Day 2
Waking up early in the morning a rainy view greeted me again outside my cabin window. Oh well … It is anyway hard to tell from where the ship is moured on the sandbank how wide the river is at this point. We did not sail far from Neemati Ghat yesterday. Vast as an ocean is what the Brahmaputra River is sometimes described. Spanning 10 km in some places, it does seem endless at times …
Placidly flowing along in this season, the water comes roaring down the river in the monsoon, washing away sandbanks, islands and settlements. Those intense masses of water however create numerous new sand banks every time – some barren, some fertile enough to support little farmer communities until the next flood.
Moored close to Majuli Island, I could watch the ferries connecting the mainland with the island. They run frequently out of Neamati Ghat. Many other boats were passing as well – all effected by the rainy morning …
After breakfast – which I nowadays usually skip – we all piled on our country boat and got ferried across. This time the navigable channel was actually very close to the island, so the ride was short. Some other times I was here, the ship had too anchor mach further away. My very first visit here in January 2018 it had been so foggy, that first we postponed the excursion departure, but then the crew decided to try anyway, because the winter fog was not lifting. We were told it would be a 15 min ride – it turned into a long 45 min … Due to the fog the boat men could not find the right way to the island and we actually turned in foggy circles – all sand banks look the same … and No! that ship over there is not ours … it is a different one! … Really? … It did have our flag on it … Finally they spotted the island ferry and sort of latched onto it following it to the island. We certainly had fun that day!
Today it was no problem, even though it was still drizzling when we reached the island ferry ghat. It was morning busy over there. Busses and Tuk Tuks waiting for passengers, snack stalls ready to service hungry travelers and the odd pig running around searching for scraps and left-overs in the garbage behind the huts.
There were 4×4 jeeps waiting for us – the only suitable mode of transport for our luxury guests … No tourist permitted busses were available on the island. Once we had all guests evenly distributed into the cars and got going, it actually stopped raining and the sun started coming out.
Majuli means a land in the midst of two rivers. It is a river island in the middle of the Brahmaputra River, has 144 villages with a population of over 150 000 and is currently listed as the world’s largest river island in the Guinness Book of World Records. It once used to have an area of 1250 km², but already it was only 880 km² at the beginning of the 20th century. Each year the river levels rise higher and higher during monsoon season and cause major flooding which regularly consumes a massive part of the island. Therefore it now covers only approx 350 km².
Majuli has shrunk as the river surrounding it has grown. This beautiful island will not be here forever – it is slowly eroding away and in 15 to 20 years it will cease to exsist … However, the island is almost pollution free owing it to the lack of polluting industries and factories and also to the monsoon rainfall. It is a rich blend of soothing natural splendour, zealous culture and fascinating history.
A wetland, Majuli is a hotspot for flora and fauna, harbouring many rare and endangered species including migratory birds that arrive in the winter season. On our way across the island we regularly stop to watch birds. Most often we spot the White-throated Kingfisher – Halcyon smyrnensis – a tree kingfisher widely distributed and often prominently perched on the tops of trees, bamboo sticks or on wires. This kingfisher is a resident of the island. It feeds on a wide range of prey that includes small reptiles, amphibians, crabs, small rodents and even birds.
Also the Greater Adjutant – Leptoptilos dubius – a member of the stork family – we often see wading through the wetland. Once found widely across southern Asia, the Greater Adjutant is now restricted to a much smaller range with only 3 breeding populations – 2 in India with the largest colony here in Assam and another breeding population in Cambodia. This large stork has a massive wedge-shaped bill, a bare head and a distinctive neck pouch. During the day, they soar in thermals along with vultures with whom they share the habit of scavenging. The English name is derived from their stiff military gait when walking on the ground. Large numbers once lived in Asia, but have declined greatly, possibly due to improved sanitation, to the point of being endangered. The total population in 2008 was estimated at around 1000 individuals only. In the 19th century, they were especially common in the city of Calcutta, where they were referred to as the Calcutta Adjutant.
