Related Quiz
What is the primary way the author connects with Bihu, especially having spent most of their life away from Assam?
Through the replacement of gamusas and craving for traditional foods.
Through grand, organized celebrations and large gatherings.
Through the music of Zubeen Garg and other contemporary artists.
Through the replacement of gamusas and craving for traditional foods.
Through direct involvement in the harvest and agricultural practices of Assam.
How did Zubeen Garg's music impact the celebration of Bihu?
It helped bridge the gap between folk traditions and contemporary audiences, making Bihu relevant to younger generations.
It solely appealed to older generations who appreciated traditional folk music.
It created a divide between urban and rural communities in their Bihu celebrations.
It helped bridge the gap between folk traditions and contemporary audiences, making Bihu relevant to younger generations.
It caused a decline in the popularity of traditional Bihu songs and dances.
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What is the author's overall feeling about the role of Zubeen Garg in the context of Bihu celebrations?
Zubeen Garg's presence was an essential part of Bihu, defining an era and uniting people through music.
Zubeen Garg's music was merely a background element, easily replaceable by other artists.
Zubeen Garg's absence will not be felt by the younger generations, as they are disconnected with that era of Bihu.
Zubeen Garg's presence was an essential part of Bihu, defining an era and uniting people through music.
Zubeen Garg's music was only important in rural areas and did not connect with the urban experience of Bihu.
What are the three phases of Bihu mentioned in the passage, and what do they represent?
Bhogali (Magh), Rongali (Bohag), and Kongali (Kati), each marking a different phase of life, harvest, and hope in Assam.
Bohag, Kati, and Magh, representing the beginning, middle, and end of the harvest season.
Bhogali (Magh), Rongali (Bohag), and Kongali (Kati), each marking a different phase of life, harvest, and hope in Assam.
Rongali (Bohag), Kongali (Kati), and Bhogali (Magh), celebrating different deities of harvest.
Kati, Magh and Bohag which represent the cultural programmes, stages and musical performances respectively.
How does the passage describe the effect of Zubeen Garg's music on the Axomiya spirit?
It ignited a shared Axomiya spirit, uniting various ethnicities and indigenous communities through music and dance.
It primarily targeted specific ethnic groups, excluding others from the celebrations.
It ignited a shared Axomiya spirit, uniting various ethnicities and indigenous communities through music and dance.
It was mainly popular in the cities, but did not have an impact in the villages or with the local communities.
It emphasized differences within the Axomiya community by focusing on individual identities instead of shared traditions.
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