News: The Union Minister of Ports, Shipping & Waterways (MoPSW) attended the second biennial full-fledged state convention of the ‘Mridangiya Gayan-Bayan Sanstha, Assam’.
About Gayan-Bayan
- In Assam, North India, gayan-bayan (gāyan-bāyan) is a devotional dance performed in satras by disciples of Sankardev.
- Meaning: The term gāyan-bāyanderives from gāyan, meaning “singer,” and bāyan, meaning “drummer.”
- There is variations in the style and presentation of gayan-bayan across different satras and religious sects.
- Origin: The origin of Mayamara Gayan-Bayan is traced to Sri Sri Aniruddhadeva (1553–1626), the founder of Mayamara Satra.
- He composed more than 180 devotional gits, each assigned a specific raga.
- The present system of performance involving dance, Mridanga and Bhortal (cymbals) was institutionalized by Sri Sri Krishnadeva, the second Adhikar.
- Nature of Gits and Musical Tradition: The gits are devotional in content but are not classified as Bargits, as only compositions of Sankardeva and Madhavdeva are termed Bargits in Assamese music.
- Along with Aniruddhadeva’s gits, compositions of Nityanandadeva, Hariramdeva, and occasionally Bargits of Sankardeva and Madhavdeva are performed.
- Musical Instruments Used: The performance primarily features khol drums played by the bāyan, accompanied by cymbals.
- Performers: Performances are conducted by a group of Gayans (singers) and two or three Bayans (mridanga players). The lead singer is called the Oja, while subordinate singers are known as Palis. The Oja directs the singing, rhythm, and movement of the entire performance.
- Structure of Mats, Ghats, and Tals: The defining feature of Mayamara Gayan-Bayan is the system of eight Mats, eight Ghats, and eight Tals.
- Completion of these eight units marks the end of one Pada (verse).
- Singing is accompanied by coordinated body movements, steps, and gestures.