On one of the ponds near the village, we often spot a large flock of the Lesser Whistling Duck – Dendrocygna javanica – also known as Indian Whistling Duck. They are nocturnal feeders that during the day may be found in flocks around lakes and wet paddy fields. They can perch on trees and sometimes build their nest in the hollow of a tree. This brown and long-necked duck has broad wings that are visible in flight and produces a loud two-note wheezy call.
Soon we reached Kamalabari Village – one of the most important and developed villages in Majuli. The population here comprises of Hindus mostly, who belong to the Vaishnavites Movement – also called Vishnuism and considers Vishnu as the Supreme God – and follow Lord Krishna, one of Vishnus reincarnations. Most of the population is of the Mishing Tribe and speak the Mishing language or Assamese. The main source of income here is tourism and agriculture. Many men from this village also travel to Jorhat for work daily. There are schools and colleges in Kamalabari where students from all over Majuli study. Reaching the village entrance we sometimes stopped at the school to observe the morning prayers in the school yard.
It is always a highlight for our guests to see all the school children dressed in their school uniforms lining up for prayers before school starts. Unfortunately this morning when we passed, there was nothing happening. Maybe it was a school holiday due to the Raas Festival starting tonight?
Majuli Island is the showcase for the neo-Vaishnavism propagated by Sankardev, the 15th-century savant who broke away from the rigid Hindu caste system. We came here to visit these famous Satras. Popularly referred to as monasteries, the Satras are more then learning centers, they are centers of performing arts. There were once 65 satras on the island, but only 22 are still operational. While people call the Brahmins living here monks, they are not monks but bhakts or Vaishnavas. Satras are institutional centers associated with the Ekasarana tradition of Vaishnavism, largely found here in Assam and neighboring regions. Numbering in the hundreds, these centers are generally independent of each other. These centers maintain a prayer house, initiate lay people into the Ekasarana tradition and include them as disciples of the Satra from whom taxes and other religious duties are extracted.
The Satras started in the 16th century, grew rapidly in the 17th century and patronage extended to them by the Ahom kingdom was crucial to propagate neo-Vaishnavism and in the spread of the Ekasarana religion. Many of the larger Satras house hundreds of celibate and non-celibate monks, hold vast lands and are repositories of religious and cultural relics and artifacts.
Our first stop this morning was at Auniati Satra. Arriving at the gate, we had to take our shoes off and leave them in the jeeps. No shoes were allowed on the premises there. For some guests that was rather off-putting, because we had to walk along long, unpaved paths to reach the buildings. Most of them left their special temple socks on – a spare pair of socks to be thrown out after the trip – which I find even more odd – walking in socks along muddy or dusty lanes … well … walking barefoot is healthy …
Of course, we were the center of attention again. Due to the festival ahead, there were more visitors here as usual. Whole families came to worship at the temple. Before we even could reach the Prayer Hall, we had to stop for numerous photos taken … on both sides … naturally …
The Auniati Satra was established in 1653 by the Ahom King Sutamla who was given the name Jayaddhaja Singha after he adopted the Hindu religion. Auniati Satra once occupied the highest position amongst various Satras of Assam in the eyes of the Ahom Kings. The slightly elevated place where this Satra was established was full of Auni Paan plants and Ati means elevated place – therefore Auniati Satra. With formerly around 550 monks – nowadays approx 250 monks live here – the Satra has been the epicenter of the Vaishnavism and Satriya culture in Assam.
Reaching the main Naam Ghar, the general prayer hall, also the socks had to be removed when going in … only bare feet allowed inside. Naam Ghars are places for congregational worship associated with the entire Assamese community. In the Assamese language, Naam means prayer and Ghar means house. Besides forming the central structure of the Satra used for worship, they also function as meeting houses for congregations, as well as theaters for dramatic performances. Hey are rectangular structures aligned in east-west direction. The other buildings are positioned around it.
