Introduction

Music of Assam is one of the globally acclaimed musical genres in Indian Musical History. Music of Assam tells the sensation and the passion of the Assam`s heart. Not only this musical genus expresses the joy, sorrow, fun and frolic of Assam, it communicates with the people of North East. In recent times starting from the late eighties popular artistes have modernised the music that caters to local popular demand.

History of Music of Assam

Historians claim that a distinctive culture of the conglomeration of Songs, Musical Instruments and Dance was observed in Assam from the 2nd century. The legend of Princess Usha of Sonitpur (now Sonitpur District) and her associate Chitralekha also enlightened the Assamese women on the musical expertise. History also claims that Assamese Music was admired even in China. During the period of the Early Vedic times and the later Vedic times, Assam was introduced with "Ragas" and "Dhrupad Shailee" of the Indian Classical music. The connoisseurs however have divided the classical Assamese music into two parts - Borgeet and Oja-pali. The composer of Borgeet, Srimanta Sankardeva and his disciple Madhavdeva gave a new definition to the Assamese music. However, it could be stated that Assam has been musically affluent since the birth of the Brahmaputra River.

Features of the Music of Assam

A basic characteristic of the ethnic Music of Assam is its descending scale, which differentiates it from the raga-based music or folk music of the rest of India. This style is shared by ethnic music of the hill people surrounding the state of Assam, and by the music of Thailand, Myanmar and China. Furthermore, the tunes are structured in a pyramid form, in contrast to the music of rest of India which is "meend" based. Meend in Indian Classical Music is a term that actually describes a large variety of glissandos between two pitches. In a strict sense, it designates a glissando executed very slowly; other, more rapidly sung forms are designated by their own technical terms.

Types of Music of Assam

There are several types of Music of Assam, which can be differentiated according to their genres. The types are given below:

Regional folk music of Assam is enriched with genres like Kamrupi Folk Song, Goalpariya Lokageet, Oja-pali, Tokari geet, Deh Bisaror Geet, Baramahi geet and Malita (ballad). Jhumur song and Bharigaan songs comprises the famous ethnic folk music of Assam. Bihu song or Bihugeet and Husori songs are considered as popular folk music of the state, reflecting its cultural identity and tradition. Biyanaam, Nisukoni geet, Gorokhiya Naam and Bongeets are the major types of allied style of Assamese music. The state is also renowned for a range of devotional folk musical genres that includes Borgeet, Zikir and Zari, Ainaam, Dihanaam and Hiranaam.

Traditional Folk Genres of Assamese Music

Traditional folk music of Assam encompasses various genres, including festive and religious songs. These folk songs are deeply embedded in the region’s culture and are often performed during seasonal festivals. The melodies reflect Assam's rich heritage and are an integral part of its celebrations, with each song serving a specific purpose related to the occasion. Whether to mark a religious event or a seasonal change, these songs evoke a sense of community and tradition, making them an essential aspect of Assamese cultural identity.

Bihu Songs or Bihu Geet

Bihu, a regional festival in Assam, is the heart and soul of Assamese culture, with Bihu geet serving as its musical backbone. These songs, sung during the festival, express the vibrant carnival of life and are filled with deep, emotional meaning, often revolving around themes of love. Performed primarily by the youth, Bihu geet are marked by energetic movements, such as the flinging and flipping of hands, brisk stepping, and swaying of hips, reflecting the celebratory spirit of the festival. 

Another form of Bihu music is Husori, sung by groups of boys and young men led by elders. These groups move from door to door, singing and dancing in courtyards, collecting donations for village activities, such as repairing the Namghar. Unlike Bihu geet, Husori songs focus more on religious themes, as the groups pray for the welfare and prosperity of the community, adding a spiritual dimension to the festive celebrations.

