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{{Use dmy dates|date=January 2020}}
{{Use Indian English|date=January 2020}}
{{Infobox music genre
| name = Borgeet
| bgcolor = silver
| stylistic_origins = [[Devotional song]]
| cultural_origins = Early-1500s - late-1700s [[Assam]], [[Vaishnavism|Neo-Vaishnavism]]
| instruments = [[Khol]], [[Taal (instrument)|Taal]]
| popularity =
| subgenrelist =
| subgenres =
| fusiongenres =
| regional_scenes = [[Assam, India]]
| local_scenes = [[Sattra]], [[Namghar]]
| other_topics = [[Hiranaam]], [[Dihanaam]], [[Bhaona]], [[Ankia Naat]], Katha Guru Charita
| image = File:Sankaradeva.jpg
| caption = An imaginary portrait of [[Sankardev|Srimanta Sankardeva]], the founder of Borgeet.
}}

'''Borgeets''' ({{lang-as|বৰগীত|lit=songs celestial|translit=Borgeet}}) are a collection of lyrical songs that are set to specific [[raga]]s but not necessarily to any [[tala (music)|tala]]. These songs, composed by [[Srimanta Sankardeva]] and [[Madhavdeva]] in the 15th-16th centuries, are used to begin prayer services in [[Satra (Ekasarana Dharma)|monasteries]], e.g. [[Satra (Ekasarana Dharma)|Satra]] and [[Namghar]] associated with the [[Ekasarana Dharma]]; and they also belong to the repertoire of [[Music of Assam]] outside the religious context. They are a lyrical strain that express the religious sentiments of the poets reacting to different situations,<ref>{{harv|Neog|1980|p=178}}</ref> and differ from other lyrics associated with the [[Ekasarana Dharma]].<ref>The other forms lyrics are the ''bhatima'' (laudatory odes), ''kirtan- and naam-ghoxa'' (lyrics for congregational singing), ''ankiya geet'' (lyrics set to beats and associated with the ''Ankiya Naat''), etc.</ref> Similar songs composed by others are not generally considered {{transl|ass|italic=no|borgeets}}.

The first Borgeet was composed by Srimanta Sankardeva during his first pilgrimage at [[Badrinath|Badrikashram]] in c1488, which is contemporaneous to the birth of [[Dhrupad]] in the court of [[Man Singh Tomar]] (1486-1518) of Gwalior.<ref>{{harv|Sanyal|2004|pp=45–46}}</ref>
[[Brajavali dialect]] is a language native to the Braj region of [[Uttar Pradesh]], a state in [[India]]. Nowadays these areas are dominated by the identity of [[Bhojpuri]] (another important language covering mainly Uttar Pradesh and [[Bihar]]), mainly because of cinematic influence of the language over other local languages such as [[Maithili language|Maithili]], Awadhi, Brajavali, Bundelkhandi, Angika, Bajjika, etc. Brajaavali is also the language of the creations of Shankardev and Madhabdev in the form of scriptures which play as the base for today's religious bases of Assam, i.e. the [[Satra (Ekasarana Dharma)|Satra]]s where the prime deities are Rama and Krishna who again have their origins in Awadh, Gokul, Vrindaavan, Mathura areas of today's Indian states of Uttar Pradesh and Bihar.

==Lyrics==
The {{transl|ass|borgeets}} are written in the {{transl|ass|pada}} form of verse. The first pada, marked {{transl|ass|dhrung}},<ref>is likely an abbreviation of ''Dhruva'', the {{transl|ass|dhatu}} named in the Prabandha musical tradition {{harv|Mahanta|2008|p=52}}</ref> works as a refrain and is repeated over the course of singing of the succeeding verses.<ref>{{harv|Neog|1980|p=278}}</ref> In the last couplet, the name of the poet is generally mentioned. The structure of {{transl|ass|italic=no|borgeets}} is said to model the songs of 8-10th century [[Charyapada]].<ref>{{harv|Barua|1953|p=100}}</ref>

