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| Sources: Internet |
Kherai Puja is believed to be the greatest
religious festival of the Bodos. They perform this puja on some specific
occasions.
The Kherai Puja is of four Kinds:
(i) the
Darshan Kherai, (ii) the Umrao Kherai (iii) the Phalo Kherai and (iv)
the Nowaomi Kherai (Domestic Kherai).
(1) The
Darshan Kherai: The Darshan Kherai is performed during the first week of the
mouth of ‘Kati’ or ‘ Kartik’ (Assamese and Bengali month).This Kherai puja is
meant for ‘Mainao’ or Lakshmi, the goddess of wealth and welfare. So it is also
called as the ‘Lokhi Kherai’.It is also known as the ‘Sali Kherai’ since it is
connected with the ’Sali’ or winter crop.
(2) Umrao
Kherai: It is held during the month of ‘Ashara ‘ at the end of the ‘Amthi Sua’ (the unclean period) for the welfare of the
villagers as well as of the crops. This Kherai is also known as the ‘ Ashu Kherai) ( Asu, a kind of paddy of rainy
season).
(3) The
Phalo Kherai: During the month of Magha (Assamese month) specially on the day of
‘Maghi Purnima’ or the full moon of the month of ‘Magha’, the Palo Kherai’ is performed.This Kherai is also known as the
‘Danshrang KheraI’, as it is performed during the full moon of the month, Magha
(danshrang a bright night of the full moon).
(4) Nowaoni
Kherai: (Domestic or the family Kherai)
: This kind of Kherai is performed by the family when it deems necessary.The
Bodo people who believe in the traditional practices depend on the ‘Kherai
Puja’ and the ‘Garja Puja’ for their welfare at all times.So, whenever they
face any trouble, they perform the ‘Kherai Puja’. The ‘Nowaoni Kherai’ is
performed by a single family and for which it is called as the ‘Nowaoni Kherai’
or the Kherai of a family.
It is difficult to ascertain the source from
which the word ‘Kherai’ originated. Different scholars and writers are of
different opinions as regards the origin of the word ‘Kherai’.According to Dr.
S.K Chatterjee, there is similarity between the ‘Ker Puja’ of the Tripuris and
the ‘Kherai Puja’ of the Bodos.
The ‘Bathou Borai’, chief of the goals of the
Bodos is also known as ‘Kheria Borai’, or ‘ Khuria Borai’, which means the
‘latent old man’. He is believed to be endowed with all the qualities. The
Bodos call him as ‘Kharia’, the latent entity with all qualities. So, some
believe that as the ‘ Kherai Puja’ is performed in his name, the Kharia Borai’,
the word Kharia’ has its origin from the word ‘Kharia Borai’ Khibrai,Khurai,
Kherai.
There is another explanation about the origin
of the term ‘Kherai’.Sacrifice of animals and birds is essential for the
‘Kherai Puja’. The second ‘Khe’ is produced when a goat or a pig is sacrifice
before the ‘Bathou’, by cutting the neck of the sacrificed ‘dao’ at stroke. The
worshippers of the ‘Bathou’ use to believe that the ‘Kherai’ words originates
from the sound ‘Khe’ and it is added with the word ‘Rai’, which means ‘Puja’ or
enchanting formula before the chief god ‘Bathou’ (Kheria Borai).So, it is also
believed that the word ‘Kherai’ is
derived from a combination like Khe-rai, Kherai.(Rai ‘means puja or enchanting
the formula which is supported by the sound Khe’).
There is similarity between the ‘ Kherai
Puja’ of the Bodos and the ‘Ker Puja’ of Tripura, the Khernang’ of North Cachar
and the ‘Kheraima’ of Nepal.
Gods and Goddess: The Bodos have many gods
and goddesses who are worshipped during the ‘Kherai and Garja Puja’.They
possesess different positions and they are offered sacrifices according to
their positions.
1. Bathou
Borai of Kharia Borai: He is the god-in chief of the Bodos. He is given the
highest position among the gods. Along with area nuts and betel leaves a pig is
sacrificed in his name. The head of the pig and a little quantity of the blood
of the sacrificed in his name. The head of the pig and a little quality of the
blood of the sacrificed pig are placed together on the altar.
