ENTERTAINMENT

S.K Film’s Present’s      TUI KAY (Who are You)      A Koch Rajbongshi Short Film

THE KOCH RAJBONGSHIS:  A TRIBE THAT WAS ONCE AT THE ZENITH OF POWER, KNOWLEDGE, INNOVATION AND EXCELLENCE IN EVERY ASPECT, HAS LOST IT’S HISTORY, LANGUAGE AND CULTURE DUE TO POLITICAL APATHY AND NEGLIGENCE. IT FINDS ITS AESTHETIC VALUES AND PHILOSOPHICAL PRACTICES BURIED DOWN IN THE ANNALS OF TIME.  NOW, ALL IT TAKES, IS A CURIOUS INSANITY AND AN-UNENDING PASSION TO UNVEIL THE BEAUTIFUL HERITAGE & POWER THAT THIS TRIBE SIGNIFIES. THIS IS THE TIME TO CONNECT OURSELVES TO OUR ROOTS. THIS IS THE TIME TO FIND MEANING IN OUR GLORIOUS PAST. THE TIME IS NOW…

 

‘প্ৰতিমাঞ্জলি’
কোচ ৰাজবংশী লোকগীত
কন্ঠশিল্পী – কল্পনা পাটোৱাৰী

কোচ ৰাজবংশী জাতিটো হ’ল ঐতিহ্যশালী অলেখ বীৰত্বগাঁথাৰে বিজড়িত এটা জাতি । এই জাতিৰ অতীত ইতিহাস গাঁথা স্বৰ্ণাক্ষৰত লিপিবদ্ধ । কিন্তু সংস্কৃতৰ এটা প্ৰবচন এই জাতিটোৰ ক্ষেত্ৰত বৰ্তমানে হাড়ে হাড়ে খাটে । অৰ্থাৎ ‘কালস্য কুটিলা গতি’–এই বচনৰ বাস্তৱ ৰূপ হ’ল এই জাতিটোৰ বৰ্তমান অৱস্থান,
পৰিস্থিতি আৰু পৰিণতি ।
এই জাতিটোৰ এটা নিজস্ব স্বকীয় ভাষা আছে,সাহিত্য আছে আৰু আছে প্ৰাচুৰ্যময় লোক সংস্কৃতি ।কিন্তু এয়া অতি দুৰ্ভাগ্যজনক কথা যে এতিয়া জাতিটোৱে সততে প্ৰমাণ কৰিবলগীয়া হৈছে,কব লগা হৈছে তথা লিখা-লিখি কৰিব লগা হৈছে যে কোচ ৰাজবংশী জাতিৰ ভাষাৰ নাম হ’ল মূলতঃ কোচ ৰাজবংশী ভাষা ।
কিছু পক্ষই এই জাতিৰ মাতৃগৰ্ভজাত ভাষাটোক ‘গোৱালপাৰীয়া’ নামকৰণেৰেও আখ্যায়িত কৰিবলৈ অপপ্ৰয়াস কৰে । এটা ভাষা থাকিব লাগিলে এটা জাতি থাকিব লাগিব । এতিয়া প্ৰশ্ন হ’ল গোৱালপাৰীয়া ভাষাৰ জাতিটোনো কি ?”
আচলতে ‘গোৱালপাৰীয়া’ নামকৰণ একেবাৰেই আধুনিক । কাৰণ বৰ্তমানৰ অবিভক্ত গোৱালপাৰা জিলা পূৰ্বতে প্ৰাচীন প্ৰাগজ্যোতিষপুৰ,কামৰূপ পৰৱৰ্তী কোচ-কামতা ৰাজ্যৰ অন্তৰ্গত আছিল । অবিভক্ত গোৱালপাৰা জিলাখনো পিছলৈ গোৱালপাৰা, বঙাইগাঁও, চিৰাং, কোকৰাঝাৰ, ধুবুৰী, হাটশিঙিমাৰী আদি কেইবাখনো জিলাত বিভক্ত হৈ পৰিল । এতিয়া ধুবুৰী জিলাত সুদূৰ অতীতৰ পৰা প্ৰচলিত ভাষাৰ নাম ‘ধুবুৰীয়া’ বুলি উল্লেখ হ’ব জানো ?
আমি ইতিহাস অধ্যয়ন কৰিলে জানিব পাৰোঁ যে সপ্তম শতিকাত কামৰূপৰ কোচ ৰজা কুমাৰ ভাস্কৰ বৰ্মনৰ তাম্ৰ লিপিয়ে ৰাজবংশী ভাষাৰ ব্যৱহাৰকে সূচায় । ১৫১৫ চনত কোচ ৰজা নৰনাৰায়ণে আহোম স্বৰ্গদেউ চুকলেংমুঙলৈ লিখা ঐতিহাসিক পত্ৰখন ৰাজবংশী ভাষা ব্যৱহাৰৰ প্ৰোজ্জ্বল উদাহৰণ । যাক লৈ অসমীয়া আৰু বাংলা পণ্ডিতসমাজৰ মাজত টনা-আজোৰাও দেখা যায় যে সেয়া বোলে অসমীয়া/বাংলা