Pages from an Unfinished Love Story
For people residing in #NortheastIndia, #Bhutan, one of India’s immediate neighboring countries, has always been near yet so far. One of the smallest countries in the world, Bhutan is often termed as a paradise of its own. Nestled on the foothills of the Himalayan range, Bhutan’s natural beauty has wowed over tourists from across the entire world. But it’s not just natural beauty or scenery that Bhutan is famous for. This tiny kingdom also holds the distinction of being the last monarchy in the world, and also for bringing to the world the concept of #Gross National Happiness – a unique concept in which the development of a country is based not on its economic parameters but rather on the overall happiness quotient of the people residing there.
As a child growing up in Guwahati and the lower part of Assam, we were often enamored by the sight of Bhutanese traders (or Bhutias as they are called in local parlance) who used to come across the border alongside Tamulpur in Rangia district to trade and make barter deals. However, the highly volatile law-and-order situation in that area (present day Bodoland Territorial Council), along the Assam-Bhutan border, always prevented people from exploring the rich natural beauty of this beautiful country which is just a stone’s throw away.
My first visit to Bhutan happened rather unexpectedly. In 2010-11, I had taken a break from my work in the media to work on a couple of research projects in the interiors of the Northeast. One fine day in October, 2011, the founder of The Sentinel group of newspapers, Mr Shankar Rajkhewa, called me to his office and asked me if I would be interested to go for a short trip to Bhutan. I didn’t ask for much details and immediately nodded my assent. It was only later that I realized I would be embarking on a momentous and most enriching experiences of my life i.e. cover the wedding of His Highness King Jigme Khesar Namgyal Wangchuk with Ashi Jetsun Pema.
Covering a royal wedding in the last monarchy of the Himalayas was a memorable experience in its own. But what made it all the more special was the fact that it marked the advent of a young and dynamic ruler who was all set to give a new change to the overall developmental index of Bhutan. So in October of 2011, me and my colleague Rajib Bhattarjee from The Sentinel boarded a train to Alipur Duar from we entered Bhutan via Phuntshilling. The entire world media has descended at the Royal Kingdom and I was simply left spellbound to witness the elaborate wedding rituals in the historic Punakha fortress and the roadside celebrations in the capital city of Thimpu. We were lucky to have with us the company of Sonam Chokie and Damchen Zangmo of the Government of Bhutan who acquainted us with the simplicity of the people and their laidback and highly courteous attitude to life.
A couple of years later on, I came into close acquaintance with a group of dynamic leaders in the Chowki area of Bodoland. Thanks to a school friend of mine, Amarjit Lahkar, an agriculturist who was working for a tiger conservation project in the area, I came across a few former insurgent leaders who had given up arms to work for the conservation of the rich wildlife and ecological diversity along the Eastern Manas range. The #ChowkiEco-TourismSociety, which was formed by Satan Ramchiary (a former elected representative) and others, has now become a vibrant picnic spot and a model village of sorts.
Chowki soon became a regular destination for us and we would bathe in the rich natural beauty of the place, alongside the Kolsi River, taking delight in the sights and sounds of the raw and verdant natural beauty, and also the rich treasure trove as far as wildlife was concerned. We would often cross the river in Satan’s jeep and cross the officially demarcated Indo-Bhutan border to Sangdrup Jongkhar and gorge on Bhutia delicacies like #EmaDatshi (Bhutan’s national dish which is a delicious chilli cheese stew) and of course, the amiable hospitality of the people.
Over the last couple of years, with the law-and-order situation in Bodoland improving to a great extent and thanks to better road connectivity, many people from Northeast India, especially Guwahati, would often visit Bhutan’s nearest district Sangdrup Jongkhar. The low excise duties on liquor and fuel proved to be an added stimulus to make Sangdrup Jongkhar feasible for a day-long outing. A bottle of #K5, a fine blend of premium scotch distilled and produced in Bhutan itself, had already become a hit amongst north-easterners by this time!
A couple of days back, a friend, Monmi Das, who is a foodie-turned-food entrepreneur, asked me if I would be interested in joining her for a trip to Sangdrup Jongkhar to witness the #Tshetsu or Mask festival of Bhutan. With Monmi being a celebrated chef who loves to explore and experiment with various cuisines, I immediately took up the offer (more for the opportunity to indulge in some traditional Bhutanese delicacies, rather than anything else) and early in the morning the next day, we set out for the much loved traveller’s haunt. However, the last trip introduced me to another new aspect of Bhutan which I had really learnt to appreciate till now.
The Tshetsu festival is an annual festival organized by all the district departments of Bhutan. The festival, which is a highly sacred and solemn affair, is observed with much fanfare and in the typical relaxed, disciple and amiable nature of the Bhutanese people. Although I was not initially allowed to enter the hallowed sanctum of the monastery as I was dressed in a not-so-formal attire, our friend Jigmee Dee managed to take us to watch the festival from afar.
During the #Tshetsufestival, mask dances to commemorate the deeds of the great saint Guru Rinpoche are performed. The dances invoke the deities of the tantric teachings – who through their powers and blessings remove misfortunes by suppressing all evil spirits. While the locals attend the colorful festival to gain merit, visitors travel from far and near to witness the spectacular display of color, age-old traditions, and tantric Buddhist rituals. The festival traditionally commences with Buddhist monks performing the Shingje Yab Yum – the dance of the lord of death (Shingje) and his consort. This is followed by Durdag – the dance of the lords of the cremation grounds, after which, the dance of the black hats, Shanag, and the dance of the drums from Drametse (Drametse Ngacham) are performed.
As we returned from the festival, we stopped at Jigmee’s restaurant in the town which he runs along with his mother and his wife. The town itself has not changed much since my first visit although the footfalls from Guwahati have markedly increased over the last few years, a fact which Jigmee vouched for. With the Indian government opening up its doors to its immediate neighbours in the East, the small town of #SangrupJongkhar also seems to be readying up to accommodate the increasing footfalls. A beautiful garden depicting Bhutanese traditions and cultures had already been opened in the city within a span of a few months since I last visited the town. A young entrepreneur himself, Jigmee too is getting prepared to welcome tourists, Indians especially, as Indian tourists don’t require a visa to enter Bhutan.
The Assam Government too seems to have woken up to the immense tourism potentials of the area and very recently, Assam’s Tourism Minister Chandan Brahma had also unveiled the launch of #DwijingFestival, a festival celebrated near Hagrama Bridge, on the banks of the River Aai, as a calendar event of the State tourism department.
While the onus of developing people-to-people connectivity amongst the people of both countries lies on the government, my own tryst with Bhutan has been an enriching one so far. And I sincerely believe that this love story has many more pages left which are yet to be opened.
Classical Guitar Festival leaves Guwahati enthralled
Classical music aficionados of Guwahati were in for a treat last week. The reason was the 2nd Guwahati International Guitar Festival which was held at the Directorate of Museum, Government of Assam in Ambari on December 20th last.