The first borgeet, ''mana meri rama-caranahi lagu'', was composed by the Sankardeva at Badrikashrama during his first pilgrimage. The language he used for all his {{transl|ass|italic=no|borgeets}} is [[Brajavali dialect|Brajavali]], an artificial Maithili-Assamese mix; though Madhavdeva used Brajavali very sparingly.<ref>"Madhavdev did not use Brajabuli the way Sankardev did. If we dropped a few words, the language of most of Madhavdev's {{transl|ass|italic=no|borgeets}} reduce to old Assamese" {{harv|Mahanta|2008|p=15}}.</ref> Brajavali, with its preponderance of vowels and alliterative expressions, as considered ideal for lyrical compositions, and Sankardeva used it for {{transl|ass|italic=no|borgeets}} and [[Ankia Naat]]s.<ref>{{harv|Barua|1953|pp=98–100}}</ref> Sankardeva composed about two hundred and forty {{transl|ass|italic=no|borgeets}}, but a fire destroyed them all and only about thirty four of them could be retrieved from memory. Sankardeva, much saddened by this loss, gave up writing {{transl|ass|italic=no|borgeets}} and asked Madhavdeva to write them instead.

Madhavdeva composed more than two hundred {{transl|ass|italic=no|borgeets}}, which focus mainly on the child-Krishna.<ref>{{harv|Sarma|1976|p=60}}</ref>

==Music==
[[File:Alo Moi.ogg|thumb| Borgeet: ''Alu moi ki kohobu dukho''<br> Raga: ''Bhatiyali''<br>Composer: [[Madhavdeva]]<br>Artist: [[Ashwini Bhide-Deshpande]]]]
The music of {{transl|ass|italic=no|borgeets}} are based on [[raga]]s, which are clearly mentioned; and ''[[Raga#Rāga-Rāgini system|raginis]]'', the female counterparts of ragas, are emphatically not used.<ref>{{harv|Neog|1980|p=286}}</ref> The rhythm (''tala''), on the other hand, are not mentioned; and {{transl|ass|italic=no|borgeets}} need not be set to rhythm. Nevertheless, by convention tala is used when a borgeet is performed for an audience, or in a congregation, and in general specific ragas are associated with specific talas (e.g., ''Ashowari''-raga with ''yati-maan''; ''Kalyana''-raga with ''khar-maan'', etc.).<ref>{{harv|Neog|1980|p=278}}</ref> The lightness that is associated with the [[khyal]] type of Indian classical music is absent, instead the music is closer to the [[Dhrupad]] style. The singing of a borgeet is preceded by ''raga diya'' or ''raga tana'', the local term for [[alap]], but unlike the syllables used in Khyal or Dhrupad, words like ''Rama'', ''Hari'', ''Govinda'', etc. are used.<ref>{{harv|Neog|1980|p=278}}</ref> Furthermore, ''raga diya'' is fixed as opposed to ''alap'' which is improvised.

The technique of Borgeet follows the ''Prabandhan Gana'' tradition which is contemporary to [[Dhrupad]] and [[Kriti]] of [[Hindustani classical music|Hindustani]] and [[Carnatic music]]. In {{transl|ass|italic=no|borgeets}}, there are [[Tala (music)|Talas]] from eight ''matra''s to thirty-two ''matra''s, all comprising three parts of proportionate length, viz., ''Ga-man, Ghat'' and ''Cok''. These ''Talas'' are different in structure, rhythmic pattern as well as playing style from the ''tala''s now played with [[Hindustani classical music|Hindustani]] and [[Carnatic music]]. A few like ''Rupaka, Ektali, Yati, Bisam,'' etc. are mentioned not only in the ''Sangita Sastra''s like [[Sangita Ratnakara]] but also in [[Jayadeva]]’s [[Gita Govinda]]''.''<ref>{{Cite news|url=https://www.thehindu.com/entertainment/art/class-and-classical/article28283487.ece|title=Should Borgeet of Assam be recognised as a classical art form?|last=Rajan|first=Anjana|date=2019-07-04|work=The Hindu|access-date=2019-09-14|issn=0971-751X}}</ref>
[[File:Sankardev Satra Patbausi, Barpeta.jpg|thumb|A glimpse of a [[Satra (Ekasarana Dharma)|Sattra]], a major place of the origin of {{transl|ass|italic=no|borgeets}}.]]

