BANGSHARAS (Dynasty responsible for prayer rituals and other duties)
Sri Sri Mathuradas Burha Aata delegated the responsibilities of Gayan Bayan (singing and playing leather instruments like khol), Pathak (the principal vocalist for Nam-Kirtan), Oja (the main vocalist for Biyas-Kirtan), and others to specific Bangsharas (families) and units of Hati. Since then, these families and Hati-units have dutifully carried out these roles, underscoring the importance of understanding their lineage and contributions. Thus, it becomes crucial to familiarize oneself with these families and Hati-units due to their enduring commitment to these sacred duties.
Samuh Bhakat refers to the collective worshippers of the Satra, constituting the chief authority of Barpeta Satra. This collective body holds responsibility for conducting Ghosa-kirtan and afternoon prayer sessions on a daily basis. Moreover, within the Samuh Bhakat, the Gayan lineage (responsible for singing) and the Bayan lineage (responsible for playing instruments) are entrusted with managing significant events such as "Saru-Dhemali", "Bar-Dhemali", "Ghosha-Kirtan", and "Ankiya Nat" (drama) during festivals and the commemoration of saints' birth and death anniversaries
Sutradhar family
The Sutradhar family's origin dates back to the establishment of the Satra in Kapalabari by two Gurus and their disciples, including Kamalananda Maji, a skilled musician. Despite the departure of the Gurus and the passing of some disciples, Kamalananda Maji and other devotees remained in Kapalabari, continuing their devotional practices. Kamalananda's son, Kajalananda, inherited his father's musical talents and knowledge, staying in Belbari.
When Barpeta Satra was founded, Sri Sri Madhavdev, assisted by Mathuradas Burha Ata, gathered these scattered devotees and trained them for various religious and cultural activities. Kajalananda, recognized for his musical prowess and captivating voice, was bestowed with the title of 'Sutradhar' by the Satra. He was entrusted with leading regular prayers, recitations, songs, and organizing Ankiya plays. Thus, the Sutradhar family emerged from Kajalananda and his descendants.
In addition to their roles in worship activities like singing and playing (Gayan-Bayan), the Sutradhar family shoulders additional responsibilities in the daily prayer routine. These include conducting afternoon and evening recitations, chanting Gunamala, Leelamala, hymns, and overseeing the night prayer.
‘Pathak’lineage:
The Pathak lineage traces its roots back to Sri Sri Basudev Pathak, who arrived at Barpeta Satra alongside Lakshmi Kanta Atoi. Recognizing Basudev's musical talent, Mathuradas Burha Ata arranged for his formal training. Upon completion of his training, Mathuradas entrusted Basudev with the responsibility of leading the daily prayer sessions at Barpeta Satra.
Following the guidance of Padma Atai (Badula Ata), Basudev eventually married and embraced family life while continuing his service to the Satra.
Responsibilities upon the Pathak-lineage
The Pathak lineage bears significant responsibilities within the Barpeta Satra community. During the daily morning sessions, they lead Puwar Geet, Nam-kirtan, and Path recitations. In the evening sessions, they oversee Gunamala, Lilamala, and Gurubhatima recitations, which are conducted for six months each year.
The Dakshinhati unit:
The Dakshinhati unit emerged from a historical event when Madhavdev organized the staging of the play 'Ram Bhaona' in Tantikuchi, responding to devotees' requests. He entrusted the entire responsibility of this performance to a musician named Sundar Natuwa. A devotee named Sahajananda, hailing from Sundar Natuwa's family, received training in Gayan-Bayan at the Rangiyal Griha of Barpeta Satra.
Upon mastering the skills of Gayan-Bayan, Sahajananda earned the title of 'Bayan' from the Satra and assumed the responsibility of performing these activities by paying a fee. Subsequently, Sahajananda's descendants, known as the family of Sundar Natuwa, passed on this responsibility to the Hati they resided in. The proficient Gayans and Bayans of this Hati collaborated with others from different families, contributing to the religio-cultural activities of the Satra. This collaborative effort led to the formation of the Dakshinhati unit, uniting talented individuals from various backgrounds in the pursuit of shared cultural endeavors.
