Relevant bibliographies by topics / Assamese Folk songs

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Academic literature on the topic 'Assamese Folk songs'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Assamese Folk songs"

1

Saikia, Lotika. "Biyanaam: A unique element of Assamese Culture; Understanding, Discussion and Preservation." Psychology and Education Journal 58, no. 1 (January 16, 2021): 3983–87. http://dx.doi.org/10.17762/pae.v58i1.1440.

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Folk literature has come to be identified as one of the priceless resources of an indigenous community. Folk literature is an important carrier of culture, heritage and tradition of a particular cultural or linguistic community. In this context, Assamese „Biyanaam‟ are one type of Folk literature which falls into this mentioned description. The biyanam presented during such ceremonies reflect the socio-cultural life of the Assamese community. This trend showcases the myths, outfits, jewellery, food habits, the cultural ethos etc. This folk songs are called ‘Biyanaam’ (Marriage songs) as they are sung or played only on occasions of marriage ceremony. Rather it is the reflection of collective emotions as well as collective consciousness of Assamese people surfacing as or in the form of oral literature. It transforms and travels along with the changing currents of time. The „biyanaam‟ or “wedding songs” sung in a traditional Assamese wedding ceremony is an integral part of Assamese culture. An Assamese wedding household is practically incomplete without these wedding songs that are sung throughout various ceremonies by the ladies present there.
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2

Moran, Mridul. "Story-Telling Folk Songs Related to Assamese Folktales: An Introduction." International Journal of Trend in Scientific Research and Development Volume-3, Issue-4 (June 30, 2019): 617–19. http://dx.doi.org/10.31142/ijtsrd23880.

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3

Bora, Krishnarjun, Manash Pratim Barman, Arnab N. Patowary, and Toralima Bora. "Classification of Assamese Folk Songs’ Melody using Supervised Learning Techniques." Indian Journal Of Science And Technology 16, no. 2 (January 15, 2023): 89–96. http://dx.doi.org/10.17485/ijst/v16i2.1686.

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4

Deka, Dipanjali. "READING RESEMBLANCES AND FLUIDITY BETWEEN THE ZIKIR SONGS OF AZAN FAKIR AND OTHER SONG GENRES IN ASSAM." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (August 10, 2022): 152–59. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.155.

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Zikir songs of Assam are the Assamese Islamic devotional songs composed by the Sufi figure Shah Miran, alias, Azan Peer Fakir, who came to Assam from Baghdad in 17th century. Assamese scholars categorize zikir under the folk Bhakti or Sufi genre. According to Syed Abdul Malik, a pioneer writer on the subject, the word zikir is said to have been derived from the Arabic term ziqr, which means to remember, listen to and to mention the name of Allah. Interestingly, the concept of remembrance of the Divine, like in zikir, also resonates with the Neo-Vaisnavite Bhakti philosophy of Sankardeva and Madhavdeva of 15th century Assam. There exist philosophical and lyrical resemblances not only between zikir and borgeet (Vaishnavite prayer songs), but also between zikir songs and lokageet, and dehbichar geet. Musically, there are resemblances of rhythmic patterns and melodic phrases, which reflect a fluid exchange amongst zikir and other folk genres.This essay is a musicological exploration and lyrical study of some examples showing these philosophical resonances and musical fluidities. In doing so, the article highlights the synthesis of the merging of the Hindu and Islamic philosophies, lyrical and musical aesthetics, in and through the songs of zikir by Azan Fakir.
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5

Boruah, Dr Jewti. "Paurāṇic Influence on the Assamese Folk Songs." Pracya 10, no. 1 (January 1, 2018): 80–86. http://dx.doi.org/10.22271/pracya.2018.v10.i1.18.

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6

Manjit Kumar Shah. "Mukha Shilpa (Mask Making) is the Artefact form of Assam." International Journal for Multidimensional Research Perspectives 2, no. 6 (June 16, 2024): 58–64. http://dx.doi.org/10.61877/ijmrp.v2i6.157.

