It’s that time of the year again, the time when people rush to make purchases, shopping as much as their purse strings can be stretched, making last minute additions to their wardrobe, and when the time finally comes, it’s time for them to show off their regalia, to revel in the spirit of pujo. For many generations, Durga Puja has necessarily been an occasion to bask in the festive light, to enjoy the humdrum of the Pujas spread all over town, to enjoy the sumptuous prasad of the Puja and go pandal-hopping. True, this holds true even till this day. The magnitude and number of Puja committees and their festivities have definitely increased by leaps and bounds, mainly due to large scale mass participation and contribution, and somewhat to the advent of sponsors financing a large chunk of the Puja festivities. However, it would be worthwhile to take into consideration the pathetic plight of those craftsmen, those unsung heores, who give us a reason to celebrate Puja every year, dexterously shaping up the goddess from mud, and lending shape and form to the goddess whose advent is celebrated so ecstatically. The idol-makers, the unsung heroes of the Puja paraphernalia, constitute a vital part of the ‘Puja’ experience, no less than the actual rituals and worship that is offered to the goddess. It is their skilled hands, which so deftly transform a lump of clay into an almost living breathing incarnation of the goddess, so lively and dazzling in its sublime beauty that as a child, I was often led to wonder whether the goddess was really manifest in her four-day incarnation.In Guwahati, there has been a phenomenal growth in both the splendour and size of the Puja, and for the better. However has it brought about a brighter day for the real heroes of the Puja? Well, unfortunately, it remains a hard pill to swallow that even after such massive expansion of the Puja phenomenon, the idol-makers are still confined to their pathetic plight, living in extreme penury and obscurity. Owing to a sharp increase in the prices of raw materials, accompanied by inflation, they have been pushed further into troubled waters. Guwahati’s repertoire of the idol-makers is concentrated mainly in College Hostel Road, Panbazar (Opposite KKH College), Pandu and Lachit Nagar. These idol-making enterprises or ‘shilpalayas’, as they are called, are a family affair of sorts, the fine art being handled down to the younger generations. The root of most of these families, now in their third or fourth generation in Guwahati, can be traced to West Bengal, mainly Cooch Behar. However, even native Asomiya craftsmen have taken up this trade, bringing in their own unique touch to this dying art. However, their plight still remains miserable, and with no assistance being offered to them, this art is in grave danger of losing many skilled workers, many craftsmen whose magical hands lend the Goddess Durga her earthly incarnation during her brief sojourn amongst us.“Our condition is really pathetic, times are really miserable. We do not have proper facilities, and we are on the verge of collapsing.” This was what Chittaranjan Paul, proprietor of Lakshmi Shilpalay of Panbazar had to say when I went to learn more about their art. “We do not enjoy any facilities or help from either the government or from any organization. In addition to that, what hurts us most is that our art form has not been accorded the status of an ‘art’ in the true sense of the term. We do not do this only for money, it’s our legacy, our heritage and we try our level best to keep alive this art. People should come forward and recognise our labour, give us a pat on the back too. I am sure this is not too much to ask. In West Bengal, our counterparts are comparatively well off. The government is providing them with better facilities and financial assistance, and their skills have also been recognised. Asom needs to do the same for us.” Similar was the response of Ratan Kr. Paul, proprietor of New Rupasree Silpalay of Pandu. “See, our vocation is seasonal. That means that although we are overloaded with work before the puja season, for the rest of the year we have to rely on whatever meagre income comes our way to sustain our livelihood. In addition to this, the price of raw materials has shot up considerably, and inflation has further fanned the fire of problems for us. The result is that our children are no longer too interested to inherit this art from us. This is very unfortunate.”Indeed. The younger generation of these families will opt to go for a real ‘profession’. And why not? Though many of the younger generation are still actively getting involved in the trade, learning the subtle nuances and tricks of their art, many are venturing out into hitherto untreaded avenues. With education reaching the doorsteps of every family in this day, the younger generation has nurtured hope to do something ‘better’ than live in penury and obscurity like their fathers and grandfathers. ‘Many of the children, owing to the education they receive, have actually started looking down on the craft, forsaking it for a professional career… they’re not to be blamed, what life can they expect from an art that is slowly dying out’, this was the collective outpouring of the craftsmen with whom I interacted in the course of researching for this article. Indeed, I was astonished to see the plethora of problems they are facing. The art has been pushed into the brink of uncertainty and obscurity, and even more horrifying is the fact that the new generation has not exactly responded to their inheritance with the same enthusiasm and vision, courtesy the sorry state of affairs prevailing in their trade and society.But wait, all hope is not lost. Not at all. While interviewing the artistes, and peeping into their hearts, their workshops, I came across a young lad in his nineteens or twenties, maybe a year older than me. And what followed was a revelation to me, striking a familiar chord in my heart. Popping up the subject before him, I asked him whether he too planned to eschew his inheritance for a more ‘respectable’ career, I was astounded to hear what he said, smiling: “No! No! I know the times are bad, that we are in trouble, that our art is slowly dying out...true. But which art has always treaded a smooth path? What is life without challenges? I won’t give up my inheritance, this legacy for anything. My cousins have diverted from this route, they were too weak to shoulder the responsibility of carrying this legacy forward. I’m not. Help or no help, I will take up this art, and help spread it to the best of my ability. If Durga wishes, we’ll see the light of the day again.....we will!”As they say, hope is what sustains the world. And it is hope which has to augment a new day for these unsung heroes, helping them, their children to see the light of a better day, to continue preserving and propagating our heritage and culture. It’s not impossible, surely not. What we need to do, as individuals, as a society is to spare a thought and salute their skills, surely we’ll succeed in working wonders. After all, it’s only the audacity of hope that can achieve the impossible...surely so.
