PALANQUIN: ITS CEREMONIAL USE IN ANCIENT ASSAM

                                                                                                 
 By Hiranmayee Das Gogoi
 hiranmayeed@gmail.com

The palanquin was a means of land transport, which was especially used in eastern Asia as well as in Assam usually for one person that consisted of an enclosed boxlike litter borne on the shoulders of men by means of poles. It was a passenger conveyance vehicle, usually for one or two people. In the time of Ahom emperors in Assam, palanquin ( dula )served as military ambulances, used for carrying the wounded from the battlefield. During that period the most prevalent mode of long-distance transport for the affluent was by palanquin. A relay's usual complement consisted of two torch-bearers, two luggage-porters, and eight palanquin-bearers who worked with a group of four, although all eight might pitch in at steep sections and also in the dark, also to make it easier. The scaffolding or poles provided the movement of the wheel-less vehicle, a type of human-powered transport. Two poles could flank either side of the traveling compartment extending from one end to the other, or one pole could be attached to the center of the traveling compartment to another of the same length and size attached to the opposite center. Either design required the use of 4 to 6 bearers are known as dula bhari.

Dula bhari. were a hard-working class of Paik people noted for their honesty and good business sense. The Paik system was a type of corves labour system on which the Ahom kingdom of medieval Assam was based. The origin of the word paik is a Prakrit word derived from Sanskrit 'padātika', meaning foot soldier and it is believed that the system is based on the South-East Asian legacy the Ahoms brought with them in 1228. The mature structure was designed by Momai Tamuli Borbarua in 1609. The system continued to evolve over time to meet the needs of the Ahom state and in time began to accumulate contradictions. Scholars

believe that a major reason for the collapse of the Ahom kingdom was that the Paik system had outlived itself by the 18th century. Modern use of the palanquin is limited to ceremonial occasions. A dula carries the bride in a traditional wedding and they may be used to carry religious images in Hindu processions. During the tour, the bearers practiced some specific folk songs to overcome their tiredness and pain. In wedding rituals, there are thousands of songs in Assam related to palanquins.  Now, these practices are nearing extinction due to modernization and the passage of time. 

 The central space of the palanquin commonly was in the form of a box, made of varying materials, sometimes fitted curtains called aar-kapur with the windows. The windows could be curtained off for privacy or to shield women from public view. Royal palanquins were painted a traditional colour called hengul-haital and also amazing carpentry skills were reflected in the design. They have been referred to as “bed in boxes” in literature, a fair description but far from the glamorous view the public may have had. With closed windows,

The palanquin was used as a means of transport worldwide. In India, palanquins were called Palkhi which came from the word Palanki. The Portuguese called them “Palan queen” and the British called it “Palan queen”. Both countries had a deep influence on the sub-continent thus lending easy assumption the names melded and stuck through the present time. Versions of palanquins were also common and can be found in China, Korea, and England.

History recalls the use of palanquins during purdah or the concealment of women from men usually before marriage. This tradition is still used today in Assam but with a twist to showcase something different. It seems now the groom rides in an open air palanquin fitted on an elephant by a strong chain made of iron and it is known as haida on which he goes to the brides’ home for completing the marriage ceremony. The bridal tour was completed with the luxury of palanquin during the marriage festivities.

 Here is a famous song on palanquin bearers by Dr.Bhupen Hazarika:

Dula he dula,he dula,he dula

Ekaa bekaa baatere korhiyau korhiyau

Bor bor maanuhor dula he dula

Apun korilu bonuwar jibonok

Deha bhagorai tula he dula

Heiyana heiyana heiyana heiya—

Dular bhitorot tirbir korise

Sohoki patore pag, ghone ghone dekhisu lorsor korise

Xukula cuworor aag

Mur he loratik eibar bihute, nidilu xutare sula

Sokulu ulaleu monti nebhangu

Korhiyai loi jaw dula

Juge juge jaapi diye metmora bujati

Kandh bhangu bhangu kore he kore

Bor bor manuhe dulat tuponi jai

Aamar he gham bur xore o’ xore

Ukhokoi paharor tingti uthisu

Bhalkoi khujti mila

Aamar kandhor pora pisolibo lagile

Bagori poribo dula,roja moharojar dula

Bor bor manuhor dula he dula

             

Ceremonial songs of Assamese wedding related to palanquin:

1.     Nekandiba dewta tumi nekandiba ma

      Tumar ghore jiraisilu uraniya mou !!