== Style ==
It is regarded that {{transl|ass|italic=no|borgeets}} have been forming an indispensable part of {{lang|as|Nama-Kirttana}} from the days of [[Sankardev]]a. The regular performance <nowiki/>of {{lang|as|Nama-Kirttana}} in [[Satra (Ekasarana Dharma)|Satra]] and [[Namghar]]s is done by a single person called {{lang|as|Nam-lagowa}}, where the {{lang|as|Nam-lagowa}} first sings only the outline of a [[raga]] suitable for that time of the day, and sings a Borgeet or an {{lang|as|Ankar git}} set in that raga without maintaining any beat, repeating the {{lang|as|Dhrung}}<nowiki/> or {{lang|as|Dhruva}} after every couplet of the {{lang|as|padas}} (subsequent verses). Such renderings of Borgeet are considered as a singing in {{lang|as|Bak-sanchar}} (sheer voice-manipulation) or {{lang|as|Melan}} (freedom from rhythmic restriction). The performance of {{lang|as|Nama-Kirttana}} in early morning accompanied by the [[Taal (instrument)|Khuti Taal]] is called a {{lang|as|Manjira-prasanga}}. The {{lang|as|Tal-kobowa prasanga}} performance which is accompanied by [[Taal (instrument)|Bortaal]] can be rendered in both morning and dusk. Both the ''Manjira-prasanga'' and ''Tal-kobowa prasanga'' are played with {{transl|ass|italic=no|borgeets}}. On occasions like [[Krishna Janmashtami]], [[Holi|Doul]], [[Bihu]], death anniversaries (''tithi)'' of religious preceptors including [[Sankardev]]a and [[Madhavdev]]a and during the whole month of [[Bhadra (Hindu calendar)|Bhadra]] the performance of Borgeet is preceded by an orchestral recital of [[Khol]]'', [[Taal (instrument)|Taal]], Negera'' (Percussion instrument) etc., which is variously referred to as ''Yora-prasanga, Khol-prasanga'' or ''Yogan-gowa.'' The orchestra comprises one or two pairs of ''Negera,'' [[Taal (instrument)|Taal]], [[Khol]]s which are played in unison.<ref>{{Cite book|title=Bharatiya Prajna: an Interdisciplinary Journal of Indian Studies|year=2017|publisher=Aesthetics Media Services|doi = 10.21659/bp}}</ref><ref>{{Cite journal|last1=B.|first1=E.|last2=Prajnanananda|first2=Swami|date=September 1961|title=Historical Development of Indian Music|journal=Journal of the American Oriental Society|volume=81|issue=4|pages=462|doi=10.2307/595734|issn=0003-0279|jstor=595734}}</ref>

==Contemporary uses==
The strict rules that are associated with the {{transl|ass|italic=no|borgeets}}, and still practiced in the Sattras, are eschewed in popular renderings. A very knowledge Khol player and a renowned singer [[Khagen Mahanta]] has sung and documented some {{transl|ass|italic=no|borgeets}} in its pure form in an album called Rajani Bidur. He was from the family of Satradhikars. He and his sister Nikunjalata Mahanta from the Gajala Satra were very well versed with this form. {{transl|ass|italic=no|Borgeets}} were also used by [[Bhupen Hazarika]],<ref>''[https://www.youtube.com/watch?v=gW6-OyT6RSA#t=1m10s Tejore Kamalapoti]'', by Madhavdeva, sung by Bhupen Hazarika (1955) ''Piyoli Phukan''</ref> in movies, and popular singers like [[Zubeen Garg]] have released their renderings.<ref>''[https://www.youtube.com/watch?v=jSiV2BVfHFU Pawe Pori Hori]'', by Shankardeva, sung by Zubeen Garg.</ref> Music director, Dony Hazarika has made a successful attempt to celebrate the Borgeet at the national level through his album, Bohnimaan...The folk flows.