Bhima Bayan family:
The Bhima Bayan family traces its lineage back to a revered devotee named Bhima Bayan, who migrated from Upper Assam along with Guru Sankardev. Bhima Bayan's devout contributions included singing songs during Sankardev's staging of the play 'Chihnajatra' at Bordowa, where Sankardev composed the songs based on the Bayumandali Raga.
Over time, Bhima Bayan, also known as Bagha Bayan, accompanied Madhavdev and participated in various musical and theatrical performances. In addition to singing songs and reciting verses, Bhima Bayan skillfully played the leather instruments like khol and performed Natuwa dances.
The descendants of Bhima Bayan continued his legacy, giving rise to the esteemed Bhima Bayan family, which has preserved and enriched Sankardeva's cultural and musical heritage through generations.
Haricharan Bayan family:
The Haricharan Bayan family, also recognized as the Aghona Bayan family, traces its lineage back to Haricharan Bayan, a sincere disciple of Madhavdev. After four generations, Haricharan Bayan's descendant, Aghona Bayan (Muktar), was born. Aghona Bayan distinguished himself as a skilled practitioner of Sankari music, exhibiting remarkable expertise in the field.
The descendants of Aghona Bayan have inherited his legacy, forming the esteemed Aghona Bayan family. With unwavering dedication, they have diligently carried out the prescribed religio-cultural activities of the Satra, contributing significantly to its spiritual and cultural heritage.
Gandhiya family:
The Gandhiya family's lineage can be traced back to Sarbajoy Atoi, a cherished devotee of Sankardev. Sarbajoy Atoi accompanied the Guru during his inaugural pilgrimage and played a significant role during the enactment of the play 'Chihnajatra'. When Brahmins sought initiation into the Sankari creed following the play, Sankardev entrusted Sarbajoy Atoi with the responsibility of conducting the initiation ceremony using the holy scripture 'Gopi Uddhab Sangbad'.
Sarbajoy Atoi was among the disciples who journeyed with Sankardev from Upper Assam to Lower Assam. The descendants of Sarbajoy Atoi established the Gandhiya family, adopting surnames like Gayan, Bayan, Bhuyan, Kakati, and others. Over generations, members of the Gandhiya family have actively participated in the worship activities of the Satra, contributing to its spiritual and cultural practices.
Bayan family of Galiahati
The Bayan family of Galiahati traces its lineage back to its esteemed progenitor, Sarbananda. Immersed in the rich tradition of Satriya music, Sarbananda honed his skills under the tutelage of revered Gayans and Bayans from other influential families deeply entrenched in the religio-cultural tapestry of the Satra. Entranced by this melodic world, Sarbananda dedicated himself to the sacred practices of the Satra.
As time unfurled its passage, Sarbananda's descendants forged close bonds with the illustrious Bhima and Gandhiya families. Embracing additional responsibilities entrusted to them by the Bhima family, they seamlessly integrated into the fabric of Satra activities. Since then, the Bayan family of Galiahati has been an integral part of the Satra, their harmonious melodies resonating through the hallowed halls, enriching the spiritual ambiance of worship and cultural celebration.
Kakati (recorder)
Kakati, the recorder, stands as a distinctive innovation attributed to Mathuradas Budha Aata. With meticulous foresight, he appointed a devout individual to oversee the documentation of disciples who held a stake in the Satra. This entrusted individual's duty was to recite the names of these shareholders during one of the Kritanas.
This meticulous system of recording the names of bhakatas came to be known as "bhakat-lekha," signifying the written enumeration of devotees. Under Budha Aata's guidance, this practice not only honored the devotees but also ensured their rightful recognition within the Satra community, fostering a sense of belonging and unity among its members.
