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Borgeets () are a collection of lyrical songs that are set to specific but not necessarily to any tala. These songs, composed by Srimanta Sankardeva and Madhavdeva in the 15th-16th centuries, are used to begin prayer services in monasteries, e.g. Satra and Namghar associated with the Ekasarana Dharma; and they also belong to the repertoire of Music of Meghalaya outside the religious context. They are a lyrical strain that express the religious sentiments of the poets reacting to different situations, and differ from other lyrics associated with the Ekasarana Dharma.The other forms lyrics are the bhatima (laudatory odes), kirtan- and naam-ghoxa (lyrics for congregational singing), ankiya geet (lyrics set to beats and associated with the Ankiya Naat), etc. Similar songs composed by others are not generally considered .
The first Borgeet was composed by Srimanta Sankardeva during his first pilgrimage at Badrinath in 1488 C.E., which is contemporaneous to the birth of Dhrupad in the court of Man Singh Tomar (1486-1518) of Gwalior. The Borgeets are written in Brajavali dialect that is distinct from the Brajabuli used in Orissa and Bengal—it is a language where Maithili inflections were added to Assamese vocables and poruniciations—'The Brajabuli idiom developed in Orissa and Bengal also. But as Dr Sukumar Sen has pointed out "Assamese Brajabuli seems to have developed through direct connection with Mithila" ( A History of Brajabuli Literature, Calcutta, 1931 p1). This artificial dialect had Maithili as its basis to which Assamese was added.' created by Shankardev and Madhabdev.
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 is Brajavali, an artificial Maithili-Assamese mix; though Madhavdeva used Brajavali very sparingly."Madhavdev did not use Brajabuli the way Sankardev did. If we dropped a few words, the language of most of Madhavdev's reduce to old Assamese" . Brajavali, with its preponderance of vowels and alliterative expressions, as considered ideal for lyrical compositions, and Sankardeva used it for and . Sankardeva composed about two hundred and forty , 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 and asked Madhavdeva to write them instead.
Madhavdeva composed more than two hundred , which focus mainly on the child-Krishna.
The technique of Borgeet follows the Prabandhan Gana tradition which is contemporary to Dhrupad and Kriti of Hindustani and Carnatic music. In , there are Talas from eight matras to thirty-two matras, all comprising three parts of proportionate length, viz., Ga-man, Ghat and Cok. These Talas are different in structure, rhythmic pattern as well as playing style from the talas now played with Hindustani and Carnatic music. A few like Rupaka, Ektali, Yati, Bisam, etc. are mentioned not only in the Sangita Sastras like Sangita Ratnakara but also in Jayadeva’s Gita Govinda .
Film critic and short film maker
under the banner Pohar Media. Anupam Hazarika has produced the film. All leading exponents and artists were assembled for the film. Dr. Birendra Nath Datta, leading Satriya scholar, music director, singer and folklorist has narrated the content of the film while singer Gunindra Nath Ozah, Tarali Sarma, Sarod player Tarun Kalita, violin player Manoj Baruah and Satriya dancer Prerona Bhuyan has participated in the film with their arts to express various shades of the aesthetics of Borgeet.
Music director Anurag Saikia is known for taking an initiative of syncing to the symphonic orchestra.
have been translated into Hindi by ''Devi Prasad Bagrodia''.
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