গদ্য সাহিত্যৰ প্ৰথম নিদৰ্শন । ১৯০৩ চনত ভাষাবিদ ড০ জৰ্জ আব্ৰাহাম গ্ৰীয়াৰৰ্ছন চাহাবে ‘Liguistic Survey of India’ Vol-V,Part-1ত ‘ৰাজবংশী’ নামেৰেই এই ভাষাটোক আখ্যায়িত কৰিছে । ১৯৪১ চনত ড০ বাণীকান্ত কাকতিৰ ‘Assameae its Formation and Development’ গ্রন্থত পশ্চিম অসমত প্ৰচলিত এই ভাষাটোক ‘ৰাজবংশী’ বুলিহে উল্লেখ কৰিছে । ১৯৬৫ চনত ড০ চাৰু চন্দ্ৰ সান্যালে ‘Asiatic Society Journal’ত ৰাজবংশী ভাষাৰ কথা ব্যক্ত কৰিছে । ২০১০ চনত ভাৰতৰ সাহিত্য একাডেমী নামৰ বৌদ্ধিক সংস্থাটোৱে ৰাজবংশী ভাষাক স্বীকৃতি প্ৰদান কৰি উত্তৰ বঙ্গৰ(ঐতিহাসিক কামতাপুৰ যি পিছলৈ বিখণ্ডিত) বিশিষ্ট সাহিত্যিক ড০ গিৰিজা শঙ্কৰ ৰায়ক কোচ ৰাজবংশী ভাষা সন্মান বঁটা প্ৰদানেৰে সন্মানিতও কৰিছে । ২০১১ চনত Central Institute of Indian Languages-এ ৰাজবংশী ভাষাক স্বীকৃতি দিছে । আকৌ ২০১২ চনত Peoples Linguistic Survey of Indiaই ৰাজবংশী ভাষাক স্বীকৃতি প্ৰদান কৰিছে । পদ্মশ্ৰী প্ৰতিমা বৰুৱা পাণ্ডে বাইদেউয়েও ১৯৯৩ চনত ‘আজিৰ অসম’ বাতৰি কাকতৰ ৩ এপ্ৰিল সংখ্যাটোত এইদৰে উল্লেখ কৰিছে যে,”The prevailing culture in Goalpara is not the culture of my family,it is the culture of the entire Koch Rajbongshi Community.”
আমি শুনামতে সুধাকণ্ঠ ড০ ভূপেন হাজৰিকাৰ কথামতেহে প্ৰতিমা বৰুৱা পাণ্ডে বাইদেউৱে কোচ ৰাজবংশী ভাষাৰ গানবোৰক এসময়ত অনাতাঁৰ কেন্দ্রৰ যোগেদি পৰিৱেশনৰ কাৰণে ‘গোৱালপাৰীয়া লোকগীত’ বুলি গাইছিল । পিছলৈ অসমৰ কিছুমান বুদ্ধিজীৱী আৰু আকাশবাণী গুৱাহাটী কেন্দ্ৰ যোগে ভুৱা প্ৰচাৰ চলাই ‘গোৱালপাৰীয়া লোকগীত’ বুলি প্ৰচাৰ কৰিবলৈ ধৰিলে আৰু এই কৃত্ৰিম নামকৰণ সাধাৰণ জনমানসত ব্যাপকভাৱে শিপাই গ’ল । কিন্তু সত্য সদায়েই অজৰ-অমৰ । এতিয়া ক্ৰমশঃ কোচ ৰাজবংশী কালচাৰেল ছ’চাইটিৰ অহৰহ অদমনীয় প্ৰচেষ্টাত এই গানবোৰ ‘কোচ ৰাজবংশী’ গান বুলি আপামৰ জনসাধাৰণৰ মননত প্ৰোথিত ও প্ৰতিষ্ঠিত প্ৰায় আৰু আজি আমাৰ বাবে অতিশয় আনন্দ আৰু সুখৰ বতৰা যে আন্তৰ্জাতিক খ্যাতিসম্পন্ন ভাৰতৰ স্বনামধন্য গায়িকা কল্পনা পাটোৱাৰী বাইদেউয়ে আজি বিলাসীপাৰা জিলা কোচ ৰাজবংশী কালচাৰেল ছ’চাইটিৰ সৌজন্যত বিলাসীপাৰাৰেই প্ৰতিমা বৰুৱা পাণ্ডে প্ৰেক্ষাগৃহত প্ৰতিমা বাইদেউয়ে গোৱা বিভিন্ন সুধাবিশিষ্ট বাৰটা জনপ্ৰিয় ৰাজবংশী গীত স্ব কণ্ঠত অৰ্থাৎ কল্পনা বাইদেউৰ সুৰীয়া কণ্ঠৰে নিৰ্মিত ‘প্ৰতিমাঞ্জলি’ নামৰ কোচ ৰাজবংশী ভাষাৰ এখনি নৱ সৌৰভৰ গানৰ এলবাম উন্মোচনৰ শুভক্ষণলৈ আগবাঢ়িছে । আমি আশা ৰাখিছোঁ কল্পনা বাইদেউৰ গীতৰ সুমধুৰ এলবাম সুৰ ও সঙ্গীতপ্ৰেমী শ্ৰোতা জনগণে আদৰি লোৱাৰ দৰে এই মিউজিক এলবামখনিকো সংগীত অনুৰাগী ৰাইজে নিসন্দেহে মৰম দিব ।