2.      Ramkrishna duliya ahile

      Ramkrishna aidewke niboloi

      Horimur o’ dulat bohuwau goi bola !!

3.      Ramkrishna hera dulabhari

Ramkrishna khojdiba lahekoi

Horimur o’ aidewr kumoliya dehaa!!

4.     Ramkrishna aidew jilikise

Ramkrishna patore xajote

Horimur o’dewotai ro’ lagi saai

5.     Juwa aidew dulat bohi

Swamir griholoi

Xahu aaye roiye aase

Adoriboloi------

6.     O’ mon tora , dulate bohi loi

Aahe kun suwa

Aahise asise gharor lakhimi

Ramchandra r podulit nomale bhori

These songs are mostly like the telecast of the wedding ceremony of an Assamese girl.  Some of these rituals have been modified along the way, having evolved into something that is completely new. The palanquin as a means of road transport plays an important role in the journey of the bride on her first travel to in-law’s house. Ritually signifying vidayi, and the above songs carry a great cultural heritage of kanyadaan,  Kanyadaan is one such indispensable ritual during an Assamese wedding, which is completed with the vidayee or goodbye to the girl from the maternal family. The literal translation of the term comes down to the meaning of the two comprising words - Kanya=Maiden and Daan=Donation, which may be seen as the Donation of a Maiden. It is an age-old tradition where the bride’s father presents his daughter to the groom, entrusting him with her future well being.  Vidayi is one of the most sentimental outbursts of any wedding across the world. The finishing ritual of the wedding, this Assamese ceremony marks the end of Bride’s life as a daughter and establishes her new role as a wife and daughter-in-law. In ancient Assam this ceremony is called as Dula zatra, brides were given away to kings and princes from far off lands, as a gift, property or something to surrender or make a treaty between two kingdoms. This is where the inception of the ‘Vidayi’ ceremony took place.

Assam had always believed that a girl is ‘daanoloi’ (eventually belongs to donate) someone who has been blissfully given away at the time of marriage. Once the wedding  ritual is completed, she is led to the Palanquin to leave for her new home, and the groom’s family, especially his mother waits to welcome the new member at the front gate of the house.

Subhazatra is a type of religious procession in which the idol of the deity is taken out the streets. Widespread fanfare and celebrations take place during the ritual. The idols are taken out in a palanquin or on multi-storied chariot also known as the Rath in the local language. Subhazatra is a type of religious ritual which is most prevalent among the people of the Hindu and community of Assam. Widespread fanfare and celebrations take place during the ritual. It is mostly visible at the festival of colour or holi called Dolzatra and celebration of the birth anniversary of Guru Sankaradeva.

During the Zatra Festival, the holy book Srimad Bhagawat is taken out in processions to pay homage. The palanquin is wonderfully decorated with new colors, paintings, and flowers. People sing dihanaam by clapping their hands in rhythm and sometimes play folk instruments called khol and nagara. In the month of March Assamese people celebrate dolzatra; the festival of colour. In this festival devotees carry the palanquin of Lord Krishna and Ghunusa towards the main gate of sattra. Wide spread, celebrations take place during this zatras. People wear new clothes and women adorn themselves with traditional jewelry. Children also adorn themselves with local customs. Palanquin plays the chief role in this type of subhazatra. Palanquin as a mode of transport began to decline from the mid-nineteenth century, when steamer and rail communications started and general transportation began to improve. With the development of roads and highways and increasing use of animal carts and carriages, the palanquin as a means of transport faced extinction. But its history of utilization created a rich culture in Assam and new generation should be aware of this heritage. This practice carries a rich cultural value and needs a brief study to maintain the cultural heritage of Assam.