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Bihu dance
Bihu dance
Bihu dance
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Bihu dance
Youths perform Bihu dance in Assam
GenreFolk dance
InventorDeori, Thengals, Chutias, Sonowals
OriginAssam, India

The Bihu dance is an indigenous folk dance from the Indian state of Assam related to the Bihu festival and an important part of Assamese culture. Performed in a group, the Bihu dancers are usually young men and women, and the dancing style is characterized by brisk steps and rapid hand movements. The traditional costume of dancers is centered around the red color theme, signifying joy and vigour.

History

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The origins of the dance form are unknown; however, the folk dance tradition has always been very significant in the culture of Assam's diverse ethnic groups, such as Deoris, Sonowal Kacharis, Chutias, Boros, Misings, Rabhas, Moran and Borahis, among others.[1] According to scholars, the Bihu dance has its origins in ancient fertility cults that were associated with increasing the fertility of the population as well as the land.[2] Traditionally, local farming communities performed the dance outdoors, in fields, groves, forests or on the banks of rivers, especially under the fig tree.[3][4]

The earliest depiction of Bihu dance is found in the 9th-century sculptures found in the Tezpur and Darrang districts of Assam. Bihu is mentioned in the inscriptions of the 14th-century Chutia King Lakshminaryan as well.

Description

[edit]
Bihu dance, Assam

The dance begins with the performers, young men and women, slowly walking into the performance space.[5] The men then start playing musical instruments, like drums (particularly the double-headed dhol), horn-pipes and flutes, while the women place their hands above their hips with their palms facing outwards, forming an inverted triangular shape.[6] The women then start to slowly move in tune with the music by swaying, while bending slightly forward from the waist. Gradually, they open up their shoulders and place their legs slightly apart, adopting the main posture used in the Bihu dance. Meanwhile, the music played by the men picks up in temp, leading women to thrust forward their breasts and pelvis, alternatively, to the tune.[3][7][8]

Culture and social

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The Bihu dance takes its name from the Bohag Bihu festival (also called Rangali Bihu), the national festival of Assam, which celebrates the Assamese New Year. The festival takes place in mid-April, and the Bihu dance is meant to celebrate and emulate the seasonal spirit, celebrating fertility and passion.[9][10]

Assamese girl in traditional bihu costume.

Bihu is performed by groups of young men and women, and in earlier times, it served principally as a courtship dance. The Bihu dance's association with fertility refers to both human fertility, through the erotic nature of the dance, as well as the fertility of nature, meaning the celebration of spring and the welcoming of the life-giving spring rain. The use of instruments such as drums and hornpipes is believed to replicate the sound of rain and thunder as a way of invoking actual precipitation.[3]

Historically, there is evidence that the Bihu dance was looked down upon in Assamese society, especially during colonial times, because of the sexually charged nature of the performance, which clashed with the Victorian views that were dominant at the time among British colonists.[3] Presently, the Bihu dance is a cultural emblem in modern-day Assamese society, becoming a symbol of the Assamese cultural identity. The first time that the Bihu dance was performed on a stage was in 1962, as part of a cultural event that took place in Guwahati.[3]

Mega Bihu Event

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Assam state has made a Guinness world record for performing the largest Bihu dance in one single venue on April 14, 2023. The event took place at Indira Gandhi Athletic Stadium, Guwahati Assam. A group of 11,000 Bihu dancers and drummers participated.[11]