(Published in The Sentinel 'melange' Puja Special Issue, on the 20th of September, 2009)
Monday, September 21, 2009
Sunday, September 20, 2009
My first bengali poem
আহত শিশির
আজ তুম আসবে বলে-
নিল আকাশ নিস্তব্ধ
সেই নিল পাহার চিরে
ছূটচে না প্রান খোলা হাশি
তুম আসবে বলে
আজ মদু আলো ভিজিযে দিযেছে
আমার মনের খোলা বইটী
তুম আসবে বলেই তো
আজ মেঘ শান্ত
তুমি আসবে তো ?
অনেক দিন হলো
এখন আমি
আর আমার আহত নিরবতা
তোমার অপেক্ষায রইলাম্
আমায নিরাশ করো না....
আজ তুম আসবে বলে-
নিল আকাশ নিস্তব্ধ
সেই নিল পাহার চিরে
ছূটচে না প্রান খোলা হাশি
তুম আসবে বলে
আজ মদু আলো ভিজিযে দিযেছে
আমার মনের খোলা বইটী
তুম আসবে বলেই তো
আজ মেঘ শান্ত
তুমি আসবে তো ?
অনেক দিন হলো
এখন আমি
আর আমার আহত নিরবতা
তোমার অপেক্ষায রইলাম্
আমায নিরাশ করো না....
Wednesday, September 16, 2009
River
Don’t touch the river beloved
It is sorrow, pure
Strained through a dream sieve
Woven with memory
The river is sorrow
Made into thick ropes
Like notes flowing
From a stony flute
The river talks to me beloved
The river loves me alone
For I can whisper life
Into silent chimes
Made of the cruel earth
The river loves me for that
And pays me back
In the dabs of silver
Streaking your hair
With each ageing day
Beloved, let me drink
My red crusted river
Like hungry stones
Wetting themselves
With silent tears
It is sorrow, pure
Strained through a dream sieve
Woven with memory
The river is sorrow
Made into thick ropes
Like notes flowing
From a stony flute
The river talks to me beloved
The river loves me alone
For I can whisper life
Into silent chimes
Made of the cruel earth
The river loves me for that
And pays me back
In the dabs of silver
Streaking your hair
With each ageing day
Beloved, let me drink
My red crusted river
Like hungry stones
Wetting themselves
With silent tears
Tuesday, September 15, 2009
Deception
Beloved, I can’t lie anymore
You lived in my red river
Like a forgotten dream
That was the time, mellow
Soft rain danced on trees
And you lived in my pauses
My moans and my white hair
Demanded the touch
Of women with taut skin
Today is March beloved
And April is yet to come
I’m sure you’ll understand
Today, the road is dusty
Like old brass, an ugly
Canvas, bleeding with
The secret understanding
Of rain and the earth
I grew tired of you, beloved
It was time that took
You, out of my blue eyes
Taking you to the green fields
Yesterday, they spoke to me
Of the mautam[1] coming again
And the elders drank beer
Served by ugly women
In jars carved with deft old hands.
Three long months will pass
And august will come beloved
August will come
With the promise of rain
And men will dance
Like light footed whores
By the light of their lamps
August will come beloved
Like an unwanted child
Creeping from within
“She grows within me”
“She grows within me”
And all will rush to you
As if you were seeded
By the dark night. Beloved,
Only the rush of the cold night,
Will shelter you from my breath
And hold you in confinement
Beloved, the road will bleed again
A canvas seduced by the heavy rain
It is night and the gods are mourning
The night breaks with the roar of guns
What’s this life worth beloved?
A life without tunnels, which
Once roamed the vagabond sky
Now widowed and destitute
[1] Mautam : When bamboo flowering occurs, associated with destruction of crops by rodents. Mautam is sometimes observed in the North Eastern States of India, particularly in the state of Mizoram
You lived in my red river
Like a forgotten dream
That was the time, mellow
Soft rain danced on trees
And you lived in my pauses
My moans and my white hair
Demanded the touch
Of women with taut skin
Today is March beloved
And April is yet to come
I’m sure you’ll understand
Today, the road is dusty
Like old brass, an ugly
Canvas, bleeding with
The secret understanding
Of rain and the earth
I grew tired of you, beloved
It was time that took
You, out of my blue eyes
Taking you to the green fields
Yesterday, they spoke to me
Of the mautam[1] coming again
And the elders drank beer
Served by ugly women
In jars carved with deft old hands.
Three long months will pass
And august will come beloved
August will come
With the promise of rain
And men will dance
Like light footed whores
By the light of their lamps
August will come beloved
Like an unwanted child
Creeping from within
“She grows within me”
“She grows within me”
And all will rush to you
As if you were seeded
By the dark night. Beloved,
Only the rush of the cold night,
Will shelter you from my breath
And hold you in confinement
Beloved, the road will bleed again
A canvas seduced by the heavy rain
It is night and the gods are mourning
The night breaks with the roar of guns
What’s this life worth beloved?