Bhawaiya

Bhawaiya is a traditional folk music genre originating from Northern Bengal, particularly the Rangpur Division in Bangladesh, Cooch Behar district of West Bengal, and the undivided Goalpara district of Assam. This musical form often reflects the lives of the working class, including mahouts, buffalo herders or mahishals and cart drivers or gariyals. The lyrics typically express feelings of separation and loneliness, particularly the emotional struggles of women left behind, with elongated tones that emphasize pain, longing, and deep emotion. 

Believed to have originated in the 16th century during the reign of Biswa Singha, Bhawaiya has undergone significant evolution. By the 1950s, it began to be performed on stage, further popularizing the genre. The lyrics of Bhawaiya songs are non-denominational, focusing more on universal themes of love, loss, and longing, making it a deeply emotional and culturally significant form of expression. Even today, Bhawaiya comprises an integral part of Assamese folk music.

Bhari Gan

Bhari Gan is a theatrical tradition of the Rabha tribe of Assam, typically performed by a troupe of around 35 members. The central figure in a Bhari Gan performance is the "mul," who leads the play and supervises its entire execution. The subject matter of these plays primarily revolves around episodes from the epic Ramayana. Commonly performed episodes include Raban Badh, Lakhmanrar Saktisel, Mahi Raban Badh, Sitar Agniparikha Aru Raban Badh, and Meghnath Badh. Bhari Gan combines storytelling, music, and performance to convey these ancient tales, preserving the cultural heritage of the Rabha community.

Nisukoni Geet

Nisukoni Geet is Assam’s traditional lullaby, sung by women to soothe their children to sleep. Known for its calming rhyme, gentle melodies, and tender lyrics, the song embodies a mother’s deep love for her child. The soft, soothing essence of the lullaby harmonizes with the peaceful silence of the night, the common time for rest and relaxation. Nisukoni Geet not only provides comfort but also carries emotional significance, offering a peaceful transition from wakefulness to sleep, while preserving the cultural heritage of Assam through its gentle, affectionate tone.

Gorokhiya Naam

Gorokhiya Naam is a traditional song popular among the working-class communities of Assam, particularly cow keepers, but also embraced by fishermen, boatmen, and other laborers. These songs are sung during work, accompanied by rhythmic movements that energize and uplift the workers. The lively tunes and lyrics serve to boost morale and infuse a sense of collective spirit, making the tasks more enjoyable. Gorokhiya Naam reflects the cultural traditions of Assam's hardworking communities, offering a musical bond that connects people to their daily labor and enhances their sense of unity and purpose.

Devotional Genres of Assamese Music

Assamese devotional music encompasses a range of genres, each distinguished by its unique style and underlying philosophy. These musical forms, introduced centuries ago, remain an integral part of the spiritual and devotional traditions of Assam. The genres are deeply rooted in religious practices and cultural rituals, often reflecting themes of devotion, reverence, and the connection between the divine and the human. Over time, these styles have evolved, but their core spiritual essence continues to resonate with the people of Assam. Devotional music in Assam is typically performed during religious gatherings, festivals, and rituals, fostering a sense of unity and devotion. The melodies and lyrics, rich in emotion and spirituality, hold a significant place in Assamese culture, transcending generations.

Borgeet

Borgeet are lyrical songs composed by saint poets Sankardeva and his disciple Madhavdeva. These devotional songs, based on melodious ragas and talas, are used to begin prayers at monasteries. Borgeet beautifully express the lives of Lord Rama and Krishna, as well as the principles of Vaishnavism, through eloquent lyrics. These songs are an integral part of Assamese devotional music, embodying deep spiritual significance and offering a sacred connection to divine narratives. Through their melodic and poetic structure, Borgeet continue to inspire and uplift the hearts of devotees in Assam’s religious practices.

Dihanaam

Dihanaam is a form of congregational prayer sung by women in Assam to honor the Assamese saint Sankardev. This devotional music involves the use of traditional instruments such as the Negera, taal, and khol, accompanied by hand-clapping, creating a rhythmic and spiritual atmosphere. The songs are inspired by Vaishnava religious scriptures, particularly the Kirtan-ghosa, and are an essential part of the region's devotional music. Performed in a call-and-response style, Dihanaam invites active participation, with the lead singer calling out verses that are echoed by the group.

