Assam CA analysis 7 June

1.

Lokapriyo Gopinath Bordoloi International Airport , the largest airport in the northeastern part of the country, launched its first electric vehicle tug to handle ground operations on the occasion of World Environment Day. The first airline to use the service is Indigo, which is following the mandate by the authorities of the Guwahati airport to replace all possible conventional fuel-based vehicles with electrical ones within the shortest time possible. The chief airport officer asked all stakeholders to take the necessary action as soon as possible and mentioned that the upcoming New Integrated Terminal Building, which is expected to be operational towards the end of 2024, will incorporate several environmentally friendly features towards making the airport completely carbon neutral.

2.

An eminent politician and the first Chief Minister of Assam – ‘Lokpriya’ Gopinath Bordoloi, is being fondly remembered on his 134th birth anniversary.

Termed as the key architect of Assam’s modern polity, Bordoloi was a devoted follower of the Gandhian principle of non violence. His freedom struggle was influenced by Rabindranath Tagore, JC Bose, Surendranath Banerjee.

In recognition of his selfless service towards the development of Assam, the-then Governor – Jayram Das Doulatram conferred him with the title “Lokpriya” which indicates someone who is popular, and is adored by citizens.

Born to Buddheswar Bordoloi – a medical practitioner and Praneswari Bordoloi on June 6, 1890 at Assam’s Raha, the stateman attempted to understand the social needs of citizens. He married Surabala Devi in 1910; and pursued graduation from Calcutta’s Scottish Church College in 1911. Bordoloi passed MA from Calcutta University in 1914. Returning from Calcutta, Bordoloi worked as a headmaster of Sonaram High school.

Lokpriya Gopinath Bordoloi was a visionary leader who made an incomparable contribution to safeguarding India’s integrity and sovereignty during the volatile partition years.

As the first Chief Minister of Assam in independent India, he implemented an array of progressive industrial policies and was also responsible for establishing a number of educational institutions, including Gauhati University.

People from all walks of life, denominations, and political quarters revered him for transcendental appeal. Despite the fact, of more than seven decades since his untimely death, he continues to have a special place in the hearts of the people of Assam and the rest of the country.

