after all ordinary mortals. Shall we not find similar men in our country? Your Majesty should only confer the dust of your feet, and the man equal to the occasion will be readily found". The king immediately resolved to put Lachit at the head of the expedition. The king's selection was confirmed by his ministers and advisers.<br />The King Chakradhwaj Singha presented Lachit a gold-hafted sword (Hengdang) and the customary paraphernalia of distinction and appointed him commander in chief of the Ahom army raised specifically to drive out the imperial <a title="Mughal" href="http://en.wikipedia.org/wiki/Mughal">Mughal</a> rulers. Lachit actively participated in raising the army and the preparation were completed by summer of 1667. Lachit at first recovered Guwahati from the Mughals and successfully defended it against the Mughal forces during the <a title="Battle of Saraighat" href="http://en.wikipedia.org/wiki/Battle_of_Saraighat">Battle of Saraighat</a>. He died about a year later.<br />About the physiognomy and features of Lachit Barphukan there were no evidence of contemporary portrait. There was, however, preserved in an old chronicle a megre pen-picture of the general along with the other commanders of the expedition. The chronicler points out the distinctive features and says : "At the foot of Itakhuli was Lachit Phukan. His face is broad, and resembles the moon in its full phase. No one is capable of staring at his face."<br />There are a number of incidents displaying Lachit's patriotism and devotion to duty and to his nation.</p><br /><div><br /><a name=".22My_uncle_is_not_greater_than_my_count"></a>"My uncle is not greater than my country"</div><br /><div><br />During the preparations for the Battle of Saraighat he ordered an earthen wall to be constructed within one night and employed his maternal uncle as the supervisor. Late night when Lachit came for inspection, he found that work was not progressing satisfactorily. When asked for an explanation, uncle tried to cite tiredness, to which Lachit became so furious in this negligence of duty that he beheaded his uncle on the spot, saying "My uncle is not greater than my country"("Desotkoi Momai Dangor Nohoi" in Assamese). The barrier was completed within that night. This episode is still cited in Assam as the ultimate example of Lachit's sincerity and patriotism.<br /><a name="Failed_attempt_by_Ram_Singh_to_prove_Lac"></a>Failed attempt by Ram Singh to prove Lachit traitor<br />When Ram Singh, the Mughal commander in chief once resorted to spreading misunderstanding in the Ahom camp when he failed to make any advance against the Assamese army during the first phase of the Battle of Saraighat. An arrow carrying a letter by Ram Singh telling that Lachit have been paid rupees one lakh & he should evacuate Guwahati was driven into the Ahom camp, which eventually reached the Ahom king, <a title="Chakradhwaj Singha" href="http://en.wikipedia.org/wiki/Chakradhwaj_Singha">Chakradhwaj Singha</a>. Although the king started to doubt Lachit's sincerity and patriotism, his prime minister <a title="Atan Buragohain" href="http://en.wikipedia.org/wiki/Atan_Buragohain">Atan Buragohain</a> made him understand that this was just a trick against Lachit.<br /><a name="Last_display_of_courage"></a>Last display of courage<br />During the last stage of the Battle of Saraighat, when the Mughals attacked by the river in Saraighat, at the sight of the massive Mughal fleet, the Assamese soldiers began to lose their will to fight. Some elements commenced retreat. Lachit was seriously ill & was observing this development from his sickbed. He had himself carried on a lotto a boat and with seven boats advanced headlong against the Mughal fleet. He said "If you (the soldiers) want to flee, flee. The king has given me a task here and I will do it well. Let the Mughals take me away. You report to the king that his general fought well following his orders". This had an electrifying effect on his soldiers. They rallied behind him and a desperate battle ensured on the Brahmaputra. The Ahoms in their small boats cut circles round the bigger but less maneuverable Mughal boats. The river got littered with clashing boats and drowning soldiers.<br />In this furious engagement, Lachit Barphukan managed to snatch victory from the jaws of defeat. The Mughals were decisively defeated and they retreated from Guwahati. Thus ended the <a title="Battle of Saraighat" href="http://en.wikipedia.org/wiki/Battle_of_Saraighat">battle of Saraighat</a> in a decisive Ahom victory (despite all odds) and giving Lachit legendary fame in Assam. In his hour of triumph, Lachit Barphukan died of the illness that he had been suffering from.<br />The Mughal Commander-in-Chief acknowledging his defeat had a special word of praise for the Ahom soldiers and the Ahom Commander-in-chief. About Lachit Barphukan he wrote, "Glory to the king! Glory to the counsellors! Glory to the commanders!Glory to the country! One single individual leads all the forces! Even I Ram Singh, being personally on the spot, have not been able to find any loophole and an opportunity!"<br /><a name="Death_of_Lachit_Borphukan"></a>Death of Lachit Borphukan<br />The joy of victory in the Battle of Saraighat was marred by the death of Lachit Barphukan soon after the battle. He was in high fever when he led the attack against the Mughals. It is his indomitable sprit that goaded him to action though his frame was incapable of bearing such a tremendous burden. But for his timely intervention the failing enthusiasm of the Assamese soldiers would have purchased an ignoble defeat. Lachit Barphukan, like Lord Nelson, died in the lap of victory; and the battle of Saraighat was Assam's Trafalgar.<br />This hero's last remains lies in rest at the Lachit Maidam built in 1672 by Swargadeo Udayaditya Singha at Hoolungapara 16 km from Jorhat.</div><br /><div><br /><a name="Lachit_Divas"></a>Lachit Divas:<br />On 24th November each year Lachit Divas, it is a state holiday, is celebrated statewide in Assam to commemorate the heroism of the great general Lachit Borphukan and the victory of the Assamese army at the <a title="Battle of Saraighat" href="http://en.wikipedia.org/wiki/Battle_of_Saraighat">battle of Saraighat</a>.<br /><br />-------------------much revered bravery from the son of the soil------------------------</div><br /><div><br />How the Ahom (Assamese) General Lachit Borphukan annihilated the Muslim Mughal army at the battle of Saraighat on the Banks of the Bramhaputra river<br />The Muslims had made many attempts from the time of Mohammed Bin Tughlak to swallow Assam. But the Ahom kings of Assam stoutly and shrewdly defeated each Muslim incursion in to Assam. Finally the Mughals during the reign of Aurangzeb attacked Assam with a huge force. The shrewd Assamese king laid a trap for the Muslim army at a place named Sariaghat on the Bramhaputra river.<br />The Battle of Saraighat was fought in 1671 between the Mughals (led by the renegade Rajput Hindu traitor Kachwaha king Raja Ramsingh I), and the Ahoms (led by Lachit Borphukan, the Ahom governor of Guwahati) on the Brahmaputra river at Saraighat near Guwahati. Although considered to be the weaker force, the Ahom army defeated the Mughal by using a combination of guerrilla tactics, psychological warfare and military intelligence.<br />In a surprise night attack, Lachit Barphukan dramatically captured the Mughal post in north Guwahati and, later, their fort in south Guwahati. The present day Kamrup Deputy Commissioner's bungalow is now situated on this site. The greatest threat to Lachit's army were the many Mughal cannons. In another secret mission executed the night before battle the cannons were disabled by Bagh Hazarika, a subordinate of Lachit's, During the night, Hazarika poured water into the cannons' barrels, soaking their gunpowder. With the Mughal cannons disabled, the Ahoms bombarded the Guwahati fort with their cannons. After a heavy cannonade and then a determined charge, the Mughals were defeated and the fort captured. After this the Mughals abandoned Guwahati.<br />Now Lachit Barphukan anticipated a larger retaliatory attack by the Mughals and he started arranging defenses, obstacles and garhs (earthen walls) around Guwahati, relying upon the hillocks around Guwahati and the Brahmaputra River as natural barriers against an invading army. Lachit was thorough and ruthless in preparing for the defense. He even beheaded his own uncle for neglecting his duty. When Lachit asked his uncle why the work was not progressing as expected, his uncle complained of boredom. Lachit in a fit of fury cut off his uncle's head and said "my uncle is not greater than my country."<br />The Mughals struck back in March 1679. The Mughal commander-in-chief of the advancing Mughal army had at his disposal 30,000 infantry, 15,000 archers, 18,000 Turkish cavalry, 5,000 gunners, more than 1000 cannons and a large flotilla of boats. Portuguese and other European sailors were employed to man the fleet. These forces moved up the Brahmaputra from Dhaka to Guwahati. Lachit's spies kept him informed of the progress of the Muslim advance. The Mughals laid siege to Guwahati that lasted for more than a year.<br />Lachit fought from within the barriers knowing that his small cavalry would not stand against the Mughal cavalry on open ground. His guerrilla attacks against the Mughal caused them to suffer many casualties. Although the Mughals made many efforts, including one attempt to bribe Lachit with power position and money, as they had done successfully with some Rajputs, but with Lachit the Mughals failed to tempt him to betray his country. Every attempt to bribe him was replied with scorn. In spite of repeated desperate attempts they failed to defeat Lachit and capture Guwahati.<br />But now the Ahom king, however, became impatient and ordered Lachit to attack the Mughals on open ground. Lachit reluctantly obeyed this command, and attacked the Mughal army in Allaboi. After some initial success, in which the Ahoms captured the local Mughal Commander, Mir Nawab, the Ahoms drew the full force of Mughal cavalry.<br />The Ahom army was decimated by the Mughal cavalry on the open plain losing some 10,000 troops. Lachit had taken the precaution of digging a line of defense at the rear of his advancing columns, to which they could fall back to if forced to do so. In doing so, he managed to save the remainder of his forces and retreat into his prepared defenses.<br />The Mughal could not penetrate these defenses and ultimately launched a massive naval assault on the river at Saraighat. They had large boats, some carrying as many as sixteen cannons. The Ahom soldiers were demoralised after their losses at Allaboi and their commander-in-chief, Lachit Borphukan, was seriously ill. At the sight of the massive Mughal fleet, they began to lose their will to fight, and some units commenced retreat.<br />Lachit had been observing this development from his deathbed. Despite having a high fever, he had himself carried to a boat and, along with seven other boats, advanced headlong against the Mughal fleet. His bold advance inspired his retreating army to rally behind him. A desperate battle ensued on the Brahmaputra. The Ahoms in their small boats outmaneuvered the larger, more sluggish Mughal boats, and the river became littered with clashing boats and drowning soldiers.<br />The Mughals were decisively defeated and they were finally forced to retreat from Guwahati, and also from other Ahom territory, up to Manas River. Thus ended the Battle of Saraighat, giving Lachit Barphukan the legendary fame in Assam. This battle is remembered as a glorious Ahom victory, despite seemingly insurmountable odds.<br />Lachit Borphukan, like Lord Nelson, died in the lap of victory; and the battle of Saraighat was Assam's Trafalgar.<br />-----------------------from historian perspective-----------------------------</div><br /><div><br />Lachit Borphukon, the Ahom general under whose command the Assamese forces gave such a resounding defeat to the invading Moghul army sent by Emperor Aurangzeb under the leadership of Raja Ram Singh of Amber, must be counted as one of history's greatest generals if one takes into account the vast superiority, both in man and material of the opposing forces. Then his personal courage always leading from the front, even when in poor health and ordering his men to carry him to the front of the ranks on his sick bed. And finally his superb strategy and memorable sayings both in war and in peace. Lachit was the younger son of another Ahom nobleman of great wisdom and administrative acumen, Momai Tamuli Borborua.Lachit enters history almost with a bang. King Chakradhwaj Singha (AD 1663-1670) while on a tour of his territories near the hills situated in its south eastern parts, called Lachit near him and in order to test him asked how the Moghul commanders at Guwahati could possibly be captured. Lachit gave a spirited reply which would be characteristic of him all through his later career. He said: "Are there no men in Your Majesty's kingdom? Who after all is the 'Bongal' (meaning the non-Assamese)? He is also only a man. Will not there be such men in our kingdom?" The king, himself a man famous in history for his spirited words and deeds, immediately appointed Lachit commander-in-chief of the Assamese forces to be sent to Guwahati for driving out the Moghuls.The Assamese forces under the command of Lachit Borphukon started for Guwahati in August, 1668. They engaged the Moghuls first on the North Bank of the Brahmaputra opposite Guwahati then attacked them on the South Bank. In September 1668, the Moghul forces were driven out Guwahati. They moved downstream by the Brahmaputra. The Assamese forces chased them both by land and water. Later that year, the Assamese forces soundly defeated the Moghul invaders at the confluence of the river Manah with the Brahmaputra after obstructing their passage by the river. One of their top commanders Syed Feroze was taken prisoner.The battle of Saraighat was fought sometime before April 8, 1671. For Raja Ram Singh went back on that day down the Brahmaputra. But the exact date of the battle of Saraighat is not given in the chronicle I am using for the purposes of writing this article. Here I must add a word about the chronicle I am using and why I am using it. The manuscript of this chronicle was obtained by the late Hemchandra Goswami, the renowned Assamese poet during his deputation by the Assam government in 1912-13, from the family of Sukumar Mahanta of north Guwahati. The manuscript was written on the strips of bark of the Sanchi tree. I am using the printed version of this chronicle for two reasons. In the first place, I saw the manuscript, which was preserved in the office of the director of Historical and Antiquarian Studies, Assam at Guwahati. I happen to possess a printed version of this manuscript. When I came to know that the original version of this manuscript was in the Directorate of Historical and Antiquarian Studies, which was right opposite my own office I went and had a look at it. I thus made certain that there was an original manuscript, which is not always the case.And secondly this chronicle gives, more than any other chronicle, the description of the battles fought between the Assamese and the Moghuls during August 1668 and April 1671 and especially of the battle of Saraighat. It gives details even of the positioning of the Assamese commanders on the eve of this great naval battle. However, it does not give the exact date of the battle.I consulted Dr S.K. Bhuyan's Lachit Borphukon and his Times also. He is considered one of our most important historians. It also does not give the date of the battle even approximately So, instead of resorting to what one of the greatest British historians of the 20th century E.H. Carr, calls scissors-and-paste history, I have faithfully followed this one chronicle for whatever it is worth.Having thus given the merits of the chronicle, I may give an account of whatever has been written about Lachit Borphukon there. Unfortunately, the account is not chronological. So instead of hazarding a probable chronology, I shall follow the order of the paragraphs of the chronicle.After the dramatic first appearance of Lachit and his fateful appointment of Commander-inChief of the forces despatched to recapture Guwahti, we find the names of other important commanders accompanying him. They were: Charingia Pelon Phukon who later became Borborua, the fourth highest functionary in the Ahom military-cum-administrative hierarchy; Miri Sandikoi Phukon, who was later appointed commander of the forces from the village Lathia to the hill of Chila, both on the north bank of the Brahmaputra near the present township of Aminagaon. There were two others of whom there was no further mention. They were Bheba Phukon and laluk Phukon.This is how the war for capturing Guwahati proceeded from August 1668 to April 8, 1671, the date when the Commander-in-Chief of the Moghul forces Raja Ram Singh finally went away.The Assamese forces after arriving near Guwahati, proceeded both by land and water. We found that the first engagement was at a place called Banhbari, where a commander named Dihingia Phukon quartered the force under him. There, two persons named Roshan and Beg who were probably local Moghul commanders were killed. They also took a booty of 12 horses and some swords an<><br /><div><br />$$$$$$$$$<br />Swahid (Myrtyr) Maniram Dewan<br />$$$$$$$$$$$$$$$$$</div><br /><div><br />If the three ingredients - the man, the moment and the milieu-constitute the recipe for human greatness, these too occasionally conspire to bring about individual tragedies. Maniram Dutta Barua (1806-1858), popularly known as Maniram Dewan, undoubtedly the greatest Assamese of the first half of the 19th century is a poignant illustration of this truism.First, the man. Maniram was born on April 17, 1806, into a family tracing its lineage to the early 16th century, when it had migrated from Kanauj to Assam. His paternal forebears had held high offices in the courts of the Swargadeos, or Ahom kings, "(my) ancestors ...., for 300 years," so wrote he in a petition to A.J. Moffat Mills, judge of the Sudder Court who visited Assam in 1853, "were Chang Kagutees, .... when the country fell into the hands of the Burmese, your petitioner's father was upheld in the office and dignity of a Bar Kaguttee..." Maniram himself became a confidante and counsellor of Purundar Since ha, the titular Ahom king elevated to the throne in 1833, and his son Kameswar Singha and grandson Kandarpeswar Singha. Despite being Kayasthas, his family had assumed the status of nobility under the Ahoms; "rank and respectability" not only enhanced Maniram's influence on the court and the subjects, but also imbued in him a fierce sense of independence and patriotism, as also an aristocratic pride that would break rather than bend.True, his petitions to Moffat Mills, as also those on behalf of Kandarpeswar Singha to the Supreme Government at Calcutta, were couched in rhetoric of utmost subservience. But this was in accordance with the prevalent practice. One must remember that the bourgeois `moderates' who founded the Congress in the post-1857 period and initiated the thrust towards India's independence too had phrased their petitions in a similar, ingratiating manner. Maniram, in fact, belongs to this middle-class stratum notwithstanding his aristocratic lineage, and shares many of its traits. While, in the rest of India, the nucleus of this class was formed by zamindars, traders, professionals and intellectuals, in Assam, due to the absence of a fully defined trading-class, it was drawn from the landed gentry as well as service holders of the Ahom royaltyA product of the British conquest of India, the Indian middle-class was infused with the spirit of enterprise and a hankering for progress absent in the feudalistic medieval order it replaced and provided leadership in every field. In Assam, where the commercial ethos was almost entirely absent, it imbibed capitalist values from the British and, in a somewhat idiosyncratic inversion of the all India pattern, took up the role of businessmen and gave a new direction to Assamese entrepreneurship.Maniram was, so to say, at the very fount of this stream of bourgeois formation, endowed with its intelligence, enlightened progressivism and enterprising spirit, qualities that the British, on the lookout for natives capable of aiding them in running the administration, recognised soon enough. From the very commencement of British rule he was "consulted as to the internal resources of the whole province as well as its in come expenditure; and subsequently appointed by Captain Nobeen (Nueufville), Sheristadar and Tuhseeldar of the District." Encomiums about his intelligence and enterprise are reiterated in British records.Yet a vital difference did exist; the post 1857 middle class thrived under British patronage and owed allegiance to the foreign masters. Its leading lights were cooperators with the British and received Rai Sahib or Rai Bahadur titles for their loyalty. The nature of Maniram the man, on the other hand, and the milieu in which he had been reared, did not permit subservience. This lies at the core of his tragedy. That he later chose to compete with European planters to open out tea gardens in the teeth of opposition is telling testimony to his courage and independent spirit.No doubt, in the early phase of British rule, Maniram does appear to have cooperated with the conquerors. But it was the moment rather than the man which dictated such an attitude.He grew up during the bleakest period of Assam's history, when the state-machinery, buffeted by the Moamariya uprisings, had totally collapsed due to subsequent Burmese incursions. He was barely 11 years old when the first Burmese hordes swarmed over the land, killing, burning, unleashing a reign of terror the likes of which few regions of India had seen. Thus, when the British fought them during the Firsts. Burmese War (1824-26), and succeeded in wresting Assam through the Yandabu Treaty (1826), not merely the royalty and upper class, but the people of entire Assam, looked up to them as saviours. Taken in by the conqueror's assertion that they would renounce all claims of conquest over Assam and her dependencies" once the Burmese had been ousted, and restore them to the rightful ruler, the youthful Maniram could be no exception, and viewed them as a temporary presence.His myopia was prolonged by the fact that the British, after dithering for years, did install Purundar Singha in 1833 as a tributary native rule of Upper Assam. Maniram's association with them had begun much earlier. During the 1817-1824 phase of Burmese reign of terror, his family had fled along with the royals to the safety of Bengal, where he first made acquaintance with the Europeans. By the time the family returned in 1824 with the British, the latter had been sufficiently impressed with his acumen and ability to appoint him in 1828, at a relatively young age of 22, as Sheristadar and Tuhseeldar. Afterwards, when he was made a borbhandar or Prime Minister by Purundar Singha, they readily acknowledged his authority to negotiate on behalf of the Ahom Swargaded.The rapport did not last long, even less Maniram's myopia! At first the British had balked at annexing Upper Assam because Burmese atrocities had depopulated the region and they could not earn adequate revenue. But the Opium Wars with China had endangered the lucrative tea-trade with that nation and the EastIndia Company desperately required an alternative source of tea. The discovery of wild tea bushes in Assam, and the presence of vast tracts of jungles which could be opened out for tea planting, made them forget their pledge to re-establish a native government. Thus, on the pretext of misgovernment and default in payment of tribute, Purundar Singha was deposed in 1833 and direct administration of his realm passed into British hands.The ugly face of British imperialism now lay exposed. Ever loyal to king and country Maniram fought tooth and nail on behalf of the king. His relationship with the foreigners had suffered during the short period of Purundar Singha's rein, primarily because he had sought to speak as an equal before them, souring the `good opinion' they had of him. When his king was deposed, Maniram resigned from the posts of Sheristadar and Tuhseeldar, alienating the new masters further. He was divested of most of the privileges accuring to him as a borbhandar, including the twelve beesoyas under him.While the loss of power and prestige left him undaunted, the entrepreneur within him now came to the fore. He was perceptive enough to understand the motives of the colonialists in annexing Assam, and that tea was the industry of the future. Most European historians of the brew do not acknowledge Maniram's contributions towards the setting up of one of the most lucrative industries in the annals of colonialism. The truth is that it was he who first brought the existence of indigenous Assam tea to the notice of the British. In his pamphlet Tea in Assam (1877) Samuel Baildon does give him credit, though somewhat inaccurately Stanley Baldwin also mentions him in his book, Assam's Tea.Maniram's association with tea began even while the British were contemplating its cultivation in Assam. It was Maniram Dewan whom Charles Alexander Bruce contacted in January, 1825, and was directed to the Singpho chief with whom his brother, Robert Bruce, had contracted for a supply of tea plants and seeds. In 1835, when Lord Bentick's Tea Committee came to Assam to study the possibilities of tea cultivation, Maniram met Dr. Wallich on behalf of Purandar Singha and placed a memorandum before him regarding the prospects. He was also the first to open out private tea gardens in India, long before Lt. Colonel F S. Hannay Commander of the Ist Assam Light Infantry, who is considered to be the first to have done so by European historians.Aware of the lucrative opportunities offered, Maniram was determined to stake his share in the tea industry But he had to learn the techniques of tea cultivation and manufacture before striking out on his own. This, rather than the paltry Rs 200 per month he received, was the reason why he joined the first tea company in India, the Assam Company, as a Dewan or land-agent in 1839.Having acquired the rudiments of tea-craft, Maniram Dewan, as he came to be known now, resigned from the Assam Company in 1845 to open out his own tea plantations. The effrontery of the native upstart in daring to compete against the white masters invited vehement protest from the European tea planters. Since it could not legally prevent him, the administration put numerous obstacles in his path. His application for land grant at the nominal price offered to Europeans was summarily refused, and he had to purchase land at great cost to open out two tea plantations, Cinnamore at Jorhat, and Selung (Singlo) in Sibsagar. His landed property at Jorhat now contains the Cinnamora Tea Estate and Tocklai Experimental Station. His residence was where the factory is located now and is even today called the Dewan plot or Dewan number. Thus, by the time Hannay came into the picture, Maniram already had two running gardens. His success was met with hostility by both the administration and planters.They did not have to wait long! It was not merely personal travails which caused Maniram's disillusionment with British rule and aburning hatred of the Boga Bongals. A true patriot, he could transcend individual concerns and note the evils that subjugation by foreigners had brought to his beloved motherland. Not content to keep his thoughts to himself, he boldly put them into words in a second petition submitted to Moffat Mills in 1853: “the people, he wrote, "have been reduced to the most abject and hopeless state of misery from the loss of their fame,honour, rank, caste, employment etc... The abolition of old customs and establishment in their stead of Courts and unjust taxation; secondly, the introduction of opium in the district, for the gratification of opium-eating people, who are daily becoming more unfit for agricultural pursuits; thirdly, the making of this Province khas and discontinu-ing the poojahs at kamakya, in consequence of which the country has become subject to various calamities, the people to every species of suffering and distress, and the annualcrops to recurring failure. Under these several inflictions, the population of Assam is becoming daily more miserable .... by the introduction into the Province of new customs, numerous Courts, an unjust system of taxation, an objectionable treatment of Hill tribes,theconsequences of which has been a constant state of warfare with them.Under the revenue settlement of Military officers, while a number of respectable Assamese are out of employ, the inhabitants of Marwar and Bengalees from Sylhet have been appointed to Mouzadariship; and for us respectable Assamese to become ryots tosuch foreigners is a source of deep mortification ...."The panacea offered by Maniram is the goal he strove for ever since the annexation of Assam, and reveals his unflinching loyalty to the Ahom rulers: "In the shasters it is written thatrulers ought to practice righteousness and govern their subjects with justice while studying their welfare. These are not now done ...May we therefore pray that, after due investigation and reflection, the former native administration be reintroduced..."Native rule, of course, was furthest from the minds of the imperialists! Instead, the petition alerted them to the dangers posed by such critical elements and Maniram became the administration's foremost suspect. Rather than take any heed of his plea, Mills dismissed the petition as a "curious document!"By 1857, as the rest of India, Assam too was a cauldron of simmering discontent against British rule, with disaffected elements awaiting an opportunity to overthrow the white usurpers. The Sepoy Mutiny, regarded by Indian historians as the First War of Independence, appeared to provide just that. Maniram was in Calcutta in May, 1857, when North India and parts of the East flared into a rebellious blaze, petitioning the government on behalf of Kandarpeswar Singha for restoration of his kingdom. When the news that Bahadur Shah Zafar had been proclaimed emperor and dethroned rulers were wresting back lost territories reached him, Maniram saw another route to a goal that petitions had not been able to reach.Through a series of carefully coded letters he informed Kandarpeswar of the developments, and urged him to rise in rebellion against the British with the help of sepoys at Dibrugarh and Golaghat. Accordingly, a plot was hatched in the royal abode, influential individuals were roped in and arms and weapons gathered. The group contacted Subedars Nur Mahammad and Bhikun Sheikh as well as some Jemadars of the sepoys and obtained their support. The date of the uprising was set to coincide with Durga Puja, when Maniram would return to Assam and crown Kandarpeswar as the Swargadeo.Unfortunately, due to betrayal by the prince's own relatives, the British authorities uncovered the plot before it could be put into operation. On September 7, 1857, Kandarpeswar was arrested along with his accomplices. Maniram was taken into custody at Calcutta and brought to Jorhat to stand trial. Altogether 30 individuals were tried by Captain Charles Holroyd, district officer of Sibsagar, appointed special commissioner to preside over the `Conspiracy Case'. The trial itself was a farce, based not on hard proof but hearsay evidence of dubious witnesses, particularly that of Haranath Parbatia Barua, daroga of Sibsagar. The accused were neither given a fair hearing nor allowed to cross examine witnesses; Holroyd was both the jury and judge, without allowing the accused the rights of appeal in another court.Though not tried along with the others, Kandarpeswar Singha was first sent to Alipur jail, and finally interned at Guwahati. Dutiram Barua, Bahadur Gaonbura and Sheikh Formud Ali were exiled to the Andamans. Two Assamese women, Rupahi Aideo and Lumboi Aideo, had their properties confiscated. Maniram was identified as the kingpin of the conspiracy and, along with Peali Barua, another member of the group, hanged on February 16, 1858, at the Jorhat jail.People from all over flocked to Maniram's residence that fateful day to bid Peali and him a final farewell. A pall of gloom settled over the realm after the hangings, but his detractors rejoiced. The European planters in a joint letter to the administration recommended that the police officer who had arrested Maniram be rewarded and the Dewan's property confiscated and auctioned. A vindictive administration was all too willing to oblige them, the bulk of his landed estate, including Cinnamora and Selung tea gardens, being purchased at a throwaway price by George Williamson. The `taming' of the spirited Dewan was a two-pronged warning. It sent out an ominous signal to Assamese entrepreneurs that the White colonialists would brook on competition except on their own terms. It also served as a warning to disaffected elements that outspoken criticism and open defiance would not be tolerated, total subservience being the order of the day. The moment and the milieu had certainly been inauspicious for the spirited and independent-minded Maniram, leading to personal tragedy Yet, ironically, the man remained untamed! Within decades after his death he was magnified into a myth, enshrined in ballads and bihu-geets, his tale told and retold by the fireside. It was this legendary imageof a patriot who fearlessly took on the mighty British, of an untamed martyr who, having enjoyed his last puff on his favourite hookah at the foot of the gallows, went laughing to his death - which fired up the imagination of those who later waged the non-violent war for India's independence, and sounded the death-knell of imperialism.<br /><br />$$$$$$$$$<br />Bharat Ratna Lokpriya Gopinath Bordoloi<br />$$$$$$$$$$$$$$$$$<br /><br />Lokpriya Gopinath Bordoloi was the first, and only, man from the entire northeastern region of the country to be awarded the Bharat Ratna, the highest civilian award. The recognition, however, came half a century after his demise in August 1950. The delay in recognition was due to many obvious reasons like Assam being a far away place from the national capital with very weak information and communication facilities and also due to the indifferent perceptions and a general lack of understanding of the people of the region.As a matter of fact it was only when the present Atal Bihari Vajpayee government came to power in New Delhi, and Lt. Gen (retd) S.K. Sinha took over as governor of Assam, that New Delhi began to think of giving national recognition to great leaders of the region like Gopinath Bordoloi, Lachit Borphukon and Mahapurush Sankaradeva. People of Assam, particularly the younger generation are more angry than pleased at such belated recognition. In the case of Bordoloi, the delay rankled even more, given that he was an architect of the Indian National Congress in Assam. If the central government is sincere in its efforts to tackle the root cause of insurgency in the North East, these matters should be sympathetically understood. Gopinath Bordoloi understood all this. An understanding which earned him the respect of Mahatma Gandhi - his political and spiritual mentor. Which is perhaps why Gandhi always stood by him, and supported his stand.Bordoloi was the first Congress chief minister of the undivided state of Assam and was one of the key leaders who had taken an important role in opening up the North East for the Congress. However with the start of the Non-Cooperation Movement, jointly organised by the Indian National Congress and the All India Jamiat-ul-Ulema Hind against British rule in India, preparations were made by the public leaders of Assam including Lokpriya Bordoloi to wind up the Assam association in 1921. They requested its members to individually join the Indian National Congress and the Assam Provincial Congress Committtee was formally established in 1921 with Bordoloi elected as the secretaryEven when there was no formal Congress organisation in Assam, Assamese leaders including Tarun Ram Phookun, Nabin Chandra Bordoloi and Gopinath Bordoloi, took the opportunity of participating in several annual Congress conferences as delegates of Assam while taking advantage of their presence in Calcutta either as students, businessmen or professionals. Delegates from Assam had been participating from the 1886 Congress session.Until then, the Assam association was the only political organisation in the Assam valley with a liberal policy vis-a-vi the British government. It should be mentioned at this stag that though the Congress organisation as such did not exist til then in the Assam valley, there was a militant unit of the Congress known as the Surma Valley Committee of the Congress, This committee functioned as a district committee of the Ber gal Provincial Committee of the Indian National Congress an Gopinath Bordoloi was in close touch with this body.A brief life sketch helps to understand Bordoloi's political philosophy and line of action. Bordoloi was born on June 6,1890. His father was a medical practitioner. He took advantage of his father's profession to understand the social needs of his many patients. He tried to share with them the feelings of their travails and suffering with sympathy He was admitted to the Cotton Collegiate in Guwahati and passed the entrance examination at the University of Calcutta in 1907. As a young boy, Bordoloi saw the British Empire celebrate the golden jubilee of Empress Victoria with much pomp and splendour. While the Russo-Japanese war was on, Bordoloi was studying at the Scottish Church College in Calcutta. The Russo-Japanese war and its outcome which resulted in the humiliating defeat of the great Russian empire of the powerful Czar at the hands of an Asiatic power - Japan - inspired the leaders of a "nation in the making" a term coined and applied to Bengal and India by Surendranath Banerjee.At that time, Sir Surendranath Banerjee, Sir Jadunath Sarkar, Rabindranath Tagore, J.C. Bose and a few others were towering personalities in Bengal. Bordoloi was deeply influenced by them and learnt much from being in close proximity to them. He was a brilliant student of history. And the course of events around him as a student in Calcutta seemed similar to the drama and action of his textbooks.He also saw how, right through the ages, the imperialist rulers have always applied different forms of the age-old policy of divide and rule. In the comprehensive sense, Mahapurush Sankardev is the father of the socio-cultural entity of greater Assam. Gopinath Bordoloi's place is next only to the Mahapurush as the prime architect of the modern polity of Assam based on a solid structure as enunciated in the preamble to the Constitution of India.It was under Bordoloi's courageous and competent leadership that the entire people of Assam were able to save themselves, in a completely non-violent movement, from the Cabinet Mission's plan - which was a concept created by the British in collaboration with the Muslim League and an initial assent by the Congress high command. Despite insistent efforts by Bordoloi, the Congress high command failed to see that the Cabinet Mission plan carried with it a subsidiary plan drawn up by Professor Coupland, senior professor of History at Oxford University who was political adviser to the Cabinet Mission. Briefly Coupland's plan envisaged that the tribal areas of northeastern India including the Garo Hills, Khasi Jaintia Hills, Lushai Hills, Nagaland, North Cachar Hills and theNorth Eastern Frontier Agency was to be made into a selfgoverning Crown colony under the protection of the Crown with autonomous status to each of the regions.Bordoloi appraised Gandhi of the underlying causes and consequences of Coupland's sinister plan. Gandhi immediately grasped the full implication of the plan and advised Bordoloi to intensify the popular struggle against the British Cabinet Mission plan. He openly declared that if necessary Assam should break away from the Congress and intensify the non-violent struggle against the Cabinet plan. He also invited Nehru and Sardar Patel for a discussion with him. They immediately responded. Thus, Bon doloi not only saved Assam for India, but saved the entire northeastern region from the sinister designs of "Crown colony".After Independence when Assam became a constituent state of Part A category it had none of the required infrastructure like medical, veterinary, engineering, agricultural colleges and other institutions. Within a span of Bordoloi's chief ministership, he fulfilled all these needs. Not only did he succeed in uniting all the tribes, sections and sectors of people in the struggles of their existence, but helped them in achieving their immediate goals - there by giving them self-confidence and self-respect. In all spheres of development, including sports, music and performing arts he laid the basic foundations. He also laid the foundation of work culture and popular initiative in all. His was the first government among all provincial governments in India, which dared to levy agricultural income-tax on the rich and powerful planters, and helped usher in swaraj in place of `Planter's Raj. When he was not saddled with governmental responsibilities, Bon doloi volunteered to serve as a school teacher and college professor and became the founder principal of a private college which is still highly regarded in Guwahati. He was a true Congressman of the Gandhian school, which probably explains why successive Congress governments or Congress-supported governments did not care to remember Bordoloi. Not just a good Assamese, Bordoloi was a good Indian, and finally, a citizen of the world in the true sense of the term.<br /><br /><br />Gopinath Bardloi, an architect of modern Assam, was born on June 6, 1890 and died on August 5, 1950.The second son of Dr. Budhiswar Bardoloi, Gopinath had his early education in Guwahati and later graduated from the Scottish Church College, Calcutta, with Honours in History.He also took his post-graduate degree from Calcutta University in 1914.Back home, he joined the Guwahati High School as Head Master, but left it in 1917, after obtaining his Law degree, to join the Bar.Gandhiji call for non-cooperation soon captured his imagination and his head-long plunge into the movement landed him in the British hails in early 1922.HE soon became an eminent leader of the struggle in Assam and had to return to the prison again in 1940 and 1942.As the Congress Party leader in the Provincial Assembly in 1937, he brought the struggle also into the legislature.Even the premiership, which he assumed in 1938, was to him just an instrument for further expansion of the struggle and for reversal of the administration's repressive measures.He resigned his Premiership in 1939 in protest against the imperialist war but was back in office after the 1946 polls.He used his office, both before and after independence, to lay the foundation for a progressive Assam and to set the trends for Assam's future reconstruction in every sphere.Better known as Lokapriya, Bardoloi's life was indeed a legend of total dedication to the people's cause.Welfare of the people, particularly of the weaker sections, was a passion with him.His profound concern for the Tribals, for instance was eloquent in his forceful plea, as the head of the Constitution sub-committee to examine the question of tribalk autonomy, for the Sixth Schedule.His interests also covered various other fields of human endeavour, ranging from sports to music and from theatre to literature Even in jail he authored several brilliant books including biographies of Saints and Seers with stress on the basic essence of humanism in their teachings.Gopinath is often called Assam's saviour particularly because of his extremely courageous role in resisting the infamous Coupled plan for a Crown Colony in the North Eastern Hills, the Cabinet plan for Assam's grouping with Bengal and the Muslim League's threats to have the province in Pakistan.It was such courage that once prompted India's 'Iron man' Sardar Patel, to hail him as the Sher-I-Assam or the Lion of Assam.<br /><br /><br />$$$$$$$$$$$$$$$$$$<br />Bishnu Ram Medhi<br />$$$$$$$$$$$$$$$$$$<br /><br />Bishnu Ram Medhi was born on 24th April,1888 in Humble peasant's family at Hajo, place of Historic and religious importance. His father was Sonaram and mother Alehi. Medhi showed academic excellance from his childhood. He passed the Entrance examination from the Cotton Collegiate High School, Gauhati in 1905 an din 1909 graduated from the Presidency College, Calcutta in the Science Stream. He obtained a degree of MSc from Dacca University in Organic Chemistry in 1911and carried out research in that University for one year. He then passed the BL examination in 1914 and joined the bar at Gauhati the same year. He joined the non-cooperationmovement in 1921. In 1930 he became thePresident of the Congress in Assam an continued in the office till 1938. He was the Joint Secretary of the Reception Committee Session at Pandu in Assam in1926. He was the Chairman of first congress of the Gauhati Local Boar in 1938. In 1946, he became a Minister in the Gopinath Bordoloi Gabinet in Assamand held the Finance and Revenue Portfolios. In 1950, he became the Chief Minister of Assam and continued till 1958. He was appointed Governor of Madrasform 1959 to 1964. In 1964, he came back to Assamand was returned to the State Assembly unopposedfrom 1967 to 1972. After a protactedillness he passed away on 21st January 1981. He died issueless and donated all he possessed for public purposes<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Lokanayak Omeo Okumar Das<br />$$$$$$$$$$$$$$$$$$$$$$$$$$</div><br /><div><br />Loknayak Omeo Kumar Das, one of the great patriots of Assam was born ion Tezpuron May 21, 1895. During his school an college days he was attracted toward the ideals of servants of India society and very much influenced by the writing of Gopal Krishna Gokhale, Bal Gangadhar tilak, Surendra Nath banerjee and other national leaders. He was very active right from his school days when as a student leader he decided to devote himself to the cause of country's freedom and to the service of the masses. He actively participated in the freedom struggle, and became on of the torchbearers of the national movement of Assam. In 1930, when Gandhiji launched the Civil Disobedience Movement, Omeo Kumar Das responded to Gandhiji's call b y organising the youth. He was, for his activities, imprisoned several times, by the British government. Later in 1937, he was first elected to Assam legislative Assembly and then in 1945, to the Constituent Assembly. After the country achieved independence, he served his state as a Minister holding important portfolios like Education, Food & Civil Supplies and Labour.As the Labour Minister, he was instrumental in setting up the tea plantation Worker's Provident Fund for the benefit of the large number of the tea plantation workers of Assam.This effort is a uniquer landmark ion the history of the labour welfare measures, not only in India, but in entire Asia. .As the Education Minister he brought about a number of reforms in the education system and popularised the concept of Basic Education, which was so dear to Mahatma Gandhi. Lokanayak Omeo Kumar Das was an intellectual of very high order. His activities were not confined to political sphere alone. He was a social thinker, a reformer, a journalist and popular writer. Besides writing a lorge number of books, he translated Gandhiji's Autobiography 'My Experiment with Truth' into the Assumes language. From his younger days he was in the forefront of prohibition campaign against opium, liquor and hemp. He was very actively connected within the establishment of several Ashramas based ono the ideals of Gandhiji and several socio-economic centres, tuberculosis centres and leprosy treatment homes and organisations for relief an rehabilitation of destressed people. He was also associated with HarijanSevak Sangha, Bharatiya Adim Jati Sevak Sangha, Bharat Sevek Samaj, Gandhi Smarak Nidhi, Kasturba Nidhi and Assam Seva Samiti. He died at Guwahati on 23rd Januaryy 1975 at the age of 81.</div><br /><div><br />$$$$$$$$$$$$$$$$$$</div><br /><div>Woman Freedom Fighter Puspa Lata Das<br />$$$$$$$$$$$$$$$$$$</div><br /><div><br />Puspa Lata Das, a veteran freedom fighter and former parliamentarian is an eminent social worker. She has strong faith in power of women. Independent in nature from her childhood, at the age of six, she joined 'Banar Sena' and never looked back since then. Born on March 27, 1915 at North Lakhimpur, Smt.Puspalata Das is one of the surviving freedom fighters from Assam. Daughter of late Rameswar Saikia and Smt.Swaranalata Saikia of Jorhat, Puspalata was thrown out of her school at a tender age of fourteen from Panbazar Girls High School, Guwahati. Her fault was that she was the Secretary of the Mukti Sangha and she alongwith her inmates tried to record a protest in the school against Bhagat Singh's hanging order.<br />Smt.Puspalata Das was an extrovert and independent in nature from her childhood. At the age of only six, she joined "Banar Sena" to popularise Khadi among the people and organised Charkha Sangha. Even her father, a Government employee at that time in Barpeta, was also compelled by his wife and his little daughter to wear only Khadi. Being inspired by her mother, she took the pledge for freedom and never looked back since then. Remembering her early days she said "I, as a teenager was influenced by the revolutionary literatures of Bengal and one day we (Jyotsna Majumdar, Punya Prabha Barua - later Rajkhowa, Sarala Saxena) assembled in the office of Kamrup Mahila Samiti and formed an organisation called Mukti Sangha and took pledge with a few drops of blood to die for the country. I was the secretary of the organisation". "In February 1930, when I was expelled from my school, my school ecuation ended and my education of life and struggle started" - says Smt.Puspalata Das. That was the beginning the eventful life of Smt.Puspalata Das, a social worker, former Parliamentarian and a veteran freedom fighter. In 1934, Puspalata Das passed Matriculation examination as a private candidate and joined the Banaras Hindu University from where she passed Intermediate. After Intermediate, she enrolled her name with Andhra University for Graduation. She got her M.A. Degree in Political Science in 1938 from the same University. Afterwards, she joined Earle Law College, Guwahati and was elected as Secretary of the College Union in 1940. But her study in law came to an end when she was jailed for joining 'Individual Satyagraha'.<br />Member of Planning Committee From 1940 to 1942, Smt.Puspalata Das was in Bombay as a member of the Women Sub-Committee of the National Planning Committee. During this period, she worked with Smt.Mridula Sarabhai and Smt.Vijay Laxmi Pandit, "when I saw the wonderful work done by Smt.Sarabhai's 'Jyoti Singha' and other institutions of Gujarat and Maharashtra for the first time, I could realise the strength of constructive works" - Smt.Das recalls.<br />Intrepid Organiser In 1942, she married a true Gandhian and social worker Shri Omeo Kumar Das despite strong opposition from some of her relatives and changed her place of activities from Guwahati to Tezpur. Here Smt.Das along with Shri Joyti Prasad Agarwalla and others prepared a team of workers for organising people. Her husband was seriously ill at that time. But Smt.Das could not sit idle. She organised Shanti Bahini (Peace Force) and Mrityu Bahini (Death Squad) with her co-workers at Tezpur and was supposed to lead the procession to put the National Tri Colour on the compound of Gohpur Police Station. But fate intervened and Kanaklata took over the charge of the procession from Puspalata Das and got bullets from British rulers<br />Saviour of Assam Smt.Puspalata Das vehemently opposed Pandit Jawaharlal Nehru on the question of dragging Assam into grouping. As a member of the AICC and the convenor of the women's wing of Assam Congress Committee, Smt.Das delivered a remarkable speech on that special session and succeeded in getting an amendment moved by Shri Purushottam Das Tandon, Gandhiji's statement also helped Assam remaining out of grouping with erstwhile East Pakistan.<br />After Independence Smt.Puspalata Das was elected a member of Rajya Sabha in 1951 and retained it for the next term till 1961. In 1958, she was a member of the All India Congress Working Committee. In 1959, she visited a numer of East European countries as a member of Parliamentary delegation. She was also a member of Assam Legislative Assembly. Besides these, the versatile lady was associated with a number of organisations and institutions in various capacities. Among these, All India Khadi Board (Chairperson, Assam Branch), Planning Committee of Congress (Women Section), Central Social Welfare Board, East India Motion Pictures Censor Board are worth mentioning. She was also the Chairperson of the State Bhudan and Gramdan Board. At present, she is the Chairperson of the Kasturba Memorial Trust, Assam Branch. Moreover, her interest in reading, gardening and in fine arts is well known. During her college days, she acquired proficiency in singing and dancing. One of her demonstrations of dance in Madras and Visakhapatnam was highly praised by the audience and then earned laurels from stalwarts like Rajgopalachari, the then Governor of Madras, through the two famous dance dramas - 'Amrit Prava' and 'Chitralekha'. For sometime, she was also the editor of the historically well-known Assamese magazine "Jayanti" (Women Section). </div><br /><div><br />$$$$$$$$$$$$$$$$$$$$$<br />Krishna Kanta Handique<br />$$$$$$$$$$$$$$$$$$$$$</div><br /><div><br />Among all the modern Assamese, Krishna Kanta Handique understood his country and the world the best. A name synonymous with scholastic pursuits, he was a great Assamese of whom every Indian can justifiably be proud.His life and works were a balancing of apparently irreconcilable opposites. A man given completely to profound study and never bothering about popularity, power and fame, Handique had a strong sense of social and moral obligation.Being the son of a rich tea planter, Handique could have easily devoted all his time and energy to profound study and that would have actually been the sort of life that came most naturally to him. But he chose instead not to turn his back on social duties.Born of a great philanthropist tea planter, Radha Kanta Handique and Narayani Handique in 1898 at Jorhat, K.K. Handique was educated up to IA in Assam and went on to do his BA with Honours in Sanskrit (Vedic Group) from the University of Calcutta. He passed all the examinations with flying colours.In 1920 he began his study tour of Europe. After doing his MA in Modern History from Oxford in 1923, he visited France, Germany and Italy to learn European languages and to study the Classics. After four years of travel and study, he returned home with knowledge of major European languages and a collection of over 2,000 books in different languages. Back home at Jorhat, Handique started learning the complex techniques that were essential to the management of his father's estate. He never entertained the idea of going into government service but he gladly agreed to become the principal of Upper Assam College (which later became Jorhat and finally J.B. College, Jorhat) the first non-government college in Assam.The fact that Handique agreed to become the principal of a proposed non-government college is an example of the great scholar's sense of social obligation. At that time the government did not welcome the idea of private colleges. But Handique remained principal at the institution for 17 years and that meant a lot for higher education in the state.K.K. Handique, the Sanskrit scholar and Indologist, is primarily known to common people as an educationist and in this field he successfully set ideals and values for all times. As early as 1928 he wrote an article on "German Academic Ideals" in Forward, a journal published from Calcutta. He was moved by the fact that the faculty members of the German universities were all very learned people devoted to the cause of education. The professors were all writers with new achievements in their respective fields. He could also see how different the environment for study and research was at the universities in his country As the founder-principal of the first non-government college of Assam, Handique tried to inculcate noble ideals in the most uncompromising of conditions.Handique's notion of values and ideals in education are best articulated in the convocation of speeches as the vice-chancellor of Gauhati University He saw education as an internal condition that continuously changes the man from within. In other words, education is an extension of man's knowledge of man himself. On January 31, 1955 he addressed the students: "The graduates who will be given their degrees today have my best wishes and congratulations. I need not remind them that the man counts more than the degrees and their university education will be judged by the influence it exerts upon their lives and actions."In other words, for Handique it was the man that mattered and education changes this man for the better. A man is what he does and his life is a summary of his action. Handique saw the educated man not just as an individual but also as an agent of change and progress in an underdeveloped countryIn the same convocation address, Handique invited the attention of the government to the poor condition of study in the non-government colleges in the country Quality in education cannot be expected without improvement in the academic environment. He pointed out that many students in the non-government colleges were accommodated in an environment not congenial to health, study and discipline.Handique's views on the examination system deserve attention: "Examinations as a system are decried from time to time but they provide a vital link between the university and the public," he said. Handique observes examinations from a social point of view: performance in examinations is a test of the candidate's ability to work for the society. And from this point of view, he wanted the university to be the guardian of its own reputation and to inspire confidence in its examination standards and the integrity of its methods. About the pay-scales of the teachers, particularly in the non-government colleges, Handique said that the pay should be enough to relieve the teachers of financial worries and to make it possible for them to work with confidence in their professions.Modern education in the country as a primary concern of K.K. Handique. His originality as a thinker is unmistakable. In a speech he delivered in 1917 as the president of the Jorhat Chhatra Sammelan he stressed the great importance of school education: "If the foundation of school education remains weak and narrow, it is no use making elaborate preparations for higher education in the university”.Three great works have brought Handique international fame as an eminent Sanskrit scholar and Indologist: Naisadhacarita, Yasastilaka and Se~ tubandha. The first one is a 12th century Sanskrit epic of Sriharsha, acknowledged as a very difficult text among scholars. Eminent Sanskrit scholars of the world readily acclaimed Handique’s annotation and explication of the text as a great work.Handique worked on Sriharsha's Naisadhacarita while he was the honorary principal of J.B. College, and it was first published by Motilal Benarasi Das, Lahore in 1934. Scholars like M.B. Emeneau, Prof. N. Winternitz and Prof. A.B. Keith praised Handique's work and he was recognised as a scholar of international fame at the age of 36. What surprises everybody is that the mind engaged in a very difficult 12th century Sanskrit text was also the mind that operated upon the immediate problems like poor accommodation of the students in a non-government college and the poor pay of the teachers.K.K. Handique had been the principal of J.B. College for 17 years and in 1948 he became the vice-chancellor of Gauhati University, the first University of the North-East. Handique completed his second major work in 1949. This work Yasastilaka and Indian Culture or Somadeva's Yasatilaka was first published by Jaina Samskriti Samraksha Sangha, Sholapur.Scholars in India and abroad widely acclaim this work. Scholars of the All India Oriental Conference held that year in Bombay duly acknowledged the merit of Handique’s work and Handique was elected the president of the classical Sanskrit session of the All India Oriental Conference held in Lucknow in 1951.K.K. Handique had been the vice-chancellor of Gauhati University for nine years and he shaped this new university according to his vision. After retirement he gave himself no rest. He began to work on Pravarsena's Setubandhana. This book is a 5th century Prakrit which Handique translated into English. He worked so hard on this book that it told upon his health.K.K. Handique, like an Indian sage or rishi in his single-minded devotion to the search for knowledge.He accepted many public offices, set standards in performing duties but his profound study and research continued unabated. While attending to daily duties he also devoted himself wholeheartedly to an undying ideal.Handique presided over the 1937 Guwahati Session of the Assam Sahitya Sabha and in the course of the presidential speech; Handique successfully made the Sabha a meeting ground of all religious, linguistic and ethnic groups of the region.A man cannot give better than his best and the best of Handique is obviously meant for Indologists and Sanskrit scholars. The few articles he wrote in Assamese are quite illuminating. Just one example is the article published in the journal Cetana on translation. Handique was unhappy with the comment made by a writer who trivialized translation. So he wrote spiritedly in its defense. As he knew languages like Spanish, Greek, French, Italian and German besides English and several Indian languages, he could see the problems of translation with far wider perspective than an average man. A few other articles in Assamese acquaint the readers with some interesting aspects of Japanese, Spanish, Greek, Russian and German literature.In Assamese, Handique wrote a few prefaces to books written by others, some reminiscences and a few articles for children. He translated some prose pieces into Assamese from the Russian language. His critical insight in Assamese is best illustrated in the preface he wrote to Atul Chandra Hazarika's Assamese translation of Sakuntala. The few English articles he wrote were all published in research journals like The Modern Review, Calcutta, The Indian Antiquary, Bombay, Indian Historical Quarterly. He also wrote a few poems and songs in Assamese.Handique breathed his last on June 7, 1982. He won many laurels in his life. He was awarded the Padmashree in 1955 and Padmabhusan in 1967. He was made an honorary fellow of Deccan College in 1968. Gauhati University awarded him an honorary D. Lit. Asam Sahitya Sabha elected him Sadasya Mahiyan. In 1985 he was posthumously awarded by the Sahitya Akademi for Racana Sambhar, edited by Jatindranath Goswami. In 1983 the government of India honoured him by issuing a commemoration stamp. Many books have been written on him. Dibrugarh University also published a bibliography on Handique.Handique bequeathed his personal library containing 7,489 great books in different languages to Gauhati University. Handique's love for knowledge, complete devotion to profound study, values and standards he set in the field of education and his simple living will for ever remain a source of inspiration to the people of our country.</div><br /><div><br />$$$$$$$$$$$$$$$$$$$$$<br />Rupkonwar Jyotiprasad Agarwalla<br />$$$$$$$$$$$$$$$$$$$$$</div><br /><div><br />Jyotiprasad Agarwalla, a scion of the Agarwalla family of Tezpur, was a multi-faceted genius, who besides being Assam's first filmmaker was also one of the greatest Assamese playwrights. He was also the first to introduce the `western wave' in Assamese filmmaking.A lyricist and composer who gave shape to modern Assamese music and dance, a poet with deep patriotic fervour, a journalist, eminent prose writer and an artist-philosopher whom the people lovingly named Rupkonwar, Jyotiprasad Agarwalla straddled the social arid cultural life of Assam like a colossus. He imbibed his poetical and journalistic talents from his uncle Chandrakumar AgarVvalla who too was a great poet and the editor of Chetana and Asamiya, two famous Assamese journals. He was also deeply influenced by Gandhiji, who stayed at his house during his visit to Assam.Jyotiprasad was born on June 17,1903 at Dibrugarh. His great grandfather Navrangram Agarwalla had come to Assam in search of business and had first settled in Goalpara, later he shifted to Gamiri, a town in Darrang, now known as the Sonitpur district. There he married Sadari, a daughter of the local Rajkhowa familyHis eldest son Haribilash married Kumari Maloma, daughter of Bharam Hazarika of Gohpur and had five sons - Bish nuprasad, Chandrakumar, Paramananda, Krishnaprasad and Gopalchandra. Jyotiprasad was the son of Paramananda whe shifted from Gamiri to Tezpur. In 1936 Jyotiprasad married Devjani, daughter of Khargeswar Bhuyan of Dibrugarh. Thus, over the years, the Agarwallas completely merged into Assamese lift through marriage and active participation in the social life and ways of the local people. They adopted Assamese as their own language and dedicated themselves to the cause of the people.Jyotiprasad wrote his first play Sonit Kunwari at the age o1 14, when he was still a school student. After finishing school in Assam, Jyotiprasad went to Calcutta and joined Subhas Chandra Bose's Calcutta National College. When the British shut down the college, he went to England and joined the Edinburgh University. In England he became more interested in studying British dramaturgy Visionary that he was, he was nurturing the idea of making a film in Assamese.Soon after he left England for Germany where he finally got a chance to transform his vision into reality He visited some of the film studios in Germany and tried to pick up the art and tech nique of film making. But this was a time-consuming task and Jyotiprasad became restless. So he came back to Assam to take up the task of filmmaking.True he had picked up some theoretical knowledge but he did not have the time to learn the technical know-how and other practical aspects of filmmaking. He was, however, lucky enough to get in touch with Himansu Roy and Devika Rani who werE busy completing their own project Karma and Light of Asia. Jyotiprasad discussed some of the prospects of filmmaking with them. Taking along all these ideas he returned to Assam.Two lead characters of Joymati Kuwari, Godapani and his consort Joymati, belonged to the Tunkhungia clan of Ahom but Godapani though quite fit to be king was dislodged through conspiracy by one Lora Raja who with his collaborators managed to kill or maim all who could stake a claim for the throne. Godapani aware of the plan, fled to the adjoining Naga hills to free himself from death or being crippled.Unable to find Godapani, Lora Raja's men imprisoned his consort Joymati and started questioning her about her husband but Joymati despite inhuman torture did not disclose any information about her husband. Godapani in the meantime got asylum in the house of a Naga couple whose young and lovely daughter Dalim gave him company for a few days. Their relationship turned romantic but Godapani who always had Joymati's thought in his heart controlled himself and ultimately left Dalimi and came back to the plains. When he heard about the death of Joymati he gathered his men and with grim determination fought and Lora Raja and assumed the throne as Godadhar. This part was however not adapted for Jyiprasad's film Joymati.Jyotiprasad did not take the whole play for his film. He actually adapted the theme and made required additions and alterations for his film. He introduced different forms of Assamese dances particularly the jhapi and khatasur badh bhowna (traditional ritual theatre prevalent in the villages) to create greater local appeal.Jyotiprasad was very fastidious about having an authentic Assamese backdrop in the film, which is why he had great difficulty in choosing indigenous costumes, ornaments, utensils, dolas and other paraphernalia. Choosing suitable faces for the female roles seemed almost insurmountable. He had to visit different villages in search of typical Ahom faces. At that time Assam did not have any professional theatre group unlike Bengal. Assam did not have a silent era of filmmakers either.Jyotiprasad himself appeared in a small role and danced the jhapi in Joymati. Jyotiprasad planned the decor and indigenous materials like bamboo, timber, the trunk and bark of plantain trees were used. Some of the sequences such as one spy jumping from the top of a beetle nut tree to another were captivating. The wide Brahmaputra, the hills and hillocks of Assam and the silvery streamlets provided Jyotiprasad with exquisite landscapes for the film.At first Jyotiprasad wanted to make a silent film. That would have also cost him much less and he could have avoided much of the difficulties he had to later face. But to his misfortune, during the early period he met one Faizi Bhai of Lahore who claimed to have developed his own sound system. He assured Jyotiprasad that including sound in the film would not add much to his costs.Lured by Faizi, Jyoti floated a company called Chitralekha Movietone and put up an improvised studio called Chitrabon in one of the warehouses of their tea garden Bhoilaguri at Tezpur itself. Naturally it had to be a rudimentary studio without any laboratory or printing machine to enable Jyotiprasad to check the rushes. He could see only the finished product which was 6,000 ft in length. He and his associates found that the finished film was an all-round disaster.Faizi Bhai's sound system utterly failed. Dialogues and songs were distorted and on many occasions these were not audible at all. A horrified Jyotiprasad did not know how to resurrect the film. He went to Lahore with a copy of the film but Faizi Bhai was unable to help.Jyotiprasad, in an attempt to salvage the film, he hired a studio in Lahore and single-handedly tried to do something. He edited the raw film, and then put his skills in ventriloquism to use as he recorded the voices of more than half the actors including some of the ladies. All this in the days before dubbing! With the fresh copy of the film he went to the Kali Films and Film Services Laboratory in Calcutta, to do whatever was possible to resurrect the film. While re-working it, he introduced some rudimentary colour. Finally he was able to release it.While in Calcutta he persuaded Leela Devi (Lily) to record the last song of the film in her deep sonorous voice, bringing out the pathos of the film. Though sung as a background number, the song was very poignant.Thus Joymati the fourth audio-visual film of the country was released at Rounak Mahal showhouse in Calcutta on March 10, 1935. Later, on March 20, it was brought toGuwahati and released at the Kumar Bhaskar Natya mandir, where it ran for a full month. The viewers received the film with warm appreciation and congratulated Jyotiprasad on his first venture, in spite of some defects still being there in the film. The number of cinema houses in those days was very limited which is why Jyotiprasad's cousin Tarun Chandra Agarwalla joined him with a touring cinema unit and moved about in some of the towns and villages of Assam.Borphukan's speeches in the royal court dubbed by Jyotiprasad himself gave us an idea of how Assamese was spoken in the royal court. Critics and connoisseurs agreed that despite its faults Joymati was a great achievement.A couple of years later, in 1939, Jyotiprasad launched his second film Indramalati. His primary aim was to recover some of the losses incurred during the making of Joymati. It was based on his own story and surprisingly he finished the film with only two days of shooting in the studio. Late Gyanadaviram Barooah, the then principal of Guwahati's Earle Law College, added dignity to the film by participating in a small role. Gyanadaviram Barooah's eldest son Manobhiram was the hero and the heroine's role was assigned to a young girl named Raseswari. Bhupen Hazarika also sang a few patriotic songs as a cowherd boy. This film, made on a shoestring budget, gave some profit to Jyotiprasad.But after this, his health completely broke down. He could not concentrate on his work but was unable to totally suppress his creative urge. He wrote a few poems and songs, revised his play Rupalim and Nimati Koina and with great difficulty wrote a new play Labhita which also broke new grounds in Assamese drama.Jyotiprasad died on January 17, 1951. Throughout Assam, this day is still observed as Sadou Asom Silpi divas in memory of the Rupkonwar. In 1961, the government mooted the idea of establishing a public sector studio, the first of its kind in India, on the outskirts of Guwahati in Jyotiprasad's memory. The studio was named Jyoti Chitrabon Studio. And was later transferred to an autonomous society for better functioning and has now been improved with central government finance. Recently a life-size bronze statue of Jyotiprasad Agarwalla was installed in the studio.<br /></div><br /><div></div><br /><div>$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Hemchandra Barua (1835-1896)<br />$$$$$$$$$$$$$$$$$$$$$$$$$$</div><br /><div><br />Hemchandra Baruah was born at Sibsagar in 1835. His father's name was Muktaram Baruah . Hemchandra Baruah had lost his father when he was quite young. After his father's death , he was removed by his uncle Lakhinath Barua , who was then the head of the deputy Commissioner's Revenue office at Sibsagar. After some years, Hemchandra Baruah was appointed as an apprentice in the Deputy Commissioner's office on Rs. 4 per month . It was only the encouragement and guidance of Captain Brodie , Deputy Commissioner of Sibsagar and the Missionaries , Hemchandra Baruah was able to pick up a fair knowledge of English and he became a regular contributor to the Missionary weekly , illustrated paper " Arunadai" . By dint of his hard work and steady perseverance Hemchandra Baruah became the Superintendent of the Judicial Commissioner's office. He retired from the service of Government in 1882 . He enjoyed his pension till 1896 when he died . His first literary work of value was Assamese grammar, which was published in 1860. In 1873 he wrote a first Primer of the Assamese language for which he obtained a reward of Rs. 500. He was the author of a book on " Assamese Marriage System" and of two farcical plays the "Kania Kirtan" which exposed the vice of excessive opium eating, and " bahire rang sang bhitare koabhatoori" which was a satire on the then " bahire rang sang bhitare koabhatoori" which was a satire on the then Assamese Society. Hem Chandra also edited the "Assam News" at Gauhati for some time.<br /><br />Hem Chandra Barua is one of the prominent writers of Assamese of the 19th century. He was the compiler of first exhaustive Assamese dictionary '<a title="Hemkosh" href="http://en.wikipedia.org/wiki/Hemkosh">Hemkosh</a>', where spellings based on Sanskrit was first introduced. It was the second dictionary of Assamese language<br />a writer, editor, grammarian, lexicographer, and social reformer, is considered the Father of Modern Assamese literature.Hemchandra's Asamiya Vyakaran, the first Assamese grammar in the Assamese language, delineated dear-cut rules for spelling and syntax, leaving no room for obscurity or confusion. His Hemkosh (Dictionary) became a standard lexicon to settle all disputes relating to spelling, usage, etc. In fact his Grammar and Dictionary remain standard texts even today.Hemchandra played a historic role as a writer of school books. Credit also goes to him to be the first to introduce satire and criticism in Assamese literature.As editor of Assam News he raised the standard of journalism in Assam by circulating not only useful information, but also problems of common interest. Besides it showed the true model for style and writing naturally.It may rightly be said of Barua that “his class is extinct with him”.</div><br /><div><br /></div><br /><div><br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Laxminath Bezbarua<br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Laxminath Bezbarua (<a title="1868" href="http://en.wikipedia.org/wiki/1868">1868</a>-<a title="1938" href="http://en.wikipedia.org/wiki/1938">1938</a>) is a prominent personality of Assamese literature. He gave a new impetus to the Assamese literature that had stagnated for some time and enriched it through his essays, plays, fiction and poetry. As a sensitive artist he responded to the influences of social environment. His creative literature reflected the deeper urges of the people of Assam.<br />He was popularly known as Roxoraj(ৰসৰাজ) or 'The King of Humour' for his popular satirical writings. He is also known as Sahityarathi (সাহিত্যৰথী) which means expert in all branches of literature. Laxminath wrote short stories, one novel, dramas, satires, biographies, and for children he compiled folk tales of assam. In the later he did contribute by writing few new stories. These stories are published in three books<br /><a name="Works"></a>Works<br />Burhi aair xadhu (বুঢ়ীআইৰ সাধু)<br />Kokadeuta aaru nati lora (ককাদেউতা আৰু নাতি-ল'ৰা)<br />Junuka (জুনুকা)<br />Burhi aair xadhu is the most widely read across assam<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Mamoni Raisom Goswami<br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Mamoni Raisom Goswami (1942-), also Indira Goswami and popularly Mamoni Baideo, is a well known writer from Assam. She teaches Assamese literature at the University of Delhi with a research interest on the Ramayana. One of her novels, "The Moth Eaten Howdah of a Tusker" was made into an Assamese film by Swantana Bordoloi in 1996 starring Tom Alter - Adajya which won international awards.Several biographical films have been made on her highly turbulent life and notable among them are "Words from the Mist" by Jahnu Barua and "Aparajita" by Kuntala Sharma. In the arena of modern Indian literature, she is one of the most powerful voices and one of the very few who has attempted to use literary tool as a means for social change. Since several years she has kept herself busy in bring the banned ULFA militants of Assam and the central government of India to the discussion with the purpose of ending the twenty-seven years old bloodshed in Assam. Her involvement has given the problem adequate focus and a peace committee has been formed in the name of People's Consultative Group to take forward the task. She modestly claims herself as an "observer" of the whole peace process rather than a mediator or initiator.<br />Life<br />Born in Guwahati on 14th November, 1942 on Children's Day, the birthday of Indian Prime Minister Jawaharlal Nehru, she was named Indira Goswami by her father Umakanta Goswami. She studied in Pine Mount School, Shillong, which was a part of undivided Assam then. After that she completed her studies from Cotton College, Guwahati with a major in Assamese Literature. In 1962, she published her first collection of short stories called Chinaki Morom while she was a student.<br />Indira Goswami, popularly known as Mamoni Raisom Goswami in Assam started writing from a very early age. She was encouraged by Kirti Nath Hazarika who published her first short stories in the journal he edited right from about class VIII. In this period, she wrote about six-hundred short stories. Most of these are lost due to lack of proper archival measures.<br />Indira Goswami suffered from perennial depression right from her childhood. In the opening pages of her autobiography The Unfinished Autobiography translated into English by Prafulla Kataki, she mentions that she always had the inclination to jump into the Crinoline waterfall located near her house in Shillong. She was extremely attached to her father and was broken mentally after his death. Repeated suicide attempts studded her eventful life. After the death of her husband Madhaven Raisom Ayengar, just after eighteen months of marriage in a car accident in Kashmir, Gardinel sleeping tablets were what she kept herself alive with. Brought back home, she joined the Goalpara Sainik School, as a teacher in Assam.<br />Being a widow, and that too a young widow, her life was not easy.<br />At this point she went back to writing. She claims, she wrote just to live, otherwise it wouldn't have been possible for her to go on living. Her experiences in Madhya Pradesh and Kashmir, where her husband worked as an engineer was used in her novels Ahiron and Chenabor Srota, respectively.After working in Goalpara Sainik School, she was persuaded by her teacher Upendra Chandra Lekharu to come to Vrindavan and indulge in research work as well as for peace of mind. Her experiences as a widow as well as a researcher finds expression in her novel The Blue Necked Braja, which is about the plight of the Radheswamis of Vrindavan who lived hand to mouth and carried money sacrificing on their daily food so that they receive a decent, ritualised cremation after their death. But most of them were denied even of this and the bodies never received cremation according to Hindu rites and the money snatched. Indira exposed this face of Vrindavan, the city of Lord Krishna ruthlessly in her novel. It remains as a classic in Indian Literature and also was the first novel to be written on this subject.<br />In Vrindavana she got involved in Ramayani studies. A massive volume of Tulsidas's Ramayana bought during her stay there for just eleven rupees was the source of this inspiration. Later this finds expression in the unparalleled comparative study of Tulsidas's Ramayana and the 11th century Assamese Ramayana,(the first Ramayana to be written in a regional language) written by SriMadhava Kandali in her work Ramayana from Ganga to Brahmaputra. She joined Delhi University department of Modern Indian Languages and Literature and started her life again with the strong suggestion of her teacher and family friend Upendra Chandra Lekharu. Thus begins one of the most glorious phases of Indira Goswami's life. Here she wrote one of her best works. Several short stories like "Hidoy", "Nangoth Sohor" , "Borofor Rani" were written with Delhias the background. Her two classics. [[The Pages Stained With Blood]] and [[The Moth Eaten Howdah of a Tusker]] were written during her Delhi-phase.In [[The Pages Stained With Blood]] she writes about the plight of Sikhs in the Anti-Sikh riots of 1984 after the assassination of Indira Gandhi which she witnessed herself while staying in Delhi, Shakti Nagar as a faculty member of Delhi University. She herself went to the sites to complete this novel. She even went to G B Road, the famous red-light area of Delhi to depict the lives of the prostitutes who lived there which forms a part of her novel. In The Moth Eaten Howdah of a Tusker she writes about the plight of Assamese Brahmin widows in the religious institutions of Assam called Satra. This novel had been anthologised in the [[The Masterpieces of Indian Literature]] and has been made into a film called Adajya which won international awards in various film festivals and also into two mini-series for the television. In one of them the famous actor Nandita Das acted in the role of Giribala.<br />In the peak of her literary career she wrote two important novels after The Pages Stained With Blood. Namely, Dasharathir Khoj and [[The Man from Chinnamasta]]. The next novel turned out to be highly controversial since it tried to subvert the thousand years old tradition of animal sacrifice in the famous Hindu temple Kamakhya. She was even threatened of death due to this audacious act. In this novel translated into English by Prasanta Goswami and published by Katha, she quotes scriptures to authentic the argument she puts forward — to worship the Mother Goddess with flowers rather than blood.<br />At a very early age she received the Sahitya Akademi Award and then in 2000 she received India's highest literary award Jnanpith Award for writing for the subalterns and marginalisedd.<br />Works<br /><a name="Novels"></a>Novels<br />Chinavar Srota (The Stream of Chenab)<br />Nilakanthi Braja (The Blue-Necked Braja)<br />Chinnamastar Manuhto (The Man of Chinnamasta)<br />Mamore Dhora Tarowal (The Rusted Sword)<br />Datal Hitir Une Khowa Howda (The Moth Eaten Howdah of A Tusker)<br />Tej Aru Dhulire Dhusarita Prishta (Pages Stained With Blood) The Plight of Sikhs:A Review<br /><a name="Autobiography"></a>Autobiography<br />Adhalikha Dastabej (An unfinished autobiography)<br />Read a Review Contours of a Modernity<br /><a name="Short_stories"></a>Short stories<br />Sanskar (trans. Offspring)<br />Udang Bakach<br />The Journey<br />To Break a Begging Bowl<br />Dwarka and His Gun<br />Parasu's Well<br />Beasts<br /><a name="Others"></a>Others<br />Ramayana from Ganga to Brahmaputra, Delhi 1996. (Research work on Kotha Ramayana)<br /><a name="Awards"></a>Awards<br />2008 - D Litt Degree from Indira Gandhi National Open University<br />Awarded the Ambassador for Peace from the Inter Religious and International Federation for World Peace<br />2002 - Mahiyoshi Jaymati Award with a citation in gold by Ahom Court of Assam<br />2002 - D Litt Degree from Rabindra Bharati University, West Bengal<br />2002 - Padma Shri(refused)<br />2000 - Jnanpith Award<br />1996 - Kamal Kumari Foundation National Award in 1996.<br />1993 - Katha National Award for Literature.<br />1992 - Sauhardya Award of Uttar Pradesh Hindi Sansthan of Government of India.<br />1989 - Bharat Nirman Award<br />1988 - Assam Sahitya Sabha Award<br />1983 - Sahitya Akademi Award (for Mamore Dhora Tarowal)<br />The International Tulsi Award from Florida International University for her book, Ramayana From Ganga To Brahmaputra<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Hem Barua<br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Hem Barua (1915-1977) was a prominent Assamese poet and politician from undivided Assam.<br /><br />Born on the 22nd April, 1915, at Tezpur, Hem Barua obtained his M.A. degree from Calcutta University in 1938 and joined the J.B. College, Jorhat, in 1941 as lecturer in Assamese and English. He left it next year during the Quit India Movement and was imprisoned in 1943. On his release, he joined the B. Barua College, Guwahati, and later became its Principal.<br />Works<br /><a name="Literature"></a>Literature<br />Shri Hem Barua was the author of several books. He was the President of the Assam Sahitya Sabha on 1972 and was regarded as one of the pioneers of modern literary movement in Assam.<br /><a name="Politics"></a>Politics<br />Shri Hem Barua left the Congress in 1948 and became a member of the Socialist party. Later he was elected to the National Executive of the P.S.P. He was a member of the Lok Sabha from 1957 to December 1970. </div><br /><div><br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Parvati Prasad Baruva<br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />Parvati Prasad Baruva (1904-1964) was a poet, lyricist, dramatist: an icon of Assamese literature and the Culture of Assam. Known for his simple and sensitive use of the Assamese language, he is popularly known as the geetikavi—the lyrical poet of Assam. He was also one of the early pioneering filmmakers of Assamese cinema.<br />Works<br />What make him unique is that his compositions are in a fluid natural style that appeals to all. The subject matter of his poems was invariably picked up from the rural canvas of the state of Assam. The vast expanse of the mighty Brahmaputra river, locally called the Barluit, with lonely islands, flowery reeds and tiny tiny boats, were the themes of many of his poems and songs. Hills and hillocks, rivers and rivulets, forests and grasslands, flora and fauna, the turbulent summer sky or the calm serene sky of autumn found a place in the sensitive poetic lap of his imagination and ten published anthologies of his poems and lyrics<br />Throughout his life, he actively maintained his love for poetry and the arts. Growing up in the midst of nature, Parvati Prasad's love for the many faceted natural beauty of his homeland, Assam, is evident in mot of his compositions. He can be compared with England's poet laureate William Wordworth of whom it has been said - he was one with nature.<br />Parvati Prasad Baruva was a true son of Assam. An Assamese who was proud of Assam's culture and tradition that could stand up to the best in the world.<br /><a name="Cinema"></a>Cinema<br />Rupahi (1941)<br /><a name="Poetry_and_Music"></a>Poetry and Music<br />Bhonga Tukarir Sur (?): book of poems<br />Gungunani (?): published book of songs; including Puja Aha, Nubulu Tuk, and Tur Nai Je Bondhuwa Baat<br />Luiti (?): published book of bongeets about the river Luit; including Luitor Saporit Kore Naworiya<br />Sukula Dawor Oi Kohuwa Phul (?): published book of songs about the seasons of autumn (fall); including Sarodi Sandhiyar Jonaki Mel<br />Lakhhimi (?): dance drama<br />Sonar Seleng (?): dance drama<br /><a name="Translations_and_awards"></a>Translations and awards<br />Baruwa's poetry has been translated into Hindi, English and may other Indian languages. Paromita Das won the third prize in Indian Literature Golden Jubilee Literary Translation Awards Competition conducted by Sahitya Akademi of India in 2007 for her translation of two poems by Parvati Prasad Baruwa, namely "If Life Be Lost" and "Life Awakens".