This communal practice not only serves as a means of spiritual expression but also fosters a sense of unity and devotion among the participants. The melodies, steeped in tradition and religious significance, help convey deep reverence for Lord Vishnu and Sankardev, reflecting the rich spiritual heritage of Assam. Through Dihanaam, women continue to preserve and pass on these sacred musical traditions.

Aainam

Aainam is a devotional folk music tradition in Assam, primarily sung by women. This traditional song has been passed down through generations and is deeply connected to themes of death and illness. It is typically performed when a family member is gravely ill, especially if suffering from smallpox. Women are seen clapping their hands in rhythm as they sing to praise the Goddess. The lyrics and melody convey prayers for healing and protection, invoking divine intervention during times of hardship.

Aainam is an important cultural practice, still prevalent in lower Assam, where it serves as both a spiritual and communal ritual. The song not only reflects the deep-rooted connection to the region's religious beliefs but also fosters a sense of unity and hope in times of crisis, with the women of the community coming together to support the afflicted through their devotional music.

Hiranaam

Hiranaam is a form of Sattriya music deeply rooted in the Vaishnava religious scriptures. It is a devotional practice performed by singers known as Gayans, who are accompanied by cymbals played by the Bayans, a community in Assam traditionally dedicated to playing musical instruments as a profession. The performance primarily involves chanting the names of Lord Krishna, a key figure in Vaishnavism, and follows a call-and-response style. 

The Gayans lead the chant, and the Bayans provide rhythmic accompaniment with their cymbals, creating a harmonious and spiritually uplifting atmosphere. This musical tradition holds significant religious and cultural value in Assam, as it is used to invoke divine blessings and express devotion to Krishna. 

Zikir Songs

Zikir songs of Assam are Islamic devotional songs composed by the Sufi figure Shah Miran, also known as Azan Peer Fakir, who arrived from Baghdad in the 17th century. Assamese scholars classify Zikir under the folk Bhakti or Sufi genre. The word "Zikr," meaning "remembering" in Arabic, refers to chanting the Lord’s name. Zikir songs convey two teachings, one for daily practical life and another for those pursuing the path to salvation. With their lyrical beauty and profound themes, Zikir songs promote messages of brotherhood, spiritual unity, and communal harmony in Assamese society.

Zari Song

Zari, meaning lamentation, is a form of song rooted in historical tragedies from Islamic literature, characterized by a sad tone. These songs are sung by the Muslim community in Assam, reflecting philosophical themes with a focus on the body’s transience. Zari songs often carry deep emotional undertones, exploring loss, grief, and the impermanence of life. They are considered the Islamic counterpart to the dehbichar geet, which similarly deals with themes of life, death, and spiritual reflection. 

Popular Genres of Assamese Folk Music

Assamese folk music encompasses a variety of popular genres, each specific to different occasions such as weddings, festivals, birth celebrations, and other customs. These songs are deeply intertwined with Assamese culture, reflecting the region's traditions and rituals. Over the years, while the music has evolved, its core essence and practice have remained consistent among native Assamese communities.

The songs serve not only as entertainment but also as a means of marking significant life events and connecting with the spiritual and social aspects of daily life. Whether sung during the joyous celebrations of a wedding or to mark the arrival of a newborn, each genre carries its own significance and purpose. 

Goalporiya Lokageet

Goalporiya Lokgeet is a folk music tradition of Assam, predominantly sung in the Goalpara district. Unlike religious or ritualistic songs, its lyrical themes focus mainly on love, though not exclusively. The genre includes several sub-genres with varying musical moods and themes, with Bhawaiya and Chatka being the principal forms. Other notable sub-genres include Moishali and Maut songs. These songs are often performed in chorus, accompanied solely by the Dotora, a traditional instrument. Goalporiya Lokgeet reflects the rich cultural heritage of the region, offering a glimpse into the emotional and musical expressions of the people of Goalpara.

