Origin & Resources of the Endangered Vyās-Saṃgīt of Assam
"Respected Chair, distinguished scholars,
and esteemed colleagues, today I am privileged to present before you a theme
that resonates deeply with the intangible heritage of Assam and India at large
– the endangered tradition of Vyās-Saṃgīt. This presentation seeks to trace its
origins, ritual dimensions, musical character, and even its cosmic connections.
Through this exploration, I will attempt to demonstrate how Vyās-Saṃgīt is not
merely a local or regional practice, but a living survival of India’s Vedic,
Tantric, and aesthetic imagination, deserving urgent recognition and
revival."
Origin of Vyās-Saṃgīt
"The origin of Vyās-Saṃgīt is rooted in the
Sāmavedic chanting tradition, or Sāma-gān. Over centuries, this evolved into
Gāthā-saṃgīt, and later took on local forms as Jāgar-gīt – devotional
invocations intended to awaken the deity. Ritual implements such as the
Mudrā-Yantra and Rāṅgelīkhāṭi played a vital role, linking the music to esoteric
worship. The Kalai priesthood, historically associated with both solar worship
and the Kāmākhyā temple, preserved this tradition in villages like Vyāspārā.
Thus, Vyās-Saṃgīt was never a simple folk art – it was an elevated sacred
tradition tied to Veda-Vyāsa himself and to the great narratives of the
Mahābhārata."
Musical & Ritual Dimensions
"Musically, Vyās-Saṃgīt represents a
continuation of Sāma-gān and Gāthā-saṃgīt. Its performance follows a fivefold
sequence: beginning with Guru Vandana, moving to the Pātanī-gīt, the Viṣṇupad
hymn, then an elaboration or Ālāp, and finally the Jhunā conclusion. The
repertoire is vast, including twenty-one rāgas such as Sāranga, Basanta, and
Bhairava, and five tālas, all of which are framed within a ritual context.
These performances are not entertainment; they are sacred invocations like the
Jāgar Pūjā, in which Goddess Chandi is ritually awakened. In this way, the Ojā,
the ritual leader, is considered the living embodiment of the vajra,
discharging cosmic sound – Nāda-Brahman – into the world."
Ancient Kāmrūpī Rāga Trāga
"One of the most fascinating elements of
Vyās-Saṃgīt is the ancient Kāmrūpī rāga known as Trāga, locally identified with
Dhaneśvarī. Trāga is not merely a scale; it is a majestic, elephant-like gait
of sound, deeply linked to cosmic imagery and to the rituals of Kāmākhyā. Its
philosophical resonance is captured in the triad: Rāga – the melodic framework,
Anurāga – the passion infused into it, and Rasa – the aesthetic essence
experienced by the listener. In performance, Trāga embodies awe, fear, heroism,
and purification, aligning perfectly with the Ambubācī festival of Goddess
Kāmākhyā. Thus, Trāga shows us how rāga is never only technical; it is always
cultural, ritual, and philosophical."
Ojāpārā Kālī Temple & Ambubācī
"The Ojāpārā Kālī Temple near Sipajhar
provides an important parallel to the Kāmākhyā tradition. Built around the same
time that the Koch king Naranārāyaṇa reconstructed the Kāmākhyā temple in the
16th century, this temple embodies the diffusion of Śākta-Tantric practices
across the region. Its annual Śuddhi ritual after Ambubācī mirrors the Kāmākhyā tradition exactly, including its emphasis
on purification and renewal. Here too, Vyās-Saṃgīt and the rāga Trāga are
central. This demonstrates that Ambubācī is not only a temple festival but also
a ritual-musical phenomenon, preserved in peripheral sites like Ojāpārā,
ensuring continuity of the Daśa-Mahāvidyā tradition."
Cosmic Connections
"The significance of Vyās-Saṃgīt cannot be
understood without its cosmic context. The Ambubācī Mela at Kāmākhyā in Assam
and the Ārdrā Darśanam at Chidambaram in Tamil Nadu are both linked to the
constellation Ārdrā, presided over by Rudra. While Ambubācī aligns with the
onset of the northeast monsoon, Ārdrā Darśanam coincides with the southwest
monsoon. At Nilācala, the shrines of the Daśa-Mahāvidyā reflect the pattern of
Ursa Major, while Chidambaram aligns with the star Agastya. In this way,
Kāmākhyā and Chidambaram form a pan-Indian cosmic axis – a dialogue of Śakti
and Śiva, of earth and sky, of ritual and astronomy. Vyās-Saṃgīt is embedded in
this cosmology, resonating with both music and the stars."
Conclusion
"In conclusion, Vyās-Saṃgīt is a living survival
of the Gāthā-saṃgīt lineage, itself descended from the Sāma-gān of the Vedas.
It combines ritual, music, and cosmology in ways that are unique yet deeply
Indian. Through the rāga Trāga, through the ritual practices of Ojāpārā, and
through its cosmic alignments with festivals like Ambubācī and Ārdrā Darśanam,
Vyās-Saṃgīt stands as an extraordinary bridge between sound and spirit, between
heaven and earth. Yet today, this tradition is endangered. Its preservation is
not merely a matter of cultural pride, but of safeguarding a vital strand of
India’s civilizational philosophy. Let us work together so that Vyās-Saṃgīt
does not fade into silence, but continues to echo as a cosmic song for
generations to come."
1. ৰাঙ্গেলী (rāṅgelī)
· Base root: ৰাঙ্গ (rāṅga) = colour, redness, or metaphorically festivity, playfulness.
· From Sanskrit रङ्ग (raṅga) = colour, stage, amusement, enjoyment.
· The suffix -লী (-lī) often forms feminine adjectives or nouns in Assamese, sometimes giving a diminutive or affectionate sense.
· Thus, ৰাঙ্গেলী can mean:
Ø A colourful or cheerful woman, or
Ø Something brightly coloured / festive in appearance
Ø In cultural idiom, ৰাঙ্গেলী may mean playful, vivacious, spirited
2. খাটি (khāṭi)
· As in your earlier example (কেঁচাইখাটি), খাটি means pure, genuine, authentic
· From Sanskrit खटिन (khaṭina) or related khānta, meaning firm, unalloyed, true
3. Combined Meaning
· ৰাঙ্গেলীখাটি literally = purely colourful / genuinely vivacious / truly festive
· Figurative sense: Someone or something that is authentically joyous, spirited, or dazzling without pretense.
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