In the vibrant world of Assamese music and culture, artistic innovation has always been celebrated. However, there are times when attempts at creativity spark controversy rather than appreciation, leading to necessary conversations about the fine line between artistic freedom and cultural sensitivity. The recent episode surrounding Mou Bihu — a song by singer-composer Srijani Bhaswa Mahanta — has brought such a debate to the forefront.

Mou Bihu has become a viral sensation, but sadly, not entirely for the reasons its creator might have hoped.

A few days ago, during a talk show appearance, Mahanta shared her perspective on why she created the song and how she visualised its presentation.

From a personal standpoint, her explanations were understandable. Yet, when observed from a broader cultural and social lens, her justifications appeared to fall flat.

Even other panellists present during the show voiced their disagreements, suggesting a clear disconnect between the artist's intentions and public reception.

The core of the controversy does not lie in the lyrics of Mou Bihu. Although the lyrics are not groundbreaking, they stand taller than many currently popular Assamese songs, which often rely on fleeting trends rather than genuine depth.

Instead, the issue lies in the song's picturisation — the visual representation that accompanied the music.

Bihu, particularly the Bohag Bihu, is a celebration of life, love, and the vibrant spirit of Assamese culture. Its beats resonate with tradition, purity, and joy. Against such a backdrop, the inclusion of visuals considered adult in nature feels jarring and dissonant.

A Bihu-styled song brimming with the essence of Bohag cannot, and should not, be presented with imagery that is incongruent with its soul.

Had Mou Bihu been a non-Bihu-themed composition, or carried a different title altogether, perhaps it would not have attracted as much criticism. Naming it Mou Bihu set certain expectations rooted in cultural memory — expectations that the visual treatment of the song could not meet.

While Mahanta's intention to innovate within a traditional framework might be considered commendable by some, the reality is that the experiment did not succeed in connecting with the audience. And her attempts to defend the project by comparing it to the works of legends like Dr Bhupen Hazarika only goes on to reflect a shallow and hollow idea of obscenity and creativity that she carry.

Being bold doesn't mean that one is obscene and by being obscene, you cannot claim that you are being bold. Dr Hazarika’s compositions, while bold and evocative, were masterclasses in subtlety, nuance, and cultural reverence — a standard that is yet unmatched. You are no Bhupen Hazarika, so please stop comparing your work(s) with the Bard!

Criticism, especially of one's creative work, is never easy to digest.

Speaking from personal experience, choosing provocative titles or themes — when I first announced the title of my book — Autobiography Of A Paedophile — it triggered a barrage of questions. I clearly remember friends urging me to change the title, believing it glorified paedophilia and paedophiles. I acknowledge that the title stirred curiosity, but it was never intended as clickbait or a marketing gimmick to boost sales.

However, recognising that the title offended many, I felt it necessary to offer a clarification — explaining why I chose it and what readers could truly expect from the book. After reading it, some disliked it, while a slightly greater number found value in it.

The team behind Mou Bihu seems reluctant to accept the wave of negative criticism, holding firmly to the belief that they have created something novel and valuable.

While conviction is necessary for any artist, so too is the humility to listen, reflect, and evolve. Dismissing the audience's concerns as a lack of understanding diminishes the opportunity for genuine growth.

While many people speak highly of Srijani Bhaswa Mahanta's talent, it remains to be seen whether this acclaim is fully justified. There have been numerous claims about her abilities, and perhaps with time and with more thoughtful creations, she will be able to truly demonstrate the depth of her artistic potential.

Innovation and evolution in art are inevitable and essential. Yet, they must tread thoughtfully, especially when anchored to traditions that hold immense emotional and cultural significance.

Mou Bihu could have been a celebration of creative exploration. Instead, it serves as a reminder that in the delicate dance between tradition and modernity, respect for roots must never be overlooked.

Only when creators and audiences engage in open, honest dialogue, without stubbornness or contempt, can true artistic progress be achieved.

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