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Dr. Saikia was very attentive towards choosing music for his films. The musical parts were never overdone and acted as a tool for the filmmaker in telling his story. Traditionality and folk tunes find prominent spaces in the films. For instance, while Saru is leaving for town, she meets some of her male friends playing on the roadside. The boys were enacting make-believe scenes from a Bhaona. As Saru comes near the playing group, one of the boys asks her when she will come back home, to which Saru replies that she might return after a long time. The boy narrates in a Bhaona style of rendition, 鈥�ehi boli sita debi ognito probesho korila, tako dekhi Ramo sandroye bilapo korite lagila鈥� meaning 鈥榳ith this Sita enters into the fire and Rama starts lamenting in pain鈥�. The filmmaker then uses a longshot where Saru is projected walking away from her friends and the boy singing lamenting lines or bilaap as, 鈥�koiko goila prano sokhi amako tejiya鈥�, meaning 鈥榳here are you going leaving me behind my sweetheart?鈥� This chapter of Rama lamenting for Sita as she is entering into the fire has been well embedded into the storyline giving it a metaphorical treatment with Bhaona, the popular form of folk drama in Assam (Image 26).

The filmmaker鈥檚 other films have also used traditional folk music in different ways. In Agnisnan a naam-prasanga scene has been enacted which is a form of singing devotional songs in groups (Image 27). Naam-prasanga is practised in every namghar (community prayer halls) and sattra (Vaishnavite monastery) in every nook and corner of Assam. The scene was incorporated during the rituals of Mohikanta鈥檚 mother鈥檚 death. On the other hand, Itihaas has shots of sankirtan or community prayers being sung on the roads and at people鈥檚 homes in the belief that this would wipe off chances of cholera spread in the neighbourhood. Apart from these examples, the filmmaker has made ample use of folk tunes like that from the Kamrupi lokogeet as influential background scores in several of his films.