</div><br /><div><br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Bhabendra Nath Saikia<br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Bhabendra Nath Saikia was a novelist, short story writer and film director from Assam. He had a DSc in Nuclear Physics from the University of London and later taught at Gauhati University. He won many literary awards, including Sahitya Academy (1976), and was also recognised with the Padma Shri.<br /><br />Bhabendra Nath Saikia was born on February 20, 1932 at Nagaon town. He passed Matriculation Examination in 1948 in first division He secured first division in Intermediate Examination in Science in the year 1950 He passed B.Sc. Examination in 1952 with honors in Physics in second class from the Cotton College of Gauhati University He completed his M.Sc. Examination in 1955-56 in Physics in second class from the Presidency college of Calcutta University .He obtained Ph.D. Degree in physics in 1961 from the University of London. He also obtained Diploma of Imperial College (D.I.C.) of Science & Technology, London in 1961. He worked as reader in Physics in Gauhati University. He became a Member, Sangeet Natak Akademi, India.<br />Dr. Saikia died on August 13, 2003 in Guwahati and is survived by his wife Preeti Saikia, and Houston based daugters Dr. Sangeeta Saikia and Rashmi Saikia and brother, Dr. Nagen Saikia. His dream project Aarohan is now functioning successfully at Guwahati, Assam.<br />Works<br />He is recognized as one of the top ranking writers of Assam. Many stories have been translated into English, Bengali, Hindi, Telugu, Malayalam, Marathi, Gujarati etc. He had also written a large number of plays for All India Radio (AIR). The plays Kolahal, Durbiksha and Itihaas were taken up by the AIR as national plays. Kolahal was selected for broadcast from foreign centers. He has been associated actively with the stage as a playwrit and director. He has written many plays for 'Mobile Theatre' of Assam, and a number of One Act Plays.<br />He had directed eight feature films. These films have been screened at International Film Festivals held at various places such as Cannes, Madras, Hyderabad, New Delhi, Bangalore, Calcutta, Karlovy Vary (Czechoslovakia), Nantes (France), Valladolid (Spain), Algiers (Algeria), Pyong Yong (North Korea), Sydney, Munich, Montreal and Toronto. Has also directed one episode of a Doordarshan series on Rabindra Nath Tagore's stories in Hindi. Seven out of his eight films have been selected for Indian Panorama Section of the International Film Festival of India. • He received the Sahitya Akademi (India) Award in 1976, the Rajat Kamal Award of the Government of India for the film Sandhyarag in 1978, Anirban in 1981,Agnisnan in 1985, Kolahal in 1988, Sarothi in 1992, Abartan in 1994 and for Itihaas in 1996. He was adjudged as one of the "Twenty one Great Assamese Persons of the twentieth century" in a literary weekly news magazines of Assam.<br /><a name="Feature_films"></a>Feature films<br /><a name="Assamese"></a>Assamese<br />1. Sandhyarag (Rajat Kamal award, 1978, Cannes Film Festival)<br />2. Anirban (Rajat Kamal award, 1981)<br />3. Agnisnan (Rajat Kamal award, Best screenplay - India)<br />4. Kolahal (Rajat Kamal award)<br />5. Sarothi (Rajat Kamal award)<br />6. Abartan (Rajat Kamal award)<br />7. ltihaas (Rajat Kamal award)<br /><a name="Hindi"></a>Hindi<br />1. Kalsandhya<br />Novels<br />1. Antarip [ the cape]<br />2. Ramyabhumi [ the accoland]<br />3. Atankar Shekhot [ at the end of the panic]<br /><a name="Short_story_collections"></a>Short story collections<br />1. Prahari [ the watchman]<br />2. Sendur [Sindur]<br />3. Gahabhar [the cave]<br />4. Srinkal [the chain]<br />5. Upakantha [ nearby place]<br />6. Ai bandaror abeli [Afternoon of this port ]<br />7. Brindabon [brindabon-name of a person ]<br />8. Taranga [ wave ]<br />9. Sandhya Bhraman [evening walk ]<br />10. Galpa aru Shilpa [ Story and art]<br />11. Akash [the sky]<br /><a name="Children.27s_books"></a>Children's books<br />1. Maramar Deuta<br />2. Tumalukor bhal houk<br />3. Xantaxista Hristopusto Mahadusta<br />4. Mahadustor Dustobuddhi<br />5. Maram<br /><a name="Collection_of_essays"></a>Collection of essays<br />1. Xekh Pristha [vol-1]<br />2. Xekh Pristha [vol-2]<br />3. Xekh Pristha [vol-3]<br />4. Xekh Pristha [vol-4]<br /><a name="Autobiographies"></a>Autobiographies<br />1. Jeebon Britta<br />2. Jeebon Rekha<br /><a name="Humor_books"></a>Humor books<br />1. Kalpalukor Kahini<br />2. Xampadokor Kuthalit<br />Awards<br />1. Assam Publication Board award (1973)<br />2. Sahitya Akademi (1976)<br />3. Assam valley Literary award ( 1990)<br />4. Srimanta Sankardeva Award (1998)<br />5. Padma Shri (2001)<br />6. Degree of D.Litt, honoris causa (2001)<br /><a name="Leadership"></a>Leadership<br />Dr. Saikia was a Member, Sangeet Natak Akademi; Member of the Executive and General Council of Sahitya Akademi; Member, Indian National Council for co-operation with UNESCO; Member, Academic Council, Gauhati University; President of Jyoti Chitraban (Film Studio) Society; Member, Advisory Body, All India Radio, Guwahati; Chairman, Assam State Film (Finance and Development) Corporation Ltd; Member., Governing Body, North East Zone Cultural Centre, Dimapur; Member, Governing Body, East Zone Cultural Centre, Kolkata; Member of Court of the Gauhati University, Assam; Member, Society of the Film and Television Institute of India, Pune, Member, Board of Trustees, National Book Trust of India.</div><br /><br /><div>$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Phani Sarma<br />$$$$$$$$$$$$$$$$$$$$$$$$$$</div><br /><div><br />Phani Sarma (1909 - 1978) was an Assamese theatre actor, playwright, film actor and director. Beginning as a stage actor, he appeared in the first film ever made in Assamese cinema, Joymati in 1935.<br />He acted in and directed Siraj in 1948 and Pioli Phukan in 1955.<br /><br />Early life and theatre<br />The theatrical career of Phani Sarma started as a gatekeeper of the women’s gallery of the prestigious Ban Stage situated at Tezpur. His father Molan Sarma was also an exponent of drama and was a noted actor of Ban Stage. Along with his father, Phani Sarma regularly went to the Ban Stage and closely observed the distinguished acting of a number of veteran actors like Indreswar Borthakur, Dr Lalit Mohan Chowdhury, Prafulla Borua. This inspired young Bolin (as Phani Sarma was popularly known) towards acting and had a deep impact on his future life. In 1928, he got the opportunity to act on the Ban Stage for the first time in the role of Akbar in the drama Rana Pratap. That was the beginning of a new chapter in the life of Phani Sarma.<br />In 1930, Phani Sarma joined the Kohinoor Opera, the first mobile theatre group of Assam, started by Natyacharya Brajanath Sarma. From Dhubri to Sadiya, from the north bank to the south bank of the Brahmaputra River, Kohinoor Opera performed its dramas, attracting thousands of spectators whi came to see Sarma perform. Apart from initiating a theatrical movement, the Kohinoor Opera introduced co-acting on the stages of Assam. In 1931, Brajanath Sarma, with the help of Phani Sarma introduced female actresses for the first time to appear in their drama productions at a time when male acting was completely dominant, revolutionizing the nature of Assamese theatre.<br /><a name="Film_career"></a>Film career<br />In 1933 Phani Sarma played a significant role in the first Assamese feature film Joymati directed by Jyoti Prasad Agarwala, where he played the role of the historical figure of Gathi Hazarika, the villain of the film. The notable acting of Phani Sarma in that role was a special feature of the film which was released in 1935, and Sarma went on the star in Agarwalla's second picture Indramalati.<br />In 1948 Sarma, along with Bishnu Rabha made a feature film Siraj, based on a popular short story written by Deshapran Lakshmidhar Sarma.<br />In 1955 he directed and starred in Pioli Phukan, also playing the films protagonist Pioli Phukan. His last film was Ito Sito Bahuto in 1963 where he appeared as an actor rather than taking the director's helm.<br /><a name="Playwright_work"></a>Playwright work<br />Despite his performances on the stage and screen, Phani Sarma also earned many accolades as a playwright in which he more possibly more acclaimed. Though few in quantity, his dramas are very rich in quality depth, using his knowledge to lay more emphasis upon its dramatical side rather than the literary side. With a universal appeal and substance, all his dramas became very popular on the stage and were widely acclaimed by the critics.<br />On the basis of a rebellion that took place during the Ahom King Sunyeophaa’s reign, as described by renowned historian Dr SK Bhuyan in his book Konwar Bidroh, Phani Sarma wrote a historical drama Bhogjara. His first film Joymati had also revolved around historical events in the Ahom kingdom and its director whom Sarma had worked under, Jyoti Prasad Agarwala was the pioneer among such a new wave of dramatists. With local plots, he wrote a number of dramas like Sonit Kunwari, Karengar Ligiri, Lobhita, etc. Following in Jyotiprasad’s footsteps, Phani Sarma wrote a number of dramas with cultural familiarity to the Assamese people. With his own dramatical approach and treatment, Bhogjara became successful in its own right as a powerful drama.<br />After the success of his 1948 film Siraj, it inspired him to write the drama veraion of the film also named Siraj. It was regarded as a document of Hindu-Muslim integrity as the memory of Partition was still fresh in the minds of the people. Phani Sarma himself played the title role of the drama on more than a hundred stages across the state of Assam in the 1950s and 1960s.<br />On the basis of his own experiences as an actor and the sad news of the death of his son whilst stage acting, Phani Sarma wrote the social drama Kiya, a tale of an artiste who dedicated his own personal life and enjoyment to entertain other people with very little compensation from society. Sarma again addressed issues of isolation and corruption in his later drama Nag-Pas. However he often incorporated humour into such dramas, and the drama Kola-Bazarthe incorporated elements of comedy with more serious issues of social injustice and inequality.<br />Sarma was also accredited with translating J. B. Priestley’s famous drama An Inspector Calls into the Assamese language.<br /><a name="Filmography"></a>Filmography<br />Joymati (1935)<br />Devdas (1937 film)<br />Siraj (1948) .... Siraj<br />Pioli Phukan (1955) .... Pioli Phukan<br />Ito Sito Bahuto (1963) .... Retired Major<br />... aka Lots of Things Around<br /><br /><span style="font-size: 10pt; line-height: 115%; font-family: "Comic Sans MS";">$$$$$$$$$$$$$$$</span><br /> <p class="MsoNormal"><o:p> </o:p><b><span style="font-size: 24pt; line-height: 115%; font-family: "Comic Sans MS"; color: rgb(218, 0, 0);">R</span></b><span style="font-size: 10pt; line-height: 115%; font-family: "Comic Sans MS";">adha Govinda Baruah (1900-1977)<br /></span></p><p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: "Comic Sans MS";">$$$$$$$$$$$$$$$<br /></span></p><p class="MsoNormal"><span style="font-size: 10pt; line-height: 115%; font-family: "Comic Sans MS";"> “The idea to start an English newspaper in Assam originated over a cup of tea. It was in the early part of 1939 at Dibrugarh. I used to sit with Tarun Bhattacharjee and talk on all subjects on, earth, Sri Bhattacharjee talked generally of philosophy but one day when the cup that cheer were going round, the talks some how switched over to newspaper. Sri Bhattacharjee spoke so convincingly of the need of an English newspaper that the idea of starting an English weekly newspaper generated in my mind.” Thus spoke late RG Baruah in his memoirs on starting <i>The Assam Tribune</i>.<br /><br />RG materialised his dream and on the 4th August, 1939. the weekly, Assam Tribune appeared from Dibrugarh. Really it was a red letter day for RG in particular and for the people of Dibrugarh nay for the entire North-east part of the country in general. In order to publish the weekly Assam Tribune, RG established the Baruah Press alongwith his well wishers at Rajani Kanta Bordoloi Path, Dibrugarh. Thereafter he dreamt of publishing a national English daily from the North-east. So he established The Assam Tribune Press in Guwahati and on the auspicious day of the 30th September, 1946, the daily Assam Tribune appeared from Guwahati. The other two milestone of his eventful life are Asom Bani and Dainik Asom which appeared on the first July, 1955 and the 4th August 1965 respectively.<br /><br />RG founded a publication wing of the Tribune Press named Sahitya Prakash.<br /><br />RG was born at Sibsagar on the 17th October, 1900 and died on the 15th July 1977 in Guwahati. Revenue Sirastadar Late Gunagovinda Barua was his father, Lilawati Devi was his mother.<br /><br />He spent his student life at Sibsagar and Guwahati and three decades of his most energetic life at Dibrugarh. His beautiful residence and homestead by the side of the Brahmaputra at Old Amolapatty, Dibrugarh were completely washed away by the devastating erosion of the Brahmaputra in 1954. During his stay at Dibrugarh, RG introduced himself as perfect film actor, stage artist, industrialist, sportsman and a leading public figure. Besides he established himself as a pioneer in the growth and development of banking system, life insurance and small saving movement. People of Dibrugarh will never forget the memory of Late RG as a tireless industrialist, social worker and a lover of art, culture and games and sports. Amolapatty Natya Mandir was the nerve centre of his socio-cultural activities till the end of the World War II. He possessed outstanding personality and calibre which led him to the position of the architect of modern Assam and a pioneer in the field of journalism, sports and culture in the North-east.<br /><br /><b>Bagmibar Nilmoni Phukan (1880-1978)</b><br /><br />Late Nilmoni Phukan was popularly known as ‘Bagmibar because of his outstanding oratory skill. Besides, Phukan was an eminent educationist, writer, journalist, social reformer, a freedom fighter and a thinker of his time. He was born on 22nd June, 1880 at Dibrugarh and breathed his last on the 21st January, 1978 at Jorhat.<br /><br />Phukan hailed from the respectable Dowerah family of Assam with social and cultural background. He had his early education through Bengali medium and came out with flying colours in the Entrance examination in 1900, securing 13th place under Clacutta University from Dibrugarh Government Boys’ High School. He took his college education in Guwahati, Cooch Behar and Calcutta. In 1907 he passed the BA examination from Calcutta University with credit and without completing the Law final examination Phukan started his service life as the founder headmaster of the then George Institution, Dibrugarh on February 2, 1912.<br /><br />In 1922, Phukan started a tea garden of his own (Nilmani Tea Estate) near Dibrugarh and in the month of January, 1927, Phukan left the George Institution formally. He undertook his venture not to become a tea planter but to spend a lion’s share of his profit for the cause of education in the State. However, he could not succeed in his mission and thereafter he started his career as a journalist. He was the successful editor of an Assamese weekly Bafori, later on an Assamese daily Dainik Bafori published from Jorhat, owned by Late Siva Prasad Boruah, a renowned tea planter of nationalist outlook.<br /><br />In 1921, Phukan was elected a member of the Assam Legislative Council where he served till 1927. In 1937, he joined freedom movement. He was imprisoned in 1943 in connection with Quit India movement. During his prison at Borbheta Jail, Jorhat he wrote a book of poetry Jinjiri where he depicted the prison life and advocated his ideas of reformation of existing jails. After independence he was elected a member of the Assam Legislative Assembly where he continued till 1957. Undoubtedly a successful legislator Phukan in many ways fought for social justice and social reform in the floor of the Assembly.<br /><br /><b>Dr Lakhi Prasad Dutt (1917-1989)</b><br /><br />With the demise of Lakhi Prasad Dutt, MA BL, Rector, Dibrugarh University, Dibrugarh lost an eminent educationist, historian, dedicated educational organiser and a distinguished citizen of Dibrugarh who “symbolised a rare breed of men who inspired the younger generation with their zeal, sincerity of purpose and utmost dedication in all walks of life.”<br /><br />Dr Dutt was an institution by himself. His contributions as an educationist, academician and social worker were immense. He played a significant role in respect of establishing Dibrugarh University and Kanoi Group of Colleges in Dibrugarh. So far as the establishment of Dibrugarh University was concerned, at the initial stage the Chancellor of Dibrugarh University authorised him as Rector to exercise the powers and functions of the Vice-Chancellor till a Vice-Chancellor was appointed.<br /><br /><b>Dr Auranga Shah (1857-1886)</b><br /><br />Dr. Auranga Shah was born at Dibrugarh in 1857. He lost both his parents at the age of six. His schooling was looked after by his maternal uncle Finnatullah. Dr Shah was a brilliant student who completed his medical education from the Temple School, Patna in 1876. Later he worked as a Lance Nayak in the Military wing in the same school. Even though he was financially unsound, Dr Shah left for London in 1884 for further studies in medical sciences from Glasgow University.<br /><br /><b>Dr Jogiraj Basu</b><br /><br />Dr Jogiraj Basu, MA (Tripple), PhD, an eminent scholar, litterateur and educationist who dedicated his life for the cause of higher education at Dibrugarh in particular and in North East part of the country in general. Indeed he was a guiding spirit so far as the establishment of DHSK College, DHSK Commerce College, Manohari Devi Kanoi Girls’ College, DHSK Law College and opening of the Post Graduate classes in Sanskrit, History and Economics and establishing Dibrugarh University was concerned. He led an ashramite’s life at Viraj Ashram, Dibrugarh. Dr Basu’s “India at the Age of the Brahmanas” (Middle Vedic Age), Studies in Vedic Culture (both in English), “Vedar Parichay”, “Vedanata Darshan” and Zarathusta Shastra (all in Assamese), Veder Parichay, Upanishader Bhavadhara and Sadhanae (all in Bengali) are his immortal contributions to literature and oriental learning in three languages.<br /><br /><b>Padmashree Hanumanji Kanoi</b><br /><br />Hanumanji Kanoi who was born 110 years ago came to Assam from Rajasthan in search of livelihood. In those days there was no communication facility so most probably he walked up to Bengal and came here by boat. It is said he started working here in this town penniless and by dint of his perservance he could achieve success. His indomitable and industrious spirit goaded him to do something bigger. He started work for tea plantation. The area which is now known as Ganeshbari was full of jungle. He started clearing the area by himself and sowed tea seeds. He had no formal education not even the basic knowledge of tea plantation but by sheer dint of labour, perseverance, determination and faith he could proceed with his work and establish quite a number of tea gardens. What ever earning he made out of all these business concerns he did not spend for his own comfort nor for his family but contributed handsomely for the cause of society and human welfare. He donated large sums in charity and whoever came to him for donation never went back empty-handed, The Kanoi Group of Colleges here in Dibrugarh is epitome of his munificence and speak volumes of his love for education. His contributions to religious, social, educational and cultural organisations all over Assam and North-East have now become a legend. He had exemplified the ideal set by Yogi Bhartihari.<br /><br /><b>Radhanath Changkakoty (1853-1923)</b><br /><br />Radhanath Changkakoty was popularly known as “uncrown king” of Dibrugarh and a leading personality in the public life of Assam. “He was one of the old time Assamese gentry who readily encouraged a good cause. Radhanath is recognised as a towering personality in the national life of the country and a pioneer in the field of journalism and female education in the entire North East region.<br /><br />He was born in 1853 in a respectable family of Amolapatty, Dibrugarh, Late Dutiram Changkakoty and Rupahi Devi Changkakoty were his father and mother. After passing the Entrance examination securing first division from Dibrugarh Govt. Boys HE School he started his career as a magistrate in Dibrugarh court for a while. After that, Radhanath dedicated himself for the growth and development of journalism, education, culture and local self-government over coming immense difficulties with firm determination. He established two printing presses at Dibrugarh at that difficult time eg Radhanath Press (1881) and Times of Assam Press (1885) at Dibrugarh. He was the founder and editor of the Times of Assam, the first English weekly newspaper in the North East, published from Dibrugarh (the 5th January 1895) regularly even after about two-and-half decades of his death. He got the opportunity to celebrate the silver jubilee celebration of the Times of Assam during his life time. The Times wielded considerable influence in mobilising public opinion. He also planned to publish an Assamese weekly Asom Hitoishi by name in 1908. Radhanath attended the first session of All India National Congress held at Bombay in 1885 and the coronation ceremony of George V (Delhi-Darbar) held in Delhi in 1911 as an invitee from Assam.<br /><br /><b>Deshasevak Faiznur Ali (1877-1962)</b><br /><br />Deshasevak Faiznur Ali was born on 2nd April, 1877 at the then Jorhatpatty of Dibrugarh and passed away on the 24th April 1962 at his residence all Panch Ali, AT Road, Dibrugarh. His father’s name was Hazi Fannur Ali and mother was Hazi Jarsani Bibi, who migrated from Bhoogdaoimukh Jorhat in the year 1857 and settled down here permanently. His father late Hazi Saheb was the manager of three European gardens of undivided Dibrugarh district. He was also a prominent arms and ammunition dealer. Besides, being a successful lawyer of Dibrugarh Bar, he served the country and Dibrugarh specially holding several responsible and distinguished offices, viz. as the chairman Dibrugarh Municipal Board, founder president of the Assam Medical College, Governing Body, member and the president of Assam Legislative Council, Member, Assam Public Service Commission, Member, Communal Riot Enquiry Commission, Member of Parliament, Member of Assam Legislative Assembly, Member of Constituent Assembly and some time president of the Kanoi College.<br /><br /><b>Prasanna Kumar Baruah (1884-1958)</b><br /><br />Prasanna Kumar Baruah, popularly known as PK Baruah of Siring Chapori, Dibrugarh was a towering personality of Assam and a Stalwart of Dibrugarh, He was born at Rajabheta Tea Estate, near Dibrugarh on 3rd February 1884 and passed away on 25th November, 1958 at his residence at Dibrugarh. PK Baruah was the worthy son of a worthy father late Malbhog Baruah, a pioneer tea planter of Assam and a distinguished public figure of Dibrugarh during 19th century. Baruah passed entrance examination from Dibrugarh Govt. Boys High English School, IA from Cotton College and B.A. from Koch Bihar College with credit.<br /><br />As an industrialist with high reputation he contributed a lot in respect of the development of tea industry in Assam, banking system of Dibrugarh and establishment of cinema houses at Dibrugarh and Tinsukia. He was the chief patron of the production of Monomati - the third Assamese film released from Dibrugarh in 1941. During his long tenure of office as the city father of Dibrugarh he constructed a beautiful municipal park by the side of the river Dibru, laid stress on complete and proper electrification of the town, development of municipal roads, drains and market places.<br /><br />During this period Dibrugarh Municipal Board allotted a handsome amount of money for the smooth running of Amolapatty Girls’ High School, Grahambazar Primary School. Dibrugarh Public School (a national educational institution) was established in 1930 at Panchali, Dibrugarh of which he was the founder president. Late PK Baruah was a patriot in the true sense of the term and hospitable by nature.<br /><br />In order to include Assam under the preview of Governor State he started for London in June, 1919 and arrived by the end of August as one of the two-men Assam delegation ‘to the Joint Parliamentary Committee presided by Lord Selbourne in the House of Lords in connection with Montague Chelmsford Reforms in India in session from June 1919 to October 1919.<br /><br /><b>Raibahadur Nilambar Dutta (1878-1942)</b><br /><br />Raibahadur Nilambar Dutta, a legendary person and stalwart of Dibrugarh public life was a self made man, and rose from a humble position to one of prosperity and influence occupying a leading place in the public life of the country. He was noted for his simplicity, helpfulness, and straight forwardness and he never hesitated to call a spade a spade.<br /><br />When in 1923 the first non-official chairman of the Dibrugarh local board was elected, Nilambar Dutta who at that time was the Vice-Chairman, the Deputy Commissioner being the Chairman, was elected to be the Chairman and he held that office till his death in 1942 without any break. Nilambar Dutta was a member of the Assam Legislative Council from 1931 to 1936.<br /><br />He was a very forceful speaker and had a good command of English. He created a sensation by moving a resolution for the separation of Sylhet from Assam. Sylhet district was a deficit district. It thrived on the taxes paid by the people of the rest of Assam. It was a hindrance to the progress of Assam.<br /><br />Nilambar Dutta called it a white elephant. All the members from Sylhet ganged up and the official members joined hands with them to defeat the resolution. The Statesman called the speech “impassioned”. Munwar Ali, an MLC from Sylhet said that an obnoxious resolution like this was never moved on the floor of the House.</span></p></div>$$$$$$$$$$$$$$$$$$$$$$<br /><br />American Baptist missonary Nathan Brown<br /><br /><div>$$$$$$$$$$$$$$$$$$$$$$</div><br /><div><br /></div><div></div>Nathan Brown (22 June 1807 - 1 January, 1886) was an American Baptist missionary to India and Japan, Bible translator, and abolitionist.<br /><div><a name="Early_life_and_missions_to_Burma_and_Ass"></a><br />Born in New Ipswich, New Hampshire, he attended Williams College, where he graduated first in his class. He and his wife, whom he married in 1830, went on to serve as missionaries in Burma. Brown's original intention had been to translate the Bible into Burmese, but he soon found himself pulled into a mission along with Oliver Cutter and Mile Bronson in the Indian region of Assam.<br />In 1848, Brown published an Assamese grammar, followed by an Assamese translation of the New Testament in 1850. The language regained recognition in part due to Assamese publications edited by him, and his association with Hemchandra Barua.</div><br /><br /><div><br /><a name="Abolitionism"></a><a name="Missionary_to_the_Japanese"></a>With Rev. Oliver Cutter and Rev. Mile Bronson, he began a much more successful mission in what is now the NorthEast Indian State of Assam. Nathan Brown, Oliver Cutter and Miles Bronson, all missionaries, established a press in Sadiya, Assam in 1838, bringing a literary revolution in several Northeastern languages. Miles Bronson published the first Assamese-English Dictionary in 1846, and Nathan Brown published an Assamese Grammar in 1848, a translation of the New Testament in Assamese in 1850.</div><br /><div><br />Perhaps the most interesting outcomes of the mission was the association of the Indian philosopher Dr. Hemchandra Barua, who studied English at the mission. Dr. Barua later became editor of the mission's local language magazine Arunodoy and went on to become publisher of The Assam Times, wherein he did much crusading for equal education of women and men, elder rights and other issues. As a reformer, Dr. Hemchandra in turn was an influence and inspiration for Nathan Brown. </div><br /><br /><div></div>$$$$$$$$$$$$$$$$$$$<br />Sir Henry John Stedman Cotton<br /><br /><div>$$$$$$$$$$$$$$$$$$$</div><br /><br /><div></div>Sir Henry John Stedman Cotton (1845-1915) was a Liberal MP who was elected from Nottingham East in 1906 to the British Parliament.<br /><div>Educated at Brighton College and King's College London, he joined the Indian civil service, rising eventually to be Chief Commissioner of Assam (1896 to 1902). Cotton College, Guwahati was established by him in 1901. Cotton supported Indian Home Rule and served as President of Indian National Congress in 1904. As such, he led the opposition to Curzon's invasion of Tibet and partition of Bengal.<br /><br />$$$$$$$$$$$$$$$$$$$<br /><br /><span style="font-size: 10pt; line-height: 115%; font-family: "Comic Sans MS";"><b>Dr John Berry White (-1898)</b><br /><br /></span>$$$$$$$$$$$$$$$$$$$<br /><span style="font-size: 10pt; line-height: 115%; font-family: "Comic Sans MS";"> Dr John Berry White was the Director of Assam Railways and Trading Company Limited and served Dibrugarh town in similar capacity from 1881 to 1896. Apart from achieving smooth operations of business and trade for his company, Dr White also encouraged Assamese students to pursue career in medical education.<br /><br />Dr White donated a considerable share of his earnings to set up a medical institution in the region. So, later Sir Henry Cotton, the then Chief Commissioner of Assam established the “Berry White Medical School” at Dibrugarh in the year 1898-99. After independence, the State Government converted the School into a full-fledged centre of medical education - Assam Medical College, Dibrugarh.<br /><br />Moreover, Dr White also contributed a lot towards the progress of Assamese arts, culture and towards popularisation of the print media and the introduction of the Assamese language as the principal medium of instruction in the schools of Upper Assam.<br /><br />He passed away at London in 1898.</span><br /></div><br /></div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com5tag:blogger.com,1999:blog-7823291760828692160.post-46598646924131725222008-02-29T05:45:00.000-08:002008-05-23T06:21:03.180-07:00Flora and Fauna of Assam<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SDbEnWwB-xI/AAAAAAAADXw/jzhN0OqR5mQ/s1600-h/keteki+phool.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SDbEnWwB-xI/AAAAAAAADXw/jzhN0OqR5mQ/s400/keteki+phool.jpg" alt="" id="BLOGGER_PHOTO_ID_5203562599874165522" border="0" /></a>Keteki Phool<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SAhhG7x5k0I/AAAAAAAADOg/yKDpFOz8rRs/s1600-h/rhinooo.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SAhhG7x5k0I/AAAAAAAADOg/yKDpFOz8rRs/s400/rhinooo.jpg" alt="" id="BLOGGER_PHOTO_ID_5190505342298592066" border="0" /></a><br /><br />The One Horned Rhino<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SB7nMdadqzI/AAAAAAAADVo/Z8Nc3DgQ-NE/s1600-h/birds.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SB7nMdadqzI/AAAAAAAADVo/Z8Nc3DgQ-NE/s400/birds.jpg" alt="" id="BLOGGER_PHOTO_ID_5196845221272202034" border="0" /></a><br />Various Birds<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAhgUbx5kzI/AAAAAAAADOY/GlJASLLqUDM/s1600-h/kopou+fool.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SAhgUbx5kzI/AAAAAAAADOY/GlJASLLqUDM/s400/kopou+fool.jpg" alt="" id="BLOGGER_PHOTO_ID_5190504474715198258" border="0" /></a><br />Kopou phool<br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R_414b5ykPI/AAAAAAAADNg/A82xwAZZYAg/s1600-h/krishna+sura.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R_414b5ykPI/AAAAAAAADNg/A82xwAZZYAg/s400/krishna+sura.bmp" alt="" id="BLOGGER_PHOTO_ID_5187643064456483058" border="0" /></a><br />krishnasura Tree<br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R_415L5ykQI/AAAAAAAADNo/RITEzeTkLHE/s1600-h/polash.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R_415L5ykQI/AAAAAAAADNo/RITEzeTkLHE/s400/polash.bmp" alt="" id="BLOGGER_PHOTO_ID_5187643077341384962" border="0" /></a><br />Polash tree<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SB7nMtadq0I/AAAAAAAADVw/6QTbybYhF1w/s1600-h/sunaru+phool.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SB7nMtadq0I/AAAAAAAADVw/6QTbybYhF1w/s400/sunaru+phool.jpg" alt="" id="BLOGGER_PHOTO_ID_5196845225567169346" border="0" /></a><br />Sunaru Tree<br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R_D2-BqJx7I/AAAAAAAADLQ/Vd21S2IhPzU/s1600-h/pride.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R_D2-BqJx7I/AAAAAAAADLQ/Vd21S2IhPzU/s400/pride.bmp" alt="" id="BLOGGER_PHOTO_ID_5183914716561000370" border="0" /></a><br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/h6nR8YiczFA&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/h6nR8YiczFA&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />flora and fauna at Kaziranga<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/Oe7p-QU3Cb4&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/Oe7p-QU3Cb4&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Fish<br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-KEBxqJvoI/AAAAAAAAC4E/R9NKVOQecjI/s1600-h/golden+langur.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-KEBxqJvoI/AAAAAAAAC4E/R9NKVOQecjI/s400/golden+langur.bmp" alt="" id="BLOGGER_PHOTO_ID_5179847687474364034" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R-KBERqJvnI/AAAAAAAAC38/pX_XcONoXVA/s1600-h/hathi.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R-KBERqJvnI/AAAAAAAAC38/pX_XcONoXVA/s400/hathi.bmp" alt="" id="BLOGGER_PHOTO_ID_5179844431889153650" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-KAKxqJvmI/AAAAAAAAC30/pnbaBcBgiuc/s1600-h/KACHO.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-KAKxqJvmI/AAAAAAAAC30/pnbaBcBgiuc/s400/KACHO.bmp" alt="" id="BLOGGER_PHOTO_ID_5179843444046675554" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-J87xqJvjI/AAAAAAAAC3c/AMjVPSwKjOM/s1600-h/orchids2.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-J87xqJvjI/AAAAAAAAC3c/AMjVPSwKjOM/s400/orchids2.bmp" alt="" id="BLOGGER_PHOTO_ID_5179839887813754418" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R-J88BqJvkI/AAAAAAAAC3k/f54a8Nx9AJM/s1600-h/orchids3.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R-J88BqJvkI/AAAAAAAAC3k/f54a8Nx9AJM/s400/orchids3.bmp" alt="" id="BLOGGER_PHOTO_ID_5179839892108721730" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R-J88BqJvlI/AAAAAAAAC3s/B2ydusfPy5A/s1600-h/orchids.bmp"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R-J88BqJvlI/AAAAAAAAC3s/B2ydusfPy5A/s400/orchids.bmp" alt="" id="BLOGGER_PHOTO_ID_5179839892108721746" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8gR4huBeaI/AAAAAAAACtY/X_4ZgepvrUo/s1600-h/rhino.bmp"><img id="BLOGGER_PHOTO_ID_5172403834856765858" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8gR4huBeaI/AAAAAAAACtY/X_4ZgepvrUo/s400/rhino.bmp" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8gR4xuBebI/AAAAAAAACtg/J5E5u2ifu-U/s1600-h/flora+fauna.bmp"><img id="BLOGGER_PHOTO_ID_5172403839151733170" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8gR4xuBebI/AAAAAAAACtg/J5E5u2ifu-U/s400/flora+fauna.bmp" border="0" /></a><br /><div>Assam is gifted with varieties of flora and fauna including world famous the Great Indian One Horned Rhino, Pigmy Hog, Royal Bengal Tiger, Elephant, Swamp Deer, Gangetic Dolphin, Wild Buffalo, Golden Langur, Hoolock Gibbon, Stump-tailed Macaque and Pig-tailed Macaque, Hispid Hare etc. The birds found in Assam includes Greater Adjutant Stork, White winged wood duck, Bengal Florican, Spotbilled Pelican, Lesser Adjutant Stork, King Vulture, Great Hornbills, Long-billed and Spotted Wren-babblers, Large and Coral-billed Scimitar Babblers, Laughingthrush etc. </div><br /><div><br />Much of the state is covered with dense tropical forests of bamboo and, at higher elevations, evergreens. Many valuable trees like Sal, Agar, Segun, Bon Chom etc., found in these forests which help in economic development of the state.</div><br /><div><br />Erianthus is a tall hard reed that grows in loamy soil that gets flooded during the monsoon, whereas Arundo donax or the Giant Reed is found in areas that constantly remain wet. Monochoria haestefolia, a local species of water hyacinth grows in Assam as the whole valley is scattered with lakes, and hence, wetland. The valley is an important breeding ground for Greater and Lesser Adjutant Storks, both globally threatened species. Bombax or the Silk Cotton trees are seen in abundence and these cottons are used for making pillows. In the eastern part of the valley the gradual emergence of Alluvial Semi-evergreen Forest sometimes results in Tropical Wet Evergreen Forest. </div><br /><div><br />There are also other trees like the beautiful Lagerstroemia flosreginae with its mauve coloured flowers, the Hill Clerodendrum Clerodendrum viscosum and the imposing Betel Palms Areca catechu. Betel Palms are grown all over the place and the Assamese chew it with Pan Piper betel, a climber belonging to the same genus as pepper and lime. Another species of Palm - the Fish-tail Palm Caryota urens is also seen. </div><br /><div><br />The woodland of Kaziranga is divided into three main types - Riparian Fringing Forest, Dillenia Swamp Forest and Assam Alluvial Plains Semi-evergreen Forest.<br />The Riparian Fringing Forest is comprised of grassland and trees. There were big stands of the Giant Reed growing to a height of more than 13 ft Arundo donax, known as Nal to the Assamese. This plant was used as a reed in the Buffalo Horn played during the Bihu Festival. There were various trees in these forests - mainly Lagerstroemia flosreginae, but also Lagerstroemia parviflora, the Caper Tree Crataeva religiosa. </div><br /><div><br />The large tracts of Dillenia Swamp forest were very scenic. Two species of trees - the Elephant Apple Dillenia indica and Dysoxylum binectariferum - are characteristic of this habitat type. These forests are also covered with Rattan Calamus tenuis brakes. </div><br /><div><br />In the semi-evergreen forests, the moist and humid conditions make it suitable for the growth of epiphytes and lianas. Two specific species of Orchids - Rhynchostylis retusa, known locally as Kapou phool and Ornithocalyx teres grow here. Assam's most celebrated flower, the Kopou Phool, is known to the orchid enthusiast of the West as the Foxtail Orchid. This orchid grows widely across Assam and is worn by young women on their hair during the spring festival of Assam, Rongali Bihu and is symbolic of youth and renewal. The tea plants in Assam are species of Camellia - Camellia sinensis and Camellia assamica. A lot of Water hyacinth including Eichornia crassipes, Monochoria haestefolia are seen in the forests of Assam. Water lilies Nymphaea pubescens and Lotuses Nelumbo nucifera are also seen. The Assamese use a lot of bamboo in their day-to-day life. There are several species of bamboo, each having different purposes for use. Wild flowers grow all over the countryside in Assam. Ipomea reptans, a large mauve-coloured flower growing in swampy ground, Leucas aspera, Cassia alata and the silvery-pink Argyreia hookeri are among the attractive wild flowers. </div><br /><br />The Kaziranga National Park contains about 15 species of India's threatened (Schedule I) mammals. It harbours the world's largest population of Indian rhinoceros Rhinoceros unicornis (E), which has increased from a few dozen in 1908 (Gee, 1964) to some 1,080 in 1984 and 1,100 in 1988. Other mammals include capped langur Presbytis pileata, a small population of hoolock gibbon Hylobates hoolock, tiger Panthera tigris (E), leopard P. pardus (T), sloth bear Melursus ursinus (I), Indian elephant Elephas maximus (E) (523), Ganges dolphin Platanista gangetica, otter Lutra lutra, wild boar Sus scrofa (3,645), water buffalo Bubalus arnee (V) (677), gaur Bos gaurus (V) (30), sambar Cervus unicolor (358), swamp deer C. duvauceli (V) (756), hog deer C. porcinus (9,872) and Indian muntjac Muntiacus muntjak. Population estimates are based on the 1984 census, details of which are given by Choudhury (1987). Elephants and other animals migrate with the advent of the monsoon and head southwards to the Mikir Hills and beyond to avoid the annual flooding of the national park in 1981.<br /><br />The numerous water bodies are rich reservoirs of food (including fish) andthousands of migratory birds, representing over 100 species, visit the park seasonally from as far afield as Siberia. There is a grey pelican Pelecanus philippensis rookery near Kaziranga Village. Other birds of interest include black-necked stork Ephippiorhynchus asiaticus, lesser adjutant stork Leptoptilos javanicus, Pallas's fish eagle Haliaeetus leucoryphus, grey-headed fish eagle Icthyophaga icthyaetus, perhaps 25-30 Bengal florican Houbaropsis bengalensis (E), swamp partridge Francolinus gularis, grey peacock-pheasant Polyplectron bicalcaratum, great pied hornbill Buceros bicornis, green imperial pigeon Ducula aenea, silver-breasted broadbill Serilophus lunatus and Jerdon's bushchat Saxicola jerdoni. The avifauna comprises over 300 species in 1987.<br /><br />$$$$$<br /><br /><br />One Horned Rhino<br /><br /><br />$$$$$<br /><br /><br /><br />The Indian Rhinoceros or the Great One-horned Rhinoceros, Rhinoceros unicornis, is found in Nepal and Assam. The most obvious distinguishing characterstic of the rhinos is a large horn above the nose, which is, unlike those of other one horned mammals, consist of keratin. The horn, which reaches a length of between 20 and 61 cm, is present in both male and females, but not on newborn ones.<br /><br />The one-horned Rhinoceros has thick, silver-brown skin creating huge folds all over its body. The upper legs and shoulders are covered in wart-like bumps and it has very little body hair. Fully grown males are larger than females in the wild, standing about 1.8 metres tall, weighing from 2000 - 3000 kg and reaching up to 3.6 metres long. In captivity, both males and females attain much larger weights (up to 3500kg). Indian rhinos live up to age of 45 years.<br />There are five kinds of Rhinos found in the world - white rhino, black rhino, Indian rhino, Javan rhino, and Sumatran rhino. The white and black Rhinos are live in Africa, while Indian, Javan and Sumatran are Asian Rhinos, found in North Pakistan, Assam, Nepal, Bhutan and Bangladesh.<br />Rhinos are herbivorous and Indian Rhinos mostly eat grass, fruits, leaves and crops. Rhinos, being poached for their horn, is an endangered species though it has very few natural enemies. Some cultures in East Asia believe that the horn of rhino has healing and potency powers.<br />The rare one-horned rhino was almost driven to extinction during the 19th century and a concerted effort by the government of India and the Assam state government for saving the one-horned rhino from extinction was a great success. Today, two thirds of the world's one-horn rhinos live at the Kaziranga National Park in Assam.<br /><br /><br /><br /><br /><br />$$$$$<br />Pigmy hog<br />$$$$$<br /><br /><br /><br />The pigmy hog is the smallest and the rarest wild suid in the world. It has a dark brownish black skin covered by coarse, dark hair. Young are born with a grayish-pink skin, but become brown with the yellow longitudinal stripes seen in many piglets at about 11 days of age. The streamlined body is round and close to the ground, with short, stubby legs and a short tail. The body length of a full-grown Pigmy hog is about 55-71 cm or 1.8-2.3 ft. The head is triangular-shaped and sharply tapered, with a slight crest of hair on the forehead and nape of the neck. In adult males the upper canines poke slightly out the sides of the mouth. An adult pigmy hog weights about 6.6kg to 11.8 kg. Unlike other pigs, the both sexes of the pigmy hog create and use vegetation nests at all times of the year.<br />For food they depend on roots, grasses, leaves, fruit, insects and carrion.<br /><br /><br /><br />$$$$$<br />Swamp deer<br />$$$$$<br /><br /><br /><br />The Swamp Deer of the deer family was closest to extinction a few decades ago. They derive their name from the large antlers of the adult male, which, by the time they attain adulthood, develop more than 12 points and attain lengths up to 75 cms. It weighs in at approximately 180 kgs once fully grown with a height nearing 130 cms. Their life expectancy ranges between 20 - 30 years. The Swamp deer or known as Barasingha in India, has a dense brown coat that keeps it warm and dry in its moist habitat. The coat of the male Swamp deer becomes darker in color during the mating season. The underparts, including the underside of the tail, are whitish.<br />Swamp deer are herbivores. Their main diet consists of grass which they feed on in the vast grasslands of central and northern India. Some of them have also been seen eating grass from the bed of wet swamps.<br />Barasingha are usually seen in herds that vary in size depending on the time of year. Herds usually consist of 10 - 20 members.<br />The Barasingha was previously seen across most of North and central India in areas of moist forest and swampland. With the destructions of its habitat, it is now seen in isolated protected forests in Uttar Pradesh, Assam and Madhya Pradesh.<br /><br />$$$$$<br />Golden Langur<br />$$$$$<br /><br />The Golden Langur, an Old World monkey found primarily in the foothills of the Himalayas along the Assam-Bhutan border, is known for its rich golden to bright creamish hair, a black face and a very long tail measuring 70-100 cm in length. On the crown there is an ill-defined whorl of hair that may protect the eyes and face from glare. The average body mass for adult males is 10.8 kilograms and for adult females it is 9.5 kilograms.<br />The Golden Langur is herbivorous, basically eating fruits, mature and young leaves, seeds, buds and flowers. It generally lives in troops consisting about 8 to 50 members with several females to each adult male. The Golden Langur is currently is one of the most seriously endangered primate species of India, the total population being about 10,000, with the relative dearth of infants and juveniles indicating a declining population and the habitat being degraded by human activity.<br />The distribution of golden langurs is limited to a small area of western Assam in northeast India and Bhutan between the rivers Manas in the east, Sankosh in the west, and Brahmaputra in the south. Demographic trends indicate a decline in the golden langur population.<br /><br />$$$$$<br />Hoolock Gibbon<br />$$$$$<br /><br /><br />Hoolock Gibbon is the only species of ape to be found in India weighing a little over 6 kg (13 lb). The adult male is always black, except for its prominent white eyebrows, while the adult female is gold or buff or brownish buff. The evergreen and semi-evergreen forests of the Northeastern region are natural habitats of this endangered species in India. Fruit comprises the majority of its diet, which also includes leaves, flowers, buds and a small amount of insects and spiders.<br />Hoolock gibbons live in small, monogamous family groups, consisting of a mated pair with their offspring. The size of a group ranges from 2 - 6 members. There are deep social bonds between group members.<br />The hoolock gibbon moves by leaping or jumping between the trees or by walking on tree trunks or on the ground. Its light body and long and strong arms help it to exploit the terminal branches of trees and vines. When walking on the ground, it usually holds its long arms upward or horizontal for balance.<br />The Gibbon Wildlife Sanctuary in Jorhat District of Assam is the only protected area in India to be named after a primate species.<br /><br />$$$$$<br />Adjutant Stork<br />$$$$$<br /><br />The Lesser Adjutant lives in much broader area, from India to Indonesia, but is not common anywhere.<br /><br />How to identify a Lesser Adjutant:<br />Top of the head of the bird is white, and most birds tend to have much more neck-hair than the Greater Adjutants. Breeding birds have red or pink color in the beak area.<br />The Lesser Adjutant, Leptoptilos javanicus, is not a scavenger, but a bird of preydepending mainly on fish, frogs, and reptiles, even snakes. They don't congregate near cities in the scale the Greater Adjutants often do; some birds are seen, though.<br /><br />$$$$$<br />Greater Adjutant Stork<br />$$$$$<br /><br /><br />The Greater Adjutant, Leptoptilos dubius is an enormous stork, standing up to 1,5 m (five feet). It is said to be a shy and retiring bird on remote locations, but is much less so near cities. The species is essentially a scavenger, though sometimes they do catch some live pray also, as they sway their great beak from side to side in the water, much like an enormous spoonbill. This scavenging habit brings them in numbers close to human habitats, particularly outside the nesting season.<br />The last remaining major nesting sites for Greater Adjutant lay in Assam and Cambodia while the Lesser Adjutant lives in much broader area, from India to Indonesia, but is not common anywhere.How to identify a Greater Adjutant:<br />A large, hanging, orange chest-pouch is the most famous feature of an adult bird; in some birds, though, this pouch is either partly, or totally hidden behind the chest-feathers. They also have an equally bright neck-pouch. The beak is wider and it has a dark area in front of the eyes. The overall plumage color of the greater adjutant is dark bluish grey; Lesser Adjutants are more black.<br /><br /><br /><br />How to identify a Lesser Adjutant:<br />: Top of the head of the bird is white, and most birds tend to have much more neck-hair than the Greater Adjutants. Breeding birds have red or pink color in the beak area.<br />The Lesser Adjutant, Leptoptilos javanicus, is not a scavenger, but a bird of preydepending mainly on fish, frogs, and reptiles, even snakes. They don't congregate near cities in the scale the Greater Adjutants often do; some birds are seen, though.<br /><br />$$$$$<br />Great (Indian) Hornbills<br />$$$$$<br /><br /><br />The Great (Indian) Hornbills, the largest and arguably most impressive members of the hornbill family, are most commonly found in southeastern Asia. Standing nearly 4.5 feet tall with a 60-inch wingspan their tail feathers can reach 36 inches and they weight around six pounds.<br />The most distinctive feature of the hornbills is their casque or helmet-shaped heads. The casque of the Great Hornbill is made of the same element that ivory is made of. The bill is yellow and curved downward. The body is covered with black feathers. The wing tips have a ban of white feathers. The tail, sometimes reaching up to 3 feet (7.6cm), is white with bans of black feathers across. The neck of this bird is surrounded with circle of fur. They usually have short legs, but have broad feet.<br /><br /><br />In the wild hornbills eat primarily fruit, but also small mammals, lizards, snakes and insects. Great Indian Hornbills like to eat various types of berries.<br />Indian hornbills form monogamous pair bonds and live out their lives in groups of 2-40 individuals. The usual clutch size is about 2-4 white round eggs. The incubation period is about 28 to 40 days. It takes for another 4-8 week for the youngsters to mature. The mothers, during this maturation period, remain with their offspring. The males take care of the females when they are incubating, and the offspring when they are young.<br /><p> </p><p> </p><p> </p>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com7tag:blogger.com,1999:blog-7823291760828692160.post-86333132945621157182008-02-28T07:06:00.000-08:002008-07-14T05:48:05.207-07:00Music of Assam<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SHtKqRZNsMI/AAAAAAAADjo/yKNOz3MH9WY/s1600-h/taal.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SHtKqRZNsMI/AAAAAAAADjo/yKNOz3MH9WY/s400/taal.jpg" alt="" id="BLOGGER_PHOTO_ID_5222850282950340802" border="0" /></a>-----------------------------Taal----------------------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SHtKqXWujMI/AAAAAAAADjw/lkaNuuNuX6s/s1600-h/khol.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SHtKqXWujMI/AAAAAAAADjw/lkaNuuNuX6s/s400/khol.jpg" alt="" id="BLOGGER_PHOTO_ID_5222850284550524098" border="0" /></a>------------------------Khol-----------------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SHtKqs_rUnI/AAAAAAAADj4/fvjHMiGzre0/s1600-h/toka.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SHtKqs_rUnI/AAAAAAAADj4/fvjHMiGzre0/s400/toka.jpg" alt="" id="BLOGGER_PHOTO_ID_5222850290359423602" border="0" /></a>-----------------------------Toka---------------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SHtKqjAwllI/AAAAAAAADkA/ParTLt4_Vhw/s1600-h/nagara.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SHtKqjAwllI/AAAAAAAADkA/ParTLt4_Vhw/s400/nagara.jpg" alt="" id="BLOGGER_PHOTO_ID_5222850287679608402" border="0" /></a>--------------------------Nagara-------------------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SHtKq2BFOmI/AAAAAAAADkI/GF5GvqliMXw/s1600-h/gogona.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SHtKq2BFOmI/AAAAAAAADkI/GF5GvqliMXw/s400/gogona.jpg" alt="" id="BLOGGER_PHOTO_ID_5222850292781234786" border="0" /></a>-----------------------------Gogona----------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-7mX5rjUI/AAAAAAAADf0/QQoEkqYfMPo/s1600-h/pepa.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-7mX5rjUI/AAAAAAAADf0/QQoEkqYfMPo/s400/pepa.jpg" alt="" id="BLOGGER_PHOTO_ID_5210589561816321346" border="0" /></a><br />...............Pepa........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-7mzeR9_I/AAAAAAAADf8/AKH_jL6UoUo/s1600-h/bin.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-7mzeR9_I/AAAAAAAADf8/AKH_jL6UoUo/s400/bin.jpg" alt="" id="BLOGGER_PHOTO_ID_5210589569217591282" border="0" /></a><br />.......................Bin.................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-7nfuSqTI/AAAAAAAADgE/Od3r7UIDemo/s1600-h/dutara.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-7nfuSqTI/AAAAAAAADgE/Od3r7UIDemo/s400/dutara.jpg" alt="" id="BLOGGER_PHOTO_ID_5210589581095905586" border="0" /></a><br />.......................Dutara.................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-7nlMnZnI/AAAAAAAADgM/MNWWJPCW8Xk/s1600-h/hutuli.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-7nlMnZnI/AAAAAAAADgM/MNWWJPCW8Xk/s400/hutuli.jpg" alt="" id="BLOGGER_PHOTO_ID_5210589582565271154" border="0" /></a><br />.........................Hutuli..........................<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/OVuq34QDKpM&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/OVuq34QDKpM&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Bihu Song<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/vLtMyFwbQQE&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/vLtMyFwbQQE&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Husori<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/OfQbdk9WvNg&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/OfQbdk9WvNg&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Biya Naam (Wedding song)<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/kUcBXs4fc38&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/kUcBXs4fc38&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Borgeet<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/s5fDYJT1ym4&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/s5fDYJT1ym4&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Modern Assamese song<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/p56MNuNQZlA&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/p56MNuNQZlA&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Bodo Songs<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/zzaBVM8gU-k&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/zzaBVM8gU-k&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Santhal Songs (Tribal Songs)<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/ExHD6gGsda4&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/ExHD6gGsda4&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Rabha Songs<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/I5j088hWJEU&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/I5j088hWJEU&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Karbi Song<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/KgJEcbKULDg&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/KgJEcbKULDg&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Sound of Pepa (trumpet)<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/oRJRj-6JL70&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/oRJRj-6JL70&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Dhol badan<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/EyaWcQthPXc&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/EyaWcQthPXc&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Lokgeet (folk songs)<br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/Th456cWEiEQ&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/Th456cWEiEQ&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Dihanaam<br /><br /><br /><br />$$$$$$$$$$$$$$$$$$$$$$<br />The music of Assam, can be divided into various categories of folk music. In recent times a nascent music industry has emerged that caters to local popular demand too.<br /><br />A basic characteristic of the ethnic music of Assam is its descending scale which distinguishes it from the raga-based or folk music from the rest of India. This style is shared by ethnic music of the hill people surrounding the state of Assam, and by the music of Thailand, Myanmar and China. Furthermore, the tunes are structured in a pyramid, in contrast to the music of rest of India which is meend based. Assam is a state with valleys and hills, and the home of many ethnic tribes. Just as the geography and varied people co-exist, the pulsating Bihu songs co-exist with languorous music of other forms.<br /><br />Regional folk music<br />Ethnic folk music<br />Bihugeet<br />Allied styles<br />Bhakti music<br />Modern music<br /><br />$$$$$$$$$$$$$$$<br />Regional folk music<br />$$$$$$$$$$$$$$$<br /><br />* Kamrupiya Lokageet<br />* Goalporiya Lokageet<br />* Ojapali<br /><br />Assam Regional Folk Music is a veritable collection of various conventional melodic variations. Ojapali, Kamrupiya and Goalporiya lokageet are the main types of regional folk music of Assam. The different districts of Assam depicts an individual tradition of art and culture. The history of regional folk songs speaks of the oldest of times when the land of Assam was primarily a habitat of tribal people. These tribes, in due course of time, developed their own cultural customs and practices. Dance and music became an integral part of the social celebrations of the tribal sects. Initially there were only a few musical variations that could find ground in the various regions of Assam. But with the passage of time, the tribal groups emerged with new and innovative forms of folk music. The Goalpara district of Assam has transformed into a thriving place of music traditions. Such was the vigor and enthusiasm of the people of this district, that today, the Goalporiya lokgeet of the place is known as one of the prime musical identity of entire Assam. The music form called Kamrupiya is believed to have originated from the Kamrup Dynasty of Assam. Involving the verses of conventional themes, the Kamrupiya folk song is primarily sung by the rural tribes of the Assam. Ojapali is one more musical pride of Assam which owes its origin to the cultural enthusiasts of the state. Comprising of an Oja and many Palis, this folk music of Assam is found in the Kamrup region of the state. With hand-made conventional rhythmic accompaniments like tal, Dhaol, pepa, gogona and marcus, Assam Regional Folk Music captivates the music lovers of all over the world.<br /><br />$$$$$$$$$$$$$$$<br />Assam Ethnic Folk Music<br />$$$$$$$$$$$$$$$<br /><br />* Jhumur<br />* Bharigaan<br /><br /><br /><br />Connoting the cultural extravaganza of tribal sects of the state, Assam Ethnic Folk Music comprises of various vocal variations. Jhumur and Bharigaan forms the core of ethnic folk music of Assam. Both the forms are based on famous epics and local folklores of Assam. The ethnicities found in the land of Assam consists of various tribal communities. Each of these communities have emerged with a different cultural background. The state of Assam was once a favorite destination for all the tribes and sub-tribes that used to travel from one place to another. As a result of the co-habitation of various ethnic groups, the cultural domain of the state started to take a new dimension. Two variations referred as Jhumur and Bharigaan came into the musical forefront of Assam. Jhumur is an interesting form ethnic folk music of Assam in which melodic verses are recited by the singers in lucid terms. Made specially for the local farmers of Assam, Jhumur illustrates their normal life and daily practices. As the name suggests, Jhumur involves a locally-made anklet which is used by the singers while performing this music form. The melodic sound of the bells attached with the anklets creates an apt symphony. The musical theme of Bharigaan centres around the various events of the famous epic of Ramayana. The unique characteristics of Bharigaan lies in the fact that the singers recite full verses of Ramayana without any written musical notes. From its earlier form, Bharigaan today has come to much transformed version. Presently, three groups of men are involved in this form of ethnic folk song. While the first part of singers comprises of one main vocalist who is colloquially known as Oja and around five Palis, the second group involves four singers. The third one is identified through the actors who enact various epic characters. The initiation of Bharigaanis done by the Oja who is aptly followed by the Palis whose job is to reiterate the verses again. Colorful masks used by the the third group of performers adds vibrant nuances to the melodic theme of Bharigaan. It can be said that with Jhumur and Bharigaan, Assam Ethnic Folk Music represents a pulsating platform of cultural ecstasy to all.<br /><a href="http://www.indiamapstore.com/" target="wms"></a><br />Bharigaan<br />Assam has a rich cultural heritate. Geographically this state is covered by hills and plains. There are numerous rural ethnic groups which have their own unique customs and traditions. The original inhabitants of the state are the various groups of tribals belonging to different categories. They prefer to live in rural areas. They have their individual identity. The appearance, dress, dialogue and living conditions differ from one tribe to another. Depending on their socio-economic conditions and ethical obligations, they lead their distinct and unique cultural life. One can easily identify them as to whether they are Bodo, Mising, Karbi, Tiwa, Manipuri, Hajong, Garo, Dimasha or belong to any other tribe as may be. Though these tribal groups mainly hail from the peasant community, they set aside their leisure time for enjoying their traditional festivals or ritual ceremonies with great enthusiasm.<br /><br />The Rabhas are one of the above mentioned tribal communities who mostly reside in the plains of the districts of Kamrup and Goalpara. The Rabha tribe consists of Pati Rabha, Mitory Rabha, Rangdani Rabha, Hana Rabha, Totola Rabha, Modehi Rabha, Kocha Rabha and they are so called on the basis of their division of labour in carrying out religious rituals and other activities.<br />The topic of discussion in this write-up is the Bharigaan. The Bharigaan is one of the most attractive folk cultural items found in the districts of Goalpara and Kamrup. This item of folk culture has neither been discussed widely nor been made known to the other parts of Assam. One does not find much reading material on it. The scholars who write about Ojapali, Putala Nach, Kushan gaan etc merely mention the word Bharigaan only. No clear picture is available from the written documents.<br /><br />The Bharigaan is exclusively a folk cultural institution of the extreme west part of Assam. It is performed only in certain parts of Kamrup and Goalpara. The tribal community of the Pati Rabhas have preserved it in much of its orginal form and continued to perform it whenever they are contacted for any occasion. None of the leaders of this community can give details about the origin and development of Bharigaan. They are merely involved performing this art on certain occasions. The people involved with Bharigaan (Pati Rabha) have the impression that this item has come from their forefathers. It is a Guru Mukhi Vidya (an education received from the demonstration of the teacher). In course of time some changes have been noticed due to lack of initiative for preservation of documents permanently. The troupes that are available at present perform the Bharigaan from memory as no set of system has been formulated for guidance.<br /><br />The Bharigaan troupe is divided into three groups.<br /><br />The first group consists of five or six persons. There is one Oja and four or five Palis. They jointly perform musical chorus with song and gestures. The Oja leads the selected song and the Palis accompany him and repeat the song. This part of Bharigaan could be compared with the Ojapali of undivided Kamrup (Nalbari area) and Darrang (Sipajhar of Mangaldai area) and Kushan gaan of erstwhile Goalpara district. The songs of Bharigaan have no relation with Indian classical music. The troupe of singers of Bharigaan tie white bands on their waists and don blue shirts. The songs are mostly based on the Ramayana.<br /><br />The second group consists of four persons. Two of them beat the khol (a long drum) while the other accompany with the paritala. They begin the Bharigaan with their unique khola bandana. This music of khola and tala is of twelve types. This item is performed to draw the attention of the audience. This portion can be treated as the prelude of the Bharigaan.<br /><br />The third and prime group is the drama troupe. The number of actors and actresses depend on the characters of the drama selected for the show. The plots of the drama are taken from mythology. The Kabya, Purana etc are the main source of dramas choosenfor Bharigaan.The drama group takes the story of Badha Kabyas so that the rural audience can be interested in the war between good and evil. Asurs are either killed or pushed back by the Devatas in the war field. This action of Bharigaan imparts moral lessons among the illiterate villagers.<br /><br />The Bharigaan was earlier performed in different Puja pandals, religious functions and other public and private occasions. Now, with improvised style of folk cultural programmes and theatrical performances, this art form is not so popular. However, the Bharigaan troupe is still continuing this programme with its traditional nature. Mahi Badh and Ravan Badh are the two dramas they have performed regularly to suit the occasion. In the play Ravan badh they have two types of characters. The Rakshyasas such as Ravana, Kumbha Karna, Indrajeet, Nal, Neel, Sugrib, Hanuman, Doot and some minor characters are ranged on one side and on the other side there are gods such as Siva, Rama, Indra etc. The dramatic sequences develop in different scenes and come to a climax in the battlefield. The end brings calm and peace in the minds of the audience.<br /><br />One of the important features of Bharigaan is the use of masks. The actors and actresses playing the role of Rakshyasas use masks while the characters of the gods are in their original form of appearance. The use of masks in the characters of Rakshyasas may have been devised to create the feeling of fear in the minds of the audience. The masks are decorated with red, blue, yellow or black colour so as to identify the characters. The use of masks can be seen in Kamrupia dhulia and also in ‘Ankiya Bhaona’. This may have been adapted from ‘Ankiya Bhaona’ in Bharigaan as the Bhaona culture is the oldest form of performing art. From the language point of view, it may be mentioned that the dialogue used in the Bharigaan of South Kamrup is not a local one spoken by the people of the locality. This has certain similarities with the language spoken in the neighbouring areas of East Bengal and a part of Goalpara. So, this folk culture might have come from those areas.<br />Judging all aspects, the origin and development of Bharigaan needs extensive field work and research. There is sufficient scope to bring into light unknown facts about Bharigaan, which will further enrich Assamese folk culture.<br /><br />$$$$$$$$$$$$$$$<br />Bihugeet<br />$$$$$$$$$$$$$$$<br /><br />The inseparable part of the Bihu Festival, the Bihugeet is a wonderful form of Assamese folk music. The Bihugeet is an inherent part of the Rongali Bihu and it brings euphoric joy among the villagers. They move about in the village, visiting every house and inviting others to join them. The people singing in unison are called the Husori Party, which is comprised of men only. The members of the Husori Party start with the visit to Naam Ghar. After that they reach the Podulimukh or the household gate, beating drums to announce their arrival. The housekeeper exchange greetings with the singers and the singers blessed the family. The Bihugeet and the Bihu dance are so engrossing that often spectators are fascinated to join in the singing and dancing. Over the years the Bihugeet has gained major popularity, not only in the state but also outside its borders. Even there are songs in Bengali praising the enchanting character of the Bihu songs and dances. Bihugeet of Assam is sung during the two Bihu Festivals, mainly the Rongali Bihu as mentioned before and also the Bhogali Bihu. The Bihu Festival revolves around the farmers' life and welcomes the harvest seasons. Like the importance of the Bihu Festival in the Assamese society, the Bihugeet is indispensable part of the festival itself.<br /><br />$$$$$$$$$$$$$$$<br />* Husori<br />$$$$$$$$$$$$$$$<br /><br />Huchori is an integral part of Rongali Bihu. Choral parties of singers and dancers moving from house to house is a salient feature of Rongali Bihu. These choralparties known as Huchori parties are comprises only of man. Woman does not take part in Huchori. It is a sacred institution and free from all kinds of social taboos. Moving from house to house, Huchori parties wish for a good health and wealth to every member of a family at the onset of a new Assamese year.<br />The seven-day-long Rongali Bihu festivities begin with Goru Bihu on the last day (Sankranti) of the month of Sot (March-April). In the agrarian society, cattle are regarded as a part of the family. Therefore, the festival starts with adoring this useful pet. Giving a ceremonial bath to the cattle in the morning of Goru Bihu, the agrarian community prepares for a new agricultural year. Throwing bottle-gourd, brinjal, turmeric, etc. on the cattle, the village people wish for their long lives. The animals are also struck with the springs of makhilati, dighalati, nahar, etc. with the expectation that the practice will heal the cattle of all their diseases. In the evening, when the cattle return to their respective houses, they are offered chira (flattened rice), pithas (rice-cakes), powdered rice and other delicacies. The cattle are then tied with new ropes.<br />On the Goru Bihu night, the menfolk of the villages gather at the Namghar (prayer house) to start Huchori. As mentionedabove, womenfolk has no part to play in Huchori. The choral party, Huchori, is generally started from the house of the village headman who occupied a respectablestatus in the village. Then praising, chanting, singing and dancing, the Huchori party moves from house to house irrespective of caste, creed and social status.<br />Beating dhol (drum) at the gate of the house, the Huchori party informs the family about its arrival. The family then welcomes the party with a sarai. At thecourtyard the party starts Huchori chanting slogan for the welfare of the family. Then the members of the group make a circle taking main singer at the centre.The main singer then starts Huchori songs and other members of the group follow him. Singing songs, dancing to the tune of drum and cymbals they chant slogansat regular intervals. When concluded, they sit in the courtyard in the shape of an are. Wrapping gamocha around the neck, the members of the family then kneel infront of the Huchori party with a donation and a pair of betel nut and leaf in a sarai. Accepting the donation offered, the Huchori party blesses for a good healthto every member of the family, plenty production of crops in the field, fish in the ponds and cattle in the cowshed.<br />There is no limitation of the number of members participating in a Huchori party. A group of ten to 25 youths of equal age generally comprise a Huchori party.Each member of a party wears traditional Assamese dress, that is, cotton suria down to the knee, muga tunic, Bihuwan in the waist, chador over the body andturban on the head. They also carry a staff, a bag, an umbrella and a lamp. Various musical instruments such as dhol (drum), taal (cymbals), pepa (horn pipe), taka(bamboo clapper) are used by a Huchori party. As woman does not participate in Huchori, therefore, gagana (jewharp), a common Bihu musical instrument, is notused in Huchori.<br />Huchori songs are the most distinctive type of folk-songs of Assam and form an integral part in Assamese lyrical poetry. Like the Bihu songs, Huchori songs arealso immensely popular in Assamese society. But apart from their tune and rhythm, there are a number of fundamental differences between the two types of songs.The Bihu songs are basically a kind of love songs. There is a spontaneous expression of love, description of beauty and adoration of beloved in the Bihu songs.Love and beloved’s beauty is the central theme in many Bihu songs. But the Huchori songs are completely free from any erotic expression. They are a kind ofdevotional songs full of high spiritual and moral values. Humourical lyrics and ballads popular in Assamese society such as pagala-parbatir geet, Phulkonwarargeet, Manikonwarar geet, etc. are also sung as Huchori songs. With a certain code and conduct, Huchori is free from any kind of obscenity and vulgarity.<br />There is a division of opinions among the scholars regarding the origin of Huchori. According to a number of scholars, the term Huchori is derived from the word‘Huchari’ as Hu means ‘chanting’, cha means ‘blessing’ and ri means ‘exciting’. Another group of scholars opined that the term ‘Huchori’ is the crude form of theDimasa word ‘Hachori’ which means ‘moving over the land’. Many researchers try to correlate it with ‘Chandlana Puja’ prevalent in the Bodo community of lowerAssam. Though its origin is still shrouded in mystery, it is evident that the tradition of Huchori is closely associated with Rongali Bihu since its very beginning.Initially, Huchori was displayed only on the streets. People came to the gate of their houses and sought blessings from the Huchori. During the Ahom regime,Huchori got royal patronage and entered the royal palace to please the king. With passage of time, it came to the courtyards of every family. In the rapidlychanging world, the village-based Bihu has now been transformed into a city-based cultural extravaganza. Consequently, Huchori also lost its original colour andhas become an inordinate fanfare on the stage. But to preserve our cultural identity, it is our bounden duty to conserve the tradition of Huchori in its original form.<br /><br />$$$$$$$$$$$$$$$<br />Allied styles<br />$$$$$$$$$$$$$$$<br /><br />* Bongeet<br />* Biya Naam<br />* Nisukoni geet<br />* Gorokhiya Naam<br /><br /><br />Biya Naam<br /><br />The melody of the 'biya naam" (wedding song), the moving simplicity of the wedding rituals, the elegance of the 'mekhala chaddar', the chanting of the 'uluni' (a traditional sound made by the ladies by rolling their tongue in their mouth) are some of the unique features of a traditional Assamese wedding.<br /><br />$$$$$$$$$$$$by Ankur Bora, Dallas, Texas about Nisukoni geet $$$$$$$$$$<br /><br />Some of the early memories of my childhood are those of my Grandma singing lullabies to me. Her familiar and beautiful voice would often calm my discontented restless little body and lull me to sleep. As my Grandma crooned over and over those soothing tender tunes, I would often feel swiftly transported into dreamland, a fantasy world of vibrant colors and sweet imaginations. Today the tables are turned. I often struggle with my kids who many a time tire me out with their boundless energy and their insatiable thirst for stories and songs. I then felt the need to remember, mixed in fond memories, those quaint old songs to sing to my little ones. And help came unexpectedly and in pleasant surprise.<br /><br />Mr Rajen Baruah of Houston, after painstaking research, has collected and compiled, in the Roman script, around twenty of those lyrical lullabies which in Assamese are called “Nisukoni Geet”. On a recent trip to Austin, Mr. Baruah came over to my place and we worked together in compiling and giving voice to these age old songs. He believes that sound has its own energy and that sound breathes and shapes itself into musical work. He also believes in the importance of getting the pronunciations phonetically correct in order to preserve and uphold our Assamese language.<br /><br />For all those with little children to enjoy, and for the rest who are far away from their homeland, these beautiful lullabies will touch your hearts and bring back memories of times gone by.<br /><br />The following is a preliminary collection of such Assamese Nisukoni Geet. These songs are written in Roman Script. Assamese words in Roman Script are written phonetically. That is to say, one will have to pronounce each and every letter as per the following guidelines. Guide in pronunciation of the Roman Script in Assamese are noted below:Consonants do not need any special guideline except the following:j is pronounced not as j as in John but a z as in zoo.x sounds like kh and is pronounced as ch as in the Scottish word Loch, or German word Bach,Assamese Vowel sounds need to be learned carefully to correctly speak Assamese..words.<br />These are:<br /><br />a= as in the word father or art<br />è = as in the word met or end<br />e = as a in the word map or act<br />i = as in the word hit or pill<br />ò = as on the word bone or over<br />o = as in the word boy or order<br />u = as in the word put or foot<br />w = as in the word war or wall (w is used as a full vowel here)<br />ä = a nasal etc (two dots on top of the vowel denote nasal sound)<br /><br />(1)ama.rè moina, xubò,<br />bari.te bògòri, rubò;<br />bari.re bògòri, pòki xòribò,<br />ama.re monai butòli khabo.<br /><br />(2)xiali è nahibi rati<br />twre kane kati loga.me bäti<br />kan-katir murò.te mòura phul<br />kan-kati pale.gòi roton.pur<br /><br />(3)i bwle kan-kota xi bwle kan-kota<br />kan-kotai nw ki kam kore<br />kanot ronga sati aru hatot lòi jathi-da<br />kankotai lòrar kan kati phure<br /><br />(4)ròdali è ròd de<br />ali kati jali dim<br />samor pira pari dim<br />tate bòhi bòhi ròd de<br />ròdalir makor tini.dal suli<br />ròdali pale.gòi biri.nar guri<br /><br />(5)jwnbai è bèji èti dia<br />bèji.nw kèlòi? mwna xibo.lòi,<br />mwna.nw kèlòi? dhon bhora.bolòi,<br />dhon.nw kèlòi? hati kini.bolòi,<br />hati.nw kèlòi? ut.hi phuri.bolòi,<br />hatit ut.hi pani.ram ghoro.lòi jai<br />alibator manuh bwre ghuri ghuri sai.<br /><br />(6)bògòli è xoba.hòlòi nògòli kio? gòi.sïlw goi.sïlw batot bòrò.xune pale<br />rong.dòir gho.rote xw.mabo khwjw.te<br />seng.dòi kukure khale<br />sèi kukur sèi, nahibi, jopona dèi<br />bähor mürha bògòrir gura<br />kòr pora ahile sòku sel.wa bur.ha<br /><br />(7)xalikie kore ròtòu tòu<br />bhat hòl xak hòl xaliki kòlòi gòl?<br />ei khini.te asile gwbor khu.sòri<br />kwnw.bai lòi gòl dingi musòri<br /><br />(8)ò phul ò phul nup.hulo kio?<br />Goru.eje äg khai moi.nw phulim kio?<br />ò gòru ò gòru äg khäwo kio?<br />Gòrò.khiai je gòru nerakhe moi.nwek.ham kio?<br />ò gòròkhia ò gòròkhia gòru nerak.ho kio?<br />rand.honi.eje bhat nerand.he moi.nw rak.him kio?<br />ò rand.honi ò rand.honi bhat nerand.ho kio?<br />khòri-kòtiai je khori nekate moi.nw rand.him kio?<br />ò khòri-kòtia ò khòri-kòtia khòri nekato kio?<br />komare je da nogor.he moi.nw katim kio?<br />ò komar ò komar da nogor.ho kio?<br />meg.he je bòròxun die moi.nw gor.him kio?<br />ò megh ò megh bòròxun dio kio?<br />bhekulie je twr.twrai moi.nw nidim kio?<br />ò bhekuli ò bhekuli twr twrao kio?<br />bwpa kokar brit.titw moi.nw erim kio?<br /><br />(9)èitw kar dòl ? …. rojar<br />bhangi.bòlòi dibane?…. nidïw<br />kòlik matim ne? …nema.tiba.<br />bògik matim ne? … nema.tiba.<br />kòli òus, bògi òus, thekes!<br /><br />(10)tai mai lwne mase bhat khai<br />bor ghoror mèkuri xòru ghorolòi jai<br />dhakwn pelai poita bhat khai<br />èitw toi kha, èitw moi khäw<br />èitw ghor-ròkhia burha.lòi thöw.<br /><br />(11)dhwl bai kòt? … roton.puròt<br />khwl bai kot? …. roton.puròt<br />ka.uri kele.kelai, ban.dòri nòsuai<br />bäh-bäri bäh-bäri gwxäi ghorot<br /><br />(12)kaurie kore ka ka<br />jïlie mate ja<br />jakauri gòl, gòd.huli hòl<br />amar saul ekot.ha mukòli hòl<br /><br />(13)hur hur böta sorai<br />mwr dhan nek.habi<br />twk dim gwta korai<br />dhan.w kham potan.w kham<br />twk biya kòri ghoro.lòi jam<br /><br />(14)agòli kola.pat lore ki sore<br />siloni ai mwr agote pore<br /><br />(15)bur.hi ai è nahili xuk.hor kalot<br />xat joni nigòni khirai khai.silw<br />gerela bai.silw halot<br /><br />(16)ram ram bhekulir bia.lòi<br />ram ram ahe indro.debe<br />ram ram botah bòròxunot titi hè<br />ram ram sor.gor opes.sori<br />ram ram nami ahi.se<br />ram ram bhekulir bia xuni hè<br /><br />(17)(First Bird)hoï.ë koli, hoï.ë kolioto.bwr dhan sal ki koli?(Second Bird)wo.ë khale pw.ë khalethwk thwk thak thak<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />$$$$$$$$$$$$$$$<br />Bhakti music --Devotional songs<br />$$$$$$$$$$$$$$$<br /><br />BORGEET:<br /><br />Devotional songs composed by Shrimanta Sankardeva are still popular in this region. The Borgeets (literally: great songs) are devotional songs, set to music and sung in various raga styles. These styles are slightly different from either the Hindustani or the Carnatic styles. The songs themselves are written in the 'Brajavali' language.<br />For a sample of a borgeet written by Sankaradeva, listen to xuno xuno re xuro boiri promana sung by Bhupen Hazarika.<br /><br />Please check the below URL to listen to them:<br /><a href="http://www.markinkalpataru.org/modules.php?name=MK_SONGS&file=search&q=Borgeet&y=genre">http://www.markinkalpataru.org/modules.php?name=MK_SONGS&file=search&q=Borgeet&y=genre</a><br /><a href="http://www.youtube.com/watch?v=J91hF2Y-nts">http://www.youtube.com/watch?v=J91hF2Y-nts</a><br /><a href="http://www.bodybuilding-pics.com/by/tezpuria.html">http://www.bodybuilding-pics.com/by/tezpuria.html</a><br /><a href="http://www.pdaxtreme.com/BORGEET/">http://www.pdaxtreme.com/BORGEET/</a><br /><br />An English translation of a borgeet (Doyar Thakur Hari Jadumoni Oi Raam Adhome Tomar Naam Daake)<br />by Mrs. Bina Hazarika, England<br /><br />devotional ode below:<br /><br />The Prelude<br /><br />O' merciful Lord Hari, the Jewel of Jadu Clan, Oh<br />Rama,<br />This worthless person seeking your blessings,<br />Narayan, please be compassionate and allow my<br />Restless soul at your feet as the place of resting.<br /><br />The Verse<br /><br />Ojamil the priest a foolish sinner<br />Accepting you as the Holy father<br />Became free from worldly goods<br />Gets his Baikuntha(Heavenly) address<br />Which is known to the universe.<br /><br />Reciting this verse one begets much piety,<br />I am a pitiless sinner, hence,<br />All my hopes on you as my deity.<br />This utmost offender,<br />Wait for you my rescuer<br />Because you are the saviour.<br /><br />Bless this Kali Yuga<br />How fortunate are the people<br />of the blessed land call Varat(India)<br />Forsaking the Yogic practices,<br />Praying at your feet<br />Joyfully proclaiming the truth.<br />Everyone says, finally<br />reaching you is the aim;<br />You know that well Narayan.<br />This foolish Madhab<br />At your feet Oh Lord of the Jadu clan,<br />Now to be inducted to your ways<br />Is my wish very very firm.<br /><br />--------------------------------------------------------------------<br />Gospel in borgeet style - US-based musician fuses genres to create a winner<br /><br />When Gospel meets borgeet, the result is a US chartbuster.<br />Rupam Sarmah, the US-based technocrat from Assam who had taken gagana out of the bihutolis to Hollywood in 2003, has now turned to borgeet — Assamese devotional songs which originated in the satras of Majuli — for his fusion album My Love is You.<br />The album not only became an instant hit but was also among the top 10 songs in various music stations across the US last year. It even made it to the Grammy awards nomination ballots last year, though it did not make it to the final five.<br />“The number God, Can You Hear Me? in the album is influenced by borgeet. I composed the song with the tune of borgeet and rendered it in Gospel style. The songs in the album are unique in composition with innovations which include fusion of Bihu and lokogeet (folksong),” Sarmah wrote in an email to The Telegraph.<br />The musician had earlier fused the sound of gagana, a musical instrument made of bamboo — an integral part of Bihu music — with notes of the synthesiser for an album with Hollywood composer Alan Roy Scott, famed for his score in the film Top Gun.<br />“The songs of My Love is You have been played across many radio stations in the US, Canada and other countries,” said Sarmah.<br />The album was placed third in the Best Indian Album category of the Just Plain Folk Music Awards 2006. He had received a JPF award in 2002 for a Hindi album Piya re.<br />Sarmah said My Love is You has been dedicated to the people of Assam. In fact, the flip side of the album’s cover has the lyrics of God, Can You Hear Me? with a picture of Majuli.<br />Born in Jorhat, Sarmah moved to the US in 1992. But his love for Assamese music has made him experiment again and again with indigenous tunes and instruments.<br />------------------------------------------------------------------<br />Another view on Borgeet::<br />------------------------------------------------------------------<br /><br />If you ask any culture-conscious Assamese to draw up a list of items that should be considered as representing the best in Assamese culture. You can almost be sure that high among the priorities in the list will be coming the Bargeets — the devotional song-compositions created about four hundred years ago by the rare guru-shishya duo of the astonishingly versatile master Sankaradeva and his almost equally gifted disciple Madhavadeva. To them goes the credit of spearheading the neo-Vaishnava bhakti movement in Assam and of ushering in a remarkable cultural renaissance of the Assamese society.<br /><br />Literally meaning great songs, the bargeets are composed in a pleasantly artificial language called Brajavali or Brajabuli. They are truly great not only for the lofty heights of the contents centring on devotion to Krishna and the exquisite literary craftsmanship of the texts but also for the excellence of the musical moulds in which they are cast. In fact, the bargeets represent a distinctive school of music which boasts of its own system of ragas and talas and a style of presentation peculiar to itself so much so that many knowledgeable bargeet enthusiasts see in them an independent system of Indian raga music which they would like to call the Kamarupi system as distinct from both the Hindustani and Karanataka systems. Ahir, asowari, dhanashri, kalyan, kamad, basanta, mahur, suhai shri, etc. are the names of some of a few of the large number of ragas to which bargeets are set. True, these are familiar raga names in the field of Hindustani classical music. But except in a very few cases— dhanashri and kalyan for instance — the raga forms in the bargeet system are substantially different from those in the Hindustani system. Similar is the case with the talas. There are in the bargeet system of music talas like ektal rupak, yati, pari, kharman and so on. Of these, ektal and rupak have their Hindustani counterparts. But apart from having identical names, the respective talas in the two system share little else in common. The ektal or etali of the bargeet system as found in some satras has 24 matras while in some others it has 12 matras. But the movement in either case is substantially different from that of the Hindustani ektal. Similarly, the rupak tal of bargeets, which has 12 matras, is structurally very different from the Hindustani rupak tal which has seven matras. It has rather some affinity with the Karnataka rupaka tala.