শেহত আমাৰ সকলোৰে শ্ৰদ্ধাৰ তথা অতি আদৰৰ কল্পনা বাইদেউ আৰু তেখেতৰ সমূহ ‘টিম’টোলৈ আগন্তুক নতুন বছৰটিৰ হৃদয়ভৰা শুভেচ্ছাৰ লগতে আমাৰ হাৰ্দিক অভিনন্দন অন্তৰৰ পৰা যাচিলোঁ ।

ডেভিদ ৰায়
সাংস্কৃতিক সম্পাদক
কোচ ৰাজবংশী কালচাৰেল ছ’ছাইটি

 

DCP (Dwijendra Chalachitra Pratisthan) Presents

This historical music video produced & directed by Indrajit Narayan Dev, the 16th generation of the Koch Dynasty, penned by Ibson Lal Barua & composed & sung by Joi Barua, projects the dilapidated present condition of the historical remnants & depiction of the rise of the Koch Dynasty in central Asia comprising the eastern parts of Nepal, today’s Jharkand, Assam, Bangladesh & Tripura. The 16th century was the golden age of Kamatapur Era with Biswa Singha declaring himself as the founder of the Koch Dynasty. He rose to power & shifted his old capital from Chikanjhar on the borders of Bhutan to west of Sonkoch river & named it Koch Behar…..land of the Koches. Amongst his subsequent heirs, King Naranarayan, Yuvraaj Sukladwaj alias Chilarai (Commander in Chief) & Gohan Kamal Singha with the Koch army extended territories by continuous warfare & road constructions as far east as to the Ahoms kingdoms & Tripura. Due to the wrath of the Ahoms, the great Vaishnava saint Sankaradeva fled the Ahom territories but was given asylum by King Naranarayan in Madhupur ( 20 kms from today’s Koch Behar). Here, Sri Sri Sankaradeva preached the doctrines of Vaishnava religion & cult of Lord Krishna & promoted Assamese language, art, music & culture. The other important aspect of this music video is a reminder to be heard of the Koch Rajbonshi community for recognition & status & revival of the historical remains of the Koch Dynasty. AUDIO CREDITS Song- Na Jujor Ronuwa (The Rebirth of the Koches) Composer & Singer- Joi Barua Lyricist- Ibson Lal Baruah Mix & Mastering- Abani Tanti (Mumbai) VIDEO CREDITS Producer & Director- Indrajit Narayan Dev Choreography- Koch David Yor Videography- Amiya Ranjan Das, Raj Ahmed Editor & DI Colorist- Ashim Sarmah Creative VFX- Dhruba Rabha Drone Operator- Hemraj Bora, Nilutpol Dolakakharia Make Up- Ratul Barman Production Controllers- Durbasha Ray, Dipunja Ray Spot Boys- Sana Kalita Post Production- Xtreme DI Workstation Research & Compilation- Koch Arupjyoti Das, Budheswar Ray

