| Different groups of tribal people as the Nagar group, | | | | Rabhas living in South Kamrup and areas to the |
| the Luchai Kuki group and the Bodo group are living in | | | | South-east of Goalpara. They observe or perform the |
| different parts of Assam. The Rabhas whose gits as | | | | Bahurangi dance along with its gits or songs. |
| well as the folk-dances play an important part in the | | | | The Bahurangi gits have some characteristics. The |
| culatural history of Assam belong to the Bodo group | | | | themes or the matters of the gits are vast and varied. |
| of tribal people. However, most of the Rabhas of | | | | They deal with the different matters of the life of the |
| Assam are living in the districts of Barpeta, Nalbari, | | | | Rabhas. In short, the gits ventilate the eco-social life of |
| Kamrup, Goalpara, Darrang and Sonitpur. The Rabhas | | | | the Rabha society. Historian Benudhar Sarma has |
| are of several divisions of which only the Rongdani, the | | | | spoken highly of the Bahurangi gits. According to him |
| Pati and the Maitory groups or divisions form the real | | | | these songs are not the only resource of the Rabhas. |
| “Rabha Samaj.” | | | | They are the invaluable resource of the whole |
| The Rabha do not have any national festival of their | | | | Assamese. |
| own. Of course, their different groups celebrate their | | | | The value or the importance of the Bahurangi dances |
| ritualistic festival relating to their own religions concepts | | | | or gits can ever be under-rated. They are some |
| or beliefs. They express their life’s happiness and | | | | valuable assets of the Assamese culture. So we |
| sorrow, and the feelings of love and sadness etc. | | | | should do the needful for their further development by |
| through the medium of their songs and dances. As | | | | way of making actual exercises on them on the one |
| such they have become the lively mirrors of their life. | | | | hand and doing research works on them on the other. |
| The Rabhas sing some songs and dance some | | | | Select Bibliography |
| dances. Apart from the Sather and Hurosay gits, the | | | | 1. Sarkar Shri Harimohan, 1989, Rabha Samaj Aru |
| Farkanti dance and the Bahurangi dance are of great | | | | Sanskritir Abhas. |
| importance. The Rabhas sing songs in broken | | | | 2. Bhattacharya P.C, 1999, Asamar Janajati. |
| Assamese for ventilating their different feelings of | | | | 3. B.N. Bordoloi, G.C. Sharma Thakur, M.C. Saikia – |
| minds while taking part in their various festivals and | | | | 1987 – Tribes of Assam Part –l |
| dance. That is called the “Bahurangi dance”, or | | | | 4. Rajbongshi Paramananda , 2003, Asamiya Jati Aru |
| the “Bahurangi git.” It is still current in the Rabha | | | | Sanskrtti. Guwahati. |
| society since its birth. | | | | 5. Das Narayan, Rajbongshi Paramananda, 1996, |
| The Bahurangi git is also called Bagejari in some parts | | | | Asamiya Samskrtir Kanika Guwahati. |
| of south Kamrup. The Bahurangi dance or the | | | | 6. Barman Sadananda, Asamar bhinna Gosthir |
| Bahurangi git alias Bagejari has earned a great | | | | Samskriti Guwahati. 2003. |
| popularity as popular dance or song among the Pati | | | | |