The Guitar Festival was initiated by the Indian Guitar Federation and city-based Mineral Water led by Lueit Hazarika. Into its second edition this year, the guitar festival featured a few master classical guitarists and others nylon instrument and who kept the entire audience mesmerized till the very end.
The performing artists in this year’s edition included Johannes Moller from Sweden, Thu Le and Lorenzo Bernandi from Italy and Ricardo J Martins and Fernando Ponte from Portugal. Before the concert in the evening, a classical guitar workshop was held in the lawns of the State Musuem in which around 65 students and music enthusiasts participated. Talking about the workshop, Lueit said, “Like last year, the workshop was open for all students and youngsters who have the basic guitar playing skills. We had around 65 participants this year for the workshop which were held on the lawns of the museum.”
The evening concert featured performances by the invited artists and the small auditorium of the State Musuem was packed to the brim with many people sitting on the stands to watch the eclectic performances. The evening began with a performance by Swedish composer Johannes Moller. An ambassador of the ZhenGan guitar of China, Johannes Moller had won the Concert Artist Competition Guitar Federation of America (GFA) in 2010 and performs close to 100 concerts across the globe every year. He started the evening with some of his own compositions and finished off with a unique fusion of Western Classical notes based on Indian Classical music.
The second performer, Thu Lee is an international award winning performer. Originally born in Hanoi, the guitarist who now lives in Bahrain. An influential classical music guitarist, she has earlier performed in countries like Italy, England, France, Germany, Spain, Bulgaria, Romania, Vietnam, Thailand, Malaysia, USA, Nepal, Turkey, etc.
The final act of the evening saw master guitarists Ricardo J Martins and Fernando Ponte from Portugal. Both of them are ambassadors of the Portugese Guitar which is the main accompanying instrument for the Fado music of Portugal. Fado is the traditional folk music from Portugal described by UNESCO as an “Intangible Cultural Heritage”. It is usually characterised by mournful tunes and lyrics, often about the sea or the life of the poor, and infused with a sentiment of resignation, fatefulness and melancholia.
After the concert in an exclusive conversation with the writer, Ricardo spoke about the influences of Potugese music, especially Fado, in other parts of the world, especially in Goa of India where they are scheduled to perform before the end of this year. Lueit too spoke about the similarities of the music of a few communities of India and those of Portugal
Veda Aggarwal, Director General of the Indian Guitar Federation, said that the concert was an attempt of the federation to give people in the Northeast a chance to experience the best classical musicians of the world. The concert had earlier travelled to Calcutta and Imphal before coming to Guwahati.
Sananta Tanty: The ‘Aangbang’ poet from Assam
In Conversation with Legendary Assamese Poet and Sahitya Akademi winner for 2018 Sananta Tanty who is fighting a tough battle with Cancer
“I am an ‘aangbang’ person. ‘Aangbang’ in Assamese means innocent or someone who doesn’t understand the ways of the world. I am ‘aangbang’ because I don’t understand politics and the management of life. I do not even know how to compromise with my time. As an ‘aangbaang’ person, I have only one fascination in my life – the fascination of hope. I love hope. From the beginning to the end of the day and from the evening to midnight till I go to sleep, I always think about hope, hope and hope – the hope of a beautiful mind, hope of a beautiful society and hope of a beautiful world. And I live with the hope of a beautiful future for mankind.” – Sananta Tanty
One of the most distinctive voices which appeared in the Assamese firmament in the 60s and 70s, and which continues to be heard with the same zeal and rebelliousness, is none other than that of Sananta Tanty. A legend in his own right, his poetry, in the words of noted critic and translator Pradip Acharya, gives us a feel of alien realities. Dealing with themes like corruption in public life, unemployment, poverty and hunger, Tanty’ voice is raw, unadulterated and compels the readers to listen to him with full attention. Tracing his origins to the exploited tea garden workers of Assam, Tanty was among the few poets who heralded the emergence of a new breed of poets from different ethnic grounds in the 1990s.
A rebel who chooses to voice his dissent through the words of poetry, Tanty is considered to be one of the most popular and radical poet of his times – a position he strives to maintain even to date with his unique style of writing, thoughts and observations. The recipient of numerous awards and citations, his poems have been translated into different national and international languages, and have been published all over the world, including the much revered ‘Asymptote Journal’. He also served as members of various literary committees, including the Assamese Language Advisory Board of the Sahitya Akademi, Children’s Literary Trust Assam, All India Radio, etc. Besides being a poet of repute, Sananta Tanty served as a responsible gazetted officer and retired from service in 2012 from Assam Tea Employees’ PF Organisation
Sananta Tanty was born in 1952 in Kalinagar TE of Karimganj district in Assam. Hailing from an Oriya-speaking poor Tea Garden Labourer family, he was brought up in a semi-urban environment of Ramkrishna Nagar. During his childhood and adolescence, he was exposed to Bengali literature at the hands of his elder brother and it was love for him at first instance. Through the Bengali language, he first learnt and fell in love with literature and also wrote his first poem, a love lyric, in the language.
His early college life in Shillong made him a person of great sensibility but his stay in Jorhat at the threshold of his youth, and the lucidity and life of the Assamese language forced him to write in Assamese. His left radicalism and sensitivity during the time of the great political unrest in Assam in the eighties made him a voice to be reckoned with. A poet who is originally an Oriya, educated in Bengali but who writes in Assamese is definitely not an easy task. But that is Sananta Tanty for you – a man who had to face battles after battles throughout his life but who, as a valiant warrior, gears up for every new encounter with an upright chest. Tanty, who was diagnosed as suffering from Cancer in 2010, has been battling the dreaded disease with a strength and determination that only a true warrior and eternal rebel can possess.
I had met him at his residence in Guwahati in the month of May, 2018 to talk about his journey in the world of poetry. Following are excerpts.
Q. Can you please tell us a bit about your childhood. Where did you complete your education and how did you get interested in the world of poetry?
Ans: I was born as the youngest of five siblings to Loknath Tanti and Baitarani Tanti in Kalinagar Tea Estate of Karimganz. My father was a tea garden labourer and we remember growing up in abject poverty. Out of my five brothers and sisters, only me and my second eldest brother received formal educated. I did my initial schooling in Kalinagar Tea Estate Primary School and did my higher secondary from Ramkrishna Vidyapith in Ramkrishna Nagar, which was near our tea estate. My eldest brother, Basanta Kumar Tanti, did not receive any formal education but was a voracious reader. He used to read all the magazines and books collected by the wife of our tea garden manager. I got interested in reading after watching him and by the time I was in Class 4 or 5, I had already started reading the works of writers like Somoresh Basu and Mahasweta Devi. I wrote my first poem in High School but that was in Bengali as we studied in Bengali medium and grew up in a Bengali-dominated environment. After that, I went to Shillong to study in St. Anthony’s but could not complete my education due to lack of finances.