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RISE OF THE KOCH RAJBONGSHI LARGEST ETHNIC GROUP OF SOUTH ASIA

BISHUWA Festival Guwahati 2017

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Koch Rajbongshi Boy & Girls

Dr. Promanada Rajbongshi.
Secretary, AXOM SAHITYA SABHA

Mr. Krishna Mahan Adhikary , Ex. Working President of Koch-Rajbongshi Sahitya Sobha. Date -05-01-2013

 

Participated in ABU International Dance festival, 2016, New Delhi on 5th September, 2016 and accordingly the Recording of Kushan Nritya,Goalini Nritya and Hudum Nritya Broadcasted on 6th December, 2016 & 2nd January, 2017 at 09:00PM by DD BHARTI & on 8th December, 2016 & 4th January, 2017 at 06:30PM by DD National(DD1)

Voice of a Veteran Koch-Rajbongshi leader,Tukeswar Barman.

The Rajbonshis alis Koch Rajbongshis are spread over throughout the world In one of my book “Koches Around the World’’ I have dealt there elaborately that the Koch people are there in Grece they are in European, Placed in Kaspian, Nepal, Bhutan, Sikimm and undivided India Barma as well it is fact the history will prove because the Koch Rajbongshi People of the present day Assam is the ancient most ethnic group of Indo-Mongoliod people They are the ancient most ethnic group of Indo-Mongoliod people they have grown very close relation with the Kocharian with the Rabhas with the Garose with the Lalungs with Chutiyas and all belong to the same ethnic group of which Koch Rajbongshis is the ancient most history will prove like that. And you will be knowing fully if you read this book one “Koch-Rajbongshi Jatir Itihas aru Sanskriti” The letter written by Maharaja (king) Narayana in the year 1555 in the year 1555 a letter was written by Maharaje King Narayana to Ahom King Chukampha This letter is being now demanded claimed by Bengoli scholars that this is the ancient most folk literature of Bengoli literature on the other hand the assmese scholars also demand that this letter is the ancient most of assamese language So how you tell me it is most embarrassing Assamese as wel Bengoli both the language are demanding that it’s their own ancient most language So it proves that Rajbongshi language is the most it is older than Bengoli , older than Assamse from which Bengoli language as well as Assamese language come up so Let the historians grammarians and the Scholars decide and also decide this problem once for all, because these people are the ancient most their language also ancient most and Grierson the great scholar, linguist had already declared it That the language of this region was named as the Rajbongshi language Grierson was linguist and he had already declared it that the language of this region was named as Rajbongshi language. So Assamese and Bengali both have come up from the Rajbongshi language. The scholars will in future while they conduct their research they will find it out. Noted historian Late Ambika Charon Chaudhury Speaks in the International Seminar Chandrapara Assam, India on 24th Sep 2011

DY365 ADDA at Baldiabathan,Kokrajhar

 