See also

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References

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Bibliography

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Bihu dance

View on Grokipedia
from Grokipedia
Bihu dance is an indigenous originating from the state of in northeastern , deeply intertwined with the agrarian lifestyle and the annual Bihu festivals, particularly Rongali Bihu celebrated in to mark the Assamese New Year and the onset of spring. Performed by men, women, and children in vibrant groups, it features energetic hip sways, clapping, and circular formations accompanied by traditional instruments like the (drum), pepa (hornpipe), and (bamboo jaw harp), expressing themes of joy, love, fertility, and communal harmony through spontaneous and rhythmic movements. The dance's roots trace back to ancient times, likely emerging from primitive and harvest celebrations tied to the migrations into the region, with historical records suggesting its practice as far back as the era in the 13th to 19th centuries. It embodies the adi-rasa (erotic sentiment) and shringara-rasa (romantic aesthetic) in Indian performing arts, using natural imagery in songs like Bihu geets and Bonoriya geets to convey candid expressions of desire and seasonal renewal, reflecting Assam's lush, riverine landscape and agricultural cycles. Over time, influences from introduced spiritual elements, such as devotional padas, while patronage by Ahom rulers and modern media have helped preserve and evolve its form without losing its rural essence. Key variations include Husori (group performances in courtyards for blessings), Mukoli Bihu (open-space dances fostering social interaction), and Jeng Bihu (women-only gatherings), each highlighting gender dynamics and community bonding. Performers don traditional attire—women in mekhela chador (silk saris) adorned with kopou phul (foxtail orchids) symbolizing love, and men in and gamocha (handwoven towels)—creating a visually striking display that underscores . As a vital emblem of Assamese heritage, Bihu dance not only celebrates life's vitality and youth but also promotes social cohesion, though contemporary urban adaptations risk diluting its authentic spontaneity.

Origins and History

Historical Development

The earliest documented evidence of dance forms resembling Bihu appears in 9th-century stone and terracotta sculptures from regions around and Darrang in , where figures are depicted in rhythmic, celebratory postures suggestive of folk performances associated with seasonal rituals. These artifacts, housed in institutions like the Assam State Museum in , indicate the presence of communal dance traditions linked to agrarian cycles during the Pala dynasty's influence in the area. A more explicit historical reference to Bihu emerges in the 14th-century copper-plate inscription of Chutia king Lakshminarayan, dated to 1401 CE and discovered in the Ghilamara area of Lakhimpur district, which mentions the festival as an auspicious occasion for granting land for ritual purposes. This inscription, one of the few epigraphic records from the Chutia kingdom (circa 1187–1524 CE), underscores Bihu's role in community gatherings tied to agricultural prosperity. During the Ahom kingdom's rule from the 13th to 19th centuries, became integrated into royal and communal spring rituals, evolving from local ethnic practices into a structured festival observed across the , as noted in historical accounts of the period. The Ahoms, originally from present-day , adapted Bihu alongside their own spring customs like Chyeng-Ken, incorporating it into courtly celebrations to foster cultural unity among diverse subjects. These rituals emphasized renewal and fertility, briefly reflecting broader animistic roots in Assam's tribal heritage. In the colonial , British administrators and missionaries documented Bihu dance in early 20th-century ethnographies and reports, often viewing its exuberant group formations and physical expressiveness as obscene or primitive, which prompted initial attempts by Assamese elites to stage sanitized versions for urban audiences to counter such perceptions. These efforts, influenced by nationalist movements, included organized performances in towns like by the 1930s, marking a transition toward formalized presentations amid cultural revival. The shift from rural, open-field rituals to urban staging culminated in the first formal public performance of dance in in 1962, organized by the Guwahati Bihu Sanmilani at Latasil Playground, which introduced structured group to a broader audience and symbolized its adaptation to modern cultural platforms.

Cultural Origins

The Bihu dance originates from ancient fertility cults practiced by ethnic groups such as the Deori, Chutiya, and Sonowal Kachari in , where rituals symbolized agricultural renewal and the enhancement of both human and through acts of and birth. These cults were integral to the indigenous communities' agrarian lifestyle, predating formalized festivals and emphasizing communal prayers for bountiful harvests. Rooted in the animistic traditions of Assam's tribal communities, including the Moran and Deori, the dance served as a rite to revere natural elements like , , forests, and the , invoking the arrival of spring and rainfall for growth. Performances occurred outdoors in natural settings such as fields, riversides, or under sacred trees like the , fostering a direct connection with the environment and . The dance's influence stems from non-Aryan indigenous practices that predated Ahom rule in century, evolving as a communal expression of joy among tribal groups without rigid structures. In early agrarian societies, it functioned as a anticipation , celebrating rebirth and seasonal cycles distinct from later organized celebrations. Artifacts from the 9th-10th centuries in and Darrang districts, including stone sculptures depicting pairs and musicians, provide evidence of these early folk traditions.