While in Shillong, I stayed in the tea garden hostel called Prime Rose Villa where I met a lot of fellow acquaintances from the tea garden community. I was exposed to the culture of little magazines in Shillong and my first poem was published in a little magazine. Therein I joined the students wing of a political body and met a professor Udayan Ghosh who encouraged me to read poetry. That is how my interest in poetry developed further. However, since I could not pursue my studies, I had to leave Shillong to search for a job.
I accordingly landed up in Jorhat where I worked as a clerk in a tea plantation company. While in Jorhat, I attended night college and completed my graduation from night college. It was in Jorhat that I was exposed to the world of Assamese literature and I would read the poems of stalwarts like Nilomoni Phukan, Hiren Bhattacharya, Dr. Nagen Saikia, and others. Living in Jorhat and being exposed to such rich Assamese literature made me start writing poems in Assamese.
Q. You have around 14 collections of poetry to your credit and all are highly acclaimed by your readers as well as critics. Can you please tell us about the journey from your first collection?
Ans: My first first collection of poetry, ‘Ujjwal Nakhatrar Sondhanot’ was published in 1981, followed by ‘Moi Manuhor Amal Utsav’ in 1985, ‘Nizor Biruddhey Sesh Prastab’ in 1990, ‘Sabdat Othoba Sabdahinotat’ in 1993, ‘Mrityur Agar Stoppageot’ in 1996, ‘Toponito Ketiaba Barisha Ahey’ in 1997 and ‘Dhuan Sair Sopun’ in 1999. After a gap of three years, my collection ‘Dirno Bosontor Saurav’ was published in 2002, which was followed by ‘Apuni Apunar Hotey Yudhha Koribo Paribone’ in 2004, ‘Moi’ in 2008, ‘Mur Nirabhoron Atmar Sokaboho Sobdobur’ in 2010, ‘Kailoir Dinto Amar Hobo’ in 2013 and ‘Mur Priyo Sopunor Osore Panzore’ in 2017. Besides these copies, a bulk of my poems have been translated and collected in the book ‘Selected Poems Sananta Tanty’ by Dibyajyoti Sarma in 2017.
Q. You have received a number of awards. Can you please tell us about the awards that you have won? Growing up in a tea garden family of Karimganz, did you ever think that you will earn so much popularity as a poet?
Ans: As a child, I never thought that I would become a poet, and that in Assamese language. But destiny has played its part. However, even as a child I was very strong-willed and full of determination to success. Despite being surrounded by poverty around me, I knew deep inside me that I would make a mark in something or the other.
Coming to your first question, awards and recognitions do help a person to improve himself but I have never wrote any poetry with the hope of winning an award. Nor have I lobbied for any award, which is usually seen in this type of domain. My first public recognition was the Mrinalini Devi Goswami Award which was conferred by Asom Kavi Samaj in 1992. After that, I received the Beer Birsha Munda Award by Dalit Sahitya Akademi in 2002, Osman Ali Sodagar Samannya Award by Char Chapori Sahitya Parishad in 2011, Krantikaal Samman in 2014, Nizora Kavi Sailadhar Rajkhowa Award by Asom Sahitya Sabha in 2015, SIRISH-OIL Literary Award by APPL Foundation in 2016 and Pandit Padmanath. Bidyabinod Smriti Sahitya Puraskar in 2016 by Ramanath Bhattacharya Foundation.
Q. The Assam Valley Literary Award 2017 by Magor Education Trust, Assam was conferred on you recently. Can you please tell us what inspires you to write poems, something which you had so beautifully described in the award acceptance speech?
Ans: I am an ‘aangbang’ person. ‘Aangbang’ in Assamese means innocent or someone who doesn’t understand the ways of the world. I am ‘aangbang’ because I don’t understand politics and the management of life. I do not even know how to compromise with my time. My IQ is so low that I sometimes think over these words, not twice or thrice but hundreds of times. However, at the end, I feel like a zero. And as such, I avoid participating in discussions relating to life, politics, literature and criticising others.
I am a small person with big dreams. I am a dreamer, a big dreamer. I sometimes dream so big that I cannot control myself from taking the measurement of time, look closely at my surroundings and my position as a human being. I begin to express myself through the window of my heart. My readers say that these expressions of my heart are poetry and they call me a poet. Of course, I am obviously proud of being called a poet.
As an ‘aangbaang’ person, I have only one fascination in my life – the fascination of hope. I love hope. From the beginning to the end of the day and from the evening to midnight till I go to sleep, I always think about hope, hope and hope – the hope of a beautiful mind, hope of a beautiful society and hope of a beautiful world. And I live with the hope of a beautiful future for mankind.
Q. Your optimism towards life is truly exemplary. On a personal note, you have been suffering from Cancer for quite some time now and have had to face a lot of hardships to fight the dreaded disease? When were you diagnosed with the disease and don’t you feel discouraged at times?
Ans: I was diagnosed as suffering from Cancer in 2009 or 2010 and since then, I have been taking treatment to fight this disease. I guess I am in what they call the third or fourth stage now but I have still not given up hope. And as far as disappointment is concerned, I do not let these feelings come into my mind. It has been a very tiring journey for me and my wife, Minoti Tanti, and our two sons, without whose support it might not have been possible to come so far. But the hope and zeal for life pushes us to carry on, despite all the odds that are facing us.
Guru Ramkrishna Talukdar: A Torchbearer of Sattriya dance
In the field of Sattriya dance, Guru Ramkrishna Talukdar is a name which hardly needs an introduction. A renowned choreographer and educator of Sattriya and Kathak dance, he is the first formal graduate degree holder in Satriya dance and music in the State. Besides being a renowned choreographer and teacher of Sattriya and Kathak dance, Ram Krishna Talukdar has been showcasing Assam’s famed Sattriya dance in various stages across the entire world for more than 40 years now. It can be said without an iota of doubt that his efforts towards the scientific study of this dance form paved the way for the official recognition of Sattriya dance as a classical dance form by the Indian government in 2000.
Trained under the Guru Shishya Parampara, he has spent an entire lifetime learning, as well as teaching the intricacies of Satriya dance to members of the new generation and has conducted several lecture-demonstrations/ workshops/ seminars in Sattriya dance – both in India as well as abroad. The first “A” Grade Artist in Satriya dance of Doordarshan, New Delhi, RamKrishna Talukdar was one of the first and very few Satriya exponents to undertake a scientific approach towards the study of this ancient dance form. Besides completing the five year B. Music degree from Guwahati University, he has also pursued a four year course in Nritya Visharad from B.S.V. Luknow, a two-year M. Music, Nrityalankar Diploma course from ABGMV Mandal, Mumbai and then a two-year Master’s Degree from IKS University, Madhya Pradesh.