Coming in we had to keep to the side of the hall not crossing the center in front of the praying monks. At the entrance was a huge statue of Garuda – a legendary bird-like creature in Hindu mythology, generally a protector with power to swiftly go anywhere, ever watchful and an enemy of the serpent – he is the mount of Lord Vishnu. He is a divine eagle-like sun bird and the king of birds. He traditionally has the torso and arms of a man and the wings, head, beak and talons of an eagle or vulture.
Only a few monks where present today. The main prayer in the Auniati Satra continues from morning sunrise to evening sunset and is being continued without interruption for more than 350 years, they say.
In the many monasteries on Majuli Island, thousands of monks are keeping alive an ancient tradition that melds worship with the arts. Vaishnava monks believe the way to salvation is through dance, drama and music. Their work centers around dance dramas, based on ancient Indian texts that often focus on the Lord Krishna. In the Naam Ghar monks are alternating in reciting prayers of devotion, rhythmic chanting and playing the drum constantly. Ekasarana Dharma rejects vedic ritualism and focuses on pure devotion to Krishna consisting primarily in singing and listening to his deeds and activities.
Lord Krishna – one of the most widely revered of all Indian divinities – is worshipped as the 8th and one of the most powerful incarnations – or avatars – of Lord Vishnu and also as a supreme god in his own right. Of all the Vishnu avatars he is the most popular and perhaps of all Hindu gods the one closest to the heart of the masses. He is the god of compassion, tenderness, and love. Krishna is often depicted wearing a peacock-feather wreath or crown and playing the bansuri – the Indian flute. In this form, he is usually shown standing with one leg bent in front of the other in the Tribhanga posture and is sometimes accompanied by cows or a calf, which symbolize the divine herdsman Govinda.
Krishna became the focus of numerous devotional cults, which have over the centuries produced a wealth of religious poetry, music and painting. The basic sources of Krishna’s mythology are the epic Mahabharata – the Great Epic of the Bharata Dynasty, one of the 2 Sanskrit epic poems of ancient India – the other being the Ramayana. The Mahabharata is an important source of information on the development of Hinduism between 400 BC and 200 AD and is regarded by Hindus as both a text about Hindu moral law and a history.
Krishna was dark and extremely handsome. The word Krishna literally means black and black also connotes mysteriousness. People consider Krishna their leader, hero, protector, philosopher, teacher and friend all rolled into one. He has influenced not only its religion and philosophy, but also into its mysticism and literature, painting and sculpture, dance and music, and all aspects of Indian folklore. Vaishnavas accept many incarnations of Vishnu, but Krishna is particularly important. Their theologies are generally centered either on Vishnu or an avatar such as Krishna as supreme.
In the main sanctuum of the temple located at the end of the Naam Ghar there are several ancient idols of Lord Krishna called Govinds in different shrines. The oldest is said to be from the 6th century. The main idol which receives daily worship was originally brought from Puri in Orissa and installed with all the religious rituals. A priest was giving out blessings here.
Due to the Raas Festival ahead, there was much blessing going on today. It is a special time of the year.
Leaving the Naam Ghar most guests put their temple socks back on and we took a walk around to the monks’ quarters. These are called Hati in Assamese and are rows of flat-like units on the 4 sides of the Satra.
No girls are permitted to live inside the Satras. The young monks, many of whom come from poor families, are adopted into family-like circles at the age of 4-7 years of age. For their families it is a privilege to have a son accepted to become a monk here, who will remain celibate for a lifetime. The child is integrated into one of the monastery’s family units comprised of several monks of different generations for life. When he will reach about 20 years of age he will in turn welcome a child.
The flat-like units have several rooms – we were allowed to have a look into one of them. We could walk the corridor and peek into the meager living quarters and kitchen, but could not enter in order to respect their privacy, of course. It gave us a good inside into their lives, though.