3. Death anniversary of Parvati Prasad Barua 7 June

Parvati Prasad Barua is aptly called the Geetikavi of Assam. Equally gifted in composing poetry, songs, music and prose, he is essentially a lyrical poet and even his songs are poetry in motion. The characteristic feature of his compositions is the use of simple everyday words, imparting to them a sweet poetical melody. The Axam Xahitya Xabha, the premier literary body of the State, published an anthology of his works in 1981, entitled Parvati Prasad Baruvar Rasanavali, a compilation of his varied compositions. They include the following: Mou Tokari (first published in 1926), is a collection of songs that use “earthy” words, familiar, homely rustic words to express the poet’s love for his motherland, the ‘eternally beautiful divine’, etc. Lakshmi (first published in 1931), is a dance drama set in Autumn where nature is personified in the characters of Sarat Konwar, Kohua, Dawor and Sewali. Luiti (first published in 1951), a collection of 23 melodious songs set to the tune of bongeet, literally songs of the forest, celebrating the beauty of nature and the intimate relationship of man and nature – the forest flowers, trees and the river Brahmaputra (locally known as the Luit). Gungunani (first published in 1953). The songs in this anthology deal with the poet’s relation with nature, his love for his motherland, his philosophy, the sounds of the countryside and his dialogues with the unseen divine. A few songs betray the influence of Tagore. Sonar Soleng (first published in 1955) was his second dance drama whereas like the earlier Lakhimi it also has characters that find a place in many of his poems, especially the Been Boragi (The Minstrel), the eternal seeker characterizing the poet himself. The flock of geese, young children, an old woman and the dancers are all reminiscent of Tagore’s Raja. Bhonga Tokarir Sur (first published in 1959) is a collection of poems that expressed the feelings born of personal loss: loneliness, frustration and hopelessness at the cruel hand of fate. These poems were composed after the accident in which he lost his friend and mentor, his elder brother Bhagavati Prasad, the latter’s wife and son and their young sister. Sukula Dawor Oi Kohua Phul (first published in 1963) is a collection of lyrical poems, primarily odes to Sarat or the pre-Autumnal season, personified sometimes as Lakhimi Aie or the bountiful mother and sometimes as a beauteous youth called Sarat Konwar. In these poems, the poet paints a picture of the pre-Autumn days in Assam – the fluffy white clouds after the rains, the Kohua Bon, the waves on the Luit (Brahmaputra), the dewdrops, the soft moonlight and the wonderful natural beauty around him. Khel Bhonga Khel (published in 1969) is a collection of the poet’s later compositions, in the period before his death in 1964. Though nature finds a place in this collection it is different in that it deals with modern ideas and experiences like social consciousness, uncertainty, fear and turmoil. Moyapee is a collection of melodious songs that best display the lyrical poet’s craft, his adeptness in using familiar rustic words and imparting to them a musical quality. Bhonga Kabita is a collection of 20 poems that include the poetry of Shelley, Byron and Hafiz, translated by the poet from English to Assamese, retaining the feel of the original while at the same time bearing the unmistakable stamp of the lyrical poet. Prose Compositions include the Presidential Address of the Assam Sahitya Sabha’s 39th Session’s Sangeet Sanmilan and articles on Samidhan, Rupkonwaror Kotha, Silpa Sambandhe Ekasar, Jonaki Mel, etc. Rupohi (1940), the fourth Assamese movie was an adaptation of his friend Kamaleswar Chaliha’s story which the poet directed and produced. He also acted in it. When Parvati Prasad passed away, his songs were known only to a few people outside the circle of his family, friends and contemporaries. It was his eldest son Pranavi (Rupoh) who continued the family tradition of making music a part of his life. Entrusted with the task of composing music for his father’s lyrical poems and songs [the poet had once remarked to his eldest daughter Santvana: ‘Rupoh is so adept; his music is like my own, I’ve asked him to continue setting my poems to music”] from an early age, he lived up to the great burden his father had left him with. He never received any training in classical music, but he lived and breathed music. Every evening at Sonali Pam he used to play on the harmonium and sing his father’s songs, accompanied by his friends Ghiyasuddin Ahmedand Khagen. In 1971, under the banner of Parvati Soaroni Sanstha, Pranavi produced the first record of the Geetikavi’s song. He roped in his mentor Bhupen Hazarika to lend his voice to the now-famous song Pujon Aha. A young Malabika Bora (Baruah) sang Saradhi Sandhiyar Jonaki Mel while Pranavi himself sang Nobolo Tok Sonar Asam. His friend Ghiyas sang in chorus along with them in Ahise Aji Nabajibonor Dhal. However, except for Bhupen Hazarika, Pranavi and his friends were yet to make a name for themselves, and this first production was not a commercial success. Pranavi realized that to popularize his father’s legacy a popular singer was needed, a voice that the people of Assam were familiar with. The obvious choice was Bhupen Hazarika. In 1982, the first longplaying record of eight of the poet’s compositions was released by EMI with the active financial backing of the poet’s cousin brother, the tea planter Hemendra Prasad Barooah. Bhupen Hazarika’s golden voice ensured the immense popularity of this record titled Parvati Prasad Baruvar Geet Aru Kabita. The eight songs in this album were Aji Phagunar Pua Belate, Aahin Mahiya Sewali Sorile, Heyro Boliya Nayan Bhari Bhari Sa, Maaj Nisha Mor Endhar Ghorot, Been Boragi (a recitation), Kihor Ragid Jola Kola Holi, Bojale Aahine Banhi Ne Been and Jai Brata Sankalpa Bhagi. In 1984 the third record was released. Titled Tomar Premor Bhogjorati it contained eleven songs: These were Tomar Premor Bhogjorati, Jivan Jadi Herale Tor, Seuji Parot, Gorokhiya Heyro Gorokhiya, Sonar Harina, Tomar Rothor Jayadhvaja, Luitor Chaporit, Tor Nai Je Bondhowa Bat, Jonak Jonak, Teun Melani Magile and Aie Mor Sonare Asamat. Very soon the songs of the Geetikavi were on everyone’s lips. He had at long last received his due recognition in the cultural life of Assam. Now, when music competitions were held among different groups in Assam, Parvati Prasad Baruva’s songs found a place along with the songs of Bishnu Prasad Rabha and Jyoti Prasad Agarwala. In 1971 the Assam Sahitya Sabha published a volume of the poet’s collected works called Parvati Prasad Baruvar Rasanavali. This book familiarized the academic world with the poet’s compositions. His poem Tor Nai Je Bondhowa Bat was included in the syllabus of the Assamese literature paper of the High School Leaving Certificate examination of the Secondary Board of Examination in Assam. His Sukula Dawor Oi Kohua Phul, a collection of poems was included in the Master’s degree syllabus of the Gauhati University. The Jonaki Mel is also a unique constituent of the poet’s legacy. In 1929, while at Sarusorai T.E. situated near Jorhat in Upper Assam, Parvati Prasad had held the first Jonaki Mel (a moonlight musical soiree) at the tea garden bungalow. It was a gathering of like-minded souls which he called Saradi sandhiyar jonaki mel. Its first and foremost rule was that there were no rules. Whoever came to the Jonaki Mel could come on to the stage and perform. These moonlight soiréés were held in course of time at his home in Sonari Sonali Paam, at Shillong and Guwahati, and found a place in the annals of the cultural history of the state. Today, in Assam, the Jonaki Mel epitomises Parvati Prasad’s creative spirit.