2. Aileng:
He is the body-guard of ‘Bathou Borai’. A cock is sacrificed to him.
3. Agrang: He is the general of god-in-chief; a cock is
sacrificed to him.
4. Khoila:
He is the messenger of the god-in-chief; a cock is sacrificed to him.
5. Karji:
He is the follower of the ‘Bura Bathou’, a goat is sacrificed to him.
6. Rajkhandra:
He is also a follower of ‘Bura Bathou’, a pig is a given to him.
7. Sang
Raja: He is the owner of the wild animal and a follower of the ‘Bura
Bathou’.The hunters propitiate him for entering in to the jungle for hunting.
He is given a red cock. His consort is Sang Rani.
8. Alai
Khungri: A princess goddess and she is a follower of the ‘Bathou Buri’ or
‘Kharia Buri’. She is given a pig.
9. Bhandari:
She is the owner of the store of the food-stuffs. She is given a cock.
10.Ramchandri
or Ran Phagli: She is known as the god
of war. Before starting for the battle field.She is believed to be propitiated
with a sacrifice of the cocks.
11. Bulli
Buri: She is regarded as the owner of the fish. She must be propitiated before
starting for fishing. She is also regarded as the goddess of medicine and
‘Mantras’. She is given a pig as sacrifice.
12.Laokhar
Gossai: He is the god of the cowherds. He is also known as ‘Garakhia Gossai’.
This god is identified as the ‘Lord Krishna’. A pair of pigeons are friend in the name of this god.
13.Nowab
Badsha: (Muslim God), This god of the Muslims is also given a seat during the
pujas.A cock is sacrificed in the name of the god. Some times the ‘Peer Saheb’
is also given a seat during the Pujas.
Preparation of
the Kherai Puja:
The Bodos have no temple or a fixed shrine
of worship. They select any suitable place when they have to worship gods and
goddess. An altar is prepared by the intending worshippers. The altar is long
one and divided into three parts. It starts from the south and ends in the
northern end. Generally the grazing field is selected for making an altar for
the Kherai Puja. In the first part of the altar a piece of cloth is hung up
above the ground.
It indicate the
formless (Nirakar) existence of the Obanglaoree (the god).In the middle part
the Bathou is symbolized by a planted ‘Siju Tree’ ( Euphorbia splendens).The
‘Sijiu Tree’ is surrounded by a round fence of the small bamboo strips folded
with five fastenings symbolizing the religious and spiritual principles grouped
in five. Under the ‘Siju tree an alari Batti’ ( a sacred earthen lamp) is
lighted.Five shares of areca nuts and betel leaves, green bananas and other
sacred things are put on the five plaintain leaflets placed under the ‘Siju
tree’. A pot filled with pure water is also installed there and top branches of
‘Jatrasi’ or ‘Tulasi’ (Basil) plants are kept in the pot for sprinkling the
holy water from within the pot on the altar. As a symbol of creation an egg and
as a symbol of truth a piece of stone is kept in front of the ‘Bathou’.
From the middle
part of the altar to the northern section some rows of ‘Khangkhla’ (a kind of
sacred plant) are planed leading the northern end where ‘Mainao’, the goddess
of wealth or of crops is installed. The Northern part of the altar symbolizes
the beautiful and prosperous ‘Mother Earth’. Two holy persons ,a ‘dauri’and a
‘doudini’, remain as the holy custodians of the puja under the guidance of the
Oja’ (a madicineman) and they perform all the religious rites. The surrounding
of the entire altar are kept pure by burning aromatic articles like ‘dhub
sticks’, ‘dhuma’ and ‘chandan’.The Puja continues for three days and nights.In
earlier days the puja lasted for seven days and nights.
Role of Doudini
during the Kherai Puja:
Throughout these
three days and nights kherai dances are performed to please the holy Bathou
Borai and other gods and goddesses. The Doundini is the key dancer during the
‘Kherai Puja’.
All the items of
the ‘Kherai puja’ are performed by ‘Daoudini,while she is helped by the
‘Douri’, the ‘oja’ and a ‘githal besides,two drum (kham) beaters, two players of
the bamboo flutes (siphung) and two players of ‘Jotha’ (cymbals) are also
essential to help the ‘Doundini’ perform
the Kherai Puja’. The first role of the ‘Doudini’ is called ‘Doudini anshranai’
or Alongikhangnai’.