This being a working monastery, most monks were out at work – some are teacher, shop keepers, farmers, whatever. Nevertheless, they are monks and live here at the monastery. The child monks all go to school in the village as well. We had passed a school close by once and the monks can be easily recognized amongst the students. We had noticed that one morning on a previous cruise watching the morning prayers in a school.
We met also a monk making the traditional Pankha of Majuli – a hand held fan. It gets woven out of cane leaves onto a bamboo frame.
The Satras on Majuli have honed certain art and craft traditions, which can now be found only here. Auniati Satra is famous for the Paalnaam and Apsara Dances and also for its extensive assortment of ancient Assamese artefacts, utensils, jewellery and handicrafts. There is a small museum on the premises of Auniati Satra, but unfortunately there were no photos allowed inside. However, it is a very interesting museum. My favourite objects on display are the handwritten book from I do not know which century which tells the entire story of how to trap and then train an elephant and the cloth woven out of ivory. Believe it – a clothes woven out of ivory – I did not think it was possible, since we all rather associate ivory with carved objects. But no – it can be woven, too. It has to be cooked first, then the fiber is taken and made into a thread and that is then woven. Or something like that, anyway … in any case amazing …
Leaving Auniati Satra we took our jeeps again to go to Uttar Kalamabari Satra. In February when passing Kalamabari Village on this tour some sort of procession was happening and our Guide Mohan asked the locals what it was. It turned out to be a cultural procession in the event of the 21st Anniversary of the school foundation of one of the schools of the village and they would be walking the procession to the Satra. So they took our jeeps around the other way and we positioned ourselves near the entrance of the Satra to watch the procession arrive. If an opportunity of such kind arises, we have to take it … even if it means lunch would be posponed by an hour … so we waited patiently on the juction before the Satra for whatever would happen … starring down the road curiously …
Soon enough the procession did arrive. It was headed by little monks with their traditional costumes playing the traditional drums and cymbals.
They were followed by a convoy of small trucks filled with school kids dressed up as all characters of the mythology surrounding Lord Krishna, I think. There were several children dressed up as Lord Krishna and his wifes. Besides eight principal queens Lord Krishna is described to have many unnamed junior wives. Their number is mentioned as 16000. Krishna accepted them as his wives upon their insistence to save themselves from the society who saw them as slaves of the demon king Narakasura. When Krishna slew Narakasura, he accepted all the captive women upon their insistence to safeguard their dignity.
The procession was followed by what looked like all families of the children – mainly mothers and grandmothers, I think – and teachers in colourful outfits.
Many of them came in their traditional tribal costumes. The tribal communities of Majuli Island include the Mishings, the Deoris and the Sonowal Kacharis. Then there is also a non-tribal communitie including Koch, Kalitas, Ahoms, Chutiyas, Keot, Yogis etc. The Mishing community has however the largest population on the island who immigrated from Arunachal Pradesh to Majuli centuries ago. And as manifold as the population are their dresses – every one more colourful than the other.
The procession ended just in front of Uttar Kalamabari Satra – but not before turning another circle and parking in field next to it. Another great view of many happy childrens faces. And then all the little gods and godesses got of the vehicles and together with their entourage went into the Satra to have lunch.
Watching this cultural school procession was definitely a highlight of our visit in February. Today, however, we were also in for a treat – the annual Raas Festival would start tonight and much in form of preparation was already happening around this Satra. Immediately upon our arrival we were once more surrounded by locals. Everybody was in festival mood and of course we all got invited to have a tea and sweets, which were offered to everybody.
Raas is one of the most popular festivals of Assam. It is observed by the Hindu community of Assam and showcases Bhaona – traditional dance dramas that depict tales from Hindu mythology. Raas takes place around the full moon night of mid-November and is celebrated for 3 days. It would be starting tonight. As usual most Hindu festivals seem to be celebrated at night – that may or may not have to do with everybody having to make a living during the day … Then again for Raas Festival there were some public holidays and school holidays in effect around here, I believe, because virtually every person on the island is involved in the festival. People from hundreds of kilometers away come to celebrate this festival including a number of expatriate members of community.
