Browsing by Author "Gogoi, H.D."

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A Comparative Study of Borgeet and Dhrupad
(Centre for Asian Studies, University of Kelaniya, 2015) Gogoi, H.D.
A comparative study of Dhrupad and Borgeet
(Centre for Asian Studies, University of Kelaniya, 2015) Gogoi, H.D.; Hazarika, B.
Dhrupad is accepted to be the oldest existing form of North Indian classical music. The Dhrupad tradition is invariably a major heritage of Indian culture. The origin of this music is linked to the recitation of Sama Veda, the sacred Sanskrit text. Dhrupad is the oldest vocal and instrumental style, and the form from which the extant Indian classical music originated. The continuity of Dhrupad, a contemplative and meditative form, has been sustained by traditions of devotional music and worship. Indeed, the leading Dhrupad maestros remark that rather than to entertain the audience, Dhrupad’s purpose is Aradhana (worship). The nature of Dhrupad music is spiritual. Seeking not to entertain, but to induce deep feelings of peace and contemplation in the listener. Borgeet came into existence in the hand of Sankaradeva and later enhanced by his disciple Madhabadeva. As the purpose of Dhrupad, the chief task of Sankaradeva and Madhavadeva was to spread the Vaishnava faith in Assam. That was the time for Dhrupad to flourish in the Indian musical scenario. As time progressed the lyrical theme also varies from praising the King to natural beauty. Even though these two different schools of music started, their maiden journey in different corners of India, yet they have a similar lyrical theme and is performed through different rhythmic variations. Sankardeva added a pinch of the local flavour of Assam in Borgeet and on the other hand Dhrupad got the royal recognition by the king Mansingh Tomar who also was a famous Dhrupad composer and singer. This paper tries to find and justify the relationship between Borgeet and Dhrupad and also find out the innovations of Sankardeva within Borgeet.
The enthralling musical heritage of Assam (From pre-historic to contemporary period)
(International Seminar on Assamese Culture & Heritage, Centre for Heritage Studies, 2018) Gogoi, H.D.
Music is the language that breaks all barriers and divisions of a human society. Assamese music is as old as the epics like the Ramayana and the Mahabharata. Since then. Assamese music has come a long way, the present form of music of this state can be said to have acquired as a result of a historical development. Along its journey through the sands of time, music of Assam has adopted and assimilated the cultural sentiments and aspirations of different ethnic groups that has migrated and inhabited Assam from time to time. The vibrant festivals of the state are the prime occasions of singing these songs. Some of the varieties are verbal and passed down from mouth to mouth by common people which render day to day life chores. This is a form of folk culture, though few of the practices are slowly dying and disappearing due to modern lifestyles. On the other hand, some varieties are preserved in manuscripts and some of them have classic characteristics. The domain of Assamese music is as vast and deep as an ocean. This study delves only an inch of it and has presented just a few elements of it. Assamese songs can be divided into three categories: folk, classical and modern. All domains are not equally flourished now due to the popularity of Western and Bollywood music. It brings threat to folk and classical forms of music. This study will help in linking the elements of music from prehistoric times to the contemporary period and bring in the attention of the people towards it.
An Interview with the “Queen of Elephants” Prabati Barua
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2016) Gogoi, H.D.; Das, A.
The Musicological literature of Assam
(Centre for Asian Studies, University of Kelaniya, 2015) Gogoi, H.D.
PALANQUIN : The symbol of Royalty and luxury of ancient Assam: Special reference to wedding rituals and bearers profession
(The International Conference on Land Transportation, Locomotive Heritage and Road Culture - 2017, 2017) Gogoi, H.D.; Goswami, G.
Palanquin was a means of land transport which is especially used in eastern Asia as well as in Assam usually for one person that consists of an enclosed box-like litter borne on the shoulders of men by means of poles. It was a passenger conveyance vehicle, usually for one or two person. Owning one and keeping the staff to power it was a luxury affordable even to low-paid clerks. The time of Ahom emperors in Assam, dula served as military ambulances, used for carrying the wounded from the battlefield. In that period the most prevalent mode of long distance transport for the affluent was by palanquin. The royal messengers could arrange, with a few days’ notice, relays of bearers to convey a traveller's palanquin between stations. The distance between two important places averaged about 10 miles (16 km), and could be covered within three to four hours. A relay's usual complement consisted of two torch-bearers, two luggage-porters, and eight palanquin-bearers who worked in a group of four, although all eight might pitch in at steep sections and also in dark also to make it easier. A passenger could travel straight through or break their journey at certain stations. Modern use of the palanquin is limited to ceremonial occasions. A dula carries the bride in a traditional wedding and they may be used to carry religious images in Hindu processions. During tour, the bearers practiced some specific folk songs to overcome their tiredness and pain. In wedding rituals there are thousands of songs in Assam related with palanquins. Now these practices are nearing extinction due to modernization and passage of time. These practices carry a rich cultural value and need a brief study to maintain the cultural heritage of Assam. Through this study people will be enlightened and the new generation will be aware of their heritage.