<br /><br />Usually the singing of a bargeet starts with rag diya or rag tana which a kind of delineation of the raga in which the song is to be sung — something akin to alap. There are also rules regarding the appropriate times for the singing of particular ragas. Thus ahir, kou, shyam, lalit, etc are morning ragas, asowari, belowar, sareng, suhai, sindhura, etc are evening ragas while bhupale, kamod madhyavali etc, are late-night ragas. These rules are, however, not equally strict in all cases. There are also rag-malitas which are a class of lyrics describing the origins of different ragas — something akin to raga dhyanas. It is a technique by which the structure of a raga is sought to be outlined. Satras or Vaishnava monasteries have close association with Vaishnava devotional music. In fact, the music heritage associated with the bargeets has been preserved and nourished in the satras which have served through centuries as the citadels of a highly refined and enriched indigenous artistic tradition. Generation after generation of gayans (vocal specialists) and bayans (instrumental specialists) have been trained up in the Satras since the days of the great saint artists. Strange as it may seem, the traditional exponents have no knowledge of musical notation, they do not even use the names of the swaras in their system : the raga structures are just got by heart by the learner through years of constant listening and practising. This method of preserving the raga structure is obviously not fool-proof and vulnerable to various kinds of deviations. Yet it is remarkable that with this rather loose method the bargeet heritage has not only been saved from being lost but has been kept vigorously alive through these four hundred years or so. It is a measure of the devotion and dedication of those connected with satra institutions and also, perhaps, of the quality of the music itself.<br />Although the satra based exponents are the true representatives of the bargeet system of music, it must be admitted that their mode of presentation often betrays a lack of finish and as such might not be agreeable to the ear initiated to the system. One big factor responsible for this apparent lack of finish is the fact that no string or wind instrument, not even anything like the tanpura to keep the scale is used by the traditional singers. References to some string instruments being used for accompaniment in the past are to be found in the old texts. But since quite a long time past, the only instruments that have used to accompany the singing of bargeets have been the khol (a kind of drum and the tal (cymbals)).<br /><br />However, the modern singers of bargeet do take the help of such instruments as the tanpura, the flute, the violin and so on, and their rendering being musically more presentable are becoming increasingly popular with all sections of people except the most orthodox who see in such ‘unconventional’ renderings a deviation from tradition. Not only do modern renderings of bargeet constitute important elements of the programmes of the Gauhati and Dibrugarh stations of Akashvani, they have also made their impact on music lovers at large through other mass media like the cinema, the gramophone records, the cassettes, the television and so on.<br />It may he mentioned here that although the bargeet tradition as a whole represents one single music system, there are considerable variations in style within the system. Centering round some important Satras in which the bargeet tradition has been zealously maintained, such variations in style are not always confined to the modes of rendering the songs but occasionally extend to the raga structures as well. And of course there are the distinctive styles of individual exponents who have been accepted as authorities. Some well recognized stalwarts of the recent past have been the late Maniram Gayan Muktiyar of the Kamalabari Satra, the late Dayal Chandra Sutradhar of Barpeta Satra the late Gahan Chandra Goswami of Nikamul Satra, the late Girikanta Mahanta of Sravani Satra, the late Jadab Chandra Pathak of Sundaridiya Satra and the late Gandhoram Bayan of Sualkuchi. Each of them had an unmistakable distinctive style that was inimitable in its own way but that was at the same time truly faithful to and representative of the time-honoured tradition. Unfortunately such musical giants are getting rarer and rarer with the passage of time.<br /><br />It is perhaps an index of the attachment of the Assamese people to the bargeets that many of them have been cast in easier and more popular music modes in place of the orthodox ones. Sometimes this has been done simply from a zeal for innovation and sometimes with the purpose of bringing bargeets to the easy reach of lay enthusiasts for whom the intricacies of the orthodox raga and tala systems often prove too elusive. Needless to say, such attempts at innovation and popularization have been frowned upon by the traditionalists.<br />The bhaonas which are traditional dramatic performances of the model set up by Sankaradeva and Madhavadeva constitute one of the most popular entertainment media of rural Assam. In these there is a fine blending of acting, dancing and singing. Bargeet-like songs come every now and then throughout the performance of a bhaona. It is often through these bhaonas that the villagers have a nodding acquaintance with the bargeet system of music.<br />In fact the bargeet system incorporates within itself the songs of the dramas composed by Sankaradeva and Madhavadeva. Usually referred to as natar git or ankar git, these songs of the dramas are also sung in the same manner as bargeet proper. The only difference is that while in a bargeet the ragas alone is fixed — the singer being free to sing it in any tala or combination of talas, both the raga and tala are fixed for a natar git or ankar git. Interestingly, there is a convention prevalent in some satras according to which an accomplished bargeet singer is expected to sing a bargeet in all the better-known talas.<br />Now according to the convention associated with the traditional Vaishnava dramas of Assam, the last song of a drama is almost invariably a composition that is in the kalyan raga and set to kharman tala. In fact, in the world of Vaishnava music and drama of Assam, the expression Kalyankharman carries the sense of a finale.<br /><br />· Bhatima<br />Deva bhatima -- panegyrics to God<br />Naat bhatima -- for use in dramas<br />Raja bhatima -- panegyrics to kings (to king Nara Narayan)<br /><br />$$$$$$$$$$$$$$$<br />ANKIYA GEET:<br />$$$$$$$$$$$$$$$<br /><br />Shrimanta Sankardeva composed ankiyageet for ankiya-nats or plays. These are sung on special occessions like Doul festival,anniverseries of the two gurus and other festivals.<br />Ankia-nats are musical extravaganzas, divided into categories of songs – Artha-bhatima, Nandi-bhatima, Pravesh geet, Poyer, Muktawali, Pitambari and other songs. These are called ankia-geets. Songs or geets of the ankia-nat are also a special type, which are called ‘ankar-geet’ and Borgeets, Today, lechari, Ghoshas are also used in some plays. The ankar-geet bears a dhuwa or refrain as it bears ‘rags’ with ‘Tal-maan’. There are various tunes in bhaona-geets. Such as Aswari, Ahir, Bhupali, Dhansiri, Belwar, Gandhar, Kalyan, Shyam, Ramgiri, Mahura, Suhai, Borari, Sindhura, Gouri, Rashak, Bhairabi etc. These tunes are used in all borgeets and other songs of Sankardeva and Madhabdeva. The actors are called ‘Bhawaria’ who produced Bhaba or emotion. The skilled village artists are called ‘Khanikar ‘ who are experts in making wooden and earthen images of God. They also prepare ‘cho’ (effigies) and masks (Mukha) life size of grotesque type masks such as Ravana, Yama, Kumbhakarna, Hanuman, Kali-Nag, Garunda-pakhi etc. These are made by Khanikar, which are essential elements in Bhaonas. Actors are to paint for their make-up befitting their roles. For the makeup ‘Hengul’ (cinnabar) and ‘Haital’ (yellow-orripment) are used with some necessary colours such as blue and red. In this way the Bhaona culture is performed in Assam.<br /><br />$$$$$$$$$$$$$$$<br />Zikir and Zari:Sufi songs of Assam<br />$$$$$$$$$$$$$$$<br /><br />Syed Shah Miran, a man of Bagdad with profound mastery over the Quran, the Hadithes and Islamic philosophy and lore, migrated to Assam, via Ajmere and Delhi, with the holy mission of preaching pure and undiluted tenets of the Islamic faith to the followers of the same faith in this land. He settled in a place called Chunpora with his followers and associates and built a mosque there. From here he started to call the followers of the Islamic faith to gather at the mosque to perform namaj five times a day. This Ajan or call to prayer, something rather new and unfamiliar, is said to make Shah Miran popular as Ajan Fakir.Ajan Fakir in his mission to educate the people about the fundamentals of Islam composed a good number of Jari and Jikir geets, which have occupied a prestigious position of their own in Assamese folk literature. Bearing a message related to the Islamic way of life, their appeal is primarily humanitarian and secular. His call is to lead an unostentatious and pure life, to shun greed and avarice, to pray for the mercy and forgiveness of God for sins committed consciously or unconsciously, to practise tolerance and goodwill, to respect all religions and faiths, to remember that death is unavoidable for all creatures and to submit to the will of God who is always kind and just<br />Zikir and Zari represent a musical genre of Assam. they are a group of devotional songs prevalent among the Muslims of Assam.Although Zikir and Zari are similar in tune, Zikir songs embody the teaching of Islam whereas the Zari songs are based on the tragic episodes of the Karbala tragedy.<br /><br />Zikir<br />The termZikir, derived from Arabic “Ziqr”,literary means singing or remembering Allah’s name.It applies both to the musical genre and to the occasion of its performance, the devotional assembly of Islamic mysticism or Sufism in Assam. Zikir, took root in Assam during the 17th century within the socio-cultural framework instituted by Bhakti movement of Saint Srimanta Sankardev (1449-1568) and under the patronage of Ahom (1200-1800) kings.<br /><br />Zikirs were mainly composed and popularized by the 17th century Sufi saint and poet Hazrat Shah Miran, popularly known as Ajan Fakir. Ajan Fakir came to Assam from Bagdad accompanied by his brother Shah Navi, and settled in Suwaguri Sapori, near present Sibsagar town.According to a legend, Hazrat Shah Miran received the name “Ajan Fakir” or Ajan Pir (Saint) because he was the one who taught the Assamese Muslim to recite “Azan” as its part of Muslim ritual. The time of Ajan Fakir cannot be stated positively but from references in two Assamese chronicles and some Zikirs prove his stay in Assam in 17th century. In the following Zikir,Ajan Fakir described the time he composed Zikir and the Quran the source of the Zikir.<br /><br />Dah xa dukuri nabison hijiri/<br />aru pase bosor jai/<br />Ajan Fakire ai zikir korile/<br />Koran kitapot pai.<br /><br />Ajan Fakir composed the Zikir in 1038 Hijri (1636).The Quran is the source of this Zikir.<br />It is known from history that Muslim settlers stepped in to Assam as Mughal and Pathans invaders.The Badshahs and the Sultans of Delhi made many attempts of expedition to conquer Assam and as a result a small number of Muslims stayed back as a prisoners of war. Apart from these invasions, during the Ahom reign some Muslim artists of special skills were imported from various part of India.A considerable number of these Muslim settler married local Assamese women and also adopted Assamese culture. Though the underlying motivation of Ajan Fakir was the preaching of Islam,he was very influenced by the Vaisnavite thoughts,teaching and music of Sankardeva. Singing the glory of Allah and Islam in high lyrical terms often came down in part to explaining the ideas and issues in terms of events and activities of daily life of the common people. It is also interesting to note that the Zikirs have been able to build a bridge in ensuring the harmonious relationship between Islam and Hinduism,particularly with Vaisnavism. One of the most impressive example of Bhakti doctrines preached by Ajan Fakir to express admiration for this sect of Hinduism as follows.<br /><br />Sankardeur jiyari Madhavdeur buwari<br />Rahpur nagarat ghar<br />Rahpur nagarat rasak nami ani<br />Diya sakaloke bati<br /><br />She is the daughter of Sankardeva and daughter-in-law of Madhavadev; and she dwells in the city of Rahpur or land of rasa (aesthetics); that is, the sentiment of love and devotion; bring down the rasa from the city of Rahpur and distribute in among us all.<br /><br />Ajan Fakir had encountered much difficulty in stabilizing Islam as prevalent in Assam during the 17th century; it had already deviated here from its main principles and practices. It is stated that during that period the local Muslims used to take part in the singing of Kirtana-songs for community prayer composed by Sankardeva, for the purpose of propagating Vaisnavism.The Muslim also took mah-prasads (uncooked eatables generally consisting of gram, sugarcane, coconut, ginger and fruits) distributed at the end of the community singing of Kirtana. With a view attracting these Muslims towards Islam,Ajan Fakir introduced the custom of distribution of sinni (considered food prepared out of rice) at the end of the community singing of Zikir and Zari song Apart from Vaishnavite music,Ajan Fakir was also greatly inspired by the regional music of Assam such as the tone and spirit of other Assamese folk genre like Oja-pali and Deh bicarar geet.<br /><br />Ajan Fakir adopted the practice of Vaisnavite lyrics, one often comes across lines<br /><br />“Savaro ghate ghate Alla” evidently borrowed from Vaisnavite poetry.<br /><br />Ajan Fakir himself was a good singer and poet; he composed one hundred and sixty Zikirs in Assamese.<br />Although Islam does not promote music and dance for entertainment,from the religious perspective there is no restriction as such. At that time dance and music constituted a very popular way of praying to God among the Hindu and the Muslim communities of Assam. Ajan Fakir and his disciples, popularly known as “Bhakat”in Assamese,performed Zikir,dancing and singing with hand clapping like folk performance such as Diha nam, Husori, etc.Even today Zikir songs are performed with dance in some areas ofAssam.<br /><br />Language of Zikir<br />Until the middle of the last century, Zikirs were not written down, but handed over from mouth to mouth for generations.There was some kind of prejudice against writing Zikirs down. Since they are transmitted orally from generation to generation, the authenticity of tune and poetry may not be exactly whatAjan Fakir had composed. It is worth mentioning here that language of Zikir, except for a few Arabic and Persian words is colloquial Assamese.<br /><br />Lyrics of Zikir<br />Though being couched in the sprit of Sufism, the Assamese Zikir sing the glory of Gurus or religious preceptors and urge upon the detachment from mundane pleasure for the sake of the selfless services to God.The Vaisnavism preached by Sankardeva is also known as “nama-dharma”, because it gives utmost importance to sravana kirtana or the listening to and reciting of the name of God with intense love and devotion. An Assamese Vaisnava regards it as superb mode of worship.<br />The Zikir also uphold this mode in the same vein.Thus the highlights of Zikir appears to reconstruct Assamese Muslims society by their faith and love for Islam in such a way that there will be no discord in their age-old harmonious relation with Hindu society<br /><br />Mor manat aan bhav nai o Alla<br />Mor manat bhin par nai<br />Hindu Musalman, ek Allar farman<br />Gorethane kabar sari sari<br />Hinduk puribo Mominal garibo<br /><br />In my mind, Oh dear AllahI have no different thought/<br />Hindus and Muslims are bounded by the same act of divine rules of Allah/<br />the act of cremating a Hindu and the entombing of a Muslim only<br />signify one end-death for all.<br /><br />Ajan Fakir composed around hundred and sixty Zikirs, out of these very few has been collected from different sources specially by the scholar and writer Late Syad Abdul Mallik, renowned literature of Assam, under the title “ Asamiya Zikir aur Zari” (Assamese Zikir and Zari). In this book collector included the available Zikirs collected from all over Assam.<br /><br /><table style="width: 720px; height: 709px;" border="0" hspace="0" vspace="0"><tbody><tr><td height="18" valign="top" width="414"><span style="font-family:Verdana;"><b>Message in the Zikirs</b> :</span></td> <td colspan="2" height="18" width="292"><span style="font-family:Verdana;"> </span><br /></td></tr> <tr> <td colspan="3" height="128" valign="top" width="712"> <div align="justify"><span style=";font-family:Verdana;font-size:85%;" >The Zikirs may be termed as spiritual songs of Islam. They are of three categories. First are those Zikirs in which the prescribed rules of Islam are narrated. These were meant for teaching 'Farz' 'Sunnat', 'Wazib' etc. to the Muslims. The common people understand these Zikirs easily. Second are those that deal with the philosophy of Islams. Sufism is at the center. These Zikirs speak of four stages of spiritual meditation; They are 'Sariat', 'Tarikat', 'Hakikat', Marifat successively. One can feel the union of the soul Absolute (Atma and paramatma).<br />Here one needs the guidance of a sheikh or an efficient teacher. Sariat means following the eternal rules of Islam. Practicing the strict and solemn vibes taught by the spiritual guide is Tarikat. Hakikat is realization of the final truth through lofty meditation relationship of the soul with relationship for eternity is 'Bakabillah' The entire process of hard penance is called Marifat.<br />There are those which resembles the indigenous folksong Dehbicharar geet. The chief contents of such Zikirs are futility and transitoriness of human life. </span></div></td></tr> <tr> <td height="18" valign="top" width="414"> <p><span style="font-family:Verdana;"><b>Matre and literary beauty:</b></span></p></td> <td colspan="2" height="18" width="292"><span style="font-family:Verdana;"> </span><br /></td></tr> <tr> <td colspan="3" height="261" valign="top" width="712"> <p align="justify"><span style=";font-family:Verdana;font-size:85%;" >Most of the Zikirs are composed in matras such as 'Chabi', 'Dulari', 'Pada' which were used by the Vaishnavite poets. Apart from Assamese vocabulary, we find many words of Parsi, Arabic, and Urdu origins in the Zikirs and these foreign words have helped express the Islamic ideas in a way very vivid and graphic. What is striking is that the Zikirs are coloured with prevalent folk songs like Nam-Kirtan, Ujapali, Deh-Bicharar geet etc.Application of their tunes and Assamese phrases have enhanced the literary beauty as weal as popularity of the Zikirs.<br />The Zikirs have universal appeal ; they champion the cause of peace for entire universe. They are free from the barriers of caste, creed, community etc. </span></p> <p align="justify"> <span style="font-family:Verdana;"><b>How Zikirs are Sung: <br /></b><span style="font-size:85%;">The present system of singing Zikirs was not in vouge in olden times. Zikirs were sung with great reverence and religious solemnity. Groups of singers were invited to the villages. Before singing they purified themselves taking bath and prayed to Allah and the prophet. Singing in silence of midnight was the usual practice. The host offered tamul-pan (areca nut and battle leaves) to them. The listeners sat around them. After singing them all offered "Murazat " ( a kind of Islamic way of asking divine blessing) to Allah, and finally the host arranged light refreshment. No remuneration was given to the singing group. Zikirs are usually sung on special occasion like death and wedding. The singing group consisted of an oja ( The chief) and thirty or forty of his palis (helpers). A Ghosa is there with each and every Zikirs. The oja begins and the palis singing the Ghosa in chorus. The oja alone sings the main Zikirs. Each Zikirs has its own tune and way of singing, clapping of hands was the tradition, Ektara (a musical instrument) was played. Zikir singing sound like singing Nam-kirtan from a distance.<br />But Zikir presentation has undergone some changes. The Late Rekibuddin Ahmed made the Zikirs extremely popular ; he blended classical and folk music in the Zikirs to lend them a new dimension. In some places Zikirs are accompanied by a very difficult dance</span></span></p></td></tr></tbody></table><br />Performance<br />Ajan Fakir came to Assam for propagation of Islam,there are evidence to indicate that there weresome other Muslim missionaries working in the same line before him. But none of them had the sustained influence likeAjan Fakir.His Zikir are popular and sung by the folk singers of all communities. Gradually they have made their entry into the cultural arena of the urban society. It is probable that some Zikirs were also composed by poets contemporary or prior to Ajan Fakir. According to the Vaisnava literature of Assam Chand Khan or “Chand Sai”, disciple of Vaisnava Saint Sankardeva (dates?) composed spiritual lyrics more like<br />Borgit’s of Sankardeva and Madhavadeva. But Zikir’s of Ajan Fakir are the foremost of all. It is a group song performed by the group of singers, professional performing group led by one or two solo singers and accompanied by handclapping and two musical instrument dotara.The poetry is colloquial homey Assamese with fewArabic and Persian in a fluid style of alternating solo and group passages characterized by repetition.The goal is to repeat almighty Allah’s name again and again, create awareness among audience for<br />divine love and power.<br /><br />Zikir singing considered as an occasion is a gathering for the purpose of realizing ideals of Islamic mysticism through listening. The assembly is usually attended by Sufi devotees through it is open to all comers. Zikir assemblies commemorates the death anniversary (urs) of the Sufi saints at their shrines, private gathering and functions organized for any festive occasion, most often accompanied by appropriate dances.The women performer also takes part in the private function but they do not dance.<br /><br />Zari<br />The “Zari” derivation of “Jari” is translated in Persian and Urdu dictionaries as “ crying, groaning, wailing”. Such demonstrative expressions of grief are an important part of Muharram celebrations.<br />The Jari is also popularly known as “Jarigan”, the songs concern to Karbala episodes “Hasan-Hosein” and stories from Islamic history and legend. The devoted Muslims enjoy listening to “Jari gan” till late hours of the night. Some of the Assamese Zari may be called independent ballads giving the stories of Haidar Ghazi.<br />These songs are sung by men with accompanied by musical instrument dotara (two string instruments) in the month of Muharram and has similarities with Oja pali (storytelling tradition with music and dance) performance of Assam.These songs are choral singing group with lead singer like the Oja(leader) who indicates the singing and is later joined by members of the group like palis (group).As the group sings, they move in a circle, clapping and following rhythmic steps.Lyric of these songs are Arabic,Persian and colloquial<br />Assamese words, which reflect the cultural assimilation that has taken place over time in Assam.<br /><br />#########################################(By Dr. Utpal Bora) #####<br /><br />$$$$$$$$$$$$$$$<br />Modern music<br />$$$$$$$$$$$$$$$<br /><br />* Contemporary music<br /><br />Music of Assam is related to the culture of Assam. Since Assam been home to people coming from different parts of India, their culture have also assimilated in the mainstream culture of the state. The people of Assam while participating in the song and dance performances, use a number of musical instruments like pepa, gogona, taal, dhaol and other accompanying instruments. There are numerous groups in the music of Assam. Assam modern music is very popular among the current generation. The modern music of Assam consists of the songs that are sung very recently for the past few decades and more. This genre of music is mainly sung by the upcoming singers of Assam. By Assam Modern Music, the contemporary music of Assam. Beside the popularity of the traditional music of Assam like the ethnic music of Bihu, Bhakti music and different regional folk music, the music lovers of Assam always welcome the new trends in the music. Among the Assam Modern Music, there are a number of singers of Assam that have made their name in the world of music. They have become famous not in India but some of them have acquired fame outside India. Singers like Bhupen Hazarika, Utpalendu Choudhury, Khagen Mahanta and Nirmalendu Choudhury have adopted the modern trends in their songs and music. The Assamese singer Debojit Saha has earned a lot of fame in the world of music. Other singers like Jitul Sonowal and Zubeen Garg are sensational names in the world of music.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Musical instruments<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />* Dhol<br />* Gogona<br />* Marcus<br />* Pepa<br />* Taal<br />* Toka<br />* Xutuli<br />* Khol<br />* Mridanga<br />* Madol<br />* Dotara<br />* Dogor<br />* Baanhi (Flute)<br />* Nagera<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />Exponents of Assamese music<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />* Luit Konwar Rudra Baruah<br />* Padmabhusan Dr Bhupen Hazarika<br />* Jayanta Hazarika<br />* Rupkonwar Jyoti Prasad Agarwala<br />* Kalaguru Bishnu Rabha<br />* Parboti Prasad<br />* Khagen Mahanta<br />* Samar Hazarika<br />* Zubeen Garg<br /><br />Some other prominent composers and singers<br /><br />* Mahendra Hazarika<br />* Jitul Sonowal<br />* Krishnamoni Chutia<br />* Krishnamoni Nath<br />* Jayanta Das<br />* Kumar Bhabesh<br />* Bijoy Bhuyan<br />* Shanta Uzir<br />* Deepali Borthakur<br />* Arun Das<br />* J. P. Das<br />* Bhupen Uzir<br />* Ridip Dutta<br />* Pulak Banerjee<br />* Queen Das<br />* Sandhya Menon<br />* Sadananda Gogoi<br />* Rameswar Pathak<br />* Dhanada Pathak<br />* Sangita Kakoti<br />* Pratima Pandey<br /><br />for more information on them, please check links from Bipul Jyoti Saikia's informative website:<br /><br /><a href="http://www.geocities.com/bipuljyoti/music/">http://www.geocities.com/bipuljyoti/music/</a><br /><br />LYRICISTS<br /><a href="http://www.geocities.com/bipuljyoti/authors/jyotiprasad.html">Jyoti Prasad Agarwalla</a> <a href="http://www.geocities.com/bipuljyoti/authors/navakanta.html">Navakanta Barua</a> <a href="http://www.geocities.com/bipuljyoti/music/rudra_barua.html">Rudra Barua</a><a href="http://www.geocities.com/bipuljyoti/music/parvatiprasad.html">Parvati Prasad Baruva</a> <a href="http://www.geocities.com/bipuljyoti/authors/hirenb.html">Hiren Bhattacharjya</a> <a href="http://www.geocities.com/bipuljyoti/authors/nirmal.html">Nirmalprabha Bordoloi</a><a href="http://www.zubeen.com/" target="new">Zubeen Garg</a> <a href="http://www.geocities.com/bipuljyoti/music/bhupen/">Bhupen Hazarika</a> <a href="http://www.geocities.com/bipuljyoti/authors/keshavmahanta.html">Keshav Mahanta</a><br /><br />SINGERS & COMPOSERS<br /><a href="http://www.geocities.com/bipuljyoti/music/romen_barua.html">Romen Barua</a> <a href="http://www.geocities.com/bipuljyoti/music/rudra_barua.html">Rudra Barua</a> <a href="http://www.geocities.com/bipuljyoti/music/parvatiprasad.html">Parvati Prasad Baruva</a><a href="http://www.geocities.com/bipuljyoti/music/pratima_barua_pandey.html">Pratima Barua-Pandey</a> <a href="http://www.geocities.com/bipuljyoti/music/birendranath_datta.html">Birendranath Datta</a> <a href="http://www.zubeen.com/" target="new">Zubeen Garg</a><a href="http://www.geocities.com/bipuljyoti/music/bhupen/">Bhupen Hazarika</a> <a href="http://www.geocities.com/bipuljyoti/music/jayantahazarika.html">Jayanta Hazarika</a> <a href="http://www.geocities.com/bipuljyoti/music/khagen_mahanta.html">Khagen Mahanta</a><a href="http://www.geocities.com/bipuljyoti/music/rameswar_dhanada.html">Rameswar & Dhanada Pathak</a> <a href="http://www.geocities.com/bipuljyoti/music/dilip_sudakshina.html">Dilip and Sudakshina Sarma</a><a href="http://www.geocities.com/bipuljyoti/music/prabhat_sarma.html">Prabhat Sarma</a> <a href="http://www.geocities.com/bipuljyoti/music/dipak_sharma.html">Dipak Sharma</a> <a href="http://www.geocities.com/bipuljyoti/music/parveen_sultana.html">Parveen Sultana</a>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com14tag:blogger.com,1999:blog-7823291760828692160.post-24564756607724246122008-02-28T06:18:00.000-08:002008-03-31T06:01:02.473-07:00Assamese Dance forms<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/WQqasxNEDX8&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/WQqasxNEDX8&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Bihu Dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/HqdV2_oOMYE&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/HqdV2_oOMYE&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Bihu Dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/OoP_7HAGh1M&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/OoP_7HAGh1M&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Sattriya Dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/tn-CLNVGk1M&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/tn-CLNVGk1M&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Doshowotaar nrittya<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/zzaBVM8gU-k&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/zzaBVM8gU-k&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Santhal dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/ExHD6gGsda4&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/ExHD6gGsda4&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Rabha Dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/p56MNuNQZlA&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/p56MNuNQZlA&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Bodo dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/pvoyV0WCCdk&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/pvoyV0WCCdk&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Bodo dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/duVo4Gpcogs&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/duVo4Gpcogs&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Karbi Dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/1ym8HKRmCME&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/1ym8HKRmCME&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Dewdhani Dance <br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/A4MjlPjBh-Y&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/A4MjlPjBh-Y&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Deodhani dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/1T-tVb_NDTs&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/1T-tVb_NDTs&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Jhumur Dance<br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/ZFwbRctlWRE&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/ZFwbRctlWRE&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />Chali nrittya<br /><br /><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8bFmeo3SkI/AAAAAAAACsw/CzsgHv1yj38/s1600-h/bihuuuuuuuuuuuuuu.JPG"><img id="BLOGGER_PHOTO_ID_5172038486931753538" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8bFmeo3SkI/AAAAAAAACsw/CzsgHv1yj38/s400/bihuuuuuuuuuuuuuu.JPG" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8bFmuo3SlI/AAAAAAAACs4/L4fVgdx0GHM/s1600-h/fairs+and+festival.JPG"><img id="BLOGGER_PHOTO_ID_5172038491226720850" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8bFmuo3SlI/AAAAAAAACs4/L4fVgdx0GHM/s400/fairs+and+festival.JPG" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8bFmuo3SmI/AAAAAAAACtA/3M3E0l8Iqs4/s1600-h/xatriya.gif"><img id="BLOGGER_PHOTO_ID_5172038491226720866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8bFmuo3SmI/AAAAAAAACtA/3M3E0l8Iqs4/s400/xatriya.gif" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8bFm-o3SnI/AAAAAAAACtI/1Dnoh8ylc7g/s1600-h/bihu.JPG"><img id="BLOGGER_PHOTO_ID_5172038495521688178" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8bFm-o3SnI/AAAAAAAACtI/1Dnoh8ylc7g/s400/bihu.JPG" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8bFnOo3SoI/AAAAAAAACtQ/MWSfmUSSBVg/s1600-h/darrang+2.JPG"><img id="BLOGGER_PHOTO_ID_5172038499816655490" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8bFnOo3SoI/AAAAAAAACtQ/MWSfmUSSBVg/s400/darrang+2.JPG" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8bEkuo3SfI/AAAAAAAACsI/-vsWT960OJs/s1600-h/xatr.jpg"><img id="BLOGGER_PHOTO_ID_5172037357355354610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8bEkuo3SfI/AAAAAAAACsI/-vsWT960OJs/s400/xatr.jpg" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8bEk-o3SgI/AAAAAAAACsQ/wvbWZgm_OLY/s1600-h/xatri.jpg"><img id="BLOGGER_PHOTO_ID_5172037361650321922" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8bEk-o3SgI/AAAAAAAACsQ/wvbWZgm_OLY/s400/xatri.jpg" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8bElOo3ShI/AAAAAAAACsY/pp5xQDOsqkA/s1600-h/xatriya+dance.JPG"><img id="BLOGGER_PHOTO_ID_5172037365945289234" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8bElOo3ShI/AAAAAAAACsY/pp5xQDOsqkA/s400/xatriya+dance.JPG" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8bElOo3SiI/AAAAAAAACsg/acN7SHH4FtU/s1600-h/nchills2.JPG"><img id="BLOGGER_PHOTO_ID_5172037365945289250" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8bElOo3SiI/AAAAAAAACsg/acN7SHH4FtU/s400/nchills2.JPG" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8bEleo3SjI/AAAAAAAACso/6vM0e7-6Om4/s1600-h/Mising+Bihu.JPG"><img id="BLOGGER_PHOTO_ID_5172037370240256562" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8bEleo3SjI/AAAAAAAACso/6vM0e7-6Om4/s400/Mising+Bihu.JPG" border="0" /></a><br /><br /><div>Assam, an ancient and colorful land, is a rich playground of many linguistic, ethnic and religious societies that have lived in harmony for centuries. Various national and social groups have developed and prospered on their own within the geographical confines of Assam, but with distinct and major influences on one another. Several hundred languages and dialects are spoken in Assam and its neighborhoods, in a relatively small geographical area. Assamese is the easternmost Indo-European language (whose speakers range from Ireland in the West to Assam). There is substantial Hindu, Muslim, Christian and animist representation in the population of Assam. However, the Assamese and the Hindu religion are the dominant forces in Assam, and the influences of both permeate every aspect of the overall society and its cultural manifestations. Dances, devotional or otherwise, play a major role in enlivening and strengthening the cultural life of the society in Assam. There are many types of prevalent dance forms in Assam. Of the various dances in Assam, the Bihu, a folk dance with no religious connotation, is widely popular among all sections of the population. No movie in Assam is complete without a Bihu dance! There are several classical dances that have prospered in Assam through the centuries. However, until recently, the classical dances had not received the acclamation and acceptance they deserve, particularly among the wider audience outside Assam. The most prominent of the classical dance forms is the Xattriya or Satriya (informally pronounced Shot-tree-ya). This Web site attempts to give a picture of the dance landscape in Assam to people in India and the world.<br />Click on the link of your interest to get an overview of a topic of interest. </div><div><br />VARIOUS DANCES OF ASSAM<br />The dances of Assam can be categorized as:</div><div><br />1. Tribal Dances<br />2. Folk Dances<br />3. Classical Dances</div><div><br />A Tribal Dance is the visible rhythmic formulation or expression of the joys and beliefs of people once referred to as Aborigines. For such people, a dance is more than an expression of physical or emotional exuberance, something more than a form of mere entertainment. Dance is their religion. The dance depicts the society's successes in chase and victory in war, fertility in women and yield from the land, pacification of the elements and elemination of pestilence, protection from evil and fruition of love. Tribal dances of Assam include the Faarkanti Dance, the Chakhela Dance, the Wangala Dance, the Hmar Dance, the Kherai Dance, and the Karbi Dance.<br />Almost akin to Tribal Dances, but less ritualistic in content are the Folk Dances, which are varied and reflective of the day to day activities of the mass of the people.The most popular Folk Dance of Assam is the Bihu Dance. The Bihu Dance generally reflects the joys and merriment of life, celebrated specially during the springs. Several tribal communities like the Mishings, Deories and Morans also perform the Bihu in their distinctive styles, but the inner meaning is the same. </div><div> </div><div>Bagurumba:<br />Bagurumba is the most attractive dance of the Bodo community. Girls dressed in colourful attires perform this dance in tune of Bodo traditional musical instruments.</div><div> </div><div>Deodhani:<br />The Deodhani dance is associated with the worship of the snake goddess Manasa. A Deodhani girl, in a inspired state, goes on dancing to the accompaniment of Kham (drum) and Ciphung (flute) propitiating many a deity beginning with Siva and ending with Lakshmi.<br /></div><div>Another popular Folk dance of Assam is the Jhoomoor are generally perform by tea garden workers.The tea tribes have a synthesised form of dance called "Jhumur Nach", performed by girls and boys together, or, sometimes by the girls alone, with precision of footwork while clasping tightly each other's waist.</div><div><br />Classical Dances Of Assam</div><div><br />It is widely accepted that there is an inseparable relation between God and dance in Assamese culture. Assam has a very rich tradition of dance.<br />Bharata's Natyasashtra or the "Principles of the Dramatic Art" (circa 200 B.C.) mentions Assam's ancient traditions in dance in details. Natyasashtra deals with all that concerns the drama; singing, music, dancing, the use of different dialects, and so on. Natyasashtra specifies four different divisions of Natya - Dakkhinatya (the Decean or the Southern part of Modern India), Awanty , Panchalee or Panchal-Mdhyama, and Udra-Magadha. Out of these four , Udra-Magadh indicates the Eastern Countries. It is mentioned in the Natyashastra that Banga, Kalinga, Battchya, Udra, Magadh, Nepal, Maladh, Tamralipta, Mallawartak, Pulinda, Pragjyotishpur, Baideha, Mahendra etc followed the Udra-Magadha style. In time, Pragjyotishpur-Kamrup became Assam. Assam remained fiercely independent of India till the advent of the British, but became a part of British India when the King of Burma signed it over to India without asking the native Assamese. </div><div><br />Besides Natyasashtra, references to dances of Assam are found in other ancient Sanskrit books Joginitantra, Kalikapurana, Abhinayadarpana, etc. The existence of sophisticated forms of dance in Assam since the earliest times has been further corroborated by the discovery of the Nataraja figures (Dancing Shiva) carved in stone and the figure of dancing Ganesha. It is interesting to note that there is a vast difference between the famous Nataraja postures of South India and that of Assam.The Nataraja postures found in Assam is known as Lalita-Bhujanga, are also found in Ajanta and Elora caves near Bombay in Modern India. .The Nataraja in Assam has 10 hands and each hand holds different Ayoodh (a weapon and other instrument, for eg. the damaru, symbolises rhythm , lotus- the sign of peace, etc.), and it is the Nandi Bishava (the bull) upon whom Nataraja dances.<br />At least three different styles of Assamese dance can be categorzsed as classical, because elements of the Natyasashtra are found in these dances.They are namely:<br />(1) Sattriya dance<br />(2) Savaguwa and Rang-guwa Ojapali dance<br />(3) Dewgharar Dev-Natir Nritya<br />Out of these three different style, Sattriya dance has gained the classical acclamation in India only on 15th of November, 2000. The latness in this acclamation is a perfect example of how Assam and its neighbors in the Northeast have remained outside the mainstream of Modern India, politically as well socially.<br /><br />The Bihu dance is a folk dance from the Indian state of Assam related to the festival of Bihu. This joyous dance is performed by both young men and women, and is characterized by brisk dance steps, rapid hand movement, and a rhythmic swaying of the hips in order to represent youthful passion. Dancers wear traditionally colorful Assamese clothing.<br />The Bihu dance is performed in conjunction with traditional Bihu folk music, played with: the "dhol", similar to a drum; the mohor singor pepa, a pipe instrument made from a buffalo horn; the tala, a cymbal; the gogona, a reed and bamboo instrument; and the toka, a bamboo clapper. The songs (bihu geet) that accompany the dance have been handed down for many generations. The subject of the lyrics ranges from welcoming the Assamese new year to describing the daily life of a farmer.</div><div><br />The dance takes several forms among the different northeast Indian tribes, e.g., the "Garo Bihu dance" and the "Khasi Bihu dance." However, the underlying goal of the dance remains the same: to express the desire to feel both pain and happiness.</div><div><br /><a id="Rongali_Bihu_competitions" name="Rongali_Bihu_competitions"></a>Rongali Bihu competitions</div><div><br />In mid April, along with the onset of spring, falls the new year in the local calendar with the month of Bohag. Nowadays, during this period, there are Bihu competitions all over the Assam (as well as throughout the major locations with Assamese diaspora. These competitions attract visitors and locals alike in huge throngs. Apart from Bihu dance, there are competitions held to select the Bihu Konwori (Bihu Princess) and various singing talents.<br />At the end of the month of Bohag there is also the farewell to the month commemorated by numerous Bohagi Bidai functions.</div><div><br />Xattriya Dance of Assam </div><div><br />Though Xattriya Dance has its origin in religion and was practised and performed for centuries by celibate male monks in the Sattras, the Vaishnava monasteries of Assam, in recent years, it has been adapted for stage performance. The major part of the academic and scholarly cultural world is still ignorant about this dance due to lack of proper documentation. The Xattriya dance form was started by the 15th century Vaishnavaite saint and social reformer Mahapurush Srimanta Shankardev. Mahapurush Shankardev was a singer, dancer, music composer and a poet. His works, creativity and involement in every field of human activity ushered a new cultural and spiritual renaissance in Assam. </div><div><br />Like the other classical dance forms in India, the Xattriya dance has also its own distinctive characteristics. For example, the first position of Xattriya is called 'ORA', it is of two types Tandava (Vigorous) and Lasya (Elegent and Graceful). This 'ORA' is called 'Aramandi' in Bharatanatyam dance of Tamil Nadu of South India and 'Soak' in Odissi dance of Orissa. Over and above, in Xattriya the Griba Karma (the movement of neck), Dristy (eye movement), Pada Chalana (foot movement), Bhramari or Paak (the circular movement of the body) etc., are note worthy. The Hasta (hand gestures) are very beautifully described in Suvankara's 'Srihastamuktavali'. There are six types of Angya (Limb), six types of Pratangya, six types of Upanga (Lower limb), nine different types of Gati (gait or movement), eight types of Dristy (eye movement), sixtyfour types of Karana (Matiakhora or Exercises), ninetypes of Shirakarma (Head movement), four types Gribakarma are found in Sattriya dance. </div><div></div><div>Putola Naach: Puppetry</div><div><br />It is not known when the art of puppetry first made its appearance in Assam. The puppet theatre was prevalent before Sankaradeva, the great fifteenth-century savant of Assam, thus taking it back at least to the early fifteenth century. The puppet shows were called Tatak-tatak Natak with a class of showmen, designated by such terms as Tetekiya and Bajikar (magician), who specialised in the art of animating puppets with the help of Yantra (mechanical devices).<br />The string puppet of Assam is known as Putala Natch (Putala meaning doll and Natch meaning dance). The puppet theatre is more popular in lower Assam, while fairly competent troupes have been working in Nowgong and other upper Assam districts, including Satras (hermitages).<br />The puppets are made of solapith or some soft wood by joining together different parts forming the head, torso and limbs with the help of cloth. They cover the head and hand with a paste of clay and cow dung, and colour them. Some puppets have joints in elbows but no legs. The lower portion is normally covered with cloth so that, while manipulated, the figures glide smoothly along the floor of the stage. The size of the puppets varies from 1 foot to 3 feet.<br />Most of the troupes still perform mythological themes and epic stories. Commonly the same figures serve for more than one role. There are also animal figures of various kinds, and some of them appear as mounts of the gods and goddesses. Stage props like thrones, chariots and boats are used with painted background scenes. Rama and Krishna are painted light blue and their consorts are light yellow or pink, while demons and other evil characters are deep green or blue.<br />A puppet group consists of at least five persons. The key person is the leader of the chorus called the Bayen, Sutradhar, or Oja. He is the producer, director and co-ordinator of the show. The other two are his helpers or Jogali, or Bhari. The chorus sit in front with Khol (drum) and one or two cymbals. Nachua (manipulator) remains behind the screen.<br />The stage is small and simple. A frame is put up with a few bamboo posts. Within this frame, a small platform, measuring about 10 to 12 feet in length and 3 to 4 feet in breadth, is raised on one side at a height of about 3 feet from the ground. Three sides of the frame are covered other than the platform side. Upper and lower portions are covered with screens, leaving a space of about 3 to 4 feet open along the length of the platform. At the back of the platform is another screen, normally black, standing about 4 feet, behind which the manipulators stand either on the ground or on a low bench and are not visible. A bamboo stick called Kathi achieves control. A manipulator can easily manipulate two puppets with two hands, but an expert player can handle up to 4 to 5 puppets at a time! The speeches are made in a high-pitched, squeaking sound by a Pyapa (whistle) made of bamboo frame with a leaf or rubber membrane. The leader enters into a conversation with the characters speaking in a shrill voice in a skilful manner.<br />A traditional show starts with the playing of special rhythmic patterns singing of Vandana (invocation) and other special songs. Then come Kalu-Bhelu or Kalua-Bhelua : two puppets who sweep the stage floor. Often a modern-looking figure, called Chengra or Mastan, not only indulges in horseplay but also passes social comments. Nowadays, even many traditional and semi-traditional troupes are given to the influence of the extremely popular mobile theatre and are starting their shows with short dance-dramas in place of the conventional preliminaries.<br />Generally, 500 to 700 people come to see a show and audiences like to see mythological plays. Rich persons or management committees of the village-fairs sponsor the shows. They go to other states to perform their plays. Sometimes they have ticket system in fairs. Women generally do not take part. Using folk tunes, they play themes like Rama Banabas, Sita Haran, Bali Badh, Sita Swamvar from Ramayana. Characters enter from the left side and exit from right. Sometimes thrones and chairs are used for the set. </div><div><br />One group has 80 to 90 puppets, with each puppet used for many characters. Sutradhar, joker, dancer, dholak player and kartal player are present in all plays. They keep the puppets in back-stage in a sequence. They have one puppet Tadaka (demon) whose neck can be long. They keep each puppet in the bamboo box and hang it on a pole. Occasionally, troupes take up stories from Mahabharata, Bhagavata and historical episodes like Sati Behula, Sati Jaimati, etc. Modern troupes perform all kinds of themes including old classics, romances and fantasies.<br />The art is hardly ever a purely family business. They are at best semi-professionals who earn a little extra cash, now and then, from their performances. It is true that normally the economic status of the puppeteers has been rather low. They are invited to perform on such occasions as village fairs and in festivals and also rarely on occasions like marriage ceremonies. The winter season, when the farmer-artists are free from their agricultural chores, is the best time for the puppet shows. </div></div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com2tag:blogger.com,1999:blog-7823291760828692160.post-50454695830357006192008-02-28T04:56:00.001-08:002008-07-26T00:27:00.585-07:00Srimanta Sankardeva's Vaishnavism -- Xatra's, Xatriya dance, Borgeets and Bhaonas<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/Q9cwdUXDXAk&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/Q9cwdUXDXAk&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/t_a4PMpMYN4&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/t_a4PMpMYN4&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/FnsSTOc0rxE&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/FnsSTOc0rxE&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br /><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/duAGzZZ3HVU&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/duAGzZZ3HVU&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R-pPVxqJvuI/AAAAAAAAC5Q/8oAhZHIGYmo/s1600-h/sankardeva.bmp"><img id="BLOGGER_PHOTO_ID_5182041556769160930" style="margin: 0px auto 10px; 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display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SIrPH3hLk0I/AAAAAAAADlo/1WpTHH1a-I8/s400/soundoridiya+sotro1.jpg" alt="" id="BLOGGER_PHOTO_ID_5227218051586036546" border="0" /></a><br />...................Soundoridiya Xotro...........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrPH7bFLAI/AAAAAAAADlw/KMpK0hvAB2k/s1600-h/soundoridiya+sotro2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrPH7bFLAI/AAAAAAAADlw/KMpK0hvAB2k/s400/soundoridiya+sotro2.jpg" alt="" id="BLOGGER_PHOTO_ID_5227218052634192898" border="0" /></a><br />...................Soundoridiya Xotro...........................<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SIrPIKnDctI/AAAAAAAADl4/tBWzNa6Y92A/s1600-h/soundoridiya+sotro.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SIrPIKnDctI/AAAAAAAADl4/tBWzNa6Y92A/s400/soundoridiya+sotro.jpg" alt="" id="BLOGGER_PHOTO_ID_5227218056710943442" border="0" /></a><br />...................Soundoridiya Xotro...........................<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrPHz2JsSI/AAAAAAAADlg/7egAuN4f0Es/s1600-h/patbaushi+sotro5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrPHz2JsSI/AAAAAAAADlg/7egAuN4f0Es/s400/patbaushi+sotro5.jpg" alt="" id="BLOGGER_PHOTO_ID_5227218050600251682" border="0" /></a><br />------------------Patbaushi Xotro-------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrOwsi2EhI/AAAAAAAADk4/6uNF3PAzOXs/s1600-h/patbaushi+sotro.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrOwsi2EhI/AAAAAAAADk4/6uNF3PAzOXs/s400/patbaushi+sotro.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217653503234578" border="0" /></a><br />------------------Patbaushi Xotro-------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SIrOwjKEKlI/AAAAAAAADlA/YaByyKQrnCI/s1600-h/patbaushi+sotro1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SIrOwjKEKlI/AAAAAAAADlA/YaByyKQrnCI/s400/patbaushi+sotro1.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217650983381586" border="0" /></a><br />------------------Patbaushi Xotro-------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrOw-nJlSI/AAAAAAAADlI/TafXvPfAvCg/s1600-h/patbaushi+sotro2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrOw-nJlSI/AAAAAAAADlI/TafXvPfAvCg/s400/patbaushi+sotro2.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217658353128738" border="0" /></a><br />------------------Patbaushi Xotro-------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SIrOw7tekhI/AAAAAAAADlQ/ZR2miBW8F-E/s1600-h/patbaushi+sotro3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SIrOw7tekhI/AAAAAAAADlQ/ZR2miBW8F-E/s400/patbaushi+sotro3.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217657574363666" border="0" /></a><br />------------------Patbaushi Xotro-------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrOxI1wzzI/AAAAAAAADlY/n1eSgJBjIyA/s1600-h/patbaushi+sotro4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrOxI1wzzI/AAAAAAAADlY/n1eSgJBjIyA/s400/patbaushi+sotro4.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217661098774322" border="0" /></a><br />------------------Patbaushi Xotro-------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SIrOaqiMjPI/AAAAAAAADkQ/SAkxzTqDZ10/s1600-h/barpeta+kirtanghar.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SIrOaqiMjPI/AAAAAAAADkQ/SAkxzTqDZ10/s400/barpeta+kirtanghar.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217275006520562" border="0" /></a><br />-------------------------Barpeta Kirtanghar --------------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrOa65NslI/AAAAAAAADkY/o-u7gyWTOP8/s1600-h/barpeta+kirtanghar1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SIrOa65NslI/AAAAAAAADkY/o-u7gyWTOP8/s400/barpeta+kirtanghar1.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217279398031954" border="0" /></a><br />-------------------------Barpeta Kirtanghar --------------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SIrOayRStVI/AAAAAAAADkg/5ab93-Z8xgU/s1600-h/barpeta+kirtanghar2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SIrOayRStVI/AAAAAAAADkg/5ab93-Z8xgU/s400/barpeta+kirtanghar2.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217277083104594" border="0" /></a><br />-------------------------Barpeta Kirtanghar --------------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SIrObBmaXRI/AAAAAAAADko/YmyiWyB_YuM/s1600-h/barpeta+kirtanghar3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SIrObBmaXRI/AAAAAAAADko/YmyiWyB_YuM/s400/barpeta+kirtanghar3.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217281198218514" border="0" /></a><br />-------------------------Barpeta Kirtanghar --------------------------<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SIrObETjkFI/AAAAAAAADkw/mirtr4iiP18/s1600-h/barpeta+kirtanghar4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SIrObETjkFI/AAAAAAAADkw/mirtr4iiP18/s400/barpeta+kirtanghar4.jpg" alt="" id="BLOGGER_PHOTO_ID_5227217281924436050" border="0" /></a><br />-------------------------Barpeta Kirtanghar --------------------------<br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8gT0RuBedI/AAAAAAAACtw/BRvDK-Pf0Bw/s1600-h/satraaaaaaaaaaaaaaa.bmp"><img id="BLOGGER_PHOTO_ID_5172405960865577426" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8gT0RuBedI/AAAAAAAACtw/BRvDK-Pf0Bw/s400/satraaaaaaaaaaaaaaa.bmp" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8a6auo3SaI/AAAAAAAACrg/BsIR6pfRCEA/s1600-h/xatriya.gif"><img id="BLOGGER_PHOTO_ID_5172026190440384930" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8a6auo3SaI/AAAAAAAACrg/BsIR6pfRCEA/s400/xatriya.gif" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8a6a-o3SbI/AAAAAAAACro/g7i1594y54Y/s1600-h/Sutradhar-copy.jpg"><img id="BLOGGER_PHOTO_ID_5172026194735352242" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8a6a-o3SbI/AAAAAAAACro/g7i1594y54Y/s400/Sutradhar-copy.jpg" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a6bOo3ScI/AAAAAAAACrw/SQncarcUZT4/s1600-h/xatr.jpg"><img id="BLOGGER_PHOTO_ID_5172026199030319554" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a6bOo3ScI/AAAAAAAACrw/SQncarcUZT4/s400/xatr.jpg" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a6bOo3SdI/AAAAAAAACr4/BFOanI3C--0/s1600-h/xatriya+dance.JPG"><img id="BLOGGER_PHOTO_ID_5172026199030319570" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a6bOo3SdI/AAAAAAAACr4/BFOanI3C--0/s400/xatriya+dance.JPG" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8a6beo3SeI/AAAAAAAACsA/lvkjuzBfYTU/s1600-h/xatras+1.JPG"><img id="BLOGGER_PHOTO_ID_5172026203325286882" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8a6beo3SeI/AAAAAAAACsA/lvkjuzBfYTU/s400/xatras+1.JPG" border="0" /></a><br /><br /><br /><div><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a5VOo3SWI/AAAAAAAACrA/l31-vx0PCGE/s1600-h/xatriya+dance.JPG"></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8a5Veo3SXI/AAAAAAAACrI/UAvYrwpDgnU/s1600-h/ankiya.JPG"><img id="BLOGGER_PHOTO_ID_5172025000734443890" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8a5Veo3SXI/AAAAAAAACrI/UAvYrwpDgnU/s400/ankiya.JPG" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8a5Vuo3SYI/AAAAAAAACrQ/62ntK4wV6Fo/s1600-h/xatriya.gif"></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8a5V-o3SZI/AAAAAAAACrY/_S3F-OgnIB0/s1600-h/xatri.jpg"><img id="BLOGGER_PHOTO_ID_5172025009324378514" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8a5V-o3SZI/AAAAAAAACrY/_S3F-OgnIB0/s400/xatri.jpg" border="0" /></a><br /><br /><br /><br /><div><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a4kOo3SRI/AAAAAAAACqY/u9_YmHLmiSM/s1600-h/bhaona.JPG"><img id="BLOGGER_PHOTO_ID_5172024154625886482" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a4kOo3SRI/AAAAAAAACqY/u9_YmHLmiSM/s400/bhaona.JPG" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8a4kuo3SSI/AAAAAAAACqg/DbI0bdMtzVE/s1600-h/jorhatsatras.jpg"><img id="BLOGGER_PHOTO_ID_5172024163215821090" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8a4kuo3SSI/AAAAAAAACqg/DbI0bdMtzVE/s400/jorhatsatras.jpg" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a4lOo3STI/AAAAAAAACqo/qStPMvpdPa8/s1600-h/dakhinpat.JPG"><img id="BLOGGER_PHOTO_ID_5172024171805755698" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8a4lOo3STI/AAAAAAAACqo/qStPMvpdPa8/s400/dakhinpat.JPG" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8a4leo3SUI/AAAAAAAACqw/XbImiKa2Yq0/s1600-h/guru+ason.JPG"><img id="BLOGGER_PHOTO_ID_5172024176100723010" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8a4leo3SUI/AAAAAAAACqw/XbImiKa2Yq0/s400/guru+ason.JPG" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8a4luo3SVI/AAAAAAAACq4/6Yh_avYDaf8/s1600-h/satriya_dance.gif"><img id="BLOGGER_PHOTO_ID_5172024180395690322" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8a4luo3SVI/AAAAAAAACq4/6Yh_avYDaf8/s400/satriya_dance.gif" border="0" /></a><br /><br /><br /><br /><br /><div>$$$$$$$$$$$$$$$$<br />Srimanta Sankardeva -- the great Vaishnavite Saint of Assam<br />$$$$$$$$$$$$$$$$<br /><br />The great Vaishnavite saint and reformer Srimanta Sankardeva was born in Alipukhuri of Batradova, Nagaon, in 1449. He was destined to play a significant role in preaching to<br />humanity, and protecting human religion, the downtrodden, the oppressed and the untouchables.<br /><br />Lord Krishna said to Arjuna in the Gita,<br />“when irreligion prevails, I manifest myself in bodily form age after age for the purpose of protecting the saints and destroying the inauspicious forces to foster religion.”<br /><br />Lord Krishna is also the symbol of art. Srimanta Sankardeva’s incarnation is a great one. He was also a symbol of art. There is no “Guru” in the world who is at once a poet, dramatist, painter and sculptor. The incarnation of Srimanta Sankardeva is a historical wonder. He contributed immensely to the integrity of human culture.<br /><br />“Ek Sarania Nam Dharma” preached by Srimanta Sankardeva is based on scientific analysis. The worship of Lord Krishna through “Nam Prasanga” leads to the quest for truth and balance<br />between the soul and the body. Hardly has there been a religious “Guru” who effectively enjoined a pure honest workculture,social discipline, humanized love and thus cherished religious values accepted by all. The lessons of humanism can be drawn in his literature, drama, music, dance, “Totoy”, “Chopoy”, “Bhaona” and art and culture.<br /><br />The philosophy of his religion is enriched with the essence of Vedanta, Bhaktism, monotheism, spiritualism and humanism. The main tenets of his religious faith are truthfulness, religious<br />liberty and a benevolent attitude towards one and all. His religion is wholly characterized by secularism. The doctrines of all the chief religions are assimilated into the Vaishnavite faith. There is no casteism in his religion. His disciples were from different ethnic tribes of North-East Assam.<br /><br />Srimanta Sankardeva was a great scholar and literary genius. His eminent literary creation is the “Kirton-Ghosa”, an early Assamese poetical work. In “Gunamala” he had cryptically described the manifold qualities of Lord Krishna in a day to impress the Koch King Naranarayana. It is almost like putting an elephant into an earthen pot, which is indeed the essence of the “Bhagavat”. “Srimod Bhagavat”, the incomparable creation of Vyasdev, the great scholar of Indian classical religious literature was translated into the Assamese language by Srimanta Sankardeva.<br /><br />Srimanta Sankardeva and his great disciple Madhabdeva explicated monotheism through simple narrative description of the scriptures. The open air theater “Namghar” of Srimanta Sankardeva is the pilgrimage of universal human religion as well as its ethos and manners.<br /><br />Srimanta Sankardeva’s cult based on the glorification of “Rama” , one of the greatest manifestations of “Lord Krishna”, has given the full blessings of wider Indian culture to the people of Assam. It is no exaggeration to say that Srimanta Sankardeva’s noble numbers (“Borgeet”), dramas, literature and poetic diction have created the Assamese national life.<br />The Xatras set up by Srimanta Sankardeva have an important role to play in the religious and spiritual life of the people. They have also got special social functions. The “Xatras’ and “Namghars” gradually turned into religious and social institutions for congregation and prayer.<br /><br />Here is a brief account of some of the “Xatras’ established by Srimanta Sankardeva and his followers : </div><br /><br /><div><br />$$$$$$$$$$$$$$$$<br />Sri Sri Modhupur Dham </div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>Modhupur Xatra is located in Cooch Behar of West Bengal. The sacrosanct precinct of the famous “Xatra” where the saint Srimanta Sankardeva left for his heavenly abode brings serenity and calmness to the mind of one and all who visit this place.<br />Sri Sri Phatik Chandra Dev is the present “Xatradhikar” of “Modhupur Xatra”. He is well versed in all the scriptures of the Vaishnavite and Shakti cult of the Hindu religion. He has dedicated himself to the “Xatra” from his early teens and has completely immersed himself in the “Xatriya<br />culture”. The learned “Xatradhikar” devoted himself to the study of the Beloguri Xatra<br />Hindu scriptures in Brindavan for twelve long years.<br /><br />Srimanta Sankardeva left behind some relics of his simple saintly life at “Modhupur Xatra”. “Gunamala” and “Twelve Scondha Bhagavat” and some original manuscripts written in his own<br />hand are found in this “Xatra”. The “Xatradhikars” have taken great pain and precautions to preserve these manuscripts of the saint written on strips of the bark of the “Sanchi tree”<br />(Aquillaria Agallocha) in his own hands in the humid and semi-tropical climate of Assam.</div><br /><br /><br /><div>$$$$$$$$$$$$$$$$ </div><br /><br /><div><br />Sri Sri Dhuahat Beloguri Xatra, Naryanpur :</div><br /><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div></div><br /><br /><div>“Sri Sri Dhuahat Beloguri Xatra” was the auspicious location where the two jewels of the Assamese Vaishavite movement Srimanta Sankardeva and Sri Sri Madhabdeva<br />first met. The former was already a great saint and the latter had the potential of<br />greatness within him.Sri Sri Bhadra Kanta Deva Goswami is the “Xatradhikar” of “Beloguri Xatra”. He has made significant contribution to spread the Vaishnavite faith. He is a versatile genius. A renowned exponent The new web-journal Asian View is dedicated in the loving memory of eminent littrateur, editor and freedom fighter Padma-Bhusan Sri Chandra Prasad Saikia. It is owned and managing by Hridayananda Gogoi. of “Xatriya” dance, music, art and<br />culture, he is a perfect “Xatriya” artist of the art and culture of Srimanta Sankardeva and Sri Sri Madhabdeva. He has also contributed to the Assamese religious literature.<br /><br />A major part of Assam’s culture drama songs and literature have their roots in the Xatras of Assam.<br /><br />Some other Vaishnavite Xatras where Srimanta Sankardeva and his followers preached the tenets of Vaishnavism are : Kamalabari, Jarabari, Barpeta, Patbausi, Samaria, and Sundaribia .<br /></div><br /><br /><br /><div>In Barpeta District:</div><br /><br /><br /><div></div><br /><br /><div><br />$$$$$$$$$$$$$<br /><a name="PATBAUSHI">PATBAUSHI</a> SATRA:<br />$$$$$$$$$$$$$</div><br /><br /><br /><div>The Satra at Patbaushi was established by Shrimanta Sankardeva. His Vaishnava faith was spread by the guru's able disciples Shri Madhav Deva, Shri Damodar Deva and Shri Hari Deva. It was from this satra that Srimanta Sankardeva spread his faith, literature, music art-forms, culture and work-culture to its fullest form. Here the guru spent 18 years of his life with remarkable achievement including completion of the 'Kirtan Ghosa' and composition of 240 number of invaluable Borgeets. Some of the items used by these Gurus and Sachipat puthis are well-preserved here. Shrimanta Sankardeva composed 240 Bargeets, Shastra (literary religio- cultural text) and Ankiya nat (Dramas). The scripts are carefully preserved here. Of late the Govt. has taken steps for preservation of this treasures of Assamese heritage and planning to setup a Shrimanta Sankardeva Museum at the premises of the Satra. The Damodar deva Satra is also located in the same premises. Ahom Ruler Paramatta Singha constructed a Math in memory of the saint. This Satra is located at a distance of about 2 K.M. from Barpeta town.The Satra is located about 2 K.Ms North of the Barpeta town.<br />linked to it is the Patbaushi Damodar Satra. This Satra was founded by Damodardeva and is situated just near Patbaushi Sankardeva Satra. The Satra got royal patronage from the Ahom King Pramttwa Shingha. Bhattadeve, the chief disciple of Damodardeva, wrote Bhagawat scripture in prose from at this Satra. Besides ‘Katha-Bhagawat’, Guru-Lila, Dron-parva, of Mahabharata in manuscript forms are preserved in this Satra.</div><br /><br /><br /><div>$$$$$$$$$$$$$<br /><a name="GANAKKUCHI">GANAKKUCHI</a> SATRA:<br />$$$$$$$$$$$$$</div><br /><br /><br /><div>This satra was founded by Sri Madhab Deva for which the land was purchased by Shrimanta Sankardeva for 1 Tola (about 10gm) Gold and nominated his close disciple Shri Madhab Deva as the satradhikar to stay here to spread his faith and he went on to stay here for 18 long years. The vithis of Shri Ram Ata and Shri Ram Atoi are also preserved here. A number of Sachipat Puthis composed by Shrimanta Sankardeva is preserved here. This Satra is located within the radius of Barpeta Municipality.Some of the items used by the guru and Sachipat puthis are well-preserved here. The Satra is located within the Barpeta town area. </div><br /><br /><br /><div>$$$$$$$$$$$$$<br /><a name="JANIA">JANIA</a> SATRA:<br />$$$$$$$$$$$$$</div><br /><br /><br /><div>This Satra was established by Sankardeva's disciple Shri Narayan Das Thakur Ata. He composed a large number of devotional songs here. This Satras located at a distance of 8 K.M. from Barpeta in Barpeta Jania Road.</div><br /><br /><br /><div>$$$$$$$$$$$$$<br />· <a name="SUNDARIDIYA">SUNDARIDIYA</a> SATRA:<br />$$$$$$$$$$$$$</div><br /><br /><br /><div>The Satra was established by Shri Madhab Deva after leaving Ganakkuchi Satra. The first satradhikar of Barpeta Satra Sri Mathura Das Burha Ata initially come to this Satra and became a disciple of Shri Madhab Deva. It was here that Paal Nam and Beer Nam or Thiya Nam was created by sri Madhab Deva. Shri Madhabdeva composed the "Bhakti Ratnakar" and "Namghosa" here in the original Vithi of the Satra.The great saint during his sojourn here dug a Well preserved till today and water of the well is considered holy.Three Guru Asanas are placed in the name of Shri Sankardeva,Shri Madhavdeva and Shri Badula Ata.A large number of items used by the guru including Sachipat-puthis are preserved here. </div><br /><br /><br /><div>$$$$$$$$$$$$$<br /><a name="BARPETA">BARPETA</a> SATRA:<br />$$$$$$$$$$$$$</div><br /><br /><br /><div>Sri Madhab Deva founded the Barpeta Satra and stayed here for 8 long years. Here he appointed Sri Mathura Das Burha Ata as the first Satradhikar of the Satra. It was Burha Ata who systematised the administration of the Satra leading to development of the institution and the region of Barpeta. A democratic system was introduced which is effective till today. Large number of followers came to Barpeta & accepted the Vaishnava faith irrespective of their caste high or low that created an egalitarian Society. A new work culture developed among the followers. The Satra has several buildings. The front gate is called 'Batsora'. The main 'Kirtanghar' is where prayers or 'Nam Kirtan' are performed is an architectural splendour. Earlier built as a Kutcha house was concretised with big-pillars in 1952 with decorative wall paintings. All the 'bhakats' or 'devotees' discussed all kinds of problems in the Jagmohan Ghar. In the 'Bhajghar' a lamp is continously burning for more than 400 years that is called 'Akhay Banti'. Sri Krishna Doul festival is organised at the premises of Doul ghar. There is a small zoo and small 'rangial' garden. Within the premises a cultural school, Keli kadam tree,Shri Shri Mathura Das Burha Ata Library, study-room, office and kitchen are also located. The buildings within the Satra premise are architectural achievements in its own right.The Kirtan Ghar is considered to be the largest in Assam. The Three Guru Asanas are placed in this buildings in honour of Shrimanta Sankardeva, Shri Madhavdeva and Shri Badula Ata. The two Satradhikars sit behind the Asanas to hold Nam-Prasangas regularly. Numerous buildings are located within the premise covering an area of 20 Bighas. Constitution formulated by Sri Mathura Das Ata is still in vogue. The Satra located at the heart of the City attracts devotees from all over the State particularly during Holi when Doul festival is organised and annivarsaries of various Vaishnava Gurus. <a name="BARADI">BARADI</a> SATA:This satra was also established by Sri Madhab Deva and stayed here for a very short period.The Sankarite culture spread far and wide from Baradi making it a centre for learning. The place is located about 2.K.M. east of Barpeta town. </div><br /><br /><div><br />$$$$$$$$$$$$$<br />BARADI SATRA<br />$$$$$$$$$$$$$</div><br /><br /><br /><div>This Satra was established by Shri Madhabdeva. The common people were greatly influenced by the preachings of this great scholar. This Satra became an important centre of learning. </div><br /><br /><div><br />$$$$$$$$$$$$$$<br /><a name="SATRA_KANARA">SATRA KANARA: </a><br />$$$$$$$$$$$$$$</div><br /><br /><br /><div>Established by Sri Sri Narayan Das Thakur Ata. This Satra is damaged by natural calamaties. Floods creates problem for running the Satra. As a result the original habitants of this place shifted to Gajia and Ganakkuchi in Barpeta. The Satra is located at a distance of 16 K.M. from Barpeta.</div><br /><br /><br /><div>other satras are:</div><br /><br /><br /><div>$$$$$$$$$$$$$$<br />Akaya Satra:<br />$$$$$$$$$$$$$$</div><br /><br /><br /><div>Akaya Satra is the big satra in Bajali Sub-Division, Situated at Akaya village at a distance of 6 K.M. towards north from Patacharkuchi.</div><br /><br /><div><br />$$$$$$$$$$$$$$<br />Guwagacha Satra:<br />$$$$$$$$$$$$$$</div><br /><br /><br /><div>Ramcharan Thakur founded this Satra, the Satra is situated at a distance of 8 K.M. towards north from Simlaguri.</div><br /><br /><br /><div>$$$$$$$$$$$$$$<br />Gomura Satra:<br />$$$$$$$$$$$$$$</div><br /><br /><br /><div>This Satra was founded by Madhabdeva and is situated at a distance of 27 K.M. towards east from Barpeta Town near Sarthebari.</div><br /><br /><br /><div>$$$$$$$$$$$$$$<br />Bhawanipur Satra:<br />$$$$$$$$$$$$$$ </div><br /><br /><br /><div>This Satra is founded by Gopaldev Ata at old Bhawanipur and is situated at a distance of 26 K.M. towards north from Barpeta town.</div><br /><br /><br /><div>$$$$$$$$$$$$$<br /><a name="CHINPARA-VITHI">CHINPARA-VITHI</a>:<br />$$$$$$$$$$$$$</div><br /><br /><br /><div>Chinpara-Vithi is the place where Srimanta Sankardeva landed from his boat at Barpeta on banks of Palangdi Bori; which is presently called Palangdihati. The Saint stayed here for six months to propogate his faith. This place is located about 1/2 K.M. North of Barpeta Satra. The Namghar established by the Guru still exist.<br /></div><br /><br /><div>In Jorhat District<br /><br />The Satras :<br /><br />The Vaishnava Satras were founded by Sankardeva, the father of Assamese culture. The historic and auspicious 'Manikanchan Sanjog' was the first Satra in Majuli. Subsequently 65 satras grew which propagated the ethnic and sociocultural ideals. At present there are only 22 Satras in Majuli and rest have been shifted to other safer places due to flood and erosion. These Satras are the treasure house of 'Borgeet', Matiakhara, Jumora dance, Chali dance, Noyua dance, Nande Vringee, Sutradhar, Ozapali, Apsara dance, Satria Krishna dance, Dasavater dance etc. which were contributed by Shri Sankardeva.<br /><br />(a) Dakhinpat Sattra:<br /><br />Dakhinpat is another well-known Sattra in the Majuli Island established by Vanamalideva, another disciple of Vamshigopal. Vanamalideva was very strong in faith and devotion and an exponent of Raasleela, which is now observed as one of the National Festivals of Assam. He was honoured and treated with much respect by the reigning Ahom monarch Jayadhvaj Singh who made liberal gifts to the Sattra., During Rasotsava several thousand devotees visit these holy Satras every year.<br /><br />(b) Garamur Sattra:<br /><br />Lakshminarayana, another saint of Damodaradeva sect and a passionate devotee, established the Garamur Sattra in the Majuli Island during the reign of Jayadhvaj Singh. It should be noted that under the patronage of the Ahom sovereigns, the Majuli Sattras became famous centres of the Vaishnava faith, cultural activity and piety of the monks. During autumn end, traditional Raasleela (co-acting) is shown with great enthusiasm. Some ancient weapons called "Bortop" (canons) are preserved here.<br /><br />(c) Auniati Sattra:<br /><br />It was founded by Niranjan Pathakdeva, a distinguished disciple of Vamshigopal. Niranianadeva's purity of character and devotion to God drew admiration even from the Ahom King Jayadhvaj Singh (1648-1663 AD) who himself became the saint's disciple and endowed the Sattra with suitable land grants for the maintenance of the monks and the monastery. This Sattra is famous for "Paalnaam" and Apsara Dance and also for its considerable collection of Assamese old utensils, jewellery and handicrafts.<br /><br />(d) Kamalabari Sattra:<br /><br />Padma Ata who was a Shudra set up Kamalabari Sattra in the Majuli Island. He led a very simple and saintly life and attained high spiritual eminence. In course of years, inessential rites and unrecognized observances crept into the faith which Padma Ata and Mathura Das of Barpeta Sattra reformed. They set up a refined sect called "Nikasainhati". Padma Ata stressed the teachings of Sankaradeva that external things such as yogic exercise, sacrifice, bathing in Holy River, pilgrimage, 'Sanyasa' and fasting do not purify a man as honest life, good company and love of all beings do. On the eve of his death, Padma Ata nominated his Brahman disciple Shriram to the Adhikarship of the Kamalabari Sattra. This is also an Udasin Sattra i.e., the head of the Sattra is a celibate. Kamalabari Sattra is a centre of art, cultural, literature and classical studies. Its branch Uttar Kamalabari Sattra has performed cultural programmes of Satria Art in several states of India and abroad.<br /><br />(e) Bengenaati Sattra:<br /><br />It is a storehouse of antiques of cultural importance and an advance centre of performing art. Muraridev, the grand son of Sankaradeva's stepmother has founded the Sattra. The royal robes belong to the Ahom king Swargadeo Gadadhar Singha, made of gold and an umbrella, which is also made of gold, are preserved over here.<br /><br />(f) Samaguri Sattra:<br /><br />This Sattra is resourced with the famous Mask-crafts in India.<br /><br />Auniati, Dakhinpat and Garamur are the principal Brahmanical Sattras. The Sattradhikar's of these monasteries are strictly celibates. The Sattradhikar's for these Sattras are elected from other Sattras where married life is allowed. The chosen young man is brought into the Sattra during his teen age and trained up in Vaishnava religion, philosophy and life. During the period of training this young devotee is called "Deka-Adhikar", the young pontiff. </div><br /><br /><br /><div>DHEKIAKHOWA BARNAMGHAR :<br />Established during 1497-1539 by saint-reformer Madhavdeb</div><br /><br /><br /><div>Institutions of Sattras</div><br /><br /><br /><div>Besides Bardowa and Barpeta, Majuli Sattras along with Kuruabai Sattras exercise tremendous influence on the life of the Assamese people. They are even to-day the glorious religious institutions of Assam, and are not only the seat of religion, learning and education, but the very centre of traditional cultural activities like dance, drama, music and religious recitals. Judged by such external standards as landed estates, number of 'Sisvas' and 'Bhaktas', these Sattras still claim to be the biggest religious institutions. In the hey-day of their glory, the income of these Sattras went mainly to the welfare of the people by way of the promotion of learning, development of cultural activities and help to the needy. These are some of the important Sattras, which brought about a new orientation and salutary reformation in every aspect of Assamese life.</div><br /><br /><div></div><br /><br /><br /><div>The Foundation of Satras:<br />In 15th century the first Satra was founded in Majuli Assam. Since then 65 Satras have come up for the propagation of ethics and socio-cultural ideals. However, at present there are only 22 Satras in Majuli. The others had to be transferred to safer places due to the devastation of flood and erosion. </div><br /><br /><br /><div>Satras of Majuli </div><br /><br /><br /><div>Majuli, the world's largest river island is one of the major seat of several Satras established by Vaishnava revivalist, Sankardeva. During Rasotsava, thousands of devotees visit these holy Satras every year. The shrine is held in high veneration by the Vaishnavites. Journey to Satras of AssamAirport : Guwahati, the commercial capital of Assam is connected to all the major cities of India. One can easily reach Guwahati from any part of the country, from where one can pick a bus, trains, taxi or boat to various Satras located at various parts of Assam. </div><br /><br /><div></div><br /><br /><div><br />Railhead : Rail lines connect Guwahati with all the major cities of India. From here one can easily reach the Satras.<br />Road Transport : Road routes are well defined in Assam . One can easily reach the Satras by road.<br />Water Transport : Water Transport is arranged by the tourism department of Assam to provide boats and launches to the tourists coming to the areas like Majuli.<br />Staying near Satras (Majuli) in AssamMajuli does not possess a developed infrastructure for tourism and accommodation. There are no hotels. Some satras have guestrooms. If you write in advance, they would certainly be available. In addition to the Satra facilities, there are Inspection Bungalows at some points on the island (the one at Kamalabari is well located), and a Circuit House at Garamur, which is the sub-divisional headquarters.<br /></div><br /><br /><div>In Dibrugarh District<br /><br />Dehing Satra:<br /><br />During the Moamoria uprising this satra received royal patronage from kings like Rajeswar Singha, Lakhi Singha, Gaurinath Singha. It is situated on the banks of the river Dehing under Larua mouza. This once famous satra is now in utter ruin.<br /><br />Dehing Namti Satra:<br /><br />This satra is situated under Sasoni mouza on the banks of the river Disang and is about 8 miles away from the town of Naharkatiya. At present, the main wing of the satra is at Namti in Nazira. It should be noted that this satra was at earlier times situated in between the roads Hologuri and Sariyahtoli in the District of Dibrugarh. This satra was established by Binandashyam Gohain. According to a book brought out by the satra Lachit Borphukan was one of the chef followers of Binandashyam Gohain<br /><br />Dinjoy Satra:<br /><br />The Satra is located at Dinjoy about 5kms north of Chabua Township. Amongst the twelve main devotees of Gopal Atadev, the distinguished devotee Aniruddha Dev founded a Satra first at Bisnubalikakunshi village of North Lakhimpur. Later on this Satra was shifted to Khutiaputa. During this period the Moamoria rebellion took place and this Satra fell into troubled waters. This rebellion took place when Astabhuj Gosain (Priest having eight hands) was the ninth head of this Xatra. After his demise, this religious seat of the Satra remained vacant for about fourteen years. Later on Pitambar Chandra Dev was made the head of the Xatra on the orders of Maharaj Gaurinath Singha. The Satra again fell into deep trouble when during this period there occurred a rebellion once again. Even after the end of the Moamaria rebellion this trouble continued at the time when the Burmese invasion began. After stability returned to the kingdom, Bhaktananda Gosain who had been absconding during the Burmese invasion, came to Barbheti Satra situated in Malowpather. Matibor Senapati, the son of Sarbananda Singha of Tinsukia(Bengmora), with due permission of Purnananda Singh Swargadev, brought Bhktananda Gosain first to Rangagara and then later on to the present site of Dinjan at Chabua and named the Satra thus established as Dinjoy Satra. The Satra since then(since 1837) has remained at this place and has become famous as the Dinjoy Satra.<br />Moderkhat Satra:<br /><br />It is an extension of Dinjoy Satra. When Sidanandadeb Dinjoy was the head priest of Dinjoy Satra, his brother Chandrakantadev established the Moderkhat Satra at Moderkhat.<br /><br />Garpara Satra:<br /><br />This satra is situated in the Rohmoria mouza and was established even before the establishment of Dinjoy Satra. This satra is now being shifted to some safer place because of soli erosion. Narimaider was the first chief priest of this satra.<br /></div><br /><br /><br /><div>In Goalpara district :</div><br /><br /><br /><div>SRI SRI SHYAMRAI SATRA</div><br /><br /><br /><div>The Shyamrai Satra the center of Vaishnavite culture and religion has been established in the center of the town, Goalpara about 366 years ago. In the preliminary stage the Satra was managed by two brothers namely Late Raghu Medhi and Late Kush Medhi. Subsequently the people of Goalpara assembled there and took a decision to establish the Satra on a permanent footing. Accordingly they approached the Meshpara Estate Zamindar who in turn allotted 8 bighas of land in the center of the town for establishment of this Satra.Since then, the Satra is continuing smoothly observing all formalities and aspect of vashnavite culture. Regular “NAM PRASANGA” etc. are being held systematically with the observance of the religious festivals every year.One of the very important aspect of the Satra is that the Satra authority has preserved the “ASTHI” (Lucky bone of the forehead) of Sri Manta Sankardeva which is being exhibited in the Satra campus during Sankar Jayanti period i.e., in the month of Sukla Dasami (during September- October)<br /><br />In Nagaon District:<br /><br />BORDOWA:-<br />The Birth place of Mahapurush Srimanta Sankardeva, the great Artist, Author, founder of Vaisnava Religion, Dramatist etc. of Assam. The place is situated 18 Km North – West from Nagaon town, There are two Sattras one is Narowa Sattra and other is Salaguri Sattras. The mini Museum is there in Narowa Sattras. Fagua Festival and the Birth and Death Anniversaries of the Vaishnava saints are observed there with great grandeur.<br />The important Satras of Sonitpur are :</div><br /><br /><br /><div>NIKAMUL,</div><br /><br /><br /><div>SIPAHA</div><br /><br /><br /><div>MADAR GURI</div><br /><br /><br /><div>BALIPUKHURI</div><br /><br /><br /><div>KUNDARBARI</div><br /><br /><br /><div>BARALIMARA</div><br /><br /><br /><div>NALESWAR THAN</div><br /><br /><br /><div>DAKSHINPAT</div><br /><br /><br /><div>SOUDKUCHI SATRA.</div><br /><br /><br /><div></div><br /><br /><div>Bare Shaharia Bhaona</div><br /><br /><br /><div></div><br /><br /><div>Generally the term Bhaona in Assamese means a cultural activity involving dramas, depicting the various stories taken from the epics. These dramas were mostly written by Sankardeva and Madhabdeva.Bare Shaharia Bhaona of Jamuguri (50 kms from Tezpur) is a unique form of Bhaona. Twelve or more Bhaonas are performed simultaneously in different stages built on a single platform.<br /></div><br /><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>About Sattriya Dances of Assam</div><br /><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>The Sattra institution of Assam was a creation of Srimanta Sankaradeva (1449-1567 A.D.), the great saint-scholar, poet-playwright and philosopher reformer, who nearly revolutionized the medieval society of Kamarupa-Asama in nearly all its aspects about five and a half centuries back. Born in a non-Brahmin Kayastha family, known as the Bhuyans and educated in an indigenous tol under the guidance of a well-known teacher of the time, Sankaradeva soon became well-versed in classical scholarship. Having studied most of the sastras, Sankara became a devout believer in and follower of one and only one Supreme Godhead, represented in Krishna-Visnu, and thus joined the pan-Indian neo-Vaisnava movement which soon became a strong religious-social-cultural force in this part of the country under his leadership. At the age of about twenty Sankaradeva wrote his first poetic composition on the story of king Harishchandra, thus beginning his long and chequered career of writing poems, hymns, plays and songs which were all centred on the concept of bhakti or devotion to the Supreme Being. When he was hardly thirty-two, Sankardeva undertook a pilgrimage in the company of some of his disciples to Northern India spending twelve years of his life during which he gathered immense experience about the religion of bhakti which became the dominant spirit of the faith and way of life he was soon to propagate. The geographical expression, now known as Assam, was in those days a habitat of people belonging to numerous ethnic groups of diverse creeds and faiths some of whom indulged in evil practices like animal slaughter and even human sacrifice in the name of religion. Sankaradeva aimed at synthesizing that society by introducing a very simple faith based on bhakti and nama, that is complete devotion to and chanting the names of that one God, the cause of all life in the universe, without any expensive and ostentatious rituals. To achieve his purpose of bringing the diverse people together under that simple religion he had to take the help of popular art and literature and also introduce some institutions of which sattra is a major and important one.Sankaradeva is said to have established his first sattra at Bordowa, his birth place and then at different centers as he had to move from one place to another on account of internecine conflicts and royal persecution. A sattra is like a medieval shrine of math with central prayer-hall, called namghar, rows of houses arranged in particular order for the bhakats or disciples and office-bearers and separate residential building for the head of the sattra, called sattradhikar and his deputy known as deka satradhikar. The model of a sattra introduced by Sankaradeva and his chief follower and successor, Madhavadeva, was followed by others like Gopaladeva and Damodaradeva whose disciples took to establishing sattra which, in course of time, spread all over the Brahmaputra Valley gradually growing into hundreds in number. The administration of a sattra is run by the satradhikar assisted by his deputy and a number of other office-bearers. Some of the important functionaries of a sattra are Bhagawati, the reciter and expounder of the Bhagawata, also known as Namlogowa in some sattra of Upper Assam, Deori or Biloniya, the distributor of sacred offering known as mah-prasad, Bharali, the store-keeper. The musicians trained to organize devotional music and plays are known as gayan, the singers, and bayan, players of instruments like drums and cymbals. Prasanga or congregational prayer consisting of singing devotional hymns was originally held for fourteen times a day, but later on reduced to four or even two in some sattras for obvious reasons.The center of a sattra is the namghar where members of the community assemble not only for prayer but also deliberations, religious, moral and cultural. A namghar consists of two principal parts, the manikut, the sanctum-sanctorum, where a sacred text is placed on a thapana, a pedestal receptacle or simhasana, and a bigger hall known in some sattras as rabhaghar. This hall, where people assemble for prayer, religious discourses or enjoying dramatic presentations, is usually open in all three sides except the one to which the manikut stands. It is to be noted that originally constructed with bamboo, reeds and thatch, the namghar is even now a humble structure without any outward show or ostentation.