Bara (motivator of shareholders)
Bara, the motivator of shareholders, bears no resemblance to the 'Bora' designated by the Ahom king, who presided over twenty karis (archars). Within the context of Barpeta Satra, the term 'Bara' takes on a distinct meaning, and it is Mathuradas Budha Ata who introduced the concept of this functionary.
A Bara assumes the responsibility of inspiring and energizing the shareholders of the Satra, ensuring their active participation and support. Their duties encompass the collection of shares of Prasad and other essential items, subsequently distributing them among the shareholders under their jurisdiction. Additionally, they oversee the collection of annual tithes from shareholders, vital contributions that sustain the Satra's operations and endeavors.
Furthermore, Baras serve as conduits for shareholders to receive their entitled shares (bhags), facilitating a seamless and equitable distribution process. Their pivotal role in fostering community engagement and resource management underscores their significance within the Satra framework, perpetuating the spirit of collective involvement and shared responsibility.
Bharali (storekeeper)
Bharali, the storekeeper, traces its origins back to the historical annals of the Barpeta Satra. While references to this role existed earlier, it was during the era of Burha Ata that the necessity for a comprehensive and consistent storehouse became apparent. The burgeoning influx of devotees from across the state necessitated the establishment of a centralized facility to store essential materials.
Recognizing this need, Burha Ata inaugurated a general and permanent storehouse within the Barpeta Satra premises. To ensure the efficient management of this vital repository, Burha Ata appointed devout monks to the position of ghai-bharali, or chief storekeeper. Over time, as the demands on the storehouse expanded, so too did the functions of the bharalis, leading to the appointment of multiple bharalis under the oversight of a ghai-bharali.
The duties of bharalis extended to various aspects of storekeeping, with individuals or families assuming responsibility for specific stores such as rice, fish, fuel, and more. These specialized designations, including khaul-bharali (keeper of rice store), mach-bharali (keeper of fish store), khari bharali (keeper of fuel store), among others, epitomized the meticulous organization and management of resources within the Satra.
In subsequent discussions concerning the Satra's managing committees, the specific roles and responsibilities of bharalis would be further elucidated, highlighting their integral role in sustaining the Satra's operations and serving its devotees.
HATI SYSTEM
The inception of the Hati system heralded a new era for the Barpeta Satra following the appointment of Mathuradas Burha Aata as its Satradhikar by Madhavdev. With Burha Aata's remarkable foresight and devout fervor, the Satra underwent a transformative reorganization. Under his visionary leadership, Barpeta Satra was initially partitioned into three primary hatis: Uttar Hati, Na-Hati, and Dakshin Hati. Subsequently, in a bid to expedite the Satra's development, Budha Aata further subdivided it into smaller hatis, each equipped with its own melora or haitar ghar (assembly house).
Presently, the Satra comprises twenty-two hatis, inclusive of the original three. These hatis are named as follows:
1. Dakshin Hati
2. Da-Hati
3. Issapur Hati
4. Kewalia Hati
5. Na-Hati
6. Galia Hati
7. Mukhi Hati
8. Bilartari Hati
9. Khataniar Hati
10. Joganiar Hati
11. Das Hati or Uttar Hati
12. Fata Hati
13. Rangpur Hati
14. Major Hati
15. Pathar Hati
16. Gayan Hati
17. Palangdi Hati
18. Vrindaban Hati
19. Kumar Hati
20. Dalahati
21. Ambari Hati
22. Ghoramara Hati
Additionally, beyond these hatis, newer settlements such as Metuakuchi or Nauta Hati, Bhakatpara, and Rayatpara have emerged within the Satra's vicinity. Metuakuchi, in particular, represents a recent settlement formed by individuals migrating from older hatis to alleviate overcrowding concerns.
However, despite their historical significance, the traditional shapes of these hatis have evolved over time due to the burgeoning population and changing dynamics within the Satra community.