A life without tunnels, which
Once roamed the vagabond sky
Now widowed and destitute
[1] Mautam : When bamboo flowering occurs, associated with destruction of crops by rodents. Mautam is sometimes observed in the North Eastern States of India, particularly in the state of Mizoram
Hills
I come from a land, where
Far and distant memories mix
Into the blue hills, stealthily
Like the lonely night
Seducing the sleeping gods
Where the night breaks
Not by the nightbird’s song
But the heavy roar
Of tired guns
Blazing into the night
Where roads stretch into
Groves of tea and saal[1]
Where woman tuck their sarees[2]
Above their blackened knees
To greet you
With the choicest slangs
The women there are beautiful
Like my mother, like her
They are fat, round, plump
Like ripe fruits pluck
To satiate the hungry gods
Lest they get angry
Where girls stare blankly
Lest you smite them
I come from a land
Where it is a sin
To allow yourself
To weave memories
Into a maze of doubt
The hills there are beautiful
The blue hills of my land
Eat the pregnant clouds
Engulfing them in the morning mist
And the water mirrors with anger
The never setting sun
I come from a land
Where fear and doubt
Live like neighbours
Their huts separated
Only by a thin, broken
Useless Bamboo fence
I come from a land
Where the raging river
Eats through my backyard
Like silly mourning women
Tearing their sparse hair
For a little compassion
[1] Saal: A type of tree found in the forests of India
[2] Saree: Traditional garment worn by Indian women
Far and distant memories mix
Into the blue hills, stealthily
Like the lonely night
Seducing the sleeping gods
Where the night breaks
Not by the nightbird’s song
But the heavy roar
Of tired guns
Blazing into the night
Where roads stretch into
Groves of tea and saal[1]
Where woman tuck their sarees[2]
Above their blackened knees
To greet you
With the choicest slangs
The women there are beautiful
Like my mother, like her
They are fat, round, plump
Like ripe fruits pluck
To satiate the hungry gods
Lest they get angry
Where girls stare blankly
Lest you smite them
I come from a land
Where it is a sin
To allow yourself
To weave memories
Into a maze of doubt
The hills there are beautiful
The blue hills of my land
Eat the pregnant clouds
Engulfing them in the morning mist
And the water mirrors with anger
The never setting sun
I come from a land
Where fear and doubt
Live like neighbours
Their huts separated
Only by a thin, broken
Useless Bamboo fence
I come from a land
Where the raging river
Eats through my backyard
Like silly mourning women
Tearing their sparse hair
For a little compassion
[1] Saal: A type of tree found in the forests of India
[2] Saree: Traditional garment worn by Indian women
Trauma
Where can we hide beloved?
We are the earth children
Our thoughts dig deep into the green
And roots tug at failing memories
We are the raging river
Eating through muddy yards
Like deserting soldiers
The rain is a mirage
Seeking shelter in doubt
Weaving memory and belief
Into potent mixtures
To curb your thoughts
Like barren women
Let me go back
To the parched fields
Aching for blue drops of the earth
I will flood the land
With doubt ;weave memories
Into garments of hope
With my taut hands
Let me cry beloved
The sky yearns for sleep
In my old eyes
Saturday, September 5, 2009
My poems in Kinaara: South Asian Youth Literary Magazine
Dear all, I am pleased to inform that I've been published by Kinaara: South Asian Youth Literary Magazine
I am posting the links to the poems published, as well as reproducing them on the blog for convenience.
http://kinaaramagazine.org/index.php/2009/09/anurag-rudra/
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.
.
Haiku
An old room
Light seeps in –
Hope
.
.
.
An Untold Tale
Me and my room-mate,
Buddies,
Sometimes
Share
A moment of silence
Together
Sometimes —
When we’re not
Teasing passing women,
Making lewd remarks
Shouting ‘Ogo eto tara ki?’
What’s the rush baby? —
All the while
Conscious of being seen
And branded as rowdies, goondas —
Like to enjoy, together,
An endless moment of silence.
An endless moment of silence,
When the sound of our breaths –
Deep-bellied and mellow –
Shout out loud
Betray our senses
Like whores doing penance,
And mourn the silence
Stripped of our pretensions
Of sad civility, shame,
When the shirts hanging
In our cupboards
Struggle to cry out
And invade our moment
Like afternoon salesgirls
With kohl-coloured eyes,
And the holocaust wind
Tries desperately
To shatter the silence
Into bits.
Sometimes
The eerie silence
Can get to your nerves
And you try frantically,
Desperately,
To find a topic, suitable
To break the silence
Into bits
But otherwise
It is
The most comfortable
Moment on the earth:
The moment
When me and my room-mate,
Strangers,
Sometimes
Share
A moment of silence
Together
I am posting the links to the poems published, as well as reproducing them on the blog for convenience.
http://kinaaramagazine.org/index.php/2009/09/anurag-rudra/
.
.
.
Haiku
An old room
Light seeps in –
Hope
.
.
.