</div><br /><br /><br /><div>Besides singing or chanting of devotional hymns and playing orchestral music, another very significant mode of popular education and entertainment which Sankaradeva introduced was bhaona, that is, performance of plays known as ankiya nats which is saint poet-playwright himself wrote, directed and even acted in. He wrote six full-fledged plays which, interestingly were preceded by a dramatic performance known as Cinhayastra where painted pictures of the seven Vaikunthas (about of Lord Vishnu) were presented with accompaniment of song, music and dance. As this proved to be extremely popular, Sankaradeva went on to write full-fledged plays on subjects taken from the epics and the Bhagawata Purana where the greatness and supremacy of Lord Krishna or Rama is shown. The plays were performed in the spacious hall of a namghar which, as has been noted already, was an inseparable part of a sattra. Singing, dancing, playing on musical instruments like khol, cymbals and many other indigenously developed instruments, acting mask-making and so on became part of sattriya culture as these were primarily cultivated and developed within the precincts of a sattra. Ankiya plays and bhaona, in course of time, became a welcome means of entertainment even for the royal family and the nobility. Ahom kings and courtiers invited satradhikars and Mahantas (spiritual leaders and preachers) from satras to perform plays in the royal palaces. For instance, it is mentioned in the Tungkhungia Buranji that at the invitation of king Kamaleswar Simha the Mahantas of Bareghar Satra presented the play Rukminiharana (1816), one of Sankaradeva’s well-known plays, and another sattras called Namati Dihing Satra, enacted a play titled Akrura-gamana. In this way ankiya plays and bhaona gradually came out of the confines of the sattras and namghars and people, irrespective of whether they lived in a sattra or outside, took to performing plays which were enjoyed by all sections of the society. Bhaona thus became ingrained in Assamese cultural life, and despite the invasion of modern drama and theatre in the nineteenth century, it has never lost its hold, particularly on the vast majority of the people living in the countryside. And in recent years bhaona appears to be regaining its earlier popularity as is evident in frequent performances and even bhaona competitions organized in the lines of modern one-act play competitions.</div><br /><br /><br /><div>Ankiyan nat and bhaona is a dramatic institution where there is a preponderance of dance and songs. Characters in an ankiya play enter the stage dancing in a given manner to the accompaniment of songs and music. In nam prasanga, that is, daily services offered at regular intervals in the namghar and other forms of praying and singing, dance has a distinctive place. Those people in a sattra, therefore, who take part in bhaona, devotional singing and chanting and other manner of congregational praying, have to be dancers trained the proper way. Dance is thus an inseparable part of sattriya culture which has been sustained through the aged since the days of Sankaradeva who himself was a master dancer and musician. The dance form introduced and developed by Sankaradeva and followd by his great disciples like Madhavadeva, Damodaradeva, Gopaladeva, Harideva and others, is known as sattriya nritya probably because it was an integral part of the bhakti movement led by the great master and also because it was in a sattra that, like bhaona, dance also was initially cultivated. As Sankaradeva’s aim was to bring the common people into the fold of his ekasarana nama dharma (complete submission to one and only One God through chanting His name again and again), he laid great emphasis on dance, along with acting, which could easily catch the fancy of the ignorant laity. So Sankaradeva saw to it that the dance forms he developed, though classical in spirit, would take in their ambit as many elements from indigenous sources as possible. It is, therefore, found that sattriya dance is an assimilation of classical elements and elements taken from folk dance forms practices by various othnic groups. Some of the important and popular forms of sattriya dance are sutradhari nritya, gosai or Krishna nritya, dasavatar nritya, bhortal nritya, jhumura, chali, gayan-bayan and son on. Sattriya dance is now a popular dance form which is avidly cultivated by enthusiasts, particularly from the younger generation. Having received formal national recognition, sattriya dance has now joined the family of national dance forms which are integral part of Indian culture.The sattra is a democratic organization in which each and every member of the society has a role to play, however small it might be. The doors of the namghar are open to all, no matter what caste or gender one belongs to. Sankaradeva asserted that all men are equal, and so there must not be any discrimination against anybody on consideration of caste, community or social status. He admitted into his religion of bhakti and nama members from all castes and communities beginning from the Brahmins and the Kayasthas to the so-called outcaste and the lowest of the low. Among such known names were Candsai, a follower of Islam, Gobinda, a Garo, Jayantahari, a Bhutiya, Shriram, a Kaivarta, and Madhava, a potter. Women have equal access to namghars and can take part in nama-kirtana. They can receive initiation and even hold responsible positions. It is to be noted that Kanaklata, Sankaradeva’s grand daughter-in-law, became not only the head of a sattra, she also appointed twelve sattradhikars to organize more sattras. The role of a sattra in propagation religious and moral education and organizing religious-cultural activities is confined not just to the physical boundaries of a sattra, it goes far beyond into the villages lying far and wide. Villagers or members of the laity come to sattras to attend religious functions and also to listen to religious and moral deliberations organized in sattra namghars. Not just the bhakats or the functionaries, others also can take part in the activities of a sattra under the over-all guidance of the sattradhikar. The sattradhikar or his representative, accompanied by some of the sattra functionaries, pay periodical visits to the villages where followers or sisyas of the sattra live. He stays either in a namghar or in a temporary camp made for the purpose, give sarana to new entrants to the faith and bhajana to senior disciples. Sarana is a simple ceremony through which new converts are advised to follow four fundamental principles of the faith, known as cari-vastu, namely, nama (reciting the names of God), deva (surrender to God), guru (acceptance of a preceptor), and bhakat (taking delight in the company of religious brotherhood), while bhajan entails an elaborate ceremony intended for spiritually advanced followers.</div><br /><br /><br /><div>The sattra institution since its inception has contributed immensely to the building of a cohesive Assamese society. The principles and ideals of Sankaradeva were religiously followed by his successors and disciples who, through the ages, have endeavoured to carry on the mission of the great master. Madhavadeva, who became chief apostle after Sankaradeva, carried on the mission initiated by his master. The two great maestros were followed by a succession of preceptors, including Damadaradeva, Vamshigopala, Harideva and Gopala Ata who, despite certain differences which propped up in later years, were one in propagating the message of bhakti among all sections of the people in this part of the country. Gopala Ata of Bhabanipur Sattra in Lower Assam who received initiation from Madhavadeva and who considered Sankaradeva as his guru’s guru, made all-out efforts to reach to the people of diverse ethnic groups living in the Upper Assam region ruled by the Ahom Kings. He entrusted twelve of his learned disciples, both Brahmins and non-Brahmins, with the task of programming the Vaishnava faith based on equality and brotherhood throughout the length and breadth of Assam. His message was propagated among almost all sections of the Assamese people by his disciples who tried to remove the evils of caste distinctions by embracing people from all tribes and ethnic groups into the fold of the faith enunciated by Sankaradeva and Madhavadeva. One of Gopaladeva’s followers, Aniruddhadeva, initiated among others, the Morans and Motoks of Upper Assam into the faith who later fought even the Ahom kings for their attempts to humiliate their gurus of the Kala Samhati sect, consider to be most liberal of the sects or samhatis into which the sattras were later divided. Another of Gopaladeva’s distinguished followers, Sriramadeva (1665-1740), satradhikar of Chaliha Baregahar Satra, then situated on the bank of the Dihing river near Naharkotiya nad presently at Nazira in Sivasagar district, accepted even the Nocktes of NEFA (Arunachal Pradesh) as his disciples. He initiated the Nockte chief, Lothakhunbao, and gave him the well-known name of Narottama. Even now Srirama Ata’s followers, who hail from nearly all sections of the Assamese society, believe in the myth of ‘Naga (Nockte) Narottama Gosai Sriram lage Vaikunthalai jai’ (Naga Narottama Goasi Sriram go to heaven together). Another sattra, Mairamora, also near Nazira, brought into the fold of the bhakti faith even Nagas of the nearby hills whose descendents are now living in a village of their own close to the sattra. Besides these, there are many other sattras of Gopala Ata lineage who have freely mixed with people from the so-called lower strata of the society in an attempt to make them equal partners of the universal brotherhood enunciated by Sankaradeva’s bhakti faith. </div><br /><br /><div><br />Over the centuries sattras have multiplied into some hundreds, and socio-political and other changes have affected this religious-cultural organization also. There have also been differences among the sattras as evident from the emergence of the four samhatis or sects. But the differences are peripheral, and the hard-rock of Sankaradeva’s democratic faith of bhakti remains unshaken. No matter to what denomination a sattra belongs, its ultimate allegiance is always to Sankaradeva and Madhavadeva, the great cementing forces behind sattriya culture which, to some extent, have homogenized Assamese society. It is time the sattras shed their differences, if there are any, and organized themselves in a proper way so that they can contribute effectively to the enrichment of Assam’s cultural life.</div><br /><br /><br /><div>Sankardeva created the Sattriya dance to accompany the Ankiya Naat (a form of Assamese one-act plays devised by him) which was usually performed in the Sattras. As the dance developed and grew within the Sattras, the dance was named Sattriya by the literateur Maheshwar Neog, who tried to promote it. Though the dance form has come out of the confines of the sattras to a wider audience, the sattras continue to use the dance form for ritualistic and other purposes for which it was originally created 500 years ago.</div><br /><br /><div><br />The dance</div><br /><br /><br /><div>The core of Sattriya Nritya has usually been mythological stories. This was an artistic way of presenting mythological teachings to the people in an accessible and enjoyable manner. According to tradition, Sattriya is performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice, Sattriya dance is also performed on stage by men and women who are not members of the Sattras, on themes that are not mythological.</div><br /><br /><br /><div>Sattriya dance is divided into many genres: Apsara Nritya, Behar Nritya, Chali Nritya, Dasavatara Nritya, Manchok Nritya, Natua Nritya, Rasa Nritya, Rajaghariya Chali Nritya, Gosai Prabesh, Bar Prabesh, Gopi Prabesh, Jhumura, Nadu Bhangi and Sutradhara, to name but a few. Like the other seven schools of Indian dance, Sattriya encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like Natyashastra, Abhinaya Darpana, and Sangit Ratnakara; a distinct repertoire (marg) and the aspects of nrtta(pure dance), nrtya(expressive dance), and natya(abhinaya).</div><br /><br /><br /><div>Sattriya dance is accompanied by musical compositions called borgeets (composed by Sankardeva among others) which are based on classical ragas. The instruments that accompany a traditional performance are khols (drums), taals (cymbals), the flute. The violin, harmonium etc have been recent additions. The dresses are usually made of pat a kind of silk produced in Assam, woven with local motifs. The ornaments too are based on local traditional design.<br /></div><br /><br /><div>History</div><br /><br /><br /><div>In the second half of the 19th century, Sattriya emerged from the sanctum of Assam's Sattras. It moved from the monastery to the metropolitan stage. The Sattras had maintained certain rigid principles within their walls, and until the first half of the 19th century this dance style was performed in a highly ritualistic manner by male dancers alone. The classical rigidity, the strict adherence to certain principles, and the non-engagement of academic research on the dance form all contributed to the delayed recognition and acceptance of Sattriya as one of the eight classical dance forms of India. On November 15, 2000, the Sangeet Natak Akademi finally gave Sattriya Dance its due recognition as one of the classical dance forms of India, alongside the other seven forms.</div><br /><br /><div><br />However, despite its delayed inclusion within the recognised schools of Indian classical dance, and the accompanying lack of organisational support from the Centre that that entailed, Sattriya continued through the centuries to maintain within its forms the classical exactitude and intricate detail that mark ancient art forms. One positive outcome of Sattriya's strict adherence to the principles of the Sattras has been this ability to maintain its pure forms, its distinct style. Now that it has made its journey from the sanctified world of Assam's Sattras to the demotic spaces of the world's stages, it is time for an appraisal of Sattriya's artistic and aesthetic qualities.<br /></div><br /><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div></div><br /><br /><div>Matiakhora, the Syntax of Xattriya Dance</div><br /><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>The Xattriya dance syllabus begins with the Matiakhora. Matiakhoras are the basic exercises which help in the formation of the body and clearity of hands. Matiakhoras are considered as the grammer of Sattriya dance. Each Matiakhora is like a letter in an alphabet and if we join together some postures of the Matiakhora it gives rise to a beautiful dance sequence. Matiakhoras are of sixty four types and they are divided into eight broad categories:<br />ORA<br />SATA<br />JHALAK<br />SITIKA<br />PAAK<br />JHAP<br />LON<br />KHAR<br />Below are some links giving more details of Matiakhora.<br /><br />$$$$$$$$$$$$$$$$<br />Musical Instruments for Xattriya Performace</div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>The musical instuments those are used in Sattriya are namely:<br />KHOL (CYLINDRICAL DRUM)<br />PAATI TAAL, KHUTI TAAL, BHOR TALL ( ALL THESE ARE CYMBALS)<br />BAHI(FLUTE)<br />NAGARA(ALSO DRUM)<br />VIOLIN<br />TANPURA<br />HARMONIUM<br />KAAH/GHANTA (BELL)<br />SHANKHA (CONCH SHELL)<br />DOBA (ALSO DRUM) </div><br /><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$<br />Costumes for a Xattriya Performance </div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>LOHONGA: Lohonga is a long skirt with pleats.<br />TANGALI-I: Two long pieces of cloth like scarfs which are pleated and placed on either side of the shoulders.<br />TANGALI-II: A belt designed to keep the costume in position.<br />KASALI OR ANCHAL: A piece of cloth wrapped around the chest.<br />PAGURI: Like Turban. There are sixteen different types of paguries used in Sattriya, most commonly used are the KUKHAPATIA PAG worn by a Suttradhari (the chief Interlocutor), TOEKUNIA PAAG worn by the Gayan (singer),the Bayan (drummer) etc.<br />BLOUSE: Short sleeved blouse.<br />DHOOTI: A long cloth wrapped round the legs and tied round the waist by making 'THOOR' (pleats which are not parmanent).<br />SADAR: A long piece of cloth that is worn over the upper part of the body. </div><br /><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$<br />Jewellery for a Xattriya Performance </div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><div><br />(1) SITIPATI OR KAPALI(HEAD ORNAMENT)<br />(2) GOLPOTA (NECKLACE)<br />(3) GEZERA OR DHOLBIRI (NECKLACE)<br />(4)BENA OR JOONBIRI (NECKLACE)<br />(5) DUGDUGI (NECKLACE)<br />(6) LUKAPARO (NECKLACE WITH EARRINGS)<br />(7) KERU(EAR RINGS)<br />(8) THURIA (EAR RINGS)<br />(9) SONA (EAR RINGS)<br />(10) GAAMKHARU(BANGLES)<br />(11) MUTHIKHARU(BANGLES)<br />(12) JUNUKA (FOOT ORNAMENT OR TINKLING BELLS) </div><br /><br /><br /><div></div><br /><br /><br /><div>$$$$$$$$$$$$$$$$<br />Hasta or Hand Gestures in Xattriya Dance</div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><div></div><br /><br /><div>Sage Bharata has described in the Natyasashtra the various poses made by hands, eyes, eye-lashes, nose, lips, cheeks, feet and head. The Srihastamuktavali, written by Subhankara Kavi of Assam, is a large treatise on hand poses or hand gestures and an elaboration of Natyasashtra on the subject. Only a single manuscript copy of this treatise has been found in the Auniati Sattra Library. It contains over 1,000 Sanskrit slokas, each followed by an Assamese rendering in prose. It is stated that this manuscript belonged, originally, to one Sucanda Rai Ojha. It may be taken for granted that the Assamese translation of the work, which could not have been of a date later than the eighteenth century A.D., was made for the use of this Ojha. As a matter of fact an Ojha must have known some, if not all, of the hand poses numbering 2079 as described in this work. According to Srihastamuktavali, the hand, for different gestures, is divided into three broad categories, namely:<br />(I) Asanjukta Hasta or Single Hand<br />(II) Sanjukta Hasta or Joined Hands<br />(III) Nritya Hasta or Dancing Hands<br />Asanjukta Hasta is of thirty different types.They are:<br />(1) Patak, (2) Padmakusa, (3) Hankhamukh, (4) Kartarimukh, (5) Alapadma, (6) Tripatak, (7) Musttik, (8) Shikhar, (9) Ardhachandra, (10) Sharpashira, (11) Suchimukha, (12) Khatakaamukh, (13) Araal, (14) Sukatundu, (15) Sadansa, (16) Kangul, (17) Urnanav, (18) Kapitha, (19) Mrigasirsa, (20) Hansapakhya, (21) Tamrasur, (22) Satur, (23) Mukul, (24) Bhramar, Salanta Madhukar, (25) Kadamba, (26) Krisnasarmukh, (27) Ghrunik, (28) Singhashya, (29) Ankus and (30) Tantrimukh.<br />Sanjukta Hastras are of fourteen different types. They are:<br />(1) Gajadanta, (2) Kaput, (3) Bardhaman, (4) Anjali, (5) Nisadh, (6) Karkat, (7) Utsanga, (8) Abahittha, (9) Swasttik, (10) Makar, (11) Dul, (12) Pushpaput, (13) Maraal and (14) Khatakabardhamaan.<br />Nritya Hastas are of twenty seven different types. They are:<br />(1) Keshabandha Hasta, (2) Nitamba Hasta, (3) Resit Hasta, (4) Ardharesit Hasta, (5) Satur Hasta, (6) Udhrittu Hasta, (7) Pallab Hasta, (8) Pakhyabanchit Hasta, (9) Lataanaam Hasta, (10) Natamukh Hasta, (11) Swastik Hasta, (12) Biprakirna Hasta, (13) Abwidhabaktru Hasta, (14) Susyasya Hasta, (15) Araalkhatakaamukh Hasta, (16) Bakkhyumandali Hasta, (17) Urahpaarshwardhamandali Hasta, (18) Paarshwamandali Hasta, (19) Urdhamandali Hasta, (20) Musttikswasttik Hasta, (21) Pakhyapradyutak Hasta, (22) Kari Hasta, (23) Dandapakkhya Hasta, (24) Garurpakkhya Hasta, (25) Alapadmunnut Hasta, (26) Uttanresit Hasta and (27) NaliniPadmakus Hasta. </div><br /><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$<br />Bharir Abasthan or Position of Feet</div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>There are five positions allowed.<br />(1).Samapaad, (2) Bisampaad, (3) Akunchit, (4) Kunchit and (5) Ogratalsanchalan<br />Bharir Maan or Steps<br />Fourtyfour different types of steps are used in Sattriya dance. Each movement of the foot is mainly based on these steps.They are namely;<br />(1) Juti, (2) Bar Juti, (3) Adha Juti, (4) Uthi Siral, (5) Bahi Siral, (6) Solona, (7) Pani Paruwa, (8) Pani Pisoluwa, (9) Khuwali Pisaluwa, (10) Tewari, (11) Bagali Ghutiuwa, (12) Baahir Sula Ghuruwa, (13) Vitar Sula Ghuruwa, (14) Nepur Soluwa, (15) Haati Khujia, (16) Maan Solona, (17) Kawai Bulan, (18) Dhera Paak, (19) Naandi Khuj, (20) Sitika, (21) Shalika Juti, (22) SoruJuti, (23) ThiaJuti (24) Kaatir Salona, (25) Borah Jaap, (26) Khusora, (27) Soria Jaap, (28) Dulpata, (29) Harin Jaap, (30) Bagali Thengia, (31)Bhauri Paak, (32) Sorusola, (33) Barsola, (34) Danchakra, (35) Gubardhan Dharan, (36) Tini Juti, (37) Thekesoni, (38) Utha Khuj, (39) Boithaku Buwa, (40) Akpakia Sitika, (41) Bulani, (42) Pitika, (43) Dupakia Sitika, (44) Laahani Mara. </div><br /><br /><div></div><br /><br /><br /><div>$$$$$$$$$$$$$$$$<br />Taals or Rhythmic Beats</div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><div></div><br /><br /><div>Main Taals those are used in Sattriya dance are :<br />(1) Suta Taal, (2) Thukuni Taal, (3) Rupak Taal, (4) Sarubisam Taal, (5) Jati, (6) Rupganjal And (7)Mishra Taal (Combinations of four- Suta, Duwas, Rupak and Jati). </div><br /><br /><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$<br />Description of Some Matiakhoras: </div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>Purush Ora:<br />The dancer is in the semi sitting position which is Ora position. The heels are placed at a distance of six inches with toes pointing outward. The two feet make a horizontal line and the knees will bend outwards. The two hands will make the Patak Hasta and (the thumbs will bend inwards) The elbows will bend and the hands (middle fingers) will be placed at shoulder level.<br />BOL OR MUSICAL NOTATION OF PURUSH ORA<br />TAAL: SUTA TAAL(4 BEATS)<br />0 DHI- NA * JEEDHEY 0 NADHEY 2 DHEYDAO<br />0 DHENEE 3 TADHE 0 NEETA 4 DHEENA 4 TIMES<br />Prakriti Ora:<br />Same as the Purush Ora except that the hands are put in front of the chest. This position is known as Prakriti Ora. The musical notation is same as the Purush Ora.<br />Orat Botha-Utha:<br />Maintaining the Ora position and hand folded in front of the chest ( like the Indian salutation of Namaskar) one should go from semi sitting (ora position) to sitting position.<br />BOL (USICAL NOTATION)<br />DHEI * KHEER 0 KHEER 2 KHEETAW<br />0 DHEI 3 GEER 0 GEER 4 DHEENAW 4 TIMES<br />Harbhonga:<br />Sitting in the Prakriti Ora position, the dancer should strike the floor with her or his right foot and then push towards the lefthand side corner while bending it at the knee at the same time and then stretching it. The hand be at Prakriti Ora position and then should be pushed in the opposite direction of the upraised foot. Head and neck movement should be in the same direction of the upraised foot.<br />0 DHEE- * NAAK 0 KHEE- 2 TAAK<br />0 DHEE- * NAAK 0 KHEE- 4 TAAK 4 TIMES<br />Athoowa:<br />The dancer is in the sitting position with one knee almost touching the ground and of that side of which the hand is facing towards the ground and with the other hand at the chest level, mudra (hand gesture ) is Kartarimukh hasta.<br />BOL ( MUSICAL NOTATION )<br />0 DHE - ERDHEE * NAA- UTA 0 KHITTITI 2 DAWTA<br />0 DHE - ERDHEE * NAA- UTA 0 KHITITA 4 DHEI 4 TIMES </div><br /><br /><br /><div></div><br /><br /><div>******************************************************************<br /></div><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>BORGEET: </div><br /><br /><div></div><br /><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><br /><div>Devotional songs composed by Shrimanta Sankardeva are still popular in this region. The Borgeets (literally: great songs) are devotional songs, set to music and sung in various raga styles. These styles are slightly different from either the Hindustani or the Carnatic styles. The songs themselves are written in the 'Brajavali' language.<br /></div><br /><br /><div>For a sample of a borgeet written by Sankaradeva, listen to <a title="Xunaxunarexurahalf.ogg" href="http://upload.wikimedia.org/wikipedia/en/9/9b/Xunaxunarexurahalf.ogg">xuno xuno re xuro boiri promana</a> sung by Bhupen Hazarika.<br /><br />Please check the below URL to listen to them:<br /><a href="http://www.markinkalpataru.org/modules.php?name=MK_SONGS&file=search&q=Borgeet&y=genre">http://www.markinkalpataru.org/modules.php?name=MK_SONGS&file=search&q=Borgeet&y=genre</a><br /><a href="http://www.youtube.com/watch?v=J91hF2Y-nts">http://www.youtube.com/watch?v=J91hF2Y-nts</a><br /><a href="http://www.bodybuilding-pics.com/by/tezpuria.html">http://www.bodybuilding-pics.com/by/tezpuria.html</a><br /><a href="http://www.pdaxtreme.com/BORGEET/">http://www.pdaxtreme.com/BORGEET/</a></div><br /><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$$$$$$$$$</div><br /><br /><div>An English translation of a borgeet (Doyar Thakur Hari Jadumoni Oi Raam Adhome Tomar Naam Daake) , by Mrs. Bina Hazarika, England </div><br /><br /><div>$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />devotional ode below:<br /><br />The Prelude<br /><br />O' merciful Lord Hari, the Jewel of Jadu Clan, Oh<br />Rama,<br />This worthless person seeking your blessings,<br />Narayan, please be compassionate and allow my<br />Restless soul at your feet as the place of resting.<br /><br />The Verse<br /><br />Ojamil the priest a foolish sinner<br />Accepting you as the Holy father<br />Became free from worldly goods<br />Gets his Baikuntha(Heavenly) address<br />Which is known to the universe.<br /><br />Reciting this verse one begets much piety,<br />I am a pitiless sinner, hence,<br />All my hopes on you as my deity.<br />This utmost offender,<br />Wait for you my rescuer<br />Because you are the saviour.<br /><br />Bless this Kali Yuga<br />How fortunate are the people<br />of the blessed land call Varat(India)<br />Forsaking the Yogic practices,<br />Praying at your feet<br />Joyfully proclaiming the truth.<br />Everyone says, finally<br />reaching you is the aim;<br />You know that well Narayan.<br />This foolish Madhab<br />At your feet Oh Lord of the Jadu clan,<br />Now to be inducted to your ways<br />Is my wish very very firm.<br /></div><br /><br /><div></div><br /><br /><div></div><br /><br /><div>--------------------------------------------------------------</div><br /><br /><div>One side note: news on global appeal of Borgeet:<br />--------------------------------------------------------------<br />Gospel in borgeet style - US-based musician fuses genres to create a winner<br /><br />When Gospel meets borgeet, the result is a US chartbuster.<br />Rupam Sarmah, the US-based technocrat from Assam who had taken gagana out of the bihutolis to Hollywood in 2003, has now turned to borgeet — Assamese devotional songs which originated in the satras of Majuli — for his fusion album My Love is You.<br />The album not only became an instant hit but was also among the top 10 songs in various music stations across the US last year. It even made it to the Grammy awards nomination ballots last year, though it did not make it to the final five.<br />“The number God, Can You Hear Me? in the album is influenced by borgeet. I composed the song with the tune of borgeet and rendered it in Gospel style. The songs in the album are unique in composition with innovations which include fusion of Bihu and lokogeet (folksong),” Sarmah wrote in an email to The Telegraph.<br />The musician had earlier fused the sound of gagana, a musical instrument made of bamboo — an integral part of Bihu music — with notes of the synthesiser for an album with Hollywood composer Alan Roy Scott, famed for his score in the film Top Gun.<br />“The songs of My Love is You have been played across many radio stations in the US, Canada and other countries,” said Sarmah.<br />The album was placed third in the Best Indian Album category of the Just Plain Folk Music Awards 2006. He had received a JPF award in 2002 for a Hindi album Piya re.<br />Sarmah said My Love is You has been dedicated to the people of Assam. In fact, the flip side of the album’s cover has the lyrics of God, Can You Hear Me? with a picture of Majuli.<br />Born in Jorhat, Sarmah moved to the US in 1992. But his love for Assamese music has made him experiment again and again with indigenous tunes and instruments.<br />----------------------------------------------------</div><br /><br /><br /><div></div><br /><br /><div>$$$$$$$$$$$$$$$$<br />· Bhatima </div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><div><br />Deva bhatima -- panegyrics to God<br />Naat bhatima -- for use in dramas<br />Raja bhatima -- panegyrics to kings (to king Nara Narayan)<br /></div><br /><br /><br /><div>$$$$$$$$$$$$$$$$<br />ANKIYA GEET: </div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><div><br />Shrimanta Sankardeva composed ankiyageet for ankiya-nats or plays. These are sung on special occessions like Doul festival,anniverseries of the two gurus and other festivals.<br />Ankia-nats are musical extravaganzas, divided into categories of songs – Artha-bhatima, Nandi-bhatima, Pravesh geet, Poyer, Muktawali, Pitambari and other songs. These are called ankia-geets. Songs or geets of the ankia-nat are also a special type, which are called ‘ankar-geet’ and Borgeets, Today, lechari, Ghoshas are also used in some plays. The ankar-geet bears a dhuwa or refrain as it bears ‘rags’ with ‘Tal-maan’. There are various tunes in bhaona-geets. Such as Aswari, Ahir, Bhupali, Dhansiri, Belwar, Gandhar, Kalyan, Shyam, Ramgiri, Mahura, Suhai, Borari, Sindhura, Gouri, Rashak, Bhairabi etc. These tunes are used in all borgeets and other songs of Sankardeva and Madhabdeva. The actors are called ‘Bhawaria’ who produced Bhaba or emotion. The skilled village artists are called ‘Khanikar ‘ who are experts in making wooden and earthen images of God. They also prepare ‘cho’ (effigies) and masks (Mukha) life size of grotesque type masks such as Ravana, Yama, Kumbhakarna, Hanuman, Kali-Nag, Garunda-pakhi etc. These are made by Khanikar, which are essential elements in Bhaonas. Actors are to paint for their make-up befitting their roles. For the makeup ‘Hengul’ (cinnabar) and ‘Haital’ (yellow-orripment) are used with some necessary colours such as blue and red. In this way the Bhaona culture is performed in Assam.</div><br /><br /><br /><div></div><br /><br /><br /><div>$$$$$$$$$$$$$$$$<br />DRAMA & THEATRE: Ankiya Naat and Bhaona's</div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><br /><div><br />Sankardeva popularised 'Bhaona' or mythological plays that became centre of attraction from the common masses. Colourful dresses were worn on the occassion by the participants. The modern dance form became popular with spreading of dramas. These dramas resulted in formation of professional theatre groups in and around Pathsala region leaving behind an unique cultural legacy. Large number of professional theatre group enjoy popularity among the people in every hook & corner of Assam. Theatre groups like Nataraj, Kohinoor, Abahan, and Aradhana from Pathsala has not only carved out a niche but also revolutionised this medium despite challange from Cinema Halls. </div><br /><br /><div><br />Dramas (Naat) </div><br /><br /><div><br /><a title="Patni-prasada (not yet written)" href="http://en.wikipedia.org/w/index.php?title=Patni-prasada&action=editredlink">Patni-prasada</a><br /><a title="Kali-damana (not yet written)" href="http://en.wikipedia.org/w/index.php?title=Kali-damana&action=editredlink">Kali-damana</a><br /><a title="Keli-gopala (not yet written)" href="http://en.wikipedia.org/w/index.php?title=Keli-gopala&action=editredlink">Keli-gopala</a><br /><a title="Rukmini-harana (not yet written)" href="http://en.wikipedia.org/w/index.php?title=Rukmini-harana&action=editredlink">Rukmini-harana</a><br /><a title="Parijata-harana (not yet written)" href="http://en.wikipedia.org/w/index.php?title=Parijata-harana&action=editredlink">Parijata-harana</a><br /><a title="Srirama-vijaya (not yet written)" href="http://en.wikipedia.org/w/index.php?title=Srirama-vijaya&action=editredlink">Srirama-vijaya</a> </div><br /><br /><div><br />Sankaradeva was the fountainhead of the Ankiya naat, a form of one-act play. In fact, his Cihna Yatra---staged by him when he was only 19---is regarded as one of the first open-air theatrical performances in the world. Cihna yatra was probably a dance drama and no text of that show is available today. Innovations like the presence of a Sutradhara (narrator) on the stage, use of masks etc. were used later in the plays of <a title="Bertolt Brecht" href="http://en.wikipedia.org/wiki/Bertolt_Brecht">Bertolt Brecht</a> and other eminent playwrights. </div><br /><br /><div><br />These cultural traditions still form an integral part of the heritage of the Assamese people.</div></div></div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com2tag:blogger.com,1999:blog-7823291760828692160.post-7091598709545717202008-02-28T04:56:00.000-08:002008-07-30T03:38:05.998-07:00Traditional Herbal Medicine of Assam<p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style="line-height: 115%;font-family:";font-size:12;" ><o:p></o:p></span><b><span style=";font-family:";font-size:12;" >$$$$$$$$$$$$$$$$$$$$$</span></b><b><span style=";font-family:";font-size:12;" >$$$$$$$$$$$$$$$$$$$$</span></b></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><b><span style=";font-family:";font-size:12;" >Traditional Herbal Medicines of Assam</span></b><span style=";font-family:";font-size:12;" ></span><b><span style=";font-family:";font-size:12;" ><br /><o:p></o:p></span></b></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >$$$$$$$$$$$$$$$$$$$$$</span><b><span style=";font-family:";font-size:12;" >$$$$$$$$$$$$$$$$$$$$</span></b></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Traditional medicine include all kinds of folk medicine, unconventional medicine and indeed any kind of therapeutic method that had been handed down by the tradition of a community or ethnic group. It is customary to find all kinds of practices grouped under the common heading ‘traditional medicines’- mainly because they do not emanate from the biomedical paradigm. The medical traditions in the traditional system are diverse in their historical background, theoretical logic and practices, their contemporary social realities and their dynamics. The traditional health care system of 80% population of the developing world is still dependent on their surrounding vegetation/ forests and pastures. They rely on medicinal plants because of their effectiveness, lack of modern healthcare alternatives and cultural preferences.<o:p><br /></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Northeast India, which is known for its rich bioresources and ethnocultural diversity, is also a source of various medicinal plants to various ethnic communities. It has a valuable heritage of herbal remedies. Its rural people and tribals living in remote/forest areas still depend to a great extent on the indigenous systems of medicine and cultivation. A wide range of plants with ethnomedicinal value against some very important diseases have been reported but much larger numbers of folk medicines have remained endemic to certain tribal pockets in North East India.Various works have been undertaken to document different types of medicinal plants used by various ethnic groups in all over India<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >. The beliefs, practices and treatment of various diseases by different communities inhabiting in this part of India help us to understand the human nature relationship from its long past. Each and every community has developed their individual device to cure various illnesses and in this context they take the help of different kind of plants available in their surrounding environment. Though understanding the vast experiences of different health care system by documenting the different plant species has been carried out at different intervals but most of the works were concentrated among the tribal communities inhabiting different geographical regions.<br /></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >who also have developed such ethnomedical practices in conjunction with the age old interaction with the nature. The present study is thus an attempt to document different plant varieties used by the people of Assam in different kinds of health treatment. Standard anthropological methods have been applied to document the same. Information was gathered using a semistructured questionnaire on type of ailments cured by the traditional use of medicinal plants and plant parts. The data were cross checked with respondents from different age classes as there is not a single medicine man available in the present investigated area. Identification of the plants was done with the help of standard literature.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>The different plants which have been documented along with their mode of use in different health treatment by the the people is being depicted. Among these plants the <i>compositae </i>family is mostly used by the villagers. These plant species are generally used by most of the villagers as there is not a single traditional healer left out in the villages and they don’t have any formalized or therapeutic institution. The women are found to be more familiar with the use of various medicinal plants. It is apparent that the community is rich in ethnomedicinal knowledge and the knowledge is being transmitted from generation to generation.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >It has been found that some individuals have become specialized to prepare the medicines from this plants owing to prolong practical experience. As the economy of the village is not well enough, so they prefer herbal treatment in comparison to allopathic treatment. Their medicinal use is preventive in nature and most of these plants are said to improve immunity to the diseases and capacity to convalesce. Apart from this, the phytotherapy is used to treat various types of diseases, ailments, injuries and pains. It has been found that the people apply their traditional knowledge of different medicinal plants to cure as simple as cold and fever to as complicated as cancer. It is interesting to note that the roots and leaves of <i>Catharanthus roseus </i>are used as anti carcinogenic medicine. Other major ailments which are traded by the medicinal plants include leprosy, jaundice, dropsy, pneumonia, asthma, elephantiasis, piles, hysteria, malaria, bronchitis, pharyngitis and rheumatism. The highest numbers of plants are found to be used against snakebite. Several parts of a plant such as roots, leaves, flowers, seeds, tubers, stems are used as medicine. The different parts of plants used by this community according to their preference are being presented in the figure number 1. Among the different parts of the documented plants they utilise the leaves mostly (43%), followed by roots (28%), some times the whole plant (17%), seeds (4%), flowers (4%), stems (2%), tubers (1%) and fruits (1%).</span><br /></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Out of 62 plants given below, parts of 8 (13%) plants are found to be used in snakebite, 7 (11.3%) are in asthma, 6 (9.6%) in jaundice, 5 (8.0%) each in dropsy and gynecological problems, 3 (4.8%) each in piles, elephantiasis, bronchitis, rheumatism, 2 (3.2%) in leprosy, one (1.6%) each in cancer, pneumonia, paralysis, hysteria, pharyngitis and the rest for curing different other ailments like ulcer, skin disease, fever etc.</span><br /><span style=";font-family:";font-size:12;" ><o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>TRADITIONAL PHYTOTHERAPY AMONG THE PEOPLE OF ASSAM <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >S. No.<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span>Plant species <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Family<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span>Vernacular name <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Part used<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Application<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;">--------------------------<br /><span style=";font-family:";font-size:12;" ><o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>1 <i>Ageratum conyzoides </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Gondhuabon<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves/ Roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >The juice is used in cut or injuries. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >It has healing properties.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>2 <i>Alternanthera sessilis </i>R. Br<i>. <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Amaranthaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Matikaduri <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Juice used for growth of hair and stomach trouble. Given to mother to increase the flow of milk after birth.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>3 <i>Amaranthus spinosus </i>Linn<i>. <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Amaranthaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Hatikhutora <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/ Stems <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Used as antidote against snakebite, given to cow to increase the flow of milk, root is good<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >for menorrhagia, gonorrhea.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>4 <i>Amaranthus viridis <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Amaranthaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Khutora <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Stem/ Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Stem is used as antidote against snakebite. Leaves good against scorpion sting.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>5 <i>Argemone maxicana<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Linn. Papaverceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Sialkatahi <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/ Seeds <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Used in leprosy, scabies, and syphilis, in gonorrhea. Seed smoke in toothache and carriage.Oil is used as purgative and illuminating. Seed latex is used in dropsy, jaundice, cuta-neous affections, healing of ulcers, herpes, skin diseases. Also used as antidote against snakebite.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>6 <i>Argyreia speciosa </i>Sweet.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><span style=""> </span>Convolvulaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Takoria alu <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves/ Tuber <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Paste of the leaves, latex is used in small boil to suppress. Tuber is contraceptive. Also used in skin diseases.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>7 <i>Artemisia vulgaris <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Chirota<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><span style=""> </span>Juice as blood purifier.Used against worm troubles, asthmatics trouble, brain disorder and nervous affections.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>8 <i>Asparagus racemosus </i>Willd<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Liliaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Satamul <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots are used as demulcents; diuretic, prepared medicated oil is good for rheumatic pain,<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >nervous disorder. Also useful in dyspepsia, diarrhea and dysentery.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>9 <i>Bonnaya reptans </i>Spreng <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Scrophulariaceae<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kasidoria <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roasted leaves in banana leaves are used for cold bite and cut injuries.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>10 <i>Bryophyllum pinnatum </i>Kuntz.<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Crassulaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Dupartenga <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves are useful in wounds, bruises, boils, jaundice, snakebite, dysentery, urinary trouble and quick healing of wounds.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>11 <i>Calotropis gigantean </i>(L) R.Br. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Asclepidaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Akon <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/leaves/ flower<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Heated leaves are in sprain and pain. Flowers are considered as digestive remedy for cough, asthma, and cold. Root bark is used in dysentery; cough, skin disease, cutaneous affection, and elephantiasis. Juice as purgative and good for tooth ace.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>12 <i>Cannabis sativa </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Cannabinaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bhang<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves/ flower <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Dried flower used medicinally as sedative, analgesic, nacrotic.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>13 <i>Capsella larsa-pastoris </i>Medic.<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Brassicaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Gonga moola <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Seed <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Seed oil is used as anti-scorbutic in dropsy. Used as astringent in diarrhea, and as diuretic in dropsy.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>14 <i>Cardiospermum halicacabum </i>Linn.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Sapindaceae<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Lota kopalphuta<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >The whole plant is made paste with water and rubbed to relief pain, stiff-neck, rheumatism,fever, piles. Leaves mixing with castor oil applied to lumbago,nervous disorder.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>15 <i>Cassia occidentalis </i>linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leguminasae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Medelwa <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/ leaves/ flowers<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves, roots flowers are good remedy for hysteria. Externally used in coetaneous disease. Roots are diuretic. Leaves are used as a remedy for dyspepsia, nervous disorder, itches, ringworm and skin diseases.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>16 <i>Cassia tora <span style=""> </span></i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leguminasae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bon medelwa <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/ leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves paste is used against ring worm and eczema. Decoction of leaves and flowers is externally used for bronchitis and asthma. Roots antidote against snakebite.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>17 <i>Catharanthus roseus <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Apocynaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Nayantara <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >The parts of plant are used as anti-carcinogenic agent.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p> </o:p>18 <i>Centella asiatica </i>(L) Urban <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Umbeliferae<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><span style=""> </span><i>Bor manimuni <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant The whole plant has medicinal properties, used in dysentery, liver trouble, nerve disorder, and stomach problem and induces appetite, taken with milk to improve memory, good for skin disease and a blood purifier, given to women after childbirth.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>19 <i>Clerodendron infortunatum </i>Gaertn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Verbenaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Dhopat tita<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Roots/leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves can be used against malarial fever. Roots are used externally against tumors<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >and skin disease.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>20 <i>Clitoria ternatea <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leguminasae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Aparajita<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Juice of leaves mixed with salt applied around ears in earache and swelling of adjacent gland<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >to relive pain. Juice antidote against snake poison.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>21 <i>Coffea bengalensis<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Roxb. Rubiaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kothonaphool<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Young shoots and leaves used as medicine for cattle eye boil.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>22 <i>Colocasia esculanta </i>(L) <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Araceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kochu<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves/ roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves used for blood coagulation in small injuries, roots used in pharyngitis.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>23 <i>Commelina bengalensis </i>Linn<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Commelinaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kana simolu <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots Juice is applied in eye-lid sore. Roots are useful in fever, bilious<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >affection and snakebite, leprosy.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>24 <i>Datura stramonium<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Linn. Solanaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Dhatura<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Roots/leaves/ seeds<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Smoke of leaves is used medicinally for asthma. A seed causes sleepiness. Poisonous and<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >necrotic. Roots is good for toothache.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>25 <i>Drymaria cordata </i>willd. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Caryophyllaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Laijabori<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Whole plant<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><span style=""> </span>Juice of the plant is laxative and anti febrile. The plant has cooling property.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>26 <i>Eclipta alba<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Hassk. Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kehraj<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves/ roots<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><span style=""> </span>It is believed that the herb taken internally and applied externally blackens hair. Fresh leaves are<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >used in elephantiasis, affection of liver and dropsy. A type of hair tonic is produced from it. Juice is also used for jaundice and fever.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>27 <i>Eclipta postrata </i>(L) Bhangra<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kehraj <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves/ roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Same as <i>E. alba<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>28 <i>Erechthites valerianaefolia</i> DC.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bon kopah <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Juice of the leaves is used to cut wounds for quick healing.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>29 <i>Erygnium foetidum<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Umbeliferae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Man dhania <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >An aromatic herb used as a condiments in soups, meat etc.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>30 <i>Eupatorium odoretum </i>Linn.<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Germanhabi <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves/ Flowers<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves and flower tops are used medicinally as emetic, cathartic, in cut wounds.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>31 <i>Euphorbia hirta <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Euphorbiaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Dudh bon <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >The entire plant is considered as sedative, haemostatic, sop orphic, used medicinally in asthma, chronic bronchitis. The milky juice is useful in destroying warts.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>32 <i>Euphorbia thymifolia </i>Linn.<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Euphorbiaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Dudh bon <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Same as <i>E. hirta </i><o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>33 <i>Gymnopetalum </i>Cucurbitaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kawri korola <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots made into paste and rubbed on body in body pain.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>34 <i>Hedyotis lineate<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Roxb Rubiaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kasidoia<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Root juice is used against pneumonia.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>35 <i>Heliotropium indicum <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Boraginaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Hatisuriya <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >The juice of the plant is used in ulcers, wounds and local inflammation. Leaves paste is used against insect bite and boils.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>36 <i>Hydrocotyle rotundifolia </i>Roxb.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""></span></span></i><span style=";font-family:";font-size:12;" >Umbeliferae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Sorumanimuni <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >The whole plant has medicinal <span style=""> </span>properties, used in dysentery, liver trouble, nerve disorder, and<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >stomach problem and induces appetite, taken with milk to improve memory, good for skin<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >disease and a blood purifier,given to women after childbirth.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>37 <i>Impatiens roylei <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Walp Baslaminaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bijolkoria <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves/ fruits <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaf and fruit paste is used on head as a remedy in high fever.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>38 <i>Ipomea aquatica <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Covolvulaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Pani kolmou <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves juice is used in jaundice, also used in urinary trouble and nervous hindrance.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>39 <i>Ipomea quamoclit <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Covolvulaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kunjalata <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><span style=""> </span>Pounded leaves are used in piles.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>40 <i>Justicia japonica <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Acanthaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Jooron<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves are used in ophthalmia.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>41 <i>Jussiaea suffruticosa<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Linn. Onagraceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bon jolokia<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Used in dysentery and fever.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>42 <i>Leucas aspera<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Labiatae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Duron bon <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Used against rabies, leaves juice with garlic are good in Stomach,liver, spleen etc.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>43 <i>Melastroma malabathricum </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Melastomaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Phutuka<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaf powder is used in wound portion to prevent mark in skin;wood tar is used in for blackening teeth.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>44 <i>Mikania micrantha</i> Linn.<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Linn. Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Japanihabi <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves/ roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Juice is useful in insect bite and scorpion sting.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>45 <i>Mimosa pudica </i>Linn.<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Leguminasae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Lajukilata<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaf juice with milk is used as a good remedy for piles.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >46 <i>Mirabilis jalapa </i>Linn.<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Linn. Nyctaginaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Godhuligopal <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots are used in dropsy.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >47 <i>Nasturtium indicum </i>DC. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Brassicaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bonhariah <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Seed <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Seed juice is used in Kidney trouble.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>48 <i>Ocimum canum </i>Sims <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Labiatae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bon tulsi<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves made into paste applied to the fingers to relieve from fever. Seed are used as remedy for dysentery. Leaves used in skin disease.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>49 <i>Ocimum gratissimum </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Labiatae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bon tulsi <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Plant juice is used as insect repellent. Seed used in headache. Leaves are used in for gonorrhea,<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >rheumatism and paralysis.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>50 <i>Oldenlandia corymbosa </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Rubiaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bon jaluk <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Juice applied in burning sensation of palms, juice is good for liver trouble, urinary disorder in children, jaundice, fever and bilious infection.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>51 <i>Oxalis corniculata </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Oxalidaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Sorutengesi <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Juice is used in stomach problem, used in intoxication of wine, used in dysentery.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>52 <i>Paederia fotida<o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span>Linn. </span></i><span style=";font-family:";font-size:12;" >Rubiaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bhebelilata<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Plant is very good in stomach, kidney and liver problems.Decoction of leaves increase<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >appetite.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>53 <i>Peperomia pelludica </i>H.BandK<i><o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Piperaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Ponownoa<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Leaves/ roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Plant paste is used on head to reduce temperature.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >54 <i>Phylanthus niruri </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Euphorbiaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bon amlokhi <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant is used in jaundice. Young leaves are good for dysentery. Root juice is used in<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >urino-genital troubles and gonorrhea.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>55 <i>Pouzolzia indica </i>Gaud. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Urticaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Dudhmor goch<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Used against snakebite, convalescence of children, syphilis, gonorrhea.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>56 <i>Ricinnus communis </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Euphorbiaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Era <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Leaves/ roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots are used in urinary trouble; juice with lime is used to suppress newly formed boils.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>57 <i>Siegesbekia orientalis </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Katampam<o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" ><span style=""> </span></span></i><span style=";font-family:";font-size:12;" >Whole plant <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Used in healing gangrenous ulcers and skin disease. Useful against worms.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p> </o:p>58 <i>Solanum indicum <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Solanaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Tita bhekuri <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/ leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots are used to cure toothache, Asthma and in cough.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p><br />59 <i>Solanum nigrum </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Solanaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Pokmou <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots juice is used against asthma and whooping cough.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >60 <i>S. xanthocarpum <o:p></o:p></i></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Solanaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Kantakori <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/ leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots are used in asthma and in chest pain. Leaves juice with black peeper used in rheumatic pain.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p> </o:p>61 <i>Urena lobata </i>Linn. <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Malvaceae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Bor sonborial <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/ leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots are diuretic, good in rheumatic pain.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" ><o:p></o:p>62 <i>Xanthium strumarium </i>Linn.<o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Compositae <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><i><span style=";font-family:";font-size:12;" >Agora <o:p></o:p></span></i></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Roots/ leaves <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >Used against long standing malarial fever, urinary trouble,</span></p><br /><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><br /></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;">63.Momordica charantia<br /><br />Tita kerela<br /><br />leaf<br /><br />useful remedy for diebetic<br /><br />64. phlogacanthus thyrsiflorus<br /><br />tita phool<br /><br />flower<br /><br />for worm<br /><br />65. Adhatoda zeylanica<br /><br />Bahok tita<br /><br />leaf<br /><br />for cough<br /><br />66 Clerodendrum infortunatum<br /><br />bhedai tita<br /><br />stem<br /><br />melaria.<br /><br />67. Enhydra fluctuans<br /><br />helosi<br /><br />leaf<br /><br />skin desease<br /><br />68. Diplazium esculentum<br /><br />dhekia<br /><br />leaf<br /><br />to enhance sexual power..<br /><br />69. clerodendrum colebrookianum<br /><br />nefafu<br /><br />bud/leaf<br /><br />to control high blood pressure<br /><span style=";font-family:";font-size:12;" > <o:p></o:p></span></p> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;"><span style=";font-family:";font-size:12;" >There are several methods by which the people prepare the medicines. Sometimes the different parts of the plant and sometimes the whole plant is being crushed and the juice is used as medicine and sometimes the decoction, smoke, powder or seed oil is used as medicine. The herbal treatment is said to be very much effective by them and the sustainable extraction of the medicinal plants from the wildlife is an indicative of their dependence on wild plants from their age old interaction.<o:p></o:p></span></p><span style="line-height: 115%;font-family:";font-size:12;" ><o:p></o:p></span><span style="line-height: 115%;font-family:";font-size:12;" ><o:p></o:p></span><br />$$$$$$$$$ Another news $$$$$$$$$$$$$$$$<br /><p class="MsoNormal"><span style="line-height: 115%;font-family:";font-size:12;" >The world's first xeno-transplant surgeon, India's Dhaniram Baruah, claims to have developed two "miracle" compounds from edible medicinal plants widely available in his native state, Assam to treat cardiac diseases. (The Independent )<br /><br />"Bypass surgeries and pace-makers will now be a thing of the past." Baruah assures. He grabbed news headlines in January 1997 when he transplanted the heart, lungs and kidneys of a pig on a 32-year old Assamese male Purno Saikia - the only surgeon in the world to have ever done so.<br /><br />Saikia was already suffering from end-stage organ failures, but he survived for a week after the transplant. After Saikia's death, Baruah was put in prison for forty days because the xeno-transplant was deemed as illegal. Later, he was let off, when found to be well within Indian law while attempting the xeno-transplant.<br /><br />Prior to this daring experiment, Baruah had worked as a cardiac surgeon in some of UK's - and Sweden's - best hospitals and performed more than five thousand bypass surgeries. "My fellow surgeons may never accept but I know that bypass surgeries provide only temporary respite, they cannot cure anyone permanently.<br /><br />But the two organic compounds I have now developed from edible medicinal plants are highly effective in completely curing cardiac diseases," Dhaniram Baruah claimed. He said deaths attributed to coronary artery blockages actually happen because of too much accumulation of intra-cellular calcium. This goes untreated, because there's no way to measure the calcium levels in cells, he says. The Indian surgeon says the two compounds developed by him - Baruah Alfa DH and Baruah Beta DH - from a fast growing creeper and a slow growing tree widely available in Northeast India brings down the level of intra-cellular calcium drastically and helps tackle the problem at the very roots.<br /><br />Baruah says he has treated - and cured - 302 chronic cardiac patients in Assam and some neighbouring states by administering them these compounds. Some of those he cured in the last three years include high profile local journalists, lawyers, politicians and businessmen. Assamese journalist Gaurishankar Kalita, 45, suffered a heart attack six years ago that forced him out of work. "But now Dr Baruah has brought back new life in me and I am working eight to ten hours a day." says Kalita on phone from his workplace in Guwahati, Assam's capital. Agrees 72-year old editor Radhika Mohan Bhagwati : "It is Baruah's magic that has restored me to normal health after I suffered a heart attack. Now I can move around and work without trouble." Businessman Pradeep Dutta also says he has been "fully cured" by Baruah's magic compound.<br /><br />The parents of eleven year old Shilpa Jyoti Kashyap, who suffered from a congential heart disease since birth, also make a similar claim - their girl has been totally cured by Baruah's "miracle compound." Baruah says he was inspired to hunt for a viable organic compound to cure heart diseases in the 252 medicinal plants available in Sonapur (near Assam's capital Guwahati, where his huge research facility is located on a 1000-acre plot) because none of the local tribes in the area - the Lalungs, the Kacharis and the Mikirs - have any history of cardiac disease.<br /><br />After repeated trials and elimination, he settled on two plants after he found them safe for use on humans. "I picked on this creeper and the tree because they are versatile, they can treat and quickly cure kidneys, heart, liver and pancreas. It is a holistic treatment of the entire system, the entire arterial tree." Dhaniram Baruah said. But the compounds are not easy to extract from the plants.<br /><br />"The compounds in the plants keep shifting from bark to leaves to seeds to stem depending on the season and they are easily degradable, so they have to be instantly harvested at the right time, generally on a full moon day, otherwise the compound does not remain active though it can be isolated. "<br /><br />Baruah is not seeking to patent his discovery. "If I register my patent, I have to disclose all scientific information to the authorities. And it will all be immediately leaked out to major pharmaceutical companies and they will make a mess of it because this is not one wonder drug but an alternative form of treatment." says Baruah. So, how to get recognition for discovering what he claims to be the wonder compound? "I don't need kudos so long as people come here and get cured." replied Baruah, in a throwback to ancient Indian scientific tradition, which shunned recognition and kept most discoveries a secret.<br /><br />Bypass surgery is a multi-million dollar industry and Baruah says his fellow surgeons have a "vested interest" in opposing his discovery. "I challenge them to send me the worst cardiac patients and I will turn them round after three to four days with these compounds." Baruah has declared. Local correspondents in Assam say hundreds are rushing to Baruah's research facility at Sonapur as news of the "miracle cures" spread.<br /><br />Its variety, sometimes turbulent and all the more valuable for having been tested by adversity."<br />************************<o:p></o:p></span></p>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com4tag:blogger.com,1999:blog-7823291760828692160.post-74251440813047410192008-02-27T02:59:00.000-08:002008-03-14T08:15:59.484-07:00Assam's History - A journey from 200BC till now$$$$$$$$$$$$$$$$$$$$<br />About Assam's Glorious Past<br />$$$$$$$$$$$$$$$$$$$$<br /><br />An ideal meeting ground for diverse races, Assam gave shelter to streams of human waves carrying with them district cultures and trends of civilization.Austro-Asiatics, Negritos, Dravidians, Alpines, Indo -Mongoloids, Tibeto-Burmese and Aryans penetrated into Assam through different routes and contributed in their own way towards the unique fusion of a new community which came to be known in later history as--- the <span style="font-size:180%;">Assamese</span>.<br /><br />The migration of different human races to the ancient land of Assam began two hundreds years before the birth of Christ. The Karbis, being the descendents of Austric race, are like the Columbus of Assam. The Khasis, Jayantias, Kukies, Lusais(Mizo) are all from this race. The Kirats, being migrants from the western part of China, are from the Mongoloid race who speak Sino-Tibetan language. Bodo, Garo, Rabha, Deuries, Misings, Morans, Sutias, Dimasas and Koches(Rajbongshi), Lalung, Hajong, are also from the same race. The assimilation started as both the races co-existed in the same geographical area. This is the background where the historic assimilation of Assamese nation-building process took place. Then the Kaibartas and Banias from Drabirian race migrated from the coast of Mediterranean came into assimilation more or less.<br /><br />The name of this geographic area was Pragjyotishpur in the 4th - 5th centuries. King Mahiranga (Danaba) from the Mongoloid race was the first monarch of Pragjyotishpur. King Hatak(asur), Sambar(asur), Rambh(asur), Ghatak(asur) and King Narak(asur) reigned serially in the throne of Pragjyotishpur as the descendent of Mahiranga Danab. On the other hand the Aryans from Cocasian race migrated through the Gangetic Plain in the 1st century to the land of Pragjyotishpur. The local king amongst the Mongolian majority society rehabilitated the Aryans, being the carrier of comparatively advanced religion and language-culture. In the presence of these people, the process of assimilation started long before the birth of Christ that has achieved a new acceleration. Narak(asur), the first monarch who was converted to Hindu religion, constructed the first temple and city at Kamakhya. As the king and the royal dynasty were converted to Hindu religion of the Aryans , the caste division also germinated in the tribal society of that time.<br /><br />Middle Age The king and the Royal dynasty on one side formed a royal class with the Brahmin priest rehabilitated by them and on the other side the general people comprising the agri-slave, lower strata of the royal house formed the peasantry. After this stratification the first king of Barman dynasty reigned at Pragjyotishpur from 350 A.D to 380 A.D.<br /><br />During this period, the name of Pragjyotishpur became Kamrup. Religious communalism penetrated to Kamrup in the last part of the reign of Salastambha dynasty (650 AD to 790 AD) and Pal dynasty (up to 1142 AD) after of the reign the Bhaskar Barman, the most powerful and the last king of Barman dynasty (he ruled till 650 AD). Thus religious communalism took firm roots in Assam (the then Kamrup) which infiltrated along with the migration of Brahmin priests to Assam.<br /><br />The Hindu religion was divided into different branches like Sakta, Saiba, Baishnaba during the time of the Indian king Chandra Gupta Maurya.<br /><br />In 1228 A.D, Tai speaker Sao Lung Sukapha of Mongolian race stepped on this land. During those period Kamrup was divided into four distinct zones such as Kam-peeth, Soumar-peeth, Ratna-peeth, and Swarna-peeth. Every zone was further divided into separate independent states under the rule of more than one tribal king. Sukapha established a powerful united feudal state through his broad strategy of "establishing one state by unifying seven(?) states" within Kamrup. Since then, Kamrup became to be known as Asom. The presence of the Tais has done the irregular process of social assimilation more forceful in between the migrant races such as Austrics, Mongoloids, Drabirs and Caucasians.<br /><br />The relation and the synthesis among the different tribes, as being isolated before, were developed with the pace of the development of agriculture and communication system under the patronage of modern administration and military structure of Tai-Ahoms. Thus Assamese became the link language amongst the peoples who speak different dialects.<br /><br />At the same time, a handful of rich class of businessmen and merchants developed. This brought about the development of society to a certain stage during the six hundred years of Ahom rule. On the other hand, at the Kam-peeth and Ratna-peeth a series of invasion took place under the commands of Muhammad Ghauri, Muhammad Bin-Bakhtier, Giasuddin, Nasirudin and Tughril Khan prior to the arrival of the Tais. Kamrup was still capable of keeping its sovereignty invincible. The Muslim captives of the war who were compelled to stay here after the wars have been assimilated into Assamese society. Under the leadership of Ahom administration, the sovereignty of Assam was preserved resisting the invasion of Asia-victor the Mugals for seventeen times with the help of different tribes of Assam.<br /><br />During the time of Ahom administration, the Sikh religious priest Tegbahadur and the Muslim religious scholar Azan Fakir came to Assam and Srimanta Sankardeva, the preceptor of puritan Hinduism, was born in Assam. As the religious preceptors started the act of publicity of their religions, the language of royal house spread amongst the subjects. Again, the practice of upkeeping the history (Buranji) and the patronage from the royal house have made the language and literature richer.<br />During this period the religious communalism became strong enough inside classified society which was planted long before. However, till the time of His Highness Pratap Chadra Singh, the tribal system of royal administration was prevalent. But the tribal traditions became eroded due to the imposition of land surveying, population census, the introduction of PAIK system which crushed the tribal demography, the commencement of more developed feudal system and lastly the import and rehabilitation of Hindu religious Brahman-priest from India.<br />The contradiction between the ruling class consisting of tehe King, the royal family, the royal officers from the ministers to the Chamuas and the general peasantry comprising of Paike, Slave, House-man and war prisoners became intensified. Thereafter, the conflicts of the general feudal peasantry with the ruling class reflected through the Moamaria rebellion (1769-1826) in the form of religious communalism became intensified. The Ahom administrative system was crushed due to the conflict between the ruler and the subjects.<br /><br />Again, the assimilated social life was isolated. The massive loss of life occurred and these undecided peoples' uprising caused the famine that made the total social life of Assam very weak. On the one hand the Burmese arrived accepting the call of Sarbananda Singha and on the other hand the British came in response to the invitation of Gaurinath Singha. There were enormous loss of life and property due to the invasion of these two foreign powers one after another. The Burmese occupied Assam for four years from 1822 to1826 AD after she was invaded thrice in 1817,1819 and 1821. The Assamese society was in such an era of decay that all efforts, individual and collective, for the resistance against the Burmese could not produce any positive result.<br /><br />The history of Assam is the history of a confluence of peoples from the east, west and the north; the confluence of the Indo-Aryan, Austro-Asiatic and Tibeto-Burman cultures. Politically, it has been invaded, but has never served as a vassal or a colony to an external power till the advent of the Burmese in 1821 and subsequently the British in 1826.<br /><br />The history of Assam is known from many sources. The Ahom kingdom of medieval Assam maintained chronicles, called Buranjis, written in the Ahom and the Assamese languages. History of ancient Assam comes from rock inscriptions and the many copper plates and royal grants the Kamarupa kings issued during their reign. Protohistory is reconstructed from folklore, epics like Mahabharata, and two medieval texts compiled in the Assam region—the Kalika Purana and the Yogini Tantra.<br /><br />Prehistory<br />Paleolithic cultures: The earliest inhabitants of the region are assigned to the Middle Pleistocene period (781,000 to 126,000 years ago) in the Rongram valley of Garo Hills. The Paleolithic sites, which used handaxe-cleaver tools, have affinities to the Abbevillio-Acheulean culture. Other Paleolithic sites include those in the Daphabum area of Lohit district in Arunachal Pradesh which used stone tools from metamorphic rocks. The cave-based Paleolithic sites at Khangkhui in Ukhrul, Manipur, is placed in the Late Pleistocene period.<br />There exists evidence of a microlithic culture in the Rongram Valley of Garo Hills that lie between the neolithic layers and virgin soil. The microliths here were made of dolerite, unlike those from the rest of India. Shreds of crude hand-made pottery indicate that the microlithic people were hunters and food-gatherers.<br />Neolithic cultures: Early Neolithic cultures based on the unifacially flaked hand-axe in the Garo hills have developed in line with the Hoabinhian culture, and it is conjectured that this region was the contact point for the Indian and the Southeast Asian cultures.<br />The Late neolithic cultures have affinities with the spread of the Mon Khmer speaking people from Malaysia and the Ayeyarwady valley and late neolithic developments in South China. Since these cultures have been dated to 4500-4000 BCE, the Assam sites are dated to approximate that period.<br />These neolithic sites, though widely spread, are concentrated in the hills and high grounds, due possibly to the floods. These cultures performed shifting cultivation called jhum, which is still practiced by some communities in the region. Some typical sites are Daojali Hading in Nort Cachar hills, Sarutaru in Kamrup district and Selbagiri in the Garo Hills.<br />Metal age: There exists no archaeological evidence of Copper-Bronze or Iron age culture in the region. This might seem as an impossibility given that corresponding cultures have been discovered in Bengal as well as Southeast Asia. It can only be conjectured that metal age sites in the region exist but have not yet been discovered.<br /><br />Megalithic cultures: Though the metal age seems to be missing in Assam, the Iron Age Megalithic culture of South India finds an echo in the rich megalithic culture in the region, which begins to appear earlier than the first millennium BCE, and which continues till today among the Khasi and the Naga people. The affinity is with Southeast Asia. The megalithic culture was the precursor of the fertility cult and the saktism and the vajrayana Buddhism that followed.<br /><a id="Mythological_Assam" name="Mythological_Assam"></a><br />Mythological Assam<br />Protohistoric Assam is reconstructed from epics and literature from early times (Mahabharata, Kalika Purana, Yogini Tantra, etc.). The earliest political entity seems to have been led by a non-Aryan Danava dynasty with Mahiranga mentioned as the first king. This dynasty was removed by Narakasura. Naraka appears to be a generic name for many kings belonging to the Naraka dynasty. According to legend, the last of the Naraka kings was killed by Krishna and his son Bhagadatta took the throne. Bhagadatta is said to have participated in the Mahabharata war with an army of "chinas, kiratas and dwellers of the eastern sea", thereby indicating that his kingdom, Pragjyotisha, included part of Bangladesh. The last in the Naraka dynasty was a ruler named Suparua.<br /><a id="Ancient_Assam" name="Ancient_Assam"></a><br />Ancient Assam<br /><a class="image" title="Major kingdoms of Assam" href="http://en.wikipedia.org/wiki/Image:MajorKingdomsOfAssam2.png"></a><br /><a class="internal" title="Enlarge" href="http://en.wikipedia.org/wiki/Image:MajorKingdomsOfAssam2.png"></a>Major kingdoms of Assam<br /><br />Kamarupa<br /><br />The historical account of Assam begins with the establishment of Pushya Varman's Varman dynasty in the 4th century in the Kamarupa kingdom, which marks the beginning of Ancient Assam. This dynasty was most likely of aboriginal origin, but drew its lineage from Narakasura. The kingdom reached its zenith under Bhaskarvarman in the 7th century. Xuanzang visited his court and left behind a significant account. Bhaskar Varman died without leaving behind an issue and the control of the country passed to Salasthamba, who established the Mlechchha dynasty. After the fall of the Mlechchha dynasty in the late 9th century, a new ruler, Brahmapala was elected, who established the Pala dynasty. The last Pala king was removed by the Gaur king, Ramapala, in 1110. But the two subsequent kings, Timgyadeva and Vaidyadeva, though established by the Gaur kings, ruled mostly as independents and issued grants under the old Kamarupa seals. The fall of subsequent kings and the rise of individual kingdoms in the 12th century in place of the Kamarupa kingdom marked the end of the Kamarupa kingdom and the period of Ancient Assam.<br /><a id="Medieval_Assam" name="Medieval_Assam"></a><br />Medieval Assam<br /><a class="image" title="A typical octagonal Ahom coin issued by Suramphaa Rajeswar Singha (1751-1769) of the Ahom dynasty" href="http://en.wikipedia.org/wiki/Image:Assamese_coin.gif"></a><br /><a class="internal" title="Enlarge" href="http://en.wikipedia.org/wiki/Image:Assamese_coin.gif"></a>A typical octagonal Ahom coin issued by Suramphaa Rajeswar Singha (1751-1769) of the Ahom dynasty<br /><br />The beginning of Medieval Assam is marked by the rise of the Khen dynasty of the Kamata kingdom, established by Prithu in the western part of the old Kamarupa Kingdom, and the beginning of attacks by the Turks of Bengal. The Kamata kingdom, named after the capital at Kamatapur, was frequently attacked by the rulers of Bengal, and Alauddin Hussain Shah finally removed the last Khen king in 1498. But Hussein Shah and subsequent rulers could not consolidate their rule in the Kamata kingdom, mainly due to the revolt by the Bhuyan chieftains and other local groups. In the 16th century Viswa Singha of the Koch tribe established the Koch dynasty in the Kamata kingdom. The Koch dynasty reached its peak under his sons, Nara Narayan and Chilarai.<br /><br />In the eastern part of the old Kamarupa kingdom, the Kachari and the Chutiya kingdoms arose, with portions of the north bank of the Brahmaputra river controlled by the Bhuyan chieftains. In the tract between the Kachari and the Chutiya kingdoms, a Shan group, led by Sukaphaa, established the Ahom kingdom. The Ahom kingdom in the course of time expanded into the Chutiya kingdom to its north and pushed the Kachari kingdom further south. After the death of Nara Narayan of the Koch dynasty in the late 16th century, the Kamata kingdom broke into Koch Bihar in the west and Koch Hajo in the east. The rivalry between the two kingdoms resulted in the former allying with the Mughals and the latter with the Ahoms. Most of the 17th century saw the Ahom-Mughal conflicts, in which the Ahoms held the expansive Mughals at bay epitomized in the Battle of Saraighat of 1671, and which finally ended in 1682 with the defeat of the Mughals at Itakhuli—and the Ahom kingdom reached its westernmost boundary. Though the Ahom kingdom saw itself as the inheritor of the glory of the erstwhile Kamarupa kingdom and aspired to extend itself to the Karatoya river, it could never do so; though an Ahom general, Ton Kham under Swargadeo Suhungmung, reached the river once when he pursued a retreating invading army in the 16th century.<br /><br />After the Ahom kingdom reached its zenith, problems within the kingdom arose in the 18th century, when it lost power briefly to rebels of the Moamoria rebellion. Though the Ahoms recaptured power, it was beset with problems, leading to the Burmese invasion of Assam in the early 19th century. With the defeat of the Burmese in the First Anglo-Burmese war and the subsequent Treaty of Yandaboo, control of Assam passed into the hands of the British, which marks the end of the Medieval period.<br /><a id="Colonial_Assam" name="Colonial_Assam"></a><br />Colonial Assam<br /><br />British annexation of Assam<br /><br />After the Burmese occupied Assam, the British began their campaign against the Burmese. In 1824, lower Assam (originally Koch Hajo) was formally annexed. The following year the British defeated the Burmese in upper Assam leading to the Treaty of Yandaboo. In this war against the Burmese the Ahoms did not help the British. In March 1828, lower Assam was formally annexed. In the same year, the Kachari kingdom was annexed under the Doctrine of Lapse after the king Govinda Chandra was killed. In 1832, the Khasi king surrendered and the British increased their influence over the Jaintia ruler. In 1833, upper Assam became a British protectorate under the erstwhile ruler of the Ahom kingdom, Purandhar Singha, but in 1838 the region was formally annexed into the British empire. With the annexation of the Maran/Matak territory in the east in 1839, the annexation of Assam was complete.