Gold Medal for Bargit (Choral) in the 2nd World Virtual Choral Festival Competition: A Critical Reflection

 

Gold Medal for Bargit (Choral) in the 2nd World Virtual Choral Festival Competition: A Critical Reflection

The traditions of the great polymaths continue to shape our cultural and spiritual lives, providing a foundation for artistic and intellectual pursuits. As inheritors of this rich legacy, we carry within us the nobility of their creative genius. The compositions of these luminaries resonate in our daily lives—whether in the form of devotional chants, hymns, ghoshas, or the deeply revered Bargit. This unique genre, attributed to the great polymaths Srimanta Sankardeva and Madhavdev, holds a distinct position within our spiritual and musical traditions. It is not merely a devotional form but also an artistic expression of the highest order, akin to the Gandharva music of ancient India.

Bargit possesses a distinct melodic and aesthetic structure that transcends mere consciousness, invoking a deeper emotional and spiritual experience. Its raga system, developed through intricate expressions of Anuraga (devotional attachment) and Rasa (aesthetic sentiment), defines its artistic depth. Eminent scholars of Indian classical music have noted that the grammar of Bargit predates many aspects of Hindustani classical traditions. Some have even drawn parallels between Bargit and the Prabandha-git—a highly sophisticated medieval musical form. Furthermore, the intricate Meru-khanda techniques embedded in Bargit compositions reflect a unique melodic and rhythmic structure rarely found in contemporary Indian musical systems. Elements such as Sankhyā, Nost, Uddist, Pātāl, Drut-Meru, Laghu-Meru, Guru-Meru, Sanjog-Meru, and Khond-Prostārok contribute to its unparalleled richness, making it a distinct heritage of Indian music.

A Legacy Comparable to Hindustani Dhrupad

The recognition of Hindustani Dhrupad as a UNESCO Intangible Cultural Heritage exemplifies the importance of preserving ancient musical traditions in their authentic form. The legendary Ustad Ali Akbar Khan’s Grammy-nominated recordings, featuring the voice of Bollywood’s iconic singer Asha Bhosle, introduced the world to some of the most esoteric Dhrupad compositions. One of these compositions, rendered in the Sankarabharanam raga, evokes an unmistakable resemblance to the melodic essence of Bargit. This suggests that Bargit, too, follows ancient musical principles that align with the most classical traditions of Indian music.

Bargit exists in both Niwaddh (bound by rhythm) and Aniwaddh (free-flowing) forms. Studies of its rhythmic structures reveal a sophisticated evolution in Mānbhed, Kalābhed, and Prasterbhed, adhering to ancient grammatical formulas. The ghāts (rhythmic movements) within Bargit correspond to the Meru-khanda principles, developing through phases such as Urān, Pāţan, and others in the Chok tempo—a methodology rooted in India’s most time-honored musical traditions. Unfortunately, modern performances often disregard these essential grammatical principles, diluting the authenticity of Bargit’s musical heritage.

The Distortion of Bargit in the Western Choral Style

Despite its profound cultural significance, the recent international presentation of Bargit in a Western choral format raises serious concerns. The composition of Madhavdev’s Bargit, instead of being performed in its original style, was adapted into the Western choral tradition—an artistic choice that fundamentally altered its spiritual and musical essence. While such experimental renditions may garner international recognition, they fail to represent Bargit in its true aesthetic and devotional context.

Moreover, it is important to recognize the ideological disparity between these musical traditions. The choral style, deeply rooted in Christian liturgical practices, contrasts sharply with the neo-Vaishnavite devotional essence of Bargit. The indiscriminate fusion of these two vastly different traditions compromises the authenticity and spiritual intent of the original compositions. The decision to adapt Bargit to the choral tradition for a Western-dominated music competition suggests a compromise on cultural integrity—one that prioritizes external validation over the intrinsic value of the tradition itself.

One cannot help but question: Why was Bargit not performed in its authentic form on the international stage? Why was it necessary to modify its structure to conform to Western musical standards? It is evident that the adjudicators—lacking familiarity with the linguistic and musical intricacies of Bargit—assessed it merely as a novel choral creation, thereby awarding it a gold medal based on superficial musical criteria rather than its true artistic and cultural significance.

A Cautionary Note for the Future of Satriya Music

What is perhaps more concerning is the uncritical acceptance of this modified performance by certain sections of Assamese media. Historically, during the colonial period, Christian missionaries introduced distortions in the Assamese language, prompting Assamese sattras to establish publications such as Assam Bilasini to safeguard linguistic and cultural purity. In contrast, today’s media appears to celebrate such distortions without critical evaluation. If such deviations from traditional practices continue unchecked, it may jeopardize future efforts to secure international recognition for Satriya Sangeet, including Bargit, as an Intangible Cultural Heritage.

While cultural exchange and musical experimentation are valuable, it is imperative to uphold the integrity of our traditional arts. Bargit is not merely a collection of songs; it is a spiritual and artistic heritage that embodies centuries of devotion, scholarship, and musical refinement. Any attempt to modify it for external appeal must be undertaken with deep sensitivity, ensuring that the core essence of this extraordinary tradition remains intact for future generations.