GUWAHATI, Jan 27 ? Maybe it is beyond the understanding of many of our urbanised people. But for most of our village folks, preservation of our cultural heritage is still an obsession. Unlike their little known villages, the reason for this passion of theirs is not obscure. The people of Khaloibari village, about 50 kms east of this capital city, have been preserving the dhulia culture of our society for about 56 years now. They have been practising this form of folk theatre since 1947 and by now they have earned a fame for themselves and for the entire Khetri-Dimaria area too. When the dhulias (drummers) of the village start their performance with genn genn genn genn/tei genn tei genn/khit tei khit tei tei genne genne genne khit genn khit tei beats of the Khala Ghurani Cheo, accompanied by the song ? Hae Hari pani chal chal, doha gedi naajaabi, theoi jaabi tal hae ..., they represent the common sentiment of the village community that warns against egotism and calls for strengthening of the bond of the society by bowing to the tradition of sobriety.
For, the 18-member troupe of Khaloibari dhulia, bayans, torch-bearers, cymbal players, jesters, anchorman and sutradhar, is the product of the collective efforts and wisdom of the entire village community. With the art form kept vibrant as a living tradition, the village folks of Khaloibari have also made the traditions of carpentry, tanning, mask making etc to live on. The village, which has today one PhD, five Masters of Arts, one Master of Commerce, four Bachelors of Arts, two Bachelors of Science, eight HSSLCs and around 20 matriculates in a population around 250, is now getting also its young ones trained in the art form.
The Khaloibari artistes learnt their lessons under the maestros of Malikuchi when the troupe was formed in 1947. At that time, there were dhulia parties in all the neighbouring villages of Bherakuchi, Maloibari, Mitani, Malikuchi, Tetelia, Jagubari, Erabari, Medhikuchi, Gumaria and Cheragog, among others. But, today, the dhulia parties of the other villages have become extinct, even though two dhols and two pairs of bhortaals are still in use at Malaibari during the pujas and marriages.
However, the village folks of Khaloibari are continuing with the art form and even the educated ones of the villages take keen interest in it. Why? Gaonburha (village head) of Khaloibari Kanak Das (69) said that it was because of the bond of unity of the villagers that this could happen. To elaborate his point, he said that the make-up man of the Khaloibari troupe is Dr Maniram Kalita, a PhD and a lecturer in the Sonapur College, while the anchorman of the troupe is Muralidhar Das (55), who is regarded as an authority on Dimoria culture even by university scholars.
?We are proud that our youths are very respectful of our culture. Unlike others, despite being educated, they do not look down on our culture. It is also a fact that we elders are taking much care to shape the mind set of our youths,? said Sri Das who taught the present Bardhulia (the head drummer) Hareswar Das (40) and other members of the troupe. Sri Hareswar Das and Sri Maheswar Das (42), another Bardhulia of the troupe and also a high school teacher, are now imparting training to the youngsters in the art form nowadays. The training includes courses in dhol playing, cymbol playing, turning somersaults, comic performances and dances with masks.
Why all these arduous exercises? Sri Kanak Das said ? ?Dhulia art form is the life-blood of our culture. We bear all the pains to keep it alive. We are at pains today that our brethrens in other villages have given it up. For those who intend to learn this art form, we are there to impart the necessary training. For, we must preserve this art form as a vibrant one.? Perhaps, these words of Sri Kanak Das sums up the attitude of the Khaloibari people.
Today the Khaloibari troupe is moving on all over the State winning hearts of the people with its performance. And the amount of money it is earning thus is being saved up. With the money saved this way, the troupe has purchased a one-bigha plot of land and has also built the village naamghar (prayer house), besides producing some new dhols for its use. Are these not good reasons to make its bardhemali beats of gentei gree gehittei genn khittei/gentei genn, khittei genn genn/ gentei tei worthy enough to be cheered to the echo?