<br /><a id="Colonial_rule" name="Colonial_rule"></a><br />Colonial rule<br /><br />Bengal Presidency (1826-1873): Assam was included as a part of the Bengal Presidency. The annexation of upper Assam is attributed to the successful manufacture of tea in 1837, and the beginning of the Assam Company in 1839. Under the Wasteland Rules of 1838, it became nearly impossible for natives to start plantations. After the liberalization of the rules in 1854, there was a land rush. The Chinese staff that was imported earlier for the cultivation of tea left Assam in 1843, when tea plantations came to be tended by local labor solely, mainly by those belonging to the Kachari group. From 1859 central Indian labor was imported for the tea plantations. This labor, based on an unbreakable contract, led to a virtual slavery of this labor group. The conditions in which they were transported to Assam were so horrific that about 10% never survived the journey. The colonial government already had monopoly over the opium trade.<br />There were immediate protests and revolts against the British occupation. In 1828, two years after the Treaty of Yandaboo, Gomdhar Konwar rose in revolt against the British, but he was easily suppressed. In 1830 Dhananjoy Burhagohain, Piyali Phukan and Jiuram Medhi rose in revolt, and they were sentenced to death. In the Indian rebellion of 1857, the people of Assam offered resistance in the form of non-cooperation, and Maniram Dewan and Piyali Baruah were executed for their roles. In 1861 peasants of Nagaon gathered at Phulaguri for a raiz mel (peoples' assembly) to protest against taxes on betel-nut and paan. Lt. Singer, a British officer got into a fracas with the peasants and was killed, after which the protests were violently suppressed.<br /><br />Chief Commissioner's Province (1874-1905): In 1874, the Assam region was separated from the Bengal Presidency, Sylhet was added to it and its status was upgraded to a Chief Commissioner's Province. The capital was at Shillong. The people of Sylhet protested the inclusion in Assam. Assamese, which was replaced by Bengali as the official language in 1837, was reinstated alongside Bengali. In 1889, oil was discovered at Digboi giving rise to an oil industry. In this period Nagaon witnessed starvation deaths, and there was a decrease in the indigenous population, which was more than adequately compensated by the immigrant labor. Colonialism was well entrenched, and the tea, oil and coal-mining industries were putting increasing pressure on the agricultural sector which was lagging behind.<br /><br />The peasants, burdened under the opium monopoly and the usury by money lenders, rose again in revolt. Numerous raiz mels decided against paying the taxes. The protests culminated in a bayonet charge against the protesters at Patharughat in 1894. At least 15 were left dead and in the violent repression that followed villagers were tortured and their properties were destroyed or looted. In 1903, Assam Association was formed with Manik Chandra Baruah as the first secretary.<br /><br />Eastern Bengal and Assam under Lt. Governor (1906-1912): Bengal was partitioned and East Bengal was added to the Chief Commissioner's Province. The new region, now ruled by a Lt. Governor, had its capital at Dhaka. This province had a 15-member legislative council in which Assam had two seats. The members for these seats were recommended (not elected) by rotating groups of public bodies.<br /><br />The Partition of Bengal was strongly protested in Bengal, and the people of Assam were not happy either. The partition was finally annulled by a royal decree in 1911. The Swadeshi movement (1905-1908) from this period, went largely unfelt in Assam, though it stirred some, most notably Ambikagiri Raychoudhury.<br /><br />Beginning 1905 peasants from East Bengal began settling down in the riverine tracts (char) of the Brahmaputra valley encouraged by the colonial government to increase agricultural production. Between 1905 and 1921, the immigrant population from East Bengal increased four folds. The immigration continued in post colonial times, giving rise to the Assam Agitation of 1979.<br /><br />Assam Legislative Council (1912-1920): The administrative unit was reverted to a Chief Commissioner's Province (Assam plus Sylhet), with a Legislative Council added. The Council had 25 members, of which the Chief Commissioner and 13 nominated members formed the bulk. The other members were elected by local public bodies like municipalities, local boards, landholders, tea planters and Muslims.<br /><br />As Assam got sucked into the Non-Cooperation Movement, the Assam Association slowly transformed itself into the Assam Pradesh Congress Committee (with 5 seats in AICC) in 1920-21.<br /><br />Dyarchy (1921-1937): Under the Government of India Act 1919 the Assam Legislative Council membership was increased to 53, of which 33 were elected by special constituencies. The powers of the Council were increased too; but in effect, the official group, consisting of the Europeans, the nominated members etc. had the most influence.<br /><br />Assam Legislative Assembly (1937-1947): Under the Government of India Act 1935, the Council was expanded into an Assembly of 108 members, with even more powers. The period saw the sudden rise of Gopinath Bordoloi and Muhammed Saadulah and their tussle for power and influence.<br /><a id="Post-colonial_Assam" name="Post-colonial_Assam"></a><br />Post-colonial Assam<br /><br />In 1979, Assam flared into Assam Agitation (or Assam Movement) a popular movement against illegal immigration. The movement, led AASU and AAGSP, set an agitational program to compel the government to identify and expel illegal immigrants and prevent new immigration. The agitational programs were largely non-violent, but there were incidents of acute violence, like the Nellie Massacre. It ended in 1985 following the Assam Accord that was signed by the agitation leaders and the Government of India. The agitation leaders formed a political party, Asom Gana Parishad, which came to power in the state of Assam in the Assembly elections of 1985.<br /><br /><br />$$$$$$$$$$$$$$$$$<br />Chronology<br />$$$$$$$$$$$$$$$$$<br /><br />350-380 AD Pushya Varman establishes the Varman dynasty in Kamarupa<br />636 Xuanzang visits the court of <a class="mw-redirect" title="Bhaskarvarman" href="http://en.wikipedia.org/wiki/Bhaskarvarman">Bhaskarvarman</a> (594-650 AD) in Kamarupa.<br />650 Bhaskarvarman dies. End of Varman dynasty<br />655 Salasthamba establishes Mlechchha dynasty in Kamarupa.Among Salastambha dynasty rulers Shri Harshadeva (725-750 AD) acquitted himself as a good king. After the last king of this dynasty, Tyaga Singha (970-990),<br />c900 Brahmapala establishes Pala dynasty in Kamarupa<br />c1100 Jayapala, the last Pala king removed by Ramapala of Gaur Year Medieval Assam Contemporaneous events Date source<br />1185 Prithu establishes the Khen dynasty and the Kamata kingdom<br />1187 Birpal establishes Chutiya kingdom 13th century<br />1189 Chutia king Birpal established his rule at Sadia<br />(1206 &1226 AD) The first Mohammedan invasion of Kamrupa took place during the reign of Prithu who was killed in a battle with Illtutmish's son Nassiruddin in 1228.<br />1228 Sukaphaa enters Assam<br />1252 Sukaphaa establishes capital at Charaideo<br />During the second invasion by Ikhtiyaruddin Yuzbak or Tughril Khan, about 1257 AD, the king of Kamrupa Saindhya (1250-1270AD) transferred the capital 'Kamrup Nagar' to Kamatapur in the west. From then onwards, Kamata's ruler was called Kamateshwar. During the last part of 14th century, Arimatta was the ruler of Gaur (the northern region of former Kamatapur) who had his capital at Vaidyagar. And after the invasion of the Mughals in the 15th century many Muslims settled in this State and can be said to be the first Muslim settlers of this region.<br /><br />1268 Sukafa died<br />1268-1281 - Suseupha's rule<br />1397-1407 - Sudangpha's rule<br />1497-1539- Suhungmung's reign is counted as one of the most memorable in 600 years of Ahom rule.He assumed the Hindu name Swarganarayan. He was popularly known as Dihingia Raja, because he shifted the Ahom capital to Bokota near Dihing river. He annexed the Chutia and the Kachari territories to the Ahom domains. He created a third class of Ministers: Borgohain, Buragohain and Borpatra Gohain. It was during his reign that the first ever census took place. The economic scenario of the State was also comprehensively surveyed. During his reign, the Mughals invaded thrice but they could not taste victory. This invasion taught Ahoms the use of gunpower, which was a deviation from the traditional system of warfare which comprised of bows, arrows and swords.<br />1539-1552--Suklengmung like Aurangjeb conspired to kill his father and became king, shifted the capital to Gargoan from Bokota which is why he is called 'Gargainya Raja'. Plenty of battles between Ahoms and the Koch took place during his reign. Under his supervision 'Gargaon Pukhuri', a pond, was dug and a road named 'Naga Ali' was constructed.<br /><br />1603--Susengpha, a descendant of Suklengmung, ascended the throne in 1603. He took on the name of Pratap Singha. It was during his time that war between Ahoms and Mughals reached its peak and needless to say that Pratap Singha acquitted himself with full honours and was able to extend the boundaries of the state. He created a new post of Barphukan to look after the administration of the areas beyond Kaliabor. The three classes of ministers Buragohain, Borgohain and Borpatra Gohain had their well defined areas to rule and those part of the kingdom which did not fall under their jurisdiction were brought under the control of Barbaruah, a new post created during the rule of Pratap Singha. Momai Tamuli Barbaruah was the first official to hold this post. Pratap Singha tried his level best to upgrade the life of citizens. He also introduced Pyke (common rayat) system. Under this system, people were divided into groups of 1000, 100 and 20, and over groups- officials Hazarika, Saikia and Bora were elected. Creation of other posts like Rohiyal Barua, Jagiyal Gohain, Kajalimukhiya Gohain is also credited to him. For his organizational capability, political acumen and his great wisdom, he is also known as Buddhi Swarganarayan.<br />Supungmung or Chakradhvaj Singha (1663- 1669) was an independent minded king who prepared himself for another fight against the Mughals. He enlisted the help of Lachit Barphukan, who was the son of Momai Tamuli Barbaruah. In August 1667, under the excellent leadership of Lachit Barphukan, the Ahoms were able to get back Guwahati and Pandu. Hearing the news of this defeat Aurangzeb sent a huge force with Ramsingh to attack the Ahom kingdom once again. A fierce battle took place between the Ahoms and the Mughals in 1671 at Saraighat. As expected, the Mughals suffered an ignominious defeat. Consequently in the west the Manas river became the demarcation line between the Ahom and Mughal territories and remained so until the British occupation in 1826 AD.<br />Supatpha or Gadapani who assumed the Hindu name Gadadhar Singha (1681-1696), waged a war against the Mughals which is also famously known as Itakhulir Rann (war of Itakhuli) and captured back Guwahati from the Mughals. He was a Shaivite and to help propagate this form of Hindu worship he built 'Umananda Devaloi' at Guwahati. He also built the 'Dhodar Ali', a road near Golaghat . Gadadhar Singha's eldest son Lai succeeded him. He took on the Hindu name of Rudra Singha (1696-1714) and the Ahom name Sukrumpha. In the honour of the memory of his mother Joymoti, he dug the Joysagar tank. Other architectural monuments and structures accredited to him are Kareng Ghar, stone bridge built over the Namdang river, Kharikatia Ali, Metaka Ali. Rudra Singha gave royal patronage to 'Bihu'. He also created Khels or positions like Khaund, Kotoki, Bairagi, Doloi, Kakoti.<br />In (1714-1744) Sutanpha, son of Rudra Singha took on the Hindu name of Siva Singha. He became a Shakti worshipper, as he was initiated in the tenets of the Shakti cult by Krishnaram Bhattacharya, who was later on installed as head priest of Kamakhya temple which is situated atop the Nilachal Hills. Siva Singha was a weak person who relied heavily on astrologers which explains the fact that when an astrologer told him that he was in danger of being dethroned, he installed his Queen Phuleswari, who assumed the name Pramateswari (one of the name Durga), as Bor Raj, or chief king, thus engineering the beginning of the end of the Ahom Dynasty. Phuleswari was an orthodox Shakti worshiper who persecuted the Moamoria Mahantas by forcibly making them to take prasad of Durga worship and anointing their foreheads with sacrificial blood. This resulted in the famous Moamoria rebellion. After Phuleswari died in 1731, Siva Singha married her sister Drupadi or Deopadi and made her the next Bor Raja, with the name Ambika. She was the one who constructed the Shiva Dol (temple) at Sibsagar, which is the highest Shiva temple in Assam. It was during her reign that 'Dhai Ali' was constructed at Sibsagar. Gauri Sagar tank and Sibsagar tank were dug at the instruction of 'Bor Raja' Phuleswari and Ambika respectively<br /><br />15th century<br /><br />1449 Srimanta Sankardev is born<br />1490 First Ahom-Kachari battle<br />1498 Hussein Shah of Gaur removes the last Khen ruler of Kamata kingdom<br /><br /><br />16th century<br /><br />1515 Vishwa Singha establishes Koch political power and Koch dynasty<br />1522 Chutiya kingdom annexed to Ahom Kingdom under Suhungmung<br />1527 Nusrat Shah's invasion, the first Muslim invasion of the <a title="Ahom kingdom" href="http://en.wikipedia.org/wiki/Ahom_kingdom">Ahom kingdom</a>, ends in failure.<br />1532 Turbak attacks Ahom Kingdom, the first commander to enjoy some success.<br />1533 Turbak defeated and killed. Ahoms pursue Gaur army to Karatoya river.<br />1536 Ahoms destroy Dimapur, the capital of the Kachari kingdom<br />1540 Nara Narayan succeeds his father to the throne of Kamata kingdom<br />1563 Chilarai occupies Ahom capital Garhgaon, end with Koch-Ahom treaty.<br />1568 Srimanta Sankardev dies<br />1581 Nara Narayana divides Kamata kingdom into Koch Bihar and Koch Hajo (to be governed by Raghudev).<br />1587 Naranarayana of <a title="Koch dynasty" href="http://en.wikipedia.org/wiki/Koch_dynasty">Koch dynasty</a> dies.<br />1588 Raghudev, son of Chilarai and ruler of Koch Hajo declares independence.<br /><br />17th century<br /><br />1609 Momai Tamuli Borbarua restructures Paik system in Ahom kingdom.<br />1609 Koch Bihar becomes a Mughal vassal<br />1613 Koch Hajo is annexed by the Mughal Empire<br />1615 Ahom-Mughal conflicts begin<br />1637 Bali Narayan dies of natural causes, and Koch rebellion again Mughals collapse<br />1639 Treaty of Asurar Ali signed between the Ahom kingdom and Mughal Empire<br />1662 Mir Jumla occupies Garhgaon, the Ahom capital.<br />1663 After Treaty of Ghilajharighat Mir Jumla returns to Dhaka, dies on the way.<br />1671 Ahoms win <a title="Battle of Saraighat" href="http://en.wikipedia.org/wiki/Battle_of_Saraighat">Battle of Saraighat</a><br />1679 Laluk-sola Borphukan deserts Guwahati<br />1681 Gadadhar Singha becomes Ahom swargadeo<br />1682 Ahoms win battle at Itakhuli. End of Ahom-Mughal conflicts with Ahom win<br /><br />18th century<br /><br />1714 Rudra Singha dies, and with him dies the Kachari, Jaintia etc. grand alliance to remove the Mughals from Bengal<br />1769 First phase of Moamoria rebellion, Ahom capital falls but recaptured in few months<br />1783 Ahom capital Rangpur fell the second time to Moamoria rebellion. Rebel leaders strike coins in their names.<br />1794 Captain Thomas Welsh restores Rangpur to Ahom king from Moamora rebels.<br /><br />19th century<br /><br />1817 The first Burmese invasion of Assam<br />1826 Treaty of Yandaboo signed<br />1832: Division of Assam into the districts of Goalpara, Kamrup, Darrang, Nagaon<br />1832:Kochaari Kingdom consisting of current districts of Karbi Anglong, Cachar and others annexed to Assam, made part of Nagaon district<br />1833: Upper Assam made an independent kingdom and Purandar Xingha made king 1834: Independent Kochaari Kingdom reestablished<br />1835: Tea Plantation Inauagarated<br />1835: Jaintia Hills were annexed to Assam<br />1836: Assamese language was replaced by Bengal as the official language of Assam<br />1838: Upper Assam again annexed by the British, districts of Sibsagar and Lakhimpur established<br />1842: Matak Kingdom around Xodiyaa annexed by British into Assam<br />1850: Kochaari Kingdom re-annexed to Assam<br />1861 Phulaguri Dhawa, the first peasant uprising against British rule was repressed<br />1866: Angaami Naga Kingdom annexed to Assam, made a district<br />1869: Garo Kingdom annexed to Assam, made a district<br />1873: Assamese was once again made the official language of Assam after a period of 37 years<br />1874: Assam separated from Bengal and made into a separate province<br />1884: Jagannath Baruah formed the first socio cultural organisation and named it Sarbajanik Sabha at Jorhat.<br />1886: Assam's participation in the national wave dates back to 1886 at the second session of Indian National Congress held at Calcutta, where Debi Chandra Baruah, Gopinath Bordoloi, Kamini Kumar Chandra, Bipin Chandra Pal, Satyanath Baruah, Joy Gobindasom represented Assam.<br />1894 Patharughat, peasant uprising against British taxes left about 140 peasants dead Year Post Indian Independence Assam Contemporaneous events Date source<br />1898: Lushaai Kingdom annexed by British, made a district of Assam<br /><br />20th Century<br /><br />1905-12: Assam made a part of the new province of East Bengal and Assam under a lieutenant governor<br />1912: Division of Bengal ends, Assam made a part of Bengal again; Assam is overseen by a chief commissioner<br />The year 1912 is a memorable year is the annals of Assam history because of three things, which were: (1) Gandhiji's visit to Assam, (2) Strikes by Assam Bengal train service and steamer companies, which were the cause of widespread unrest and (3) After a period of 63 years i.e., in 1912, Assam passed into the hands of a Governor, thus paving the way for a dual administration, which lasted till 1936.<br />1916 the Assam Chatra Sanmilan formed<br />1917: Kuki Naga Kingdom annexed to the District of Nagaland in Assam<br />1917 Assam Sahitya Sabha(formerly known as Sadou Asom Sahitya Sanmilani) was formed.<br />1919: Assam made a separate province again, Sylleht made a district of Assam<br />1919: Assam Association formed by Manik Chandra Baruah, joined the Assam branch of Indian National Congress.<br />1921: Governorship is created in Assam<br />1947: District of Sylleht votes to join East Pakistan<br />1948: University established in Guwahati<br />1948: North East Frontier Agency was separated from Assam, for security reasons<br />1951: Dewangiri in Kamrup ceded to Bhutan<br />1962: Indo-China war. Assam and the North-East faced the brunt of the war. It was a big psychological blow to the people of the North-East and it sent a strong signal to prospective investors that Assam is not a safe place for investment. The 1962 war also perhaps changed the perspective of the national policy makers vis-a-vis Assam from development to defence. Soon thereafter the Indo-Pak war of 1965 broke out. Once again Assam had to go through the trauma of the war. The riverine route from Assam to the outside world through the then East Pakistan were sealed as a result of the war. The next severe blow came in 1971 when Assam not only had to suffer the war-time tension and inconveniences of the Bangladesh liberation war but also had to give shelter to millions of refugees from erstwhile East-Pakistan for more than a year.<br />1963: District of Nagaland separated from Assam and made into a state<br />1972: NEFA, Garo and Khaasiyaa Hills, Mizoram, Manipur, Tripura separated from Assam.Gaaro and Khaasiyaa Hills become the state of Meghalaya(21st Jan. 1972), Manipur and Tripura also become a state.<br />1974: Assam shifts its capital from Shillong to Guwahati.<br />1979 <a title="Assam Agitation" href="http://en.wikipedia.org/wiki/Assam_Agitation">Assam Agitation</a> begins<br />1985 Assam Accord signed. End of Assam Agitation<br />1987 NEFA becomes the state of Arunachal Pradesh, Mizoram becomes a state.<br />1989-91 President's Rule imposed in assam and Operation Bajrang and Operation Rhino is carried out by Indian Army to flush out ULFA terrorists.<br />1991-Till now President's Rule was revoked in 1991 and normalcy slowly returns through election of new governments under Hiteshwar Saikia, Prafulla Mahanta and two consecutive terms by Tarun Gogoi.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />History of the Assam Pradesh Congress Committee<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Background and Formation <br /><br />The birth of the Assam Pradesh Congress Committee can be traced to a historical past. Just as the mother organisation, the Indian National Congress have its roots in the freedom movement, the formation of the Assam Pradesh Congress Committee was an outcome of nationalist zeal against British rule. <br /><br />British occupation of Assam after the Treaty of Yandaboo in 1826 exposed its people to the sinister machinations of British imperialist designs. The winds of dissension against alien dominance which was beginning to stir the people of India in the early 19th century began to have its impact in Assam as well. Assam was an active participant in the 1857 `War of Independence' when personalities like Maniram Dewan and Piyali Barua were sentenced to death for anit-British rebellion. Gradually the voice of dissent against British rule found expression in the writings of several prominent personalities of the time arousing feelings of nationalism. Several socio-cultural organisatons were formed to highlight the problems and aspirations of the common people. But a real political organisation in the true sense of the term was formed in 1884 by Jagannath Baruah in Jorhat called the Jorhat Sarbajanik Sabha. The Sabha was organised `for the purpose of representing the wishes and aspirations of the people to the government…' . <br /><br />The formation of the Indian National Congress in 1885 marked the beginning of a new era in the freedom movement of India. In Assam the intelligentsia were moved by the ideals of the Indian National Congress and a telegram was sent to the first session of the Congress held in Bombay `welcoming the idea of Congress and wishing its success'. Thereafter many organisations began to send their representatives to the various sessions of the Congress. In the second session of the Congress held in Calcutta in 1886, the Indian National Congress was able to attract grassroot level representatives like Gopinath Bordoloi and Debi Charan Baruah of Upper Assam Association, Kali Kanta Barkakoti of Shillong Association, Satyanath Borah of Nowgong Ryot Association, Bipin Chandra Pal of Sylhet Association and Joy Gobinda Shome and Kamini Kumar Chanda of Habiganj People's Association. <br /><br />The need of the hour was however a broad based provincial forum to apprise the Government of the wishes and aspirations of the people and urge for reforms in administration for people's welfare. This led to the preparation of groundwork for the formation of the Assam Association in 1903 and subsequently in 1905 , in its first session held in Dibrugarh it formally elected Raja Prabhat Chandra Baruah as its President , Jagannath Baruah as Vice-President and Manik Chandra Baruah as General Secretary. The Association served as the mouth piece of the people of Assam in presenting to the authorities their 'needs and grievances, hopes and aspirations'. The Assam Association played a major role in maintaining the unity and integrity of Assam at the time of the Partition of Bengal in 1905 and its efforts led to the declaration of Assam as a major province equal in status with other provinces of India. Gradually the Assam Association got actively involved with the programmes initiated by the Indian National Congress like the Non-Co-operation Movement. Finally its members felt that Association should identify itself with the aims and ideals of the Indian National Congress and change its provincial outlook in order to serve the larger interest of the country's ultimate goal in the struggle for freedom. A discussion to this effect took place at a meeting of the association held at Jorhat on 18th April, 1921 with Chobilal Upadhyay in the chair.In a subsequent resolution , at the initiative of leaders like Chobilal Upadhyay , Nabin Chandra Bordoloi, Krishna Kanta Bhattacharya decided to merge itself in the newly formed Assam Provincial Congress Committee(APCC) in 1921 which was affiliated to the Indian National Congress.By virtue of being the President of the meeting which initiated the formation of the APCC, Chobilal Upadhyay is regarded as the first President of the APCC.<br /><br />Subsequently, an ad hoc committee of Assam Provincial Congress Committee (APCC) was formed in June 1921,with its headquarter at Guwahati and Kuladhar Chaliha as its president. Later Tarun Ram Phookan became the president and the reconstituted APCC elected Phookan, Gopinath Bordoloi, Bimala Prasad Chaliha, Chandranath Sarmah, Krishna Nath Sarmah and Kanak Chandra Sarmah as members of the All India Congress Committee. Under the initiative of the new committee Gandhiji was invited to Assam in 1921 to propagate the message of non-co-operation amongst the masses. His visit gave tremendous impetus to the congress workers to carry out the non-cooperation movement and implement the principles of Swadeshi. In 1926, the 41st All India Congress Committee session was hosted by the Assam provincial Congress Committee at Pandu, Guwahati which was presided over by Srinivas Iyenger. A galaxy of front ranking national leaders like Motilal Nehru, Sardar Ballav Bhai Patel, Dr.Rajendra Prasad, Madan Maohan Malaviya, Muhammad Ali, Shaukat Ali, Sarojini Naidu, S.Satyamurthy, Abul Kalam Azad, et al, attended the session.<br /><br />In subsequent years leaders like Bishnuram Medhi, Siddhinath Sarmah, Maulana Tayebullah, Ambikagiri Raichoudhury and a host of prominent members took the initiative to implement the plans and programmes of the Indian National Congress to further the cause of the freedom movement. The first officially elected President of the Assam Provincial Congress Committee was Bishnuram Medhi who was elected in 1930 for a period of 9 years. Prior to independence weathering several ups and downs the Congress party finally secured a major victory in the general elections held in 1946 and Lokapriya Gopinath Bordoloi became the first Premier of the Assam Province. In 1946 when the Cabinet Mission proposed to merge Assam and the entire North East into `C' group with east Bengal, the Congress party under Bordoloi fought tooth and nail the Mission's proposal, succeeding in establishing Assam's separate identity and inclusion in India. <br /><br />After independence the Congress party continued to hold power under the leadership of Lokapriya Gopinath Bordoloi. The contributions of the Congress leadership of Assam in the process of nation building starting from the conceptual exercises to final implementation of plans and policies are far too many to be elaborated here. But it can be stated in no uncertain terms that the wheels of development in the state started rolling as a result of the able leadership of the Congress.<br /><br />Subsequently the Assam Provincial Congress Committee came to be called as Assam Pradesh Congress Committee. <br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Historical Profile of Assam Legislative Assembly<br />$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />The Assam Legislative Assembly came into being on the day of its first sitting on April 7, 1937 in the Assembly Chamber at Shillong, the erstwhile Capital of the composite State of Assam.<br />Situated in the North East of the Country, Assam has had a glorious history of her own. Popularly known as the ethnological museum of India, Assam has been described as Mini-India, having a rich cultural heritage with diverse race, religion and culture. Assam under the provisions of India Council Act, 1861 did not have its own democratic institution but was tagged with East Bengal in 1905 and the Institution was then called "Legislative Council of Eastern Bengal and Assam", which started functioning from December 18, 1906. In 1909, the Council had a strength of 40 members and out of 40 seats, Assam was allotted 5 seats. In 1912 Assam was reconstituted into a Chief Commissioners' province. In the year 1913, after Assam was granted a Legislative Council under the Government of India Act. 1909, the Assam Legislative Council came into being with a strength of 34 members of which 13 were nominated by the Chief Commissioner and 21 were elected by the people. The Legislative Council of Assam first met on 6th January, 1913 at 11 a.m. at Shillong, which was presided over by Sir Archdale Easle, the Chief Commissioner of Assam. Under the Government of India Act. 1919, the strength of the Legislative Council was raised to 53 members with effect from Ist April, 1921 of which 41 were elected members and the remaining 12 were nominated.<br />Assam AssemblySince 1937<br /><br />The Government of India Act, 1935 was adopted by the British Parliament on 2nd August, 1935 and was implemented in 1937. The Government of India Act 1935 made provisions for a Legislative Assembly in each province and as a result the Legislature in Assam became bicameral. The Assam Legislative Assembly had the strength of 108 members and all of them were elected members. the strength of the Legislative Council (Upper House) was not less than 21 and not more than 22 members.<br />After the partition of India, Sylhet district of Assam was transferred to the then East Pakistan by a referendum and the strength of the Assembly was reduced to 71. However, after Independence, the strength of members were again raised to 108. The bicameral Assam Legislative Assembly became unicameral with the abolition of the Assam Legislative Council in 1947. In the years that followed, Assam was truncated to several smaller states. In 1963, Nagaland came into being as a separate State. With the passing of North Eastern (Reorganization Areas) Act in 1971 by the Parliament, Meghalaya became a full-fledged state. Subsequently, Mizoram and Arunachal Pradesh also followed suit. After the creation of Meghalaya as a separate state, Shillong continued to be the joint capital of both Assam and Meghalaya. However, in 1972, the Government of Assam decided to shift the Capital to Dispur, Guwahati. Accordingly, the first sitting of the Budget Session of the Assam Legislative Assembly was held at the temporary capital at Dispur on the 16th March, 1973.<br />With the changing geographical boundaries together with the shifts in the population graph of Assam, the strength of members of the Assam Legislative Assembly has fluctuated during the last fifty odd years. In 1952-57 it was 108, reaching still lower to 105 in 1957-62 (the Second Assembly) and then to 114 in 1967-72 (the third Assembly) until it reached a strength of 126 members in 1972-78 (the fifth Assembly) and it has continued to maintain that figure till the 11th Assembly.<br />Although the Article 172 provides the duration of State Legislative Assembly as 5 years due to the imposition of National Emergency in 1975 the fifth Assam Assembly lasted for 6 years.<br />The Assam Legislative Assembly has so far 16 Speakers since its inception. Late Babu Basanta Kumar Das was the first and Shri Tanka Bahadur Rai is at present the elected Speaker of the latest Assam Legislative Assembly.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$<br />Governors of Assam<br />(since 1937 onwards )<br />$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1.H.E. Sir Henry Joseph Tuynam K.C.S.I.C.I.E. 24th Feb. 19384th Octber 1939<br />2.H.E. Sir Robert Niel Reid. K.C.S.I.K.C.I.E. (K) 5th October, 19393rd May 1942<br />3.H.E. Sir Andrew Gourlay Clow K.C.S.I.C.I.E.4th May, 1942<br />4.H.E. Sir Rederik Chalmers Bourne C.B.I.C.I.E., ICS4th April, 1946<br />5.H.E. Sir Henry Foley Knight4th Sept, 194623rd Dec., 1946<br />6.H.E. Andrew Gourlay Clow K.C.S.I.C.I.E., ICS24th Dec., 1946 3rd May, 1947<br />7. H.E. Sir Akbar Hydari K.C.I.E.C.S.I., ICS4th May, 194728th Dec.1948<br />8.H.E. Ronald Francis Lodge, ICS30th Dec., 194815th Feb., 1949<br />9.Shri Sri Prakasa16th Feb., 194926th May, 1950<br />10.H.E. Shri Jairam Das, Daulatram27th May, 195014th May, 1956<br />11.Shri Saiyid Fazal Ali15th May, 195622nd August 1959<br />12.Shri Justice Chandreswar Prasad Sinha, Chief Justice, Assam23rd August, 195913th Oct., 1959<br />13.General Satyavant Mallannah Shrinagesh14th Oct., 195912th Nov., 1960<br />14.Shri Vishnu Sahay, ICS12th Nov., 1960 12th Jan., 1961<br />15.General Satyavant Mallannath Shrinagesh13th Jan., 19617th Sep., 1962<br />16.Shri Vishnu Sahay, ICS7th Sept., 196216th April, 1968<br />17.Shri B.K. Nehru, ICS17th April, 19687th Dec., 1970<br />18.Shri Justice P.K. Goswami, Chief Justice, Assam8th Dec., 19704th Jan. 1971.<br />19.Shri B.K. Nehru, ICS5th Jan., 197118th Sept., 1973.<br />20.Shri L.P. Singh, ICS19th Sept., 197310th August, 1981.<br />21.Shri P. Mehrotra10th Aug. 198127th March, 1984.<br />22.Shri T.S. Misra28th March, 198415th April, 1984.<br />23.Shri B. N. Sing15th April, 198410th May, 1989.<br />24.Shri Harideo Joshi10th May, 198921st July, 1989.<br />25.Shri Justice Anisetti Roghuvir, Chief Justice, Assam21st July, 19892nd May, 1990.<br />26.Shri D. D. Thakur2nd May, 199017th March, 1991.<br />27.Shri Lok Nath Misra17th March, 19911st Sept., 1997.<br />28.Lt.Gen.(Retd.) S.K. Sinha, PVSM1st Sept., 19974th June, 2003.<br />29.Lt. Gen.(Retd.) Ajai Singh, PVSM, AVSM 5th June, 2003.<br /><br /><br />$$$$$$$$$$$$$$$$$$$$<br />Chief Ministers of Assam<br />since 1937 onwards<br />$$$$$$$$$$$$$$$$$$$$<br /><br />1.Maulavi Saiyid Sir Muhammad Saadulla, PremierApril 1, 1937September 19, 1938<br />2.<a href="http://assamassembly.gov.in/images/cm-bordoloi-2.png" target="_new"></a>Gopinath Bordoloi, PremierSeptember 19, 1938November 17, 1939<br />3.Maulavi Saiyid Sir Muhammad Saadulla, PremierNovember 17, 1939December 24, 1941 4.Maulavi Saiyid Sir Muhammad Saadulla, PremierAugust 25, 1942February 11, 1946 5.Gopinath Bordoloi, PremierFebruary 11, 1946August 6, 1950<br />6.Bishnu Ram MedhiAugust 9, 1950December 27, 1957<br />7.B.P. ChalihaDecember 28, 1957November 6, 1970<br />8.Mohendra Mohan ChoudhuryNovember 11, 1970January 30, 1972<br />9.Shri Sarat Chandra SinhaJanuary 31, 1972March 12, 1978<br />10.Shri Golap BorboraMarch 12, 1978September 4, 1979<br />11.Shri Jogendra Nath HazarikaSeptember 9, 1979December 11, 1979<br />12.Shrimati Anowara TaimurDecember 6, 1980June 30, 1981<br />13.Shri Kesab Chandra GogoiJanuary 13, 1982March 19, 1982<br />14.Shri Hiteswar SaikiaFebruary 27, 1983December 23, 1985<br />15.Shri Prafulla Kumar MahantaDecember 24, 1985November 27, 1990<br />16.Shri Hiteswar SaikiaJune 30, 1991April 22, 1996<br />17.Dr. Bhumidhar BarmanApril 22, 1996May 14, 1996<br />18.Shri Prafulla Kumar MahantaMay 15, 1996May, 17, 2001<br />19.Shri Tarun GogoiMay 17, 2001<br /><br />$$$$$$$$$$$$$$$$$$$$<br />Speakers of Assam Legislative Assembly<br />since 1937 onwards<br />$$$$$$$$$$$$$$$$$$$$<br /><br />1. Babu Basanta Kumar DasApril 7, 1937March 11, 1946<br />2.Shri Debeswar SarmahMarch 12, 1946October 10, 1947<br />3.Shri Laksheswar BarooahNovember 5, 1947March 3, 1952<br />4.Shri Kuladhar ChalihaMarch 5,1952June 7, 1957<br />5.Shri Dev Kant BarooahJune 8, 1957September 15, 1959<br />6.Shri Mahendra Mohan ChoudhuryDecember 9, 1959March 19, 1967<br />7.Shri Hareswar GoswamiMarch 20, 1967May 10, 1968<br />8.Shri Mahi Kanta DasAugust 27, 1968March 21,1972<br />9.Shri Ramesh Ch. BarooahMarch 22, 1972March 20, 1978<br />10.Shri Jogendra Nath HazarikaMarch 21, 1978September4, 1979<br />11.Shri Sheikh Chand MohammadNovember 7, 1979January 7, 1986<br />12.Shri Pulakesh BaruaJanuary 9, 1986July 27,1991<br />13.Shri Jiba Kanta GogoiJuly 29, 1991December 9, 1992<br />14.Shri Debesh Chandra ChakravortyDecember 21, 1992June 11, 1996<br />15.Shri Ganesh KutumJune 12, 1996May 24, 2001<br />16.<a href="http://assamassembly.gov.in/biodata-speaker-2001-06.html"></a>Shri Prithibi MajhiMay 30, 2001May 19, 2006<br />17.<a href="http://assamassembly.gov.in/biodata-speaker.html"></a>Shri Tanka Bahadur RaiMay 29, 2006-<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Term-wise list of Members since 1937<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />1.<a href="http://assamassembly.gov.in/mla-1937-46.html">1937-1946</a><br />2.<a href="http://assamassembly.gov.in/mla-1946-52.html">1946-1952</a><br />3.<a href="http://assamassembly.gov.in/mla-1952-56.html">1952-1956</a><br />4.<a href="http://assamassembly.gov.in/mla-1957-62.html">1957-1962</a><br />5.<a href="http://assamassembly.gov.in/mla-1962-67.html">1962-1967</a><br />6.<a href="http://assamassembly.gov.in/mla-1967-72.html">1967-1972</a><br />7.<a href="http://assamassembly.gov.in/mla-1972-78.html">1972-1978</a><br />8.<a href="http://assamassembly.gov.in/mla-1978-83.html">1978-1983</a><br />9.<a href="http://assamassembly.gov.in/mla-1983-85.html">1983-1985</a><br />10.<a href="http://assamassembly.gov.in/mla-1985-91.html">1985-1991</a><br />11.<a href="http://assamassembly.gov.in/mla-1991-96.html">1991-1996</a><br />12.<a href="http://assamassembly.gov.in/mla-1996-01.html">1996-2001</a><br />13.<a href="http://assamassembly.gov.in/mla-2001-06.html">2001-2006</a><br />14.2006-2011<br /><br />#####<br />Shri Methias Tudu has represented Gossaigaon constituency for a record 8 terms. (1957-1962,1962-1967,1967-1972,1972-1978,1978-1983,1983-1985,1985-1991, 2001-2006)Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com2tag:blogger.com,1999:blog-7823291760828692160.post-89117925537106721792008-02-26T07:40:00.000-08:002008-06-11T07:28:31.568-07:00Assamese Language and Literature<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-zw6T1zpI/AAAAAAAADfc/gIIByJ42q4g/s1600-h/ambikagiri+raichowdhury.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-zw6T1zpI/AAAAAAAADfc/gIIByJ42q4g/s400/ambikagiri+raichowdhury.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210580946758520466" /></a><br />..................Ambikagiri Roy Chowdhury....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-zxSDqlkI/AAAAAAAADfk/cEvHX7wldko/s1600-h/atulchandra+hazarika.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-zxSDqlkI/AAAAAAAADfk/cEvHX7wldko/s400/atulchandra+hazarika.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210580953133127234" /></a><br />..................Atul Chandra Hazarika....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-zxmQfuII/AAAAAAAADfs/iJceP3FY3yM/s1600-h/benudhar+sharmaa.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-zxmQfuII/AAAAAAAADfs/iJceP3FY3yM/s400/benudhar+sharmaa.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210580958555650178" /></a><br />......................Benudhar Sharma...........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-xmZeRaQI/AAAAAAAADe8/0oBFkDXohNw/s1600-h/brajen+baruwa.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-xmZeRaQI/AAAAAAAADe8/0oBFkDXohNw/s400/brajen+baruwa.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210578567121955074" /></a><br />..................Rudra Baruah....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-xmx8Kh0I/AAAAAAAADfE/AMhMbiHeWPo/s1600-h/bishnu+rava.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-xmx8Kh0I/AAAAAAAADfE/AMhMbiHeWPo/s400/bishnu+rava.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210578573689784130" /></a><br />..................Bishnu Prasad Rabha....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-xnEgznQI/AAAAAAAADfM/WoIH5DPkhas/s1600-h/birendra+kumar+bhattacharya.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-xnEgznQI/AAAAAAAADfM/WoIH5DPkhas/s400/birendra+kumar+bhattacharya.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210578578675309826" /></a><br />..................Birendra Kumar Bhattacharya....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-xnldakDI/AAAAAAAADfU/TZUDhQd7sBw/s1600-h/bhabendra+nath+saikia.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-xnldakDI/AAAAAAAADfU/TZUDhQd7sBw/s400/bhabendra+nath+saikia.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210578587519455282" /></a><br />....................Bhabendranath Saikia....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-xl7Z3bwI/AAAAAAAADe0/-pGdWK0mxeo/s1600-h/chandra+kr+agarwala.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-xl7Z3bwI/AAAAAAAADe0/-pGdWK0mxeo/s400/chandra+kr+agarwala.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210578559050411778" /></a><br />..................Chandra Kumar Agarwala....................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wev_PdFI/AAAAAAAADeM/FY3paIfrSiw/s1600-h/jatindranath+duwarah.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wev_PdFI/AAAAAAAADeM/FY3paIfrSiw/s400/jatindranath+duwarah.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210577336215237714" /></a><br />.....................Jatindranath Duwarah.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wew4qWZI/AAAAAAAADeU/-TN8KW6Xem8/s1600-h/hemchandra+goswami.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wew4qWZI/AAAAAAAADeU/-TN8KW6Xem8/s400/hemchandra+goswami.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210577336456075666" /></a><br />.....................Hemchandra Goswami.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-wfETo7eI/AAAAAAAADec/MK2c1rPrm6U/s1600-h/drsuryakumar+bhuyan.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-wfETo7eI/AAAAAAAADec/MK2c1rPrm6U/s400/drsuryakumar+bhuyan.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210577341669502434" /></a><br />.....................Dr. Surya Kumar Bhuyan.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wfSPcG8I/AAAAAAAADek/plFO2NaJDO8/s1600-h/dr+birinchi+baruah.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-wfSPcG8I/AAAAAAAADek/plFO2NaJDO8/s400/dr+birinchi+baruah.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210577345409981378" /></a><br />.....................Dr. Birinchi Kumar baruah.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-wf1Qr8-I/AAAAAAAADes/CgQGluWZi6U/s1600-h/dr+banikanto+kakoty.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-wf1Qr8-I/AAAAAAAADes/CgQGluWZi6U/s400/dr+banikanto+kakoty.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210577354810455010" /></a><br />.....................Dr. Bani Kanto kakoty.......................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-sq2ZxJnI/AAAAAAAADc8/MMoPzEpupmg/s1600-h/laxmi+nath+phookan.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-sq2ZxJnI/AAAAAAAADc8/MMoPzEpupmg/s400/laxmi+nath+phookan.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210573146049029746" /></a><br />...................Laxminath Phukan........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-sraOIglI/AAAAAAAADdE/yhMc8EyFbCY/s1600-h/kkhandique.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-sraOIglI/AAAAAAAADdE/yhMc8EyFbCY/s400/kkhandique.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210573155663905362" /></a><br />...................Krishna Kanto Handique........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssIi9bUI/AAAAAAAADdM/qQNYuYaPPn8/s1600-h/keshav+mahanta.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssIi9bUI/AAAAAAAADdM/qQNYuYaPPn8/s400/keshav+mahanta.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210573168099290434" /></a><br />...................Keshab Mahanta........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssYlY6cI/AAAAAAAADdU/PjkbyLpXRTc/s1600-h/kamalakanta+bhattacharya.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssYlY6cI/AAAAAAAADdU/PjkbyLpXRTc/s400/kamalakanta+bhattacharya.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210573172404447682" /></a><br />...................Kamalakanta Bhattacharya........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssydyPOI/AAAAAAAADdc/bGG5jl89FTE/s1600-h/jyoti+agarwala.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-ssydyPOI/AAAAAAAADdc/bGG5jl89FTE/s400/jyoti+agarwala.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210573179351874786" /></a><br />...................Jyoti Prasad Agarwalla........................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-qBqImkWI/AAAAAAAADcU/We_eTBo7gLM/s1600-h/nabakanta+baruah.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-qBqImkWI/AAAAAAAADcU/We_eTBo7gLM/s400/nabakanta+baruah.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210570239357915490" /></a><br />............Nabakanta Baruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-qB5UMFkI/AAAAAAAADcc/zr28eb9Qp9s/s1600-h/mofizuddin+ahmed+hazarika.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-qB5UMFkI/AAAAAAAADcc/zr28eb9Qp9s/s400/mofizuddin+ahmed+hazarika.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210570243433043522" /></a><br />............Mofizuddin Ahmed Hazarika................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-qCPXMcxI/AAAAAAAADck/NnEEVcUMEe4/s1600-h/mitra+dev.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-qCPXMcxI/AAAAAAAADck/NnEEVcUMEe4/s400/mitra+dev.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210570249351230226" /></a><br />............Mitrodev Mahanta................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-qCY558xI/AAAAAAAADcs/ubNiTqBQ3qc/s1600-h/maheswar+neog.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-qCY558xI/AAAAAAAADcs/ubNiTqBQ3qc/s400/maheswar+neog.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210570251912737554" /></a><br />............Maheswar Neog................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-qCvZLeEI/AAAAAAAADc0/zzvyAfgnrK8/s1600-h/laxminath+Bezbaruah.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-qCvZLeEI/AAAAAAAADc0/zzvyAfgnrK8/s400/laxminath+Bezbaruah.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210570257949489218" /></a><br />............Lakshminath Bezbaruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-otrVt75I/AAAAAAAADbs/56BaQ-ZWF1U/s1600-h/phoni+sarma.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-otrVt75I/AAAAAAAADbs/56BaQ-ZWF1U/s400/phoni+sarma.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568796572348306" /></a><br />............Phoni Sarma................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-otzOwjZI/AAAAAAAADb0/7Ekpe_D4ZTk/s1600-h/parbati+prasad+barua.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-otzOwjZI/AAAAAAAADb0/7Ekpe_D4ZTk/s400/parbati+prasad+barua.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568798690643346" /></a><br />............Parbati Prasad Baruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-ouBu38hI/AAAAAAAADb8/wIgh-3mNJu4/s1600-h/padmanath+gohai+baruwa.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-ouBu38hI/AAAAAAAADb8/wIgh-3mNJu4/s400/padmanath+gohai+baruwa.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568802583441938" /></a><br />............Padmanath Gohain Baruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-ouWK10hI/AAAAAAAADcE/p5cYdcxaM1M/s1600-h/nip+barua.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-ouWK10hI/AAAAAAAADcE/p5cYdcxaM1M/s400/nip+barua.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568808069452306" /></a><br />............Nip Baruah................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-oujI_lOI/AAAAAAAADcM/Pkv7Jdraphk/s1600-h/nalinibala+devi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SE-oujI_lOI/AAAAAAAADcM/Pkv7Jdraphk/s400/nalinibala+devi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568811551364322" /></a><br />............Nalinibala Devi................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-oDHFwtpI/AAAAAAAADbE/4TfsMyd6JI8/s1600-h/xilobhadraaa.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SE-oDHFwtpI/AAAAAAAADbE/4TfsMyd6JI8/s400/xilobhadraaa.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568065287239314" /></a><br />............Xilobhadro- Rebotimohan dutta chowdhury................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oE83UjeI/AAAAAAAADbM/GOt92EQhoqA/s1600-h/syed+abdulmalik.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oE83UjeI/AAAAAAAADbM/GOt92EQhoqA/s400/syed+abdulmalik.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568096902057442" /></a><br />............Syed Abdul Malik................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oFe9eHpI/AAAAAAAADbU/MUXycXJ2SBk/s1600-h/saurav+chalihaa.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oFe9eHpI/AAAAAAAADbU/MUXycXJ2SBk/s400/saurav+chalihaa.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568106054655634" /></a><br />............Saurav Kumar Chaliha................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-oFyp7XCI/AAAAAAAADbc/Fmmdrd5ITdM/s1600-h/rajani+kanto+bordoloi.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SE-oFyp7XCI/AAAAAAAADbc/Fmmdrd5ITdM/s400/rajani+kanto+bordoloi.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568111341394978" /></a><br />............Rojoni Kanta bordoloi................<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oGOsHQ7I/AAAAAAAADbk/ZyIXflyNXlI/s1600-h/raghunath+choudhary.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SE-oGOsHQ7I/AAAAAAAADbk/ZyIXflyNXlI/s400/raghunath+choudhary.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5210568118866756530" /></a><br />............Raghunath chowdhury................<br />$$$$$$$$$$$$$$$$$$$$$$$<br />Assamese Language<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Assamese (অসমীয়া Ôxômiya) (IPA: [ɔxɔmija]) is a language spoken in the state of Assam in northeast India. It is also the official language of Assam. It is spoken in parts of Arunachal Pradesh and other northeast Indian states. Small pockets of Assamese speakers can be found in Bhutan and Bangladesh. The easternmost of Indo-European languages, it is spoken by over 20 million people.The English word "Assamese" is built on the same principle as "Japanese", "Taiwanese", etc. It is based on the English word "Assam" by which the tract consisting of the Brahmaputra valley is known. The people call their state Ôxôm and their language Ôxômiya.Formation of AssameseAssamese and the cognate languages, Bengali and Oriya, developed from Magadhi Prakrit, the eastern branch of the Apabhramsa that followed Prakrit. Written records in an earlier form of the Assamese script can be traced to 6th/7th century AD when Kamarupa (part of present-day Bengal was also a part of ancient Kamarupa) was ruled by the Varman dynasty. Assamese language features have been discovered in the 9th century Charyapada, which are Buddhist verses discovered in 1907 in Nepal, and which came from the end of the Apabhramsa period. Earliest examples of the language appeared in the early 14th century, composed during the reign of the Kamata king Durlabhnarayana of the Khen dynasty. Since the time of the Charyapada Assamese has been influenced by the languages belonging to the Sino-Tibetan and Austroasiatic families.WritingAssamese uses the Assamese script, a variant of the Eastern Nagari script, which traces its descent from the Gupta script. There is a strong tradition of writing from early times. Examples can be seen in edicts, land grants and copper plates of medieval kings. Assam had its own system of writing on the bark of the saanchi tree in which religious texts and chronicles were written. The present-day spellings in Assamese are not necessarily phonetic. Hemkosh, the second Assamese dictionary, introduced spellings based on Sanskrit which are now the standard.Morphology and grammarThe Assamese language has the following characteristic morphological features* Gender and number are not grammatically marked* There is lexical distinction of gender in the third person pronoun.* Transitive verbs are distinguished from intransitive.* The agentive case is overtly marked as distinct from the accusative.* Kinship nouns are inflected for personal pronominal possession.* Adverbs can be derived from the verb roots.* A passive construction may be employed idiomatically.PhoneticsThe Assamese phonetic inventory consists of eight oral vowel phonemes, three nasalized vowel phonemes, fifteen diphthongs (two nasalized diphthongs) and twenty-one consonant phonemes .Voiceless Velar FricativeUnlike most eastern Indic languages, Assamese is also noted for the presence of the voiceless velar fricative x, historically derived from what used to be coronal sibilants. The derivation of the velar fricative from the coronal sibilant [s] is evident in the name of the language in Assamese; some Assamese prefer to write Oxomiya/Ôxômiya instead of Asomiya/Asamiya to reflect the sound, represented by [x] in the International Phonetic Alphabet. This sound [x] was present in Vedic Sanskrit, but disappeared in classical Sanskrit. It was brought back into the phonology of Assamese as a result of lenition of the three Sanskrit sibilants. This sound is present in other nearby languages, like Chittagonian.The sound is variously transcribed in the IPA as a voicelss velar fricative [x], a voiceless uvular fricative [χ], and a voiceless velar approximant by leading phonologists and phoneticians. Some variations of the sound is expected within different population groups and dialects, and depending on the speaker, speech register, and quality of recording, all three symbols may approximate the acoustic reading of the actual Assamese phoneme.Assamese literatureThere is a growing and strong body of literature in this language. The first characteristics of this language (along with Bangali and Oriya) are seen in the Charyapadas composed in the 8th-12th century. The first examples emerge in writings of court poets in the 14th century, the finest example of which is Madhav Kandali's Kotha Ramayana, as well as popular ballad in the form of Ojapali. The 16th--17th century saw a flourishing of Vaishnavite literature, leading up to the emergence of modern forms of literature in the late 19th century.<br /><br />Assamese literature is the entire corpus of poetry, novels, short stories, documents etc written in the Assamese language. It also includes such writings and popular ballads in the older forms of the language during its evolution to the contemporary form. The rich literary heritage of the Assamese language can be traced back to the 6th century in the Charyapada, where the earliest elements of the language can be discerned.<br /><br />$$$$$$$$$$$$$<br />Assamese Literature<br />$$$$$$$$$$$$$<br /><br /><br />$$$$$$$$$$$$$<br />History<br />$$$$$$$$$$$$$<br /><br />The history of the Assamese literature may be broadly divided into three periods:<br /><br /><a name="Early_Assamese_.286th_to_15th_century_AD"></a>Early Assamese (6th to 15th century AD)<br /><br />The Charyapadas are often cited as the earliest example of Assamese literature. The Charyapadas are Buddhist songs composed in 8th-12th century. These writings bear similarities to Oriya and Bengali languages as well. The phonological and morphological traits of these songs bear very strong resemblance to Assamese some of which are extant.<br />After the Charyapadas, the period may again be split into (a) Pre-Vaishnavite and (b) Vaishnative sub-periods. The earliest known da#Assamese writer is Hema Saraswati, who wrote a small poem "Prahra Charita". In the time of the King Indranarayana (1350-1365) of Kamatapur the two poets Harihara Vipra and Kaviratna Saraswati composed Asvamedha Parva and Jayadratha Vadha respectively. Another poet named Rudra Kandali translated Drona Parva into Assamese. But the most well-known poet of the Pre-Vaishnavite sub period is <a title="Madhav Kandali" href="http://wiki.w2n.net/pages/Madhav_Kandali">Madhav Kandali</a>, who rendered Valmiki's Ramayana into Assamese verse (<a title="Kotha Ramayana" href="http://wiki.w2n.net/pages/Kotha_Ramayana.w2n">Kotha Ramayana</a>, 14th century) under the patronage of Mahamanikya, a Kachari king of Jayantapura.<br /><br /><a name="Middle_Assamese_.2817th_to_19th_Century_"></a>Middle Assamese (17th to 19th Century AD)<br /><br />This is a period of the prose chronicles (Buranji) of the Ahom court. The Ahoms had brought with them an instinct for historical writings. In the Ahom court, historical chronicles were at first composed in their original Tibeto-Chinese language, but when the Ahom rulers adopted Assamese as the court language, historical chronicles began to be written in Assamese. From the beginning of the seventeenth century onwards, court chronicles were written in large numbers. These chronicles or buranjis, as they were called by the Ahoms, broke away from the style of the religious writers. The language is essentially modern except for slight alterations in grammar and spelling.<br /><br /><a name="Modern_Assamese"></a>Modern Assamese -- Effect of British rule<br /><br />The British imposed Bengali in 1836 in Assam after the state was occupied in 1826. Due to a sustained campaign, Assamese was reinstated in 1875 as the state language. Since the initial printing and literary activity occurred in eastern Assam, the Eastern dialect was introduced in schools, courts and offices and soon came to be formally recognized as the Standard Assamese. In recent times, with the growth of Guwahati as the political and commercial center of Assam, the Standard Assamese has moved away from its roots in the Eastern dialect.<br /><br /><a name="Influence_of_Missionaries"></a>Influence of Missionaries<br /><br />The modern Assamese period began with the publication of the Bible in Assamese prose by the American Baptist Missionaries in 1819. The currently prevalent standard Asamiya has its roots in the Sibsagar dialect of Eastern Assam. As mentioned in Bani Kanta Kakati's "Assamese, its Formation and Development" (1941, Published by Sree Khagendra Narayan Dutta Baruah, LBS Publications, G.N. Bordoloi Road, Gauhati-1, Assam, India) – " The Missionaries made Sibsagar in Eastern Assam the centre of their activities and used the dialect of Sibsagar for their literary purposes". The American Baptist Missionaries were the first to use this dialect in translating the Bible in 1813. These Missionaries established the first printing press in Sibsagar in 1836 and started using the local Asamiya dialect for writing purposes. In 1846 they started a monthly periodical called Arunodoi, and in 1848, Nathan Brown published the first book on Assamese Grammar. The Missionaries published the first Assamese-English Dictionary compiled by M. Bronson in 1867. One of the major contributions of the American Baptist Missionaries to the Assamese language is the reintroduction of Assamese as the official language in Assam. In 1848 missionary Nathan Brown published a treatise on the Assamese language. This treatise gave a strong impetus towards reintroducing Assamese the official language in Assam. In his 1853 official report on the province of Assam, British official Moffat Mills wrote:<br />“<br />...the people complain, and in my opinion with much reason, of the substitution of Bengalee for the Vernacular Assamese. Bengalee is the language of the court, not of their popular books and shashtras, and there is a strong prejudice to its general use. …Assamese is described by Mr. Brown, the best scholar in the province, as a beautiful, simple language, differing in more respects from, than agreeing with, Bengalee, and I think we made a great mistake in directing that all business should be transacted in Bengalee, and that the Assamese must acquire it. It is too late now to retrace our steps, but I would strongly recommend Anandaram Phukan’s proposition to the favourable consideration of the Council of Education, viz., the substitution of the vernacular language in lieu of Bengalee, and completion of the course of the Vernacular education in Bengalee. I feel persuaded that a youth will, under this system of tuition, learn more in two than he now acquires in four years. An English youth is not taught in Latin until he is well grounded in English, and in the same manner, an Assamese should not be taught in a foreign language until he knows his own.<br />”<br /><a name="Beginning_of_Modern_Literature"></a>Beginning of Modern Literature<br />The period of modern literature began with the publication the Assamese journal Jonaki (জোনাকী) (1889), which introduced the short story form first by <a title="Laxminath Bezbarua" href="http://wiki.w2n.net/pages/Laxminath_Bezbarua.w2n">Laxminath Bezbarua</a>. Thus began the Jonaki period of Assamese literature. In 1894 Rajanikanta Bordoloi published the first Assamese novel Mirijiyori (মিৰি জীয়ৰী). The modern Assamese literature has been enriched by the works of <a title="Jyoti Prasad Agarwala" href="http://wiki.w2n.net/pages/Jyoti_Prasad_Agarwala.w2n">Jyoti Prasad Agarwalla</a>, <a title="Hem Barua" href="http://wiki.w2n.net/pages/Hem_Barua.w2n">Hem Barua</a>, <a title="Atul Chandra Hazarika" href="http://wiki.w2n.net/pages/Atul_Chandra_Hazarika.w2n">Atul Chandra Hazarika</a>, <a title="Nalini Bala Devi" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Nalini_Bala_Devi&action=editredlink" target="_blank">Nalini Bala Devi</a>, <a title="Navakanta Barua" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Navakanta_Barua&action=editredlink" target="_blank">Navakanta Barua</a>, and others.<br />In 1917 the <a title="Oxom Xahityo Xobha" href="http://wiki.w2n.net/pages/Oxom_Xahityo_Xobha">Oxom Xahityo Xobha</a>(অসম সাহিত্য সভা) was formed as a guardian of the Assamese society and the forum for the development of Assamese language and literature. Padmanath Gohain Baruah was the first president of the society<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Twentieth-Century Assamese Literature<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Assamese literature's advent into the twentieth century was fittingly called the Jonaki age. The period took its name from the Assamese periodical Jonaki, first published February 9, 1889, by Chandra Kumar Agarwala. The periodical de­ fined Assamese literature's coming into its own after nearly half a century of linguistic colonialism. Jonaki marked a coming of age, just as another periodical,Orunodoi, first published in 1846, marked the rebirth of Assamese literature. To understand the development of Assamese literature in the modern era, it is essential to realize the importance of these two periodicals. Since the British an­ nexation of Assam in 1826, Assamese literature's progress has been one of discontinuity and dissonance. Orunodoi, literally, "sunrise," rose out of a periodwhen Assamese was disallowed as the language of Assam. A brief survey of the events leading up to the publication of Orunodoi shows us that geography has as much to do with the development of this literature as history does.<br /><br />Assam's position in the northeast corner of India, joined to the rest of the country by a narrow bottleneck, had always protected it from the foreign rules that had been established in most parts of India, first by the Muslim invaders and then by the British. However, Assam had seen a large influx from the east; and for the 600 years prior to British annexation, Assam was ruled by Ahomrulers, descendants of an exiled prince from Thailand. The Ahoms adopted the language of their subjects, and Assamese culture during the six centuries of their reign developed through assimilation rather than domination. In 1826, the Treaty of Yandaboo between the East India Company and Burmese invaders placed Assam in British hands. Assamese literature before this period largely comprised devotional literature inspired by the neo-Vaishnavite movement of the late fif­teenth-early sixteenth centuries, Assamese versions and translations of sacred texts and the epics, and the buranjis, or chronicles kept by the Ahom rulers.<br />Though there was a large body of oral and folk genres, popular published literature was nonexistent. If Assam's location had protected it from external rule via its western borders, this same location had also been responsible for keeping Assamese literature marginalized and slow to receive newer ideas and perspectives.<br /><br />In 1826, when the British first came to Assam, they brought with them the administrative infrastructure from their then-capital at Calcutta in West Bengal. It is believed that relying on the words of Bengali clerks, the British government came to the conclusion that Assamese was simply a dialect of Bengali. According to Dimbeswar Neog: It is a fact that when about this time the East India Company took the administration of Assam, a large number of Bengalees for their living came to this province as clerks and they were totally ignorant of the language of the soil. They happened to catch a word or two of Sanskrit origin from the lips of the people and, failing to make neither head nor tail of the rest of their vocabulary, chose to call it at random a patois of Bengali and advised the rulers, who were then equally innocent of the language, to replace it by [sic] the Bengali language. It was the matter of a minute as it was the question of whims; and the mischief was done. ( Neog 1982, 340)<br />Whether the decision was, in fact, so whimsical can be questioned; administrative expedience had probably more to do with the decision than mere whim. Whatever the cause, the result was that Bengali was declared the language of education and administration in 1838 and remained so till 1873. Ironically, the revival of the language through proof of literature was a process that involved another group of foreigners--American missionaries. Missionaries of the American Baptist Mission Foreign Society in Burma entered Assam to spread their Christian message and turned to Assamese as the language through which to propagate their message. In doing so, they became involved in the promotion of Assamese literature and language. The most notable among the missionaries were Rev. Miles Bronson, who brought out the first Assamese dictionary in 1867; Rev. Nathan Brown, who published an Assamese grammar in 1848; and Rev. Oliver T. Cutter, who edited the first Assamese journal, Orunodoi. Through Orunodoi and through letters, petitions, and scholarly works, the missionaries sought to establish Assamese as the official language of Assam. Though these particular men did not live to see their goal achieved, their efforts were responsible for reviving the language, and, as Maheswar Neog says in his introduction to The Orunodoi, "for culturing the language along modern lines, endowing it with a grammar, a dictionary and a large mass of writings in modern prose" ( Neog 1983, 56). Additionally, the Christian influence, rather than threatening Hindu culture, liberalized Assamese culture and helped modernize the language.<br /><br />In reviewing Assamese literature till the mid- twentieth century, it becomes apparent that writings of a certain period can be categorized by ideology and style. However, unlike most Western literatures, where common ideas and approaches are identified through our review of various individual publications such as treatises, novels, poetic volumes, and plays that generally appeared separately, early Assamese literature, regardless of genre, was generally published through a single forum--the journal. Thus, these journals defined the literary periods, and, for this reason, Assamese literature is usually divided into ages or eras when the works appearing in the premier journals were most influential. Additionally, in reviewing early Assamese literature, we find the contributions of female writers to be almost nonexistent. This is not because women did not write at all; however, in the traditional, patriarchal society of nineteenth-century India, it was considered anomalous for a woman to write and publish, and, when she did so, it was not considered part of mainstream literature. Nevertheless, a number of women wrote and published in various genres. These women are discussed as a group following the discussion of nineteenth-century Assamese literature, because their approaches and publishing practices were not similar to those of the men who were their contemporaries. Twentieth-century women writers, however, are often considered among the best writers of their period and must therefore be considered alongside their male counterparts.<br /><br />THE ORUNODOI ERA -- The Mid-Nineteenth Century<br /><br />The early issues of Orunodoi carried this descriptive statement: "A monthly Paper, devoted to Religion, Science, and General Intelligence." The periodical was true to its wide-ranging intent, as the first issue published in January 1846 reveals. It contained a review of events, national and international, of the previous year (a regular feature thereafter); an article entitled "Dharamor Katha, subtitled Religious Intelligence," dealing with numerous converts to Christianity; and articles on the evils of opium and the tombs of the Ahom kings. In later years, it included brief critical essays on literature and Assamese culture, folktales, and short, original poems. Though religion was an important focus of the journal, Orunodoi was never an organ for aggressive Baptist propaganda. Maheswar Neog accurately points out: "That the Orunodoi was devoted to 'Science and General Intelligence' is especially to be emphasized, as its pages went a long way to extend the intellectual horizons of the readers. The columns brought various news from all corners of the globe. . . . The news of great events in India and in foreign countries were brought to the door of the Assamese even as they took place" ( Neog 1983, 66). Neog goes on to say that as much as this news reshaped the Assamese mind, it also glorified colonialism as beneficial (66). Nevertheless, it brought to Assam a greater awareness of the world beyond and provided a forum for early Assamese writers of the nineteenth century. Among these was a trio who defined Assamese literature of the mid-nineteenth century: Anandaram Dhekiyal Phookan, Hemchandra Barua, and Gunabhiram Barua.<br /><br />Assamese literature during this period and the Jonaki era must be discussed through the contributions of particular writers, rather than the development of genres. Literary genres such as poetry and drama had to be reestablished, and those such as the novel and short story had to be introduced before genre-specific traditions could be generated. Furthermore, lacking a continuous tradition, Assamese literature had to take a big leap to adopt modern trends. One particular trend that this era established was the use of the colloquial in prose, as opposed to the rhythmic speech patterns established by devotional literature. These three nineteenth-century writers established the foundations upon which the Jonaki era writers would thrive.<br />Anandaram Dhekiyal Phookan ( 1829-59) was not only an early contributor to Orunodoi but an active participant with the Baptist missionaries to remove the Bengali language from Assam. He was in a particularly advantageous position, as he was an officer of the provincial administration and rose to the post of junior assistant to the commissioner. His essay "A Few Remarks on the Assamese Language" ( 1855), published anonymously as "A Native," contains an account and analysis of 62 religious poetical works and 40 dramatic works. The culling of such a list was particularly significant as evidence of a literary tradition in Assam and validated the claims that Assamese was a language rather than a dialect, as had been supposed. If Dhekiyal Phookan brought Assamese literature to the attention of the world at large, he also brought information about the world to Assamese readers. His unfinished series Asamiya Lorar Mitra (Assamese Boy's Companion, 1849) was written as handbooks containing information on various subjects such as history, geography, and science. Besides his use of modern prose, he attempted to write translingual Assamese-English dictionaries, which were left unfinished but parts of which appeared in Orunodoi. The simple, clear, efficient prose that modern Assamese literature adopted is best exemplified by Dhekiyal Phookan essay "Englandor Vivaran" ( Orunodoi 2:4 [ April 1847]). In it, he addresses the readers, the Assamese people, directly as he calls to them to emulate the civilization and progress that were England's. However, the message is a call not to mimic English ways but rather to improve one's own country. The picture that he paints of the possible future, of an Assam rich in industry and learning and free of communal and racial bigotry, shows him to be rather a visionary.<br /><br />Where Dhekiyal Phookan could not complete the task of writing a dictionary, Hemchandra Barua's ( 1835-96) most important work was his Hemkosh (Golden Treasury), an Anglo-Assamese dictionary published posthumously in 1900. Barua's contribution was linguistic as well as literary. Barua articles in Orunodoi, his dictionaries, and his grammatical texts all sought to replace the simplified Assamese used by the missionaries with a version closer to Sanskrit patterns of speech and to strengthen the use of Assamese by native speakers. Among these were Asamiya Vyakaran ( 1873), Asamiya Lorar Vyakaran ( 1892), and Pathsalia Abhidan ( 1892). His literature, too, reveals a concern for social reform. His novel Bahire Rongsong Bhitore Kowan Bhaturi ( 1876) refers to the idiom "Empty vessels make most sound" and criticizes social customs and religious hypocrisy through the supposedly respectable characters. In his life, too, he protested against restrictions on widow remarriage. He protested the double standard by refusing to remarry, though widowed at an early age. An article in Orunodoi ( 9:4 [ April 1856]) entitled "Anek Bia Kora Ajugut" (It Is Wrong to Marry Many), attributed to a "Shri Sonar Chanda," was obviously by him. His drama Kaniyar Kirtan (or The Gospel of an Opiumeater) ( 1861) highlights the effects of opium. In later years, Hemchandra Barua edited an Anglo-Assamese weekly paper, Assam News, which ensured the influence of his linguistic practices on following generations. In his personality and his place in the literature of his time, Hemchandra Barua is quite often likened to Samuel Johnson. However, it must be pointed out that, though Johnson's dictionary was a prodigious work by a single individual, it did not reshape his native language, English. Hemchandra Barua's dictionary did reshape Assamese.<br />Like Hemchandra Barua, Gunabhiram Barua ( 1837-94) was an ardent social reformer whose work reveals his reformist zeal. His Ram-Navami ( 1858), the first modern Assamese play, focuses on widow remarriage through the character of Navami, a young widow in love with a young man, Ramachandra. The discovery of this love leads to religious ostracism; however, the religious leader later recounts a dream that he had advocating remarriage, and the play ends with Navami's remarriage. Despite this happy ending, the ostracism is not removed. The play thus advocates widow remarriage while criticizing the practice of ostracism. In keeping with his beliefs, Gunabhiram Barua married a widow, Bishnupriya, after his first wife's death. Gunabhiram Barua was also the first Assamese biographer with his Anandaram Dhekiyal Phookanar Jivan Sarit ( 1880). His humorous work Kathin Shabdar Rahasya Byakhya (published posthumously in 1912) contains wonderfully comic interpretation of words. Gunabhiram Barua's other contribution was to the literary essay. Asom Bandhu (Friend of Assam), a journal that he edited from 1885 to 1886, carried numerous essays by him and other early essayists. His prose is extremely modern in that it rejects declamation and opts for naturalness and directness. The simplicity, strength, and clarity of his prose style in such articles as "Saumar Bhraman" and "Alikhit Buranji," which appeared in Jonaki, were carried over to the next generation of prose writers.<br /><br />THE JONAKI ERA --Turn of the Century<br /><br />The Jonaki era is also known as the age of Romanticism in Assamese literature. Though by 1889 the Romantic age had long faded in English literature, the Romantic ideal appealed, and was most applicable, to writers of an emergent literature. The term "Romantic" itself is used by Assamese writers and critics and implies the same approach to literature as it does in English literature. It would not be correct to say that writers of this era imitated Wordsworth, Shelley, or Keats; rather, they were strongly influenced by the Romantic sensibilities of these English poets. It is fitting that Assamese writers of this period would look to the Romantics rather than their contemporary Victorians. Assam was still untouched by industrialization and urbanization, the natural landscape held much scope for literary exploration, and the literary climate was full of promise and possibilities. The literature of this period utilized the lyric and ballad forms; it focused on man and his relation to beauty, nature, and the arts. In his introduction to Kuri Satikar Asamiya Kabita (Twentieth-Century Assamese Poetry), the poet Nilamoni Phookan aptly sums up romantic poetry as a movement away from theocentrism to anthropocentrism. The central theme changed from devotion to God to devotion to the world, its beauties, man as a reflection of the supernatural, and man's pursuit of joy and beauty ( Phookan 1977, 1). However, this was still a literature of the early twentieth century and could not be totally divorced from modernity. The acceleration of the independence movement and the social and cultural reformation movements in Bengal and other parts of the country influenced it and made it also a literature that examined social and nationalist issues. During this period the Asom Sahitya Sabha (Assam Literary Association) was formed in 1917. The Sahitya Sabha facilitated the exchange of ideas, popularized Assamese literature, art, and culture, and provided a forum for literary debate and discussion through its conventions, journals, and publications. It continues to be the primary literary association for the state even today.<br /><br />Their predecessors had given them their voice, and writers of this era used it to express a wide range of issues through a variety of forms. Jonaki was an early and important vehicle for this expression. First published on February 9, 1889, by Chandrakumar Agarwala ( 1867-1938), it was the journal of the Asamiya Bhashar Unnati Sadhini Sabha (Society for the Development of the Assamese Language), a society that included later Jonaki editors Lakshminath Bezbarua ( 1868-1938) and Hemchandra Goswami ( 1872-1928). This trio dominated the literature of this period.<br /><br />Poetry<br />Chandrakumar Agarwala's poems, published first in Jonaki and collected later in Pratima (Image, 1913) and, best exemplify the Romantic ideal of the poetry of this age. His poem "Niyor" (The Dewdrop) looks at a single drop of dew and, in describing it, evokes an intense longing to discover its origins and the meaning of its beauty. The small drop of dew speaks volumes to the poet, who imagines it to be a pearl dropped from the ornaments of a girl dancing amid the flowers at night or perhaps her tear shed at the sight of sunrise. Poems like this display a Keatsian gaze at an object of beauty. Agarwala poems like "Manav Bandana" (Worship of Humanity) and "Bin Boragi" glorify man as a reflection of the Supreme Being and are reminiscent of the search for the sublime in eighteenth- and nineteenth-century English literature. This search for the sublime and the beautiful is found in a long line of poets following Chandrakumar Agarwala. In his contemporary Hemchandra Goswami's sonnet "Priyatamar Sithi" (My Beloved's Letter), the first Assamese sonnet, an examination of poetry and nature is woven into the description of the letter itself. Lakshminath Bezbarua brought a simplicity to the Romantic tradition through poems such as "Basanta" (Spring) and his "Bin Boragi." But beyond that, Bezbarua revived Assam's existing folk-song tradition through his ballads and pastorals. In his poems, too, we find a patriotic idealism and optimism about Assam past and present and its potential. His "O Mor Aponar Desh" (My Dearest Country) displays an intense pride in his place of birth and has become the state's anthem.<br /><br />Whereas these poets used the simple rhyme schemes and meter typical of the lyric, other Romantic poets used blank verse, too. Padmanath Gohain Barua's ( 1871-1946) poems in his Juroni ( 1900) utilize the blank verse form of the much earlier classical kavyas (or verses). Notable among the early twentiethcentury poets who first published in Jonaki were Raghunath Choudhari ( 18791968), who was also known as bihogi-kabi, or bird-poet, for his numerous poems with birds as the central character in nature and whose first collection of poems, Sadori, was published in 1910; Bholanath Das ( 1858-1929), whose poetic contribution preceded Jonaki; and Anandachandra Agarwala ( 1874-1939), who translated numerous English and American poems and whose collection of original poems, Jilikoni (Glittering), was published in 1920.<br />The influence of the Jonaki era's Romanticism was far-reaching and is still felt today. In poetry especially, even as the conditions of the modern world forced poets to turn to realism and naturalism and adopt a cynical attitude toward man and society, the romantic vision continued to manifest itself in the works of numerous poets who had grown up in the first two decades of the twentieth century. Though Romantic poetry was written well into the 1950s and 1960s, this poetry was also contemporaneous in that it included the concerns of a newly independent country. Among the poets of this continuing stream of Romanticism were Ambikagiri Raichoudhuri ( 1885-1967), whose first collected poems were Tumi (You, 1915) and who brought a revolutionary ideal to all his works; Jatindranath Duara ( 1892-1968), whose translation of Omar Khayyam Rubaiyat was a brilliant example of this genre; Parvati Prasad Baruva ( 1904-64), who, from his first poetic drama Lakhimi ( 1931) and through his poems and songs, expressed the eternal search for the sublime through contemplation of simple things in nature; and Jyotiprasad Agarwala ( 1903-51), whose poetry was but part of a prolific body of works that enriched Assamese literature immeasurably.<br /><br />Prose<br />Where Chandrakumar Agarwala was a pioneer in poetry, Lakshminath Bezbarua was the high priest of Assamese prose and is still considered to be so. Bezbarua's prose works are remarkable for their modern style and vision, qualities found in his novels, short stories, and essays. His first novel, PadumKonwori (The Lotus Queen, 1905), appearing originally in installments in Jonaki, was structured around a historical event. But his Kripabor Baruar Kakotor Topola (Kripabor Barua's Bundle of Papers, 1904; originally serialized in Jonaki) established his reputation. This and the later Kripabor Baruar Obhotoni ( 1909) are farcical and satirical collections that touch on Assamese politics and society. Bezbarua had the Dickensian ability to combine serious social commentary within humorous depictions. His Nomal, Pasani, and Sikarpati Nikarpati are all in a similar farcical vein. However, his prose contributions extended beyond this. His Junuka (Anklets, 1910), Burhi Air Sadhu (Grandmother's Tales, 1911), and Kokadeuta Aru Natilora (Grandfather and Grandson, 1912) are collections of traditional Assamese folktales that revived and popularized this age-old oral genre for adults as well as children. Among Bezbarua's original short story collections are Surabhi ( 1909), Sadhu Kathar Kuki ( 1912), and Jonbiri ( 1913). Baheen (Flute), the journal Bezbarua edited from 1909 to 1929, became a vehicle for his essays on literature and language. Though the sheer volume and skill of Bezbarua's prose tend to overshadow the works of other prose writers, other writers did produce a body of novels, histories, and critical studies during this period.<br /><br />Benudhar Rajkhowa's ( 1872-1956) Lakhimi Tirota (The Auspicious Wife) is notable in that it is a dialogue depicting a good or ideal wife. His other prose writings include essays such as Bihu on the practice of this Assamese festival, English essays such as Short Accounts of Assam ( 1915), and Historical Sketches of Assam ( 1917), among others. Surya Kumar Bhuyan ( 1894-1964), known primarily as a historian, established the art of the biography with his Anandaram Barua ( 1920). Rajanikanta Bordoloi ( 1867-1939) produced an impressive fourvolume saga of the final days of the Ahom dynasty and of the Burmese invasion and misrule in Manomati ( 1900), Rangili ( 1925), Nirmal Bhakat ( 1928), and Rohdoi Ligiri ( 1930). These novels are all the more significant since the horror of the Burmese invasion was still fresh in the collective minds and imaginations of the Assamese. Though Bordoloi wrote other historical novels and is often likened to Sir Walter Scott, his romantic novel Miri Jiyori ( 1895) remains one of the most enduring romances in Assamese literature.<br /><br />Drama<br />The dramatic works of this period had more literary, than theatrical, value. Much of the drama of this period was read rather than performed, and the following generation would put this drama on stage or at least borrow from their themes to do so. The first dramatic work of this period was Lakshminath Bezbarua's Litikai (The Pages, or Lackeys), a farce serialized in 12 parts from the first issue of Jonaki. His other dramas were historical ones such as Chakradhwaj Singha and Joymati Kunwari, both taking up Ahom royalty as their primary characters. It was Benudhar Rajkhowa who was a more prolific playwright and whose plays contain strong satirical and often farcical characteristics. His plays, such as Kali Yuga (written in collaboration with another noteworthy litterateur, Durga Prasad Majindar Barua), Tini Ghaini (Three Wives), Asikshit Ghaini (The Uneducated Wife), and Sorar Sristi (The Thief's Invention), depict various aspects of Assamese society of his day. With these plays, too, performance was not the primary concern. It is remarkable that, though early-modern Assamese literature, with a few exceptions, does not yield great dramas, Assamese society has always been a theatergoing one. Drama developed in Assam contemporaneously with English drama in the fifteenth century. As with the English church performances, mysteries, and morality plays, the neo-Vaishnavite movement established religious drama and, with it, a classical dance form, the satriya (of the satras or monasteries). But Assamese drama did not develop in the manner of English drama, and the classical, devotional, and historical strains were still strong into the twentieth century. Modern Assamese drama was established in the 1940s by Jyotiprasad Agarwala and continues to flourish. But even today, perhaps fittingly, successful dramatists are defined by performances at large, rather than by publications. Masses of people flock to the touring theater companies that move through the Assamese countryside and towns performing popular plays that are not to be found in published form. The establishment of All India Radio in 1948 saw the rise of another form of nonliterary drama.<br /><br />In establishing eras for literature, we realize that such categorizations are ultimately artificial ones. The Jonaki age is considered to have lasted till the 1930s, and the decade of the 1940s is considered separately and specifically as the decade that gave birth to modern Assamese literature. Nevertheless, the careers of numerous writers spanned the 1930s, 1940s, and beyond. More important, certain writers transcend categorization and cannot be made to fit into either category. They defined the transitional phase from Romanticism to Modernity. Banikanta Kakati ( 1894-1952) was one such writer whose scholarship and leadership shaped modern Assamese literature. Kakati used his education in English literature and language and his wide knowledge of Assamese literature and history to establish in Assam a body of reliable research tools. His Assamese: Its Formation and Development ( 1941) is still considered the definitive work on the language. His Purani Asamiya Sahitya ( 1940) and Life and Teachings of Shankardeva, Vishnuite Myths and Legends ( 1952), among others, provide a core of scholarly research for the study of Assamese culture. Though earlier writers had written on some of these subjects, their works were generally incomplete in scope. Kakati, whose career was as an educator in Assam's major college and university, saw the lack of available, reliable information for the study of Assamese and made it his goal to correct the situation. That Assamese literature today has a body of scholarly apparatus is entirely due to Kakati's early efforts. Another such figure was Jyotiprasad Agarwala. His educational background included a term of study in England and Germany. The exposure to broader Indian and Western ideas led him to the genre that has become so significant in modern culture--cinema. Agarwala wrote, produced,<br />directed, and provided music for the first Assamese movie, Joymati, in 1935, followed by Indramalati in 1936. Joymati took its subject from Lakshminath Bezbarua's Joymati Konwari. It was a historical tale of Joymati's refusal to reveal the whereabouts of her husband, Gadadhar Singha, to those who wished to usurp the throne by eliminating legitimate heirs. Joymati remained stoic in the face of cruel punishment and torture; though she ultimately dies, she embodied resistance to injustice. Though the tale was historic, it was particularly relevant in an India entering the last phase of its resistance to British rule. Agarwala's films, like his plays, which will be discussed later, were socially significant dramas. Agarwala's poetic vision, too, was popularized through his body of songs, now termed Jyoti-Sangeet, and their accessibility was ensured for generations of readers and nonreaders alike. Jyotiprasad Agarwala defined an important aspect of Assamese literature--its function in popular culture. Intellectual that he was, he realized that literature and culture could not exist through intellectuals alone. Revolutionary that he was, he realized that ideas must also be felt and heard to be accepted. Another personality who left an indelible impression on Assamese literature and culture was Bishnu Rabha. Rabha represented indigenous Assam; his was a robust voice and vision that sprang from his tribal culture, a culture that existed and flourished in Assam much before the spread of a predominantly Hindu culture. Like Jyotiprasad Agarwala, Rabha wrote prose, poetry, and drama. His legacy remains in a large body of songs popular even today. Unfortunately, many of his works perished before they could be collected and published and thereby preserved.