Ramkrishna Talukdar was born at Bamakhata in the district of Barpeta in 1963 to late Gajendra Nath Talukdar and Dhaneswari Talukdar. He spent more than 25 years learning the intricacies of Sattriya dance under the Guru Sishya Parampara from doyens like Ananda Mohan Bhagabati, SNA awardee late Rosewar Saikia Barbayan, Padmashree Jatin Goswami and Padmashri Ghana Kanta Borbayan. Ramkrishna Talukdar has groomed several students in the art form through his institute, Nartan Kala Niketan, and his list of students includes dancers from other countries like Belarus, Japan, Kazakhastan, USA and France. In an illustrious career, both as an educationist and as a performer, he has produced more than 12 dance dramas and composed and choreographed around 30 dance numbers.
As an educationist, Guru Ramkrishna Talukdar has also authored the book, ‘Nrity Kala Darpan’, which is the prescribed course book for 10th standard students studying under the Secondary Education Board of Assam. He is also a member of the Srimanta Sankaradeva Studies department of Guwahati University, the Indian Council for Cultural Relations – Northeast region, under Ministry of Culture, and a member of the Expert Committee for Sattriya dance, Ministry of Culture, Government of India.
Recognising his immense contributions in the field of Sattriya dance, he has been felicitated and honoured by a host of organizations, like the Asom Sahitya Sabha, Asom Sattra Mahasabha and the like. He has been conferred with various titles by different socio-cultural organizations like “Asom Gaurav”, “Sangeet Jyoti Award”, “Nritya Ratna”, “Kala Gaurav”, “Nrityanjali Award”, etc. Earlier this year, his name was announced for the prestigious Sangeet Natak Akademi award to be conferred later this year.
I met the illustrious dancer and educationist at his residence in Guwahati to know more about his life and journey in the world of Sattriya dance. Following are excerpts.
- At the outset, please accept our congratulations for being named for this year’s Sangeet Natak Akademi Award. What were your immediate feelings when your name was announced for the award? Do you feel that the award should have come your way much before?
Ans: I am definitely thrilled at receiving the Sangeet Natak Akademi award. Any recognitions or awards for that matter go a long way in encouraging performing artists like us to pursue with our passion. I have spent my entire life in the pursuit of Sattriya dance; in fact, I know nothing else apart from this dance. Growing up in Assam and being the first student to take formal training in Sattriya dance from Guwahati University, I have had to face a lot of humiliation on my decision to pursue dance as a career. Many people rubbed me off saying that I had lost my mind because of my decision to pursue dance. However, I am glad that I have been able to survive and establish myself in this chosen field.
Coming to your second question, I do not feel that the award has been late. In fact, I feel that the award came a bit too soon because now my responsibilities have increased manifold.
2. You were born in Bamakhata of Barpeta district. Please share memories of your growing up days and how you got interested in the field of Sattriya dance.
Ans: I was born to late Gajendra Nath Talukdar and Dhaneswari Talukdar in Bamakhata of Barpeta district September 4, 1963. Our house was located right opposite the Bamakhata Sattra and my entire family is involved with the Sattra. In fact, I belong to the third generation of the family involved with the Bamakhata Sattra. I was the fourth son among six brother and sisters.
My father was a renowkned folk artist of Kamrupiya and Goalpariya folk songs. Although he was not formally educated, he was an institution in his own right and possessed a lot of knowledge of the folk songs of that era. My mother, late Dhaneswari Talukdar, was a teacher in Bamakhata Sattra. My entire family members are involved in the Sattra in some way or the other.
3. Please tell us about your education.
Ans: I passed my matriculation from Soukhuti High School and completed my higher secondary education from Bajali HS. During that time, the Assam Government decided to establish the first State Music College at Rabindra Bhavan. The Guwahati University prescribed the course for the same and in 1982, I joined the B.Music Course of the State Music College as its first student. That was the sole music college in Assam at that time. Of course, in 1982, Sattriya dance has not received the classical status that it enjoys today and it was taught as a folk tradition. Eminent scholar late Dr. Maheswar Neog was instrumental in setting up the college. He was of the opinion that Sattriya dance needed to be taken out from the Sattras and brought in the ambit of formal education so that this glorious tradition could be passed amongst the new generations. I paased out in first class as the first graduate in Sattriya dance.
The Directorate of Cultural Affairs then sent me outside to study classical dance so that I could find out why Sattriya was not being accorded Classical dance. I learnt Kathak in Luknow under my guru Sri Surendranath Saikia. After coming back, I was offered a job at the State Music College in 1992.
After that, I went to the Madhya Pradesh to study at the Indira Kala Vishavidyalaya, was the sole Music and Fine Arts University of India during those days. Students from all over the world used to come and study Hindustani music there but very few people in our State knew about its existence. I completed my Master’s degree from that university in 1997.
4. You were the first Sattiya exponent to study the dance in a scientific way. Please tell us about those days.
Ans: As I mentioned, I was sent by the State Cultural Affairs department to learn Kathak dance in Luknow. My primary aim was to find out why our Sattriya dance was not able to receive the recognition of a classical dance form. While in Luknow, I realised that our Sattriya dance was not being taught in a scientific way. I found that compared to other classical dance forms, there was a difference in the theory and practical presentation of Sattriya dance. Experts like Dr. Maheshwar Neog were indeed presenting papers on the theoretical aspects of Sattriya dance but there was no dance expert who could practically explain those aspects through the medium of dance. I, through the Directorate of Cultural Affairs, tried to incorporate those aspects in modern stage presentations of Sattriya dance. I was lucky to be associated with luminaries like Ananda Mohan Bhagabati, SNA awardee late Rosewar Saikia Barbayan, Padmashree Jatin Goswami and Padmashri Ghana Kanta Borbayan, who first took the initiative to study Sattriya dance in a scientific manner.
We had to meet with a lot of controversy once we started teaching Sattriya dance in a scientific manner. Although my colleagues and office bearers of the cultural affairs department were confident of my capabilities, people outside, especially in the Sattras were hesitant to incorporate the new changes because they did not want to tamper with the originality of our dance form. But once Dr. Bhupen Hazarika became chairman of Sangeet Natak Akademic, it became easier for Sattriya dance to achieve classical status.
5. You have also authored a book…
Ans: In 2004, I studied six classical dance forms. I underlined the reasons why our dance was not accorded the classical dance status despite it being a classical dance form. That book is now the prescribed course book for 10th standard students of SEBA.
6. What were the main steps you took towards the scientific study of Sattiya? Please tell us about your steps towards the popularisation of Sattriya dance.
Ans: Having studied other classical dance forms and being a teacher of Sattriya dance, I realised that practice was crucial for Sattriya to be recognised as a classical dance form. While dancers practicing other dance forms would practice more than 8 hours a day, we could hardly find a Sattriya dancer who would practice for even an hour. I started the trend myself because I had to show the way to others. I began practicing the dance for more than 14-15 hours a day.
