 Performance by Noopur Talukdar[1] | |
| Genre | Indian classical dance |
|---|---|
| Origin | Assam |
Sattriya, orSattriya Nritya, is a majorIndian classical dance.[2][3] It was initially created as part ofBhaona which are performances ofAnkiya Nat, one-act plays, originally created bySankardev, a 15th-16th century polymath fromAssam.[4][5] These dances are part of the living traditions today ofSattra, which are communities of live-in devotees belonging to theEkasarana Dharma, a Hindu sect established by Sankardev.[2][6][7]
The themes played are related toKrishna, as well as otheravatars ofVishnu such asRama,[8] and stories from the epicsMahabharata and theRamayana.
On November 15 of the year 2000, theSangeet Natak Akademi of India recognisedSattriya as one of the eight classical dances of India. ModernSattriya explores many themes and plays, and its performances are staged worldwide.[9]
Sattriya is a classical dance of India, tracing its roots to ancient drama and music texts of India, particularlyBharata Muni'sNātya Śāstra.[10][11] Its first complete compilation is dated to between 200 BCE and 200 CE,[12][13] but estimates vary between 500 BCE and 500 CE.[14] The most studied version of the Nātya Śāstra text consists of about 6000 verses structured into 36 chapters.[12][15] The text describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.
[12][16] Dance and performance arts, states this ancient text,[17] are a form of expression of spiritual ideas, virtues, and the essence of scriptures.[18]
The history of dance arts in Assam goes back to antiquity, as evidenced by copper plate inscriptions and sculpture relating toShaivism andShaktism traditions.[19] Singing and musical traditions, similarly, have been traced to Assamese chorus singing tradition for the Hindu epics: theRamayana and theMahabharata.[19]
The modern form of Sattriya is attributed to the 15th centurySankaradeva, who systematized the dance using the ancient texts, and introduced drama and expressive dancing (nritta andnritya) as a form of a community religious art for emotional devotion to Krishna.[6][20][19]
Since the 15th century, the Sattriya art grew as part of theVaishnavabhakti movement, in Hindu monasteries calledSattra.[20] The art was developed and practiced by monks in the form dance-dramas about legends and mythologies of Krishna, particularly from texts such as theBhāgavata Purāna.[21] One distinctive part of the Sattriya dance inside temples and monasteries is that the dance is not celebrated before any idol, but is performed before a copy of theBhagavata Purana placed in eastern (sun rise) corner calledManikut of the dance hall (namghar).[21]
These dance-dramas were, in the early days, written and directed by the Assamese poet-saintSankaradeva, and by his principal discipleMadhavadeva. They were mostly composed during the 16th century.[22] Once the domain of male monks, it is now performed by male as well as female dancers. In the second half of the 20th century,Sattriya Nritya moved from the sanctum of Assam'ssattras / monasteries to the metropolitan stage.[23]
TheSangeet Natak Akademi recognizedSattriya Nritya as an official classical dance of India in 2000.Sattriyas are now performed on world's stages.[22]
Like the other schools of Indian Classical dance,Sattriya encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, likeNātya Śāstra,Abhinaya Darpana, and Śārngadeva'sSangīta Ratnākara;[24] TheSangīta Ratnākara of Śārngadeva complements hisBhakti Ratnakara, which traces theUpanishads,Bhagavad Gita,Yoga andVedanta themes, the ethical values such as non-violence (ahimsa), truthfulness (satya) and others, thus premising a theological foundation to Sattriya.[25] To Shankaradeva, religious values, ethics, joys of life and performance arts were intimately linked, and he asked the leaders of Hindu monasteries to compose at least one play, during their tenure, before they die.[7]
Sattriya repertoire (mārg) includesnritta (pure dance, solo),nritya (expressive dance, solo), and nātya (dramatic play, group). Like all major classical Indian dance forms, those three categories of performances are:[26][27]
The hand gestures (mudras), footwork (padas), postures, rhythms, training of artistes and other aspects of the Sattriya dance drama closely follow those described in Nātya Śāstra and other classical Hindu dance texts, and are quite similar to other major classical dances such asOdishi,Kathakali,Bharatanātyam and others found in southern and northern India.[8][32] Some basic elements and features of Sattriya match those found in theManipuri dance found in neighboring Manipur state.[33]