<br /><br />Early Women Writers<br /><br />So far this discussion of Assamese literature has shown it to be a literature of men; and indeed, male hegemony of education and letters was present here as it was in literature the world over. However, despite adverse circumstances, lack of opportunity, and even lack of proper education, Assamese women have made considerable and consistent contributions to literature down the ages. Some of the early women who contributed to Assamese literature had the advantage of being born into literary, progressive families that allowed them to receive educations superior to those of other women. One member of Anandaram Dhekiyal Phookan's family who made a mark on her own was his daughter Padmavati Devi Phookanani ( 1853-1927). Her Sudharmar Upakhyan (Sudharma's Tale, 1884) can be considered the second novel by an Assamese writer, male or female. The novel relates the travels and trials of Sudharmar, her husband, and their friends amid settings reminiscent of early classical tales. She was a poet and critic and even wrote a children's book, Hitosadhika. She wrote a number of articles that display her feminism in journals of her time, such as Baheen and Jonaki. Most notable were her ideas on the conditions of women. She was widowed at 32, and her article in Baheen, "Bidhoba," speaks of the harsh life of the widow in Indian society. She comments on the general condition of women in an article she sent to the Sahitya Sabha (the Assamese Literary Association) called "Samajot Tirutar Sthan" (Women's Place in Society). Gunૐ abhiram Baruah's daughter Swarnalata Baruah ( 1871-1932), too, contributed articles to Assam Bandhu Bijuli, and she wrote Aahi Tiruta while quite young. Unfortunately, her family life proved too difficult and tragic for her to be able to continue writing. In the early twentieth century, three women who became known on their own strength were Dharmeswari Devi Baruani, Jamuneswari Khatoniyar, and Nalinibala Devi. Kabya Bharati Dharmeswari Devi Baruani ( 1892-1960) rose above immense physical and mental difficulties to become known as a poet. Soon after her marriage to Durganath Barua, Dharmeswari Devi was struck by a debilitating illness that left her an invalid. Poetry and the love and support of her husband, which she expressed in her poetry, sustained her, but she was soon widowed. From a life such as this and a body that was gradually losing its abilities, she made her poetic voice heard in her works: Phulor Sorai ( 1929), Pranor Parash ( 1952), and Ashrudhan Aru Jivantari ( 1963), all of which were influenced by Romanticism. Though she takes her imagery from nature, her poetry reveals a strong devotion to the Creator. In 1956, she received the title "Kabyabharati" from the Assam Sahitya Sabha. Whereas Dharmeswari Devi lived a long life of much suffering, Jamuneswari Khatoniyar ( 1899-1924) accomplished what she did in a life that ended at age 25. Educated privately, since a public school education was not allowed young girls of the time, Jamuneswari passed her middle school examination with her private education, soon after which she sought to remedy the inequality in education by opening, and teaching in, a primary school for girls. The school, Mudoigaon Girls' School, still remains as a testimony to her reformatory zeal. In 1920, she married the poet Bhairab Chandra Khatoniyar and died four short years later. But in those four years she created a forum for the expression and exchange of ideas by establishing Juroni Sabha, a religious and literary gathering at her house each evening. She left one volume of collected poems, Arun ( 1919), and published poems in Baheen.<br /><br />Nalinibala Devi ( 1898-1977) is probably the best-known female poet of her era. She wrote her first poem, "Pita," when she was 10 years old. Though widowed at a very early age in an era that considered widowhood the end of a constructive life, Nalinibala rose above this misfortune and began her life as a prolific poet and writer. Her poetic works include Sandhiyar Sur ( 1928), Saponar Sur ( 1943), Parashmoni ( 1954), Alakananda ( 1967), and Jagriti ( 1962), among others. She was awarded the Sahitya Akademi in 1968 for Alakananda. Her prose works include her father Nabin Chandra Bordoloi's life, Smritir Tirtha ( 1948), her autobiography, Eri Aha Dinbur, and her collected articles, "Shanti Path". Numerous other works are still to be found unpublished, in manuscript form. Nalinibala Devi was one of the major poets of the Jonaki era who brought her feminine, Romantic vision well into the mid-twentieth century. Her position in the Assamese poetic canon was acknowledged even in her lifetime, as evidenced by her presidency of the Assam Sahitya Sabha in 1954. Nalinibala Devi's works cover the range of any major writer, and she placed Assamese women firmly in the history of Assamese literature and language. Thereafter, the products of women writers, though underrated and understudied, have come to be considered within mainstream literature.<br /><br />THE JAYANTI ERA -- A Decade of Transition<br /><br />The decade of the 1940s is considered the Jayanti era, taking its name from the quarterly Jayanti, first published on January 2, 1938, with Raghunath Chaudhari as editor during its first year. It became a monthly from its fourth year and in its decade and a half of existence experienced numerous changes in publisher and editor. From its seventh year onward, Jayanti saw the establishment of a new form of literature. If Jonaki took literature from the devotional to the Romantic, Jayanti moved it to the realistic. Starting with Ambikagiri Raichoudhuri and Jyotiprasad Agarwala, literature turned away from nostalgia regarding the past to immediate concerns. The focus was now on patriotism, social causes, and protest of injustice. In Jayanti's sixth year, Anandeswar Sharma article "Aajir Ei Sandhikhyanat" warned against taking refuge in the past while ignoring the injustices of the present. He pointed to the examples of Russia and China and the role of writers there in bringing about social change. Indeed, Assamese writers did try to follow these examples, as much of the writing of, and beyond, this period is politically motivated, too. Though the Romantic influence is still displayed well beyond Jayanti, it would be safe to say that Assamese literature lost its innocence in the 1940s. Many contemporary writers are products of the Jayanti age.<br /><br />Jayanti was not the only journal to follow Jonaki and Baheen; among other important journals were Abahon, Surabhi, and Ramdhenu. Even in the 1940s, Assamese literature was dependent on journals. There are two reasons for this. First, there has never been a strong print culture or publishing industry in Assam that could issue independent works from manuscript. The publishing concerns that did exist generally took up a writer's works based on a well-established reputation, and reputations could be established only through journals. In fact, writers often issued their own works through small print shops. Second, World War 11 reached Assam in 1939 and brought inflation and shortage of goods, including paper. This shortage affected journals, too; certainly, mass publication of single works was not possible. The same conditions of deprivation and instability that the war brought influenced literary ideas. The 1940s brought another change to all of India: independence and the establishment of a democratic state. Such upheavals, both the negative and the positive one, meant that writers could not carry on with earlier perceptions of society and the world. Modern Assamese writers display the angst of modern writers everywhere.<br /><br />Poetry<br />The poetry published in Jayanti reveals a sharp shift away from the optimism of the earlier period. Writers challenged the established norms and complacency of a society based on caste and class distinctions. Their poetry reflects a disillusionment and cynicism that stemmed from the knowledge that a free, modern India did not imply freedom and equality. Progress, technological and industrial, was felt to be dubious if it ignored the concerns of a large part of society. Amulya Barua ( 1922-46) was the foremost poet of this generation. His "Andharor Hahakar" (The Tumult of Darkness) is a brilliant antiromantic poem. It evokes the traditional Romantic image of an autumnal, moonlit night to have it reveal horror, death, and decay. His "Beisya" (The Prostitute) is a controversial poem that points contemptuously to the upper echelons of society who are united with the prostitute in a single act that they publicly scorn but privately practice. Where the prostitute's behavior arises out of dire need, the behavior of the men is shown to be self-indulgent and thus more contemptible. In a similar vein, in Keshav Mahanta's ( 1926) "Suror Koiphiyot" (The Thief's Justification), which appeared in the first issue of Jayanti's important seventh year, the protagonist, a thief, points at social conditions as being responsible for the path he must take. In the second issue of that year, Amulya Barua's "Biplobi" (Revolutionary) explains the modern revolutionary vision, a vision that was not oppositional but sought ideological reforms through knowledge and tolerance. It was a bitter irony that the ignorance, bigotry, and social divisiveness that Amulya Barua spoke out against were the cause of his death in the communal riots in Calcutta during partition. In the same issue of Jayanti, Hem Barua's "Guwahati--1944" described the state of the nation as one crowded with wartime difficulties and political and ideological struggles.<br /><br />The language of this poetry was immediate, accessible, forceful. Its tone was questioning, probing, revealing. Among the notable poets of this period were Prasannalal Choudhuri, Shashikanta Gogoi, Bhaba Prasad Rajkhowa, Said Abdul Malik, Narayan Bezbarua, Mahesh Deb Goswami, Maheswar Neog, and Deva Kanta Barua, some of whom are still writing. It would be inaccurate to call all these poets antiromantic, as many of them still leaned toward the earlier Romantics. But poetry in general showed the influence of English poets such as Yeats, Pound, and Elliot, and this modern poetry was the dominant one.<br /><br />Prose<br />Prose fiction of this period was weaker than its poetry. We notice the publication of more short stories than novels. Novelists who would emerge in contemporary literature were starting their careers as short story writers. Said Abdul Malik's ( 1919) collection of short stories, Parashmoni, was published in 1946. The short story "Parashmoni" was a simple yet relevant story of love, friendship, and misunderstanding; but Malik's direct language and expressions made this story of human relationships appealing. It established Malik as one of contemporary Assam's most popular writers. On the other hand, Birendra Kumar Bhattacharya's ( 1924) short stories focused on social, rather than interpersonal, subjects. His short story "Jetiya Sihonte Noporhe," which appeared in the April issue of Abahon, examines, through its characters' search, Marxist philosophy as a means of social change. His "Agyat Japani Sainik," which appeared in Jayanti's seventh year, focuses on the war. His "Sei Ekhon Jogotor Katha," too, describes the conditions generated by war and, through these descriptions, comments on communal divisiveness.<br />The Assamese novel of this period was still the traditional, plot-driven novel. But its subjects and plots were no longer those of the traditional romances. Modernity implied a harder look at life, and novelists examined contemporary social and political changes closely. Birinchi Kumar Barua ( 1908-64), who also wrote under the pseudonym Bina Barua, was a novelist whose works Jivanor Batot (On the Journey of Life, 1944) and Seuji Pator Kahini (A Story of Green Leaves, 1958) depict the gradual disappearance of a rural, natural lifestyle due to the spread of industry and commerce. The heroine of Jivanor Batot, Togor, embodies rural simplicity, while the hero Kamalakanta represents urbane, socalled progressive society. Kamalakanta's deception and exploitation of Togor's innocence through a pretended marriage upturn her hitherto safe, protected life. The allusions to the nation's upheaval are very clear in this tale. As Bina Barua, he also wrote novels that looked at the romantic relations between college students, which, too, were indicative of the changes taking place in Assamese society. Another novelist to write college romances was Roma Das ( 1909-81). Other notable novelists of this period were Kaliram Medhi ( 1878-1954) and Bhabananda Datta ( 1918-59). But the novelist whose work demonstrates modernity in its style and structure as well as subject is Prafulla Dutta Goswami ( 1919). His novels include Shesh Kot (Where Does It End?, 1948) and Kesa Pator Kapani (The Trembling of New Leaves, 1952) and show the influence of Joseph Conrad, Virginia Woolf, and James Joyce. Though his novels cannot be termed stream-of-consciousness in structure, the emphasis is on internal thought rather than external action. The story of Kesa Pator Kapani unfolds through its hero's dilemma at having to reject his parents' way of life in choosing his own. The hero Utpal is not a vehement rebel, simply a modern man having to make modern choices. His uncertainty symbolizes modern insecurity. Dutta Goswami's novels are part of contemporary literature; but his works were the earliest to have taken this vital step toward modern structure and language in the Assamese novel.<br /><br />Drama<br />The drama of this period can be divided into three categories: the mythological, the historical, and the social. The structure of drama saw a major change in that it moved away from the rigidity of the classical five-act form. This flexibility allowed the later introduction of the one-act play. A major player in development of drama was radio. The ability to perform and broadcast a play without any visuals or costumes on radio shows freed drama from mere stage effects. The message and dialogue became important and thus more efficient. The influence of Shaw and Ibsen's message-oriented drama can be seen in the social drama of this period.<br />Historical dramas took up Assamese figures of recent history as their subjects, especially figures who symbolized resistance to British rule. The Nagaon Natya Samiti's Piyoli Phookan ( 1948), Prabin Phookan's ( 1912-85) Lachit Borphookan ( 1946) and Maniram Dewan ( 1948), and Surendranath Saikia Kushal Konwar ( 1949) dramatized the historical and personal events surrounding these well-known personalities of Assam's history. Surendranath Saikia also wrote a number of mythological plays, such as Karna ( 1947) and Lakshman ( 1949). But such plays were fewer in number. It was the social drama that gained popularity and importance, and Jyotiprasad Agarwala was the dramatist who popularized this drama. In his Lobhita ( 1942), though the play is set within two political events, World War II and the 1942 independence movement, the social message is most relevant. Its heroine, Lobhita's, reaction to events around her, her courage and determination amid intense struggles, her ultimate sacrifice characterize a pride and patriotism that allowed this young Assamese woman to face modern problems unafraid. Agarwala's message was that young Assamese men and women be able to encounter the complexities of the modern world with selfconfidence and pride in their heritage and reject earlier tendencies to marginalize themselves. His Karengor Ligiri (The Palace Maid, 1936), too, dramatizes the dehumanizing effects of traditional class structures. Among his other plays are the symbolic dramas Nimati Kanya, Rupalim, and Sonit-Kunwori. They are all notable for experimenting not only with form but with technique, including the incorporation of songs and music in what can be termed poetic dramas. Other social dramas of this period are Satya Prasad Barua ( 1919) Sakoi-Sokuwat ( 1940), Susibrata Raichoudhuri Kon Bate ( 1948), and Dandiram Kalita Porasit ( 1946). We do find a number of comedies written during this period, but the comic vision was not predominant in the 1940s.<br /><br />POSTINDEPENDENCE LITERATURE<br /><br />1950s to the Present<br /><br />Assamese literature today cannot be characterized as having a single, common vision or belonging to a particular school. The ready availability of newly published works from around the world, the advent of technology and mass media, and the easy access to travel and study across the world all influenced writers in various ways. Ideologically, it reflects a post-Freudian, post-Marxist, postmodern world. Furthermore, recent political upheavals in the country and the state, the breakdown of public morals, and economic progress continue to affect present-day writers. Literature today includes a wide range of poetry, novels, short stories, dramas, and subgenres such as folklore, science fiction, children's literature, biographies, and translations. Thus, a short survey cannot do real justice to, nor encompass, a continuing literature.<br /><br />Poetry<br />Modern poetry reveals personal reflections and focus on the immediate and shifting trends of modern life, often within urban settings. The poetry that evokes natural, Romantic imagery, too, brings to these images a modern perspective. Modern poetry takes many forms; some poets still use traditional lyric forms and rhymes, whereas others use blank and free verse in ordinary, rather than poetic, language. Some of these trends had been displayed in the poetry of the 1940s. Though contemporary poetry displays a cynicism and dismay at modern conditions, it is not as vehement as the poetry of the 1940s, nor does it contain that revolutionary zeal. Modern poetry is both symbolic and realistic.<br /><br />Navakanta Barua's poetic works, He Aranya, He Mahanagar ( 1951), Eti Duti Egharoti Tora ( 1958), Samrat ( 1962), Ravan ( 1963), Monor Khobor (Songs, 1963), and Mor Aru Prithivir ( 1973), all reveal a symbolic, often surrealistic, often dramatic approach to his depiction of the gradual destruction of modern society. He began his writing in the 1940s, and his poetic vision, expressed through a career that has spanned six decades, has established him as one of the leading poets of Assam. Though his approach is modern, his imagery combines the Romantic as well. His subjects include the natural landscape of Assam, especially its rivers, and he falls back on traditional folk songs and folk dances, as well as the colloquial, for his meter. His recent works, such as Ratnakar aru Ananya Kabi ( 1986) and Ekhon Swasa Mukhare ( 1990), reveal that, though the poet is faced with, and must accept, present-day reality, there are a continued lingering of, a longing for, the idealism and simplicity of the past.<br />One of the poets who define contemporary Assamese poetry is Nilamoni Phookan ( 1933). From his first collection of poems, Surya Henu Nami Ahe Ei Nadiyedi ( 1963), Phookan expresses the loneliness and isolation of modern man in a society that seems to have lost its moorings. Though his poems contemplate society, his poetry embraces the Assamese landscape and takes its themes from the natural and historical. His other works are Nirjanatar Shabda ( 1965), Kabita ( 1978), and Golapi Jamur Lagna ( 1985). In these, too, Phookan reflects on a wide range of universal issues such as love, life, and death. His style is at once expressionistic and symbolic; his language combines the sound of folk literature with the meter of European literature. A contemporary of Nilamoni Phookan, Nirmalprabha Bordoloi (1933) is not only a remarkable female poet but one of the best-known Assamese poets writing today. Bordoloi's poetry is selfexpressive and contemplative. Her reflections span man and nature alike. Her imagery is symbolic as well as evocative of the past. In many of her works, she has focused on social issues and redefined mythical heroines such as Draupadi,Gandhari, and Sita. Her works include Bon Phoringor Rong ( 1967), Dinor Pasot Din ( 1977) and Antaranga ( 1978). The extremely lyrical quality of her poetry has made them easy to adapt to song. Another important modern poet who has kept alive the strain of lyricism in poetry is Hiren Bhattacharya ( 1932). Bhattacharya's poetry utilizes the power of words to universalize even the most personal experiences; it is at once intimate and revelatory. Bhattacharya is one of the most influential of modern Assamese poets. His works include Sugandhi Pokhila ( 1981) and Soisor Pothar Manuh ( 1991). Another notable modern poet is Ajit Barua ( 1928), who began his career in the 1940s. In early poems, such as "Tikha" and "Haturi," which appeared in journals, he focuses on social reform and expression of freedom. His later works, such as Kisuman Padya aru Gaan ( 1982) and Brahmaputra Ityadi Padya ( 1989), are more expressionistic and symbolic. One young poet who effectively represents the contemporary trend in Assamese poetry is Samir Tanti ( 1956), whose works include Yudha bumir Kabita ( 1985) and Shokakol Upatyaka ( 1990). His poetic vision reflects on Third World conditions as present in Assam/ India today, and in these reflections he shares much with poets from Third World countries the world over. Harsh realities often make these poets revolutionary and leftist in their views; but this is a leftism that is not necessarily aligned to any one political ideology. Among other noteworthy Assamese poets writing today are Bhaben Barua ( 1941), in whose work Sonali Jahaj ( 1977) we find a contemplation of the seasons and imaginative play on words; Hiren Datta ( 1939), whose works include Somadhirir Sowarani aru Ananya Kabita ( 1981); and Harekrishna Deka ( 1943).<br />It would be remiss to end this section on poetry without mentioning Bhupen Hazarika. Hazarika has achieved national fame as a lyricist rather than a poet; nevertheless, since lyricism has been a definitive quality of Assamese poetry throughout its history, the poetic value of Hazarika's works cannot be ignored. Bhupen Hazarika's songs and poetry have covered a wide range of subjects, from the intensely personal to the extremely political. In his works, he has used the traditional hymn, the native folk song, and his original music to interpret national and international concerns, and, by using them, he has popularized old forms. Though he is a popular public figure and a performing artist, his contribution to literature has been acknowledged through his appointment to the presidency of the Assam Sahitya Sabha in 1993. That same year, Hazarika won India's prestigious Dadasaheb Phalke Award for cinematic contributions, establishing his role in yet another genre--cinema.<br /><br />Prose<br />Contemporary Assamese literature displays a strong tradition of novel and short story writing. Most writers today have produced works in both genres. Contemporary prose fiction is extremely conscious of its social function and political responsibility and takes as its subjects events surrounding the last stages of the independence struggle and the shifting social and economic conditions of modern India. Two writers who started writing and established reputations quite early are Said Abdul Malik and Birendra Kumar Bhattacharya. As with his earlier short stories, Malik's novels concentrate on the relationships between men and women, on ordinary events that touch and change the lives of ordinary people, and on the universal relevance such relationships and events have. Some of these novels are Adharsheela ( 1966), Rajanigandhar Sokulu ( 1972), and Dr. Arunabhar Asampurna Jivani ( 1975). Certain of his novels, such as Prasin aru Kankaal ( 1968) and Sonali Sutare Bondha ( 1972), look at unnatural manifestations of love and intense passion. However, his novels are not restricted to romance alone. Two novels that examine social conditions are Surujmukhir Sapna ( 1960) and Oghori Atmar Kahini ( 1969). Surujmukhir Sapna is primarily about the life of a Muslim village by the river. Through his descriptions of a simple rural people, their joys, sorrows, and hopes, Malik brings the village to life. Oghori Atmar Kahini, on the other hand, is placed in an urban setting and looks at middle-class life and problems associated with it. Malik's prose writings include two well-known biographies: Jyotiprasad Agarwala's life, Rupotirtha Jatri (Vol. 1, 1963; Vol. 2, 1965), and the Assamese Vaishnav saint and reformer Sankardev's life, Dhanya Nara Tonu Bhala ( 1987). Among Malik many works are Rothor Sokori Ghure ( 1950), Bonjui ( 1956), Sobighar ( 1958), Matir Saki ( 1959), and Anya Akash, Anya Tora ( 1962). Birendra Kumar Bhattacharya's novels, too, display the same political concerns that his short stories exhibited. In technique, his novels are more experimental and modern than Malik's. His first novel, Rajpothe Ringiyai ( 1955), employs stream-ofconsciousness narrative to some extent. The novel moves over the course of one day in the life of the protagonist, an important day for India--August 15, 1947, independence day. We see the limitedness of independence through the hero's eyes and ultimately the false claims of independence as the day ends with the hero's being attacked by the police. His second novel, Iyaruingom ( 1960), is set in the Naga hills of the independence era and narrates the divisions that arise out of ideological differences. One group within Naga society believes in Subhash Chandra Bose's message of active, armed resistance to the British in India with the help of the Japanese army; the other group has faith in Gandhi's nonviolent methods. This division echoes that apparent in the rest of India. In the end, though the first group is victorious and attempts to form an independent state in the Naga hills, it is clear that the larger nationalistic forces will ultimately take over. Bhattacharya's novels consistently question and reveal the false assumptions on which society's definitions of freedom, nationalism, faith, and religion are based. His Mritunjoy ( 1970), which again is set in preindependent India during the Quit India movement of 1942, focuses on a Vaisnavite and a Gandhian who must turn to violence. His Pratipod ( 1970) uses the workers' strike of 1940 in the British-owned Assam Oil Company at Digboi as its subject and the unity displayed by the workers and the ultimate political intervention as its theme. Two recent novels that again turn to democracy and nationalism are Munisunir Pohor ( 1979) and Kalor Humunia ( 1982). Bhattacharya novels, such as Sataghni ( 1968) and Kobor aru Phool ( 1972), examine the effects of war on humanity. Other novels, such as Nastachandra ( 1968), Sinaki Shuti ( 1971), and Daini ( 1976), are studies of the human condition.<br /><br />Another contemporary novelist whose novels examine various forms and whose subjects are often political in the manner of Bhattacharya is Homen Borgohain ( 1931). His first novel, Suwala ( 1963), is narrated in the first person and is the account of the life of its heroine, a simple village girl who comes to town in hopes of finding a better life and whom social and economic conditions push toward prostitution. Borgohain second novel, Tantrik ( 1967), is an ideological novel that examines the values of mysticism as opposed to naturalism or existentialism, where plot is secondary. In both novels, we see the influence of Western philosophical schools. Borgohain Antaraag ( 1986), however, is a novel that shows the relevance and applicability of these ideas to modern-day India. Borgohain political novels include Kushilav ( 1970) and Timir Tortha ( 1975), both of which expose the corruption and decay of Indian politics both local and national. His extremely popular novels such as Halodhiya Soaiye Baudhan Khai ( 1973), Pitaputra ( 1975), and Matsyagandha ( 1987) take on more social concerns and depict the continuing social inequities and injustices. Navakanta Barua's novels, too, examine social conditions, but more in the manner of Malik than Bhattacharya. His two best-known novels are set in Nagaon district of Assam and have almost a historical quality. Kapili Pariya Sadhu ( 1926) is set around the river Kapili, and the riverbank takes on a life of its own through Barua's poetic descriptions. But his second novel, Kokadeutar Had ( 1954), established the poet as a novelist. The novel is the saga of two wellplaced families in late eighteenth-century Nagaon. Their story of bitter rivalry, deceit, and violence is told through a present-day narrator, a grandmother reflecting on her family's past as she tells the tale to future generations. Through the rivalry of the two families and their manipulation of the lower classes, the novel touches on the continuing exploitation of one class by another. Barua usually takes figments of history and folklore and builds his novels around them. Two other such novels are Garama Kunwori ( 1979) and Manuh Ataibor Dwip ( 1981).<br />Among notable modern novelists we find women writers such as Nirupama Borgohain (b. 1932), Nilima Dutta ( 1925), and Mamoni Raisom Goswami (b. 1943). Nirupama Borgohain first novel, Sei Nadi Niravadhi ( 1963), is yet another modern novel whose setting is a riverbank. The story of life in the region is told through the life and love of the female protagonist, whose life is inextricably intertwined with the river itself. Another novel centered around a heroine is Dinor Pisot Dinot ( 1968). Where these novels are female-oriented, Borgohain Anya Jivan ( 1986) and Champavati ( 1990) can be termed feminist novels. Anya Jivan is probably the first Assamese feminist novel, in that it examines the opposition women face in determining themselves as individuals in a patriarchal society. Though the novel is set in an interior village, its society is but a representation of society at large. As a socially concerned novelist, Nirupama Borgohain does not simply examine feminist issues. Her Iparor Ghor Siparor Ghor ( 1979) describes the breakdown of rural society due to postindependent economic problems and the further problems that face rural migrants in urban settings. This novel and others, like Dinor Pisot Din and Bhabishyat Ronga Surya ( 1980), realistically depict social and economic degeneration in free India. Among Borgohain's better-known works are Antah Shrota ( 1969), Hridoy Eta Nirjon Dwip ( 1970), Samanya Asamanya ( 1971), and Cactus Phool ( 1976). Nilima Dutta's novels generally take up ordinary life and realistic concerns. But her most recent novel, Dhumuhar Pisot ( 1992), looks at the studentled political agitation in Assam of the 1980s, the formation of a government by former students, and the effects of the movement in general and is a timely examination of a historical movement that continues to affect Assam today. Mamoni Raisom Goswami's novels, too, concern themselves with recent events and often take a socialistic approach. The subject of her Sinabor Sot ( 1972) is the exploitation of its laborers by a bridge construction company; through this subject, she exposes the inhuman treatment of one class by another, based on socioeconomic differences, that has become an acceptable aspect of life in India. Ahiron ( 1976) and Mamore Dhora Tarowal ( 1980), too, are similar to this first novel in their empathy for the underclass. In Nilakanthi Braj ( 1976), Goswami contrasts the abstraction of spiritual beauty with the reality of physical squalor. The young widowed heroine encounters overwhelming poverty and dire need, inhumanity and debased behavior in Mathura, one of the holiest shrines of Hinduism and a place that should have embodied the high ideals of the religion itself. Her Dontal Hatir Uiye Khowa Howda ( 1988), set in an Assamese satra, or monastery, also exposes religious hypocrisy.<br /><br />We see a variety of novels, traditional and experimental, romantic and realistic, being produced by novelists today. Lakshminandan Borah (b. 1931), notable as a short story writer, focuses on ordinary life, especially rural life, in his novels, which include Ganga Silonir Pakhi ( 1965), Nishar Purobi ( 1962), and Matit Meghor Sanh ( 1970). Borah's more socially and politically conscious novels are Patal Bhairbi ( 1965), Uttar Purush ( 1970), and Dohon Dulori ( 1971). Jogesh Das ( 1927) looks back at World War II and the conditions it created in India in his most notable novel, Dawor Aru Nai ( 1955). Many of Das's novels show the restrictive nature of our society, especially concerning women. Two of these are Jonakir Jui ( 1959) and Nirupai, Nirupai ( 1963). Debendranath Acharya ( 1937-81), in his novels Kalpurush ( 1967), Anya Jog Anya Purush ( 1971), and Jangam (published 1982), was the first to write in the surrealistic mode. His novels take and explore particular events in Assam's past imaginatively, rather than historically. Assam's large aboriginal tribal society has always been a presence in its literature and folklore, though somewhat an overlooked one. But Karbi writer Rong Bong Terang novel Rongmilir Hanhi ( 1981) brought Karbi society to mainstream literature. A novelist who experiments with form and subject in novels such as Madhupur ( 1971), Tarangini ( 1971), Godhuli( 1981), and Anusandhan ( 1987) is Shilabhadra (Revatimohan Dutta Choudhuri [ 1924]). Short story writer and playwright Bhabendranath Saikia's ( 1932) novel Antarip ( 1986) is extraordinarily progressive in its feminist statement, as it entertains the idea of feminine subversion in the 1930s. Other contemporary novelists and short story writers include Chandra Prasad Saikia ( 1927), Medini Choudhuri ( 1929), Arunachali writer Lummer Dai ( 1940), Troilokyanath Goswami ( 1906-88), Sneha Devi, Hiren Gohain, and Govindaprasad Sharma, to name just a few.<br />Drama<br />Modern Assamese drama, too, displays social analysis and structural experimentation. However, the publication history of drama is still not as strong as that of poetry and prose. Most dramas appear in journals or remain unpublished, though performed. The influence of drama of the Western world is very apparent. The prominent influence regarding drama's message has been that of Ibsen, Chekov, and Shaw; and regarding drama's form it has been Beckett, Ionesco, and Brecht, among others. In fact, translations of Western plays are an important aspect of modern Assamese drama. Apart from translations of Shakespearean drama, we find a number of translations of Ibsen's plays. These include Suresh Goswami Runumi ( 1946, from Ibsen The Vikings of Helgeland), Padma Borkakoti's Putola Ghor ( 1959, from A Doll's House), Satyaprasad Barua Banahansi ( 1962, from The Wild Duck), and Mahendra Borah Bhoot ( 1965, from Ghosts).<br />One important form that has developed in present-day Assamese drama is the one-act play. The formation of the Asom Natya Sanmilan ( Assam Dramatic Society) in 1959 and its regular one-act play competition have helped in the development of this form. Some notable one-act plays are Durgeswar Borthakur's Nirodesh; Satyaprasad Barua Anarkali, Kunaal-Kanchan, Ranadil, Saswati, and Bhaswati; Prabin Phookan Tritaranga; Bhabendranath Saikia Putola-Nas; Tafajjul Ali Nepati Kenekoi Thako; and Bhupen Hazarika Era Bator Sur. The subjects of this drama range from the historical to the contemporaneous.<br /><br />The influence of the absurd and the symbolic play is not as widespread in Assam, though we find a few notable examples. Arun Sharma Shri Nibaron Bhattacharya ( 1967) and Ahar and Basanta Saikia Manoh and Asur are absurd in the manner of Ionesco and Beckett. But the better-known plays of this generation combine elements of modern drama the world over to propagate socially relevant messages, a characteristic of contemporary Assamese poetry and prose, too. Himendrakumar Borthakur Bagh (The Tiger, 1971) dramatizes political manipulation of the naive, trusting rural population and general political corruption. Satyaprasad Barua Nayika Natyakar ( 1976) and Mrinal Mahi ( 1977) are both plays that show the psychological ramifications of social problems.<br /><br />A significant number of modern plays also revive traditional folk and classical<br />forms. As with the rest of India, Assam, too, has seen a revival of ancient genres such as bhavna and yatra, a revival that has allowed these forms to be applied to modern subjects. Mitradev Mahanta Prassanna Pandav ( 1956), Jugal Das Bayonor Khel ( 1982), Anandamohan Bhagavati Jatugriha, Satish Bhattacharya's Maharaja, and Munin Bhuyan Hati aru Phandi are some such dramas.<br /><br />Twentieth-century Assamese literature has come quite a ways from its tentative beginnings. The study of this literature itself has become well established; numerous schools of thought and critical approaches are apparent in the writings of literary scholars today. There can no longer be any question about Assamese being a major language with its own literature; that part of the battle has been won. It is also true that, since the Jayanti era, the works of major Assamese novelists and poets have been regularly translated into Hindi and other languages, thus ensuring a wider readership. However, as a literature of a border region of India, it is still marginalized and often plays second fiddle to Bengali literature. Assamese literature is a product of Assamese society, and Assamese society has specific qualities that separate and distinguish it from its western neighbors. Assam has generally been freer of caste oppression, untouchability, and communalism than other parts of India. Its history, till the sociopolitical movement of the 1980s, has never included religious persecution or divisiveness. Its women have never been debased by a dowry system, and female infanticide is rare. Its literature reflects these liberal aspects and, as such, can take its place among major Indian literatures. The task still remains for turn-of-the-twentiethcentury writers to popularize this literature by seeking wider publication and taking the Assamese voice confidently to the rest of the world.<br /><br />$$$$$$$$$$$$$$$$$<br /><a name="Modern_Literature"></a><a name="Assamese_News_Papers"></a>Assamese News Papers<br />$$$$$$$$$$$$$$$$$<br /><br /><a title="http://www.pratidinassam.com/" href="http://url.w2n.net/*http:/www.pratidinassam.com/" target="_blank">Axomiya Pratidin</a><br /><a title="Axomiya Khobor" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Axomiya_Khobor&action=editredlink" target="_blank">Axomiya Khobor</a><br /><a title="http://www.pratidinassam.com/sadin/index.html" href="http://url.w2n.net/*http:/www.pratidinassam.com/sadin/index.html" target="_blank">Saadin</a><br /><a title="Dainik Janambhumi" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Dainik_Janambhumi&action=editredlink" target="_blank">Dainik Janambhumi</a><br /><a title="Dainik Janaxadharon" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Dainik_Janaxadharon&action=editredlink" target="_blank">Dainik Janaxadharon</a><br /><a title="Dainik Agradoot" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Dainik_Agradoot&action=editredlink" target="_blank">Dainik Agradoot</a><br /><a title="Agradoot" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Agradoot&action=editredlink" target="_blank">Agradoot</a><br /><a title="Bhumiputra" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Bhumiputra&action=editredlink" target="_blank">Bhumiputra</a><br /><a title="Aaji" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Aaji&action=editredlink" target="_blank">Aaji</a><br /><a title="Aajir Batori" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Aajir_Batori&action=editredlink" target="_blank">Aajir Batori</a><br /><a title="Aajir Axom" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Aajir_Axom&action=editredlink" target="_blank">Aajir Axom</a><br /><a title="Aamar Axom" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Aamar_Axom&action=editredlink" target="_blank">Aamar Axom</a><br /><a title="Axom Bani" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Axom_Bani&action=editredlink" target="_blank">Axom Bani</a><br /><a title="Natun Dainik" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Natun_Dainik&action=editredlink" target="_blank">Natun Dainik</a><br /><br />$$$$$$$$$$$$$$$$$<br /><a name="Some_Leading_Assamese_Magazine"></a>Some Leading Assamese Magazine<br />$$$$$$$$$$$$$$$$$<br /><br /><a title="http://www.bismoi.com" href="http://url.w2n.net/*http:/www.bismoi.com/" target="_blank">Bismoi</a><br /><a title="Prantik" href="http://wiki.w2n.net/pages/Prantik.w2n">Prantik</a><br /><a title="Goriyoxi" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Goriyoxi&action=editredlink" target="_blank">Goriyoxi</a><br /><a title="Satxori" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Satxori&action=editredlink" target="_blank">Satxori</a><br /><a title="Trishul" href="http://wiki.w2n.net/pages/Trishul.w2n">Trishul</a><br /><a title="Nandini" href="http://wiki.w2n.net/pages/Nandini.w2n">Nandini</a><br /><a title="Maya" href="http://wiki.w2n.net/pages/Maya.w2n">Maya</a><br /><a title="Priyo Xokhi" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Priyo_Xokhi&action=editredlink" target="_blank">Priyo Xokhi</a><br /><a title="Romance" href="http://wiki.w2n.net/pages/Romance.w2n">Romance</a><br /><a title="Tishnatur" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Tishnatur&action=editredlink" target="_blank">Tishnatur</a><br /><a title="Rahashya" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Rahashya&action=editredlink" target="_blank">Rahashya</a><br /><a title="Hiya" href="http://wiki.w2n.net/pages/Hiya">Hiya</a><br /><a title="Gorima" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Gorima&action=editredlink" target="_blank">Gorima</a><br /><br />$$$$$$$$$$$$$$$$$<br />Assamese poets<br />$$$$$$$$$$$$$$$$$<br /><br /><a title="Ajit Barua (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Ajit_Barua&action=editredlink" target="_blank">Ajit Barua</a><br /><a title="Aparaj (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Aparaj&action=editredlink" target="_blank">Aparaj</a><br /><a title="Atul Chandra Hazarika" href="http://wiki.w2n.net/pages/Atul_Chandra_Hazarika.w2n">Atul Chandra Hazarika</a><br /><a title="Bipul Jyoti Saikia (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Bipul_Jyoti_Saikia&action=editredlink" target="_blank">Bipul Jyoti Saikia</a><br /><a title="Bireshwar Barua (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Bireshwar_Barua&action=editredlink" target="_blank">Bireshwar Barua</a><br /><a title="Bishnu Prasad Rabha (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Bishnu_Prasad_Rabha&action=editredlink" target="_blank">Bishnu Prasad Rabha</a><br /><a title="Devakanta Barua (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Devakanta_Barua&action=editredlink" target="_blank">Devakanta Barua</a><br /><a title="Harekrishna Deka (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Harekrishna_Deka&action=editredlink" target="_blank">Harekrishna Deka</a><br /><a title="Hari Barkakoti (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Hari_Barkakoti&action=editredlink" target="_blank">Hari Barkakoti</a><br /><a title="Heeren Bhattacharya (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Heeren_Bhattacharya&action=editredlink" target="_blank">Heeren Bhattacharya</a><br /><a title="Hem Barua" href="http://wiki.w2n.net/pages/Hem_Barua.w2n">Hem Barua</a><br /><a title="Hemanga Kumar Dutta (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Hemanga_Kumar_Dutta&action=editredlink" target="_blank">Hemanga Kumar Dutta</a><br /><a title="Homen Borgohain" href="http://wiki.w2n.net/pages/Homen_Borgohain.w2n">Homen Borgohain</a><br /><a title="Jyoti Prasad Agarwala" href="http://wiki.w2n.net/pages/Jyoti_Prasad_Agarwala.w2n">Jyoti Prasad Agarwala</a><br /><a title="Kaustavmoni Saikia (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Kaustavmoni_Saikia&action=editredlink" target="_blank">Kaustavmoni Saikia</a><br /><a title="Keshav Mahanta (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Keshav_Mahanta&action=editredlink" target="_blank">Keshav Mahanta</a><br /><a title="Navakanta Barua (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Navakanta_Barua&action=editredlink" target="_blank">Navakanta Barua</a><br /><a title="Nilim Kumar (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Nilim_Kumar&action=editredlink" target="_blank">Nilim Kumar</a><br /><a title="Nilima Thakuria Haque (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Nilima_Thakuria_Haque&action=editredlink" target="_blank">Nilima Thakuria Haque</a><br /><a title="Nilmoni Phukan (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Nilmoni_Phukan&action=editredlink" target="_blank">Nilmoni Phukan</a><br /><a title="Rafiqul Husaain (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Rafiqul_Husaain&action=editredlink" target="_blank">Rafiqul Husaain</a><br /><a title="Sameer Tanti (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Sameer_Tanti&action=editredlink" target="_blank">Sameer Tanti</a><br /><a title="Sananta Tanti (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Sananta_Tanti&action=editredlink" target="_blank">Sananta Tanti</a><br /><a title="Lakshyahira Das (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Lakshyahira_Das&action=editredlink" target="_blank">Lakshyahira Das</a><br /><a title="Ganga Mohan Mili (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Ganga_Mohan_Mili&action=editredlink" target="_blank">Ganga Mohan Mili</a><br /><a title="Bijoy Ravi Das (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Bijoy_Ravi_Das&action=editredlink" target="_blank">Bijoy Ravi Das</a><br /><a title="Anil Panging (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Anil_Panging&action=editredlink" target="_blank">Anil Panging</a><br /><a title="Prem Gogoi (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Prem_Gogoi&action=editredlink" target="_blank">Prem Gogoi</a><br /><a title="Rhituraj P. Dutta (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Rhituraj_P._Dutta&action=editredlink" target="_blank">Rhituraj P. Dutta</a><br /><a title="Mitali Phukan (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Mitali_Phukan&action=editredlink" target="_blank">Mitali Phukan</a><br /><a title="Manik Saikia (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Manik_Saikia&action=editredlink" target="_blank">Manik Saikia</a><br /><a title="Ajit Gogoi (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Ajit_Gogoi&action=editredlink" target="_blank">Ajit Gogoi</a><br /><a title="Ranjit Gogoi (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Ranjit_Gogoi&action=editredlink" target="_blank">Ranjit Gogoi</a><br /><a title="Ujjwal Pawgam (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Ujjwal_Pawgam&action=editredlink" target="_blank">Ujjwal Pawgam</a><br /><a title="Victor Rajkumar (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Victor_Rajkumar&action=editredlink" target="_blank">Victor Rajkumar</a><br /><a title="Paragjyoti Mahanta (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Paragjyoti_Mahanta&action=editredlink" target="_blank">Paragjyoti Mahanta</a><br /><a title="Pranjal Kumar Lahon (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Pranjal_Kumar_Lahon&action=editredlink" target="_blank">Pranjal Kumar Lahon</a><br /><a title="Pankaj Gobinda Medhi (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Pankaj_Gobinda_Medhi&action=editredlink" target="_blank">Pankaj Gobinda Medhi</a><br /><a title="Rafika Hussain (not yet written)" href="http://url.w2n.net/*http:/en.wikipedia.org/w/index.php?title=Rafika_Hussain&action=editredlink" target="_blank">Rafika Hussain</a><br /><br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />For more details search in these databases about Assamese literature and various literary works:<br /><br /><a href="http://www.geocities.com/bipuljyoti/">http://www.geocities.com/bipuljyoti/</a><br /><a href="http://www.geocities.com/p_saikia/">http://www.geocities.com/p_saikia/</a><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com3tag:blogger.com,1999:blog-7823291760828692160.post-76311350855851065772008-02-26T04:07:00.000-08:002008-02-26T07:28:53.664-08:00Bhraymaman theatre --Assamese mobile theatre industry<a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8QwFOo3SQI/AAAAAAAACqQ/xTrne0o9ABY/s1600-h/ankiya.JPG"><img id="BLOGGER_PHOTO_ID_5171311138515142914" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8QwFOo3SQI/AAAAAAAACqQ/xTrne0o9ABY/s400/ankiya.JPG" border="0" /></a><br /><div>$$$$$$$$$$$$$$$$$$$<br />Bhraymaman theatre<br />$$$$$$$$$$$$$$$$$$$<br /><br />The mobile theatre of Assam (with annual turnover worth Rs 10 crores) that presents contemporary themes and adopts even Hollywood stories like the Titanic is extremely popular both in urban and rural areas of the state.<br /><br />In Assam's entertainment arena, the festive season of Durga Puja is also the time for the 'carnival on wheels' to roll out with its 'magic', 'miracles' and much more 'up the sleeve'. The vastly popular mobile theatre companies (known as Bhraymaman theatre locally) launches their annual shows with stunts and emotional quotients packed together to make a winning combination of drama on stage.To match its unrivalled record of bringing to life what even filmmakers think twice before venturing into on reel, the mobile theatre companies of Assam have roped in contemporary issues – right from Saddam to Superman to vampires to dwarfs.Even Gabbar Singh and Sholay have got a new lease of life on Assam's stage though the much-vaunted Ram Gopal Varma's version got the boot from the public and critics alike. An industry in its own right with an annual turnover of over Rs 10 crore, the mobile theatre industry of the northeastern state has been entertaining the masses for the last few decades gaining in stature progressively.<br />In 1930, the Kohinoor Opera, the first mobile theatre group of Assam, was started by Natyacharya Brajanath Sarma. From Dhubri to Sadiya, from the north bank to the south bank of the Brahmaputra River, Kohinoor Opera performed its dramas, attracting thousands of spectators whi came to see Sarma perform. Apart from initiating a theatrical movement, the Kohinoor Opera introduced co-acting on the stages of Assam. In 1931, Brajanath Sarma, with the help of Phani Sarma introduced female actresses for the first time to appear in their drama productions at a time when male acting was completely dominant, revolutionizing the nature of Assamese theatre.<br /><br />Though the mobile theatre of Assam has certain things in common with the Jatra of West Bengal – for example, the roving nature and performance on makeshift stages – the Assam productions put in much more effort for technical perfection and have evolved from depictions of mythological stories to themes of contemporary nature. Adaptation of ever-new themes and an eye to changing interests have ensured that the mobile theatre genre does not lose its appeal to the young audience either. With the Assamese film industry in a deep slumber, the plays have also provided the artistes another platform to showcase their talent.<br /><br />The glamour quotient in these plays is ensured as Assamese film stars take up lead roles. It thus vindicates the significant place the mobile theatres hold in the media and entertainment industry in the state. Most of the groups start their tour mid-August and wind up by April. The rehearsals start from June, with the entire unit camping together till the end of the season. Technology forms a very important role in these show-stealers. From sinking the Titanic to making the Anaconda crawl to recreating the Jurassic Park, the mobile theatre groups have 'been there, done that'. Even Princess Diana's tragic death has featured in one of the plays. A leading group, Kohinoor, which has an enviable record for wowing the audience with innovative technical feats on stage, has a dwarf up its sleeve this season. In its banner play this year – Abuj Dora, Achin Kainya – the group is staging the tale of a dwarf and his two lookalikes of normal physical height. A top actor from the Assamese film industry, Jatin Bora, has been roped in for the role. Transforming the six-feet-tall Bora to a dwarf for one of the three characters is no mean feat. The play has similarities with the Kamal Hassan starrer Apu Raja, but the producers maintain that the similarities are only to the extent that both have lead actors in the role of a dwarf. From lighting effects to specially tailored clothes with help from Mumbai, the producers of Kohinoor have spared no cost to ensure that the effect is complete. And it has paid off well too. Already, it is breaking records in revenue collection wherever it performs.Last year, the group had staged a play with an actress in a double role, with her even appearing 'together' several times on stage!<br /><br />$$$$$$$$$$$$$$$$$<br />Play on Titanic<br />$$$$$$$$$$$$$$$$$<br /><br />On the social content in his plays and accusations that they play to the gallery rather than propagate social values, Kohinoor owner Ratan Lakhar says, "Titanic was followed by a play on the life of 'Kalaguru' Bishnu Rabha the next year. Bishnu Rabha is a cultural icon of Assamese society and greatly admired. There were few takers for the play. We have a business to run and along with producing plays with social content, we have to make plays which pull crowds." "The plays always have a message for the masses, even though it is wrapped in a package of entertaining gimmicks," he adds. Incidentally, the stage adaptation of Titanic was done by Ratan's group. On the urban-rural preferences of theatre audiences, he says that people's expectation from theatre is not different in cities from that in villages or small towns.<br />"Cities draw as much crowds as the smaller venues and the arrival of the cine stars on stage has added to the glamour quotient of the theatres. We pull more crowds now," he says. A desi version of Superman is also making his appearance on the stage in Aashirbad theatre's play. The protagonist is set to fly around the stage with an outfit with special powers. Evil forces figure as a Dracula-inspired vampire in a production by the Deboraj theatre group. The vampire, more than 250 years old, sucks the blood of his victims. The group brings alive the blood sucking scenes in the play with technical help.<br /><br />And if RGV's Aag left you with a sour taste, then check out the stage adaptation of Sholay by Rajashri Theatre this season. Varma's attempts to divert from the original masterpiece may have fallen flat on its face, but the producers in Assam are happy sticking to the old plot and style. From the famous motorbike ride to the train dacoity sequence of the original film, Rajashri Theatre has aptly translated on stage the magic of the blockbuster from the Sippy stable. The mobile theatre groups of Assam have not just entertained the masses; they have also chosen contemporary topics and personalities as themes for their plays. This year too, the Saraighat theatre group is staging a play based on Iraq's executed former ruler Saddam Hussein. Many plays by different groups have also helped spread social messages, from terrorism to AIDS, through their productions. Bollywood, and Hollywood stories to some extent, however, are major inspirations for many of the plays. Among motley of such plays this year is one based on the life of a robber, an expert in breaking lockers, staged by the Bhagyadevi group. A host of films, from Dhoom 2 to the remade Don to Cash and Victoria No. 203 have figured as inspiration for many of these plays. But the difference is the playwright has adapted it to suit local sentiments.The mobile theatre groups are striking the right balance between entertainment and social content till now, and the growing popularity of the plays even among the youngsters in urban areas prove that they are hitting the right chord.<br /><br />Assam's travelling theatres are playing to packed audiences in both urban and rural areas despite jazzed up cinema complexes and cable television.About three years ago, the state produced about a dozen-odd Assamese language films annually. However, this has dwindled to naught with moviegoers growing scarce. With regional cinema in the doldrums, actors, musicians, directors and technicians found an alternative livelihood in the highly popular mobile theatres.The theatres, which belong to a tradition stretching back more than four centuries, have multiplied to over 30.It would have been a silent death for hundreds of people involved in the Assamese film industry but for the mobile theatres. Actors, musicians, directors and technicians are today earning more from mobile theatres than they did from films,' he added.Like Ahmed, there are other filmmakers and actors who once ruled the silver screen but are now working in mobile theatres. Thousands of people prefer to sit in grassy fields to watch the plays with themes ranging from contemporary events to mythologies, Greek tragedies, Shakespearean plays and Indian classics. 'It is indeed a matter of great pride to find mobile theatres being able to captivate so many people despite modern cinemas and a variety of television channels available to the audience,' said Arun Sharma, a noted Assamese playwright and Sahitya Akademi award winner.The modern commercial form, which emerged in the late 1960s, has clung to its community roots with troupes often performing 10-minute sketches before the main show on subjects like AIDS and drug abuse. The troupes themselves are mini communities, each comprising more than 100 actors, technicians, cooks and general helpers, who travel together on the road for eight straight months beginning August and perform on the stage in villages and cities across the state.'An average 800 to 1,000 people watch a show and that in itself is an indication of the popularity of the mobile theatres,' said Biswa Saikia, owner of one of the theatre groups.Some productions were such hits that dozens of foreign television crews and journalists trailed the travelling theatre groups through slush and mud in the interiors of Assam. The staging of plays like 'Lady Diana', 'Titanic' and the re-creation of the 9/11 terrorist attacks on the World Trade Centre in New York were instant hits. Encouraged, the travelling troupes have started introducing innovations in their productions by way of lighting and other technical expertise. 'Today, with filmmakers directing on stage and star actors performing as stage artistes, the quality and sophistication of the mobile theatres have gone up. Stage plays with special effects look like a movie,' said set designer Tarun Das. The groups contribute almost 40 percent of their income to local education and other community projects - another reason for the people's acceptance of the travelling theatres over other modes of entertainment.<br /><br />$$$$$$$$$$$$$$<br />Play on Osama bin Laden<br />$$$$$$$$$$$$$$<br /><br />Far from the lost twin towers of lower Manhattan, a play on the Sept. 11 terrorist attacks by a traveling band of actors kept audiences spellbound in a remote corner of India.<br />Thousands of men, women and children are crowding into a huge canvas tent in Nazira, a small town in northeastern Assam state, to watch two dozen actors dressed in Afghan-style shirts and turbans recreate Taliban country in a play called "Usama bin Laden." A hush descends on the audience as the stage lights focus on a cave, where an actor playing bin Laden, the mastermind behind the Sept. 11 attacks, gets Taliban fighters to pledge to the destruction of America.<br />As the scene fades, another part of the stage lights up on a young American soldier, whose life takes a dramatic turn when he's asked to join U.S. troops in Afghanistan. Traveling on foot, or on bicycles or by bus, the spectators begin lining up for tickets hours before the two daily shows in this sleepy town, 400 kilometers (250 miles) east of Gauhati, Assam's capital.<br />"Even children have heard of bin Laden. It's curiosity that has made me come," said Dilip Bordoloi, a college teacher among some 4,000 people packed into the tent for the Sankardev Theater's performance last Sunday. Outside the tent on a soccer field, vendors sell buttered popcorn and pink cotton candy as balloons bob among the throngs waiting for tickets. Within weeks of the events of Sept. 11, Biswa Saikia, a stocky man in his late forties who set up the theater group 10 years ago, decided to adapt the events surrounding the attacks for the stage.<br />"We have succeeded in exposing the fact that bin Laden was actually using Islam to further his own vicious goals and thrust what I call 'Ladenism' in the name of jihad, " said director Sewabrata Borua.<br /><br />The two-hour play in the local Assamese language, with a sprinkling of English and live keyboard music, is performed on adjoining stages.<br /><br />"The play's message is loud and clear: Islam does not preach violence. It has been used and projected like that by the likes of bin Laden," said scriptwriter Samarendra Barman, a Hindu.<br />Like much of India, the actors and audience are a mix of Muslims and Hindus who work and live together with ease. And like the leaders of this South Asian nation, the audience backed the Americans and scorned the acts of the Taliban and bin Laden's Al Qaeda terrorist network.<br />Some in the audience threw up their hands in anger and hid their faces when Taliban fighters were depicted killing two Afghan teenagers.<br /><br />"I'm not much of a theatergoer. But I decided to see 'Laden' after reading so much about his terror acts," said Minoti Bora, a college student. "I got a fair idea of how bad the Taliban was."<br />The Sankardev Theater group is a small community of some 100 actors, technicians, cooks and assistants who are on the road for an eight-month season beginning each August.<br />"I have not seen even a single television image of the twin towers being attacked and crashing," said Pranab Sarma, who plays bin Laden.<br /><br />"But I read up whatever newspaper clippings I could and plastered the walls of my home and our camp with Laden's photographs. I used to look at these pictures before I slept each night."<br />Jita Saikia, playing an Afghan woman whose family is killed by Taliban raiders, moved audience members to close their eyes and hang their heads in sadness.<br /><br />"Her powerful acting gave us an idea about the Taliban, how they could kill a boy because his mother would not let him join the Taliban troops, or commit atrocities on a family for letting their daughters go to school," said Arati Bhuyan, a homemaker, after seeing the play.<br />Apart from powerful themes, traveling theaters in Assam are famous for their ingenious special effects. In the bin Laden play, cardboard helicopters fly onto the stage with tail lamps blazing. Half-a-dozen American commandos, played by actors in full battle gear, shimmy down ropes onto the stage as tanks roll into the battle zone.<br /><br />The play ends with the triumph of good over evil as the Afghan housewife with the support of American and northern alliance soldiers, enters a Taliban hideout. In a twist on recent history, she helps rescue a kidnapped American journalist who had been taken hostage.<br />With a burst of flames, the play concludes with two jetliners slamming into the World Trade Center. The audience does not boo or cheer.<br /><br />"Terrorism is a global menace," Jagadish Barman, a veterinarian, said as he walked out. "What I liked most about the play, aside from the performance, is its message against violence and the gun culture."<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Plays on Superman, Anaconda, Saddam, Dhoom2, Don<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />At a time when films have stolen the theatre audiences, what better way to get back than adapt cinema to stage? Believe it or not, Assam's mobile theatre groups are doing just that. Be it Superman or Dhoom 2 and Don, they are freely yet innovatively drawing inspiration from cinema.<br /><br />An industry in its own right, with an annual turnover of over Rs 10 crore, the mobile theatres have been entertaining the masses as also helping in spreading social messages, from terrorism to AIDS.Though the mobile theatre (known as Bhraymaman theatre locally) has certain things in common with the Jatra of West Bengal, like their mobile nature and performance on make-shift stages, the Assam productions put in much more effort for technical perfection and have evolved from being depiction of mythological stories to adapting latest themes as subject matter.<br />From sinking the Titanic to making the Anaconda crawl to recreating the Jurassic Park, the mobile theatre groups have 'been there, done that'. And they are now all geared up with their annual 'dose of miracles on stage'. Most of the groups start their tour from mid-August and wind up by April. The rehearsals start from June, with the entire unit camping together since then till the end of the season<br /><br />A leading group, Kohinoor, which has a wonderful record of wowing the audience with innovative technical feats on stage, has a dwarf up its sleeve this season. In its play Abuj Dora, Achin Kanya (Untutored Groom, Unknown Bride) this year, the group will stage the tale of a dwarf and his two look-alikes of normal physical proportions.<br /><br />A top actor of the Assamese film industry, Jatin Bora has been roped in for the role. Bora, a six- feet tall actor, will be transformed into a dwarf for one of the three characters he would be playing. From lighting effects to specially tailored clothes and a little help from Mumbai technicians, the producers of Kohinoor have spared no cost to ensure that the effect is complete.<br />The best-known attempt at playing a double role, one of them being that of a dwarf, was made by Kamal Hassan in Appu Raja. No such known professional attempt has perhaps been made in the history of Indian theatre. The dwarf in Appu Raja was a joker, as is Jatin in the play. But the producer stresses that the similarity ends there. While Jatin will be seen as a circus joker in the role of the dwarf, his other two roles in the play will be that of a police officer and an actor. The group had last year staged a play with an actress appearing 'together' several times on stage.<br />A desi version of Superman will also make its appearance on stage in Aashirbad theatre's play. The protagonist would fly around the stage with the acquired powers from an outfit with special powers.The evil forces would also have their share of stage in Deboraj theatre group. A Dracula-inspired vampire of more than 250 years of age would suck the bloods of his victims. The group promises to bring to life the blood sucking scenes in the play with technical help.The mobile theatre groups of Assam have not just entertained the masses, but also chosen contemporary topics and personalities as theme for their plays. From spreading awareness about AIDS to presenting the life of Princess Diana, the mobile theatre groups have rarely left untouched any topic of the slightest importance.This year, too, a play based on Iraq's executed former ruler Saddam Hussein would be performed by the Saraighat theatre group. Though most of the plays have strong social content, a few are also inspired by Bollywood and Hollywood, which had even led to terrorist threat against the groups. But far from subduing under the threat, theatre owners have given writers a green signal to draw from their cinematic cousins.<br />Among motley of such plays this year is one based on the life of a robber, an expert in breaking lockers, to be staged by the Bhagyadevi group. A host of such films, from Dhoom 2 to the remade Don to the just released Cash, have more than one point of similarity with the play. But the playwright has adapted it to suit the local sentiments and is expected to be a major money-spinner for the group this season.<br />The mobile theatre groups are striking the right balance between entertainment and social content till now, and the growing popularity of the groups even among youngsters in urban areas promises a rosy future for them.<br /><br />$$$$$$$$$$$$$$<br />Ankiya Nat --One-act play<br />$$$$$$$$$$$$$$<br /><br />The Bhakti movement has deeply influenced many forms of traditional performing arts prevalent in Eastern India. In Assam it inspired the superb Anktanat. In fact, all the plays in the repertory of this theatre are one-act plays and they are called Ankiya Nat.<br />1. This is one of the very few surviving traditional performing arts prevalent in Eastern India.2. Ankiya Nat sinks all differences between religious ritual and aesthetic activity.3. Ankiya Nat once enjoyed high patronage from different levels but today it is a victim of indifference. It is necessary to arrest this decay.<br /><br />Essential elements of the performing art<br />Music, Dance, Theatre<br /><br />To a casual onlooker, who cannot go beyond the periphery, Ankiya Nat may appear only as a form of ritual theatre. Sensitive theatergoers, however, will find that it touches those aesthetic heights from which religiosity and secularity do not look antithetical.<br /><br />No less than a genius can conceive of a theatre that sinks all differences between religious ritual and aesthetic activity, and then makes the disciplined sublimity of classical arts and the emotional immediacy of folk arts walk together hand in hand. Such a form of theatre is Ankiya Nat and Shankaradeva is the genius who conceived and shaped it towards the second decade of the 16th century. He was a saint-aesthetic, subscribing to Vaishanavism but with a difference.<br />The elements drawn from the folk forms of music, dance and drama not only broadened the range of appeal, but gave Ankiya Nat its unmistakable Assamese character. Amongst folk forms which influenced him most are Ojhapali, a fascinating form combining elements of balladry, dance and drama: Dhulia, a form of group singing and dancing, Bhaoria, balladry, and Putlanach, the traditional marionette theatre of Assam. The fusion of all these diverse elements and influences to mould a powerful dramatic alloy surely required a sensitivity which Shankaradeva had.<br /><br />The bhawna, that is, the performance of Ankiya Nat, traditionally takes place in a specially constructed theatre hall called rabha or bhawna-ghar. If such a pandal is not there, then one is improvised, or it is performed under a canopied enclosure. The performance is presented at the centre of the hall and spectators sit on all four sides.<br /><br />$$$$$$$$$$$$$$$$$$<br />Famous Assamese Theatre personalities<br />$$$$$$$$$$$$$$$$$$<br /><br /><br /><br /><br />$$$$$$$$$$$$$$$$$<br />Phani Sarma<br />$$$$$$$$$$$$$$$$$<br /><br />The theatrical career of Phani Sarma started as a gatekeeper of the women’s gallery of the prestigious Ban Stage situated at Tezpur. His father Molan Sarma was also an exponent of drama and was a good actor of Ban Stage. So along with his father, Phani Sarma regularly went to the Ban Stage and closely observed the perfect acting of a number of veteran actors like Indreswar Borthakur, Dr Lalit Mohan Chowdhury, Prafulla Borua etc. This inspired young Bolin (as Phani Sarma was popularly known) towards acting and had a deep impact on his future life. In 1928, he got the opportunity to act on the Ban Stage for the first time in the role of Akbar in the drama Rana Pratap. That was the beginning of a new chapter in the life of Phani Sarma.<br />In 1930, Phani Sarma joined the Kohinoor Opera, the first mobile theatre group of Assam, started by Natyacharya Brajanath Sarma. From Dhubri to Sadiya, from the north bank to the south bank of the Brahmaputra, Kohinoor Opera performed its dramas, attracting thousands of people. It’s main attraction was the superb acting of Phani Sarma. Apart from initiating a theatrical movement, Kohinoor Opera deserves the credit of introducing co-acting on the stages of Assam. In 1931, Brajanath Sarma, with the help of Phani Sarma introduced female actresses for the female roles of a drama. Prior to this, the female roles were played by male actors. This definitely brought about a new trend to the stages of Assam.<br />Phani Sarma played a significant role in the first Assamese feature film Joymoti made by Rupkonwar Jyotiprasad Agarwalla in 1933, where he played the role of Gathi Hazarika, the villain of the film. The brilliant acting of Phani Sarma in that role was a special feature of the film. Later he became popular as Gathi Hazarika. In Jyotiprasad’s second film Indramalati also, Sarma played an important role.<br /><br />An innate actor, Phani Sarma was a blazing star in the theatrical world of Assam. With his tall figure which was perfect for the stage and his sonorous voice, he captivated entire Assam by acting in more than a hundred dramas in different characters. People who once had the opportunity of seeing the acting of Phani Sarma either on stage or on screen could never forget it. He was most appropriately and accurately called Natasurya (the Sun of drama) by the people of Assam.<br />With his extraordinary performances on the stage and screen, Phani Sarma earned many laurels and fame all over the State. But he was more brilliant as a playwright than as an actor. Though few in quantity, his dramas are very rich in quality. As an actor, he understood the limitations of a drama and therefore he laid more emphasis upon its dramatical side rather than the literary side. With a universal appeal and substance, all his dramas became very popular on the stage and were widely acclaimed by the critics.<br />On the basis of a rebellion that took place during the Ahom King Lakshmi Singha’s reign, as described by renowned historian Dr SK Bhuyan in his book Konwar Bidroh, Phani Sarma wrote a historical drama Bhogjara. It is worth mentioning here that the dramatical movement which started during the early part of the last century, set a new trend of staging dramas written by local dramatists, on a local plot. Jyotiprasad Agarwalla was the pioneer among such dramatists. With local plots, he wrote a number of dramas like Sonit Kunwari, Karengar Ligiri, Lobhita, etc. Following Jyotiprasad’s footsteps, Phani Sarma wrote a number of dramas with a plot quite familiar to the Assamese people. He drew only the skeleton of the drama Bhogjara from the above mentioned book. But with his own dramatical approach and treatment, Bhogjara became successful as a powerful drama.<br />In 1948 Sarma, along with Bishnu Rava made a feature film Siraj, based on a popular short story written by Deshapran Lakshmidhar Sarma. The success of the film later inspired him to write a drama titled Siraj. It was regarded as a document of Hindu-Muslim integrity as the memory of Partition was still fresh in the minds of the people. Phani Sarma himself played the title role of the drama on more than a hundred stages, mesmerizing people all over Assam. In our degenerated society, the story of Siraj is still relevant.<br />On the basis of his own experiences as an actor, Phani Sarma wrote a social drama Kiya. The Natasurya was an artiste who dedicated his own personal life and enjoyment only to entertain other people. But in return he got nothing from the society. This was the personal experience of Phani Sarma who got the sad news of his son’s death when he was acting on a stage in upper Assam. This bitter experience led him to write the drama Kiya. A socially responsible artiste, Phani Sarma became vociferous against corruption in his drama Nag-Pas. Similarly he protested against the social injustice and dominance of outsiders in our society in a humorous way in his drama Kola-Bazar. By translating JB Priestley’s famous drama An Inspector Calls into Assamese, he also enriched our dramatical literature.<br /><br />$$$$$$$$$$$$$$$$$<br />*BAHARUL ISLAM*<br />$$$$$$$$$$$$$$$$$<br /><br />Baharul Islam (born in 1963) graduated from *National School of Drama,<br />* Acting.He has acted Almost 60 plays in Different language- Assamese, Hindi and English.<br /><br />In 1992-93 joined * TARA ART* of London as an Actor for the production of the play HEER RANJHA.The play rehearsed in London and thereafter extensively toured UK and Japan performing 56 shows.<br /><br />Designed and Directed more than 30 plays-<br /><br />*Urukha,*<br /><br />* Yayati,*<br /><br />* Saraighat**,*<br /><br />*Abhimoinnyu*<br /><br />*, Jatra,*<br /><br />* Simar Sipare,*<br /><br />* Guwahati Guwahati,*<br /><br />* Holi,*<br /><br />* Apeksha,*<br /><br />* Court Marshal,*<br /><br />* Moi premar pinjarat bandi*<br /><br />*Aakash…*<br /><br />Which has performed in different festivals including Bharat Rang Mahotsav, Nandikar, E z c c, Sangeet Natak Academy, Prithvi, Nehru Centre, PDA festivals etc.<br /><br />Designed and directed a play in Kannada-<br /><br />*MODOLA GITTI* for NINASAM REPERTORY COMPANY for the year 2003-2004.<br /><br />Designed and Directed Edward Albee's *WHO'S AFRAID OF VIRGINIA WOOLF?*<br />For National School of Drama Repertory Company, New Delhi. (2006)<br /><br />Designed<br /><br />*OCTAVE 2006*- a Festival on North East at Pragati Maiden, New Delhi 7th to 14th March 2006, organized by Ministry of Culture, Govt. of India.<br /><br />Directed Anton Chekhov's play *SEAGULL for RANGAYANA Repertory Company, Mysore in July 2006.<br /><br />Four Years experience in<br /><br />Mobile Theatre (Bhrayamaman) in Assam as an Actor- Director with different groups-*Bhagyadevi, Kohinoor, Anirvaan* and *Meghdoot*. During the period, Directed 6 plays including *King leer, Oedipus the* *King * etc and performed almost 1200 shows with 16 plays.<br /><br />Received *SANKSKRITI SAMMAN* from EKA ABONG KOEKJON publication, Guwahati<br /><br />And a NATIONAL AWARD<br /><br />*MONOHAR SINGH SMRITI AWARD* FROM NATIONAL SCHOOL OF DRAMA APROVED BY *MINISTRY<br />OF CULTURE, GOVT. OF INDIA* FOR HIS CONTRIBUTION TOWARDS THEATRE IN 2005.<br /><br />Wrote 4 plays- * JATRA, SIMAR SIPARE* (beyond the obvious),* APEKSHA *<br />and *Pana gaor tupat anisha *in Assamese language.<br /><br />Wrote a book- * AKANTO MONERE* in Assamese on Dramatics in 2005.<br /><br />Acted in many tele film, Serial and films in different language- Assamese,<br />Hindi and Kannada. Directed 1 feature Film *ASENE KONOBA HIYAT* (2000) in<br />Assamese.<br /><br />*DOOR DARSHAN EXPERIENCE*<br /><br />Produced and directed several *IN HOUSE PLAY PRODUCTION* in DDK, Guwahati-<br />COURT MARSHAL. PINJORAR VIDYALAYA, MRICHHAKATIKAM etc… for 15 years.<br /><br />Worked as chief assistant director in *JIBONOR BATAT*- the 1st Assamese<br />serial, directed by Mridul Gupta.<br /><br />Directed a short film *RANI GAIDENLEU* (1997) produced by *Girish Karnad on<br />behalf of DDK national as part of SWARAJ NAMA.*<br /><br />Directed 1 documentary - *THE DHULIA AND* *PUPPET THEATRE IN ASSAM* (*1997*<br />),* * for DDK, Guwahati as *Commission Programme*.<br /><br />Produced and directed a fiction *NISHANT* (6 episode) in 2003 for DDK, Guwahati as Commission Programme.<br /><br />Produced and directed a Documentary *Assamese folk culture in the life of modern period* (4 episode) in 2005for DDK, Guwahati as *Commission Programme.<br /><br />ACTED IN MANY TELEFILMS AND SERIALS.<br /><br />Acted in many Assamese feature films including<br /><br />*SURUJ,*<br />* PITAPUTRA*<br /><br />*SANKALPA,*<br /><br />* MOROM NADIR GABHARU GHAT*<br /><br />* APONJON,*<br /><br />* BAGH MANUHAR KHELA*<br /><br />* RONGA MODER*<br /><br />* BAROOD*<br /><br />*MAYA, *<br /><br />*ANTAHIN JATRA* etc and Radio plays regularly for 20years.<br /><br />* * Worked with *MANI RATHNAM* in DILSE as Coordinator<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Various Bhryaman Theatre companies of Assam<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />THEATRE BHAGYADEVI (35th Year)<br />THEATRE BINAPANI (28th Year)<br />KOHINOOR THEATRE(27th Year)<br />AABAHAN THEATRE (23nd Year)<br />HENGOOL THEATRE (17thYear)<br />SRIMANTA SHANKAR DEV THEATRE (10th Year)<br />BORDOICHILA THEATRE (5th Year)<br />MADHABDEV THEATRE (4th Year)<br />GADAPANI THEARTRE (4th Year)<br />SHANKAR MADHAB THEATRE (6th Year)<br />SREE GURU THEATRE(3rdYear)<br />NATARAJ THEATRE (2nd Year)<br />MEGHDOOT THEATRE(3rd Year)<br />THEATRE MAHABAHU BRAHMAPUTRA (4th Year)<br />MANCHATIRTHA THEATRE (2 nd Year)<br />PRAGJYOTISH THEATRE (2nd Year)<br /><br />*SEAGULL THEATRE*<br />SEAGULL formed in 1990 at the initiative of a few theatre activists and someNSD graduates; SEAGULL has emerged as one of the prominent theatre troupe inthe entire region. The main objective of SEAGULL is to improve the existingstyle and form of Assamese theatre with systematic practice and training.<br /><br />*The Activity-Wings of Seagull are*<br />1) Seagull Repertory Company.<br />2) Seagull Theatre Academy.<br />3) Publication Wing.<br />4) Working with Spastic children.<br />5) Organizing Theatre workshops.<br />6) Seagull Children Academy<br />7) Seagull Studio<br /><br />Theatre Seagull has so far staged a number of plays like URUKHA, SARAI GHAT,TUGHALAQUE, ABHIMOINNU, PARASHURAM, JATRA, ANTIGONE, ASHAD KA EKDIN, A DOLLSHOUSE etc. Seagull has participated in many theatre festivals- *Sangeet Natak Academy),Bharat Rang Mahotsav-New Delhi, Prithvi Festival-Mumbai, Bahurupi-Mysore,Nandikar-Kolkata * etc with their plays. Doing WEEKEND THEATRE on every Sunday in winter season in Guwahati at theirown seagull Studio Theatre.<br /><br />$$$$$$$$$$$$$$$$$<br />Ban Theatre, Tezpur<br />$$$$$$$$$$$$$$$$$<br /><br />The first modern Assamese theatre hall, the Ban Theatre, was established in the year 1906.Many of the great modern Assamese dramas of Rupkunwar Jyotiprasad Agarwala and Natasurya Phani Sarma, were first staged here. The tradition continues till today.<br /><br />$$$$$$$$$$$$$$$$$<br />Pathsala<br />$$$$$$$$$$$$$$$$$<br /><br />Pathsala is often describes as the Hollywood of Assam for its big mobile theatre groups and regular performances of drama and other cultural activities round the year.</div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com4tag:blogger.com,1999:blog-7823291760828692160.post-34342303593669852812008-02-25T03:44:00.000-08:002008-05-13T05:32:39.509-07:00About Jollywood -- Assamese Cinema<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/SCmJxEzX5WI/AAAAAAAADXY/CXO8ti_Su38/s1600-h/Agnisnaan+Shooting.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/SCmJxEzX5WI/AAAAAAAADXY/CXO8ti_Su38/s400/Agnisnaan+Shooting.jpg" alt="" id="BLOGGER_PHOTO_ID_5199838720971760994" border="0" /></a>Noted director Bhabendra Nath Saikia during film shooting<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SCmJykzX5XI/AAAAAAAADXg/2ETAwcOgY6c/s1600-h/bhaben.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SCmJykzX5XI/AAAAAAAADXg/2ETAwcOgY6c/s400/bhaben.jpg" alt="" id="BLOGGER_PHOTO_ID_5199838746741564786" border="0" /></a>Noted director Bhabendra Nath Saikia receiving award from President of India<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SCmJy0zX5YI/AAAAAAAADXo/-H7bPOzXuwA/s1600-h/shooting.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SCmJy0zX5YI/AAAAAAAADXo/-H7bPOzXuwA/s400/shooting.jpg" alt="" id="BLOGGER_PHOTO_ID_5199838751036532098" border="0" /></a>Bhabendra Nath Saikia during film shooting<object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/rfaQ41qGpZI&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/rfaQ41qGpZI&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/-g9w10tlz8Y&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/-g9w10tlz8Y&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /><br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/Rc7r7D__8KE&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/Rc7r7D__8KE&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/u6nILhdPcME&hl=en"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/u6nILhdPcME&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8LXVuo3SKI/AAAAAAAACpg/wGL1ybsWrw0/s1600-h/bhupen+da.JPG"><img id="BLOGGER_PHOTO_ID_5170932090471401634" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8LXVuo3SKI/AAAAAAAACpg/wGL1ybsWrw0/s400/bhupen+da.JPG" border="0" /></a><br /><div><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8LXH-o3SFI/AAAAAAAACo4/2vhYIqx9AZY/s1600-h/jahnu.JPG"><img id="BLOGGER_PHOTO_ID_5170931854248200274" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8LXH-o3SFI/AAAAAAAACo4/2vhYIqx9AZY/s400/jahnu.JPG" border="0" /></a> Noted Film maker Jahnu Baruah<br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8LXIOo3SGI/AAAAAAAACpA/BoTLQIg3fbY/s1600-h/moloya.JPG"><img id="BLOGGER_PHOTO_ID_5170931858543167586" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8LXIOo3SGI/AAAAAAAACpA/BoTLQIg3fbY/s400/moloya.JPG" border="0" /></a> Moloya Goswami receiving theNational best actress award from President of India<br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8LXIeo3SHI/AAAAAAAACpI/V-QWB_ohbLw/s1600-h/biju+mridula.JPG"><img id="BLOGGER_PHOTO_ID_5170931862838134898" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8LXIeo3SHI/AAAAAAAACpI/V-QWB_ohbLw/s400/biju+mridula.JPG" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8LXIuo3SII/AAAAAAAACpQ/pef9598Xqeg/s1600-h/moloya+nipon.JPG"><img id="BLOGGER_PHOTO_ID_5170931867133102210" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8LXIuo3SII/AAAAAAAACpQ/pef9598Xqeg/s400/moloya+nipon.JPG" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8LXJOo3SJI/AAAAAAAACpY/YpbTIA5lACw/s1600-h/movies.JPG"></a><br /><br /><div><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8LV0-o3SAI/AAAAAAAACoQ/_Ls6fvioGnQ/s1600-h/aimee.JPG"><img id="BLOGGER_PHOTO_ID_5170930428319057922" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8LV0-o3SAI/AAAAAAAACoQ/_Ls6fvioGnQ/s400/aimee.JPG" border="0" /></a><br /><a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8LV1Oo3SBI/AAAAAAAACoY/5bSpTRY_0PQ/s1600-h/asomiya.JPG"><img id="BLOGGER_PHOTO_ID_5170930432614025234" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R8LV1Oo3SBI/AAAAAAAACoY/5bSpTRY_0PQ/s400/asomiya.JPG" border="0" /></a><br /><a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8LV1eo3SCI/AAAAAAAACog/WV-Gt2s1NjY/s1600-h/nipon1.JPG"><img id="BLOGGER_PHOTO_ID_5170930436908992546" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R8LV1eo3SCI/AAAAAAAACog/WV-Gt2s1NjY/s400/nipon1.JPG" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8LV1uo3SDI/AAAAAAAACoo/SLYQxrk7Ue4/s1600-h/nath.JPG"><img id="BLOGGER_PHOTO_ID_5170930441203959858" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R8LV1uo3SDI/AAAAAAAACoo/SLYQxrk7Ue4/s400/nath.JPG" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8LV1-o3SEI/AAAAAAAACow/SFADw2papZE/s1600-h/jatin.JPG"><img id="BLOGGER_PHOTO_ID_5170930445498927170" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R8LV1-o3SEI/AAAAAAAACow/SFADw2papZE/s400/jatin.JPG" border="0" /></a><br /><div>The origin of Assamese Cinema can be traced back to the dreams and imagination of a revolutionary visionary Rupkonwar Jyotiprasad Agarwala, who was also a distinguished poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese Film “Joymati”, under the banner of Critrakala Movietone. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, had to shoulder the added responsibilities as the script writer, producer, director, choreographer, editor, set and costume designer, lyricist and music director. The film, completed with a budget of Rupees Sixty thousand and was released on March 10th, 1935. The picture failed miserably. It is unfortunate that like so many early Indian films , the negatives and complete prints of Joymati are missing. Not withstanding the failure of his venture, Jyotiprasad made another film after a lapse of two years titled “Indramalati(1939)”. It was his second and last film. The eminent composer and singer of Assam Dr. Bhupen Hazarika, played a stellar role in the play. With the passing away of Jyotiprasad, the Assamese film scene witnessed a temporary lull for about a couple of years. But things changed with the onset of war, Taking advantage of this, the Late Rohini Kr. Baruah made a film on a relevant historical topic called “Manomati (1941)”. It was followed by films like Parvati Baruah's Rupahi (1946), Kamal Narayan choudhury's Badan Barphukan (1947), Phani Sharma's Sjiraj, Asit Sen's Biplabi, Prabin Phukan's Parghat Suresh Goswami's Runumi etc.