Kamrupiya Lokageet

Kamrupiya Lokgeet is a popular folk music tradition from lower Assam, originating during the reign of the Kamrupa Kingdom. Sung for centuries, this music reflects a wide range of human emotions, particularly those of common people. Known for its rich and diverse musical style, Kamrupiya Lokgeet captures themes of love, longing, sorrow, and joy. Its enduring popularity highlights its cultural significance, offering a window into the lives and emotions of the Assamese community. This form of folk music continues to be an integral part of Assam’s heritage, preserving its historical and emotional essence.

Ojapali

Ojapali is a unique folk tradition from Assam that combines narrative poetry, song, music, dance, and semi-acting into a single performance. Typically performed by a group of five to six men, the lead artist is called the "Oja," who narrates mythological stories through a blend of music, gestures (mudras), and dance. Accompanying the Oja are the "Palis," who assist by repeating the songs, playing cymbals, and marking time with their feet. The Oja is often compared to the "Udgata," the lead singer in Vedic Saam music, highlighting the role’s importance in the performance. Among the Palis, the chief is known as the “Daina-pali” or right-hand aide, who adds humor and depth to the performance through witty dialogues, enhancing the overall storytelling.

Tokari Geet

Tokari Geet is a distinct form of folk music from Assam, rooted in mythological stories and the social lives of the people. Performed by a male group led by a leader, these songs are accompanied by the Tokari, a single-stringed instrument played with fingers, along with cymbals and flute. The melodies of Tokari Geet capture themes of daily life, love, and folklore, making it an integral part of Assam’s cultural heritage. Known for its rhythmic and melodic richness, Tokari Geet continues to be a popular and cherished form of folk music in the state.

Jhumur Song

Jhumur, also known as Jhumar or Jhumair, is a popular folk music form originating from the Chota Nagpur plateau, particularly in Jharkhand, southwestern West Bengal, and northern Odisha. It is also found in Assam's Tea State due to migration. Jhumur songs are sung during various social events, including Karam, Tusu, and Bandna festivals, by agricultural and indigenous communities such as the Kuṛmi, Oraon, Chik Baraik, Bagal, Bhumij, Rajwar, and Munda. This music reflects the cultural traditions and social life of these communities, playing a vital role in their celebrations and rituals.

Bongeet

Bongeet is a festive song in Assam, similar to Bihu Geet, and akin to the woodmen’s ballads of the West. These songs celebrate the beauty of nature, its landscapes, dense forests, birds, and animals, while also conveying the sorrow of separation from loved ones. With mystical and imaginative fervor, Bongeets evoke deep emotions and vividly depict the connection between nature and human life. Popular in Assam, they are cherished for their lyrical richness and emotional depth.

Contemporary Music of Assam

In contemporary music of Assam, the musical instruments are Dhol, Gogona Pepa, Taal, Toka, Xutuli, Khol, Mridanga, Madol, Dotara, Dogor, Baanhi, Nagera, Ektara Bhortala, Doba, Bah jantra (Bamboo sound), Zuri tala and Kaali etc. Some of the well-known contemporary music artists are Bhupen Hazarika, Bishnuprasad Rabha, Jayanta Hazarika, Jyoti Prasad Agarwala, Khagen Mahanta, Pratima Barua Pandey, Rameshwar Pathak and many others. Some prominent composers of Assamese songs are Axl Hazarika, Angaraag "Papon" Mahanta, Ambikagiri Rai Choudhury, Beauty Sharma Barua, Begum Parveen Sultana, Bornali Kalita, Debojit Saha, Dipak Sarma, Jim Ankan Deka and many others who entertain the people of Assam and the North East and the rest of India as well.