Characteristics and Performance

Dance Movements and Techniques

The Bihu dance begins with a slow, introductory phase where performers enter the space with gentle swaying motions and slight forward bends from the waist, creating a rhythmic and harmonious flow that gradually builds energy. This initial posture emphasizes an erect stance with legs slightly apart and shoulders opening outward, allowing dancers to synchronize their movements to the underlying beats. As the performance progresses, the pace accelerates into brisk steps and rapid hand movements, including flinging, flipping, and thrusting gestures that convey vitality and joy. Performers adopt synchronized and shoulder undulations that mimic natural rhythms, such as the sway of or grace, with footwork that varies from simple, spider-like steps to more intricate patterns aligned with the accelerating tempo. Hand techniques often include expressive motions resembling butterfly wings or circular sweeps, enhancing the dance's fluid yet energetic style. The overall technique prioritizes minimal torso twists but significant and engagement, fostering a sense of communal exuberance without jumps, focusing instead on grounded, repetitive motifs. In group settings, dancers typically form circles or lines in open spaces, with young men and women participating either in alternating roles or parallel rows to highlight interplay and balance. This formation allows for cohesive progression, where the collective pace intensifies, syncing footwork and hand actions to the rhythmic accompaniment for a unified, accelerating performance.

Music and Instruments

The music of Bihu dance forms an integral rhythmic and melodic foundation, characterized by lively folk tunes that evoke the agricultural cycles of . Traditional Bihu music relies on a combination of percussion, wind, and instruments, creating pulsating beats that drive the performers' movements. The primary is the , a double-headed cylindrical drum made from wood covered with animal skin, which provides deep bass beats and sets the core tempo through strikes with a stick and hand. Accompanying the dhol are wind instruments like the pepa (a made from buffalo horn), the bahi (also known as banhi), a that delivers melodic lines, and the , a played by holding it between the and plucking the vibrating reed with a finger to produce resonant tones, often handled by female performers. The tal, or cymbals made of , adds sharp, clanging accents to punctuate the rhythm, enhancing the overall energetic flow. Rhythmic patterns in Bihu music vary in , typically featuring fast-paced beats for youthful group dances like Lora Bihu, while slower rhythms appear in ceremonial forms such as Burha Bihu, allowing for graceful expressions. These patterns, generated primarily by the and reinforced by hand-clapping or the toka (a bamboo clapper), create a dynamic structure that builds intensity through layered sounds. The music synchronizes closely with the dancers' hand thrusts and hip sways, amplifying the communal energy of performances. Vocal elements enrich the sonic landscape, with husori referring to group singing of carols performed by young boys and girls during household visits, often praising deities or celebrating the in call-and-response style. Interwoven calls, such as jujona phrases that signal the start of dances (e.g., "Sage selabore dobuwa kotari"), add improvisational flair and encourage audience participation. These songs, rooted in agricultural themes, blend seamlessly with instrumental rhythms to foster a of joy and unity. The traditional tuning and playing styles of Bihu instruments are transmitted orally within rural Assamese communities, preserving authenticity through generational apprenticeship among farmers and folk artists rather than written notation. This ensures that performances remain tied to seasonal festivals, adapting subtly to local dialects and customs while maintaining core rhythmic vitality.