An Untold Tale
Me and my room-mate,
Buddies,
Sometimes
Share
A moment of silence
Together
Sometimes —
When we’re not
Teasing passing women,
Making lewd remarks
Shouting ‘Ogo eto tara ki?’
What’s the rush baby? —
All the while
Conscious of being seen
And branded as rowdies, goondas —
Like to enjoy, together,
An endless moment of silence.
An endless moment of silence,
When the sound of our breaths –
Deep-bellied and mellow –
Shout out loud
Betray our senses
Like whores doing penance,
And mourn the silence
Stripped of our pretensions
Of sad civility, shame,
When the shirts hanging
In our cupboards
Struggle to cry out
And invade our moment
Like afternoon salesgirls
With kohl-coloured eyes,
And the holocaust wind
Tries desperately
To shatter the silence
Into bits.
Sometimes
The eerie silence
Can get to your nerves
And you try frantically,
Desperately,
To find a topic, suitable
To break the silence
Into bits
But otherwise
It is
The most comfortable
Moment on the earth:
The moment
When me and my room-mate,
Strangers,
Sometimes
Share
A moment of silence
Together
Thursday, September 3, 2009
Two Poems Published in Kritya: A Journal of Poetry
Two of my poems have been published in Kritya: A Journal of Poetry.
The links are given for you to check out the poems. But still, I am reproducing them on the blog. Hope they'll be liked.
.
.
.
MY GRANDMOTHER
My grandmother
Eighty-springs and half-a-monsoon old
Is the strongest woman
With eyes like tender, dew
Wet grass on winter morns
Like a dark overcast sky
Eyes, liquid and placid
With untold tales
She herself knew
Her long, flowing hair
Now washed on alternate days
With shampoo and later doused
In Cantheridine
Is not as old as her
It was cut, forcibly
When two and a half summers ago
The doctor, with a constipated face
Had clicked his tongue, and predicted
The unimaginable
Her mind, once a treasure to be mined
From where she had recounted
Age old wisdom to her grandson
Of things interesting, of things unknown
Now lies looted and empty, widowed
Like herLike the middle
Of her forehead
Which she'd once adorn
With a big, red bindi
Perhaps she'd consigned
Her indulgent self, all of it
Into grandpa's pyre
My grandma, who now sits
In a permanent stupor
Is still the strongest woman
Who cannot be shaken out of her rut
Like six springs back
When she had to watch
Her younger son
Consecrated to flames
My grandma
Eighty summers and half a monsoon old
Is the strongest woman
Who is not afraid
Of the holocaust wind
That howls in deep bellied
all petty matters
Which worry, and make
Her progeny sweat
Their foreheads, dotted
With beads of sweat
As they discuss strategies
And counter strategies
To fulfill Their petty lives
While all the while
My grandma
Eighty-summers-and-half-a-monsoon-old
Sits there, in no hurry
And contemplates
The glass of water
On the table
Believe me, my grandma
Eight-summers-and-half-a-monsoon old
Is indeed the strongest woman
On earth
She is
My Hero
.
.
.
MAZE
Empty sounds
Jingle
In my hair
Buzzzing
With discontent
And
Angry words
Conspire
Hurl abuses
At my cardamom
Breath
Old bottles dance
With sober intentions
In hungry orgies
Like schizophrenic peacocks
Keeping me suspended
In the light of
A tired dawn
A forgotten tune
Flat as
My hollow thoughts
Reminds
To remind me
Of Something
I'd forgotten
Before I
Could be remined
To listen
.
I am finished
I am finished
I am finished
My Cover Story Published in The Sentinel 'Melange' , the 30th August, 2009
Showcasing Asomiya Gems To The World
“My father was my role model, with whom I shared a very deep bond. Deuta was the person who instilled in me his ideals of humility and equality, deuta was the one who inspired me to foray into this field, and contribute to the rich cultural heritage of Asom, in whatever meagre way I can... deuta was...is my hero”. So began my interview, on a nostalgic note with Lakhimi Barua Bhuyan, well known jewellery designer and proprietor of Zangfai (In Asomiya, Zangfai refers to a traditional Asomiya ear-ring) her business venture, which deals in, and aims to promote and popularise ethnic Asomiya jewellery. When asked to describe her childhood, and how the environment at home had contributed in the making of a well-known personality in the cultural-fashion circuit, Lakhimi slipped into nostalgia again and continued: “My deuta was responsible for instilling in me the ideals of self-confidence, humility, determination and above all, a zeal to work ceaselessly to achieve what I wanted in life. As a kid, I was a very homely and demure child, and was interested from the very beginning in socio-cultural activities. You can say that the environment at home was extremely stimulating and encouraging, and was responsible for invoking in me the interest to work in the socio-cultural arena”.
