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| stylistic_origins = [[Devotional song]] | | stylistic_origins = [[Devotional song]] | ||
| cultural_origins = Early-1500s - late-1700s [[Assam]], [[Vaishnavism| Neo-Vaishnavism]] | | cultural_origins = Early-1500s - late-1700s [[Assam]], [[Vaishnavism|Neo-Vaishnavism]] | ||
| instruments = [[Khol]], [[Taal (instrument)|Taal]] | | instruments = [[Khol]], [[Taal (instrument)|Taal]] | ||
| popularity = | | popularity = | ||
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==Lyrics== | ==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 {{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. | 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. | ||
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== Style == | == 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 | 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== | ==Contemporary uses== | ||