Types and Variations

Rongali Bihu Dance

Rongali Bihu dance, also known as dance, serves as the central performative element of the festival, which occurs in mid-April and marks the Assamese , the onset of spring, and the start of the sowing season and . This vibrant expression embodies youthful energy, reflecting the agricultural sowing season and the of nature through exuberant movements and rhythms that symbolize joy, romance, and communal harmony. The dance is typically performed by mixed-gender groups of young men and women in rural villages, where participants gather in open spaces to execute synchronized formations that highlight romantic and joyful themes. These performances foster a participation, with dancers often forming circles or lines that allow for fluid interactions, emphasizing pair dancing to evoke themes of and affection. The performances progress from slower, introductory steps to increasingly energetic sequences that build communal excitement. Key variations of the Rongali Bihu dance include Husori, group performances in courtyards for blessings; Mukoli Bihu, open-space dances fostering social interaction; and Jeng Bihu, women-only gatherings, each highlighting gender dynamics and community bonding. Distinctive features include brisk hand gestures and hip sways. Accompanied by traditional instruments like the drum and pepa horn, the dance maintains a rhythmic pulse that underscores its vibrant, fertility-rooted essence without venturing into formal staging.

Other Regional Variations

The Moran community of performs Rati Bihu, a distinctive night-time variation of the Bihu dance tradition, characterized by ritualistic performances that emphasize socio-religious elements over exuberant celebration. This form involves separate groups of young men and women dancing under trees in village settings, often in locations like Kakapathar and Amguri in , reflecting the community's aboriginal ethnic practices. Unlike more widespread daytime Bihu events, Rati Bihu integrates customs such as Husari and is observed primarily during the Bohag period but exclusively after dusk, making it a rarer tradition today. The Mising (Mishing) community's Ali Ai Ligang festival features the Gumrag dance, a parallel to that marks the agricultural new year with communal performances by young participants. Held in mid-February, this spring festival involves ritual dances along riverbanks in areas like island, incorporating tribal motifs through rapid stepping and synchronized movements that symbolize prosperity and unity. The dance, performed after sowing seeds, honors deities like Ditem and includes elements of Mising , often concluding with a community feast. Kongali Bihu, also known as Kati Bihu, represents an autumnal variation observed in mid-October, with subdued dance rhythms focused on prayers for crop protection during scarcity. This non-flamboyant form involves minimalistic performances around lit earthen lamps (saaki) placed near granaries and , expressing and rather than lively gatherings. In contrast, Bhogali Bihu () in mid-January features sparser winter dances after the , emphasizing repose through feasts and rhythmic expressions of thanks, though less vigorous than spring variants. Core instruments like the accompany these subdued styles. Bodo and Karbi influences appear in regional Bihu adaptations through the integration of local elements, such as the serja, a four-stringed traditionally used in Bodo dances like during their festival, which draws from Assamese structures. The festival has shaped 's form among the Bodos, incorporating the serja for melodic accompaniment in hybrid performances. Similarly, Karbi dance forms, performed alongside in cultural events, contribute tribal rhythms and motifs to sub-regional variations in Assam's northeastern districts.

Attire and Symbolism

Costumes for Performers

The traditional costume for female performers in Bihu dance is the mekhela chador, a two-piece garment resembling a saree, with the mekhela serving as a wrapped lower skirt and the chador as an upper drape. This attire is typically crafted from red or white , handwoven by artisans in , Assam's renowned silk weaving village, using materials like muga or to ensure vibrancy and durability during energetic movements. Women complement the mekhela chador with a gamosa, a handwoven or towel draped as or over the shoulders, often featuring traditional motifs in bright colors. Accessories for women include silver jewelry such as earrings, necklaces, and bangles, along with floral ornaments like the kopou phul (foxtail orchid) woven into the hair. Male performers don a or wrap the lower body with a gamosa, paired with pajama for the legs, creating a simple yet festive appearance. A colorful pagh, or , adorns the head, made from handloom or in shades of , , and to match the celebratory theme. The pepa, a horn pipe instrument, is carried as an accessory, often played during the to accompany the . Like their female counterparts, men wear silver jewelry and floral elements to enhance the overall ensemble.