Uttar Kalambari Satra seemed to be the main location for this event – and apparently also the Chief Minister of Assam was due to attend the festivities that night. Sarbananda Sonowal has been Chief Minister of Assam since 2016 and his constituency is Majuli – which became the first island to be made a district in India in 2016. Therefore all of 3 TV crews of local television stations were here already and of course we got filmed plenty again. Fortunately, some of the guests were keen on answering questions, so I got away with just walking through the picture a few times …
But the Chief Monk of the Satra was there being interviewed and he wanted to present a Gamoosa to a representative of the group … that was me again … That got filmed by a different TV crew and we could not find the clip online anywhere, unfortunately. They did say it had been live … well, pity.
Uttar Kamalabari Satra was established by Badala Padma Ata in the year 1673. Badala Padma Ata was a disciple of Madhabdeva – an important preceptor of the Ekasarana Dharma known for his loyalty to his guru Sankardev as well as his artistic brilliance. The Satra is well-known for several performing arts and cultural practices and has yielded many popular artists and disciples who are well-trained in different dance practices. They performed various cultural stage programs on National as well as International platforms.
Last night – I forgot to mention it before – one of the monks – I forgot his name, though – came on board ABN Charaidew II to perform some music and dance pieces. He is famous for playing the bansuri flute and carries an entire bag full of bamboo flutes.
A bansuri is a side blown flute produced from bamboo, used in Hindustani classical music and revered as Lord Krishna’s divine instrument. It is traditionally made from a single hollow shaft of bamboo with 6 or 7 finger holes. The 6 hole instrument covers 2.5 octaves of music. The bansuri is typically between 30 cm and 75 cm in length and the thickness of a human thumb. One end is closed and a few centimeters from the closed end is its blow hole.
This monk is a well-traveled musician – he often performs in Europe – and we were lucky he had the time to come by the ship. I had only met him once before, when he was at the Satra and invited us into his flat and played.
Today we were on another mission, however – well Mohan was on a mission and I kept pushing him, the guests did not know. See, on the ship I sometimes show documentaries relevant to the region on the only TV we have on board. And I had found a documentary recently – which was from 2011, but the only one available – about a child monk in that very Satra specifically and about the island in general.
Mohan watched it with us and he knew almost every person in it – but not the child. But he knew the one who took the kid in. So he said – I will find this child monk – who would be 12 or 13 by now – and we see if we can meet him. And what can I say? He did!
The guests were absolutely delighted to see the kid from the documentary. Loki Ram – not sure if I spelled his name correctly – had grown tall. He was still shy, but remembered the filming that many years ago – the documentary had been following his arrival and his first few days in the Satra. He had developed into a dancer here.
And on top of that – because it was festival time – his mother was here to visit him and came to meet us as well. She had also been part of the film. Now, all that made the guests’ day! Mohan and me where congratulating ourselves …
The setting of this Satra was the traditional one with the Naam Ghar in the center and the flat-like units around it on 4 sides. The Chief Monk’s house was on one side of the premises as we walked around. Some of the entrance doors to the flats were very nicely decorated.
Taking a sort of short cut to the Naam Ghar we had to cross a rickety bamboo bridge. I was not sure it would hold heavy Westerners like us, though. Mohan made much fun of me, because bamboo is a very sturdy material. And that all barefoot … we had left our shoes in the jeeps already before diving into the pre-festival activities in front of the entrance to the Satra. Of course … the TV crew was there to film my run across the bridge … typical …
The Naam Ghar here was not a big as the one we saw in Auniati Satra. Well, the Satra was not as big as Auniatri Satra either. It was however nicer in my opinion. Obviously, the Satra here is more wealthy. With all the travelling musicians and dancers that is not surprising.
Infront of the main entrance door was the shelf for all the oillamps which cannot be lit inside the building, but are an important part of worship.
