Borgeet stands as one of the finest examples of devotional music in Assam’s cultural landscape. Composed by the revered saints and scholars Srimanta Sankardev and Madhavdev, these songs embody the profound spiritual ethos of the Bhakti movement. With their lyrical beauty and deep philosophical themes, Borgeet transcends the boundaries of ordinary devotional songs, emerging as a distinct and sacred tradition in Assamese Vaishnavism. These compositions celebrate the divine love of Lord Krishna while offering listeners a sublime spiritual experience.
The term “Borgeet” was not used during the lifetimes of Sankardev and Madhavdev. They simply referred to their compositions as “geet” or songs. It was later generations who prefixed “Bor,” meaning great or supreme, to highlight their extraordinary nature. Consequently, Borgeet came to be recognized as “The Great Song,” a title that aptly reflects its spiritual depth and artistic excellence. According to biographical texts, Sankardev composed his first Borgeet, “Mana Meri Ram Charanhi Lagu,” during his pilgrimage to Badrikashram around 1515 AD. Written in the Dhanshri raga, this song is believed to mark the beginning of Borgeet’s remarkable journey in Assamese devotional music.
The exact number of Borgeets composed by Sankardev and Madhavdev has been debated by scholars. The Charit Puthis, which document their lives, state that Sankardev composed 240 songs. However, a devastating fire destroyed most of his works, leaving only 35 songs preserved through oral tradition. Deeply affected by this loss, Sankardev instructed his disciple Madhavdev to compose more devotional songs. In response, Madhavdev created 191 Borgeets, of which 182 have been recovered. Together, their compositions form a treasure trove of spiritual music that remains deeply embedded in Assamese religious and cultural life.
What distinguishes Borgeet from other forms of devotional music is its adherence to a strict classical framework while retaining its unique Assamese identity. The ragas used in Borgeet, such as Dhanshri, Shyam, Ahir, and Basant, align with Indian classical traditions yet possess distinctive regional variations. Similarly, while some talas (rhythmic patterns) in Borgeet resemble those in Hindustani music, others are unique to the Sattriya tradition. Renowned musicologists like Birendranath Datta have noted that Borgeet represents a fusion of pan-Indian classical elements and Assamese traditions, making it a rare and valuable contribution to Indian music.
The use of Brajawali, a hybrid literary language, further enhances the uniqueness of Borgeet. Sankardev and Madhavdev composed these songs in Brajawali, a language derived from Maithili and other eastern dialects, which was widely used during the Bhakti movement. Although not a spoken language, Brajawali gave Borgeet a distinct literary character, elevating it beyond the realm of folk songs. This linguistic choice, combined with the emotional depth and spiritual intensity of the lyrics, creates an extraordinary listening experience that draws audiences into a world of divine love and devotion.
Unlike many other devotional compositions, Borgeet maintains thematic restraint, focusing on the spiritual teachings of Vedanta and the divine persona of Lord Krishna. The songs celebrate Krishna’s childhood and universal form while avoiding depictions of romantic love or Shringara rasa, which are often present in other devotional traditions. Even in describing Krishna’s Raasleela, Borgeet emphasizes its spiritual significance rather than its romantic aspects. This thematic purity enhances its devotional fervor and spiritual appeal.
In the monastic institutions known as Sattras, Borgeet holds a special place in daily rituals and prayers. Traditionally sung at the beginning of prayer sessions, specific ragas are assigned for morning and evening performances. The depth of devotion expressed in these songs resonates deeply with listeners, transforming these rituals into powerful spiritual experiences. The combination of raga, tala, and lyrical beauty creates a profound emotional impact, offering both performers and listeners a glimpse into the divine.
Several prominent scholars and literary critics have praised Borgeet for its artistic and spiritual excellence. Maheswar Neog, a leading authority on Assamese culture, described Borgeet as “Assam’s Classical Music,” while Kaliranjan Medhi referred to it as “The Great Song.” Banikanta Kakati compared it to the spiritual poetry of English poet Robert Herrick, calling it “Noble Numbers.” These accolades highlight the widespread recognition of Borgeet as a unique and invaluable cultural heritage of Assam.
The spiritual depth of Borgeet, combined with its classical structure and emotional resonance, ensures its lasting relevance in Assamese culture. It is more than just music; it is a pathway to divine connection and a living testament to the creative genius of Sankardev and Madhavdev. Whether performed in the solemn halls of a Sattra or sung during festivals, Borgeet continues to inspire devotion and awe. Its melodies transport listeners beyond the mundane world, offering solace, peace, and a glimpse of the eternal.
In essence, Borgeet is a harmonious blend of music, poetry, and spirituality. It stands as a beacon of Assam’s rich cultural heritage, embodying the region’s spiritual aspirations and artistic excellence. Rooted in tradition yet timeless in its appeal, Borgeet remains a sacred expression of devotion, celebrating the eternal bond between humanity and the divine.
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