Sattriya Nritya is a genre of dance drama that tells mythical and religious stories through hand and face expressions. The basic dance unit and exercise of a Sattriya is called aMati Akhara, equal 64 just like inNatya Shastra, are the foundational sets dancers learn during their training. The Akharas are subdivided into Ora, Saata, Jhalak, Sitika, Pak, Jap, Lon and Khar. A performance integrates two styles, one masculine (Paurashik Bhangi, energetic and with jumps), and feminine (Stri Bhangi, Lasya or delicate).[34]
Traditionally,Sattriya was performed only bybhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice,Sattriya is also performed on stage by men and women who are not members of thesattras, on themes that go beyond the mythological.[citation needed]
The plays choreographed in a Sattriya are those found in Hindu texts such as the Bhāgavata Purāna, the Epics, and the compositions by Assamese scholars.[8]
The dress ofSattriya dance is primarily of two types: the male dress comprising thedhoti,chadar and thepaguri (turban) and the female dress comprising theghuri,chadar andkanchi (waist cloth). Traditionally the dresses were of white or raw silk color with use of red, blue and yellow for specific dance numbers. In earlier times velvet and satin materials were mostly used for the dresses. With change of time, as this dance form evolved from the sattras onto stage, the design and materials of the dance dresses changed.Pat (also spelled paat) – a silk produced in Assam which is derived from the mulberry plant andmuga silk (golden silk of Assam) is also used in preparing the dance dress. Other bright colours are also used in the female dresses. These hand-woven materials normally have intricate local motifs likeKingkhap, Miri Motif, Kolka etc.[35][36]
Uses of play-specific dress are also seen in Sattriya dance. The dress ofKrishna Nritya andNadubhangi Nritya is of yellow and blue keeping in line with the attire of Lord Krishna. TheSutradhar Nritya also has its specific white dress with a special turban.
Traditional Assamese jewellery is used in Sattriya dance. The jewellery is made by a unique technique inKesa Sun (raw gold). Artistes wear Kopali on the forehead,Muthi Kharu andGam Kharu (bracelets), different type of neck pieces likeMata Moni (for male dancers),Golpata,Dhulbiri (shaped like the musical instrument dhol),Bena (pendant shaped like a crescent),Jethipata (lizard shaped),Dugdugi (leaf shaped), Senpata (eagle shaped),Dhansira (strand of rice grain) andLokaparo (pigeon design). Earrings are made in similar designs and alsoThuka Suna andKeru are worn by dancers. Female dancers wear white flowers in the hair.[35][36]
The dresses ofAnkiya Naats (dramas) are colourful and character specific. Use ofMukha (Masks) to depict demons and special characters are also unique of this dance form. The art of mask-making is an integral part of Sattriya culture and originated in the Sattras of Assam. Beautifully decorated turbans and crowns made by the local artisans are used in theAnkiya Naats.[35][36]
The facial makeup of Sattriya dance resembles other classical dance forms of India. However, in earlier times traditional materials and herbs were used for make up.[36]
Sattriya Nritya is accompanied by musical compositions calledbargeets (composed bySankardeva and Shree Shree Madhavdev, among others) which are based on classicalragas.[citation needed]
A key musical instrument that accompanies a Sattriya performance is thekhol (two-faced, asymmetrical drum quite different from the rest of India) played with fingers.[37] The special shape and materials of construction – clay, wood, leather, rice dough, iron filings, rope straps – of Sattriyakhol produces a high pitch with the right side (Daina), while producing a deep bass sound on the left (Bewa).[37]
Accompanying thekhol are various types ofTālas or cymbals (Manjira, Bhortal, Bihutal, Patital, Khutital) and the flute (bansuri). Other instruments like theviolin and the harmonium have been recent additions.[37][note 1]
A Sattriya performance comes in many styles such as theSutradhara (or Sutra-bhangi), character specificBhangi,Prabesh,Nritya andJhumura.[8] TheSutradhara is a style that tells a story and presents the spiritual values of Vaisnavism in a complete classical format: nritta, nritya and natya. One feature of the Sutradhara (or Sutradhari) style is the included commentary for the audience in local language.[39]
Ankiya Nat is a subgenre consisting of one-act plays ofSattriya. These are dedicated compositions but feature a ballad, dance and drama.[4][5]
The character specific different styles of Sattriya have their own dress variations, and focus on the various life stages and activities of Radha, Krishna and the gopis.[34]
Quote: "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".
Media related toSattriya at Wikimedia Commons