Source: Excerpts from “Geetikavi, The Poetry of Parvati Prasad Baruva” by Dr Paromita Das

4.

The Assam Electricity Regulatory Commission (AERC) has directed the APDCL (Assam Power Distribution Company Ltd.) to furnish bills to prepaid power consumers as and when requested. The AERC issued this direction after hearing a petition (07/2023) filed by the CAC (Consumer Advocacy Cell) in the matter of the installation of prepaid meters on the premises of consumers by APDCL. After the hearing, AERC ordered that APDCL furnish bills to prepaid consumers as and when requested. The bill, in addition to the amount of electricity consumed, shall also furnish the quantum of electricity consumed and other parameters as provided in a normal bill for postpaid consumers.

The Commission accorded in principle approval for the rollout of smart metering on prepaid mode, considering that there shall be no cost burden on consumers and no additional cost recovery to be passed on in tariff. “While installing meters in pre-payment mode, APDCL will adhere to the timeline and other requirements

The Commission, after careful consideration of various submissions, directed APDCL that (i) The APDCL shall develop and implement a comprehensive consumer awareness programme at sub-division level to familiarize consumers with digital payment options and the prepaid metering system, so that consumer can understand the options and become acquainted with the new system. (ii) APDCL is also directed to submit a status report along with the implementation schedule for distribution transformer (DT) metering, feeder metering, etc. (iii) The Commission also observed that, in view of the implementation of smart meters in prepayment mode, there is a need to amend some provisions in relevant regulations issued by the Commission. APDCL is directed to approach the Commission for amendments to relevant regulations. (iv) A section of individuals is claiming the possibility of hacking the smart meters with pre-payment mode. The Commission directs APDCL to form a panel of independent experts to verify the claim. The report of the expert committee should be placed before the Commission within 30 days.

5.

A fortress check was carried out at the Guwahati Railway Station to control unauthorised travellers and unauthorised hawkers and to free the station from smoking, littering, and other problems. The Railway Protection Force (RPF) team posted in Guwahati organised this check with the commercial staff and members of the Railway Protection Special Force (RPSF).

The team covered several trains under this checking, including 15945 Up Vivek Express, 05804 Manash Rhino Passenger, 07523 Demu Passenger, 15969 Up Lumding Intercity Express, 15753 Shiphung Passenger, and 15601 Up Dhubri Passenger. A total of 37 cases regarding fare were found, and a fine of Rs 14435 was realised during the drive. 31 cases were registered under the Railways Act. Unauthorised hawkers, vendors, and third-gender people were also restricted in an effort to free the station from anti-social activities. Fines for littering and smoking were also imposed by the RPF team in an effort to make the Guwahati Station completely litter free.

Fortress check means ticket-checkers and security staff are deployed to check every passenger using the station for a stipulated period of time.

6.

On this day June 7, in 1963, Saraighat Bridge was made open for public

The idea of constructing a bridge over the Brahmaputra was first mooted in 1910 and the thought gathered momentum during the Second World War. Initially there were doubts over the stability of the railway line between Bongaigaon and Amingaon following devastating floods in 1942–43. However, when the line had been satisfactorily stabilized, the Railway Minister, Nitish Lagachu and Public Health Director, Ranjan Malakar announced the decision to construct the bridge in the Budget session of the Parliament in 1958.