Lakhimi Barua Bhuyan, daughter of well-known painter and artist Pranab Barua, recounted how her father, when he was not donning the garb of the prolific painter that he was, always took keen interest in encouraging his children –– his daughter and son –– in socio-cultural activities. She described how he always backed her, encouraged her to participate in a diverse range of pursuits and interests, including theatre, dance, painting, designing, etc. It was indeed this background which influenced her to take up jewellery designing, the love for which her father had cultivated in her during her formative years. Today Lakhimi Barua Bhuyan and her business enterprise Zangfai have become household names as far as ethnic and traditional Asomiya jewellery is concerned. She has indeed made a name for herself in designing and experimenting with traditional forms of jewellery, modifying them and innovating new designs to suit the tastes and preferences of the present day patrons. What she has achieved in the context of jewellery designing, an area of excellence you do not get to hear about every day, and that too, traditional Asomiya jewellery, is indeed remarkable. As she says, “My customers are drawn from all walks of life, with varying tastes. While youngsters and students prefer to go for those pieces which are a bit ‘modern’ and which they can pair up with their daily attire, others such as housewives or ladies generally seek the traditional, gorgeous pieces which they would prefer to present someone with, or maybe use themselves. Then once in a while, you also find people buying an extravagant piece of ethnic jewellery, sometimes with the intention of passing it down in the family. It’s a wonderful experience”.
Though born in Shillong, Lakhimi Barua Bhuyan grew up in Nagaon in a home which was always bustling with activity and humdrum. “Our house used to be filled with people all the time. I remember how deuta would interact with everyone politely and with a great deal of interest and warmth. Someone would drop in to show a poem that he’d written, someone to ask for a helping hand while others would stop by just to have a chat with deuta. This stimulating atmosphere at home greatly enhanced my interest in cultural matters and I developed a great love for the arts”. After passing her matriculation from Nagaon Mission Girls’ School, she graduated from Nagaon Girls’ College. Throughout her school and college life, Lakhimi Barua Bhuyan has been a keen participant in socio-cultural activities and cultivated a great deal of interest in the various creative avenues and scopes that were available to her. She also noted how she was a particularly observant child, one with a critical bent of mind, always pondering over the questions which were taxing the minds of others of her age. She narrated a particular incident that she vividly remembers: “Once, I came back from school and asked deuta about the Hindu-Muslim question that was the topic of discussion almost everywhere you turned your ear to. Deuta just looked at me, in his usual self, smiled and replied: ‘There is nothing called Hindu and Muslim...you are known for what you are, what you believe in, what you do and what you seek from your actions, your life’. I have held on to this piece of wisdom ever since”.
Her father was the person who basically inspired her to contribute and work in this sector. Back then, though she was interested in jewellery designing and working with traditional ethnic Asomiya jewellery, her first brush with serious work in this arena came after her father’s demise in February, 1992. “Prior to that I was of course interested in jewellery designing and its allied fields, no doubt about that...but it was after Deuta's demise that I seriously gave a serious thought to the matter and it was then that I decided to take the plunge. My friends and family always encouraged me, always made me take pride in my qualities and talents, but then, I didn’t take much notice of these compliments. It was only after deuta’s demise that I decided to carry out what deuta had ordained for me. Deuta always believed that each and every person was endowed with a gift. What he was required to do was to take notice, polish it, harness its potential and calibre and contribute to society, to culture in whatever way possible to him or her. I thought that it would be the best way to show my love for my beloved Deuta by following his vision and making his wishes, his dreams a reality.” Barely some time had passed after the unfortunate debacle, and Lakhimi Barua Bhuyan had already decided to take the plunge. Two months after the unfortunate demise of Pranab Barua, his resilient daughter Lakhimi had started to lend wings to her dreams. It was April, and she had already ventured on her eventful journey with Zangfai, a name which has by now become synonymous with modern-ethnic Asomiya jewellery. “My mother, Aroti Barua is a very practical lady, endowed with great foresight and wisdom. She firmly believes in what my Deuta would always say about being self-dependent. It was she who helped me set up the business. In the initial period, I started my operations from home, mainly among my friends, relations and acquaintances. It was in course of time that I made it a full-fledged affair and made it the name that it is today,” she said with a quiet smile when I grilled her about how the idea of promoting ethnic jewellery on a commercial basis materialised.
After giving the kick-start to her dream that it required, Lakhimi Barua Bhuyan, then Lakhimi Barua, tied the knot. In December that year, she got married to Joydeep Bhuyan, son of Dr. Manish Ch Bhuyan, who incidentally happens to be the first heart specialist from Asom. Speaking of her new life in her in-laws home, the new atmosphere and her subtle anxiety, she smiled and said: “I felt at home instantly. There was a lot of warmth in my new home. I took to it as a little bird to the wide, blue sky. My in-laws were very loving, cooperative and encouraging. Had it not been for them, I would not have been able to work wholeheartedly to fulfil my, nay, our dream. I am grateful for the love and the trust that they have showered on me all these years”. Speaking of her in-laws she said: “My mother-in-law shouldered great responsibilities to enable me to devote my full time in my venture. She was the one who took care of the kids, nursing them, nurturing them and bringing them up. My father-in-law made me believe in myself, and encouraged and supported me throughout this long journey”. And what about her husband? “Ohh! What can I say about him? He is a magnificent person, a gem of a person to say the truth... and he is devoid of all vices. My husband has supported and encouraged me in my endeavour with untiring love and faith. Even though he is not exactly very much into the artsy stuff, he has supported me keenly and I am proud to share my beautiful life with him.” They are blessed with two daughters –– Annanya and Akangsha, who are still in school. So how does she divide her time, entertaining her family as the loving mother and wife, and her gruelling schedule as an entrepreneur-designer? “Well, I don’t know really. I guess you have to adjust yourself to the need of the hour. And as far as I am concerned, I remain engaged with my business from 10:30 in the morning to 7:30 in the evening....when I’m not working, I try to entertain my family, to spend some quality time with them. I guess it’s all a part of my life.”