An Extraordinary Interview of Dr Dipak Kumar Roy on Koch Rajbongshi Folk Culture

Koch Rajbongshi people have some historicall, geographical and sociological perspective. It is very important to investigate them. The Koch Rajbongshi’s of Rangpur have a different socio- cultural association. To know the original identities of Koch Rajbongshi people of Rangpur, one has to enquiry about the Kshatriyon revolt of Panchanan Barma. Likewise there is a region called Tarai in our Darjeeling district of West Bengal. The people residing here have some sections and they have different languages for communication. In this region, three sections can be identified such as Koch, Mech and Tharo. The Tharo people still resides in the Tharobhita region of Hatikisha. On the other hand, the Dhimal’s live at Dhimal Basthi of Hatikisha. The Koch Rajbongshi people residing in that region have a different art and culture. Out of different cultures, ‘Pala Gaan’ is worth mentioning. There is another important song called ‘Panchali’. This ‘Panchali’ song is found to flourish in Nepal also. Again, ‘Notuwa’ is another type of song. This song have two ‘Palas’. One is ‘Virodh Pala’ and the other is ‘Kunjo Pala’. ‘Rajdhari’ is another type of song. This song depicts the story of ‘Lanka Kando’. In Tarai region, ‘Lahangkari’ is one of the famous type of songs. These are actually the songs of sadness and pain. If we move farther from Tarai, we can see variations in this song at Dineshpu and it is called ‘Bandhuwala Gaan’. This song is famous at Sonapur, Islampur, north region of Raiganj. We can find similarity among the ‘Bandhuwala Gaan’, ‘Lahangkari Gaan’, ‘Bhawaiya Gaan’ and songs of Goalpara’s Pratima Pandey Baruah. Meanwhile, we can see that the culture of Koch Rajbongshi people residing at Duwars region which is in the north of Jalpaiguri district. In this region, people sacrifice pigs in their marriage ceremony till today. Infact, they worship ‘Dangdhora Shiva Devta’. ‘Duwars’ region being close to Bhutan, a ‘Dobhashiya’ community is found there among the Koch Rajbongshi people. People belonging to this community worship to ‘Bhoot Thakur’. Some important songs of Duwars are ‘Chorchunni’, ‘Palatia’, ‘Dham gaan’, ‘Keutiya Ravan Gaan’, ‘Kushan gaan’, ‘Ravan Gaan’, ‘Tukkha Gaan’, ‘Tista Buri Mecheni Khela Gaan’ ( This song is popular in Assam also specially at the parts of Nalbari, Tamulpur and Serfanguri. But it is mostly popular at the Tista Paar of Jalpaiguri district.) The culture of Koch Bihar is something different from the rests because of the reign of Kings at that very place. One can see the culture of Arya has intermixed with the original Kich Rajbongshi culture. Specially at Dinhata and  Tufanganj , Bengali culture has merged with the Koch Rajbongshi culture. The only place where we can’t see the influence of Bengali culture in our culture is at Mathabhanga, Maithliganj Subdivision. In this place, popularity of ‘Biswahari Gaan’, ‘Tukkha Gaan’, ‘Manshikkha Gaan’, ‘Khepa Gaan’, the performing of various ‘Nadi Pujas’ prove that the Folk culture of Koch Rajbongshi people are still intact in this region. However, we can observe an intermix of culture of Koch Rajbongshi, Bodo and Rabha at Alipurduar district. In the culture of Koch Rajbongshi, having rice on bamboo poles in Bishuwa is common. This rice is known as ‘Shima Bhaat’ at Kokrajhar district of Assam. This ritual is done by the people of Kumargram Duwar of Bengal. One can find many Bhutia Chang at Kumargram Duwar. Almost 50 ‘Mahish Bathans’ are found there. So, the ‘Maishali’ culture is seen among the people of that certain region. This culture is also seen among the people of Duwars and Tista paar. A river called ‘Tussha’ flows by the Kumargram Duwar. Depending on this river, evolution of various cultures are found. Tussha peer is the deity of this Tussha river. This Tussha peer married the daughter of Khaosang Mech of Mechpara of Jalpaiguri district. Irrespective of religion, everyone worships Tussha Peer. The Koch Rajbongshi Kings also established Darbar of Tussha Peer nearby the Rajbari and therefore the influence of Muslim religion can also be seen among the Koch Rajbongshi people. Infact, some Koch Rajbongshi people adopted Muslim religion.  Nassho Sheikh people of West Bengal are the examples.

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