Film critic and short film maker [[Utpal Datta]] made a short film on Borgeet, titled {{lang|as|Eti Dhrupadi Ratna}} (https://www.youtube.com/watch?v=V3I5qgXt9G4) under the banner Pohar Media. Anupam Hazarika has produced the film. All leading exponents and artists were assembled for the film. Dr. [[Birendra Nath Datta]], leading Satriya scholar, music director, singer and folklorist has narrated the content of the film while singer Gunindra Nath Ozah, [[Tarali Sarma]], Sarod player Tarun Kalita, violin player Manoj Baruah and Satriya dancer Prerona Bhuyan has participated in the film with their arts to express various shades of the aesthetics of Borgeet.

Music director [[Anurag Saikia]] is known for taking an initiative of syncing {{transl|ass|italic=no|borgeets}} to the symphonic orchestra.<ref>{{Cite web|url=https://indianexpress.com/article/north-east-india/assam/project-borgeet-syncing-assams-600-year-old-songs-to-the-symphonic-orchestra-5989667/|title=Project Borgeet: Syncing Assam's 600-year-old songs to the symphonic orchestra|date=2019-09-13|website=The Indian Express|access-date=2019-09-13}}</ref>

==Translations==
{{transl|ass|italic=no|Borgeets}} have been translated into Hindi by ''[[Devi Prasad Bagrodia]]''.<ref>http://www.assamtribune.com/scripts/detailsnew.asp?id=may2114/state05 {{webarchive|url=https://web.archive.org/web/20140521194935/http://www.assamtribune.com/scripts/detailsnew.asp?id=may2114%2Fstate05 |date=2014-05-21 }}</ref>

== See also ==

* [[Vrindavani vastra]]
* [[Kirtan Ghoxa|Kirtan Ghosha]]
* [[Bhagavat of Sankardev]]
* [[Dihanaam]]

==References==
{{reflist}}

===General Sources===
{{refbegin}}
*{{Citation
|last=Barua
|first=B K
|contribution=Sankaradeva: His Poetical Works
|editor-last=Kakati
|editor-first=Banikanta
|title=Aspects of Early Assamese Literature
|publisher=Gauhati University
|place=Gauhati
|year=1953
}}
* {{cite web
| url = http://sankaradeva.com/blogs/29
| title = Dhrupadi Elements of Borgeet
| last1 = Das-Gogoi
| first1 = Hiranmayee
| date = 6 December 2011
| publisher = Society for Srimanta Sankaradeva
| access-date = 23 October 2012
}}
*{{cite book
| last = Mahanta
| first = Bapchandra
| title = Borgeet
| publisher = Students' Stores
| edition = 2nd
| year = 2008
| location = Guwahati
| language = as
}}
*{{Citation
|last=Neog
|first=Maheswar
|author-link=Maheswar Neog
|title=Early history of the Vaisnava faith and movement in Assam
|publisher=Motilal Banarsidass
|place=Delhi
|year=1980
}}
* {{cite book
|last1=Sanyal
|first1=Ritwik
|author-link1=Ritwik Sanyal
|last2=Widdness
|first2=Richard
|year=2004
|publisher=Ashgate Publishing, Ltd.
|title=Dhrupad: Tradition and Performance in Indian Music
|url=https://books.google.com/books?id=9kKmx0yna4MC
|isbn=9780754603795
}}
* {{Citation
| last = Sarma
| first = Satyendra Nath
| year = 1976
| title = Assamese Literature
| place = Wiesbaden
| publisher = Harrassowitz
}}
{{refend}}

[[Category:Music of Assam]]
[[Category:Culture of Assam]]

Borgeet - Revision history

CleanupBot at 03:55, 11 December 2022