Coming back to business, she narrated how she kicked off her business venture, working day in and day out to take it to the level which it has achieved today. Indeed, it’s the culmination of determination and a gruelling zeal to transform one’s dreams beyond the virtual and imaginary plane, a task which very few of us manage to accomplish. “After starting my business, I got a warm response from my family, friends and well-wishers. Everyone was very enthusiastic and optimistic about my initiative...I got the pat in the back which I needed to take my dream further. Following the positive feedback which I received over a period of five years following the initiation of the business, I began to develop a better idea of the market for traditional Asomiya Jewellery. I became aware of the different strata of customers, from college goers to ladies and housewives, I began to develop a greater grasp, understanding their needs, what they came looking for, what they wanted. You know, it was a very enriching experience, getting to know so many people who shared your enthusiasm, who gave you their feedback, telling you what they wanted to see the next time they visited. Finally, I developed a clear perception of the market forces at play, and a definite picture of the different categories of patrons to whom I had to cater. Following this mindset, I basically divided my entire range into four parts to suit the needs and tastes of my customers. This was a decisive factor as it allowed me to showcase my entire range in terms of varying budgets, tastes, preferences etc...this made my work a lot easier”.
Lakhimi also believes in keeping warm, personal relations with her customers, beyond the scope of sales and purchases, trying to make them comfortable, ever-ready to receive their feedback and trying to cater to the needs of her customers. It’s something that has to be inculcated and followed, if one desires to make a name for oneself in the concerned trade. “See, as I said earlier, meeting people, listening to their feedback has always been a thrilling and I must add, a very enriching experience. It gives you the impetus to painstakingly strive to deliver. Personally, I ask all my customers not only to come and buy, but to visit again and again, tell me what they want to see on the shelves, what they would like to wear...and also tell me frankly what they don’t like. It’s a wonderful experience!” Her brainchild Zangfai, her business venture has indeed come a long way from its humble origins in her home to its present-day showroom situated at MRD Road, Silpukhuri, Guwahati. And when I say ‘long way’, I just don’t mean the commercial side. All these years she has seen the changes and shifts in customer tastes and preferences from heavy, traditional, ethnic jewellery to chic and cool ethnic stuff that is in vogue. She has held a number of exhibitions in different places, including one in NEDFI Haat a few years back. "In all these years, I have seen and understood the changes in tastes and demands. You know, different types of customers seek different types of jewellery and consequently, you end up having a huge array of items so unique in themselves, but still endowed with the traditional, ethnic touch.”
And speaking of culture and the present times, she chipped in enthusiastically: “Culture, I believe is something, you unconsciously, involuntarily carry around. Culture is manifested in your psyche, your subconscious. And I believe that being modern does not derive from doing, wearing the things which are ‘in’ and ‘out’. Culture is beyond the scope and influence of trends and crazes. Of course, culture has to move ahead with the times, it has to evolve...this applies to fashion, literature and yes, jewellery as well. I believe that being ‘modern’ comes from being able to carry in one’s personality one’s cultural legacy and the present times...simultaneously. Tradition and change go hand in hand, isn’t it?” I nod frantically, confused, thoughtful, true to my confused college-going self. And what about future plans? “Well, I plan to expand my business in the years to come, hope to enjoy the same response and warmth which I enjoyed all these years. You know, there came a stage when the demand for ethnic jewellery shrank a lot, forcing craftsmen to give up their pursuits temporarily. But thankfully, that’s history and nowadays the market is booming. We have got warm response not only from the Asomiya community, but also the non-Asomiya patrons and even NRI’s who wish to showcase the cultural heritage of Asom abroad. In a way, you can say that I have got a mission to promote the diverse and rich cultural heritage of Asom. I would just like to convey the message that whatever sills you have, you must use it to contribute to society, to culture… but contribute in our own backyard first. We’ve got a lot of talented people over here, if everyone does that, we can work wonders.”
The air is chilly outside, and the evening birds retreat to their cosy nests. The air is heavy with the smell of sweet rain. It’s time I wind up and leave Lakhimi baideu alone, to contine her mission to promote and showcase the rich heritage of Asom through her one-of-a-kind endeavour.
Anurag Rudra
“My father was my role model, with whom I shared a very deep bond. Deuta was the person who instilled in me his ideals of humility and equality, deuta was the one who inspired me to foray into this field, and contribute to the rich cultural heritage of Asom, in whatever meagre way I can... deuta was...is my hero”. So began my interview, on a nostalgic note with Lakhimi Barua Bhuyan, well known jewellery designer and proprietor of Zangfai (In Asomiya, Zangfai refers to a traditional Asomiya ear-ring) her business venture, which deals in, and aims to promote and popularise ethnic Asomiya jewellery. When asked to describe her childhood, and how the environment at home had contributed in the making of a well-known personality in the cultural-fashion circuit, Lakhimi slipped into nostalgia again and continued: “My deuta was responsible for instilling in me the ideals of self-confidence, humility, determination and above all, a zeal to work ceaselessly to achieve what I wanted in life. As a kid, I was a very homely and demure child, and was interested from the very beginning in socio-cultural activities. You can say that the environment at home was extremely stimulating and encouraging, and was responsible for invoking in me the interest to work in the socio-cultural arena”.
