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Home , Lasya, Satra (Ekasarana Dharma), Sattriya

International Journal of Advanced Science and Technology Vol. 29, No. 06, (2020), pp.9165-9172

Sattriya Dance : An Analytical Study

Dr. Snigdha Kataky1, Jadab Borah2

1Assistant Professor, Department of Assamese Women’s University, , Assam, 2Assistant Professor, Assistant Professor Dr. B.H. Centre for Studies in performing Arts , university, Assam, India

Abstract dance is one of the most rich classical dance among all other classical dancces of India.It is established by Srimanta Sankardeva.It Prays obeisances to the Lord as oneness worshipful deity.It also coined the customary indications of Udra Magadhi prabriti well indicated in the Natyashastra.It has been flowrised and centralized in the institution. Key word :Satra, Sattriya dance,Ankia Nataka,Shankardeva

Introduction: “The rich cultural heritage of India is depicted in various form of Indian Dance. But the depicted position ofIndian dance cannot be identified with any single monolithic tradition; it is an amalgam of various forms of dancetradition of different regions or satisfactions of different societies which emerged in different times and places.”1There are traditions not one tradition of the performing arts in the vast geographical area. All are charactered by astaggering multiplicity of genres, forms, styles and techniques.The period of Sankardeva (in feefteen century) may be mentioned as the darkest time from all round deterioration ordegradation. Superstitions and meaningless ritualism, injustice tyrance, selfishness and indulgence in immoral pursuitsin the name of religion were in vogue everywhere. In such a social irritation and exploitation the saint sankardeva wasborn. Subha lakhyanam- He tried to promote a feeling of oneness worship among the people through a religiousmovement glorious known as the Movement.Sankardeva established satra institution tophocus that religious fragrance among the Bhaktas. His mainsuccessor Madhab and other apostles extended its sphere latter on. It is noteworthy that the satras was not only the religious monastery but it became the nurve centre of the Art and Culture. In fact the culturalperformances wereregarded as the media of the Bhakti propagation. As such the Satras became a religio-Cultural- institution enduring avigorous long past tradition. Mentioned might be made here that the sattriya Dance and Music were originated tofulfill this aim and object no-doubt. In the celibate Satras the boys at the tender age of 5-7 years are imparted training on dance drama and music. After completion of the routine-course of such training the learners are conferred thetitles like Gayana, Bayana, Oza ushered to be a Bar Gayana, Bar Bayana and Bar Oza etc.

Methodology of Sattriya Dance, