A SHORT DESSERTATION ON ASSAMESE FOLK MUSIC

INTRODUCTION



Folk music, in the most basic sense of the term, is music by and for the common people. Perhaps the Tech Multimedia Music Dictionary’s definition is the most apt one. It says it is “music of the common people that has been passed on by memorization or repetition rather than by writing, and has deep roots in its own culture. Folk music has an ever-changing and varying nature, and is deeply significant to the members of the culture to which it belongs.”
Folk music is essentially the music of masses, of hard working country people moist with love of nature, fear, and devotion of God and Almighty, of hope and struggle. It is the very essence their cultural roots and a constant source of life energy.



Folk music is common to every society irrespective of geographical barriers only it varies with each cultural sphere. Though its length and breath is vast, its evolution or origin can be divided into four classes:

(i) Oral Folk-lore



(ii) Social Folk Custom



(iii) Material Culture



(iv) Folk Performing art



Folk Music is derivatives of the thoughts, ideas, emotions, and imaginations of a society as a whole and not of single individual. It visualizes the characteristic of a society.
Different festivals were one of the important sources of origin of Folk Songs. Festivals were the source of performance from ages where every individual could manifest their imaginations and emotions through various means and Folk Song being the one of them. With time, these emotions and imaginations became a part of the culture.



Folk Music can mainly be classified into two classes:



(i) Religious Folk Songs



(ii) Secular Folk Songs



(i) Religious Folk Songs: Songs related to the religious Festivals can be defined as Religious Folk Songs, where the main themes of the songs are religion, religious faiths, praise and glorification of God etc.



(ii) Secular Folk Songs: Other than the religious festival songs, songs from the non-religious festivals can be termed as Secular Folk Songs. Subject of these songs may vary from love, romance to manifestation of other emotions of an individual as well as of the society as a whole.

ASSAM AND ITS CULTURAL HERITAGE:

Ab Initio:

This short dissertation intends to cast a light on the Folk Music of Assam, one of the seven states (known as “Seven Sisters”) located in Northeastern part of India. However, before proceeding to discuss the main topic of this paper, let us have a bird’s eye view on Assam - the land, the people and the culture.

A Few Words:

Assam...the rich, green land of rolling plains and dense forests is the gateway to the northeastern part of India. The mighty Brahmaputra river that has its origins in Tibet charts its majestic course through this state. This mystic land of eternal blue hills and beautiful rivers is renowned for its tea, rich flora and fauna, the world famous one horned rhinoceros and other rare species of wildlife on the verge of extinction. Barring Africa, there is perhaps no part of the world where such a variety of wildlife exists.

Situated between 90-96 degree East Longitude and 24-28 degree North Latitude, Assam is bordered in the North and East by the Kingdom of Bhutan and Arunachal Pradesh. Along the south lie Nagaland, Manipur and Mizoram. Meghalaya lies to her South-West, Bengal and Bangladesh to her West.

The people:

The people of Assam inhabit a multi-ethnic, multi-linguistic and multi-religious society. They speak languages that belong to three main language groups: Austro-Asiatic, Tibeto-Burman and Indo-Aryan. The large number of ethnic and linguistic groups, the population composition and the peopling process in the state has led to it being called an "India in miniature".

A great cultural heritage:

The people of Assam have traditionally been artisans from time immemorial. However, Assam is mostly known for its exquisite silks and the bamboo and cane products, several other crafts are also made here. Like the Jappi, the traditional sunshade continues to be the most prestigious of bamboo items of the state, and it has been in use since the days when the great Chinese traveller Hiuen Tsang came to Assam that visitors are welcomed with a jaapi. Apart from Cane and Bamboo products, Metal Crafts, Handlooms, Pottery, Jewellery, Terracotta are some of the other crafts.

A Land of Festivals:

There are several important traditional festivals in Assam. Bihu is the most important and common, and celebrated all over Assam.

Bihu is a series of three prominent festivals of Assam. Primarily a festival celebrated to mark the seasons and the significant points of a cultivator's life over a yearly cycle, in recent times the form and nature of celebration has changed with the growth of urban centers. A non-religious festival, all communities - religious or ethnic - take part in it. Three Bihus are celebrated: rongali, celebrated with the coming of spring and the beginning of the sowing season; kongali, the barren bihu when the fields are lush but the barns are empty; and the bhogali, the thanksgiving when the crops have been harvested and the barns are full. Rongali, kongali & bhogali bihu are also known as 'bohag bihu', 'kati bihu' & 'magh bihu' respectively. The day before the each bihu is known as 'uruka'. There are unique features of each bihu. The first day of 'rongali bihu' is called 'Goru bihu' (the bihu of the cows). On this day the cows are taken to the nearby rivers or ponds to be bathed with special care. Traditionally, cows are respected as sacred animals by the people of Assam. Bihu songs and Bihu dance are associated to rongali bihu.

Moreover, there are other important traditional festivals being celebrated every year for different occasions at different places. Many of these are celebrated by different ethno-cultural groups (sub and sister cultures). Few of these are:

Me-dam-me-phi
Ali-aye-ligang
Kherai
Garja
Hapsa Hatarnai
Awnkham Gwrlwi Janai
Chojun/Swarak
Rongker
Sokk-erroi
Hacha-kekan
Porag

Conclusion:

As it is aptly called a “India in Miniature”, with its diverse land, people and culture and habits, it is in fact a miniatured reflection of the greater India.

CLASSIFICATION OF ASSAMESE FOLK MUSIC

Assamese Lokageet or Folk Songs can be divided into two groups in terms of geographical, economical and cultural differences.

(a) Lokageet or Folk Song of Upper Assam and

(b) Lokageet or Folk Song of Lower Assam.


Lokageet OR FOLK SONG of Upper Assam:

Lokageet of Upper Assam can be divided into two groups

(i) Religious and
(ii) Non-Religious or Secular

(i) Religious: Devotion to the power of nature being the part of Assamese society, which resulted in worshipping of various Gods and Goddesses. Offering prayers to satisfy the Gods and Goddesses for well being of the society became a spiritual custom. These rituals formed some form of music with time. Some religious Folk Songs of upper Assam are as follows:

(a) Aai Naam : Pox, known as “Basanta” in Assamese was one of the highly contagious disease which bogged down Assamese society from time immemorial causing deaths and wide spread fear. As medication was not available in older days, people turned to a Goddess called “Shitala” or “Aai” imagined as the goddess of the disease. To satisfy the goddess people use to perform rituals called “Shitala Puja” along with song performance, which are known as “Aai Naam”. The song below is to satisfy the seven sisters of Goddess Shitala.

Aai mur ujaai ahile
Aai mur aaire hate bhoni
Aai mur basante baa bolai,
Aai mur temate aanise,
Aai mur jaati chandan,
Aai mur hobaake dise pindhai.
Aai mur ujai aahise
Aai mur aaire haate bhoni
Aai mur naaot guti phulor thupa
Aai mur gutike aanise
Aai mur thupikoi bilaise
Aai mur narak kori goise kripa.

(Translation: Mother is coming with the flow, with her seven sisters, blowing the winds of Basanta. She has got chandan and she is putting it on to everyone. Her sisters’ boat is full of flowers, which they are spreading all over for blessing this hell.)

(b) Apsara Sabahor Geet: Apsara Sabah is one of the women centred religious rituals. It is believed that mal-nutrition and belated menstruation cycle of girls are the wraths of Apsaras (fairies). Therefore, Apsara Sabah is performed to satisfy fairies to be cured of the “diseases”. Apsara is believed to be contemporary of Goddess Durga, so songs of this ritual are none but the glorification of Goddess Durga.
A song of Apsara Sabah

Uporor devataai ulai mel kore
Kumari ki puja kore
Aai apeswari maatim kene kori
Korim kenebhabe sewa.
Rupore jokhola hunore mekhela
Ahe apeswari nami…

(Translation: Gods of the heaven are discussing, how the girl would worship Goddess who is dressed up in golden attire and is climbing down from heaven with a silver ladder…)

(c) Subasni Naam: Like the other pujas, Subasni Puja is also believed as a ritual performed for the well-being of the family. Importantly, it is also a woman centric rite. Songs are mainly the glorification of Goddess Durga.

A song of Subasni Puja:

(Ghoxa) O’ Mai bhavani Durga
Jogiu chinte naai tomaar pada binde.

(Pad) Aasonot bohi aaiye meli dise bhori
Soronot pori kande bagori bagori
Aasonor soupase champa nageshwar
Malmali baa ahe gosani sabaar
Aasonor soupakhe phulise tagar
Puja nidi aai matrik logaise jagar…

(Translation: O’ Goddess Durga even the saints praise you, poets composes verses to glorify you. I am at your feet, my eyes damp with tears… The flowers at your feet are pleasing you with their scent; they are reminding me that I am guilty of not completing the rituals so far…)

NON-RELIGIOUS OR SECULAR: Non-religious or secular music can be defined as the music, which denotes the social aspects as well as different moods of expression of thoughts, ideas, feelings and imaginations.

(a) Bihu Geet: Bihu can be termed as the festival of romance. It is the festival celebrated at the beginning of the harvesting time and at the end as well. Bihu songs are mostly romantic in nature, which expresses the emotions of love and desire as well. In the song below, the lover expresses his feelings towards the girl.

Gaale katikoi nesaba maina
Mur hopot lagibo beya
Jonome jonome thakim ekeloge
Jodi kore ishware doya.

(Translation: Do not peep at me my dear, I will feel bad for sure. We will live together forever if God is kind enough to us)

(b) Bia Naam (Marriage Songs): “Bia Naam” or marriage songs are the songs sang in ones marriage. These songs are normally fun making as well as tragic and serious at times. These songs describes epic stories of King Baana and his daughter Usha who was married to Anniruddha, the grand son of Lord Krishna. It is said that Usha was in love with Anniruddha and with the help of Usha’s friend Chitralekha, she eloped with the prince and it resulted in a fighting between the king and Lord Krishna in the city of Tezpur of Assam.

Kaamdeur putra O’ mon tagar
Gobinder naati O’ mon tagar
Ani dia chitralekhi O’ mon tagar
Aji suda hobo Baanore nagar

(Translation: O dear friend Chitralekha, please bring me my love, the grandson of Lord Krishna, the son of Kamdeva. Let the palace of King Baan be empty today.)

(c) Bhekuli Biar Geet (Frog Marriage Songs): It is believed that frogs have some kind of “relation” with the weather and it can cause rains. So whenever there is a draught like situation, people arrange frog marriages (Bhekuli Bia) to pray for rain, where two frogs are ritually get married. The songs are alike the Bia Naam and are humorous in character.

Raam Raam bhekulir bialoi
Raam Raam ahe Indradev
Raam Raam botah boroshunot titihe…
Raam Raam swargar apeswari
Raam Raam naami ahise
Raam Raam bhekulir bia hunihe.

(Translation: The Lord of Rains Indra, drenched in the rain, has come to the marriage of frogs along with other fairies.)

(d) Nichukani Geet (Lullabies): Lullabies are also a form of folk song. They are soothing in character and are sung by a familiar and beautiful voice to lull the child to sleep.

Amaare moina subo ae
Barite bogori rubo ae
Barire bogori poki soribo
Amaare moinaai butoli khabo.

(Translation: Our baby will sleep, he will plant a plum tree, when the plums will ripe, our baby will eat those plums.)

Lokageet or Folk Song of Lower Assam:

Lokageet or Folk Song of Lower Assam can be divided into two sub-groups:

(a)Kamrupi Lokageet and

(b)Goalporia Lokageet

(a) KAMRUPI LOKAGEET: Kamrupi Lokageet comprises of Nichukani Geet (lullabies), Shishur Khel Dhemali Bishoyok Geet (Songs of Child games) , Gorokhiya Geet (Cowboy Songs) , Naokhelor Geet (Songs of Boat Race) , Saukhelor Geet (Songs of Saukhel), Bia Naam (Marriage Songs), Deh Bisar Geet, Tamul Choror geet (Songs of Areca Nut Thief), Moh kheda Geet (Song to Flush out Mosquitoes) etc.

There are many forms of folk songs either extinct or nearly extinct other than the ones I have described in the introduction. Since discussing the whole form of Assamese Folk Song will make a huge volume, I have tried to concentrate on the most popular versions of Lokageets (folk songs). Here I am trying to figure out the section of folk songs Goalporia Lokageet. Hence, a short introduction of Assamese folk song is necessary to put the light on the topic. The major difference among the other contemporary Lokageet (Folk Song) of Assam and Goalporia Lokageet is the use of language and the ways of expression. Also, the themes vary from moods to their behaviour.

GOALPORIA LOKAGEET (Folk Song of Goalpara District)

O mor hai hastir kanyare

Khaniko doya nai mahutok lagiyare

Hastir kanya, hastir kanya, bamuner nari

Mathai niya tam kalsi o

Omi hate sonar jhari omi o

O mor hai hastir kanyare

Tomra gaile ki ashiben,

mor mahut bandhu re

Hastire naran,

hastire choran,

Kakoua basher aara

Ore ki shape dongshilek bandhubak

Bandhua hoilo mor lorare

Lal gamcha ranga sari re

Ore tar madhye nanan dor

Ajir moto jao bandhu

Shawami ache mor

Lal sari le re moina,

lal sari re

Tor malik bhalo re moina,

lal sari re

Are laljir bari jabire moina,

lal sari reGodi,

gadla pabire moina,

lal sari re

[AGoalporia Lokageet by Pratima Pandey Baruah]

Goalpara is one district of Assam, situated in the lower part of the state. It was created in the year 1983 with two Sub-divisions , Goalpara (Sadar) sub-division & North Salmara (Civil) Sub-division. In 1989 Goalpara Sadar Sub- division was upgraded into a district and North Salmara Sub-division was merged with newly created Bongaigaon District. So, at present Goalpara District consists of only one Sub-division. The district occupies an area of 1824 km² and has a population of 822,306 (as of 2001).
The Social, geographical, Economical, Historical and the political conditions of Goalpara some have some distinctive characteristics which can be felt in the folk Songs of Goalpara or Goalporia Lokageet. Though being a part of Assamese Folk Culture, Goalporia Lokageet has its own significance and hence can be easily differentiated from the others.

THEMES OF GOALPORIA LOKAGEET:

Goalporia Lokageet pictures the socio-cultural life of Goalpara. It expresses the struggle of common man. The way of earning livelihood in Goalpara is mainly hard labour in the fields. Goalporia Lokageet paints the pain, problems, struggle, agitation, exploitation, etc. The hard life of the people and their relationship with the nature is vivid can easily be felt in the songs. The festivals of Goalpara have also curved some identical rule in the folk songs of Goalpara. Spiritual thoughts and ideas are also being infused into the genre.

CLASSIFICATION OF GOALPORIA LOKAGEET:

Goalporia Lokageet has been classified in terms of the melody and the subject of the songs. Regarding Melody, Goalporia Lokageet has been classified into Bhauyeia, Sataka, Moikhali etc. On the other hand, regarding the Theme or the object of the songs, Goalporia Lokageet can be classified into the following classes:

(1) Love Songs (2) Distress of Poverty (3) Institutional: (i)Religious (ii) Non Religious (4) Work related Songs (5) Body Oriented Songs (6) Humorous Songs (7) Songs related to different games & sports (8) Story related and Songs of the twelve months (9) Others

Brief description of all the classes along with their sub-classes:

(1) LOVE SONGS: Goalporia Lokageet is mostly dominated by the love songs. The way of expression was also very touching. Use of simple conversational language formed these songs more close to everyone’s heart. These are the songs of youth, expressing ones feelings towards ones beloved. These are songs of passion, affection, prestige, sentiment, pain and lust. The scene of a broken heart, the tragedy of being lonely or being heart broken can also be felt in some of the songs.
A girl singing for her beloved:-

“…O mur nayaner kajol
Tilek danda na dekhile
Mon hoi pagol…”

(Translation: O kajal (kajal, a colour, used to darken the eyelids of Indian women) of my eyes, if I do not see you a moment, my mind goes crazy…)

(2) SONGS OF DISTRESS OR POVERTY: Happiness-sadness, love-pain are parts of human life. As happiness curves a smile, sadness curves a depressed feeling or expression. The songs of distress and poverty were also very appealing. As the native of Goalpara are mainly labourers, their poverty, sadness and depression can be felt in the songs. Their destitute lives and sufferings can be felt in the songs. As in a Goalporia Lokageet-

…O’ mur mone mane na,
O’ mur dehai mane na,
Naton dhora sansaarite moron jatana.
Ki dekhiya besaya khaise re,
Doyar khura khurire,
O’ mur doyar baap-mau…
Sukaan roti khaite khaite
Suki goise mur gau.

(Translation: My heart can’t understand, my body can’t understand why there is so much pain in this world… what shall we eat to survive…Oh mother and father, I’m dying eating dry bread always...)

(3) INSTITUTIONAL SONGS: Songs based on some festivals and rituals can be termed as Institutional Songs. And cab further divided into two groups (i) Religious (ii) Non religious

(i) Religious Songs: Goalpara’s folk culture has some traditional rituals of praying the Gods and Goddesses. The songs related to these rituals are Religious in nature. Among the Religious Folk Lore of Goalpara are mainly -

• Gorokkhanath Pujar Geet – Songs for worshiping God of Cows for well being of cattle wealth.
• Kati Pujar Geet – Songs devoted to the Goddess of the Fields for growth of Crops.
  
• Aagangar Pujar Geet – These form of songs are sung in the rituals of worshipping the Python or Snake. Sadak Pujar Geet – These songs are devoted to Lord Shiva.
  

Trinath Pujar Geet – These songs are devoted to Lord Brahma, Lord Bishnu and Lord Maheshwar.

(ii) Non Religious Songs: The festivals other than the religious festivals have their own songs of its own kind. The Songs of Marriage, The Songs of Welcoming the Bride, Songs of Holy etc as well as other festivals have these kind of rich cultural antique still intact among the people of Goalpara.

(4)WORK RELATED SONGS: Songs of different work culture is a part of social integration of Goalpara. Here are some example of them:

(i) Songs of Sweeping the House:

Aagina samtang kurrut kurrut
Bancher ratta dia
U ki lu ma
Emon gabhur sanyashi
Tar hatot nathi chera goji
Ki ma lu ma


(ii) Songs of Cooking:

O’ mur bhaujia
O’ mur nanadia koi
Moi sundari randhun janongna
Kosuhak pak koriya disong
Tat nohoi deung ada haire
Tar jonye mar marilek
Choto thakurer dada re

(iii) Songs of Paddy Treading:

Ikori mikori dhaner Bara
Tini gain nahoy saul kara
Beter dange soil koil tair kala
Sarag dia jai hat tuliya koi
Mon jhure paikuk dekhiya
Chit jhure mur paikuk dekhiya.

(iv)Songs of Weaving:

Barir pasila loya taantti
Ki sundar saree banaishere
Aai muk saree kiniya de
Saree upora moiyarer sobire
Sobi phekom dhoriya nasere

(v) Nishukoni Geet (Lullabies):

Aiyare sun kaka
Aiyare aiy aiy
Dudh dim,bhat dim
Amaar mayor logot
Sanger tolot khela dim


(5) BODY ORRIENTED SONGS: Human body oriented songs have also been sang from the distant past in Goalporia Lokageet. Human life, beauty of human body and soul, wealth and poverty being the subject material of these kinds of songs. In these kind of song, Human body is compared with vessels of soil, or life as a prison. In this form of Goalporia Lokageet human life has been illustrated as material medium.


Example:
Kosu pater jol jemon re
Jivon tol mol tol mol kore
Oi moton norer deha
Kun din dholiya pore jai re

(Translation: Life is like a drop of water in tree leaf, the day it falls to the ground, it is all over.)

(6) HUMOUROUS SONGS: Humorous or comic sense was one of the distinct forms of Goalporia Lokageet. These songs present the life and livelihood of Goalpara in a humorous way.


Example:
Torkari paak kore bou
Angerar mot kala
Bhatkhaiya petot hol mur
Borai bhikhom jwala.

(Translation: The woman cooking the food is black like a charcoal and my stomach is burning after having the food)

(7) GAMES RELATED SONGS: Games and sports being a part of human society, the Goalporia Lokageet also have songs related to the games that were part of the society since ancient times. Boating Games and other famous games got their own songs.

Example: A boating game song:-

Boitha maro boitha maro
O’ boishal bhaiya re
Jhariya botha mariya jaure
Ela kene boishal bhaiya re
U nouka augai aar paushai re
Sabdhane bau nouka re
Jhariya nauka mariya jau re.

(8) STORY RELATED AND SONGS OF THE TWELVE MONTHS: Even in descriptive songs with a storyline and the songs of the twelve months, Goalporia Lokageet has their own characteristics.

Example: Story related song:-

Hidde Gaya hidde Ganga Hidde Baranasi
Mathar sul bhabiya dekh tur okhoy tulashi
Dantahobo bhabiya dekh basa bina dhaner khoi
Mathar ghilu dekh basa bina dugdher doi
Mon hoil borokhi basa pawan hoil huta
Matir deha hoil ship dui akhi phulota


Example: Songs of twelve months:-

Joibot narir mui bosorer ek
Doun kaner madan kori bau kaane that
Doun kaner madan kori bau kane thuiya
Shishuna kale prabhu koraishen bia
Doya na koru probhu xhyoma na koru
Joto din naai houng narir mui
Bosorer bara probhu doya koru.

(9) OTHER SONGS: Songs which are sang in other occasions such as Mahut Geet, Moixhal Geet, Gariyaal Kendrik Geet, Baishal Geet, Dutorar Geet, Moshar Geet etc are classified as other songs by the historians. Subject wise these songs are distinctive from other classes in terms of melody and word structure.

Characteristics of Goalporia lokageet

Goalporia Lokageet can be termed as unique pattern in terms of mood melody and word structure. Simple spoken language of Goalpara being the language of the songs and the rhyme rhythm too being tuned to the locality Goalporia Lokageet has been positioned in hearts of the people. Some special words and terms used in these songs can be said to be its characteristical behaviour. Words like Mahut, Maishal, Baishal and Gariaal are most common in almost all songs.

Mahut: Most of the songs of Goalporia Lokageet use this word which means the Elephant Rider/ or Hunter Sometimes. Elephant hunting was one of the ancient work culture of Goalpara. The life of the Mahuts, their stories is mostly described in the songs of Goalporia Lokageet.


Maishal: Buffalo keeping was a tradition or a work for food in Goalpara. The word Maishal means Buffalo Keepers. In addition, the songs with these words are meant to the life of the Maishals.

Baishal: Mostly in those ancient days, river was the only way of travel so boat was the means for travel. Baishal or the Boat Drivers sung these kinds of songs to entertain themselves or to make the journey enjoyable. Their life in water away from home can be easily noticed in these songs.

Gariaal: Tangas were the means of travel by roads and the tangawallas are Gariaal. These songs depict their lives and pain in these songs.

Work Culture being the theme of most of the Goalporia Lokageets it can be said the characteristics of the genre are the lower level workers of the Goalporia society and their poverty and pain the theme of most of the songs. The socio economic conditions can be seen in most of the songs, which describes the life and their struggle to live.

Conclusion

Folk music is in the blood of common people. It sings about their life, struggle, hope, distress and imagination. Largely, that is one reason why this genre has outgrown the time. Even though the electronic media has spread its wing to the deepest and untouched avenues of human life, it can never change the stature the folk music enjoy. No doubt, people will embrace new things, new ideas – some of them are imported from other culture or region; brought by new economic standard or things like globalization, but the folk music would stand the time. The truth lies in the fact that the new culture or music they get from the outside does not tell their "STORY". It is their own music passed through ages by memorization or mouth-to-mouth rather than preserved in electronic devices, which sings
their heart. It is the passion and love of the masses towards the genre that gives its life and that is why it is going to sustain the onslaught of time.

Assamese folk music is not alien to this fact. It is enduring the surging power of most of new musical trends, which were not common in older days. Nevertheless, is not finished, it is still there. Visit any part of Assam, you will hear bihus, lokageets along with some western music. Therefore, the scene is a kind of a "hand in hand" journey with different musical trends. New experiments are being made, new ideas are forming surrounding folk music but the very essence of the folk music is the same. May be its strength and movement has slowed, but it is still standing with pride and with all its glory.

[This is a piece of translation that I used for a college project-"A short thesis on a Music Genre".I'll love to get the feed-back from all the readers.]

Bibliography:

Axomiya Lokageet Samixha----------------Dr. Basanta Kr. Choudhary