Lakhimi Barua Bhuyan, daughter of well-known painter and artist Pranab Barua, recounted how her father, when he was not donning the garb of the prolific painter that he was, always took keen interest in encouraging his children –– his daughter and son –– in socio-cultural activities. She described how he always backed her, encouraged her to participate in a diverse range of pursuits and interests, including theatre, dance, painting, designing, etc. It was indeed this background which influenced her to take up jewellery designing, the love for which her father had cultivated in her during her formative years. Today Lakhimi Barua Bhuyan and her business enterprise Zangfai have become household names as far as ethnic and traditional Asomiya jewellery is concerned. She has indeed made a name for herself in designing and experimenting with traditional forms of jewellery, modifying them and innovating new designs to suit the tastes and preferences of the present day patrons. What she has achieved in the context of jewellery designing, an area of excellence you do not get to hear about every day, and that too, traditional Asomiya jewellery, is indeed remarkable. As she says, “My customers are drawn from all walks of life, with varying tastes. While youngsters and students prefer to go for those pieces which are a bit ‘modern’ and which they can pair up with their daily attire, others such as housewives or ladies generally seek the traditional, gorgeous pieces which they would prefer to present someone with, or maybe use themselves. Then once in a while, you also find people buying an extravagant piece of ethnic jewellery, sometimes with the intention of passing it down in the family. It’s a wonderful experience”.
Though born in Shillong, Lakhimi Barua Bhuyan grew up in Nagaon in a home which was always bustling with activity and humdrum. “Our house used to be filled with people all the time. I remember how deuta would interact with everyone politely and with a great deal of interest and warmth. Someone would drop in to show a poem that he’d written, someone to ask for a helping hand while others would stop by just to have a chat with deuta. This stimulating atmosphere at home greatly enhanced my interest in cultural matters and I developed a great love for the arts”. After passing her matriculation from Nagaon Mission Girls’ School, she graduated from Nagaon Girls’ College. Throughout her school and college life, Lakhimi Barua Bhuyan has been a keen participant in socio-cultural activities and cultivated a great deal of interest in the various creative avenues and scopes that were available to her. She also noted how she was a particularly observant child, one with a critical bent of mind, always pondering over the questions which were taxing the minds of others of her age. She narrated a particular incident that she vividly remembers: “Once, I came back from school and asked deuta about the Hindu-Muslim question that was the topic of discussion almost everywhere you turned your ear to. Deuta just looked at me, in his usual self, smiled and replied: ‘There is nothing called Hindu and Muslim...you are known for what you are, what you believe in, what you do and what you seek from your actions, your life’. I have held on to this piece of wisdom ever since”.
Her father was the person who basically inspired her to contribute and work in this sector. Back then, though she was interested in jewellery designing and working with traditional ethnic Asomiya jewellery, her first brush with serious work in this arena came after her father’s demise in February, 1992. “Prior to that I was of course interested in jewellery designing and its allied fields, no doubt about that...but it was after Deuta's demise that I seriously gave a serious thought to the matter and it was then that I decided to take the plunge. My friends and family always encouraged me, always made me take pride in my qualities and talents, but then, I didn’t take much notice of these compliments. It was only after deuta’s demise that I decided to carry out what deuta had ordained for me. Deuta always believed that each and every person was endowed with a gift. What he was required to do was to take notice, polish it, harness its potential and calibre and contribute to society, to culture in whatever way possible to him or her. I thought that it would be the best way to show my love for my beloved Deuta by following his vision and making his wishes, his dreams a reality.” Barely some time had passed after the unfortunate debacle, and Lakhimi Barua Bhuyan had already decided to take the plunge. Two months after the unfortunate demise of Pranab Barua, his resilient daughter Lakhimi had started to lend wings to her dreams. It was April, and she had already ventured on her eventful journey with Zangfai, a name which has by now become synonymous with modern-ethnic Asomiya jewellery. “My mother, Aroti Barua is a very practical lady, endowed with great foresight and wisdom. She firmly believes in what my Deuta would always say about being self-dependent. It was she who helped me set up the business. In the initial period, I started my operations from home, mainly among my friends, relations and acquaintances. It was in course of time that I made it a full-fledged affair and made it the name that it is today,” she said with a quiet smile when I grilled her about how the idea of promoting ethnic jewellery on a commercial basis materialised.
