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Billeswar Devalaya occupies a unique status amongst the devotees as well as the people of the locality for the arrangement of the performing art. It is intended to win the hearts of the folk people. Our times are overwhelmed by the items of performing arts those are commercially motivated. Folk people are diprived not only from the basic modern amenities but they deprived from the sorts of amusement also. They are bound to be awaited from the sopsisticated art forms on account of their pecuniary disadvantage. Another fact lingers that the presence of simplicity of thinking process, they naturall abandoned themselves from the intellectually developed pieces of art or from concocted items of performing art. It is amazingly noticed that the Devalaya looks after the performing arts which are perfectly folk based.

Performing art is a type of craftsmanship in which specialists utilize their voices, bodies or lifeless things to pass on imaginative and creative articulation. It is not identical with as visual expression. Craftsman uses paint, canvas or varied materials to make physical or static objects. Performing art incorporates a sense of control which is performed in front of a human gathering. Theater, music, dance and object control and different sorts of exhibition are existed in every human culture. Live exhibition before a group of people are a significant mode of amusement amongst the people. With the advancement of time, the improvement of sound and video recording has allowed personal utilization of the performing arts. The performers usually intend to express their feelings and emotions. (Oliver, Sophie Anne: 2010: 119鈥�129) Performing arts practiced in the Billeswar Devalaya Complex are the most vital sources that perpetuate its existence. 

The Devalaya is not only a place of religious practices but it is a right place for people鈥檚 recreational activities also. The demographics of the areas adjoined with the complex clearly show that those people are primarily confined to the agricultural activities and petty business and other sorts of insignificant professions. They are engrossed with the Devalaya Complex and naturally they seek entertainment and to rescue themselves from the day long toil. The imagination of these people is dependent upon the various types of festivals and fairs held during different times. Along with the festivals and fairs, performing arts, more particularly the folk performing arts get priority. In fact the Devalaya Complex is only instrumental for holding the folkloristic activities not for the modern performing arts those are commercially motivated. It needs no explanation that folk performing arts are always fortified with the religiousness which is true in case of Billeswar Devalaya also. 

The Devalaya complex is always ready to welcome the folk people irrespective of caste, creed and religion. As the vertically mobilized people like to belong to the same strata of the society; likewise the poverty stricken people also like to consider themselves as the same community fellow members. The economics of the Devalaya Complex dominated area says explicitly that majority of the permanent inhabitants belong to the below poverty line. In this situation it is totally unlikely to go for other shorts of entertainments like in urban areas. So, the performing arts practiced in the Billeswar Devalaya Complex are always much liked items for this section of people. From this point of view the entire Billeswar Devalaya Complex may be considered as a hub of common people鈥檚 entertainment where the fervor is hatched by the religiousness.

By the perpetuation of folk performances and the services of the Paiks or Sebaits, the entire gamut of culture of the Devalya is being reflected. The privileges of performing the folk arts have made the Devalaya a cultural hub for centuries and the way of sustenance, though not commensurate with their toil, for the folk artists. Classified services of the Paiks or Sebaits have been looking after the theory of work distribution on the basis of inheritance and community faculty of working with an egalitarian view. It is really a laudable subject that the Devalaya has also the Paiks from Muslim community who are assigned with duty during festivals like others. As the residences of the Paiks surround the vicinity of the Devalaya; their family members, kith and kin, relatives, in-laws, friends, invitees etc. are the regular spectators of the folk performances arranged during various festivals round the year. 

A list of such performances may be presented herewith. It includes: 

Ojapali of both kinds鈥擝iyah Ojapali and Sukananni Ojapali鈥�theatrical group of performance in traditional attire based on mythical stories admixtured with current events for respective spiritual and amusement purposes; 

叠丑补颈谤补鈥�a colloquial Assamese word for Bhaoriya of standard variety-a specific form of theatrical and clownish performance in traditional attire;

Nagara 狈补补尘鈥�dramatic performance with singing based on mythical stories beating a big drum; 

顿丑耻濒颈测补鈥�a dramatic form of clownish activities based on folktales, legends, myths;

Khuliya鈥�a dramatic performance accompanied with the playing of a special folk leather instrument; 

叠丑补辞苍补鈥�a kind of mimetic art which was pioneered by Srimanta Sankardev; 

碍颈谤迟补苍鈥�a devotional singing by using brass metal cymbals; 

Naam Prasang鈥�a group singing with some folk instruments based on epic stories; 

Bhagabat Path鈥�a tuned recitation of Bhagawat; 

Putla Nach鈥�puppetry based on mythical stories and tales etc. 

The series of festivals and events are made colorful and more festive by the folk performances. The performers primarily hail from the adjoining villages making the Devalaya a cultural habitat throughout the year. The folk people get relief from their comatose after the day-long works enjoying the performances.

The legends, myths, tales, magic, historicity etc. are being instilled in the minds of people for ages and transmitted in both oral and written forms to the new generation people. This happens to be a cultural bondage among the people generation by generation. In compatibility of the environment, the Devalaya is bound to be a repository of culture which is on the edge of extinction with urbanization process.