Symbolic Elements

The prominently featured in Bihu dance attire symbolizes vigor, , and the blood of life, evoking the vitality of spring and essence central to the festival's celebrations of romance and renewal. This hue, often bordering the gamosa or adorning costumes like the mekhela chador, draws from natural dyes and underscores the boldness and courage inherent in Assamese agrarian spirit. In contrast, white represents purity and new beginnings, aligning with Bohag Bihu's themes of fresh starts and communal harmony at the onset of the harvest season. The gamosa, a handwoven draped around the or waist during performances, serves as a profound of Assamese identity and , frequently exchanged as a of respect and love in rituals. Woven with red borders on a white base, it embodies cultural pride and is integral to the bihuwan tradition, where it fosters community bonds and honors participants in the dance. Its use in dances reinforces themes of unity and reverence, marking the wearer's connection to Assam's heritage. Floral and natural motifs embroidered on attire and accessories evoke spring renewal and , drawing from Assam's lush landscapes to symbolize growth, , and the interconnectedness of human and environmental cycles in Bihu's springtime observance. These patterns, including entwined flowers and foliage on the gamosa, represent romantic union and the festival's celebration of life's regenerative forces. The kopou phul, worn in women's hair, specifically symbolizes and merriment.

Cultural and Social Significance

Role in Festivals

Bihu dance serves as a central element in the festival, also known as Rongali Bihu, celebrated in mid-April to mark the Assamese and the beginning of the sowing season. As the opening act of the festivities, the dance is performed on the first day of Manuh Bihu, following the Goru Bihu where are bathed, decorated with paste and garlands, and offered prayers for agricultural prosperity. These energetic group performances, involving synchronized steps and hand gestures, precede communal offerings of pithas ( cakes) and jolpan (snacks) to deities like Lord and local gods, invoking blessings for bountiful crops and community well-being. In the broader Bihu festival cycle, the dance adapts to the seasonal and thematic shifts of the other variants. During Kongali Bihu in mid-October, observed amid the post-monsoon scarcity period, Bihu dance takes a subdued role, integrated into austere prayers and simple rituals at namghars (community prayer halls) or homes, where participants light earthen lamps in fields and offer minimal tributes for protection against pests and for a successful . This restrained form emphasizes spiritual reflection over exuberance, fostering social bonding through collective invocations rather than elaborate choreography. Bhogali Bihu, held in mid-January after the winter harvest, features modified Bihu dances as part of post-harvest merriment, often performed around bonfires (mejis) in open fields to celebrate abundance. These variations are less vigorous than those in , accompanying feasts of pithas, , and new , while groups engage in lighter, improvisational movements that follow thanksgiving offerings to (the fire god) for a fruitful yield. Across all festivals, the dance is organized communally, drawing participants of all ages in namghars or village fields to reinforce social ties and cultural continuity, with performances typically concluding before shared meals that symbolize gratitude and unity.

Social and Courtship Aspects

The Bihu dance traditionally serves as a ritual during the festival, where young men and women perform in groups, using the dance to express attraction and foster romantic attachments through synchronized movements in open fields or riverbanks. This practice, known as Rati-Bihu, allows participants to initiate relationships, with some couples proceeding to following the event, emphasizing themes of and in an agrarian context. Beyond romance, the dance reinforces ties by bringing together from villages, promoting social harmony and intergenerational continuity while highlighting gender roles, as women actively participate in performances that reflect rural labor and . Post-independence, particularly from the onward, evolved into a potent symbol of Assamese pride, transitioning from village rituals to staged events that promoted unity across castes and ethnic groups, as seen during the (1979–1985) where performances rallied diverse communities against external threats. This shift emphasized inclusivity, with the dance fostering collective identity and social cohesion, drawing participation from various castes, tribes, and religions to celebrate shared heritage. By the late , such adaptations helped solidify as a unifying cultural emblem in modern .