<br />But the most remarkable film of the fifties was Piyali Phukan which went on to win a National award. In 1955, a new talent Nip Barua made his directorial debut with Smrit Paras. His subsequent films Mak Aaru Moram and Ranga Police bagged many state awards and the silver medal at the national level. Dr. Bhupen Hazarika also produced and directed his first film Era Batur Sur. Prabhat Mukherjee made a film on the universality of mother-hood, Puberan (1959).,which was shown in The Berlin Film Festival. The next memorable production was Lachit Borphukan by Sarbeswar Chakraborty. Dr. Bhupen Hazarika made his unforgettable musical lore Shakuntala (1961) which proved equally successful with critics and the press. It also won president's silver medal. Following this, a chain of films went into regular production and got released which included Nip Barua's Narakasur, Anil Choudhury's Matri Swarga, Brojen Barua's Itu Setu Bahuto and Mukta & Anwar Hussain's Tejmala.</div><br /><div>By the middle of the sixties, film were produced in Assam on a regular basis. It should also be mentioned here that between 1935 ad to 1970 a total of 62 films were produced. Besides the film makers already referred to, many others engaged in film making during the period included Pravin Sharma, Saila Barua, Abdul Mazid, Amar Pathak, Indukal Pattazarika, Diben Barua, Debkumar Basu, Amulya Manna, Gauri Barman, Atul Bardoloi, Sujit Singh, Nalin Duara and Prafulla Barua.</div><br /><div>During the period of 1970-82 a total of 57 Assamese films were made. New directors started emerging on the horizon. Samarendra Narayan Deb's Aranya (1970), Kamal Choudhury's Bhaity (1972) the first colour film of Assam, Manoranjan Sur's Uttaran (1973), Deuti Barua's Bristi (1974) Pulok Gogoi Khoj (1974) Padam Barua's Ganga Chilanir Pakhi (1976) and Dr. Bhabendranath Saikia's Sandhya Rag (1977) and Atul Bordoloi's Kollol (1978) are films worth - mentioning.</div><br /><div>The outstanding directors of contemporary Assamese Cinema are </div><br /><div>Jahnu Baruah (Aparoopa, Papori, Haladhia Choraye Baodhan Khai, Banani, Firingoti, Hkhagoroloi Bohu Door) ; </div><br /><div>Sanjeev Hazarika (Haladhar, Meemanxa); </div><br /><div>Bhabendaranatha Saikia (Anirbaan, Agnisnaan, Sarothi, Kolahol, Abartan, Itihaas, Kaal Sandhya) Dr. Santwana Bordoloi (Adajya) and </div><br /><div>Bidyut Chakraborty (Rag Birag). </div><br /><div></div><div>Their Films have won National & International Awards.</div><div> </div><div>$$$$$$$$$$$$$$$$$$$$$$$</div><div>First Cinema Hall</div><div>$$$$$$$$$$$$$$$$$$$$$$$</div><div> </div><div>Jonaki Cinema Hall, Tezpur-It is the first cinema hall to be established anywhere in Assam. It was established by Roop Konwar Jyoti Prasad Agarwala. It was set up to screen the first Assamese feature film Joymati in circa 1940.</div><br /><br /><div>$$$$$$$$$$$$$$</div><br /><div>Assamesse Classic Movies </div><br /><div>$$$$$$$$$$$$$$$</div><br /><div></div><div>Joymoti- The first assamese movie- Joymoti, directed by Jyoti Prasad Agarwalla was released in the year 1935.</div><div></div><div>----------------------------------------</div><div>Joymoti : The first radical film of India</div><div>----------------------------------------<br />In the history of Indian cinema are a few filmmakers who, by virtue of their creative ability, intense labour and extraordinary perseverance, have come to be considered genius. D G Phalke, V Shantaram, Pramathes Barua, Himansu Roy, Ritwik Ghatak, Satyajit Ray are some such figures. Traveling through the little roads of Assam, we find another member of that pantheon: Jyotiprasad Agarwalla (1903-51), one of the greatest cultural figures to have been produced by the state. He made only two films, far less than other filmmakers, yet with his first film alone he could be distinguished as a radical auteur of all India. Nevertheless, he is little known.<br />Joymoti, released in 1935, added a new chapter in the chronicles of Indian cinema, primarily in the discourse of realism. Further, Jyotiprasad was the only political filmmaker of pre-independent India, though there were many in post-independent India, starting with Ritwik Ghatak. Above all else, Joymoti is a nationalist film in its attempts to create a cultural world using the elements of Assamese society. It is the only work of its kind of that period.<br />Biographers of Jyotiprasad Agarwalla are often mystified with the diversity of his interests. From a playwright in his mid-teens, to a popular dramatist, to a newspaper editor; first a student of law, then of music; composing tunes originally by blending local and Western music, later writing revolutionary poems and songs; writing children’s literature, then art criticism, then intellectual essays. Jyotiprasad established a makeshift studio to make the first Assamese feature film, and later transformed the space into a cultural centre dedicated to the causes of the people. He organised a volunteer force for M K Gandhi’s Salt March; he was labelled by the imperial government as an absconder, surrendered, and was imprisoned twice. He joined in the Communist-led uprising of 1942; he resigned from a government body in order to protest the compulsory contribution by the government to the World War II effort; he was president of the first India People’s Theatre Association conference in Assam. The list is endless. One constant remains throughout, however: politics was inseparable from Jyotiprasad’s works, whether in poetry or drama, dance or theatre, music or moving image. Throughout his varied career, we see the same conscientious artist striving to express himself in aesthetic terms – with a worldview of his own, immersed in deep love for Assamese literature and culture.</div><div><br />The making of the film Joymoti is remarkable on many counts, yet two things are particularly striking. First was the form of the constructed imagery that discarded norms of Indian cinema (read: ‘faded photocopy of spicy Hollywood’) that had been prevalent since its birth in 1912. Second was the director’s inflexible determination in achieving the concept of that form in the truest possible way. These two intertwined, complimentary aspects cannot be discussed separately. For revealing the natural life of a particular region of Assam, Jyotiprasad decided he would have to develop his own style rather than import elements from elsewhere. Established actors are far removed from the types of characters essential for a lifelike portrayal; studios based in other parts of the country are either too busy producing films for mass consumption, or too incapable of feeling the pulse of the alien concepts espoused by Jyotiprasad. </div><div><br />Jyotiprasad wished to follow the doctrine of cinematic realism as expressed by the Russian filmmaker Lev Kuleshov (although back then, the term in vogue was ‘innovative cinema’). Kuleshov demanded that all things theatrical be banished from films, so as to make way for the aesthetic value of documentary truth, montage and real-life material. His ideas of a new film culture were founded as per changes that had occurred in the Soviet Union after the revolution in 1917. Jyotiprasad came across these ideas while studying in London. He was a visitor to the German government-founded UFA studio in Berlin for six months. There, he took up the idea of ‘innovative cinema’, as something capable of embracing the spirit of anti-colonial uprising in India. For his active role in the non-cooperation movement against the British, he had been officially declared an absconder prior to his journey to the West. For him, there was no question: only now could a new culture begin.</div><div><br />The content of Joymoti is also innovative: a widely popular legend of a 17th century princess of the Ahom dynasty who died of the torture meted out by a puppet king. Joymoti had remained silent about her husband, who had fled the state and whom the king had wanted to kill as a competitor of the throne. The oppression and passive resistance of the film’s story paralleled the situations prevalent in India during 1930s British rule. Thus, the realistic depiction in the film was a political approach, contradicting the theatrical style of acting, costume and sets, which at the time were the dominant features of Indian films. Cinematic content of productions in other Indian regions were also overtly religious, based on mythology. Contrary to such films, Joymoti was based on real historical materials – although history books are silent about a particular lady named Joymoti. </div><div><br />Assamese studio</div><div>While Jyotiprasad pursued Kuleshov’s ideas on filmmaking, he increasingly wanted the culture of film to take hold in Assam. He was perfectly capable of organising financing that could have allowed him to shoot his film in any major studio in Calcutta or Pune, but his ideology barred him from doing so. The idea subsequently arose of establishing his own studio in Assam. Jyotiprasad was deeply sceptical about any misrepresentation of the traditional culture of his land. He also felt that, as cinema had already attained worldwide popularity, without a filmmaking centre the people of Assam would lag behind culturally.</div><div><br />The studio in Bholaguri was a large concrete platform, with open-air enclosures of bamboo mats and banana plants. It used the sun as its only source of light. Jyotiprasad floated newspaper advertisements for actors and actresses, mentioning brief outlines of the film and descriptions of the characters. His idea was to get ‘types’ for his characters, not seasoned artists, even offering remunerations for successful candidates. One of his preconditions was that potential actors needed to be from ‘respectable’ family backgrounds, as opposed to those from red-light areas that had been used during the 1930s in Calcutta. After a prolonged search and detailed interviews, he brought together the chosen ones to acquaint them with his characters as well as with the techniques of filmmaking, with an eye towards establishing a film industry in Assam. Few of them had ever even seen a film. He sought out a trio, Bhupal Shankar Mehta and the Faizi Brothers, from Lahore as cameraman and sound-recordists. He brought to Guwahati those individuals who were still fresh and yet to be weighed down by the commercially-dominant Hindustani cinema (the term Jyotiprasad used in his writings), whose hub at that time was in Lahore, across the expanse of the Brahmaputra, Ganga and Indus plains, in Punjab.<br />Jyotiprasad designed the set using bamboo hats and mats, deer and buffalo horns, Naga spears, and other traditional materials. A museum-like property room was also created, where the director culled traditional costumes, ornaments and handicrafts for the set’s decor. For developing film, ice was brought from Calcutta by steamer, train and automobile. Joymoti might have allowed Jyotiprasad to project the political values of the ‘Assamese’ screen-images. But compared to the works of other filmmaking regions of undivided India, it was a disaster in terms of technical quality – particularly sound. The cheap battery-operated sound-recording system chartered from Lahore turned out to be quite inadequate, which he found out only at the editing table in Lahore during ‘post-production’. With limited money, he could not return to Assam for re-recording. In that part of then-India, there was no possibility of getting another Assamese-speaking person. Finding no other option, Jyotiprasad accepted the default output and dubbed about thirty characters with his own voice, including those of the female characters.</div><div><br />Back home, there existed just two cinema houses in the then-undivided Assam, in Guwahati and Shillong. These were highly inadequate to ensure a return on his investments. He proceeded to build a movie theatre for himself in Tezpur, and arranged a number of itinerant shows around the state. People turned out in large numbers to witness the marvel of Assamese moving images, besides paying homage to the legendary protagonist namesake. Nonetheless, the audience failed to appreciate its merits, partially due to naiveté in recognising the film’s realistic approach.<br />Although he had been an heir to his family fortune, Joymoti left Jyotiprasad bankrupt. Despite his pre-eminence, he was never a representative of the film trade, nor was he able to change the course of mainstream filmmaking. Four years later, in 1939, he made his second and last film, Indramalati. It was shot in a Calcutta studio with an eye towards the box-office. Although he was able to recoup his original productions costs, proceeds from Joymoti never materialised, and Jyotiprasad shuttered his studio thereafter. </div><div><br />Regional realism</div><div>Discussions about realism in Indian cinema (here confined to ‘nationalist’ and socially conscious films that have been regarded as landmark Indian works) usually start with four films made within a four-year period prior to 1947. They are Bimal Roy’s Udayer Pathe (1944) and its remake, Humrahi (1945), Chetan Anand’s Neecha Nagar (1945), and K A Abbas’ Dharti Ke Lal (1946). After Independence, this list would include Bimal Roy’s Do Bigha Zamin (1953) and Satyajit Ray’s Pather Pachali (1955), this last of which opened a new discourse on ‘regional reality’. </div><div><br />With the exception of Pather Pachali, this list includes several dominant themes and oppositions: the struggles between the haves and have-nots, the country and the city, and the tenant or peasant and the landlord or moneylender. In format, the films are characteristic in turning to Hollywood as a model – although this dynamic still takes place within the Bombay mode of production. There are no radical stylistic departures in demand for realism. The actors in these films were mostly established stars, although studios tried to refashion them as ‘common’ men and women.<br /><br />Jyotiprasad Agarwalla’s Joymoti has yet to figure in discussions related to realism and Indian cinema. This oversight may be partly due to the film having been made in a marginal-language area, and partly due to non-circulation of the film since its release in 1935. When compared with those films listed above, Joymoti appears as perhaps the most pioneering work in depicting realism in Indian cinema – both in concept, and in the persistence in realising that concept. Even the phrase ‘regional reality’, which has been used for Pather Pachali, perhaps could be redefined by going back to this work of Jyotiprasad’s. </div><div><br />Joymoti may also be seen as India’s first feminist film. Three of the film’s female characters – Joymoti herself, her close friend Seuti, and the king’s mother – were against the royal court’s politics. Although they were not vocal in their disagreement, their tactical and silent protests are quite noteworthy. Furthermore, viewers see a host of women joining them, all of which are unusually realistic female depictions. Indian cinematic women were otherwise painted as mother, goddess, vamp, prostitute, hunterwali, et al – full of grace, beauty and seduction (See Himal Nov-Dec 2005, “’She’ and the Silver Screen”). Jyotiprasad’s care in his depictions of his female protagonists can be traced from his very first play, written at the age of 14. Throughout his subsequent decades of playwriting, there is one binding commonality through his plays: the critical hand that the female characters have in determining the stories’ major events. After Joymoti, however, the Indian woman would have to wait until the 1950s to appear in her full, real form on movie screens of the Subcontinent.</div><div><br />It is not appropriate to say that Jyotiprasad Agarwalla of Assam needs to be re-discovered by the world of Southasian cinema, because he was never discovered in the first place. It is time, in the rush of today’s Hindi/Hindustani film world to embrace the world market, to look back at an unsung director who was a true pioneer of realism. It is even possible that digging so far into the past will inform current media practitioners in a way that their own future works may steer closer to reality, and away from the frivolity to which many seem to have succumbed.</div>-----------------------------<br /><br /><div>Rupahi- The fourth assamese movie Rupahi, produced & directed by Parbati Prashad Baruah was released in 1946. Screenplay, dialogue lyrics and even the music of the movie was composed by Parbati Prasad Baruah himself.</div><br /><div>Siraj- Siraj is another remarkable Assamese Movie- directed by Phani Sarmah. Siraj is the sixth assamese movie released in 1948. The film speaks about the unity among the people of Hindu and Muslim community. Bishnu Rabha and Phani Sarmah, inspired by the story named ‘Siraj’ written by Lakshidhar Sarmah prepared the screenplay and dialogue of the movie. The outdoor shots were taken around Tezpur, the indoors being shot in Kali Film studio, Kolkata. The lead role Siraj was played by Phani Sarmah himself. Music was composed by Bishnu Rabha. Bhupen Hazarika and Shiva Bhattacharyya assisted him.</div><div><br />Era Bator Sur- Era Bator Sur is the first film of Dr. Bhupen Hazarika. The film was released in 1956. Dr. Bhupen Hazarika was then an active member of Indian people’s. Theater Association and in the fifties almost all the workers of I. P. T. A. were influenced by the sorrow and happiness, struggle and hope of the common mass and made themselves associated with creative works related to folk music and culture of the common assamese people. Era Bator Sur was also a result of one such effort. The story and the music of Era Bator Sur reflects the emotional rising of the people of that era. The theme of this movie is based on characters belonging to tea labourers society of Assam. The exploitations carried out by one class of the society also finds importance in the movie. Dr. Bhupen Hazarika is also the music director of the movie. The cast of the movie includes Phani Sarmah, Bishnu Rabha, Balraj Sahni along with Bijoy Shankar, Iva Asau, Tassaduk Yusuf etc.</div><br /><div>Puberun- The first assamese film screened in an international Film Festival is Puberun. Directed by Prabhat Mukherjee of Kolkatta and released in 1959 the film was screened in ‘Berlin Film Festival’, 1960 and bought laurels to the state of Assam. Heroine of the movie Gyanada Kakoti was also present during the screening of the film in Berlin. </div><br /><div>The story is based on mother-child relationship and the truth that every child of this world is equal. Another remarkable feature of this film is that "Margaret Anderson" of London Dramatic school acted in this film. In the history of Assamese Cinema this was for the first time that an actress from England, acted in an assamese film.The role of the mother was played boldly by Gyanada Kakoti and against her was Tassaduck Yusuf . Music was by Tarikuddin Ahmed . Puberun even won the Presidents Award.</div><div><br />Saknoiya- Saknoiya is the only film directed by Soilo Baruah. The film got released in the month of November, 1959. Story, screenplay and dialogue was written by Durgeswar Barthakur. The indoor shots of this movie took place in Indrapuri Studio, Kolkatta. The editing of this film was also done in Kolkatta.<br />The story revolves round the emotions of two brothers, one a taxi driver and another a high official in a government office who marries a lady who would not agree to reside together with a taxi driver. The actors include Gyanada Kakoti, Bina Baruah, Tulsi Das, Sorbeswar Chakravarty, Bina Das, Soilo Baruah, Anil Das, Durgeswar Barthakur, Saityen Choudhury etc. Mukul Baruah was the music director.</div><div><br />Doctor Bezbaruah - Brojen Baruah’s Doctor Bejbaruah released in the year 1960, marked the beginning of success of so called commercial movies in Assamese Film industy. Following the footsteps of Doctor Bejbaruah directors / produces got encouragement to make commercially hit movies in later days of Assamese Cinema.</div><br /><div>Though this film laid the base of the commercial value of a movie, yet it put a question mark on making movies based on the simple life of Assamese village folk.<br />Dr. Bezbaruah was the first Assamese thriller movie and also for the first time the outdoor and indoor shooting entirely took place in various locations of Assam.</div><br /><br /><div>Gonga Silonir Pakhi - Gonga Silonir Pakhi, directed and produced by Padum Baruah and released in 1976, is one of remarkable assamese movies released till date. The music was also composed by Padum Baruah himself. Renown novelist Dr. Lakhminandan Bora wrote the main story, screenplay was by Padum Baruah. The story is based on the simple life of the villagers of Assam.<br /><br />$$$$$$$$$$$$$$$</div><br /><div>First in Assamese film</div><br /><div>$$$$$$$$$$$$$$$<br /><br />1First film maker of Assamese film Jyoti Prasad Agarwal </div><br /><div>2 First Assamese film director Pramathesh Baruah, He Directed the Bengali film “Devadash” in 1934. </div><br /><div>3 First director of an Assamese film Jyoti Prasad Agarwala; he directed “Joymati”. The film was released at Raonak Cinema (now Jyoti Cinema), Kolkata on 10th March 1935 and in the same year on 20th March at Kumar Bhaskar Natya Mandir, Guwahati. </div><br /><div>4 First dubbed film in India Joymati (1935) </div><br /><div>5 First Assamese actor to act in a Bengali Movie Pramathesh Baruah. He acted in “Taki Kini Gulam” in 1930. </div><br /><div>6 First Full length comedy movie in Assamese film "Ito Sito Bahuto", Director was Brajen Barua.The film was released in 1963. </div><br /><div>7 First film with actor from outside of Assam "Era Batar Sur", released in 1956.Balraj Sahani acted in this film as a guest appearance. Dr. Bhupen Hazarika was the director. </div><br /><div>8 First Assamese partly coloured movie Shakuntala, released in 1961.The film was directed by Dr. Bhupen Hazarika. </div><br /><div>9 First Colour movie Bhaity (1972), Director was Kamalnarayan Choudhury. </div><br /><div>10 First Assamese film dubbed from Hindi Bhagya (1968). </div><br /><div>11 First Assamese thriller "Dr. Bezbaruah" (1969), Directed by Brajen Baruah. </div><br /><div>12 First Assamese film where a non Assamese singer sang a full song "Era Batar Sur"; here legendary singer of Indian Music Lata Mangeskar sang a song under the music direction of Dr. Bhupen Hazarika. </div><br /><div>13 First Assamese film to be screened in a foreign land 'Puberun' (1959). It was screened in Berlin. Director was Prabhat Mukherjee. </div><br /><div>14 First Long playing record of an Assamese Film "Chik-mik Bijuli" (1969), directed by Dr. Bhupen Hazarika. </div><br /><div>15 First Assamese film to receive a national award "Piyali Phukan", this film received the Repute Certificate of Merit. Directed by Phani Sharma. </div><div></div><div>16 First adult movie "Marichika" (1972); directed by Amulya Manna. </div><br /><div>17 First adult movie which was released "Hridayar Prayojan" (1972), directed by Gauri Barman. </div><br /><div>18 First movie broadcast in Doordarshan 'Bristi' (1974), directed by Deuti Baruah. </div><br /><div>19 First movie screened in Indian panorama 'Sandhyarag' (1977), directed by Dr. Bhabendranath Saikia. </div><br /><div>20 First Eastman colour movie 'Ajali Nabou' (1980), directed by Nip Baruah. </div><br /><div>21 First lady director Suprabha Devi, she directed 'Nayanmani' in 1983. </div><br /><div>22 First Assamese cinema scope movie 'Jeevan Surabhi' (1984), directed by Naresh Kumar. </div><br /><div>23 First movie to get best screen play award in national level 'Agnisnan' (1985), Directed by Dr. Bhabendranath Saikia. </div><br /><div>24 First film to receive Swarna Kamal award 'Haladhiya Charaye Baodhan Khaay' (1987), directed by Jahnu Baruah. </div><div></div><div>25 First children movie Abuj Bedana (1993), directed by Gunasindhu Hazarika. </div><div></div><div>26 First film which was screened as an Inaugural movie of the Indian panorama Rag Birag (1996), directed by Bidyut Chakrabarty.<br /><br />$$$$$$$$$$$$$$$<br />National & International Awards (Assamese Films):<br />$$$$$$$$$$$$$$$<br /><br />1955 Piyoli Phukan President's Certificate of Merit </div><br /><div>1957 Maak Aru Maram President's Certificate of Merit </div><br /><div>1958 Rangaa Police President's Silver Award</div><br /><div>1959 Puberun President's Silver Award </div><br /><div>1961 Shakuntala President's Silver Award </div><br /><div>1963 Tejimola President's Certificate of Merit </div><br /><div>1963 Maniram Dewan President's Silver Award </div><br /><div>1964 Pratiddhani President's Silver Award </div><br /><div>1966 Latighati President's Silver Award </div><br /><div>1969 Dr.Bezbaruah National award- Best Regional Film </div><br /><div>1971 Aranya National award- Best Regional Film </div><br /><div>1972 Upaja Sonar Maati National award- Best Regional Film </div><br /><div>1973 Mamata National award- Best Regional Film </div><br /><div>1975 Chameli Memsaab National award- Best Regional Film </div><br /><div>1976 Putala Ghar National award- Best Regional Film </div><br /><div>1977 Sandhyaraag National award- Best Regional Film </div><br /><div>1978 Kallol National award- Best Regional Film </div><br /><div>1981 Anirban National award- Best Regional Film </div><br /><div>1982 Aparupa National award- Best Regional Film </div><br /><div>1983 Alokar Aahban National award- Best Regional Film </div><br /><div>1984 Son Maina National award- Best Regional Film </div><br /><div>1985 Agnisnan National award- Best Regional Film </div><br /><div>1986 Baan National award- Best Regional Film </div><br /><div>1986 Aalayaran (Bodo) National award- Best Regional Film </div><br /><div>1987 Pratham Raagini National award- Best Regional Film </div><br /><div>1987 Haaladhiya Charaye Bawdhan Khaai National award- Best Film, Second Best Film ( Locarno Interntl. Film Festival ) </div><br /><div>1989 Kolahal National award- Best Regional Film </div><br /><div>1990 Zooj National award- Best Regional Film </div><br /><div>1991 Phiringati National award- Second Best Film </div><br /><div>1992 Saarathi National award- Best Regional Film </div><br /><div>1993 Railor Alir Dubori Ban National award- Best Regional Film </div><br /><div>1994 Aabartan National award- Best Regional Film </div><br /><div>1995 Saagaraloi Bahu Door National award- Best Regional Film, GETZ Prize( 31st Chicago Interntnl. Film Festival ), Pri Do Public Award (Best Film:Nantes Film festival,France) 1996 Itihaas National award- Best Regional Film </div><br /><div>1997 Adajjya National award- Best Regional Film & Jury's special award </div><br /><div>1998 Kushal National award- Best Regional Film </div><br /><div>1999 Pakhi National award- Best Regional Film </div><br /><div>2002 Kanikar Ramdhenu National award- Best Regional Film </div><br /><div>2003 Akashitarar Kathare National award- Best Regional Film </div><br /><div>2003 Tora National award- Best Children Film </div><br /><div>2004 Dinabandhu National award- Best Regional Film<br /><br />$$$$$$$$$$$$$$$</div><br /><div>National & International Awards(Director, Music director...) </div><div><br />$$$$$$$$$$$$$$$ </div><br /><br /><div>1975 Dr. Bhupen Hazarika Best Music Director ("Chameli Memsaab") National Award </div><br /><div>1985 Dr. Bhabendra Nath Saikia Best Screenplay("Agnisnan") National Award </div><br /><div>1988 Indra Bania Best Actor ("Haaladhiya Charaye Bowdhan Khaai") Locarno Internatnl. Film Festival </div><div></div><div>1990 Gautam Bora Director's Best Debut Film ("Woshbipo") National Award- Indira Gandhi Award </div><br /><div>1991 Moloya Goswami Best Actress ("Firingati") National Award </div><br /><div>1993 Sanjeev Hazarika Director's Best Debut Film ("Haladhar") National Award- Indira Gandhi Award </div><br /><div>1995 Jahnu Barua Best Director ("Sagaraloi Bahu Door") National Award </div><br /><div>1995 Bishnu Khargharia Best Actor ("Sagaraloi Bahu Door" ) Singapore Internatnl. Film Festival </div><br /><div>1996 Bidyut Chakraborty Director's Best Debut Film ("Raag Biraag") National Award- Indira Gandhi Award </div><br /><div>1996 Srikar Prasad Best Editor ("Raag Biraag") National Award </div><br /><div>2003 Tarali Sharma Best Playback Singer - female ("Akashitarar Kathare") National Award </div><br /><div></div><div></div><div>$$$$$$$$$$$$$$$$$$$$<br />Chronology</div><div>$$$$$$$$$$$$$$$$$$$$</div><div></div><div>1930s<br />The origin of Assamese Cinema can be traced back to the dreams and imagination of a revolutionary visionary <a href="http://www.nationmaster.com/encyclopedia/Rupkonwar-Jyotiprasad-Agarwala">Rupkonwar Jyotiprasad Agarwala</a>, who was also a distinguished poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese Film Joymati in 1935, under the banner of Critrakala Movietone. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, had to shoulder the added responsibilities as the script writer, producer, director, choreographer, editor, set and costume designer, lyricist and music director. The film, completed with a budget of 60,000 rupees was released on March 10, 1935. The picture failed miserably. It is unfortunate that like so many early Indian films , the negatives and complete prints of Joymati are missing. Some effort has been made privately by Altaf Mazid to restore and sub-title whatever is left of the prints.Despite the significant financial loss from Joymati the second picture Indramalati was filmed between 1937 and 1938 finally released in 1939. </div><div><br /><a name="1940s"></a>1940s<br />Remaining strong in the face of adversity, Agarwala made another film after a lapse of two years titled Indramalati. It was his second and last film. The eminent composer and singer of Assam Bhupen Hazarika, played a stellar role in the play. With the passing away of Jyotiprasad, the Assamese film scene witnessed a temporary lull for about a couple of years. But things changed with the onset of World War II, Taking advantage of this, Rohini Kr. Baruah made a film on a relevant historical topic called Manomati in 1941. It was followed by films like Parvati Prasad Baruva's Rupahi (1946), Kamal Narayan Choudhury's Badan Barphukan (1947), Phani Sharma's Siraj, Asit Sen's Biplabi, Prabin Phukan's Parghat and Suresh Goswami's Runumi etc. </div><div><br /><a name="1950s"></a>1950s</div><div><br />The most remarkable film of the fifties was Piyali Phukan which went on to win a National award. In 1955, a new talent Nip Barua made his directorial debut with Smrit Paras. His subsequent films Mak Aaru Moram and Ranga Police bagged many state awards and the silver medal at the national level. Bhupen Hazarika also produced and directed his first film Era Bator Sur. Prabhat Mukherjee made a film on the universality of mother-hood, Puberan (1959),which was shown in The Berlin Film Festival. </div><div><br /><a name="1960s"></a>1960s</div><div><br />The next notable film production was Lachit Borphukan by Sarbeswar Chakraborty. Bhupen Hazarika made his unforgettable musical Shakuntala in 1961 which proved equally successful with critics and the press winning the president's silver medal. Following this, a chain of films went into regular production and got released which included Nip Barua's Narakasur, Anil Choudhury's Matri Swarga, Brojen Barua's Itu Situ Bahuto and Mukta & Anwar Hussain's Tejimala. </div><div><br />By the middle of the sixties, film began to be produced in Assam on a regular basis. However, between 1935 and 1970 a total of 62 films were produced. Besides the film makers already referred to, many others engaged in film making during the period included Pravin Sharma, Saila Barua, Abdul Mazid, Amar Pathak, Indukal Pattazarika, Diben Barua, Debkumar Basu, Amulya Manna, Gauri Barman, Atul Bardoloi, Sujit Singh, Nalin Duara and Prafulla Barua.</div><div><br /><a name="1970s"></a>1970s</div><div><br />During the period of 1970-82 a total of 57 Assamese films were made. New directors started emerging on the horizon. Samarendra Narayan Deb's Aranya (1970), Kamal Choudhury's Bhaity (1972) the first colour film of Assam, Manoranjan Sur's Uttaran (1973), Deuti Barua's Bristi (1974) Pulok Gogoi's Khoj (1974) Padum Barua's Ganga Chilanir Pakhi (1976) and Dr. Bhabendranath Saikia's Sandhya Rag (1977) and Atul Bordoloi's Kollol (1978) are films worth - mentioning. </div><div></div><div><a name="1980-"></a>1980-</div><div><br />Notable directors of contemporary Assamese Cinema are Jahnu Baruah (who directed Aparoopa, Papori, Haladhia Choraye Baodhan Khai, Banani, Firingoti and Hkhagoroloi Bohu Door); Sanjeev Hazarika (Haladhar, Meemanxa) and Bhabendaranath Saikia who directed Anirbaan, Agnisnaan, Sarothi, Kolahol, Abartan, Itihaas and Kaal Sandhya). Other directors include Santwana Bordoloi who directed Adajya and Bidyut Chakraborty who made Rag Birag, both of which have won National & International Awards. Banani Banani is a village in Mali, populated by the Dogon people. ... Itihasa (Sanskrit: thus verily happened) refers collectively to the epic Hindu scriptures, detailing the actions of divine incarnations on earth while interspersing them with often large sections of philosophical and ethical discourse. ... Adajya is a 1996 Assamese language film directed by Santwana Bardoloi based on a novel by Indira Goswami. ... </div><div></div><div></div><div>$$$$$$$$$$$$$$$$$$$$</div><br /><div>Personalities of Jollywood</div><br /><div>$$$$$$$$$$$$$$$$$$$$</div><br /><br /><div></div><br /><div>$$$$$$$$$$$$$$$$$$$$</div><br /><div>JYOTI PRASAD AGARWALA</div><br /><div>$$$$$$$$$$$$$$$$$$$$</div><br /><br /><div></div><div>At the age of 14 in his student life he wrote the drama "Sonit-Kuwari" and between the age of 14 to 21 he also wrote many short stories. During his lifetime he had written drama, poetry, biography, books on children etc. He also delevered speeches in different functions on subjects like literature, music and culture.1934 -Constructed " Chitraban Studio" in Bholaguri Tea State temporarily and made the first Assamese movie "Joymati"1935- "Joymati" was released1936-37 - Produced jointly with Bishnu Prasad Rabha the record play "Joymati" and "Sonit Kunwari"1937 - Constructed Jonaki cinema hall in Tezpur.1939 - Made the second Assamese movie Indra Malati even before the stipulated time.1940 - Established Tezpur music school. He republished "Asomiya" which was a closed down newspaper since 1944 (for seven months).Was a pioneer in establishing an University in Assam, and also prepared a architectural print for the construction of University.</div><br /><div><br />$$$$$$$$$$$$$$$$$</div><br /><div>Dr. Bhupen Hazarika</div><br /><div>$$$$$$$$$$$$$$$$$</div><br /><div></div><div>Bhupen Hazarika is ranked amongst the leading film maker of the nation. He is probably the only living pioneer who is solely responsible for placing the fledging Assamese cinema all over India and also on the world cinema map. He has been the only person in the past 40 years to propagate for a better cinema movement and has integrated all the seven north-eastern states, including the tribal culture and traditions,through the medium of cinema. His remarkable popularity brought him to the legislative Assembly as an Independent member between 1967 to 1972, where he was solely responsible for installing the first state owned film studio of its kind ever, in India in Guwahati, Assam. </div><br /><div>Bhupen Hazarika began his career in films as a child actor in the second talkie file to be made in the pioneering years of 1939 in the film "Indramalati". A prodigy whose genius was acknowledged from a very early age he wrote and sang his first song at the age of 10 after which there has been no looking back. He has produced , directed, composed the background score and also featured on the tracks for the films "Era Bator Sur" in 1956, "Shakuntala" in 1960, "Pratidhwani" in 1978 , "Loti Ghoti" in 1967, "Chick Mick Bijuli" in 1971, "Mon Projapati" in 1978, "Swikarokti" in 1986, "Siraj" in 1988. He also directed , composed music and sang for "Mahut Bandhure" in 1958. He produced, directed and composed music for Arunachal Pradesh's first Hindi feature film in color "Mera Dharam Meri Maa" in 1977. He directed a color documentary for the Arunachal Pradesh Government on Tribal folk songs and dances entitled "For Whom The Sun Shines" in 1974. </div><div></div><br /><div>He produced and directed a documentary "Emuthi Saular Kahini" based on the co-operative movement for the Govt. of Assam entirely in a lyrical format. He produced and directed a half-hour documentary for Calcutta Doordarshan Kendra in 1977 on the folk songs and dances of north east India entitled "Through Melody and Rhythm", he produced and composed music for five reeler color documentary to promote tourism for the Govt. of Assam in 1981. He produced and composed music for the internationally acclaimed award winning Hindi feature film "Ek Pal" in 1986, directed by Kalpana Lajmi, starring Shabana Azmi, Nasiruddin Shah, Faroque Shaikh. He produced and composed the music for the extremely popular television serial "Lohit Kinare" directed by Kalpana Lajmi based on famous short stories of Assam for the prime time National Network in 1988. He has been the Executive Producer as also the Music Composer for the recent award winning film in Hindi "Rudali" starring Dimple Kapadia, Raj Babbar, Amjad Khan and Rakhi. </div><br /><div>He has won the President's National Award for the best film maker thrice: for "Shakuntala", "Pratidhwani", and "Loti Ghoti" in 1960, 1964 and 1967 respectively. He won the Arunachal Pradesh Government's Gold Medal in 1977 for his outstanding contribution towards Tribal Welfare, and Upliftment of Tribal Culure through cinema and music composer in India in 1977 for the Assamese film "Chameli Memsaab". </div><br /><div>Dr. Bhupen Hazarika has been the Chairman, Eastern Region on the Appellate Body of the Central Board of the Central Boad of Film Censors, Government of India for 9 yrs. consecutively till 1990. </div><br /><div></div><div>He is on the Script Committee of the National Film Development Corporation, Eastern India. </div><br /><div>He is the director on the national level on the Board of Directors of National Film Development Corporation, Government of India. </div><br /><div>He was the Executive Council Member of the Children Film Society (N'CYP) headed by Mrs. Jaya Bachchan . He is the member of the Board of Trustees for the Poor Artists Welfare Fund, Government of India. He was the Chairman of the Jury of the National Film Awards in 1985 to 1990. he is at present also on the Governing Council for policy making decisions for the Film and Television Institute, Government of India, Pune. </div><br /><div>The information and Broadcasting Ministry, Government of India bestowed the honor of Producer Emeritus on him. </div><br /><div>Bhupen Hazarika was also a member of P.C.Joshi Committee appointed by the Information Ministry for revitalizing software programming through television for the coming 21st century. </div><br /><div>He has rendered music in outstanding Bengali films, such as "Jiban Trishna", "Jonkir Alo", "Mahut Bandhure", "Kari o Komal", "Asamapta", "Ekhane Pinjar", "Dampati", "Chameli Memsaab", "Dui", "Bechara", and Hindi films like "Arop", "Ek Pal", and "Rudaali". He has in 1995 given music for Sai Paranjype's Hindi feature film "Papiha" and Bimal Dutta's Hindi feature film "Pratimurti". </div><div></div><div>In 1996 he has composed music for Plus Channel's Hindi feature film "Mil Gayee Manzil Mujhe" directed by Lekh Tandon starring Meenakshi Sheshadri. </div><br /><div>In 1996 he has also composed for Plus Channel's Hindi feature film "Saaz" directed by Sai Paranjype starring Shaban Azmi. </div><br /><div>In 1996 he has composed music for Pan Pictures Hindi feature film "Darmiyaan" starring Kiron Kher and Tabu directed and written by Kalpana Lajmi. </div><br /><div>In 1998 he has composed music for Hindi feature film "Gajagamini" written and directed by eminent painter Mr. M.F.Hussain. </div><br /><div>He had produced a 52 episodes tele serial titled "Dawn" for telecast on Star TV, The serial casts Shabana Aazmi, Mona Ambegaonkar, Deepa Lagoo, Tom Alter and others. </div><div></div><br /><div>He has also produced another 18 part documentary entitled "Glimpses of the Misty East" on the soio economic and cultural progress in North Eastern India from 1947 to 1997 , assigned to him by the Ministry of Information and Broadcasting, Govt. of India for celebration of Fifty years of India's independence. In 2000 he has composed music for Hindi feature film "Daman" and had written the story of the film "Chingaari" directed by Ms. Kalpana Laajmi.</div><br /><div>ACHIEVEMENTS IN MUSIC AND CULTURE : </div><br /><div>He is considered today the last of the great mass singers and the only great ballad singer alive in India. Involved in the Indian movement from his very childhood, till today he writes and composes masterpieces teaming with social consciousness which are in striking contrast to his famous love songs. besides being associated with films, Bhupen Hazarika has won the hearts of the entire Indian people through his discs through which he has rendered some of his finest compositions. </div><div></div><div>For Bhupen Hazarika music has always been his first love. He met Paul Robson with whom he became closely associated between 1949 and 1955 in USA. It was during this period he was awarded a Gold Medallion in New York as the best interpreter of India's folk songs by Eleanor Roosevelt.Bhupen Hazarika sings in numerous languages but writes his lyrics and poems in his home language, Assamese. </div><br /><div>Bhupen Hazarika has rightly been hailed as India's Cultural Ambassador abroad for placing the folk music of Eastern India on the map of world folk music. He has traveled widely as a Delegate to Conferences on Mass Communication, Poetry, Music, Performing Arts and Cinema from the Belgium Congo to Samarkand, from the Mississipi to Danube, to Europe, Canada, South-East Asia, Japan, USA, UK, and Australia.<br />He represented India in Berlin at the World Conference of Composers who used songs as an instrument in social change. He was given the honor of inaugurating the World seminar in congress Hall with his own songs on the liberation of Bangladesh.<br />Bhupen Hazarika's popularity is so tremendous as performing artist,that for the last 50 years he has been the biggest crowd puller and was honored for the Golden Jubilee of his singing career in 1991.<br /><br />HONOURS CONFERRED: </div><br /><div>The country bestowed its greatest honor on him, the Padamshree in 1977 for outstanding contribution to the field of culture in India.<br />In 1977 he won two awards in West Bengal. The Bangla Chalachitra Prasar Samity and the Bangla Chalchitra Purashkar Samity for being the best music director of the film 'Dampati". In 1978 he won two awards from Bangladesh Journalists Association and the Bangladesh film industry.<br />The Gramophone Company of India bestowed on him the Gold Disc for his outstanding contribution towards Indian Music in 1978.<br />In 1979 and 1980 he won the Ritwick Ghatak Award as best music directors for two theatre plays "Mohua Sundari" and "Nagini Kanyar Kahini".<br />In 1979 he won the All India Critic Association Award for the best performing folk artist in India.<br />In 1987 he was conferred the National Citizen's Award at New Delhi for his outstanding excellence in music.<br /><br />Indian cinemas most coveted DadaSaheb Phalke award winner, Dr. Bhupen Hazarika is a man of deep heart. His personality as a music creator suppressed his identity as a able film maker. He had made seven films in Assamese language alone. Even on behalf of the Government of Arunachal Pradesh he made a Hindi film namely “Marii Dharam Meri Maa”. Apart from these he was the music director of Assamese films like “ Piyali Phukan” (1954), “Dhumuha” (1957), “ Kencha Son”, (1959), “Maniram Dewan” (1963), “Khoj” (1975), “ Kanchghar” (1975), “Cameli Memsaab”, (1975), “Palasar Rang” (1976), “Ban Hansa”, (1977), “Banjui” (1978), “ Akan” (1980), “Aparupa”, (1982), “Angikaar” (1985), “ Sankalpa” (1986), “Maa” (1986), “Yuge Yuge Sangram” (1986), “Pratisodh” (1987), “Priyajan” (1993), “Paani” (1995) and a Bora film “Cmimang” (1987). As music director he directed 27 films of Assam. For his contribution to Assamese film he received Dada Saheb Phalke Award. As director before selecting a theme for his film Dr. Hazarika critically examined the theme. While the story of Assamese film was based on historical and mythological events Dr. Hazarika made “Era Batar Sur” a totally musical film. In this film we see the hero roams around the cities in search of musical notes. Dr. Hazarika was also inspired by the Neo-realism trend started in Italy. This film reflected his feelings nicely. He made “Pratiddhani” in 1963. In this film the relation between the people of hilly region and those of valley became the central thing; but still it reveals a nice love story. With Manik Raytang he made the screen play on a Khasi folklore. His another film “lati Ghati” (1966) is a film made in trend of film within film. Probably the audience at that time could not understand properly the sharp satirical tone which is why the film was not well accepted. Brajen Baruah’s “Ito Sito Bahuto” is another such film. That is why both the films can be called as the films ‘Ahead of Time’. The “Chik Mik Bijuli” (1969) is a film where Dr. Hazarika pictures the life style of lower class people in the society. Similarly in “Man Prajapati” he pictured the life style of some people who worked in a circus party. Dr. Hazarika is a man master of many fields. For him songs are his life and the lyrics and its tune are his breathed air. That is why even though he thought about making films; still he could not work on it strictly because he probably did not have so much patience and time to spare for making a film. That is why he became much interested in music direction rather than film making. He was such a careless artist for his future that he even neglected the offer of India’s prestigious ‘Rajasree Production’; who offered him to make five films serially. But Dr. Hazarika did not bother to go ahead after making the first film. Later he was closely in link with films but retired from film direction. As music director, he even created history in Hindi film industry also.</div><br /><div>The Films Of Dr. Bhupen Hazarika are:</div><br /><div>1. Era Batar Sur 1956 Director/ Music Director<br /></div><div>2. Shakuntala 1961 Director/ Music Director</div><div></div><div>3. Pratiddhani 1964 Director/ Music Director<br /></div><div>4. Lati Ghati 1966 Director/ Music Director<br /></div><div>5. ChikMik Bijuli 1969 Director/ Music Director<br /></div><div>6. Man Prajapati 1979 Director/ Music Director</div><div></div><div>7. Shiraj 1988 Director/ Music Director<br /></div><div><br />$$$$$$$$$$$$$$$$$$$$$$$</div><div>Dr. Bhabendra Nath Saikia</div><div>$$$$$$$$$$$$$$$$$$$$$$$ </div><div><br />The one name that coinsures up a feeling of warmth in every Assamese heart is that of Dr. Bhabendra Nath Saikia. His gift to the Assamese Society and in the fields of art., culture and literature has not yet been adequately measured. A very capable student of Physics and successful teacher of Gauhati University, Dr. Saikia entered the arena of literature with a few short stories that have shaken the very foundation of the form & style of Assamese fiction. With an eye to very minute details he used his pen with a depth surgeon’s precision. That was a unique beauty of his literary creations.His creativity is such that he was always found at the head of a line of stalwarts in his own field. Dr. Saikia with a handful of very distinct few of his age group, has taken Assamese literature to a very respectable height and in the process a horde of awards came his away. What is remarkable in his case is that the discerning people of Assam have lost count of the awards but have kept close to their heart his works like "SHRINGKHAL", "BANAPRASTHA," "GAHBAR", "ANTAREEP" and the like. Added to this glorious creations, Dr. Saikia has made his way to a totally different field,namely of films. Someone has said about Dr. Saikia that he has a "Midas Touch" in whatever he puts his hand on. As if to prove this, he has directed such remarkable films like "SANDHYARAAG", "AGNISHNAN", " KOLAHAL", " SARATHI", and "KAALSANDHYA". Each & everyone of his films received not only rave reviews but also recognition both in the country and abroad. An important point to be noted that all his films were based on his own literary creations. One good aspect of this transformation is that he could translate every bit of his literary details to celluloid. These achievements, it is needless to say, have done us proud.Dr Saikia has also put his hand & heart in the publication of few prestigious journals, the most popular "PRANTIK" is one with which he was associated from the very start. A children’s journal "SOFURA" discontinued for sometime, but has started again under his able leadership. Readers of "PRANTIK" will agree, that Dr. Saikia has given the journal a very respectable look not only its presentation but also in the variety and depth of its contents.Dr. Saikia’s creativity found other equally successful outlets. His radio plays are one. More particularly a few he created for children has not been bettered as yet by other similar creations. He has also given a status to the most famous trend in Assamese Theatre, Namely Mobile Theatre. A hitherto unknown trend was established by a few such theatrical group with very rich plays and appropriate directional touch by him.Dr. Saikia’s outstanding creations, be in celluloid or in the stage, have as yet achieved a landmark. They have given audiences a taste of the medias and people have learnt to appreciate a good film or a good play.It is our pleasure to present this wonderful personality to this select group of people here today and through them to the society at large. </div><div><br />Dr. Bhabendra Nath Saikia's films are:</div><br /><div><a href="http://rupaliparda.com/english/Sandhyaraag.htm">Sandhyaraag (Cry of Twilight) - 1977. </a>B&W<br /><a href="http://rupaliparda.com/english/Anirban.htm">Anirban</a><a href="http://rupaliparda.com/english/Anirban.htm"> (The Vigil) - 1981. B&W</a><br /><a href="http://rupaliparda.com/english/Agnisnaan.htm">Agnisnaan (Ordeal) - 1985, Colour</a><br /><a href="http://rupaliparda.com/english/Kolahal.htm">Kolahal (The Turmoil) - 1988, Colour</a><br /><a href="http://rupaliparda.com/english/Sarothi.htm">Sarothi (The Shelter) - 1991, Colour</a><br /><a href="http://rupaliparda.com/english/Abartan.htm">Abartan (On the Run) - 1993, Colour</a><br /><a href="http://rupaliparda.com/english/Itihaas.htm">Itihaas (Exploration) - 1995, Colour</a><br /><a href="http://rupaliparda.com/english/Kalsandhya.htm">Kalsandhya</a><a href="http://rupaliparda.com/english/Kalsandhya.htm"> (Twilight of Death) - In Hindi 1997, Colour</a> </div><br /><br /><div>$$$$$$$$$$$$$$$$</div><br /><div>JAHNU BARUAH</div><br /><div>$$$$$$$$$$$$$$$$</div><br /><div>Internationally acclaimed Filmmaker Jahnu Baruah have made the following Films</div><br /><div>Har Pal (2007)<br /></div><div>Maine Gandhi Ko Nahin Mara (2005)<br /></div><div>Tora (2004) aka Tora's Love (International: English title)<br /></div><div>Konikar Ramdhenu (2003) aka Ride on the Rainbow (International: English title)<br /></div><div>Pokhi (2000) ... aka And the River Flows<br /></div><div>Kuhkhal (1998)...aka The Price of Freedom<br /></div><div>Xagoroloi Bohu Door (1995) aka It's a Long Way to the Sea<br /></div><div>Firingoti (1992) aka The Spark<br /></div><div>Banani (1990) aka The Forest<br /></div><div>Adhikar (1988) TV Series aka Right<br /></div><div>Halodhia Choraye Baodhan Khai<br /></div><div>Ek Kahani (1986) (TV) aka One Story<br /></div><div>Papori (1986)<br /></div><div>Apeksha (1984)<br /></div><div>Aparoopa (1982)<br /></div><div>and has won the following various awards at national and international level.Fribourg International Film Festival, Audience Award and Award of the Pestalozzi Children's Village Foundation for: Hkhagoroloi Bohu Door (1995)Locarno International Film Festival Prize of the Ecumenical Jury - Special Mention and Silver Leopard for: Halodhia Choraye Baodhan Khai (1987)</div><br /><div>** National award- Best Children Film for Tora 2003</div><br /><div>** National award- Best Regional Film for Kushal (1998), Kanikar Ramdhenu (2002) and Aparupa(1982)</div><br /><div>** National award- Best Regional Film, GETZ Prize( 31st Chicago Interntnl. Film Festival ), Pri Do Public Award (Best Film:Nantes Film festival,France) for Saagaraloi Bahu Door (1995)</div><br /><div>** National award- Second Best Film for Phiringati (1991)</div><br /><div>** National award- Best Film, Second Best Film ( Locarno Interntl. Film Festival ) and Swarn Kamal award for Haaladhiya Charaye Bawdhan Khaai 1987</div><div></div><br /><div>“Maine Gandhi Ko Nahin Mara” bagged three awards at the Riverside International Film Festival in California best film, best actor and audience choice at the festival </div><br /><div></div><div>Jahnu Barua (born in Assam) graduated in Science from Guwahati University with a Diploma in Cinema (Film Direction) from Film & TV Institute India, Pune. He worked as a television producer in Indian Space Research Organisation (ISRO) under Satellite Instructional Television Expert (SITE) scheme and made several educational television science programmes for rural school children. He produced and directed many short films beforestepping into making feature films.Nine times National Award winner, Jahnu Barua got major national as well as international rdrecognition through his 3 film `Halodhia Charaye Baodhan Khai' (The Catastrophe) that won the National Award for the Best Film (Golden Lotus) in 1988 and several international recognitions including the Grand Prix Silver Leopard and World Ecumenical Award at the Locarno International Film Festival, Best Film at Amien International Film Festival, and Best of Asia at the Tokyo International Film Festival. Another notable film `Hkhagoroloi Bohudoor' (It's a Long Way to the Sea) also won the National Award for the Best Director (Golden Lotus) in 1995, and 15 international awards including World Peace Prize at Chicago International Film Festival, and Best Director at the International Film Festival of Independent Film Makers at Brussels, apart from being invited to as many as 42 prestigious film festivals world wide in a span of two years. His latest film `Maine Gandhi Ko Nahi Mara' (Hindi) is contemporarily one of the most critically acclaimed films. In 2003, he was conferred the Padma Shri by the President of India and the Kamal Kumari National Award for Culture in 2004. </div><br /><div>$$$$$$$$$$$$$$$$$$$<br />Zubeen Garg<br />$$$$$$$$$$$$$$$$$$$<br /><br />Zubeen had won GIFA award and Stardust Award in Bollywood as playback singer for the song "Ya Ali" in the movie "Gangster".<br /><br />Jollywood Career : As an actor:<br />'Tumi Mor Matho Mor', 'Dinabandhu', 'Mon Jaai', & about 5 video films, Teleplays.<br /><br />As a Director: 'Tumi Mor Matho Mor'.. As Music Director: 'Hiya Diya Niya', 'Tumi Mor Matho Mor', 'Daag', 'Naayak', 'Prem Aru Prem', 'Jonaki Mon', 'Kanyadaan', 'Jiban Nadir Duti Paar', 'Agnisaakshi', 'Priya Milan', 'Bidhata', 'Juman Suman','Maaya', 'Baarud', 'Rang', 'Dinabandhu', 'Adhinaayak','Ami Asomiya', 'Mon Jaai'.<br />As Playback Singer: 'Hiya Diya Niya', 'Tumi Mor Matho Mor', 'Daag','Naayak', 'Prem Aru Prem', 'Jonaki Mon', 'Kanyadaan', 'Jiban Nadir Duti Paar', 'Agnisaakshi', 'Priya Milan', 'Bidhata', 'Juman Suman','Maaya', 'Baarud', 'Rang', 'Dinabandhu', 'Adhinaayak','Ami Asomiya', 'Mon Jaai', 'Asene Konoba Hiyaat' etc..<br />Solo Albums:<br />'Anamika', 'Maaya', 'Sabda', 'Jantra', 'Unmona Mon', 'Mukha', 'Barashun', 'Mukti', 'Shishu' , 'Asha', 'Paakhi' etc.. Bollywood Career :<br />As Music Director: 'Strings'.<br />As Playback Singer: 'Fiza', 'Gangster', 'Desh Mil Gaya', 'Pyar ka side effects', 'Kaise Kahoo', 'Bas Ek Pal', 'Woh Lamhe' , 'Big Brother','I see You' , 'Strings' etc..<br /><br />Theatre:<br />As Director: Abahan. </div><div></div><div>$$$$$$$$$$$$$$$$$$$ </div><div>MOLOYA GOSWAMI </div><div>$$$$$$$$$$$$$$$$$$$</div><div><br />Career As Artist:<br />Associated with more than 40 plays broadcasted by AIR, Guwahati.Acted in more than 25 stage plays.First appearance in the lead role of "Menaka" in Dr. Bhabendra Nath Saikia's film "Agnisnan". The film was awarded the Best Screen Play Award in the National Film Festival.Acted in "Maa", "I Killed Him Sir", "Aasene Konoba Hiyaat", "Sesh Upahaar" etc.<br />Awarded "Rajat Kamal" for Best Actress in 1992 for the film "Firingoti" directed by Jahnu Baruah.Acted in 10-15 teleserials and 9 telefilms.<br />Important Post Held:<br />Selected as Jury Members for Feature Films by Directorate of Film Festivals twice- in 1994 and 2000.<br />Ex- executive member of North East Zone Cultural Centre(NEZCC).<br />Presently member of Executive Body of East Zone Cultural Centre, Calcutta.<br />Member of Drama Selection Committee of Sankardeva Kalakshetra.<br />Executive member of Jyoti Chitraban Film Society.<br />Ex-member of State Level Integration Committee, Govt. of Assam.<br />Additional:Recitation of Assamese poems<br />Directed a recitation of Cassette "Mondakini" comprising self recitation of Assamese poems by renowned poets e.g. Sri Nava Kanta Baruah, Hiren Bhattacharya, Ajit Baruah, Keshab Mahanta and others. </div><div></div><div>$$$$$$$$$$$$$$$$</div><div>Seema Biswas</div><div>$$$$$$$$$$$$$$$$</div><div></div><div>Seema Biswas is an Assamese actress who shot into prominence with the role of Phoolan Devi in Shekhar Kapur's film Bandit Queen (1994). Seema Biswas was born on January 14, 1965 in Guwahati, Assam, to Jagdish and Meera Biswas. Her mother was a history teacher and a pioneering figure for female theater artistes in Assam, an early influence; and she came into contact with artists like Bhupen Hazarika, Phani Sarma and Bishnuprasad Rabha early in life. She took to theater at a tender age. She studied Political Science at Nalbari College, and later joined the National School of Drama at Delhi. After completing her studies at NSD, she joined the NSD Repertory Company. She staged a performance of a play titled Khubsurat Bahu (NSD Repertory Company) following which Shekhar Kapur offered her a role in Bandit Queen. Although she had earlier acted in Assamese cinema this was her first big break into Hindi cinema, and she arrived with a bang.Biswas won the 1996 National Film Award for Best Actress for her role in the film. She has a reputation for performing strong character roles.Biswas won the 2006 Best Actress Genie Award for her role as Shakuntala in Deepa Mehta's Water (2005).Rooted firmly in theatre, she refuses to be typecast, and have worked in a variety of films and character roles. She has also worked in a number of Malayalam, and a Tamil film.<br /><br />$$$$$$$$$$$$$$$$$$$$$$</div><br /><div>Nipon Goswami</div><br /><div>$$$$$$$$$$$$$$$$$$$$$$</div><br /><div>A versatile actor, Nipon Goswami had acted in the following movies,</div><br /><div></div><div>'Sangram', 'Dr. Bezbaruah', 'Baruar Sansar', 'Mukuta', 'Maanab Aru Daanab''Shesh Bichar', 'Morisika', 'Abhijaan', 'Santaan', 'Aashray', 'Meghamukti', 'Dooronir Rang', 'Aajoli Nobou', 'Man aru Maram', 'Aparupa', 'Ghar Sansar','Kakadeuta Naati Aru Haati', 'Nayanmani', 'Jiban Surabhi', 'Shakuntala AruSankar Joseph Ali', 'Pooja', 'Aarati', 'Maa', 'Deepjyoti', 'Protishodh','Pratima''Pratidaan', 'Siraaj', 'Aai Mor Janame Janame', 'Ranganadi', 'Deutar Biya','Baibhav', 'Jon Jale Kapalat', 'Prem Aru Prem', 'Kakadeutar Ghar Jowai', 'Kadambari', 'Deuta Diya Bidaay' etc.. & about 60 video films, short films,Teleplays.</div><br /><div></div><div>he had also directed the movie Pratima with Munin Baruah.</div><br /><div></div><div>$$$$$$$$$$$$$$$$$</div><br /><div>Munin Baruah</div><br /><div>$$$$$$$$$$$$$$$$$</div><br /><div></div><div>Munin Baruah started his film career way back in the mid seventies as a screenplay writer and Assistant Director. He has written 21 feature films till date. Notable among them are “Bowari”, “Sonmaina”(winner of national award), “Daag”, “Barood”, “Rang”, “Maya”, “Bidhata”, “Dinabandhu” etc.As a director he created some critically acclaimed films like “Pita Putra”, “pahari Kanya”, “ Prabhati Pakhir Gaan”, “Hiya Diya Niya”, “Nayak”, “Kanyadan”, “’Bidhata”, “Rang”, “Barood”, “Dinabandhu etc.As a playwright he wrote more than 50 plays for the mobile theatre groups of Assam. ‘Aghaat’, ‘Kaal Shankha’, ‘Sadagar’, ‘Sriman Srimati’, ‘Son Sara Sapon’, ‘Chiriyakhana’, ‘Jay Parajay’, Surya Putra Karna’, ‘Rudra’ are some of his famous plays.He has directed sponsored TV serial ‘Papu Niku Sambad’ and Telefilm ‘Rudra’ telecast by Door Darshan Kendra , Guwahati.AwardAchievements:He won awards like State Award for Best Director ('Nayak', 2001-02), Best Film ('Barood', 2003-04) and National Award for “Dinabandhu” (Best Regional Film).</div><div></div><br /><div>$$$$$$$$$$$$$$$$$$$$$$$$</div><div></div><div>BIJU PHUKON</div><br /><div>$$$$$$$$$$$$$$$$$$$$$$$$</div><br /><div></div><div>A versatile actor in Jollywood, Bipu Phukon acted in the following movies,</div><br /><div></div><div>Dr. Bezbaruah, Aaranya,Bonoriya Phool, Ghar Sansar, Bowari, Raja, Upapath, Pita-Putra. Agnisnan,Papori, Aparupa,I Killed Him Sir,Eai Morom Tumar Babe,Aasene Konoba Hiyaat<br />Brishti,Hepaah,Baarud,Deuta Diya Bidaay, Ganesh, Itihaas etc </div><br /><div></div><div>$$$$$$$$$$$$$$$$$$$$$$$$<br />Pranjal Saikia<br />$$$$$$$$$$$$$$$$$$$$$$$$</div><div></div><br /><div>Another prolific play and cinema actor, Pranjal Saikia acted in the following movies</div><div></div><br /><div>Faaguni<br />Upapath<br />Aajoli Naubo<br />Koka Deuta-Naaati aaru Haati<br />Priyajan<br />Xun Moina<br />Puja<br />Xuraj<br />Aei Dex Mur Dex<br />Pratima<br />Sankalpa<br />Mon-Mondir<br />Pratidaan<br />Pita-Putra<br />Mayuri<br />Bhai-bhai<br />Halodia Saraye Bao Dhan Khaye<br />Pahaadi Kanya<br />Probhati Pokhir Gaan<br />Urbakhi<br />Paani<br />Joubane Aamoni Kore<br />Raag-biraag<br />Hiya Diya Niya<br />Anal<br />Daag<br />Anya Ek Jaatra<br />Naayak </div><div></div><div></div><div>** Acted in "YATRA" a tele serial directed by Shyam Bengal .Participated in a number of T.V.Programmes with D.D.K.Guwahati,Assam<br /></div><div>**Directed And Produced Three Tele-Films:<br />ANYA EK ADHYAI (in Assamese) for D.D.K.,GuwahatiWriter:Sree Arun Sarmah(The renowned playwright,literary figure,Recipient Of Sangeet Natak Academy Award. Ex-Director,A.I.R.)<br />ANYA EK ADHYAI (in Hindi) For Doordarshan Kendra Delhi<br />ALI DOMOZAT (in Assamese)Writer:Mahendra Borthakur </div><div></div><br /><div>he has also acted in various plays internationally.</div><div></div><br /><div>$$$$$$$$$$$$$$$$$$$</div><br /><div>Tapan Das</div><br /><div>$$$$$$$$$$$$$$$$$$$ </div><div><br />Jollywood Career:<br />As Actor: 'Sendoor', 'Shakuntala Aru Sankar Joseph Ali', 'Suruj', 'Pooja', 'Shankalpa','Sutrapaat', 'Pita Putra', 'Abhimaan', 'Pahaari Kanya', 'Drishti', 'Prabhati Pakhir Gaan','Pratyabartan', 'Abartan', 'Itihaas', 'Krishnasura', 'Daag', 'Gun Gun Gaane Gaane', 'Baarud', 'Dinabandhu', 'Anuraag', 'Chakravyuh', 'Antaheen Jaatra', 'Aghari Atma', 'Astaraag' etc. </div><br /><div>Theatre:<br />As an Actor & Director: Shakuntala , Bordoisila, Kohinoor.</div><br /><div>$$$$$$$$$$$$$$$$$$$ </div><div><br />Abdul Mazid</div><br /><div>$$$$$$$$$$$$$$$$$$$</div><br /><div></div><div>Career:</div><br /><div></div><div>As director: </div><div></div><div>Maram Trishna 1965<br /></div><div>Chameli Memsaab 1975 </div><div></div><div>Banahangsa 1977<br /></div><div>Banjui 1978<br /></div><div>Ponakan 1983 </div><div></div><div>Uttarkaal 1999</div><br /><div>He also wrote the screen play of the above mentioned films.Documentory Films: Puppet Dance of assam, Azan Fakir, Bahadur Gaonburha, Music & Dances of Goalpara, Rituals, Customs & Culture of the Rabhas of Assam, Ujani Asomar Dhulia Ojha, Retuals, tTraditions & Culture of Nath-Jogi Community of Bilashipara region.TV Serials and Telefilms : “NaamGhariya”, “Ajaga”, “Jor Puri Haat”, “Dapon” (two episodes), “Agnigarbha”, (on DDk Dibrugarh), “Hatora”, “Segun Puli Ruba Kone”, “ram-Rahim”, “Romanthan”. </div><div><br />Achievements:Awards: </div><br /><div>Asom sahitya Sabha Award for drama “Chor” in the year 1966-67.</div><div></div><div>Awarded Best Director in Multi lingual Drama Competition held at New Delhi in 1971.</div><div></div><div>Chameli Memsaab won the National Award “ Rajat Kamal” in the 23rd National Film Festival, as the best film in assamese Language.</div><div></div><div>Won the best Director Award for the year 1988-1992 of Assamese TV serial “Namghariya”, by Silpi Divas Samiti.</div><br /><div>Bishnu Prasad Rabha Award For the year 1986, by Govt. of Assam.</div><br /><div>Natsurya Award in1999.</div><br /><div>As Dramatist : Some of his popular dramas are “Banchita”, “Dhooli-Makati”, “ Chor”, “Sampurna Mahabharat”, “Sihat Aahishe” etc.</div><br /><div></div><div>s an actor: He acted more than 38 films in various roles.</div><div></div><br /><div>$$$$$$$$$$$$$$$$$$$</div><div></div><div>Arun nath</div><br /><div>$$$$$$$$$$$$$$$$$$$</div><br /><br /><div></div><div>As Actor: "Dooronir Rang", "Bahaagar Duporia", "Agnisnan", "Pratidaan", "Kolahal","Dhrubatora", "Rangaa Madaar", "Bangsadhar", "Prabhati Pakhir Gaan", "Saarathi","Pratyabartan", "Agnigarh", "Saagaraloi Bahudoor", "Imaan Maram Kiyo Laage","Kanyadaan", "Priya-O-Priya", "Bidhata", "Dinabandhu", "The Sixth Day of Creation",etc..</div><br /><div></div><div>$$$$$$$$$$$$$$$$$$$</div><br /><div>BIDYA RAO</div><br /><div>$$$$$$$$$$$$$$$$$$$</div><br /><div></div><div>Jollywood Career ( As Actor ): </div><br /><div>'Latighati', 'Mukuta', 'Sangram', 'Maanab Aru Daanab', 'Aranya', 'Sonma', 'Niyati', 'Ajali Nobou', 'Moinajan', 'Manashi', 'Sri Sri Maa Kamakhya', 'Ghar Sansar', 'Nayanmoni', 'Jiban Surabhi', 'Sendoor', 'Shesh Bichar', 'Pratiddhani', 'Shakuntala', 'Chikmik Bijuli', 'Saarathi', 'Hridayar Are Are', 'Urbashi', 'Devata', 'Baibhav' etc.</div><div></div><br /><div>$$$$$$$$$$$$$$$$$$</div><br /><div>MRIDULA BARUAH</div><br /><div>$$$$$$$$$$$$$$$$$$</div><br /><br /><div></div><div>Jollywood Career (As Actor): 'Bhai Bhai', 'Kanyadaan', 'Baarud' , 'Ahir Bhairav' ,'Bowari', 'Meghamukti', 'Marami', 'Upapath', 'Ponakan', 'Kakadeuta, Nati Aru Haati', 'Shakuntala Aru Sankar Joseph Ali', 'Bahaagar Dupariya', 'Aarati', 'Maa', 'Deepjyoti', 'Pratima', 'Siraaj', 'Ajala Kakai', 'Bardoisila', 'Ranganadi', 'Drishti', 'Prabhati pakhir gaan', 'Saarathi', 'Priyajan', 'Pratyabartan', 'Aabartan', 'I killed Him Sir', 'Itihaash', 'Sanghaat Sanghaat Sanghaat' , 'Baibhav', 'Hiya Diya Niya', 'Tumi Mor Matho Mor', 'Asene konoba Hiyaat', 'Shesh Upahaar', 'Anya Ek Jaatra', 'Aei Morom Tomar Babe', 'Imaan Morom Kiyo Laage', 'Zakham', 'Gun Gun Gaane Gaane', 'Priyamilan', 'Bidhata', 'Aeiyei Jonak Biheen Jiban', 'Hepaah', 'Maa Tumi Ananya', 'Kadambari', 'Astaraag', 'Snehabandhan' etc. & about 30 video films, teleplays.</div><br /><div></div><div>$$$$$$$$$$$$$$$$$$</div><br /><div>PURABI SHARMA</div><br /><div>$$$$$$$$$$$$$$$$$$</div><br /><div>She had acted in various roles in the following films:</div><br /><div>'Ajali Nobow','Pratham Raagini', 'Pita Putra', 'Bhai Bhai', 'Pooja', 'Ashanta- -Prahar', 'Kanyadaan', 'Ahir Bhairav', 'Baarud', 'Mrityunjoy' , 'Son Moina', 'Sankalpa',''Antony Mor Naam' , 'Sewali', 'Abhimaan', 'Paahari Kanya', 'Bidhata'.</div><br /><div></div><br /><div>$$$$$$$$$$$$$$$$$$$ </div><div><br />JATIN BORA</div><br /><div>$$$$$$$$$$$$$$$$$$$<br /></div><br /><div>As an actor:Uttarkal, I killed him sir , kalsandhya(hindi) , hiya diya niya, ahankar, tumi mor matho mor, daag, shesh upahaar, anya ek jaatra, koina mor dhunia, Aei morom tomar babei, naayak, prem aru prem, kanyadaan, priya O' priya, jiwan nadir duti paar, Tyaag, mitha mitha laganat, Aeyei jonak bihin jiwan, premgeet, agnisakshi, priyamilan, bidhata, juman suman, hepaah, maa tumi ananya, juiye pora xoun, hriday kapowa gaan, baarud, kadambari, rang, suren sorar putek, senai mor dhulia, aghari atma, adhinayak, dinabandhu, deuta diya bidaay, dhunia tirotabor, borola sanxar & supta krandan.<br />As a Director: Adhinaayak.<br />As an Actor in TV Serial:<br />Deuta , Naamgharia, Aei Saharate, Sandhyatara, Birina patar aarate etc..<br />As an Actor & Director in Theatre:<br />Aabahan, hengul, ashirbaad, bhagyadevi, kohinoor.</div><br /><div></div><div>$$$$$$$$$$$$$$$$</div><br /><div>PRASTUTI PARASHAR</div><br /><div>$$$$$$$$$$$$$$$$</div><br /><div></div><div>She had acted in the following serials and movies </div><br /><div></div><div>Serials: Barnali, Nisar Nayak, Chakrabehu, Mahanagarh, Jonakat Siharan </div><br /><div></div><div>Movies: Maharathi,Tumi more mathu more, Asene Kunuba Hiyat, Priya O Priya, Aai Maram Tumar Babe, Gun Gun Gane Gane,Jakham, Prem Aru Prem, Jivan Nabir Duti Par , Dinabandhu , Rang etc.</div><br /><br /><br /><div></div></div></div>Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com6tag:blogger.com,1999:blog-7823291760828692160.post-73443397679958001902008-02-14T05:44:00.000-08:002008-07-30T03:11:59.754-07:00Assamese Cuisine - - Non Spicy yet Uniquely De-li-ci-ousSSSS !!!<object height="355" width="425"><br /><embed src="http://www.youtube.com/v/fyWCB1qAuqI&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Machor Tenga(Fish Curry) preparation<br /><br /><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/wYuMIMeutSA&hl=en"><param name="wmode" value="transparent"><br /><embed src="http://www.youtube.com/v/wYuMIMeutSA&hl=en" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br />Til pitha Preparation<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SJA-EQeiVNI/AAAAAAAADmo/qBZ8y9G9yuM/s1600-h/pork+with+bamboo+shoot.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SJA-EQeiVNI/AAAAAAAADmo/qBZ8y9G9yuM/s400/pork+with+bamboo+shoot.jpg" alt="" id="BLOGGER_PHOTO_ID_5228747410240591058" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SJA-EoHsN3I/AAAAAAAADmw/ON0UuEfXkAg/s1600-h/rice+and+potato+fry.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SJA-EoHsN3I/AAAAAAAADmw/ON0UuEfXkAg/s400/rice+and+potato+fry.jpg" alt="" id="BLOGGER_PHOTO_ID_5228747416587220850" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SJA9nedMbtI/AAAAAAAADmA/N-XW8AnLKqo/s1600-h/khaana.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SJA9nedMbtI/AAAAAAAADmA/N-XW8AnLKqo/s400/khaana.jpg" alt="" id="BLOGGER_PHOTO_ID_5228746915776851666" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_BgaBKdo7qZo/SJA9nmR5L1I/AAAAAAAADmI/STwEzMZphaQ/s1600-h/khana.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/SJA9nmR5L1I/AAAAAAAADmI/STwEzMZphaQ/s400/khana.jpg" alt="" id="BLOGGER_PHOTO_ID_5228746917876936530" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/SJA9nqn7ZiI/AAAAAAAADmQ/uG7ieE1B_FQ/s1600-h/khh.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/SJA9nqn7ZiI/AAAAAAAADmQ/uG7ieE1B_FQ/s400/khh.jpg" alt="" id="BLOGGER_PHOTO_ID_5228746919043098146" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SJA9njcwhwI/AAAAAAAADmY/17KG9RhAwF4/s1600-h/khhh.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SJA9njcwhwI/AAAAAAAADmY/17KG9RhAwF4/s400/khhh.jpg" alt="" id="BLOGGER_PHOTO_ID_5228746917117200130" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SJA9n8FfYcI/AAAAAAAADmg/AymW05cGB4M/s1600-h/momos.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SJA9n8FfYcI/AAAAAAAADmg/AymW05cGB4M/s400/momos.jpg" alt="" id="BLOGGER_PHOTO_ID_5228746923730493890" border="0" /></a><br /><a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R7_nJeo3R8I/AAAAAAAACnw/xdfXMLtwLXk/s1600-h/jalpan.jpg"><img id="BLOGGER_PHOTO_ID_5170105047273916354" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R7_nJeo3R8I/AAAAAAAACnw/xdfXMLtwLXk/s400/jalpan.jpg" border="0" /></a><br /><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R_SYsxqJx-I/AAAAAAAADLo/c_ji5-2XR40/s1600-h/pithaaaaa.bmp"><img id="BLOGGER_PHOTO_ID_5184936966022088674" style="margin: 0px auto 10px; display: block; text-align: center;" alt="" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R_SYsxqJx-I/AAAAAAAADLo/c_ji5-2XR40/s400/pithaaaaa.bmp" border="0" /></a><br /><br /><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R7RHouo3RiI/AAAAAAAACjw/WNKnP8n-rsI/s1600-h/masssssss.JPG"><img id="BLOGGER_PHOTO_ID_5166833437540566562" style="margin: 0px auto 10px; display: block; cursor: pointer; text-align: center;" alt="" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R7RHouo3RiI/AAAAAAAACjw/WNKnP8n-rsI/s400/masssssss.JPG" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R7RHo-o3RjI/AAAAAAAACj4/rXowm7OYJ2I/s1600-h/massss2.JPG"><img id="BLOGGER_PHOTO_ID_5166833441835533874" style="margin: 0px auto 10px; display: block; cursor: pointer; text-align: center;" alt="" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R7RHo-o3RjI/AAAAAAAACj4/rXowm7OYJ2I/s400/massss2.JPG" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SBLrK9adqeI/AAAAAAAADSk/Gygo22AxlTg/s1600-h/coooking.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SBLrK9adqeI/AAAAAAAADSk/Gygo22AxlTg/s400/coooking.jpg" alt="" id="BLOGGER_PHOTO_ID_5193471893828381154" border="0" /></a><object height="355" width="425"></object><br />$$$$$$$$$$$$$$$$$$$<br />Cuisines of Assam<br />$$$$$$$$$$$$$$$$$$$<br /><br />The Cuisine of Assam is a mixture of different indigenous styles with considerable regional variations and some external influences. It is characterized by very little use of spices but strong flavors due mainly to the use of endemic exotic herbs, fruits and vegetables that are either fresh, dried or fermented. Fish is widely used, and birds like duck, pigeon etc. are very popular. Pork dishes are particular favorites. Preparations are rarely elaborate—the practice of Bhuna, the gentle frying of spices before the addition of the main ingredients so common in Indian cooking, is absent in the cuisine of Assam.<br />The upper classes of Assam were permitted no scale-less or serpent-shaped fish. Certain meats (duck, pigeon, tortoise, wild boar ) were specially condemned, and those of the goat, deer and rhinoceros were permitted. A later historic work called the Kumara Harana, recommended pork cooked with soft roots of the banana. The favorite curry mentioned was an alkaline salty extract of banana roots cooked with certain aquatic green plants, and also with fish. Vegetables mentioned in the Yogini Tantra showed that both tubers and green leaves were important in the early Assamese diet. The usual pulses and spices were made from milk , curds and ghee, and madhumada may have had a honey base. Rice beer was made domestically, and the tribal brewed a liquor called laopani. Bana records that in the 7th century AD the Emperor Harsha received from King Bhaskara of Assam cups of ullaka, which diffused the fragrance of swet wine.<br />People of Assam eat non-spicy foods and even bland at times. Rice is the staple diet in Assam and is eaten in various forms throughout the day. The Assamese eat a huge variety of rice-based breakfast cereals with milk, yoghurt or thick cream¬akhoi (puffed rice), chira (chura), muri, komal chaul (a specially processed rice which doesn’t require cooking but just an hour’s soak in cold water) and hurum to name but a few. Normally jaggery or sugar is added but for those who prefer savoury items, salt can be added. Also there are the various kinds of pitha that are prepared from rice powder.<br /><br />Authentic Assamese cuisine is bland and yet very delicious. Very little oil is used and practically no spices. All Assamese people are non-vegetarian. Chicken is taboo in orthodox families and there are some, who may not eat meat. But it’s difficult to find anyone who does not eat fish and duck’s eggs. Mustard oil is used for cooking and occasionally clarified butter or ghee.<br />Other supplementary food includes lentils, fish curry, meat curry along with herbs and vegetables. The curry is generally seasoned with ginger, garlic, cardamom, cinnamon, onions and sometimes lemon.<br />Sweets made during the festivals are usually made of rice paste. Pitha is a paper-thin pancake stuffed with sweet coconut paste or sweet black sesame seed paste.<br />A traditional meal in Assam begins with a khar, a class of dishes named after the main ingredient, and ends with a tenga, a sour dish. These two dishes characterize a traditional meal in Assam. The food is usually served in bell metal utensils made by an indigenous community called Mariya. Tamul (betel nut, generally raw) and paan generally concludes the meal.[2]<br /><br />$$$$$$$$$$$$$$$$$$$<br />Ingredients<br />$$$$$$$$$$$$$$$$$$$<br /><br />The cuisine of Assam is strongly influenced by the local ingredients, especially because this cuisine tries to preserve the natural flavors or augment them by processes like drying, fermentation etc.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Rice<br />$$$$$$$$$$$$$$$$$$$<br /><br />Rice is the most important ingredient in this cuisine. The large varieties of rice found in the region has led to speculation that the grain was first domesticated in the Assam-Yunnan region.Both the indica as well as the japonica varieties are grown in Assam. The most popular class of rice is the joha. Rice is eaten in many different forms: roasted and ground (xandoh), boiled in its husk and flattened (chira), puffed (akhoi). There also grows a variety of rice that can be just soaked and eaten (Komal Saul).<br />Rice is a part of all meals in Assam. A traditional breakfast consists of chira with yogurt and jaggery. Farmers eat cooked rice soaked overnight (poita) garnished with mustard oil, onions, etc. Snacks would be xandoh, Komal Saul or bora saul with milk. For other major meals, rice could be boiled, steamed or wrapped in leaves and roasted.<br />Bora saul is a variety of glutinous rice found in Assam. It has an important role in Assamese traditional occasions like Bihu. It is used both as Jolpan (snacks) and Pitha (rice cake). Soaked and ground bora saul is used in preparing Pitha. Boiled bora saul is served as Jolpan with curd or milk, jaggery or sugar etc. During the Ahom reign in Assam, bora saul with duck-egg was used in constructing buildings because of its sticky quality.<br />Komal Saul is one kind of rice served as Jolpan in Assam. The rice can be just soaked and eaten with milk or curd, jaggery, yogurt etc.<br />A special class of rice preparations, called pithas are generally made only on special occasions like the Bihu. Made usually with soaked and ground glutinous rice (bora saul), they could be fried in oil with a sesame filling (xutuli pitha), roasted in young green bamboo over a slow fire (sunga pitha) or baked and rolled over a hot plate with a filling (kholasapori pitha).<br />Rice is also the primary ingredient for the many rice beers and liquors (lau-pani) made in Assam by different ethnic communities: zou (Bodo), apong (Mishing), xaj (Ahom), hor[4] (Karbi), phatika (Kachari) etc.<br /><br />Sl No Species Unit price Rs /Kg<br />1 Aampahi 25<br />2 Basmati 30<br />3 Jaha 30<br />4 Aahu 20<br />5 Tarabali 25<br />6 Holpona 28<br />7 Bora 25<br />8 Kalamdani 30<br />9 Bow 18<br />10 Basanti 30<br />11 Mala 28<br />12 Lachit 28<br /><br />$$$$$$$$$$$$$$$$$$$<br />Fish<br />$$$$$$$$$$$$$$$$$$$<br /><br />The next most important ingredient is the fish, harvested from the many rivers, ponds and lakes in the region. There is no traditional ethnic community in Assam that does not eat fish. Most traditional rural households have their own ponds for pisciculture. Some of the most popular fishes are the rou (Labeo rohita), the illish ( Tenualosa ilisha) and the chital (Chitala chitala), though the varieties of fish available and eaten is very large.[5] The discerning gourmand would be able to tell which region of Assam is known for which variety of fish.<br />The most popular dish from Assam, the tenga, is an indispensable part of a proper meal in Assam. The most popular tenga is made with tomatoes, though ones made with kaji lime (thick skinned elongated) and thekera (dried Mangosteen, Garcinia pedunculata) added to other vegetables are also popular. Another favorite is small fish roasted in banana leaves. Hukuti is a special fish dish prepared from dried small fish (puthy mas) pounded with arum stem and dried and stored in bamboo tubes. Xukan masor chutney, popular among the tribal communities of Northeast India in general and Assam in particular, are dried and fermented small fish (puthy mas), three to four in numbers are roasted along with lavishly amounts of green chillies, tomatoes, ginger and garlic (all roasted). The ingredients are then pounded in a mortar to make a coarse paste and served with rice.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Greens and vegetables<br />$$$$$$$$$$$$$$$$$$$<br /><br />The environs of Assam are rich in vegetation, and green leafy vegetables, called xaak, are an important part of the cuisine. Some of them are grown while others like the dhekia (fern) grows wild. There is a bewildering variety that is eaten and according to custom, one has to have a hundred different xaaks (greens) during Rongali Bihu. Locally available green leafy vegetables are: Paleng (spinach), lai (a family of mustard greens), methi (fenugreek greens), khutora (amaranth), moricha, matikaduri, manimuni (asiatic pennywort), podina (mint), tengesi (dichondra), jilmil, tengamora, kolmou (water spinach), brahmi (water hyssop), dhonia (celery or corriander), xukloti, doron, noroxingho (curry leaf), bhedailota, bondhakobi (cabbage). Green vegetables are often boiled with water to form a gravy or sauteed in oil with onions.<br />Other locally available vegetables are: Fulkobi (cauliflower), beetroot, Olkobi (kohlrabi), curry bananas, koldil (banana flower), banana stem, bell pepper, potol (Pointed gourd), jeeka, toroi, bhol (Ridge gourd), dhunduli (snake gourd), jatilao (bottle gourd), komora (ash gourd), ronga lao (pumpkin), kerela (Bitter gourd), kunduli (Ivy gourd), bhendi (Okra or lady's finger), motor (peanut), tihu or tiyoh (cucumber), mula (radish), gajor (carrot), bilahi (tomato), salgom (Turnip), bengena (eggplant or brinjal), Omita (Papaya), squash, sojina.<br />Among pulses and beans there are: Mosur mah (lentil), dhoa mogu (white lentil e.g. urad bean with the black skin removed) mogu mah (mung bean), mati mah (urad bean or black lentil), urohi, lesera mah, rohor dail (pigeon pea), but (chickpea) etc. </div><br /><div></div><br /><div>$$$$$$$$$$$$$$$$$$$$$$$<br />Assamese terms for vegetables/fruits</div><br /><div>$$$$$$$$$$$$$$$$$$$$$$$</div><br /><div></div><br /><div>English --- Assamese</div><br /><div></div><br /><div>------------------------------</div><br /><div>Apple ===Aapel</div><br /><div>Amarnath Leaves ===khutora<br />Ashgourd / White gourd == Saal Kumura</div><br /><div>asiatic pennywort === manimuni<br />Banana == kol</div><br /><div>banana flower ==== koldil<br />Bitter Gourd == Tita Kerela<br />Bottle Gourd / Marrow === Jati Lao<br />Brinjal/Eggplant === Bengena<br />Broad/Butter Beans === Urahi<br />Cabbage === Bondhakobi<br />Capsicum/Bell Pepper === Kashmiri Jalakia<br />Carrot === Gajor<br />Cauliflower == Phoolkobi</div><br /><div>chickpea===but<br />Chilli === Jalakia<br />Cow peas === Dangbodi*<br />Coconut === Narikol<br />Colocassia === kosu<br />Corriander/cilantro === Dhania Paat<br />Corn === Gum-dhaan<br />Cucumber === Tiyoh</div><br /><div>curry leaf===noroxingho<br />Custard Apple === Aatloss*<br />Dates === Khejur</div><br /><div>dichondra=== tengesi<br />Drumstick === Sajina<br />Dry Plums === Sukan Bogori<br />French Beans === Faras Been<br />Fenugreek Leaves === Methi Xaak*<br />Garlic === Naharoo<br />Ginger === Ada (Kesa)<br />Goose berry === Aamlokhi*<br />Grapes ==== Angoor<br />Green Chillies === Kesa Jalakia<br />Green Mango (Raw) === Kesa aam<br />Guava === Madhurium</div><br /><div>Ivy gourd ===kunduli<br />Jackfruit === Kothaal<br />Jambu Fruit === Jamuk*<br />Kohlrabi === Ool Kobi*<br />Lady Finger/Okra === Bhendi<br />Lemon === Nemu</div><br /><div>lentil===Mosur mah<br />Lettuce === Laipaat<br />Lime === Gool Nemu*<br />Lotus stem === Podum-daal<br />Mango === Aam*<br />Mint Leaves === Podina<br />Mulberry === Nuni*</div><br /><div>mung bean===mogu mah<br />Mustard Leaves === Xoriyohor aag<br />Olive === Jolfai<br />Onion === Piyaaz<br />Orange === Sumothira<br />Papaya === Omita<br />Parwal === Patol<br />Parsley === Sugandhi Lota<br />Pear === Naspoti<br />Peas === Motormah</div><br /><div>peanut===motor </div><br /><div>pigeon pea===rohor dail<br />Pineapple === Anarox<br />Plantain (green) === Kaas-kol<br />Plantain Flower === Koldil<br />Pomegranate === Dalim</div><br /><div>Pointed gourd=== potol<br />Potato === Aloo<br />Pumpkin === Ronga-lau<br />Radish === Mula<br />Raw Banana === Kesa kol<br />Red Chillies === Sukan Jalakia</div><br /><div>Ridge gourd===bhol</div><br /><div>snake gourd===dhunduli<br />Spring Onions === Piyaaz Paat*<br />Spinach === Paleng xaak<br />Sweet Lime === Mausambi<br />Star Fruit === Kordoi<br />Tomato === Bilahi<br />Turnip === Saalgum*</div><br /><div>urad bean or black lentil===mati mah</div><br /><div>water hyssop===brahmi<br />Water Melon === tormuj<br />Water spinach=== kolmou </div><br /><div>white lentil e.g. urad bean with the black skin removed===dhoa mogu </div><br /><div>Wood Apple === Kot Bel*<br />Yam === Kaath Aloo<br />-----------------------------------</div><br /><div><br />$$$$$$$$$$$$$$$$$$$<br />Exotic foods<br />$$$$$$$$$$$$$$$$$$$<br /><br />Assam has its share of exotic foods. One such delicacy is eri polu, the pupa of the Eri silkworm after it has spun its cocoon. Fermented bamboo shoot (khorisa) is another traditional condiment used in Assam.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Preparations<br />$$$$$$$$$$$$$$$$$$$<br /><br />Khar: The khar is a signature class of preparations made with a key ingredient, also called khar. The traditional ingredient is made by filtering water through the ashes of a banana tree, which is then called kola khar (black khar). A traditional meal invariably begins with a khar dish, made of raw papaya, pulses or any other main ingredient. Xokota: It’s severely bitter type of preparation. It’s prepared with dry jute leaf, matimah (urad bean) and khar. But the combination of Khar and Tenga is not reccomanded.<br />Tenga: The tenga is a light and sour fish dish, another signature class of preparations. The souring ingredient could be thekera (mangosteen), kajinemu (lemon), etc., but the most popular is that made with tomatoes. Fish dishes made with fermented bamboo shoot are generally sour, but they are not called tengas.<br />Fish is fried in mustard oil or curried with bottle gourd or spinach. Meat is curried in spicy gravy. Modern cuisine of Assam has been influenced by east and north Indian cuisine.<br />Pitika and pickles: Side dishes called pitikas (mashes) are very popular. The most popular is aloo pitika (mashed potatoes) garnished with raw onions, mustard oil, green chilies and sometimes boiled eggs. khorisa tenga is mashed fermented bamboo shoot, sometimes pickled in mustard oil and spices. Kharoli is fermented mashed mustard (Brassica campestris var. toria) seed. Pitikas are also made from roasted or steamed vegetables (tomatoes and eggplants being very popular) and fish. Pickles are there made of aam (mango), amlokhi (amla or indian gooseberry), omora (hog plum), jolpai (olive), kordoi (star fruit), thekera (mangosteen), outenga, bogori etc.<br />Meat: Pork and beef dishes are particularly favorites in the tribes in Assam although general people also sometimes have pork, but not basically. The basic cooking method is boiling. Onla, of the Bodos, is made with ground rice and special herbs, and constitutes a complete meal in itself. Other meat includes pigeon, duck, chicken, mutton, venison, tortoise althouth venison and tortoise meat are legally prohibited. The combination of duck – ash gourd and pigeon – papaya is very popular.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Appetizers<br />$$$$$$$$$$$$$$$$$$$<br /><br />Appetizers in Assamese cuisine are a real treat. Soups may be commonly used as appetizers. However, there are smaller shies of lentils and pulses that are used as appetizers.<br />Generally, Assamese cuisine has a tremendous range of fish, rice, pulses and lentils. These are used to make main course meals as well as appetizers.<br />Some appetizers are made from fish and are indeed delicious. They are full of delight even though they do not have much spice in them. Once you taste them, they leave you with the temptation of trying them again.<br />Since appetizers can also be in the form of smaller portions of large sized meals, there is an even greater variety you may have. Now, this is considered to be quite a variety considering that you do not chicken and meats used generally.<br />Indeed, the most stimulating of these appetizers can be chosen. They are not spicy, but are just right for stimulating your gastric juices. At the same time, if you are extremely hungry, you stomach is soothed too.<br />Assamese cuisine is truly a complete one with these kinds of appetizers and other main course meals.<br /><br />$$$$$$$$$$$$$$$$$$$<br />beverages<br />$$$$$$$$$$$$$$$$$$$<br /><br />Indeed, beverages in a cuisine are important, and in Assamese cuisine has the same. It has the well-known ‘chai’ or tea that is popular throughout India. This can be made in various forms, depending on what you may like. This is because tea can be flavored whichever way you want. However, there are particular techniques involved.<br />Tea may be consumed at any time of the day, and it is also common to have it after meals. It is helpful for washing down your food after a heavy meal. Aside from chai being an important beverage in Assamese cuisine, there is sherbat. This is a very popular sweet drink that is made of a number of ingredients.<br />Sherbat may be made from ingredients like almonds and coconut with milk added to it or it may even have milk as the base instead of water. Often, to dilute the quantity of sherbat, water may be added to the sherbat. Otherwise it is consumed in its thick form. Also, vermicelli is added to it to make it a little different.