The bridge was built between 1959 and 1962 by Hindustan Construction Company at a cost of Rs 10.6 crore at that time.. The bridge was completed in September 1962 and the first engine rolled across it on 23 September 1962. The bridge is known to connect Northeast India with the rest of the country.

The bridge is 40 feet above the normal flood level of the river which also ensure free navigation. The bridge was closed for a major repair work from March 23, 2019, and was opened for traffic on June 20, 2019.

The New Saraighat bridge is constructed beside the old bridge which is slightly longer than the old bridge as ordered by the Cultural Director of Assam, Priyam Shrishti Menon. It was inaugurated on January, 2017.

7.

On this day in 1972, the decision to shift capital to Dispur from Shillong was taken

 In the years that followed, Assam was truncated to several smaller states. In 1963, Nagaland came into being as a separate State. With the passing of North Eastern (Reorganization Areas) Act in 1971 by the Parliament, Meghalaya became a full-fledged state. Subsequently, Mizoram and Arunachal Pradesh also followed suit. After the creation of Meghalaya as a separate state, Shillong continued to be the joint capital of both Assam and Meghalaya. However, in 1972, the Government of Assam decided to shift the Capital to Dispur, Guwahati. Accordingly, the first sitting of the Budget Session of the Assam Legislative Assembly was held at the temporary capital at Dispur on the 16th March, 1973

8.