Besides I was the first A grade artist in Sattriya dance for Doordarshan. Then I took the initiative to produce video CDs on Sattriya dance for mass dissemination. Then we also created a website where people from all parts of the world could know about Sattriya dance.
7. Please tell us about your family.
Ans: My wife and daughters are all involved with Sattriya dance. My wife Rumi Talukdar is an empanelled Sattriya artist with ICCR and has performed all across the world. My daughters have both received national-level scholarships from CCRT, under Ministry of Culture, Government of Assam, to study Sattriya dance.
Minoti Khaund: Creating a Legacy of Music
A musical career spanning 50 years.. a single-minded devotion to Hindustani Classical music and its science and art… an instrument called the violin… one of the most difficult instruments to master… and weaving with the bow and strings a magical power to induce both happiness and tears with the same notes. That is the virtuosity of Minoti Khaund, the veteran violinist from Assam who has spent a lifetime in the pursuit of Hindustani classic music and its promotion in the region.
A musician who has established her mettle as a specialist amongst her craft globally, she has been a staunch guide and supporter to hundreds of musicians who have come under her tutelage and who have carved a name of themselves in their own right. But she perhaps takes pride in the fact that she has managed to groom and lay a strong foundation for her own daughter Sunita Khaund Bhuyan, who is presently earning critical acclaim across the globe through her mastery with the bow and fiddle.
Born in 1940, Minoti started playing the violin at the tender age of 10 years. Born to a musically enriched family in the music loving town of Jorhat in Upper Assam, she first expressed her desire to play with the fiddle to her maternal grandfather, Mr. Biswa Sarma, a noted connoisseur of the fine arts himself. Her grandfather could sense the passion in the girl child’s eyes and bought her a violin. This is when Minoti’s ethereal journey started with the violin and classical music began to encompass a rich musical career which has spanned more than 50 years now.
Initial Days
Reminiscing about those early days, she recounts, “My grandfather was the President of All Assam Music Conference – Jorhat chapter. Everyone in my family had a huge inclination towards music. We were exposed to a lot of music shows where maestros used to come and perform. That atmosphere helped me a lot in my career. I must have been eight or nine years old when I started my career in music. There was a music school in Jorhat run by Late Lokanath Sarma where children from well-established families used to come to learn music. We learned under the guidance of Indreswar Sarma.”
Her family’s deep rooted interest in music also helped her develop as a musician. As she says, “My mother wasn’t a musician, though, but she stood by me through thick and thin, to become my source of inspiration to pursue music. At that time, learning music wasn’t easy as teachers were not available and there weren’t many institutions as well. But my sister, Pronoti Khaund is a singer. My brother (who is no more) used to play tabla, flawlessly. The All Assam Music conference played a pivotal role in our lives for giving us abundant opportunities of performing in different platforms, and at the same time meeting the experts and learning from them. I can recall many instances when in the December month’s chilly nights, people used to sit all night long clad with their blankets to listen to music, until 6 am in the morning, with a lot of patience. It was highly motivational for us. I was already performing before marriage, for I was the only lady violinist in the town, perhaps in the whole of Assam. I got married at the age of eighteen.”
The turning point in her life came when she was performing at the All Assam Music Conference in 1972 and violin maestro Pt. V.G.Jog heard her on stage and offered to impart his art to Minoti.
Minoti, already a mother of two and the daughter-in-law of then Deputy Commissioner Rabindra Ram Khaund, agreed to this god sent opportunity and started her apprenticeship under Pt. Jog. Her husband Kabindra Ram Khaund and her family supported her completely in her journey seeing her thirst for music and devotion towards the violin.
Fifty Glorious Years in Music
Thereafter started the traditional Gururshisya Parampara between Minoti and Padma Vibhusahan Pt Jog. Minoti bloomed as a musician under Jog’s able guidance and the exposure of performing on live shows besides him. For Indian Classical Music this is the best way that a student of music can imbibe the nuances and intricacies of the science and the art of classical music, accompanying the guru and simultaneously building a rapport with the audience.
Acknowledging the huge role of her guruji in her life, Minoti says, “Getting opportunities of seeing the performances of noted violinists, and also performing with them, has played an integral role in my learning. When I used to go to Calcutta to learn under my guruji, he used to take me to various music conferences, and to meet various other gurus, to see and learn from them. I met A T Kana, vocalist (a maestro). We played vocal music, not in words, but with our fingers. Pt. Budhadeb Dasgupta, another noted musician, also shared his knowledge, and I could learn a lot from him and his gharaana. He was a very liberal person. And, he is the one who inspired me to learn from everything. He said that I should grab a piece of learning from everyone and everywhere, wherever there is something good to learn.”
The Rising Talent Conference at Kalamandir Calcutta in 1978 introduced Minoti as a talented artiste in front of the knowledgeable gurus and music hungry audience of Kolkata. There has been no looking back since then. The Amir Khan Music Conference at Rabindra Sadan Calcutta, Benaras, Burdwan, Cuttack, Bhubaneshwar, Tatanagar, Rabindra Natya Mandir Mumbai, India International Center Delhi, Mehta Memorial Hall Allahabad, IIT Festival, Shankardev Kalakshetra Guwahati, National Gallery of Modern Art Mumbai, India Habitat Centre Delhi, Women’s International Forum Goa, Kala Ghoda Fest, Mumbai, Nehru Centre London, Glasgow, Nehru Centre Mumbai, Madhusudhan Manch Kolkatta, Kameshwari festival, SAWF Sri Lanka, Ganga Mahotsav Varanasi, Sangeet Natak Academi, ITC SRA series, etc were some of the platforms that Minoti performed in and enthralled the audience and press alike. She became the foremost violinist of Assam and did her motherland proud, earning accolades by blending the tantrakari style of Pt Jog with her own inherent melody.
Innovations and Awards Galore
Minoti continued her parallel studies in the field of music and attained Sangeet Nipune from Prayag Sangeet Samitti, Allahabad, in 1986, bagging a gold medal for her Sangeet Visharad. During this period, she also got associated with vocalist Pt. A.T, Kanan of the Sangeet Research Academy, Kolkatta and imbibed the “gayaki ang” in her style. She also underwent music studies in the field of raga improvisations and rhythmic patterns of “tala” from sarod maestro and musicologist Pt. Buddhadev Dasgupta. She became an empaneled Artist of ICCR, Ministry of External Affairs, Government of India in 1990.