After giving the kick-start to her dream that it required, Lakhimi Barua Bhuyan, then Lakhimi Barua, tied the knot. In December that year, she got married to Joydeep Bhuyan, son of Dr. Manish Ch Bhuyan, who incidentally happens to be the first heart specialist from Asom. Speaking of her new life in her in-laws home, the new atmosphere and her subtle anxiety, she smiled and said: “I felt at home instantly. There was a lot of warmth in my new home. I took to it as a little bird to the wide, blue sky. My in-laws were very loving, cooperative and encouraging. Had it not been for them, I would not have been able to work wholeheartedly to fulfil my, nay, our dream. I am grateful for the love and the trust that they have showered on me all these years”. Speaking of her in-laws she said: “My mother-in-law shouldered great responsibilities to enable me to devote my full time in my venture. She was the one who took care of the kids, nursing them, nurturing them and bringing them up. My father-in-law made me believe in myself, and encouraged and supported me throughout this long journey”. And what about her husband? “Ohh! What can I say about him? He is a magnificent person, a gem of a person to say the truth... and he is devoid of all vices. My husband has supported and encouraged me in my endeavour with untiring love and faith. Even though he is not exactly very much into the artsy stuff, he has supported me keenly and I am proud to share my beautiful life with him.” They are blessed with two daughters –– Annanya and Akangsha, who are still in school. So how does she divide her time, entertaining her family as the loving mother and wife, and her gruelling schedule as an entrepreneur-designer? “Well, I don’t know really. I guess you have to adjust yourself to the need of the hour. And as far as I am concerned, I remain engaged with my business from 10:30 in the morning to 7:30 in the evening....when I’m not working, I try to entertain my family, to spend some quality time with them. I guess it’s all a part of my life.”
Coming back to business, she narrated how she kicked off her business venture, working day in and day out to take it to the level which it has achieved today. Indeed, it’s the culmination of determination and a gruelling zeal to transform one’s dreams beyond the virtual and imaginary plane, a task which very few of us manage to accomplish. “After starting my business, I got a warm response from my family, friends and well-wishers. Everyone was very enthusiastic and optimistic about my initiative...I got the pat in the back which I needed to take my dream further. Following the positive feedback which I received over a period of five years following the initiation of the business, I began to develop a better idea of the market for traditional Asomiya Jewellery. I became aware of the different strata of customers, from college goers to ladies and housewives, I began to develop a greater grasp, understanding their needs, what they came looking for, what they wanted. You know, it was a very enriching experience, getting to know so many people who shared your enthusiasm, who gave you their feedback, telling you what they wanted to see the next time they visited. Finally, I developed a clear perception of the market forces at play, and a definite picture of the different categories of patrons to whom I had to cater. Following this mindset, I basically divided my entire range into four parts to suit the needs and tastes of my customers. This was a decisive factor as it allowed me to showcase my entire range in terms of varying budgets, tastes, preferences etc...this made my work a lot easier”.
Lakhimi also believes in keeping warm, personal relations with her customers, beyond the scope of sales and purchases, trying to make them comfortable, ever-ready to receive their feedback and trying to cater to the needs of her customers. It’s something that has to be inculcated and followed, if one desires to make a name for oneself in the concerned trade. “See, as I said earlier, meeting people, listening to their feedback has always been a thrilling and I must add, a very enriching experience. It gives you the impetus to painstakingly strive to deliver. Personally, I ask all my customers not only to come and buy, but to visit again and again, tell me what they want to see on the shelves, what they would like to wear...and also tell me frankly what they don’t like. It’s a wonderful experience!” Her brainchild Zangfai, her business venture has indeed come a long way from its humble origins in her home to its present-day showroom situated at MRD Road, Silpukhuri, Guwahati. And when I say ‘long way’, I just don’t mean the commercial side. All these years she has seen the changes and shifts in customer tastes and preferences from heavy, traditional, ethnic jewellery to chic and cool ethnic stuff that is in vogue. She has held a number of exhibitions in different places, including one in NEDFI Haat a few years back. "In all these years, I have seen and understood the changes in tastes and demands. You know, different types of customers seek different types of jewellery and consequently, you end up having a huge array of items so unique in themselves, but still endowed with the traditional, ethnic touch.”
And speaking of culture and the present times, she chipped in enthusiastically: “Culture, I believe is something, you unconsciously, involuntarily carry around. Culture is manifested in your psyche, your subconscious. And I believe that being modern does not derive from doing, wearing the things which are ‘in’ and ‘out’. Culture is beyond the scope and influence of trends and crazes. Of course, culture has to move ahead with the times, it has to evolve...this applies to fashion, literature and yes, jewellery as well. I believe that being ‘modern’ comes from being able to carry in one’s personality one’s cultural legacy and the present times...simultaneously. Tradition and change go hand in hand, isn’t it?” I nod frantically, confused, thoughtful, true to my confused college-going self. And what about future plans? “Well, I plan to expand my business in the years to come, hope to enjoy the same response and warmth which I enjoyed all these years. You know, there came a stage when the demand for ethnic jewellery shrank a lot, forcing craftsmen to give up their pursuits temporarily. But thankfully, that’s history and nowadays the market is booming. We have got warm response not only from the Asomiya community, but also the non-Asomiya patrons and even NRI’s who wish to showcase the cultural heritage of Asom abroad. In a way, you can say that I have got a mission to promote the diverse and rich cultural heritage of Asom. I would just like to convey the message that whatever sills you have, you must use it to contribute to society, to culture… but contribute in our own backyard first. We’ve got a lot of talented people over here, if everyone does that, we can work wonders.”
The air is chilly outside, and the evening birds retreat to their cosy nests. The air is heavy with the smell of sweet rain. It’s time I wind up and leave Lakhimi baideu alone, to contine her mission to promote and showcase the rich heritage of Asom through her one-of-a-kind endeavour.
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