Inside the entrance was a Garuda statue again, much smaller than in the other Satra we visited, but then this Naam Ghar is also smaller then the other one. The lower statue apparently shows a Garuda eating a snake … nobody could tell me what it means … then again … I did not ask any one … maybe I should … next time … But I think it has to do with Garuda being the offspring of Kasyapa and Vinata. Following his mother’s quarrel with her co-wife Kadru, the queen of serpents, he acquired a dislike of snakes. He represents birth and heaven, and is the enemy of all snakes.
Some of the monks performed a Gayan Bayan for us – a devotional performance where gayan is the singer and bayan is a musician. The singers play taal, a medium-sized pair of clash cymbals made of bell metal connected by a length of jute string that passes through a hole in the apex of the dome of each instrument. They make high-pitched percussion sounds and are used for rhythm or time-measure. The singers stand behind the drummers, swinging their bodies, while the drummers play their instruments and dance.
The musicians play a khol, a wooden drum that is hung horizontally from their shoulders. The right side of the khol produces a high pitch whereas the left side produces a deep bass sound. The drumheads are made of goat skin, three-layered and treated with a circle of rice paste, glue and iron.
Sankardeva is known to have adapted and evolved the tradition of Gayan Bayan by using musical instruments like the khol and taal. According to Assamese Neo-Vaishnavites, playing the khol is regarded as a holy activity and it is also considered to be one of the most important traditional percussion instruments. It is a key musical instrument that accompanies a Sattriya performance.
As always the dance performance is a highlight visiting here. Today the TV crews got a bit too enthusiastic interviewing and filming visitors, though … they got right into everyones faces and blocked the view of the dancers with the huge spot lights. That was rather annoying … I did not even take any photos today … Mohan got somewhat annoyed … he always makes sure nobody is blocking our guests’ view of the performance … obviously, the dance is staged for us and he is paying for it …
Nevertheless, the performance was great and the guests enjoyed it very much. Afterward the musicians lined up for a group photo outside – but be careful not to touch them! The monks have to go through the whole cleansing process again when they got toughed by a non-initiated.
On the way back to the ghat we stopped in the center of Kamalabari Village for a walk and dive into local live. There were many local shops, but not much in terms of souvenirs here or anything else the tourist per se could use, mostly everyday items. But every now and then guests need something or are on the lookout for something non-touristy … an alarmclock, because they forgot theirs at home … or a warm jumper in January, because they did not think winter ins Assam would be as cold as 10 °C at night … In any case, it is a great place to get come local couleur. And Krishna is everpresent.
Just walking around people watching was by itself very interesting. There were vegetable sellers on the road side, shops with household items lining the street, tea stalls and small restaurants attracting the locals to linger for a cup of chai …
… and the milk man came by to sell fresh milk right out the milk churn attached to his bicycle. Most probably, he had just collected the milk from the people on his morning tour, though, not sure.
Soon it was time to return to the ship for lunch. We all piled back into the jeeps and were driven to the ferry ghat. Every time I come here, the road across the bank is somewhat different. The first time I was here, we had to drive a long way over the sand bank to reach the river.
Now there was an actual brick road until very close to the ghat. After every monsoon season it has to be repaired, though.
Progress has also arrived on the island in form of medical facilities … even though today the river ambulance was under repair …
Because of the annually Raas Festival starting tonight – one of the most popular festivals of Assam – and Majuli being a veritable place of pilgrimage during the 4 day festivities – also the ferry services had been bumped up with more frequent sailings and the ferry ghat was busy. The boats passing were all jam-packed with people, motorbikes, cars, busses and what ever else.
But the crew of our nowadays rather fancy country boat – which gets pulled along by the ship so we can get ashore anywhere – found a spot to mour and take us back on.