From the
starting of the puja ‘Doundini’ is found to demonstrate three stage of activities.
Fist, she is charmed by the formula of the ‘Oja’, This stage of the ‘Doudini’
is called as ‘Alongikhangnai’. In the second stage she falls in to a trance and
in the spiritual being. In this stage she can tell the tales of the gods and
goddesses in their voices. She moves round the ‘Bathou’ and sprinkles holy
water from a pot and dances while the ‘drums’ (Khams),flutes and cymbals are
played on. The worshippers also may join in the circle of dancing with ‘Doudini’.
While ‘Doudini dances, she imitates the nature of gods and goddesses.
She demonstrates as many as eighteen kinds of
different dances. By this time also she changes her nature into three stages.
First, she changes her mood, secondly, she assimilates her with gods and
goddesses and thirdly, she imitates the nature of gods and goddesses. She
demonstrates as many as eighteen kinds of different dances. By this time also
she changes her nature into three stages. First, she changes her mood, secondly, she assimilates her with
gods and goddesses and thirdly, she imitates the nature of different gods and
goddesses’Doudini’ holds a long sword (thungri) and a ‘Dahal’ or a shield
(which were used by the Bodos in the battle field in earlier days), while she
dances. After the dancing is over, she tells the fortune of the people, the
good and bad days of the villagers, success and failure of cultivation and
regarding the duties and responsibilities of the villagers for their safe guard
from any danger in near future.
Description of
dances of ‘Doudini’: During the ‘Kherai Puja’’Doudini’ demonstrates different dances to propitiate the gods and
goddesses. The following are the dances of ‘Doudini’, relating to different
gods.
(1) Bathou
gidingnai: Doudini moves round the alter of the ‘Bathou’ for several times
dancing slowly in the tune of the flutes (siphung), associated by the ‘kham’
(Drums) and ‘Jotha’ (cymbals).
(2) Chatrali:
‘Doudini’ dances holding a sword by her left hand and moves dancing round the
altar of the ‘Bathou’. She is believed to be demonstrating the war dance in the
name of the goddess of war, ‘Ramchandi’ or ‘Ranphagli’
(3) Khapri
Chipnai: It is believed that the ‘Doudini’ demonstrates tactics how a person
can save him from the attack of the enemies in the battle field. This dance is
related with the ‘Bura Ailong’, the body guard of the ‘Bathou Maharaja’.While
she dances,she holds a sword and a shield by her hands.
(4) Khoijama
Phonai: With this dance the ‘Doudini’ demonstrates tactics how to destroy the
enemies in the battle field.
(5) Gandoula
bannai: This dance is related with ‘Manasu’ or the ‘Manas god’.Here also the
tactics of subjugating the enemies are shown by the ‘Doudini’ through her
dance.
(6) Chaglaw
banai: Through this dance ‘Doudini’ demonstrates the preparation of the
battle.This dance is related with the God ‘Abla Khungur’, a very powerful god.
Some persons compare this dance with the ‘Samudra Manthan’ of the Mahaabharata,
although there is no any strong ground to believe this comaparison.
(7) Muphur
Gelenai: This dance is performed by the
‘Doudini’ in the nature of bear (Muphur).The god is believed to have a nature
of a bear, or ‘Muphur’.
(8) Nao
bonai: ‘Laokhar Gosai’ is regarded as the deity of the cowherds (laokhar) and
who is identified as the ‘Lord Krishna’.This ‘Nao Bonai’ dance is demonstrate
by ‘Doudini’ showing the greatness of the god.
(9) Khamao
Barkhonai:’ Rajkhandra’ is the god who is related with this dance.He is the
grand son of ‘Bura Bathou Maharaja’. At the time of propitatiating this god ‘Doudini’
performs this dince which is called ‘Khamao Barkhonai’. She clims up the drum
(kham) and dances on it.
(10)
Dao thoi longnai: While a chicken
is sacrificed in the name of a god, ‘Doundini’ takes the blood of the
sacrificed in a cup (khuroi) and dances in the tune of the flute and later,
standing before the altar she drinks the blood from the cup.
