At the heart of the mighty Brahmaputra, Majuri has long been known as the world’s largest river island, but recently the Ilhademara John on the South American island of the Amazon in Brazil has challenged that fact. However, some have pointed out that Majuri is the largest “inhabited” sandbar in the world. Beyond the geographical comparison, more important is the position of the island as the unique cultural, social and religious center of Assam and India.
To get there, you’ll need to take a ferry from Nimatigat, a river port near the town of Jorhat in northern Assam. Currently, there are plans to connect to the mainland with a bridge in Anvil.
In history books, Majuri was referred to as Rattanpur or Ratnapur. This is an agriculturally abundant place and also served as a stopover for boats loaded with goods navigating upstream and downstream. They were a time when rivers functioned as the main road — for both ferry supplies and travelers.
In his book, DNath, who talks about the island, wrote about the island of Majuri: ‘… It’s an island of almost traditional Assam life and culture. Indigenous arts and crafts, forms of music and dance, and indigenous Assamese food and clothing habits have overcome the stress and tension of Majuri’s time and circumstances.
The Majuli lifestyle revolves around the Satra (monastery) and its lifestyle in the highest Vishnu tradition introduced by St. Sri Sancardeva (1449–1568). He was a guru, a social reformer, and a creative genius. Dissatisfied with the excessive ritual worship of his time, he set out on a trip to pilgrimage centers in other parts of India at the age of 32. During his journey, he met a thinker at the helm of the rising Vaishnavism movement and soon to its simple method of worship dedicated to Lord Krishna.
When he returned, San Cardeva founded Satra for Bakat (believers). His disciples continued his tradition by opening many of them after his death. Among many, the more famous are Kamala Bali, Auniati, Golmura, Dakinpat and Samagri Satra.
Sankardeva was also a great artist. To convey his message, he skillfully used the medium of art and culture. Most people couldn’t read or write, but this turned out to be very effective as it could easily be associated with the performance and the messages in it when presented visually.
He wrote a play about the life of Lord Krishna, which is performed in the village as Baona (traditional drama). They were mainly held at namghars, the village prayer hall and congregation center.
However, Namgar was not limited to Majuri. In Assam, we can see that Namgar still functions as a community hall in all villages and communities, as well as in towns and cities.
Sankardeva also composed a prayer song called bargeet and set it in a classic raga, but dotted with local elements. He choreographed dance (Satriya dance) in aspects of Lord Krishna’s life. Satriya dance is now recognized in the traditional Pantheon of Indian classical dance. He introduced a percussion orchestra to attract people. A large cymbal, locally known as Beautal, was adopted from nearby Bhutan.
Disappearing heritage
On the grounds of Satra, there is a beautiful wood-painted door carved by a special craftsman called Canikar. They were versatile craftsmen who were equally skilled in painting, architecture, manuscript writing and illustration, mask making and wood carving. Intricately decorated objects such as trays and pedestals for storing naam-ghosa, a hymn book in honor of Lord Krishna, prove the rich tradition of wood carving in the land.
Baona, whether Ravana, Garuda, or Hanuman, needed an actor to wear a mask to play the role. As a result, the tradition of making masks using locally available materials such as bamboo, canes, and special types of clay has flourished. But today, art has almost disappeared. The family of LalitKala Akademi winner Satradhikar Kosho Kanta Dev Goswami continues to manufacture masks in the old-fashioned style only in Samaguri Satra.
Another distinctive tradition of Assam’s graphic arts is the writing of manuscripts, with or without illustrations on the bark of the Sanchi tree and the cotton folio (tula-paat).
In the olden days, ivory crafts were common, and Majuri had its own tradition of ivory crafts. Some of the samples, such as ivory combs and miniature boats, can be found at the Museum of Auniati Satra.
Valuable manuscripts written in Sanchi, musical instruments used in Baona, indigenous masks, wooden paintings, giant brass tools and litters are also on display here.
The island is also known for its beautiful hand-woven clothing, centered around the Mekhela chador, a two-piece ensemble worn by Assamese women, created by Mising women. Sankardeva folded everything, regardless of caste or beliefs, and the tribe (janajati) was welcomed as well.
However, there are concerns that Satra and its unique heritage will soon disappear. Erosion has hit Majuri for decades, and some experts say the island may disappear completely from the surface of the Earth. But locals are sticking to their belief that Majuri will survive as it did in the past and its unique culture will flourish.
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