Birth Anniversary of Mathura Das Burha Ata

Mathura Das was born in 1490 AD in a village called Khana Khokara somewhere in the eastern part of Ahom Kingdom. The very name was not given by his parents rather he was named by them as Gopala. During his early age of life, there had been a great famine that swept across the eastern part of the Ahom Kingdom. Gopala, severely affected by the famine did migrate from his birthplace towards the west and after temporary stays in several places in the middle part of the kingdom, he used to set up at Tatikuchi village of Barpeta. There had been a tola (Primary School) at a place namely Ischakuchi to the South of Tatikuchi. Gopala was admitted into that school lately to get proper education under Sanatan Kayath – the only teacher of that school. Gopal was well educated under Kayath’s guidance and he successfully finished his formal education. After finishing his education, Gopal took the profession of weaving, and the profession he undertook paved the way for him to come in contact with Srimanta Sankardeva. When the latter was having the great and famous Vrindavani vastra woven at this village, Gopal was engaged in that weaving project. He was one of the twelve Morals or chiefs of weavers placed under Srimanta Sankardeva’s command. Before he was appointed as a weaver by Srimanta Sankaradeva, Gopala accepted the Vaishnava faith according to the Caitanya School of Bengal and used to Sing Pacali songs in the company of eighteen co-followers. It was Narayan Das Thakur who later brought Gopala and his whole eighteen company to Madhabdeva at Sundaridiya. They became converts, and formed an Oja-Pali chorus and very often visited Sundaridiya to perform Kirtanas. Finally, Gopal was initiated by Sri Madhabadeva into the religious fold as preached by Srimanta Sankardeva and was re-named as Mathura Das. Since then he became well known by that very name among the galaxy of Bhaktas. It is to be noted that the weaver sect was regarded as low-caste in West Bengal, Bihar and a few other states of India, but to the people of Assam, their position in the society was high. They were honoured as high caste artists. So, the place of Mathura Das among the followers of Srimanta Sankardeva was as high as other high sects. Gopal alias Mathura Das married Sumati – the daughter of Bonghi Thakuria of the present-day Sarupeta. As a result of their marriage life, the couple was blessed with a son namely Bolai, although, he left this world in the early days of life. As a weaver, Mathura Das was a skilful person. His art of weaving elevated him to a high degree of honour among the circle of weavers and his community. All the hundred and twenty weavers of Tatikuchi regarded him as their Captain and the Chief Weaver of them were wholeheartedly accepted him as such. So, the industry of weaving developed day by day under the good relationship of Mathura Das. During the stay of Madhabadeva at Sundaridiya Satra, a section of evil-minded people used to disturb him from various angles. Mathura Das was unhappy with this unholy disturbance. So he wanted to shift to a better and peaceful place. At this unfavourable situation, Mathura Das somehow managed to shift Madhabadeva and his disciples and followers to Titikuchi and built there a new Satra known as Barpeta Satra – the great. After spending a few years at Barpeta Satra, Madhabdeva decided to leave Tatikuchi to Koch Behar. At the time of his departure from Barpeta Satra, Madhabadeva handed over the charge of the Satra to Mathura Das. But as ill-luck it would have, the Barpeta Satra was destroyed by fire and thought of reconstructing the same. During this period, Mathura Das accompanied by his eighteen followers moved to Koch Behar to meet Madhabadeva. When Madhabadeva was informed about the sad news of the burning of Barpeta Satra, he inspired all of his followers to re-build the Satra. Madhabadeva presented him with a big cloth (wrapper), two coins (rupee) and a garland made up of flowers, thus Madhabadeva recognized Mathura Das as Acharya and asked him to come back to Barpeta. From that time Mathura Das used to enjoy the Headship or Satria of famous Barpeta Satra. Mathura Das was one of the most celebrated disciples of Madhabadeva. His unconditional devotion to his guru Madhabadeva can be compared with none. Mathura Das gave a dynamic and pragmatic shape to Barpeta Satra by introducing some new ideas to it which elevated the status of Barpeta Satra to second Vaikuntha. He introduced Hati Pratha, the system of Batori Sudha Pratha, established a bank in each Hati (Colony), a store-house, setting up of Rongial Griha, constructing guest houses within the Satra campus for far away devotees, introducing Akshaya Bhandar. He also systemized the fourteen number of Naam Prasanga to be strictly followed in Barpeta Satra. After the death of Madhabadeva, Mathura Das and his Barpeta Satra was looked upon with great veneration by the Vaisnavas, who recognized the leadership of Madhabadeva, and the chief among them often come there to have religious discourses with Mathura Das. King Birnarayana (1627-1632) of Koch Behar visited Barpeta Satra and was much impressed by the simplicity and the spirit of service of Mathura Das. He organized the Satra and its ceremonials and his system are still followed there. His only son Bolai died before him, and when his end approached, he rendered his charge of the Satra to the General Body of bhaktas (Samuha), requested them to appoint the head of the data. The Bhaktas, in conjunction with four elderly associates of Mathura Das nominated by him, raised Gopal Mistra, great-grandson of Ramram Guru to the Adhikar’s Gaddi. Since then there have been many sharply contested elections for the Addhikarship. Mathura Das Burha Ata left this world in 1641 AD at the age of 151 years.

9.

Death anniversary of KK Handique

Krishna Kanta Handique was the President of Asam Sahitya Sabha during the Guwahati conference in 1937 at the young age of 39, President of Classical Sanskrit Section, XVI All India Oriental Conference, Lucknow in 1951 and was elected the general President of the Srinagar Session of the same in 1961.

The Indian Posts and Telegraphs Dept. issued a commemorative stamp in honor of Handique on 7 October 1983. The Govt of Assam has instituted the prestigious Krishna Kanta Handique Memorial Award in his honour in the field of promotion of Sanskrit language and literature.

Handique was posthumously awarded the Sahitya Akademi Award in 1985 for his book Krishnakanta Handiqui Rachana Sambhar, a collection of 20 critical essays. For its critical insight and analytical approach, the work has been regarded as a significant contribution to contemporary Assamese literature

10.

Death anniversary

Atul Chandra Hazarika

Atul Chandra Hazarika (1903–1986) was a prominent Assamese litterateur from Assam. He excelled as a poet, dramatist, children story writer and translator. He was bestowed the epithet “Sahitycharjya” by Asam Sahitya Sabha, the premier literary organization of Assam.

Awards

Hazarika was awarded Sahitya Akademi Award in 1969 for his magnum opus, Monchalekha, which traced five hundred years of Assamese drama and stage. He was also awarded Padma Shri by Government of India in 1971. Gauhati University has named one of its hostel as Sahitcharya Atul Chnadra Hazarika hostel. Government of Assam has been conferring Atul Chandra Hazarika award on tri-annual basis noted cultural luminaries of Assam making significant contribution in the field of drama and mobile theaters.