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The north-eastern state of Assam is very rich in terms of diverse arts. Revolutionary great men in Assamese literature, culture, society and spiritual life The contribution of Shrimant Shankardev is unforgettable. His great works made this Strengthened the feeling of social and cultural unity in the area. He wrote Ramayana and translated Shrimad Bhagwat into Brajavali language.Vaishnavism in the North-East for propagation, Shankardev started Bargeet, Kirtan, Ankiya Naat (Bhaona) etc. Composed. There are two main forms of dance here – Bihu dance and Satriya dance. bihu dance The identity of Assam has become. All children and elders participate in this. Bihu dance is performed on the occasion of the festival. Bihu song also on this occasion are sung. The central theme of Bihu songs is love. Apart from this, in Assam many folk dances are prevalent. There are many art forms here in the form of songs, dance, drama etc. are present. Shankardev gave birth to many art forms, including dramatic art and mask art was prominent. Folk plays played an important role in the background of the Neovaishnav movement and its propagation. Folk theaters performed by women are also popular in Assam. Women express their feelings through these folk dramas. Assam also has a rich tradition of folk songs. Bihu is the representative folklore in this region. Through which the common people's passion, hope, Aspirations, joys and troubles take shape. The folk song 'Haidang' of Sonowal Kachari tribe is sung only by men. Various body movements and dance along with songs are the specialty of Haidang. Rabha community of Assam is very rich in terms of folk songs. The folk songs of Miri or Mising tribe are called 'Oi Neetom'.The life and culture of the people of this community has developed in the valley of Brahmaputra and Subansiri rivers. The communities here have a rich heritage of folklore. The folk tales here are full of supernatural incidents. Assam has been considered the center of Tantra-Mantra, witchcraft and spirituality. Therefore, Tantra-Mantras are included in folk tales. Apart from this, idioms and proverbs are also available in abundance.
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7

Bordoloi, Saswati D. "‘Mukha’: The Mask Tradition of Assam-with Special Reference to Samaguri Sattra." Cultural Syndrome 2, no. 1 (July 29, 2020): 20–34. http://dx.doi.org/10.30998/cs.v2i1.267.

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Cultural heritage influences every aspect of life. Man has made the masks in dance rituals, dramas, folk songs, temples and different socio-cultural context. The use of masks in rituals or ceremonies is a very ancient human practice across the world. This mask or mukhas are said to be the base of the Assamese culture and tradition. They are worn mostly in bhaonas. Materials like bamboo, cane, cloth, clay etc. are used for making masks. Samaguri Sattra is a place of conservation and retention of vanishing art form of mukha. Sankardeva’s philosophies had transcended the boundaries of religion and culture and hence today Majuli is one place where devotion has mingled with art in a unique way.
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8

Rabha, Bhupen. "Ritual Hymns and World View of the Totola Rabhas of Kataligaon." IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 16, no. 1 (March 3, 2020): 31. http://dx.doi.org/10.21013/jmss.v16.n1.p3.

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The Totola Rabhas are a community that has never lived in isolation. They are touched on all sides by other communities and ethnic groups. Therefore, cultural assimilation in the case of the Totola Rabhas is not a new phenomenon. The culture of the Totola Rabhas which is a part of Indo Mongoloid culture has contributed a lot towards the greater Assamese culture. The evolvement of a new cultural identity in the real sense of the term, the Totola Rabhas, overtime is a fact ignored by and unknown to the world. Therefore, it is of utmost necessity to study the folklore of the Totola Rabhas to understand the culture of a community not only least represented but also misunderstood. The Totola Rabhas have a very rich tradition of folklore, which has not at all been explored. They are passed down from generation to generation through word of mouth and in the long run, they have undergone a drastic change due to assimilation with people of other communities. This assimilation has enriched and added to the already existing folklore of the Totola Rabhas. The folk songs and the oral narratives of the Totola Rabhas are indeed unique in their own nature. The songs sung during various occasions are a living tradition of the Totola Rabhas. They are sung during marriages, during work, during worships, during festivals, etc. The Totola Rabhas believe in many Gods and Goddesses and they observe a variety of rituals. One such religious practice of the Totola Rabhas is the worship of Bura Bun Gohai, ie. Old Forest Deity. She is believed to be the Goddess of all things and the prosperity of the village depends entirely on her. It is, therefore, a humble attempt on the part of the Researcher to explore and document the folk songs associated with their traditional religion and belief. This paper is an attempt to explore the ritual hymns and the world view of the Totola Rabhas of Kataligaon.
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9

Konch, Hemanta. "Nominal Inflection of the Tutsa Language." International Journal of Innovative Technology and Exploring Engineering 10, no. 4 (February 28, 2021): 138–40. http://dx.doi.org/10.35940/ijitee.d8428.0210421.