Minoti’s new composition on Durga Shakti with her daughter Sunita Khaund Bhuyan, “Invocation of Ma” has taken the mother daughter duo across the country and abroad. She was conferred the title of Sangeet Jyoti and was recently conferred the Shilpi Award by the Assam government for having completed 50 years as a violinist and music teacher. She also received the Lifetime Achievement in Music recently by the Paschim Guwahati Durga Mandir Trust recently. Besides, she brought glory to Assam when she received the Exceptional woman: Creating a Better World Award at the Women’s Economic Forum in 2018 and the R. G. Baruah Award for Excellence in her Craft in 2017.
Contribution to the Field of Music
All through her musical career, Minoti has been contributing towards society by propagating Classical Music amongst the youth and teaching the violin to the young and old alike. Her vast experience in the performing art and musical studies gives her the edge to impart music lessons on the violin with technically accurate systems and methods.
Pt Jog was so impressed with the way Minoti had groomed Sunita into the intricacies of the instrument that he also offered to train Sunita under him and thus carried on the “guru shisya parampara” across two generations of violinists. The mother and daughter have been currently performing jugalbandis together
Minoti currently is the visiting faculty of a reputed music college of Guwahati and is a panel examiner for music courses at the State College of Music and Art. She is currently focused on spreading the knowledge of music as a sublime recreation and frequently speaks in music forums and conducts workshops and seminars. She has also retained her penchant for writing and is a prolific writer of music columns and articles in journals and newspapers. Her endeavor has been to propagate music among today’s generation and make music a medium of achieving inner peace and harmony and thus spreading positive energy and harmony throughout the society.
When asked if she felt that her achievements in the field of music have not been acknowledged at par, Minoti Khaund, as a true musician, says that her inner satisfaction is paramount and that “no external titles” can deter her from her passion. “I have spent an entire lifetime in pursuit of music which has brought happiness to me from within. I am well aware of my own capabilities and I have crossed the stage when I have to look to others for approval.”
Encouraging Fusion, But a Purist at Heart
A purist at heart, Minoti Khaund has strived to keep the flag of classical music flying high. But she is also aware of the need for cultural evolution. She encourages today’s youth to experiment with different kinds of music as she believes that all melodies in the world centers around the 7 notes of Sa Re Ga Ma Pa Dha Ni. However, she maintains that mastery in any kind of music can be attained only through the pursuit of classical music. This has been the content of many of her speeches and columns, which has inspired a large number of young people to learn classical music.
As she says, “We all have to evolve with the changing times. During my jugalbandi performances along with my daughter, while I encourage her daughter to go ahead and experiment with other genres, I myself stop after a certain point,” she says.
POCKET DYNAMITE
Upclose with Mizo boxer NT Lalbaikkima who caused a major upset in World Boxing by defeating World Champion Hasanboy Dusmatov at the Kazakhastan President’s Cup last month. NT Lalbaikkima, or Pocket Dynamite as he is properly called, is now preparing to win the Gold Medal for the Indian Boxing contingent during their tour to Indonesia.
By Aiyushman Dutta
Northeast India is slowly yet steadily emerging as the new sports capital of India. After Assamese girl Hima Das’s recent historic feat in the track events at the IAAF World Athletics Championship where she won the Gold Medal in the Women’s 400 Metres Finals, it is now the turn of another talented youngster from Mizoram to plummet the region into international sporting prominence.
NT LalBaikkima is a name you should remember, and remember well at that. LalBaikkima created history in World Boxing last month when he managed to upset reigning Olympic Gold Medalist and World No 1 champion Hassanboy Dusmatov at the Kazakhastan President Cup Quarter Finals. He became the first Indian to beat a reigning Olympic Gold Medalist and the first Mizo boxer to create such a major upset in an international sporting event.
Only 22 years of age, LalBaikkima is already being counted as one of the future stars of Indian Boxing. Owing to his short height and rather miniscule appearance, he has already earned quite a few epitaphs – Mini Tyson and Pocket Dynamo/ Dynamite being a few of them. But as they say appearances can be deceiving for his diminutive height does not prevent the young boxer from landing power-packed punches – punches which have the intensity to upset World Champions!
I recently entered into a conversation with the young boxer to talk about his historic victory over the World Champion and about his life and boxing. Following are excerpts.
Q. First of all, please accept our congratulations for your historic feat. You hail from Siaha district of Mizoram, which is located along India’s border with Myanmar. Tell us about your growing up days and how did you grew interested in boxing?
Ans: I was born in Siaha district of Mizoram in the year 1996 to Nutlai Zomwaia and my mother Zothanpuii. Siaha is a small beautiful Mizo town located near the international border; it is the last district of Mizoram. Although my family were not well off, I had a happy childhood, living together with my parents, family and neighbours, who all were like a big family to me.
As a child, I always wanted to be a footballer. When people asked me about my aim in life, I always used to say that I wanted to become a footballer. I would take special care of my fitness and train myself day in and out. I never smoked or indulged in drinking because I knew that it would interfere with my fitness levels.
There are hardly any boxers in Siaha district and the sport does not have a huge fan following as such. I first got attracted to the sport when LPS channel (a local cable channel) organised the LPS Promotional Fight in 2009. I was around 15 years old and that was the first time I saw a boxing match being aired in our local television. That tournament influenced me a lot because it gave one the chance to become a Mizo Idol. That is how I got interested in boxing and it was during that time I decided to become a boxer. But till then, I was a typical small town Indian village boy who had never seen the city but who lived with hopes and dreams of making it big someday.
Q. What about your family?
Ans: My father and mother used to sell curries and fishes in the local market. But after 2012, my father, Nutlai Zomwaia, developed some kind of internal bleeding problems which forced him to remain at home and take rest. Since then my mother has been taking care of the household and the responsibility of bringing up me and my elder siblings – a brother and a sister – fell on her shoulders.
Q. You were always interested in sports as a child… What has been the support of your family towards your sporting endeavours?
Ans: Yes, I always loved sports and deep down I knew that it was my calling in life. I was not keen in formal education and did my schooling from Little Diamond English School, a school in our district. Since professional boxing had not yet arrived in our district, I was a keen footballer and would play football all day long and bunk classes in school after the first period. It was difficult for my parents when I behaved like that because our family condition was not very good at that moment. All that my mother earned was by selling fish in the market and she had to look after my sick father and three of us children!
Since I was not too much interested in studies, one day they told me to make a choice in life – either complete my education seriously or pursue boxing. I guess I was lucky in that way because my father knew about my interest in sports and my capabilities. So when I decided to pursue boxing and complete my higher secondary education from open schooling, my family stood behind me and supported me more than 200 percent. They have been my pillar of strength and no matter what I am today, whatever stage I have reached today, it is only because of my father and mother. I am lucky to have parents like them in life.
Q. You said that you were a keen footballer before. Did you ever take professional training in football?
Ans: No, I did not take any kind of training in football. But everyone said I was a good footballer because I use to take extra attention of my fitness. Everyone in my district knew me and used to comment about my good football playing abilities.