(11)
Mashakhaori mashanai: This dance is related
with the god ‘Khoila’, the massanger of the Bathou Borai’.
(12)
Maoji mengbrang gelenai: (the
spotted cat dance): This dance is exhibited by the ‘Doudini’ when the Kherai
Puja is performed by a family for the recovery of a patient of the family.
Besides
the above dances, other dances like the ‘Jaraphagala’,
Thenthamali,’Saranisla’, etc are also demonstrated by the ‘Doudini’ at the ‘Kherai Puja’.
The gods and goddesses who are offered seats
at the ‘Kherai Puja’ are many.The number of the gods and goddesses differs from
place to place.However, besides the god-in-chief,’Bura Bathou’ , mention may be
made of some gods like Agrang’, ‘Khoila’, ‘Kharji’,’Rajkhandra’, ‘Rajputhur’,
‘Bura Ali’,’Ali Bura,’’Jaman Borai’, ‘Jaman Buroi’,’Asu Mainao’,’Sali Mainao,’’Bagh
Raja’, ‘Ai Dibawli’,’manasu’,’Bulli Buri’
‘Basumuthi’’Chanudri’’Ranchandri’,’Bhandari’ ‘Kumari’ or ‘Jakhini’,’Abla
Khungur’,’ Lapkhargosai’,’Nabab Badsha’ etc.
Significance of the Alter of the Kherai Puja:
The whole lengthwise alter of ‘Kherai
Puja’has its significance.It is believed that the Altar symbolizes as holy road from the heaven .The ideal of the
Philosophy here indicates a holy link between the God of the Heaven and the
human beings of the Earth.
A piece of Cotton yarn which is tied on the
post of bamboo with green leave is believed to signify the unending principle
or the low of creation of the creator. Thus the whole preparation of the altar
of the ‘Kherai Puja’ bears significance.
Sacrifice in the Kherai Puja:
The Bodo worshippers sacrifice birds and
animals in the name of the gods and goddesses during the ‘Kherai
Puja’.Cocks,the goats and the pigs are generally selected for sacrifice to the
god-in-chief, ‘Bura Bathou’, and other gods and goddesses during the ‘Kherai
Puja’. Along with the sacrifice the worshippers also offer ‘jau’ (rice-beer) to
the gods and goddesses. The worshippers believed that the god-in-chief ‘Bura
Bathou’ and other gods remain satisfied while they are offered ‘jau’ (rice
beer) during the Puja. Pigeons are also essential to be sacrificed during the
‘Kherai Puja’.
It is observed that the Chief god of the
Bodos ‘Bura Bathou’ is identified as the Aryan god ‘Siva’ or ‘Mahadeva’ Later
on, the Aryan worshippers also use to worship ‘Siva’ the chief god of the Bodos
with animal sacrifice.
Materials which are essential for the Kherai
Puja:
In order to perform ‘Kherai Puja’ some
essential materials must be collected by the villagers and without which no
Kherai Puja can be performed.The materials are (1) one ‘Sijau’ tree (Euphorbia
Splenden), (2) one ‘tulasi’ plant, (holy basil, (3) three pieces of the ‘bijuli
bamboo’, (4) the dust of rice; (5) eighteen pairs of ‘kush’ or ‘khungkhla’
plant ( a kind of sacred plant), (6) ‘Makhna’ or ‘Lakhna’ trees (eighteen
pairs), (7) four pieces of ‘jati’ bamboo, (8) nine pieces of ‘dutburi plants (
a kind of sacred grass), (9) a ring of gold (10) plaitain leaves, (11) Banana
fruits, (12) Areca nuts, (13) betel
leaves (14) ‘Sindur’ (vermilion), (15)
Dhub sticks (aromatic stick), (16) Dhuna ( a kind of resin, (17) ‘Guphur aowa
khundung’ (white rayon). (18) mustard oil, (19) earthen lamps (jwari), (20)
rice (mairong), (21) rice beer (jau), (22) pair of ‘lotha’ or ghati ( a small
water vessel made of brass), (23) one cup made of brass or mental (Khuroi) (24)
some quantity of cotton (khun) (25) one stick of cane, (26) a piece of ‘gamari
khamphlai’ ( alow tool made of gamari wood) etc.