Modern Developments

Staged Performances and Events

The Bihu dance transitioned from its traditional outdoor settings to formal theater stages following its debut performance in in 1962, organized by the Guwahati Bihu Sanmilani under the promotion of cultural leaders such as . This event marked a pivotal shift, adapting the folk form for urban audiences and structured venues while preserving its rhythmic and communal essence. Cultural institutions like the have since played a key role in organizing and supporting staged presentations, including workshops and collaborative events that elevate the dance's visibility on national platforms. For instance, in collaboration with the North East Zone Cultural Centre, the Akademi facilitated a synchronized by 1,545 dancers in in March 2024, emphasizing precision and scale in contemporary staging. Annual events such as the Rongali Bihu Sammelan have become staples for staged Bihu, with the Assam Association Delhi hosting vibrant celebrations featuring group dances at venues like in Connaught Place since at least the early 2000s. Regional variants, including the Purva Guwahati Bihu Sammelan and the Central Rongali Bihu Sammelan in , draw thousands for choreographed performances that blend traditional steps with modern production elements. A landmark in staged Bihu occurred on April 13, 2023, when 11,298 performers set a for the largest dance at the (Sarusajai Sports Complex) in , involving synchronized movements to beats and attended by Assam's . This event not only highlighted the dance's scalability but also earned a second record for the largest ensemble of dancers and drummers. To promote Assam's heritage through , performances have been integrated into cultural festivals and airport welcomes, such as daily dance displays at in during Rongali until April 20 each year. Similar initiatives at and even Delhi's feature troupes greeting arrivals, fostering cultural immersion for visitors and boosting regional .

Contemporary Adaptations

In recent years, Bihu dance has undergone fusions with Bollywood influences and contemporary music genres, particularly in and popular media. Similarly, viral videos, such as a 2025 mother-daughter Bihu performance that amassed widespread shares and a foreign creator's adaptive garnering millions of views, have popularized remixed versions incorporating electronic beats and Bollywood choreography for younger, global audiences. These adaptations have ignited debates on authenticity, as through staged urban events and media integrations is seen by some as eroding the dance's rural, agrarian roots and communal spontaneity. Critics argue that such changes prioritize over traditional subtlety, potentially diluting cultural depth in a globalized context. In response, non-governmental organizations and cultural preservation groups in , including those affiliated with folk art initiatives, have launched targeted programs to document and teach unaltered forms, emphasizing community-led safeguarding against over-. Among Assamese diaspora communities, dance has evolved through performances organized by dedicated committees in the UK, , and , often modified to resonate with multicultural settings. The London Bihu Committee, for example, coordinates events like the 2025 welcome performance for Indian , incorporating inclusive elements to engage diverse participants while retaining core movements. In the , the Assamese Community of Georgia hosted vibrant 2025 Rongali celebrations in , adapting group formations for larger, inter-community audiences. Australian groups, such as those in under the "Dance Chronicles" initiative, similarly blend with local multicultural festivals to foster cultural exchange. Post-2023 developments include expanded digital workshops that democratize access to training, such as free online masterclasses offered in August and September 2025 by platforms like VeyoWise, enabling remote learners worldwide to master steps via live sessions. Concurrently, for recognition has intensified, with cultural advocates submitting proposals and reiterating calls during the 2025 Rongali celebrations to affirm 's global significance. These efforts build on milestones like the 2023 for the largest performance involving over 11,000 dancers.

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  56. https://www.instagram.com/p/DPOOMfnknjZ/
  57. https://www.instagram.com/reel/DNrxgmi5sGs/
  58. https://www.instagram.com/reel/DOXfkWpD2La/
  59. https://www.sikkimexpress.com/news-details/seeking-world-recognition-for-assams-intangible-cultural-heritage
  60. https://www.etvbharat.com/en/!bharat/assam-rongali-bihu-seeks-unesco-heritage-recognition-enn25041405401
  61. https://timesofindia.indiatimes.com/travel/travel-news/assams-bihu-dance-creates-history-enters-guinness-book-of-world-records/articleshow/99512534.cms
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