Q. When did you begin to think of taking up professional boxing?
Ans: Like I said, the LPS Promotional Fight was a big influencing factor in my life. That tournament opened my eyes to the world of boxing. However, I had not gone out of my village till that time. In 2009, a boxing tournament, Pykka tournament, was started in our home district. I participated in the same and won the Gold Medal. That was a huge motivating factor for me and I began to take keen interest in boxing.
Q. Did you have any coaches or formal training at that time?
Ans: No. In the beginning i.e. in 2009 and 2010, I trained on my own. There were hardly any boxers in the area and I would just go to the ring and watch the senior boxers play. I would watch them move around and would ask them for tips on how to punch. I used to practice 1-2, 1-2 all by myself, in the bathroom, at home, wherever I went.
Q, When did you take up professional training in Boxing?
Ans: I had never ventured out my home town till 2010. The first time I went to Aizawl was for the High School Sports Competition where I had participated in the marathon race event. After I returned home to Aizawl, my father told me to take up boxing seriously. So in January, 2011, I went to the city to learn boxing formally. That was a big challenge for me because I was very young at that time and we did not have any relatives in the city. I still remember my father crying because I had to leave.
In any case, I reached Aizawl and took lodgings in a hotel. I went to the Sports Authority of India playground in Aizawl and approached the boxing coach, Mr Vulthavunga and asked him if he would train me. He agreed, and I started training as an external student. Those were challenging days because I would do nothing else except train. My hotel was a bit far from the SAI complex and sometimes I did not have enough money to pay for my taxi fare; I would walk all the way up and down. But I kept on with my practice and maybe my hard work paid off because in 2011, I was selected to play in the Junior National Championships in Pune. Luckily, I won the Bronze Medal in that tournament.
Q. After Pune, which competitions did you take part in?
Ans: Winning the Bronze Medal in Pune was a big source of inspiration and I did not look back after that. The following year, in 2012, I participated in the Inter-Sports Authority of India (SAI) tournament at Haryana where I won the Gold Medal. In 2013, I won the Gold at Manipur. In 2014, I won the Gold Medal at the Northeast Games held in Arunachal Pradesh. In 2015, I won the Bronze Medal at the Senior National Games held at Nagpur. In 2017, I won the Gold Medal at the LB Chettri Invitational Championship held at Shillong. Then in 2017, I won the Silver Medal and Best Challengers Trophy at the Senior Nationals Championships held in Vizakhapatnam. And in 2018, I won the Bronze Medal at the India Open International Boxing Championships at Delhi. After that, I was selected for the Indian team training camp for the Kazakhastan’s President Cup where I defeated the World No. 1 and Olympic Gold Medalist Hassanboy Dusmatov.
Q, Your recent performance in the Kazakhastan’s President Cup Quarter Finals where you defeated World No 1 and Olympic Gold Medalist Hassanboy Dusmatov had made you a very popular name. Please share your experiences of the fight? Were you nervous while facing the Olympics Gold Medalist?
Ans: Well, that was a very important game of my career. I hope you watched my performance in the semi-finals match too which I played after that! Coming back to your question, I was not nervous at all. I was confident of putting on a good show. I knew Dusmatov was the World Champion but I was equally confident about my high fitness levels. I studied all his previous games thoroughly before the competition and it was my plan to tire him out totally before the match ended. I used speed along with counter punches ad well-judged guard to side-line the champion boxer.
Q. Besides Mr. Vulthavunga, do you have any other coach?
Ans: My performances in the 2015 senior nationals got the attention of the Navy coaches, upon whose recommendation I shifted to Navy Nagar in Colaba, Mumbai. In Navy Nagar, I came in contact with the Navy head coach and 2010 Commonwealth Games gold medallist Suranjoy Singh, who has since then become my coach. In fact, he is my favourite Indian boxer. Right now, I have been called for the Indian team trials which are being held at Patiala.
Q, What plans do you have for the future?
Ans: Earlier this year, I had lost out on a ticket to the Gold Coast when I lost to Amit Panghal in the India Open semi-finals that took place in New Delhi in February. However, my victory over Dusmatov has increased my chances of acquiring a berth in the Indian boxing team for the Asian Games that takes place in Indonesia in August and September this year.
My victory over Dusmatov has also greatly increased my self-confidence. My next goal is to find a spot for myself in the Indian Olympics team and win a Gold Medal for the country in the Olympic Games.
(EOM)
Copyright text: Aiyushman Dutta
Photos courtesy: NT Lalbaikimma
The River Man of Assam
An Academic’s Tryst with the River Brahmaputra
By Aiyushman Dutta
The Brahmaputra River is the pride and very lifeline of Assam. On the banks of this mighty river, a number of great civilizations flourished and these very banks gave rise to some of the world’s greatest monarchs, emperors, social reformers, artists, et al who have managed to carve a name for themselves in the chronicles of world history. From Ahom emperor Suikapha and saint Srimanta Sankardeva and Madhabdeva to our very own late Bhupen Hazarika, the river has acted as a catalyst to inspire and nurture the hidden talents in these legendary global personalities. While the mighty river has nurtured life to the fullest, it has also played the contrasting role of a mass destroyer as its mighty waves and currents, which erupts in the form of massive floods and erosion, have time and again proved nature’s, especially this particular river’s, superiority over mankind.
In this article, I would like to acquaint our readers with a unique man from Assam who has spent his entire life studying the flow and course of this river. Studying this river and its nature has taken him to various prominent positions across the entire world but wherever he has gone – be it to the farthest reaches of America or down South to South Africa, he has always taken a piece of the river along with him.
I am talking about none other than eminent environmental scientist and engineer Prof Dulal Chandra Goswami, who is nothing short of an authority on the River Brahmaputra. An erudite scholar and academician who holds significant positions in different academic and professional organizations, Dr. Goswami is widely known for his expertise on different issues related to the River Brahmaputra.
A former Colin Mackenzie Chair Professor at Anna University, Chennai in 2004, Prof Dulal Chandra Goswami retired as a head of the Department of Environmental Science at Guwahati University in 2003. He has also been associated with John Hopkins University (USA), Howard University(USA), Berne University (Switzerland), NASA Project (USA), NRSA, Department of Space, India and the founder of the Assam Remote Sensing Application Centre at Guwahati, besides holding a number of other important positions. His area of specialization is Fluvial Geomorphology, Environmental Science and Geoinformatics. His doctoral research was on Fluvial Geomorphology of the Brahmaputra River, Assam, India at Johns Hopkins University, U.S.A.
An academic with more than 150 publications to his credit, he received the prestigious Rockefeller Foundation Grant for research on the Brahmaputra river by the John Hopkins University, USA; a Research Fellowship from East- West Centre Fellowship, USA, to name a few. Not just as an academic, he has also mentored a number of researchers on the dynamics of the River Brahmaputra. Under his research supervision, 25 students have received their doctorate degree while 12 others have received their degree in M. Phil.
