Assam is a beautiful place known for its aesthetics, rich history, tradition, and culture. It is highly popular when it comes to different handicrafts and dance forms. The Sattriya dance form is amongst the 8 renowned Indian traditional dances.
Sattriya Dance has its origin in the ‘Sattras’ established by Mahapurush Srimanta Sankardev in the 15th and 16th centuries, and this dance form is approximately 500 years old. The Sattras (monastery temples) were established for the propagation of Vaishnavism (devotees of Lord Vishnu and his incarnations) and later they became the religious, cultural, and social hub for the people of Assam.
One-act plays of Sattriya are called Ankiya Nat, which combine the aesthetic and the religious through a ballad, dance, and drama which was originally performed in the Sattras and the Namghars (community halls) by the male Bhokots (Bhakts) as a part of religious rituals and for spreading the philosophy of Vaishnavism and was confined within the four walls of the sattras for several centuries. The themes played are mostly related to the various chapters or verses from Mahabharata and Ramayana. Back then, female dancers were prohibited from performing this art form.
Various research and creative works have given this dance form a newer style. In recent times, major development has been seen in the choreographic styles, costumes, and stage presentation, making this dance form more dynamic as a performing art.
The Sattriya dance can be classified into two styles, namely ‘Paurashik Bhangi’ i.e. Tandava or Masculine style and ‘Stri Bhangi’ i.e. Lashya or feminine style. Six types of Anga (Limb), six types of Pratyanga, six types of Upanga (Lower limb), nine different types of Gatived (Movement), eight types of Dristived (Eye movement), nine types of Shiraved (Head movement), four types Gribaved (Neck movement) are found in Sattriya dance.
The musical instruments used in Sattriya are the Khols, the Drums, the Taals, the Cymbals, and the Flute. At present time, the violin is also commonly used in the music of Sattriya Dance.
The different forms of dances include Mati Akhara (which forms the basic foundation in the training of a Sattriya dancer); Krishna Nritya (which portrays the activities of young Krishna); Nadubhangi (this particular dance style covers the story of Lord Krishna defeating the poisonous snake ‘Kaliya’ and various other demons); Jhumura (the dance originates from the ‘Jhumura Naat’ of Sri Sri Madhavdev and has three parts – Ramdani, Geetor Naach and Mela Naach); Chali (it is said to be connected with the dancing peacock which is mentioned in the Bhagavad Gita and is of two types – the pure style and rojaghoria style which developed in the post Sankarian time); Rojaghoria (the dance is performed in the sequence of Ramdani, Geetor Nach and Mela Nach and has been said to have evolved during the Ahom period); Behar Nach (group of dance showcasing the lively activities of Lord Krishna with his companions in Vrindavan in two parts – Ramdani and Geetor Nach); Sutradhari (The Sutradhar recites the story of the drama or Naat and thus manages the flow of the play and are in three parts of Sutradhari Nritya - Geetor Naach, Slokar Naach and Ragor Naach and covers three aspects - Nritta, Natya and Nritya); Bor Prabesh (depicts the stories of young Krishna and illustrates his activities with his friends while coming back fro cattle herding); Gosain Prabesh (The dance through which the main characters in the ‘Ankia Naat’ make their entrance to stage); Gopi Prabesh (The style through which female characters enters to the stage with the Gopi Prabesh Naach); Ojapali (it is based on Byahar Ojapali of the pre Sankarian era and the different parts include – Raag Diya, Raag Malita, Raag Charum, Geet, Diha, Thio Paton, Kathan, Bana, Dhura, Baadya Kheyali, Upadesh).
The costume of Sattriya dance is primarily of two types: the male costume comprising the Dhoti and Chadar and the Paguri ( turban) and the female costume comprising the Ghuri, Chadar , and Kanchi (waist cloth). The pieces of jewelry are made in a unique technique in Kesa Sun (raw gold). Artists wear Kopali on the forehead, Muthi Kharu and Gam Kharu (bracelets), a different type of neckpieces like Mata 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 (a strand of rice grain), Lokaparo (pigeon design). Earrings are made in similar designs and also Thuka Suna and Keru are worn by dancers. Female dancers wear white flowers in their hair.
The costumes of Ankiya Naats (dramas) are colorful and character-specific. The use of Mukha (Masks) to depicts demons and special characters is also unique to this dance form. The art of mask making is an integral part of Sattriya culture and originated in the Sattras of Assam.
The facial makeup of Sattriya dance resembles other classical dance forms of India. However, in earlier times traditional materials and herbs were used for makeup.
Thus, the seeds that were sown by Sankardev a long time back, has today grown into a magnificently huge tree. During its long and eventful journey, Sattriya has gone through quite a lot of changes in its form, its significance, and its position in society. But one thing that has remained unaltered and will remain so for the centuries to come is its infinite contribution to the Assamese culture and, at a larger perspective, to the Indian culture. This culture explicitly talks about the equality and indiscernibility of life. It patronizes a culture of dignity to mankind as a whole. In its present state, it has even crossed the boundaries of India, thus traveling far and wide. Presently, it has defined a forte for itself on the world platform, thereby earning a lot of adoration, praise, and recognition globally.
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