The following musical instruments are also
essential during the ‘Kherai Puja’:-
1) Kham (drum) – one pair,
2) Jotha (cymbal) – one pair,
3) Siphung (a long flute of bamboo) – one
pair,
4) Thungri (Sword) - one or one pair and
5) Dahal or dhal (shield) - one or one pair.
The ‘Kherai Puja’ is regarded as a national
festival of the Bodos. It is a symbol of hope and desire, which has been
prevalent among them since the time of
their ancestors.The Bodo kings also were believed to have been depending on the
‘Kherai Puja’ for the success at the battle.There is an instance that powerful
Koch King Narnaryana also had to perform the Kherai Puja to stisfy ‘Mahadeva’
(Bathou Borai), with the Bodo dancers
before starting the battles against the Ahoms (vide Darrang Raj,
Vansavali,)
The Bodo donot worship ‘Siva’ separately except at the ‘Kherai Puja’ The ‘Siva’ is
known by the Bodos as ‘Gila Dambra’ , ‘Kherai Borai’, Sro Borai’, or ‘Sibrai’,’
Bathou Brai’, etc.His consort ‘Parvati’ also is known to the Bodos as ‘mainao’
Burou’, Bulli Buroi’, ‘Sri Buroi’, or Si-Buroi ‘Bathou Buroi’, Kharia Buroi’, ‘
Ai-Khamaikha’, etc.
The Role of ‘Oja’ is of great importance
during the ‘Kherai puja’.He instructs the worshippers and other co-workers of
the Kherai puja like ‘Doudini or Githal’ to help ‘Doudini’ in performing the
‘Kherai Puja’ smoothly.The villagers are obliged to follow his advices when
they arrange a ‘Kherai Puja’ or ‘Garja Puja’. He is the person to enchant the
‘mantras’ or ‘formulas’ at the time of pujas. It is believed that the ‘oja’ is able to understand the motives of
gods at the time of the pujas.He enchants the ‘mantras’ or formulas in such a
way that the gods and goddesses become pleased
easily. For an instance, the ‘Oja’ enchants the ‘formula’ or ‘mantra’ of
welcome to the Gods and Goddesses as mentioned here below:
The formula: (in Bodo)
“Oi phiphaguru, Anangacay binangocay,nong
ondo nongni ogiam Boro phicaphprkhou ondo nongo, Oi corzigiri nongo, nongno
phothango,nongno loy nongno phothango, nongo loy zahoyo, nongnikhuroi dercin
laocin raobo goilia, Oi, thaigirni khonga khongba, sijauni sira siriba,
siphungni gudunga dungba, Bathouni bandoa bondoba, Boro Boraini rawa
phongba,Bima phipha guru binikhaino Bathou pathinanoi sijau gainanoi, gaca
gainanoi, kham,zotha, siphung lananoi nong piphakhou oncayo, ondo cinagao
gogloicanani thanai Boro phicaphorkhou ondo nongoi phiphaguru, khomsiniphray
bokhonanoi crangrao langdo zongkhou, corgoniphray bor carcrinanpi hordo nongo
zong phicaphorno.
English rendering of the above formulas is
likely as follows:
“ O God, our father, protect your ignorant
children , you are the creator, preserver and destroyer, all in one, you are
peerless, that the of fruit (dillenis indica)
has fiverinds, the Sijou tree (Euphorbia splenden) has five ridges, the
siphung ( a long bamboo flute) has five holes, the Bathou has five knots, (of
bamboo strips) and the Boro Borai (the Boro elderly persons) have five moral
preachings, we plant the Sijau’ on the altar light the flame of oil and worship
you, whilst drums, flutes and cymbals play on father be merciful have mercy on
your Bodo sons, steeped in darkness of ignorance’ light us father, from
darkness, lift us to light, from darkness, lift us to light, from Heaven
father, shower on us.”
During the ‘Kherai Puja’ prayer is offered by
the ‘Oja’ to the gods and goddess through ‘Doudini’.Here in the above mentioned
formula it is found that the prayer is offered by the ‘Oja’ to the gods and
goddesses through the ‘Doudini’.