Having travelled across the world, Prof Dulal Goswami has been based in Guwahati since 2004 and has been heading a number of government bodies and committees, including as Member, L. C. Jain Committee of the Planning Commission for Economic Development of Assam, 1990, Member, State Wasteland Board, Member, State Wetland Board, Member, Technical Committee, State Land Use Board, Member, Flood Enquiry Committee, Govt. of Assam, 1986 and 1988, to name just a few.
I recently met the distinguished scholar at his residence on the outskirts of Guwahati to know about his family, his work with the River Brahmaputra and his journey to the States and other parts of the world. Following are excerpts.
Q. Please tell us about your childhood and growing up days.
Ans: I was born and brought up in 1943 in North Lakhimpur. While I was born in Silonibari Tea Estate, where my father worked, in the interiors of Lakhimpur town, I spent most of my formative years in our ancestral house in the town. My father’s name was late Keshab Chandra Goswami. The place where I grew up was a bit remote and even though people called it part of Lakhimpur town, it was still pretty rural.
I did my initial schooling in the Lower Primary School of Silonibari TE with children of other tea garden labourers. But later on, my father enrolled my into Lakhimpur High School from where I completed the rest of my schooling. I remember the great earthquake which struck Assam in the 1950s pretty vividly. The road leading to our school had got damaged overnight and that was the first time I got introduced with the vagaries of nature.
After completing my schooling, my father sent me to Shillong to pursue my higher secondary education at St. Edmunds. The journey to Shillong from Lakhimpur proved to be my first major acquaintance with the mighty River Brahmaputra. In those days, we had to cross the river via Jorhat in order to reach the other bank. I was so immensely fascinated by the River Brahmaputra and this fascination with the river has been chartering the course of my life all these years.
Later on, I came to Guwahati to study at Guwahati University where I chose Geology as my major subject. In those days, GU had provisions for classes in Geology, Geography and Anthropology at the undergraduate level and these courses were much sought after by the students. After completing my graduation, I worked for a while as a subject teacher in a high school back home. Once my financial condition improved a bit, I went to Saugor University in Madhya Pradesh to do my M. Tech in Geology. However, the train serves were pretty dismal in those days and I could not make it on time for my admissions. But since I had already reached the University, I did not want to come back. In that place, I met a university lecturer who had earlier visited Assam and who looked at me with sympathetic eyes. He told me to study Geography and I accordingly did my M.Sc in Geography with specialisation in Fluvial Geomorphology and Geoinformatics.
Q. You had worked as a teacher in Cotton College for a brief period of time…
Ans: Yes, after I came back from Madhya Pradesh, I started looking around for a job. Thankfully, there was an application for a post in Cotton College in those days. I applied for the same and was thankfully selected for the job. I spent around five years in Cotton College before I left to join Guwahati University.
Q. You had spent quite a lot of time doing field study of the River Brahmaputra…
Ans: Yes, while in Guwahati University, my interest in studying and knowing about rivers and river systems deepened. I had by then resolved to go abroad for higher studies but wanted to know more about our own river systems before doing so. So whenever I got the chance, I used to venture out to study about the river. During university breaks, I would go to Arunachal Pradesh and spend time in the dried-up river beds, visit government offices to study reports about floods. It was during that time that I started writing articles on the flood problem of Assam in the Assam Tribune.
I wrote letters to foreign universities and began corresponding with Professor M Gordon Wolman of JHU about my interest in the Brahmaputra river. The professor, who later became my guide and mentor, said he knew about the river and offered me a seat to study in their university. The government supported me and although the financial support was very minimum, it helped me reach the United States in 1976. Under Professor M Gordon Wolman’s suggestion, l studied Fluvial Geomorphology in the Dept. of Geography and Environmental Engineering, Whiting School of Engineering at the Johns Hopkins University.
Since the government’s financial support was very less, I was finding it difficult to complete my course. At that point of time, my mentor Professor M Gordon Wolman of JHU came to my help once again. Taking due cognizance of the low fellowship amount I received from the State Government, he introduced me to the Rockefeller Foundation, USA and fixed an interview with one of their office bearers in 1977. I considered myself to be very lucky to get this godsend opportunity and accordingly, applied for the interview at Rockefeller Foundation in New York. After a long and exhaustive interview session, the foundation granted me a fellowship to help complete the remainder of my thesis. Till date, I remember the proactive role played by my mentor Professor M Gordon Wolman of Johns Hopkins University who helped me continue my Ph.D. course in the States.
This fellowship helped cover the expenses for my frequent travels back home to Assam for my field work. It was during that period that I collected a lot of data for my thesis. There were very few tools for data collection and it was a laborious exercise. For instance, there were no Xerox machines in those days and I had to write everything down by hand. I had to make a lot of trips up and down to the university during that period. Somehow, in 1982, I managed to receive my Ph.D. degree.
Q. You were also involved in a NASA Project on Himalayan Snowmelt Modeling in Washington D.C…
Ans: Yes, after I received my Ph.D., I was approached by the NASA to conduct a project on Himalayan Snowmelt modelling. Although the project was titled Himalayan Snowmelt Modeling, it was mostly based in the Western Himalayas. That project lasted for almost a year and a half.
Q. So when did you decided to come back to India?
Ans: I must have done seven-eight such projects in the Western Himalayas when I decided that I had enough publications to my name. By that time, our son was also born and I wanted him to grow up in India. At that point of time, I got an invitation from the Indian Space Research Organization to be part of the Remote Sensing Centre in Hyderabad. I did not think twice and accordingly came back. Once I reached India, I was asked to lead a project on erosion caused by the River Brahmaputra in Assam for the Remote Sensing Centre. After that project got over, I had resolved to come back to Assam. Thankfully, during that time, a readership post in Guwahati University fell vacant and I was selected for the job.
Q. You were also the founder of the Assam State Remote Sensing Centre…
Ans: Yes, after I reached Assam, the State government approached me with an offer to start the Assam State Remote Sensing Centre as part of ASTEC. I took up the offer and led a group of young professionals to form the State Remote Sensing Centre. All these were, of course, honorary positions.
Q. As a person who has been actively involved with the dynamics of the River Brahmaputra and who is regarded as an authority on the Brahmaputra basin, do you feel that a solution to the flood and erosion problem which plagues Assam on an annual basis can be achieved in the near future?
Ans: I am very much optimistic that a solution to this grave problem will be found in the future. We have already hit rock bottom and the worst is already over. However, in order to mitigate this problem of flood and erosion, I feel that we need to take a more holistic approach to study the course of the river, right from its origins in China, before we can find a long-lasting solution to the problem.
Thank you sir, for taking out time to talk with us. It has been an enriching experience to know about your work and association with the River Brahmaputra.
(First published in melange, The Sentinel on July 8, 2018)