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[Full title: Performing Arts under the auspices of the Devalaya (8) Dhuliya]

Dhuliya is a popular form of folk performances of the undivided Kamrup district. The use of Dhol鈥攑rinciple folk musical instrument of Dhuliya鈥攄ates back to the time of Ahom and Koch reign. But the use was not confined as a musical instrument only. At the time of sacrificing animals during Duga Puja, Dhol was beaten. It was also used for public announcements. There is another interesting use of Dhol during royal times. It is said that the range to which the sound of Dhol spreads was a measurement of land.

Kings would donate land in measurement of Ek Dhol. If any king of medieval period resolved to donate Ek Dhol land to any favourite in gratitude of any benevolent activity to the kingdom a Dhol was beaten by his designated man. The boundary of the land to be granted was determined by the reach of the sound prouduced by the special beat. This royal tradition is stated here only to mean the century old use of dhol. As it is the principal instrument.

Dhuliya is a group of folk performing artists who performs for the public entertainment by distorting the epical and puranic stories. It is a dancing drama which performed as a theatrical art.. Masks are sometimes used by the performers. Chinese traveler Hiuen Tsang, during his visit to India in 642-43 AD, wrote that Dhulia artists have occupied an important space in the cultural sphere in the Pragjyotishpur Kingdom ruled by Kumar Bhaskar Barman.

The numerous copper plate inscriptions found in all over North East India denotes of Kamrup, Kamata, Pragjyotishpur who ruled for the period from 7th century to 12th century AD donated land to the folk artists and people related to the folk art performers and people temples. The Ahom kings also patronized such folk art performers. An inscription issued by Ahom king Lakshminath Singha in 1774 AD indicates the act of offering land to the Ojapali (another form of folk performing art of Assam).

A dhulia artist is he who plays the dhol (made of wood and leather). But in the context of Assam, dhulia refers to a particular folk performing art which is called also Dhulia Bhaona. This form of folk art is quite old in lower Assam (Western Assam) and is known well as Kamrupi Dhulia. This form of art, since ancient times has been accorded a distinct place in the tradition of folk drama of Assam. This form of folk art has assumed a significant identity of its own over the centuries, because it has blending of humor, histrionic acts, acrobatics, play-acting, dance and instrumental music etc. There are twenty or more members in a Dhulia Party who perform, beat dhols and do everything own selves. The leader of the troupe is called Bayan or Oja. Some of the artists play cymbals, kartals and kalis (a kind of wind instruments indigenous to Assam). The performers use simple and crude dresses made from old, worn out canvas and decorated with colorful patchwork of clothes. The artists wear masks of God and Goddesses, birds and animals and decorate their faces with powders. The performance usually takes place during fair and festivals. The performers entertain the audience with their humor, gestures-posters, adaptation and improvisation of known narratives to shed light on contemporary socio-political scenarios. The performance gets extra colour and during this event people of all sects, castes and religions come together to enjoy and join in the merry-making.

The spectacular, showy and startling performance by dhulia artists is locally known as Kusti, Khat/ Khut diya in the dialect of Kamrupia which commonly means voluntary body movement like bounce and spring in an inverted way. Kusti performed by Dhulias requires mastery in artistic dexterity, feats of physical agility and above all unquenchable zeal for accomplishing risky and raw showmanship. The member of the troupe who excels in acrobatics is called Khuidar or Khuitar. Dr. Maheswar Neog in his book entitled Satria Nritya Aru Satria Nrityar Tal, observes that there is a custom of performing Khar in Satriya Nritya also. 

As for example, we may say鈥�

Khar, Luti khar, Chit khar, Olota khar, Kaati khar, Tamol mochara khar etc. 

Remarkably a simple version of tamol mochara khar is still prevalent in the tradition of dhulia performance which is locally termed as Tangal mochara or Tangal musra etc. As I am interacted with the local exponents of this kind of performing art-I am informed that all these are existed with performance in the areas influenced by the Devalaya. But there are so many variations.

Contrary to this, folk arts have the innate advantage of real time interaction with audience which has helped it to reduce fictional accounts in their stories. For example Dhulia artists construct a dramatic structure out of their simple conversation from their journey starting at home to venue within a very short time and present it as Chang-a burlesque show. Dialogues are mundanely thrown dealing with household chores. Since the artists are pre-eminently obsessed with the intent to earn their livelihood, they scarcely endeavour to bring refinement.

The renowned troupes of Dhuliya existing in Paschim Nalbari areas who are accustomed to perform in Billeswar Devalaya are: 

Kaihatir Dhuliya Dal,
Kheluar Dhuliya Dal,
Barnir Dhuliya,
Mohkhuli Datkuchir Dhuliya,
Gabradalar Dhuliya, etc. 

A legendary Dhuliya-Late Mohan Bhaira (Mohan Chandra Barman), who belonged to Kaihatir Dhuliya is the recipient of Sangeet Natak Academy Award in 1985. (Haloi: 2012: 122). Mohan Bhaira could enthral large number of folk people by his performance in Billeswar Devalaya complex, including its Sacred Geography.