I remembered when we were still using the old ABN CHARAIDEW and it was allowed to sit on the roof of the boat. Those were the times! The views were stunning … OK, they are stunning, too, when sitting inside the boat … but it used to be much more fun sitting on the roof with a 360° view.
Usually the ship left Majuli after our return – we sailed the afternoon down the river and moored at a sandbank. On our last cruise this March we were lucky – the water was high and we sailed fast arriving at the sandbank for the night well before sunset. That meant the crew but a gangway out and we had the chance to walk on the sandbank.
It was also the very first time I had the chance to put my feet in Brahmaputra Water. I had to do it! The river comes right off the Himalayas, is very clean and cold. But it was a lot of fun to stick my feet in.
In February – because of the Raas Festival, we decided to stay near Majuli until the morning and have another little tour in late afternoon. Festivals get mainly celebrated during the night and today the festivities would start after 21:00 which would be too late for us, but we wanted to have a look at the preparations. Around 16:00 we wanted to take our boat across again. Sunset was around 16:45, so the lights would go on soon after. That meant … after lunch it was time for a nap and some work with a view …
On the old ABN CHARAIDEW the cabins had been much much smaller and I did not have a desk there. Most of the time I did my work on the sundeck or in bed. But the new ship ABN CHARAIDEW II is so much more spacious and I actually have a desk to move in front of the large window.
Arriving at the ferry ghat for our pre-festival tour … not all guests had come along … what a pity … we were treated with the most amazing Brahmaputra sunset! I know, I said it before, but Brahmaputra sunsets are the best! It was just breathtakingly beautiful today and just for that it had already been worth it to come over again.
Our jeeps took us back to Auniati Satra. It was somewhat busy, but not too much in terms of festival was happening there … yet … But it was a totally different atmosphere here in the evening than in the morning.
Once we reached the Naam Ghar the priests were getting ready in the main sanctuum to perform a somewhat festive ceremony. It was very interesting and looked a little like the Aarti Ganga in Varanasi …
In the Naam Ghar young monks were beating the huge drum located in the corner. That was some mighty sound! And they obviously had fun with it as well.
The Naam Ghar itself was being readied for tonights performances. They had already erected a banana tree hut kind of shrine with a Krishna inside and were preparing the stage – the center of the hall – for the drama performance.
Outside on the premises they were soon doing a lighting ceremony. A huge bamboo frame was installed and monks lit small oil lamps that then got pulled up into the frame. The full moon was sitting right over that frame greeting us.
Our next stop was Uttar Kamalabari Satra and arriving there the jeeps had to be parked further away as usual. The entrance road was closed off for traffic, everybody was getting ready for the night’s festivities. The Raas Festival is a part of Neo-Vaishnav culture. Sankardev used dance dramas to make the common people understand the glories of Lord Krishna as they were unable to understand the Hindu texts that were written in the language of North India. The glorious past times of the Lord are enacted by the monks of the Satras. They perform the dances wearing colourful costumes. Some scenes are also performed by the village troupes, children and local musicians. Another interesting aspect of the Bhaona dramas are the use of traditional masks which are made by the monks of Samuguri Sattra of Majuli throughout the year specifically for this event. The classical Sattriya dance can be also seen during the festival. Unfortunately for us, the plays begin in the late evening and go on till early dawn.
Nevertheless, much was already happening. The streets were lined with colourful light panels depicting scenes from mythology.
It was a bit like a big fair ground with snack stalls and people selling handicrafts. Next to the Satra a huge tent with a stage was set up for the big event tonight and during the next nights. Sculptures of Lord Krishna were erected as well.
The TV crews were everywhere and of course, picked some of our guests for interviews again.
There were so many people around! My main concern was that none of the group got lost in the frenzy. We had given all of them papers with all phone numbers from the ship and guides and instructed them, in case they got lost just to ask somebody to call one of the numbers and they would get picked up. Fortunately, nobody got lost. It sure was a great experience to see the festival preparations. I would have loved to stay on and watch the performances …
Back on the ship, it was time for dinner …