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North-East is a hub of many ethnic languages. This region constitutes with eight major districts; like-Assam, Arunachal Pradesh, Nagaland, Manipur, Mizoram, Tripura, Meghalaya and Sikkim. Tutsa is a minor tribe of Arunachal Pradesh. The Tutsa was migrated from the place ‘RangkhanSanchik’ of the South-East Asia through ‘Hakmen-Haksan’ way to Arunachal Pradesh. The Tutsa community is mainly inhabited in Tirap district and southern part of Changlang district and a few people are co-exists in Tinsukia district of Assam. The Tutsa language belongs to the Naga group of Sino-Tibetan language family. According to the Report of UNESCO, the Tutsa language is in endangered level and it included in the EGIDS Level 6B. The language has no written literature; songs, folk tales, stories are found in a colloquial form. They use Roman Script. Due to the influence of other languages it causes lack of sincerity for the use of their languages in a united form. Now-a-days the new generation is attracted for using English, Hindi and Assamese language. No study is found till now in a scientific way about the language. So, in this prospect the topic Nominal Inflection of the Tutsa Language has been selected for study. It will help to preserve the language and also help in making of dictionary, Grammar and language guide book.
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10

Magar, Chandra Kala, and Bimal Kumar Kar. "Tea Plantations and Socio-Cultural Transformation: The Case of Assam (India)." Space and Culture, India 4, no. 1 (June 19, 2016): 25. http://dx.doi.org/10.20896/saci.v4i1.188.

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The tea plantations of Assam, which constitute the country’s 53.97 per cent tea area, 49 per cent tea worker population, and 52.04 per cent tea production, occupy an important place in the economy, culture and polity of the state. The onset of tea plantations during British colonial rule has not only changed the landscape of the upper Brahmaputra valley through green tea bushes being nourished by tea tribes from east-central India, but also evolved a distinct tea culture. Although formation of small tea growers has added a new dimension to the growth of tea industry of Assam in recent times, the culture that emerged due to the long continued interaction of British planters, tea worker tribes and indigenous Assamese is well reflected in the language, way of life, work culture, food habits and many other socio-cultural practices in most of the large tea estates in the state. In fact, the impact of tea culture is so penetrative that it has been able to bring about development in the form of tea festival, tea tourism, tea folk songs and dances, etc. in the state. An attempt is made in this paper to explore the role of tea plantation and the people associated with it to the socio-cultural transformation of Assam based on both secondary data and primary data through field study. The primary data have been collected from selected tea estates, tea garden worker colonies, tea-tribe villages and urban dwellers.
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Books on the topic "Assamese Folk songs"

1

Barakaṭakī, Bīrena. Asamīẏā gīti sāhitya. [Ḍibrugaṛa]: Asamīẏā Bibhāga, Ḍibrugaṛa Biśvabidyālaẏa, 1999.

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2

Neog, Maheswar. Asamīẏā gīti-sāhitya āru anyānya prabandhāwalī. 3rd ed. Ṭihu: Candra Prakāśa, 1987.

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3

Nīlamaṇi, Phukana, ed. Araṇyara gāna. Guwāhāṭī: Shṭuḍeṇṭac Shṭa'rac, 1993.

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Biśvāsa, Hemāṅga. Asama āru Baṅgara loka-saṅgīta samīkshā. Nalabārī: Jārṇāla Empaʼriẏāma, 1990.

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1965-, Hocheina Ichamāila, ed. Bihunāmara juruli. Guwāhāṭī: Banalatā, 2009.

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1965-, Hocheina Ichamāila, ed. Bihunāmara juruli. Guwāhāṭī: Banalatā, 2009.

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7

Praphulladatta, Goswami. Bohag Bihu of Assam and Bihu songs. Guwahati: Publication Board, Assam, 1988.

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8

Dāsa, Sūrya. Bihunāmara barṇālī. Guwāhāṭi: Asama Buka Ṭrāshṭa, 2017.

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Cakra, Rābhā Adhyaẏana, ed. Praṇaẏa gandhī Rābhā gīta. Dudhanai, Jillā Gowālapārā, Asama: Rābhā Adhyaẏana Cakra, 1992.

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Barā, Jagata. Ma'ha carāi thākote ai... Guwāhāṭi: Saṅgītā Prakāśana, 2012.

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