<br />Assamese cuisine like other Indian cuisine has a wide variety to offer you in spite of it lacking dishes in certain areas of the cuisine. Largely, it is a simple cuisine but is a tasty one too. Its beverages are great too and are important parts of a banquet in any celebration.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Soups<br />$$$$$$$$$$$$$$$$$$$<br /><br />Soups are versatile portions of any cuisine. They may be used as appetizers in cuisines of any kind including Assamese cuisine. However, in Assamese cuisine, soups are normally had anyway you like. They are considered to be nutritious and there are a lot of people who consume them simply to gain strength.<br />Among some of the common soups, you will find the popular Vegetable Soup or Lentil Soup – These may be of different kinds, and have a certain degree of spice and salt too.<br />You will never find chicken soup around commonly. In fact, it is tabooed in traditional Assamese cuisine. Just like you will never find chicken dishes around, the same applies to other portions of this cuisine.<br />It must be realized that generally Assamese cuisine does not have much meat consumed, and this means that meat is not common in soups either. With its variety of vegetable, pulse and lentil soup, there is already a great tasting variety. Therefore, there hardly is any need for meats in the form of soups.<br />Soups are well known healthy parts of a cuisine. In Assamese cuisine, there is no shortage of soups. You will also find people creating their own kind as well.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Salads<br />$$$$$$$$$$$$$$$$$$$<br /><br />Salads are an important part Assamese cuisine. Without a salad, no food is complete in any cuisine, and this is why there are various kinds of foods that are used as salads in this cuisine. Assamese cuisine is quite Bengali influenced, and this means that the people trend to use a lot of rice and fish in their foods. With these food substances, vegetable salads go well, and there are also a number of other options that could be included. Assamese being influenced densely by Bengali cuisine as well as Indian regional cuisines has a pretty good variety.<br />Churtney, raita, fresh green salads and pickles are known in Assamese cuisine. It generally depends on how traditional one is when it comes to consuming food, and your choices in salads will depend on that too.<br />There is a large number of dishes being made from fruits and vegetables too. Salads are of various kinds, and may be a combination of tomatoes, lettuce, cucumber and radish.<br />Even though it is simple and has very no meat dishes largely, Assamese cuisine is one of the most appreciated cuisines for its salads and its foods. With the bulk of its dishes being made from rice and fish, salads go best with them. In households where salads are not used commonly, you will find that they fry up masala fish that is quite crisp.<br />In most households, whether they are traditional or not, you will find salads being most common. There is no shortage of green vegetation in this region that is nearest to Bengal, and this means that vegetables for salads are abundant. It must be asserted that these salads add to the nutritional level of Assamese cuisine as well.<br />Vegetarian dishes usually fill up a great deal of any cuisine. In some meat dominating cuisine, vegetarian dishes are most important. This helps to create a balance in a banquet as well. However, Assamese cuisine is such that it has mostly vegetarian dishes aside from the use of fish. Beef and mutton are not consumed, and it is indeed difficult to find anyone who consumes meat.<br />In Assamese cuisine, there are several tasty dishes you can try out to suit your palette.<br />They are largely made of rice, fish, curry, vegetables, dal, and have salads to accompany them too. This food generally is not very oily or spicy. The best part about these dishes in Assamese cuisine is that they cook very quickly. Indeed, most of them cook in about 20 minutes or so. Some of these stunning dishes include the following:<br />Kurma is a mild and creamy treat that is sweet and nutty taste.<br />Rogan Josh is cooked with onions and garlic, and is garnished with tomatoes.<br />Dansak is cooked with pineapples, coriander and lentils. It is sweet and slightly spicy.<br />In addition to the above quickly cooked meals, theer are few more that you will find interesting and tasty too. There are Saagwala and Pathia Special.<br />Though meat dishes are not generally consumed they are as follows:<br />* Cellar's Tikka Massala<br />• Jalfrezi Special<br />• Chicken tikka,<br />• Lamb<br />• Vegetables Mixed Jalfrezi Special<br />• Makhani Mumtaz<br />• Murgh Keema Massala Special<br />• Assamee Shazni Special<br />• Grilled breasts of Chicken, lamb or Lamb chops.<br /><br />Indeed, it can be asserted the meat dishes above are delicious, but they are difficult to find, as there are hardly any people who consume them in Assamese cuisine.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Non-vegetarian:<br />$$$$$$$$$$$$$$$$$$$<br />Assamese cuisine is one of the most vegetarian cuisines you will come across. However, fish is eaten commonly with rice. There are numerous dishes that are made using fish and rice while there must be hardly a handful of dishes that use beef and chicken. Dishes made from chicken are not common at all, and in traditional households it is a taboo. This means that it is simply not acceptable in traditional cuisine. Meat eaters are few to come by, and they perhaps are the reasons for the few existing meat dishes.<br />Rice is known to be the staple diet in Assam. It is consumed in various forms at any time of the day. Therefore, there are many dishes that have been created for using rice.<br />Breakfast cereals are usually milk, chira (chura), thick cream¬akhoi (puffed rice), yoghurt and muri, komal chaul (processed rice that is ready to consume after soaking in cold water) and hurum. Also, there are the different kinds of pitha. Thee are made from rice powder.<br />Generally, it can be said that authentic Assamese cuisine is quite bland but delicious. Oil is used sparingly in this cuisine and so are spices. In fact, some people hardly use any. Generally, most people are vegetarian, and so, meat dishes are hard to find. In contrast to this, it is said that it is difficult to find anyone who does not consume fish and duck’s eggs.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Snacks<br />$$$$$$$$$$$$$$$$$$$<br /><br />When it comes to snacks, there is no shortage of any of them in most cuisines. This is because main course meals are manipulated in such a way that they can be used as snacks. The same thing is true with Assamese cuisine that has plenty of snacks.<br />A lot of the Assamese cuisine snacks are gram based, but there are also ones that include vegetables and even rice. Also, there are no restrictions when you can have these snacks.<br />You will also find several snacks that are a delight. They are capable of drawing you to try out more of this cuisine. Once you taste the snacks in this cuisine, you would want to try more.<br />Since, people who adhere to Assamese cuisine are mainly rice-eating people, the day may even commence with rice snacks. However, you could say that these snacks are used for breakfast. Pitha is an example, and it is made of rice flour. Pitha may be filled with coconut powder or even have a coating of jaggery.<br />Some of the snacks might include:<br />• Rogan Josh<br />• Dansak<br />• Saagwala<br />• Pathia Special<br />It must be remembered that all snacks in Assamese cuisine are simple and easy to make like their main dishes, as there are no lengthy processes involved. Each of the meals and snacks only take around 20 or 30 minutes to prepare in.<br /><br />$$$$$$$$$$$$$$$$$$$<br />Dessert<br />$$$$$$$$$$$$$$$$$$$<br /><br />In Assamese cuisine there are a several desserts. As opposed to the lack of meat dishes in Assamese cuisine, sweet dishes are present and are of different types. Many of them are quite sweet and thickened milk confectionery. The use of cardamom and nuts is common in desserts. Yoghurt is popularly used as well.<br />There are also sweets that are made from wheat flour, lentil flour, cheese and dried nuts. Some of desserts in Assamese cuisine fall into a wide range of "pithas". These are cakes, and are made by different methods.<br />Desserts like rice kheer is very common. Not surprisingly, there are many desserts made of rice. For those who would like to avoid rice in their diet, a piece of beetle nut and paan is also commonly considered as an alternative.<br />Assamese desserts certainly have a wide range, and this is because of the fact that it is able to use every ingredient to make sweet dishes that other cuisines make use of. Indeed, there is a great variety that one can have in desserts and sweet dishes in Assamese cuisine. There is no shortage with regard to what you might create as well. Therefore, Assamese cuisine presents considerable room for experimentation. However, rice-based desserts are mostly enjoyed.<br />Piţhas are a kind of rice cuisine of Assam. They are usually made from rice but there are some preparations which will use wheat.<br />The pithe preparations have a base made of starch ( either rice or wheat ) and a raw uncooked batter is prepared out of these, which will eventually be used to make a kind pouches where some additional filling will be put ( sweet, vegetable, meat etc ). The pouch is called "khol" (means the container) and the fillings are called "pur" (the filling ).<br />Pitha is a special class of rice preparation generally made only on special occasions like Bihu in Assam. Made usually with soaked and ground rice, they could be fried in oil, roasted over a slow fire or baked and rolled over a hot plate. Some pithas are- Til Pitha, Ghila Pitha, Xutuli Pitha, Sunga Pitha, Bhapotdiya Pitha, Lakhimi Pitha, Tora Pitha, Tekeli Pitha, Muthiya Pitha, Kholasapori Pitha etc.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />People’s views on Assamese food:<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />-----------------------------------------<br />According to Purobi Babbar , a prolific writer of cookery books and food columns for major publications<br />“The cooking practice in Assam is not to bhunao the food. And where rice and fish is the staple diet and green chilli paste the favourite spice. There is a separate monk cuisine in Upper Assam, there being several Vaishov monasteries here, and the cuisine has no onion and garlic. “It is diksha food. Upper Assamese people are like Thai people,” she said. “They are even known as Tais. Whereas Lower Assamese people are migrants from Burma. Their food is spiced by red chilli paste.”<br />Another revelation is that the Assamese vegetarian eats fish! “We get vegetarian fish in the Brahmaputra,” Purobi explained earnestly. “This is vegetarian fish, it feeds on plants, it has scales on its back and it has a small mouth.” The other variety of fish, of course, are non-vegetarian. And the Brahmaputra is overflowing with fish, there is variety, plus crabs and prawns.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Assamese five course meal described by a foreigner:<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />First course: Poita Bhat with Mitha Tel and Khorisa (Fermented rice with mustard oil and bamboo shoots).<br />This is Assamese comfort food. You take some cooked parboiled rice, cover it with water, and soak it overnight in a cool, dark place. The fridge actually works fine. This ferments it, and gives it an interesting sweet/sour flavor. Drain it, and the mix it with mustard oil and salt, and bamboo shoots to taste. Mustard oil is incredibly pungent, and this is definitely not for everyone. Serve the mixture with a hot green chili and raw salt on the side. Bite into the chili, eat a little salt, and then eat a little of the rice mixture. It's a very loud, very ethnic party in your mouth.<br /><br />Second course: Masor Mur with Bengana (Fish head curry with baby eggplant).<br />I actually have very little idea what spices went into this to make it so delicious. I know fish heads scare people, but they are delicious. Interesting texture, great flavor. I'm going to guess there was some onion/garlic (but just a little), salt, and sugar.<br /><br />Third course: Dayal Bhat and Xak Bhaji (Rice and lentils with a side of stir-fried greens).<br />The X is Xak should be pronounced like an incredibly soft H. I have no good idea how to transliterate this, but this is relatively standard. Dayal = the Assamese word for Dal. This was a nice, simple Dal, just some onions, cumin, cilantro, and turmeric. No cream, no butter. Light, and very flavorful. I'll post an approximate recipe soon.<br /><br />The stir fried greens are of note because the incredible variety of greens that one can obtain in Assam is just fantastic, and all have subtly different flavors. By cooking them very lightly, you can really appreciate these differences. I know the Assamese name for many of them, but not the English. Some example of the English ones I do know: Mustard greens, radish greens, collard greens, bok choy (ok, not English, but god knows, familiar to this audience), clover (!). Though, to be fair, clover usually goes into soups.<br /><br />Fourth course: Masor Tenga (Lemon-tomato soup with fish).<br />I could rhapsodize about Tenga Anja (literally, sour soup) for ever. It is the signature dish in Assamese cuisine, a delicately flavored broth with lemon, tomatoes, and cilantro, that comes in a thousand variations. It's also incredibly easy to make. I will post instructions soon.<br /><br />The beauty of it is that you can put almost anything in it. People put in potatoes to add body to the thin broth, or greens to add flavor. Squash or zucchini goes well to absorb flavor. Fried lentil dumplings are another traditional favorite (this variation is called bor diya tenga, bor = dumplings).<br /><br />But my absolute favorite is masor tenga (mas = fish). The heart of Assam is the Brahmaputra river, and the capital city, Guwahati, is right on the river. Thus, each morning, vendors come by house-to-house selling freshly caught river fish. This fish, cut into relatively small (2"x2") bone-in pieces, is lightly shallow-fried with salt and turmeric rubbed in before being immersed in the broth. The result is just incredible.<br /><br />Fifth course: Doyi Bhat with Gur and Kol (Yogurt rice with jaggery and banana).<br />yogurt and rice is eaten at the end of each meal.In south India it's eaten with a salty and spicy pickle of some sort, while here, in Assam, it's eaten with gur (basically, brown sugar in big chunks) and bananas, almost as a proto-dessert.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Descriptions from a foreigner:<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />An academic friend who frequents Guwahati never fails to point out how, and how quickly, food taboos have changed among the Assamese. However, like many of us who live on the edges of the culinary empire of butter chicken and sad versions of Chinese food, his enthusiasm wears thin when it comes to locating a restaurant in Guwahati that actually reflects these radical changes.<br />Paradise Restaurant in Chandmari is the most popular place to take visitors wanting a taste of Assam. Truth be told, though, it was always a bit embarrassing to explain the various bowls that would be placed before the guest, as the Paradise serves a very watered-down version of upper-caste food. Furthermore, one receives reactions along the lines of, “This is a lot like Bengali/Oriya/mild North Indian food.” Still, one did not give up on the restaurant. Perhaps its beer licence has had something to do with that.<br />An inquisitive eater needs to leave Guwahati to realise that there is hope for regional food. South of the Paradise on Highway 37, which links Assam to its gastronomic hinterland, a perfect example of the reassertion of regional identity can be found in a restaurant called GAM Delicacy. The décor here is distinctly Southeast Asian, though we call it northeastern. The waiters have all the confidence in the world as they serve up anja, or curry, of smoked pork and bamboo shoot; duck with black pepper and gourd; indigenous bao rice (at least it says so on the menu), and other food that is common in the kitchens of non-Brahmanical households in both the west and east of the Brahmaputra Valley and its adjoining hills.<br />The self-assurance with which all this is wheeled up on sturdy bamboo trolleys at the GAM Delicacy is reminiscent of the unmatched pride with which Chinese waiters serve their delicate dim-sums in the upmarket eateries of Hong Kong. There is a certain pride one feels in ordering food served with such elegant buoyancy. This is why the place is always full of people elbowing each other for a seat at the table, even though they might have cooked the same meal at home the night before.<br />It only gets better as one moves east on Highway 37. Barely an hour from Guwahati is Sonapur’s The Wild East (House of Ethnic and Indigenous Food). This is the place mobile people head for over the weekend, to have their share of pork and bamboo shoots, dried fish with chilly paste, and fried silkworm with clams (the last only served on Sundays).<br />My colleague would have a fit if I did not take this opportunity to mention a couple of other dining finds. The Bamboo Shoot, a Lotha Naga eatery on the Dimapur-Kohima highway in Nagaland, and the Rooftop Restaurant in Diphu in Assam’s Karbi Anglong District are two little places that ought to be institutionalised. The former serves pork in variations that would put Spanish connoisseurs to shame, while the latter does a mean version of chicken with sesame, Karbi style.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />A brief about Assamese food, eating culture from An Assamese :::<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Laopaani: (Rice Beer)<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Rice kept standing in water for a few days turns into beer. It is called lao-pani, or rice beer. In the days of the Ahom (the people who trekked from Southeast Asia and ruled Axam, or Assam, for 600 years), lao-pani was the staple drink and the Ahom had turned producing beer into a fine art. They added a variety of substances like pepper and different kinds of herbs like kapoudhekiya, patixondar, tongloti and jetulipoka to produce lao-panis with varying nuances of taste and colour. Lao-pani made of ripe jackfruits and varieties of banana called athiya kal and bheem kal was made at times. Lao-pani thus made was part of the daily diet. The Mishing, Bodo and other ethnicities have their own drinks indigenously manufactured, with nutritious values to boot. Thus, there are drinks like apong, and ju.<br /><br />An Ahom custom I'd heard but never managed to establish the veracity of, was that an Ahom baby is dipped in beer immediately after its birth. The nearest food to lao-pani is paita bhat. Paita bhat is soaked rice.<br /><br />Soaked rice tastes great, especially if mixed with onions and butar guri (powdered gram) or mahor guri (powdered lentils) with it. Some mustard oil and a pinch of salt – the combination of lon-tel – and it is a treat.<br />But paita bhat is not a regular feature. Mas-bhat is. Fresh river fish with rice. Though fresh river fish is really hard to come by these days, and quite expensive when you do get it, fish still remains central to the Axamiya diet. Rice, a big piece of fish and a little bit of tengar jol, the tangy gravy that gets its taste from the thekera tenga or, in its absence, from the tomatoes added to it, is all it takes to make a feast of the daily meal. A feast most Axamiya people, cannot do without.<br /><br />And then, there is khar. An Axamiya meal is supposed to start with khar and end with tenga.<br />'Khar khowa Axamiya ' is a common, supposedly derogatory way of addressing us Axamiya,<br />The khar most frequently used is kalakhar. It is made by drying the trunk of athiya kal and setting it on fire. The ashes are kept soaked in a coconut shell and the juice that flows out is kalakhar. Not only does it make a cooking ingredient but is also used as an Axamiya substitute for shampoo, with the difference that it is far more beneficial than the artificially manufactured shampoo. The kalakhar so extracted is then added to the vegetable, usually papaya and cucumber, when it is being cooked and the end result is a dish as tasty as it is healthful.<br /><br />So rice with khar or rice with fish or with both is almost a must. Some padina (mint) or dhaniya (coriander) chutney, a mixed vegetable or mashed potatoes, and dail (lentils) is what makes up the normal diet. While other dishes are being cooked, the potatoes, and sometimes even tomatoes and brinjals and fish are left to roast in the souka (earthen stove where wood is used as the fuel). When they are cooked, everything is mashed together and the pitika is ready. The dail we usually have can be moog, mah, mosur, or but. When the tangy ou-tenga is added to the mahar dail, it becomes a delight to have. The ou-tenga is a small vegetable.<br /><br />The Ahom added mahar dail, bora saul, eggs and other food materials to make a cement that held their huge monuments together for ages. They stand even today; obviously Axamiya people were never too draught ridden or flood driven to devour their ancient buildings.<br /><br />Meat, for assamese, is an occasional event. And then too, it is mostly goat meat or chicken. Pork and beef are restricted to certain peoples only. And then, there's pigeon meat – the tastiest of them all. Domesticated pigeon makes ready meat for guests who come by without intimation, especially in the villages.<br /><br />Venison, it seems, is even tastier than pigeon meat, but we never got to have it. Venison is considered quite a delicacy and I've heard stories of how, in the days when hunting wasn't forbidden, my uncles would go deer hunting in the nearby Orang sanctuary. Even if they regret those killing sprees now, it doesn't help much. Orang is in a sad state today.<br /><br />Till Sankardeb introduced the Ek Saran Nam Dharma, his brand of Vaishnavism in Axam, it seems there were no restrictions regarding food. One ate almost everything, as long as it wasn't poisonous – even crabs, bats and snakes, all kinds of lichens and ferns and mushrooms and cows and buffaloes and pigs and pigeons and what not. Most of the foodstuff, was first offered to the gods to appease them and then eaten by the people. This was especially true of the indigenous peoples Axam. When Vaishnavism came to Axam, and restrictions were imposed on peoples’ food habits, thanksfully some cults like the Ratikhowa retained these practices.<br /><br />But by and large, there are many restrictions, and one is not refined enough if one eats anything but the usual stuff. However, I have seen some daredevil guys, cousins and friends, having bats and snakes and wished I could too, if only to find out how they taste. After all, if my ancestors could have it all, why not me? I've had to be satisfied with cooking up stories for ignorant acquaintances in Delhi about how tasty snake meat and toad milk is – they lapped it all up. According to them, if we can have bamboo shoots, we can have anything. I only said, 'O lord, forgive them, they know not what they are missing'. For bamboo shoot, or khorisa as we call it, is just heaven. If you have not had raw, grated bamboo shoot mixed with salt and mustard oil, you do not know what taste is. If you have not had pork cooked in bamboo shoot, you might as well take to eating grass.<br /><br />Which reminds me, we Axamiya are also said to feed on anything and everything we can lay our hands on, including grass. But of course, it is far from true. We do not eat grass. We have almost everything else that is green and nutritious. Spinach, or paleng as we call it, may be Popeye's favourite green food. Mine is dhekia which is a kind of fern. It grows in abundance by the roadside in villages, so that you only have to go, pick it up and fry it; it tastes great. Then there is also bhedelata which smells icky and doesn't taste too great but is supposed to have a lot of medicinal value. No wonder I never liked to have it. Xak is what we call these green leaves that had so much nutritional value and were to be found everywhere. We can pick manimuni, padina, lai, lafa, nefafu and masandari from our garden. We make pakoras, or phularis as we called them, out of some. Xewali, or the night jasmine is not just a beautiful flower. Its leaves, bitter though they are, make tasty phularis. Dip the leaves in gram flour and fry them and you have mouth-watering phularis as we call them.<br /><br />Most of these herbs have very pungent tastes; they're either too sour or too bitter; we Axamiya have a penchant for strong tastes, while we are also the people who can be just as happy with bland, boiled mar-bhat and alu, that is, boiled rice and potatoes. We have the bitterest of leaves like nefafu and xewali and we have the tangiest of fruits like the rabab tenga (shaddock) and the Naga tenga – a very politically incorrect name, if I should say so. (For the Axamiya, anything intemperate used to be 'Naga' by virtue of the fact that the Naga were considered a hot-headed race.) But if you have a palate for them, the taste sticks to your tongue for a lifetime. Like they have to mine.<br /><br />Talking of sticky things reminds me of bora saul. I hated it till I got to know most varieties of lao-pani cannot be made without bora saul. And then, it has a sticky quality by virtue of which it formed an ingredient of the cement used by the Ahom builders. Because of this reason, bora saul was also the rice we used for making those delectable pithas – that typical Axamiya snack more common at Bihu-time. In this avatar, of course, bora saul becomes not just tolerable, but sheer heaven.<br /><br />There is no Bihu without pitha. Dry, ground rice powder is given a cylindrical shape with sesame or coconut fillings. And accordingly, tilar pitha or narikolar pitha is made. There are also other kinds of pithas – ghila pitha, kakalsinga pitha, sunga pitha, jonai pitha, bakul pitha and so on, named after their shapes and fillings.<br /><br />Sunga pitha was always my favourite. It is cooked by stuffing the bora saul, whether ground or whole, into bamboo cylinders, and placing the cylinder on fire. It can be had with gur (jaggery) alone, or with doi (curd) and gur. Doi can't taste any better than this, neither with sira (rice flakes) nor with komal saul, that typically Axamiya ready-to-eat rice; soak it in water and it's ready to eat. It is impossible to translate the taste of it into words. It can only be felt.<br /><br />And then, at the end of every meal, there is the endemic Axamiya addiction – tamol-pan. Tamol is areca and pan is betel leaf. Have them with a dash of sun (lime) and some dhapat (tobacco), and tamol-pan leaves a taste in your mouth that lingers for a long time. Like the lingering taste of a lover's kiss.<br /><br />In Assam, a traditional full course meal starts with serving Khar which is a class of dishes and ends with a tenga whcich is a sour dish. Just like food is served in a banana leaf traditionally in south India, a meal in Assam is served on a bell metal utensils. Almost everyone ends their meal by chewing on a betel nut known as Paan.<br />• Vegetarian Delights<br />• All major preparations are of rice. There are different varieties of rice which are used for different dishes, most widely used being joha, indica and japonica. Rice is eaten in different ways such as roasted, grounded, boiled or just soaked. The soaked rice called kumal saul is an important breakfast meal for many which is generally had with milk. Chira mixed with yogurt and jaggery is also a traditional breakfast. There is a special class of dishes called pithas, that are prepared only on special occasions and on festivals like Bihu. The rice dishes are had with curry that are made by boiling vegetables in water; some are grown while many grow in wild. The green leafy vegetables are called xaak.<br />• Non Vegetarian Special<br />• Non Vegetarian seems to be the specialty of Assam Cuisine. Fish dishes form the major part of non vegetarian food. There are different varieties of fishes that are used for cooking. The main are the rou, the illish, and the chital. Different regions are famous for different variety of fish. Tenga is the most important dish in traditional; Assam meal. Dishes of birds such as ducks and pigeons are also prepared. Though pork dishes seem to be the favorite among the young generation.<br />• Exotic And Side Dishes<br />• Sides dishes in Assamese are called Pitikas. They are generally made from steamed or roasted vegetables. The most popular among the people is aloo pitika (mashed potatoes). Exotic food caontains a dish called eri polu; it is the pupa of Eri silkworm and fermented bamboo shoot. Both are traditional dishes that have become famous in nearby states as well.<br />Assamese - Cooking and Food<br />Overview of Assamese Cuisine History<br />Assamese cuisine is an adventure on its own even though meat dishes are hard to find in it. With mostly fish and vegetarian dishes, it is still a delicious and convenient cuisine. Historically, Assamese cuisine has brought with it many traditional and simple dishes. Many of these have been known for a long time, and their methods of preparation have hardly changed. In order to cook them, there are simple techniques employed that were practiced many years ago. If you are keen to follow a good diet Assamese cuisine is certainly low on calorie content because fish and rice are the staple foods. Vegetables and lentils are very commonly used in main course meals in addition to fish, but never any chicken. Wide varieties of food including meat dishes may be included at times of celebration at banquets.<br />Through time, Assamese cuisine has focused on its limited use of spices, and quantities of salt and oil used. It is known Assamese cuisine tends to use a minimum of these in order to produce simple dishes that taste nice. With this practice, you can say that food loaded with spices and salt or for that matter is not really required in order for it taste great. This is in fact a great quality of this food.<br /><br />$$$$$$$$$$$$$$$$$<br />Preparation Methods for Assamese Cooking<br />$$$$$$$$$$$$$$$$$<br /><br />In order to have a good meal, you need to make sure that food is well prepared. Most cuisines require you to prepare meals extensively. However, in Assamese cuisine, there is little preparation. In fact, this cuisine is known for having the easiest and most convenient meals to cook. Marinating process is almost non-existent. At the most you would find some degree of seasoning. This is normally applied to fish prior to them being cooked.<br />Seasoning is a type of marinating process, as it the use of spices and salt. However, the process is not for long. At the most it would be around 15 minutes or so. This is because most seasoning is carried out at the time a meal is being cooked in Assamese cuisine. What they usually do is advise you on the seasoning process, and tell you to leave it aside until you heat up the oil and sort out other ingredients on the side. While you do that, the fish gets seasoned, and then when your oil is ready to fry the fish, you dip it in.<br />Soaking of rice and lentils is common, and there is even rice that you do not need to boil. You simply soak it and it is ready to consume straight away. This is a type of processed rice that is consumable without boiling.<br />Cooking methods and methods of preparation in are vital in order to influence the end result of a dish. Assamese cooking does not utilize meats like chicken, and fish is most commonly cooked in this cuisine. Lentils, pulses and vegetables are most commonly used too Assamese cuisine is simple, and does not contain too much oil or spices. Yet, it tastes great.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Special Equipment for Assamee Cooking<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />In Assamese cuisine there are so many utensils that are required in order to cook a meal properly, and these utensils are similar to other cuisine too. In order to cook dishes in Assamese cuisine, you need to know all the necessary steps. With the right kinds of utensils or equipment you can cook more conveniently and get just the right kind of taste. Since rice is an important component in almost every Assamese meal, you need to have at least one or two deep boiling vessels for boiling rice and other foods. Rice should only be boiled in one utensil in order for the taste of your rice to be the same. If you boil anything else in your boiling rice vessel, oily residue from curries for example will be left in the rice utensil. Remove oily residue during the course of you cooking is problematic, and even then sometimes, the taste still changes the next time you boil rice in it.<br />The same rule applies to boiling fish. If you boil other foods in a utensil in which you have boiled fish, the boiled substance would almost certainly have a fishy taste and odor to it.<br />You would also need boiling vessels for lentils and pulses. However, with these food substances, since using the same utensil for boiling these foods does not make much difference, you could have one common one.<br />In addition to these cooking vessels, you need pans for frying. This is because you will fry a lot of fish and other ingredients as well. Strainers stirring spoons are also important to use in Assamese cuisine. Also, a tawa is very important if you need to make chappati. Certainly, as observed above, there are several utensils and cooking equipment that you need when making Assamese cuisine.<br />Assamee Food Traditions and Festivals<br />Assamese cuisine is thought to be one of the healthiest cuisines. This is because of the fact that it is almost a vegetarian cuisine. Nearly all the foods ignore meats, and they are mostly made from lentils, pulses and vegetables. This surely makes interesting eating, as there a great number of people who survive with this cuisine, and also enjoy the unique and delicious taste of Assamese food.<br />Indeed, in Assamese cuisine, there are variations. Many main dishes consist of fish, rice, dal, curry, vegetables, salads, chutney and raita. Assamese food is not very oily or spicy.<br />One of the main dishes that is considered to be most traditional and would be present at festive occasions is the Assamese non-vegetarian thali. This includes: rice, fish, chicken, as well as dal, vegetables, khar, pitika, chutneys and payas.<br />Other special dishes in this Assamese cuisine include fish cooked inside plantain leaves, curries of duck and dove. In Assamese cuisine, meals are usually served in stainless steel utensils. However, traditionally, Assamese cuisine will be served in gunmetal utensils.<br />Another part of tradition in Assamese cuisine is that you eat with your hands. Forks and spoons are not used. You also need to sit on the floor on bamboo mats.<br />Traditional Assamese style of cooking and consuming food in this cuisine is an adventure in itself and a great treat to experiment.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />A BRIEF ABOUT ASSAMESE FOOD<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />The Assamese eat a huge variety of rice-based breakfast cereals with milk, yoghurt or thick cream akhoi (puffed rice), chira (chura), muri, komal chaul (a specially processed rice which doesn’t require cooking but just an hour’s soak in cold water) and hurum to name but a few. Normally jaggery or sugar is added but for those who prefer savoury items, salt can be added. Then there are the various kinds of pitha that are prepared from rice powder.<br /><br />Authentic Assamese cuisine is bland and yet very tasty. Very little oil is used and practically no spices. All Assamese people are non-vegetarian. Chicken is taboo in orthodox households and some may not eat meat. But it’s hard to find anyone who does not eat fish and duck’s eggs. Invariably mustard oil is used for cooking and occasionally clarified butter or ghee.<br /><br />Being a state of essentially rice-eating people, the day starts with snacks made of rice, the famous pitha, made of rice flour, that reminds one of idli. The pitha comes in more varieties than one cares to remember: pitha filled with coconut powder or having a simple coating of gur or the special one baked within a bamboo piece in an open fire.<br />A typical Assamese meal starts with a bowl of khar, made from any vegetable, vegetable waste or lentils to which khar has been added (although bicarbonate of soda is sometimes substituted). Raw papaya or matimah (urad dal) are the preferred bases for khar. A dish of boiled vegetables cooked in the ashes of a banana tree, a variety of cooking soda, followed by a dish of titaful, a bitter flower which is available in everyone's kitchen garden. Then comes a tangy curry, made of bamboo shoots, tomatoes or herbs available locally. After consuming the starters with spoonfuls of rice, it is time for dal, seasonal vegetables and fish curry to be followed by a dish of meat or poultry products. The dessert is normally rice kheer though the calorie-conscious people prefer instead to have a piece of beetle nut and paan.<br />The last course in a typical Assamese meal is tenga, made mostly with fish. It is a sour curry made with vegetables such as tomatoes, bottle gourd, ferns and greens and even potatoes to which something sour such as lemon juice or other local sour fruits are added. This again settles the stomach after a heavy meal. In between the khar and tenga are served the main courses, consisting of kharisa (made from bamboo shoots), the ubiquitous lentils, pitikas (mashed potatoes, brinjals, arum, yam, etc), meat (normally dove, partidge, duck or mutton) and chutneys such as kharoli and kahudi (both made from ground mustard power). Of course, there is the fish preparation, either in the form of a curry or more exotic variations, like roasting the fish over a charcoal fire, or cooked in the embers after being marinated and wrapped in banana leaves. Or roasted inside the hollow of a bamboo.<br /><br />Certain dishes are cooked on designated, special occasions like Magh Bihu and Bohag Bihu. There is a particular emphasis on food in Magh Bihu, which is celebrated all over the country as Lohri, Pongal or Poush Praban. The festival marks the completion of harvesting. Partaking of the newly harvested rice is a ritual in all rural and many urban households. The newly harvested rice has a lot of starch and as such is fairly sticky even after boiling and straining. The family along with close friends and relatives enjoys a meal of this rice with the usual Assamese preparations. On the eve of Magh Bihu, community feasts are held in the freshly harvested fields and bonfires are lit. The next day, considered the biggest Sankranti, is a complete vegetarian day for all Assamese. The women of the house prepare a variety of pithas. Sesame seeds, coconut and jaggery are liberally used in the preparation of pithas but there is very little frying and no seasoning whatsoever. Preparing til pitha requires a high degree of expertise. The rice powder used is from a very sticky paddy variety (bora), which is soaked in water and ground while wet. The roasted sesame seeds are ground and mixed with molten jaggery or salt and pepper. Ghila pitha is the only fried variety; the rest are either steamed or roasted. Yet these are delicious. People do not eat rice on the first day of Magh Bihu, instead consuming luchi-sabji-dal with chira, komal chaual, hurum, and sandah (roasted and powdered rice) with yoghurt or cream. The evening meal is also vegetarian. It is mandatory to eat sweet potatoes, fried yam and sesame on this day. A very special lunch called Maghi Pantha is eaten on the third day. The meal starts with poita bhat and tel kharoni. Potatoes and brinjals are cooked in the warm ash left over from burning logs or charcoal. These are mashed together after cleaning with a liberal helping of sesame seeds ground with garlic. Fish is roasted over a low fire, deboned and mashed with a paste of ground sesame and garlic. Slices of yam fried in mustard oil and fish curry cooked in ground sesame seeds are an added bonanza.<br />The final course is payas (kheer) made with jaggery, preferably jaggery obtained from date trees. The rice and milk proportions are quite exacting for a good payas and constant stirring throughout the cooking is a must. Then there is the ubiquitous tamul paan without which Assamese hospitality is incomplete. Tamul is basically betelnut but, unlike the rest of India, the Assamese people do not like it in the dried supari form. They have a very distinct method of maturing the ripe betelnuts. Lime and dhapat (tobacco leaves) are served with tamul paan for those who prefer it that way.<br /><br />Chaitra Sankranti, the first day of Bohag Bihu, is yet another vegetarian day for the Assamese people. The usual pithas are prepared but Bohag Bihu lays rather more emphasis on merrymaking than food.<br />Food is normally served in stainless steel utensils, but on specific request, can be served in traditional Assamese gun-metal utensils. Even the manner in which the plates are laid on the table gives an insight into the family hierarchy. Heavier plates made of bell metal spell respect and clout and are reserved for the elders while others get to eat in the normal steel plates. Bone china crockery is reserved for guests. Though outside influences have made an impact on eating customs, marking a shift from eating on bamboo mats to dining tables, the assamese have still clung to old food habits as well as eating on locally produced bell metal plates.<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Some Assamese Recipes<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />: Xoriohor Maasor Jhol (Fish Curry with Mustard)<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />Ingredients :<br /><br />1. Fish - 1 lb. cleaned catfish, cut to about 3/4 inch pieces.<br />(You can use carp, trout etc. also)<br />2. Half teaspoon turmeric, two green chillies, cumin+corriandar<br />powder 1 teaspoon, one chopped onion, 1 teaspoon mustard seeds,<br />corriandar leaves 1/2 bnch, 2 teaspoon yogurt, 2 cloves garlic,<br />pinch of ginger, 2 tbsp water, salt.<br />3. 1 tbsp cooking oil.<br /><br />Preparation:<br /><br />Mix the ingredients (2) together into a fine paste.<br />Marinate the fish pieces in this paste for about 30 min.<br />Heat 1 tbsp oil in a skillet or large pan.<br />Fry the marinated fish pieces for about 5 min.<br />Add the rest of the paste and cook for another 20 min.<br /><br />Serve over rice. You can add tomatoes to add volume<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Thekera Dia Maasor Tenga (Sour Fish Curry with 'Thekeraa')<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />Ingredients :<br /><br />1. Fish - 1 cleaned catfish, cut to about 3/4 inch pieces.<br />(I use catfish. It is supposed to of the 'Maagur" family.<br />Other fishes should be ok. Even very small fishes)<br />2. Half teaspoon turmeric<br />3. Few green chilies - depending on the strength of the chilli.<br />cut to small pieces<br />4. "PansPhoran" - about one teaspoon of the mixture of fenugreek<br />seeds, black "jeera", fennel seed.<br />5. Oil - Anything goes, but for authencity use mustard oil!<br />6. Salt<br />7. The most important thing - Thekera ( I don't know what it is<br />called in English. It seems to be an Assamese speciality. Even my<br />Bengali friends don't know about it). Of course you can always use<br />lime juice or tomato to give the sourness. But I am picky about my<br />"Thekeraa diaa Maasar Tenga" :-)<br /><br />Preparation:<br /><br />1. Put the "thekera" in a cup of water. Generally one piece of<br />"Thekera" is good for one cup of water. So depending on how much<br />gravy you want, use that many pieces. Keep for about 1/2 hour.<br />2. Mix the turmeric and salt with the fish. If you are using chilli<br />powder instead of green chilli, you can mix it too.<br />3. Fry the fish in oil lightly. Remove from pan. If the fish breaks a<br />little, don't worry, it will add to the gravy<br />4. In the same pan, heat some more oil and put the "PansPhoran"<br />mixture. Put green chillies. When fried, put the cup of water with<br />"Thekera"<br />5. Add extra cups of water (depending on the number of "thekera" used)<br />6. When the mixture comes to boil, add fried fish and reduce flame<br />7. Let it simmer for some time (10-15 minutes). Let the juice of "Thekera"<br />get cooked.<br />8. Serve with white rice.<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Recipe : Masor Jhol (Conventional Fish Curry)<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />Ingredients:<br /><br />1. Fish - 1 lb. cleaned catfish, cut to about 3/4 inch pieces.<br />2. Half tsp turmeric, cumin+corriandar powder 1 tsp, salt<br />3. Two green chillies, chopped, 1 chopped onion, minced garlic+ginger<br />4. 1/4 tsp cumin seeds, 1/2 tsp mustard seeds, chopped green corriander<br />5. Two tomatoes, sliced.<br /><br />Preparation:<br /><br />Coat the fish pieces with the spices in (1).<br />In a skillet or wide pan heat 1 tbsp oil and fry the fish pieces for<br />about 2 min. on each side. Remove and drain.<br />In the remaining oil, saute cumin+mustard seeds, garlic+ginger and onion,<br />added in that order. Now add sliced tomatoes. Cook for 5 min.<br />Add the fish pieces and simmer for about 10 min.<br /><br />Goes well over rice.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Recipe: Kamrupi Biriyani and Vegetable Fry<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />Ingredients:<br /><br />Rice 3 cups (for 6) long grain, non-stick<br />Green peas (for 6) 100-200 grams<br />Yellow turmeric powder 1/2 t.<br />Green cardamon 6-8 whole cashews 20<br />Black cardamon 4 garlic 2 whole flower<br />Whole cloves 10-15 ginger 4 inch piece<br />Chicken 4 breasts green coriander 1 bunch<br />Oil vegetable cooking only one onion (big)<br />Eggplant 5 small broccoli 1 small head<br />Potato 4 parboiled onion 1 Large, sliced lengthwise<br /><br />Oil vegetable cooking only<br /><br />1. Cook the rice in two portions:<br />(a) 3/4 as plain white rice;<br />- add a little oil (1-2 t. oil)<br />- add the green (4) and black (2) cardanoms<br />(smash green and black cardanoms)<br />- add whole cashews (make two pieces each)<br />- add water as appropriate, then flame on<br />- take the cooked rice off to a plate<br /><br />(b) 1/4 as yellow rice;<br />- add a little oil (1 t. oil)<br />- add 4 whole cloves<br />- add water as appropriate<br />- add the 1/4 t. yellow turmeric<br />- take the cooked rice off to a plate<br /><br />After the rice is done, mix the two types (a) & (b) together<br />and divide into two portions (1/4 and 3/4). Put aside.<br /><br />2. Preparation of ingredients:<br />(c) take the bunch of green coriander;<br />- cut into half lengthwise<br />- one half from root cut into one inch pieces (c)1<br />- other half cut into one and a half pieces (c)2<br />- do not mix (c)1 and (c)2<br /><br />(d) take the ginger;<br />- use a mortar and pestal to mash<br />(cut into tiny pieces is other option)<br /><br />(e) take the garlic;<br />- use a mortar and pestal to mash<br />(cut into tiny pieces is other option)<br /><br />(f) smash green (4) and black (2) cardamom together<br /><br />Do not mix (d) and (e), and do not mix (f) with (d) (e)<br /><br />(g) cut the onion into long size<br /><br />3. Preparation of Peas:<br />(h) fry 100-200 grams peas in little oil<br />- no ingredients needed<br /><br />4. Preparation of Vegetable:<br />(j) eggplant and small head broccoli;<br />- cut lengthwise bite size (will be show how)<br />- cut eggplant into bite size (will be show)<br /><br />(k) choose medium size potato;<br />- wash and cut into bite size (lengthwise), boil<br />and peal the skin (or peal before boil)<br /><br />Put oil in a frying pan (little more), warm up the oil, put onion,<br />put five whole cloves, put half (c)1, put 1/4 of (d) 1/2 of (e)<br />1/2 of (f) fry for a while, (will be shown). Now put (j) stir<br />and cover until done.<br /><br />Take (j) off from the frying pan and fry (k) in the same oil.<br />If oil is not enough, put a little as needed. After (k) is<br />fried and done add (j) and stir carefully. Cover for a minute<br />or so in a low flame. Then the fry is ready to serve.<br /><br />5. Preparation of Kamrupi Biriyani:<br />(l) choose skin chicken;<br />- burn the skin (light) over flame (important)<br />- now cut the chicken into 2 inch pieces<br />- take half of (d) half of (e) and half of (f) to<br />coat (or mix) the chicken<br />- put oil in a frying pan (large) and warm up<br />- put 1/4 onion and half of (c)1 on oil and fry<br />until reddish-yellow<br />- put coated chicken, put five whole cloves, fry accordingly<br />(need to cover to cook well) at relatively low flame<br />(important) add salt accordingly before covering<br />- chicken is about to done, just before 2-3 minutes or so,<br />add 1/4 of (d), half of (c)2, and fried peas<br />- low flame and put 3/4 rice on chicken and mix<br />- cover for a while (this is Kamrupi biriyani, ready to serve<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Egg Shoap<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />2 medium Potatoe boiled and peeled<br />2 Eggs boiled and peeled<br />1 onions finely chopped<br />1 chopped green chillies<br />1 tsp. coriander powder<br />1/2 tsp cumin powder<br />1/4 tsp. turmeric<br />salt to taste<br />bread crumbs and egg<br />oil for frying<br /><br />Mash potatoes with the eggs.<br />In a pan heat some oil and fry chopped onions along with green chillies. Fry till golden brown. Add salt,coriander, cumin and turmeric.<br />Add the fried onions to mashed eggs and potato mixture.<br />Make small balls of the egg-potato mixture.<br />Break the unboiled egg in a bowl.<br />Coat the balls first with the egg and then with the bread crumbs.In a wok or Kadhai heat some oil and fry the balls till golden brown and serve hot with tea or as any apetizer<br />Pumpkin Oambal Serves: 4<br />Ingredients:<br />1 lb./500 gms pumpkin, boiled and mashed<br />½ cup dilute tamarind water<br />½ cup grated Jaggery, dissoved<br />1 bay leaf<br />1 tsp mustard seeds<br />1 tsp lime juice<br />1 tsp raisins<br />1 cup water<br />2 dry red chillies, slit<br />1 tsp mustard oil<br />salt to taste<br /><br />Add the tamarind water to the pumpkin and mix well.<br />Heat the oil add mustard seeds and fry till thay start sizzling, then add chillies and bay leaf. Stir for a minute, add the raisins and stir for another minute.<br />Add the pumpkin-tamarind mixture and stir-fry for a couple of<br />minutes.<br />Stir in the jaggery mixture and bring to the boil. Allow to simmer<br />for a couple of minutes and remove from heat. Add the lime juice and stir well.<br />Remove the bay leaf before serving.<br />Tomato Oambal or Chutney Serves: 4<br />Ingredients:<br />1 lb./500 gms plump ripe tomatoes diced<br />½ cup grated Jaggery, dissoved<br />1 bay leaf<br />1 tsp mustard seeds<br />1 tsp lime juice<br />1 tsp raisins<br />1 cup water<br />2 dry red chillies, slit<br />1 tsp mustard oil<br />salt to taste<br /><br />Heat the oil add mustard seeds and fry till thay start sizzling, then add chillies and bay leaf. Stir for a minute, add the raisins and stir for another minute.<br />Add the tomatoes and simmer till tomatoes change color.<br />Stir in the jaggery mixture and bring to the boil. Allow to simmer<br />for a couple of minutes or till the dish is thick with a rich color. Add the lime juice and stir well.<br />Remove the bay leaf before serving<br />Cabbage Kofta Curry<br />For the Kofta:<br />1 small cabbage, shredded finely<br />2 small onions , minced finely<br />Salt to taste<br />1 tsp Garam Masala powder<br />1 tsp Chilli powder<br />1 cup Besan<br />For the Curry<br />Ingredients:<br />1 large onion, sliced finely<br />2 cloves<br />1 cinamon stick<br />1-2 cardammom pods<br />1 medium onion<br />5 garlic clovettes<br />1 small piece ginger<br />1 tsp jeera<br />1 tsp Coriander seeds<br />1 tsp poppy seeds<br />1 tsp cashewnuts<br />4-5 green chillies<br />1 medium tomato<br />1/2 cup chopped coriander leaves<br />1/2 tablespoon yogurt<br /><br />Mix all the kofta ingredients together and make a batter. Pour small round lumps of the batter in hot oil, deep fry and set aside.<br /><br />Heat oil in a pan and fry the sliced onion till it turns translucent. Now add the masala paste.<br />Fry till the oil starts separated from the onions.<br /><br />Add 1 tablespoon of yogurt and mix well.<br />Add salt and enough water to make a think gravy and bring the mixture to a simmer.<br />Add the deep fried koftas and heat through.<br />Serve hot with chapatis or rice.<br /><br />WHEN you open the outer layering of a cooked banana leave, a strong aroma assails your nostrils and your mouth waters even before you have glanced at the contents: tiny fishes liberally coated with mustard and onion paste decorated with chillies.<br /><br />And why not, considering that this dish evokes flavours and smells typical of the exotic land of Assam where eating means much more than just indulging your stomach. Food is sacred and eating is almost a ritual but the cooking process is fuss-free and in sync with nature, a trait that reflects the simple lifestyle of the inhabitants.<br />Being a state of essentially rice-eating people, the day starts with snacks made of rice, the famous pitha, made of rice flour, that reminds one of idli. The pitha comes in more varieties than one cares to remember: pitha filled with coconut powder or having a simple coating of gur or the special one baked within a bamboo piece in an open fire.<br />A typical Assamese meal starts with a bowl of khar, a dish of boiled vegetables cooked in the ashes of a banana tree, a variety of cooking soda, followed by a dish of titaful, a bitter flower which is available in everyone's kitchen garden. Then comes a tangy curry, made of bamboo shoots, tomatoes or herbs available locally. After consuming the starters with spoonfuls of rice, it is time for dal, seasonal vegetables and fish curry to be followed by a dish of meat or poultry products. The dessert is normally rice kheer though the calorie-conscious people prefer instead to have a piece of beetle nut and paan.<br /><br />But there is not much reason to worry about the calorie count because one typical complete Assamese dish contains just about 350- 400 calories. This is generally due to less use of spice or oil. So wedded to health are the people of Assam that after trying out the much-publicised refined cooking oils for while, they have chosen to revert to good old mustard oil because of its curative properties.<br />It is not just the dishes that are exotic but even the way food is consumed that is of interest. The traditional way to have food is to sit on a floor with hand-woven bamboo mats. Eating with hands is not thought to be bad table manners. Getting your hands dirty is not a deterrent because there is always someone ready with a jug of water and huge bowl to make you wash your hands before and after a meal.<br />Even the manner in which the plates are laid on the table gives an insight into the family hierarchy. Heavier plates made of bell metal spell respect and clout and are reserved for the elders while others get to eat in the normal steel plates. Bone china crockery is reserved for guests. Though outside influences have made an impact on eating customs, marking a shift from eating on bamboo mats to dining tables, the assamese have still clung to old food habits as well as eating on locally produced bell metal plates.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Spinach khar<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Serves 4<br />Ingredients<br />Spinach 150gm.<br />Cooked rice 50 gm<br />Soda bicarbonate 1/4 tsp<br />Salt to taste<br />Mustard oil 2 tbsp<br />Ginger 10 gm<br />Fenugreek seeds 1/4tbsp<br />Water 500 ml.<br />Method: Chop the spinach after thoroughly washing it. Chop the ginger. Pour the oil in pan, put the methi and once it is cooked add the chopped spinach, soda, rice and fry a little. Pour the water and add the chopped ginger as a finishing touch.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Roasted fish<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />Fish is a staple part of the Assamese cuisine<br />Serves 4<br />Ingredients:<br />Fish 250 gm<br />Mustard seeds 2 tbsp<br />Onion 25 gm<br />Green chillis 2<br />Mustard oil 4 tbsp<br />Salt to taste<br />Method: Wash the pieces of the fish. Chop onion, chillis and grind the mustard seeds to a fine paste. Add all the ingredients along with salt and oil. Now coat the fish pieces with the paste, wrap it in banana leaf and put it on an open fire. Garnish with coriander leaves.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Rohu fish in curd<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Serves 4<br />Ingredients:<br />Rohu fish 250 gm<br />Curd 1 cup<br />Jeera 2 tbsp<br />Salt to taste<br />Turmeric powder 1 tsp<br />Mustard oil 100 ml<br />Dry red chillis 4<br />Capsicum 75 gm<br />Onion 100 gm<br />Sugar 1 tsp<br />Water 2 cups<br />Elaichi, dalchini 1 tsp<br />Method: Wash the fish pieces and coat with turmeric and salt. Make a paste of jeera and dry chillis. Put oil in a pan and fry the fish. Put the spices, turmeric, chopped capsicum, salt and sugar into the remaining hot oil. Stir the ingredients for a while and then pour the curd into it. Let it cook for a while and then pour water. When it comes to a boil add the fried fish. Top with elaichi and dalchini paste.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />Paror Jhol (Wood pigeons Curry)<br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br />Among some of the best and unique recipes in Assamese cuisine is Paror Jhol (Wood pigeons Curry). This is something totally different in Indian cuisines because it is quite unusual to cook pigeons for cooking. Below are the ingredients and instructions for making Paror Jhol.<br />The method for cooking Paror Jhol is as follows:<br />First, you need to cut the pigeons into small pieces. Next, rub jeera, haldi and salt. While this stands aside, start heating the oil, and then add in the tejpat, garam masala, and onions. Fry them all until they dry up and start getting sticky. Next, put in jeera and jaluk. Fry this up for an additional 3 minutes or so. Once this is done add in the chopped pigeons. Keep frying gently and add in the required amount of salt to taste. Next, add in some water for the mixture to boil. Once this is cooked, garnish the dish with hot ghee, which is of course optional.<br />Assamese cuisine truly has delights such as Paror Jhol, which are both unique and tasty<br /><br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br />A few links to Assamese Cuisine<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /></div><br /><ul type="disc"><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://en.wikipedia.org/wiki/Cuisine_of_Assam" target="_blank">Assamese Cuisine - Wikipedia </a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.scrumptulescence.com/2007/04/grandmas-cooking.html" target="_blank">Grandma's Cooking</a> <o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://sunitabhuyan.blogspot.com/2007/05/potato-with-curry-leaves.html" target="_blank">Assamese Cooking - Sunita's world</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.assam.org/mod.php?mod=recipe&menu=20&PHPSESSID=82c15f63d22ada37fc0a497c6ddb9597" target="_blank">Assam.org - Recipe Database</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://food.sify.com/fullstory.php?id=14447740" target="_blank">Assamese Receipes in Bawarshi.com</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://abc-forum.org/default.asp?id=25&mnu=25" target="_blank">Assamese Receipes - Axomia Vyanjon</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.assam.faithweb.com/cgi-bin/framed/2736/recipe/index.html" target="_blank">Assamese receipes from Faithweb</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.indianfoodsco.com/RecipesRegionalIndian/AssamRecipes.htm" target="_blank">Indian Food Co's Assamese Receipes</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.xs4all.nl/%7Eabhulai/food/assamese.html" target="_blank">Four receipes from Assam</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.goindiago.com/cuisine/assamese.htm" target="_blank">Few more receipes from Assam</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.fiery-foods.com/dave/profile_jolokia.asp" target="_blank">Super Hot Assam Curry Paste</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://anthonyskitchen.blogspot.com/2006/01/daal-with-fish-head.html" target="_blank">The bachelors cooking blog - Daal with fish head</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.fiery-foods.com/dave/profile_jolokia.asp" target="_blank">Where eating is more than filling the stomach</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.youtube.com/watch?v=wYuMIMeutSA" target="_blank">YouTube and Tilpitha</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="margin-bottom: 12pt; line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://www.youtube.com/watch?v=_5HispzzqZw&mode=related&search=" target="_blank">YouTube and Sunga Pitha (Bamboo Cake)</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://indianfood.indianetzone.com/1/glossary_food_items.htm#Almond" target="_blank">Glossary of Food - also in Assamese</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://cookbookwiki.com/Assamee_Cuisine">http://cookbookwiki.com/Assamee_Cuisine</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><a href="http://enjoyindianfood.blogspot.com/search/label/Assamese%20Cuisine">http://enjoyindianfood.blogspot.com/search/label/Assamese%20Cuisine</a><o:p></o:p></span></li><br /><br /><li class="MsoNormal" style="line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" ><span style="font-size:0;"></span><a href="http://guwahatitoday.com/assam_food/xoriohor.html">http://guwahatitoday.com/assam_food/xoriohor.html</a><o:p></o:p></span></li></ul><br /><div><br /></div><br /><p class="MsoNormal" style="margin-left: 0.5in; line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" >best links:<o:p></o:p></span></p><br /><div><br /></div><br /><p class="MsoNormal" style="margin-left: 0.5in; line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" >•<span style="font-size:0;"> </span><a href="http://cookbookwiki.com/Assamee_Cuisine">http://cookbookwiki.com/Assamee_Cuisine</a><o:p></o:p></span></p><br /><div><br /></div><br /><p class="MsoNormal" style="margin-left: 0.5in; line-height: normal;"><span style=";font-family:'Times New Roman','serif';font-size:12;" >•<span style="font-size:0;"> </span><a href="http://cookbookwiki.com/Category:Assamee_Recipes">http://cookbookwiki.com/Category:Assamee_Recipes</a></span></p><br /><p class="MsoNormal" style="margin-left: 0.5in; line-height: normal;"><br /></p>Special Note: :I would like to thank Sunita Ba and Labhita Bou for having an exclusive Assamese cuisine related blog each to let others know about the cuisines and delicacies of Assam.I have taken some photographs from their Blogs to showcase the Assamese cuisines as very less amount of photographs are available. For any foreigner these blogs are very informative about Assamese cuisine with beautifully taken photographs and easily comprehensible and well written menus.<br /><br />Sunita Ba's Blog : http://sunitabhuyan.blogspot.com<br />Labhita Bou's Blog: http://aakholghor.blogspot.comMofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com2tag:blogger.com,1999:blog-7823291760828692160.post-85816087343653985202008-02-12T04:52:00.001-08:002014-11-02T01:42:46.410-08:00About the Assamese Culture<a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R9qSkC2QUKI/AAAAAAAACz8/BWkQJoLPIjA/s1600-h/Tamulpanor_Xorai_Assam.bmp"><img alt="" border="0" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R9qSkC2QUKI/AAAAAAAACz8/BWkQJoLPIjA/s400/Tamulpanor_Xorai_Assam.bmp" id="BLOGGER_PHOTO_ID_5177611869553184930" style="cursor: pointer; display: block; margin: 0px auto 10px; text-align: center;" /></a>----------------Tamul paan in Xorai -- symbols of respect-------------------------<br />
<a href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R7GWzeo3ReI/AAAAAAAACjQ/si5UbYDrtdI/s1600-h/SORAI.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R7GWzeo3ReI/AAAAAAAACjQ/si5UbYDrtdI/s400/SORAI.JPG" id="BLOGGER_PHOTO_ID_5166076058712622562" style="cursor: pointer; display: block; margin: 0px auto 10px; text-align: center;" /></a> Xorai --made of Bell metal<br />
<a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R7GWzuo3RfI/AAAAAAAACjY/LhbqGYLoPzk/s1600-h/GAMOSA.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R7GWzuo3RfI/AAAAAAAACjY/LhbqGYLoPzk/s400/GAMOSA.JPG" id="BLOGGER_PHOTO_ID_5166076063007589874" style="cursor: pointer; display: block; margin: 0px auto 10px; text-align: center;" /></a> Gamosa-- handwoven towel<br />
<br />
<a href="http://2.bp.blogspot.com/_BgaBKdo7qZo/R7GWz-o3RgI/AAAAAAAACjg/O9ot_e3vJH0/s1600-h/JAPI.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://2.bp.blogspot.com/_BgaBKdo7qZo/R7GWz-o3RgI/AAAAAAAACjg/O9ot_e3vJH0/s400/JAPI.JPG" id="BLOGGER_PHOTO_ID_5166076067302557186" style="cursor: pointer; display: block; margin: 0px auto 10px; text-align: center;" /></a> Jaapi--the headgear made of bamboo/Cane<br />
<a href="http://1.bp.blogspot.com/_BgaBKdo7qZo/SBL249adqoI/AAAAAAAADT0/A0mCIAzhmOU/s1600-h/assam+logo.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/SBL249adqoI/AAAAAAAADT0/A0mCIAzhmOU/s400/assam+logo.jpg" id="BLOGGER_PHOTO_ID_5193484778730269314" style="cursor: pointer; display: block; margin: 0px auto 10px; text-align: center;" /></a>.................................... Gamusa with Jaapi...............................<br />
<span style="font-size: 100%;"><a href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R7GW0Oo3RhI/AAAAAAAACjo/IcNVuI1ek0g/s1600-h/MEKHALA.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R7GW0Oo3RhI/AAAAAAAACjo/IcNVuI1ek0g/s400/MEKHALA.JPG" id="BLOGGER_PHOTO_ID_5166076071597524498" style="cursor: pointer; display: block; margin: 0px auto 10px; text-align: center;" /></a><br /> Assamese lady wearing traditional Mekhala Chador<br /><br />$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />Assam can be termed as the mixing pot where culture, heritage, tradition, lifestyle, faith and belief of her Aryan & Non-Aryan, numerous tribes & sub-tribes, Mongoloids & Australoids, drawn from various hives at different points of time have gone into form the Assamese culture - a fascinating and exotic recipe of delightful flavour. The culture of Assam is a rich tapestry infused with multicoloured yarns of distinguished heritage of all the races that populate her.<br /><br />$$$$$$$$$$$$$$$$$$$$$$$<br />The People of Assam<br />$$$$$$$$$$$$$$$$$$$$$$$<br /><br /><br />The people of Assam are in fact the result of fusion of people from different racial stocks who migrated to Assam down the ages. The Assamese population can be divided into two broad groups :<br /><br />the non-tribal people who constitute the majority and the tribals.<br /><br />The Australoids were the first to come to the land; the Mongoloids, came here in a series of migrations from the north, north-east and south-east; and the Caucasoids who came from the west by the valley formed by the Ganges and the Brahmaputra.<br /><br />Today, the people of the State can be broadly identified and classified as the Non-Tribals or Plains People. The people of the plains generally live in the plains and the Tribals mainly live in the hills. Though, Assam has a valuable tribal population in the plains too.<br /><br />The state is peopled by a large number of tribal groups; major among them being the Boro-Kacharis, the Deori, the Misings, the Dimassas, the Karbis, the Lalungs, the Rabhas etc. Ahkhomiya or Assamese is the language of Assam. Assam has a reputation for warm hospitality. People of Assam are homely, charming and openhearted.<br /><br />Bihu, the agricultural festival of Assam is celebrated by all Assamese, irrespective of caste, creed or religion. Bihu, Assam's very own festival come off at various stages of cultivation of paddy, the principal crop of Assam. There are three Bihus that come off at various stages of cultivation of paddy, the principal crop of Assam. They are<br /><br />Magh (Magha) Bihu (During Jan 13th - Jan 15th)<br /><br />Bohag (Baisakh) Bihu, (During April 13th - April 15th)<br /><br />Kati (Kartika) Bihu (Near Diwali)<br /><br />The Bohaag Bihu marks the New Year at the advent of seeding time, the Kaati Bihu marks the completion of sowing and transplanting of paddies, and the Maagh Bihu marks the end of the harvesting period. Bohaag Bihu is also called the Rongaali Bihu or the Festival of Merriment, Maagh Bihu is also called Bhogaali Bihu or the Festival of Food, Kaati Bihu is also called Kongaali Bihu or the Festival of the Poor.<br /><br />Of the three Bihu festivals which are secular and non-religious, the Bohaag Bihu ushers in the period of greatest enjoyment and marks the arrival of Spring. The folk songs associated with the Bohaag Bihu are called Bihugeets or Bihu songs. The Bohaag Bihu lasts for several days during which "the young people in the vilalge may be seen moving about in groups gaily dressed or forming circles in the midst of which the prettiest girls dance" .singing songs of love and romance. Such gatherings are called Mukoli Bihus (Open Bihus). The songs are very popular among all sections of the people.<br /><br />Most of the festivals celebrated in Assam have their root in the varied faith and belief of its people. Diwali, Holi, Durga Puja, Swaraswati Puja, Lakshmi Puja, Kalipuja, Shivaratri are some of the major festivals celebrated by the Hindus of Assam. Those of Islamic faith celebrate Idd and Muharram. Similarly, Christians celebrate Christmas.<br /><br />Besides the religious and national festivals observed throughout the Country, Assam has a large number of colourful festivals of its own replete with fun, music and dances.<br /><br />In addition to all this, the tribals of Assam have their own colourful festivals like :<br /><br />The Kherai Puja of the Bodos<br /><br />The Baikhu and Pharkantis of the Rabhas<br /><br />Ali-ai-ligang and Prag by the Missing tribe<br /><br />The Sagra-misawa wansawa and laghun by the Tiwas.<br /><br />The Ahomes of Tai origin celebrate Me-Dem-Mehfi.<br /><br />The Ojapali dances of Non-Vaishnavite origin are usually associated with Manasa - the Serpent Goddess.<br /><br />Bathow festival is celebrated by the kacharis through sacrifice of goates and chickens.<br /><br />Assam Art & Crafts- The Boros of the plains in general have an intricate pattern of indigenous dances associated with the primitive rituals like the Kherai Puja.<br /><br />The Dimasas celebrate Rangi Gobr and Harni gobra at the start of the cropping cycle.<br /><br />The Deoris observe Bohagiya visu- the Spring time festival.<br /><br />Ambubasi Mela is held during monsoon at the famous Kamakhya Temple.<br /><br />Jonbeel Mela is held every year during winter at Jonbeel. The festival is celebrated by the tribes like Tiwa, Karbi, Khasi, Jaintia etc.<br /><br />From time immemorial, the people of Assam have traditionally been craftsmen. The magic of art of Assamese craftsmen is a common passion inspiring the deep senses with its’ age old simplicity and sophistication. Though, Assam is renown for its exquisite silks, bamboo and cane products, several other crafts are also made here. The colourful Assamese Japi (headgear), terracotta of Gauripur and various decorative items bear witness to the craftsmanship of this land. Assam Handloom is indeed noteworthy offering a mosaic of colours and contours with pleasing motifs and designs. The Eri, Muga (Assamese silk dresses) and typical tribal attires are a treat to the eyes of the beholder. Dance, music, woodwork, pottery, sitalpati or the art of mat making have survived through centuries with fewer changes since it remained an integral part of the locals.<br /><br />Assam has a rich cultural tradition, which finds detail in several arts and crafts form of Assam. The natural beauty of Assam, is said to be reflected, in them.<br /><br />Cultural Symbols<br /><br />$$$$$$$$$$$$$$$$$$$<br />1) Xorai –<br />$$$$$$$$$$$$$$$$$$$<br /><br /><br />The Xorai is a traditional symbol of Assam. In simplistic terms it is an offering tray with a stand at the bottom. There are Xorais with or without a cover on the top.<br /><br />Tradional xorais are made of bell metal although nowadays they can also be made from brass and/or silver. Hajo and Sarthebari (Xorthebaary) are the most important centres of traditional bell-metal and brass crafts including xorais.<br /><br />Usage<br /><br />* As an offering tray for tamul-pan (betel nuts and betel leaves) to guests as a sign of welcome and thanks.<br /><br />* As an offering tray for food and other items placed in front of the altar (naamghar) for blessing by the Lord.<br /><br />* As a decorative symbol in traditional functions such as during Bihu dances (modern usage)<br /><br />* As a gift to a person of honour during felicitations (modern usage)<br /><br />$$$$$$$$$$$$$$$$$$$<br />2) Gamosa<br />$$$$$$$$$$$$$$$$$$$<br /><br /><br />The Gamosa is an article of great significance for the people of Assam.<br /><br />It is generally a white rectangular piece of cloth with primarily a red border on three sides and red woven motifs on the fourth (in addition to red, other colors are also used). Although cotton yarn is the most common material for making/weaving gamosas, there are special occiasion ones made from Pat silk.<br /><br />Usage:<br /><br />Though it may be used daily to wipe the body after a bath (an act of purification), the use is not restricted to this.<br /><br />It is used to cover the altar at the prayer hall or cover the scriptures. An object of reverence is never placed on the bare ground, but always on a gamosa.<br /><br />It is used by the farmer as a waistcloth (tongali) or a loincloth (suriya); a Bihu dancer wraps it around the head with a fluffy knot (see picture).<br /><br />It is hung around the neck at the prayer hall (naamghar) and was thrown over the shoulder in the past to signify social status.<br /><br />Guests are welcomed with the offering of a gamosa and tamul (betel nut) and elders are offered gamosas ((referred to as bihuwaan in this case) during Bihu)<br /><br />$$$$$$$$$$$$$$$$$$$<br />3)Jaapi:<br />$$$$$$$$$$$$$$$$$$$<br /><br /><br />A Jaapi is a traditional Assamese hat.<br /><br />A typical regular use Jaapi is made out of tightly woven bamboo and/or cane. Decorative jaapis were worn by people of high station in the past. Today decorative jaapis are made with intricate designs made out of cloth (primarily red, white, green, blue and black) that is integrated with the weaving of the jaapi. There is also a typical red border around the edges.<br /><br />Usage<br /><br />* Worn over the head as a protection against the elements (sun and rain)<br /><br />* Offered as a sign of respect in felicitation ceremonies<br /><br />* Placed as decorative items in and around the house (especially near the front door as a welcome sign)<br /><br />* A symbol representing Assam<br /><br />$$$$$$$$$$$$$$$$$$$<br />4)Mekhela Chador:<br />$$$$$$$$$$$$$$$$$$$<br /><br /><br />Mekhela chador is the traditional Assamese dress worn by women.<br /><br />There are two main pieces of cloth that are draped around the body. The bottom portion, draped from the waist downwards is called the mekhela. It is in the form of a very wide cylinder that is folded into pleats to fit around the waist and tucked in. The top portion if a long length of cloth that has one end tucked into the upper portion of the Mekhela and the rest draped over and around the rest of the body. Invariably there is a blouse that is worn underneath the top half of the body.<br /><br />$$$$$$$$$$$$$$$$$$$<br />5)Tamul paan<br />$$$$$$$$$$$$$$$$$$$<br /><br /><br />– Betel nut & a leaf given by Assamese on ceremonial occasions, to beg blessings or pardon from elder men in community in Xorais<br /><br />$$$$$$$$$$$$$$$$$$$<br />6) Naamghars:<br />$$$$$$$$$$$$$$$$$$$<br /><br /><br />Naamghars are places of worship as well as centre for community get togethers and cultural festivals like Bhaonas (Plays depicting tales from Ramayana and Mahabharata) which are very famous and dear to Assamese.<br /></span><br />
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Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com30tag:blogger.com,1999:blog-7823291760828692160.post-90264661212505180872008-02-08T04:37:00.000-08:002008-02-08T04:57:33.167-08:00Eco Tourism in Assam<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R6xQh8EfCQI/AAAAAAAAChk/eQQV0rgxAxQ/s1600-h/eco6.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R6xQh8EfCQI/AAAAAAAAChk/eQQV0rgxAxQ/s400/eco6.JPG" alt="" id="BLOGGER_PHOTO_ID_5164591416677959938" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R6xOqsEfCLI/AAAAAAAACg8/Axi0VMqoI6U/s1600-h/eco1.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R6xOqsEfCLI/AAAAAAAACg8/Axi0VMqoI6U/s400/eco1.JPG" alt="" id="BLOGGER_PHOTO_ID_5164589367978559666" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R6xOq8EfCMI/AAAAAAAAChE/bkqaASAQ34s/s1600-h/eco2.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R6xOq8EfCMI/AAAAAAAAChE/bkqaASAQ34s/s400/eco2.JPG" alt="" id="BLOGGER_PHOTO_ID_5164589372273526978" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_BgaBKdo7qZo/R6xOrcEfCNI/AAAAAAAAChM/0DrlvqAtXL0/s1600-h/eco3.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_BgaBKdo7qZo/R6xOrcEfCNI/AAAAAAAAChM/0DrlvqAtXL0/s400/eco3.JPG" alt="" id="BLOGGER_PHOTO_ID_5164589380863461586" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_BgaBKdo7qZo/R6xOr8EfCOI/AAAAAAAAChU/YZjrUvbYZmw/s1600-h/eco4.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_BgaBKdo7qZo/R6xOr8EfCOI/AAAAAAAAChU/YZjrUvbYZmw/s400/eco4.JPG" alt="" id="BLOGGER_PHOTO_ID_5164589389453396194" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_BgaBKdo7qZo/R6xOssEfCPI/AAAAAAAAChc/VzbNyMw7r9Y/s1600-h/eco5.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_BgaBKdo7qZo/R6xOssEfCPI/AAAAAAAAChc/VzbNyMw7r9Y/s400/eco5.JPG" alt="" id="BLOGGER_PHOTO_ID_5164589402338298098" border="0" /></a><br /><br />Tourism as an industry is the largest in terms of revenue generation as well as an employer in the world. Ecotourism is the latest trend among tourists today and although ecotourism accounts for a measly 2-4% of the entire tourism industry, it is the fastest growing sector. More and more people are willing to pay extra for tours that are “eco-friendly”. But how ‘responsible’ are we as tourists and how sustainable is the tourism that is being propagated?<br /><br />Ecotourism originated in the latter half of the 20th century. By 1970s, the impact of growing mass tourism led to the degradation of wildlife habitats. A gradual awareness and concern for conservation of local species (such as the Rhinos in Assam, Tigers in Ranthambore, etc.) led to the introduction of specialist tours like bird safaris, camel treks and guided nature treks. Ecotourism was being envisaged as an amalgam of tourism, environment-sensitization and conservation. Unfortunately, ecotourism as it is practiced has boiled down to only “travel to natural areas” and the wildlife conservation and preservation of local cultures has been lost along the way.<br /><br />However, it would be unfair to ignore the efforts of various organisations that are truly practicing conservation and sensitizing tourists to the local demands of the people and their habitat. Many plant trees to prevent deforestation/ discourage tourists from littering, and promote recycling of resources.<br /><br />This new form of “responsible travel” focuses on flora, fauna and culture. It is based on the principles of sustainable development. It attempts to create a set of travellers who are aware and hopes to utilize the funds generated for conservation and raising the living standard of the local population. Ecotourism is a participatory venture in which all those who are involved are also the stakeholders of its benefits. The venture benefits the tour operators, the tourists and the locals. However, it must be remembered that the number of tourists should be limited to the capacity of each region to prevent shortage of resources for the locals after the tourist depart.<br /><br />Efforts like these are complemented by UN action which has called for an NGO Tourism Advisory Group. Such attempts at bringing tourism and environment into a harmonious relationship need to be furthered throughout the world. Each one of us must accept responsibility for the ecosystem that one visits and the local people that inhabit those lands. It must be a two-way process in which tourists and the tour operators help to strengthen the environment while that very environment and the locals provide them with the resources and support for an enjoyable holiday.<br /><br />Ecotourism is slowly but surely becoming a trend. Although having a deep passion for nature is nothing new to many people, yet the term "ecotourism" (having been coined in recent years) is becoming more of a fashion statement than anything else.<br /><br />So, what is comprised within the term "ecotourism"? Images of lush tropical rainforest, vast mangrove forests, a rough-edge coastline dotted by white sandy beaches and of course, some of the world's most rare and unique flora and fauna.<br /><br />BAMUNGAON ECO-TOURISM SPOT<br /><br />Bamungaon eco-tourism spot bears a good natural beauty and have been using it for enjoying picnic in the season time. The spot is only 3 km distance from Abhayapuri town towards north. It is just beneath the Bamungaon Pahar and a small stream has come out from the heart of stone. Recently District Administration, Bongaigaon has developed the spot implementing some schemes in collaboration with Forest Department. The road from Abhayapuri to Picnic Spot has developed and graveled by Zila Parishad, Bongaigaon.<br /><br /><br />Bako National Park should be your first stop if you are planning a trip to one of the many national parks in the state. Bako has a unique set of geological and climatic conditions. In a tiny area of 10.6 sq miles (27.4 sq kilometers), you can find seven distinct ecosystems compressed within the relatively small space. Despite its size, the Bako National Park is home to a vast variety of flora and fauna and this is so thanks to the many distinctive ecosystems.<br /><br />The park is a well-maintained location; therefore exploring it by foot is easy. There are good trail systems and great animals to watch. Having been a protected piece of land since 1957, Bako promises an array of fun and adventure.<br /><br />Located just 24 miles (37 kilometers) from downtown Kuching (Sarawak's capital city), your starting point to the national park begins at Kampung Bako. To reach the park's headquarters at Telok Assam, you must first take a half hour boat ride. Along the way, you will see numerous wooden houses on stilts from the riverside villages and also fishermen tending to their fish traps. Once you reach the HQ, you will soon realize that you are headed towards the heart of wildlife. Even the few wooden chalets and rest houses are surrounded by virgin jungle.<br /><br />Although you may be highly excited and can't wait to jump straight in and explore the park, I would advice that you take a trip to the park's information center first before doing anything else. This place can fill you in with all sorts of required information and it is also here that you will get to learn more about Bako's bio-diversity and some of the attractions that you will get to see along your route. The information center will also be a good spot to check out the numerous available routes and the time taken to complete each track. Please be aware that each route will offer you through different sceneries, some through the thick dense forest with all its unique wildlife, some through the white sandy beaches and of course, some that will allow you to view the interesting flora.<br /><br />The best times for a trekking session are either early in the morning or late in the afternoon. At about 7 am, you will be greeted with troops of the long-tailed macaque monkeys. These monkeys will be around the area most of the day. Used to seeing humans, these monkeys are tame and enjoy loitering around the area. You will also get to see the silver-leaf monkey that usually congregate in big groups around the chalets and along the Telok Assam route. Not necessary to venture far, you will also get to see the plantain squirrels, bearded pigs, snakes, flying lemurs and a number of lizards. One of the country's largest lizards, the water monitors, are also spotted hanging around the jetty and near the rest houses.<br /><br />Smaller creatures can be found at the mangrove forest at Telok Assam. Hidden within the complicated network of aerial roots of the mangrove trees are creatures such as hermit crabs, sky-blue fiddler crabs and mudskippers. If you are a lover of birds, the mangrove is a good place for viewing Bako's bird life. So far, there have been a recorded 150 species of birds found at Bako including the state bird of Sarawak - the hornbill. Here, you will also get to see the birds such as the velvet-fronted nuthatch, racket-tailed drongo or ruby-cheeked sunbird. Such birds are a rarity and definitely, they are not of your garden sparrows variety!<br /><br />The highlight of this trip is when you get the opportunity to encounter the Proboscis Monkey, a rare and protected animal found only in Borneo. Out of 6,000 monkeys left in the wild, about 1,000 of them are found in Sarawak and about 150 of them lives in Bako. If you want to catch sight of this rare monkey, head on down the Teluk Paku or the Telok Delima trails. They can be seen either during the wee hours of the morning or the hours before dusk. Patience and silence are the virtues here. To seek out these Proboscis Monkeys, one must be quiet and still? and you might just catch sight of them.<br /><br />One of the most popular trails at Bako is none other than the Lintang Trail. It is highly recommended for those who want a rainforest experience. The trek will take about 3 ½ hours and will show you the full glory of Bako's vegetation. Another popular trail is the Telok Pandan Kecil trek, which will lead you to Bako's best beach. A short walk of 1 ½ hours, you will be rewarded with a refreshing swim at the end of the walk. Scenery at Bako National Park is simply breathtaking and awesome where the jungle canopy can rise to 40 meters in height! Although some climbing may be tough and steep, yet the walk will prove to be enjoyable, nonetheless.<br /><br />The Bako National Park emits a kind of Robinson Crusoe feel and you will feel yourself in the thick of nature and very much in tune with your surroundings. Each trail promises a difference. It all depends on what you really want. I will not dwell too much into each trail, as they are all great in their own aspects. To know more, you can either call up the Bako National Park at (6 011) 225049 or the Kuching Visitors Information Center at (082) 248088<br /><br /><br />One great eco- tourism package<br /><br />Day 1 Visit to Moitry Ashram - an ashram with Gandhian philosophy maintained<br />by all women established by Binowa Bhabe in late sixty. Organsied South East Asia youth meet. Everyday bhajan in morning and evening by the ashram inmates. A self sustainable ashram.<br /><br />Visit to tea gardens - tea factories set up by British during pre-independence and still running well. Tea plucking by tea garden workers and their culture.<br /><br /><br />Ornamental fish farm at Siajuli by Sri Bikul Goswami, an wild life activities <br />Padumoni than (temple) and Padumoni Park for medicinal plantation <br />Subansiri darshan , Subansiri Hydal project , Water ferry traveling to the Subansiri Upstream <br />Bird sanctuary at Boidoi pam , Dhakuakhana <br />Indigenous eri/ muga farm : muga harvesting, yarn production, handloom etc. <br />Mishing village at Kadam with their culture <br /> <br />Day 2 Gharmara satra ; the ancient vaisnabhi spiritual satra with sankari kala kristi , ancient manuscript<br />Spiritual darshan ' Sri Sri Brahmakuri Iswaria Viswavidyalay' .<br />Visit to Leteku phukhuri , the birth place of Sri Sri Madhab dev at Narayanpur.<br />Buddhist temple at Narayanpur.<br /><br />Day 3 <br />Visit to Majuli ; ferry crossing at Luit Khabalo, Migratory birds, ethnic tribes, ancient spiritual satras.<br /> <br />Day 4 <br />Visit to Zero ; an hilly station of Arunachal Pradesh 120 kms away. Orchid farm, visit to the largest Shiv lingan in the world made by hill. Adi & Apatani tribes,<br /> <br />Day 5 <br />Visit to Malini than in Arunachal Pradesh ; an ancient pre historic temple during Mahabharata era. <br />Day 6 <br />Visit to Itanagar , the capital of Arunachal Pradesh ;<br /> <br />Satellite tours <br />Tawang 2ns largest Buddhist Monastery of World, Sella pass, Bomdila<br />Tezpur The cultural city of Assam 200 kms away<br />Kazironga The National Park ; famous of single horn rhinocross.Mofid's blogspacehttp://www.blogger.com/profile/04182102286750846957noreply@blogger.com4