This article is from the Seven Sister's Post (April 15, 2012)
-bhuban
Re:Ri-phou-fi-phou losing rhythm
Tagged with: Bihu dance Bihuwa Ri-phou-fi-phou
DRAMATIC MOVES: Members of a Ri-phou-fi-phou husori group attract spectators
with their unique dance steps.
Kongkon K Bora:
For the past few decades, a handful of Bihua (male dancers) of Rongdoi Da-gaon,
located some 10km from Jorhat, have been striving to keep alive a unique form
of husori. Until the late 1970s, this dance form used to be regularly practised
by the young and old at different households of the village as well as in the
neighboring areas.
But the age-old custom known as Ri-phou-fi-phou is gradually losing its charm,
partly due to complexities involved while performing it but mostly because the
new generation is now inclined more towards modern forms of Bihu dance. However
braving all odds, a group of men — aged between 40 and 50 — are trying their
best to preserve it.
They perform the unique dance using dhol, pepa and taal. It involves a variety
of movements. They start in a half-seated position, swaying their hands from
left to right and then the other way round, complying with the rhythm of music.
Then they lie prostrate and move in circles in that position following the
rhythm of music. “Ri-phou-fi-phou is a very difficult act. The performers must
be fit, and at the same time, a lot of practice is required to achieve
perfection,” says Prafulla Bora, a resident of the village and well-known
proponent of Bihu and Sattriya culture.
Bora, along with Jogen Kalita, Dimple Kalita, Lalit Saikia, Ritu Bora, Upen
Saikia and a few others are attempting to revive the once popular husori form.
“We are trying in whatever way we can to encourage the local youths to revive
the dance form. It has never been performed on stage and only takes place in
the locality and nearby areas,” adds Bora. Not much evidence is available about
its origin, but Bora has seen the dance form since 1959. “Guneswar Kalita, one
of the famed Bihu exponents of the time, popularised it in the late 1950s,” he
further says.
Similar practices are followed in certain places of Lakhimpur and Sonitpur
districts. “Some people from this village who later migrated to Dhakuakhana in
Lakhimpur district popularised the dance form there. A similar form is now
performed at Pani Gaon and Khura Amguri Gaon in Lakhimpur . However, there it
is known as Neol Nach (mongoose dance),” he explains. In Sonitpur district, the
dance form is known as Magur Nach (catfish dance). Adding to this, Jogen Kalita
says “The villagers inherited Ri-phou-fi-phou from their forefathers. We learnt
the art mostly by observing our seniors.” Anil Saikia, principal of Moran
College and an expert in folk culture, says, “I took some initiative to revive
the dance form, but very few are willing to continue with it. It is an
exquisite dance form and has a lot of scope to take centre stage,” he adds.
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