At the time of enchanting the formula the
‘Oja’ is found at a half-sitting position without using any tool or mate, while
the ‘Douris’ also follow his position. This half-sitting position is called
‘jaslang jonai’ in Bodo.
Rescuing of the ‘Mainao’ (the goddess of wealth form the earth: (mainao
bakhangnai):
At the conclusion of the ‘Kherai Puja’ the
Bodo worshippers rescue the ‘Mainao’, the goddess of wealth from the earth
through ‘Doudini’.
The ‘Doudini’ sits on the ground infront of the alter of the ‘Bathou Borai’ without
any movement. The worshippers, with the help of the ‘Oja’ try to ascertain the
reason of sitting of the ‘Doudini’ in such a position. The ‘Oja’ then declares
that the ‘Doudini’ has possessed the ‘Mainao’ (Goddess of wealth).So, to
satisfy the Goddess, a pig is sacrificed
to the Goddess of wealth. The Body, head and the blood of the pig are placed
together before the altar of the ‘Mainao’ while the flute, (Siphung), the drums
(Kham)( and the cymbals (jatha) are played on and produce melodious tune. The
‘oja’ enchants the formula to propitiate the ‘Mainao’.
The ‘Doudini’, who has possessed the ‘Mainao’
addresses the worshippers in the voice of the ‘Maiano’ in the following words:
“He Boro phisaphor,nangsor angkhou da langgon gabanna daiao phanse, orao
phanse, khalamnanoi jagon,onagari khalamnanoi jagan, ang thangnainonga, nangsar
je lamjang phoidang be lamajang thangphin.
The English rendering of the above address is
likely as follows:
“O Boro Children, where you will take me? You
take me if today, you will spread me
some quantity at water, some at fire, you will neglect me, you will go back
with the same way, with which you have come here.
Again the ‘Oja’, on behalf of the
worshipper’s requests the ‘Maithe worshippers request the ‘Mainao’ praying as
follows:
Nang phoinanggan, Mainao Ai, nang nangabla
jang mabarai thangnanoi thana, nangna jading jangni jiw, nangni annaiawna jeba
jirat thangnanai dang, Ai, nangbla phap nanggan, jangni kharani thai
manlanggan, dahai Ai nang phoitharnanggan’
English rendering of the above address is
like as follows:
‘You must come,Mother Mainao’, without you
how we will survive , you are the soul (jiw) of us, on your mercy everything is
lasting, we cannot live alive for a little while in your absence, if any do not
come to our houses you will be sinner, you will have to drink the blood of our
heads, O mother you must come with us.”
At the request of the worshippers the
‘Mainao’ (the goddess of Wealth) becomes satisfied and agrees to stay at the
houses of the worshippers. She expresses her willingness to go with them on
condition. She says:
“Thau phisaphor’ angkhau nangsar jathanoi
lakhi angna samphramba phao phuja ha, nangsini dahan daulatya phao phuja ha,
nangsini dahan daulatya dinoi eshe gaban eshe barailanggan, angkhau nangsar
majangoi samphramba khulum.
English rendering of the above address is
likely as follows:
‘Let us go my dear children; you will keep me
with great care. I will stay at your houses, you will worship me every day, and
your wealth will increase day by day.’
After expressing her willingness to go the
‘Doudini’ stands up from her seat and starts to dance. The worshippers become very joyful for the reason that they
have become the reason that they become successful in convincing the ‘Mainao’
to stay at their houses.They also start to dance along with the ‘Doudini’. Their dance continues for a while at a moment
the ‘Doudini’ holds the two bamboo posts at the front of the altar of the
‘Bathou Borai’ and suddenly she loses her sense. Then the ‘Oja’ and all the
worshippers raise a slogan in the name of the ‘Bathou Borai’, while the ‘Oja’
to enable her regaining sense sprinkles holy water (doi shanty) on the head of
the ‘Doudini’, as a result she regains her sense and the ‘Kherai Puja’ also
comes to an end.
Words by Dr. Kameswar Brahma
[The Article was originally published in The
Bodo ‘The Mouth Piece Bodo Sahitya Sabha 20th Issue 1995 ]
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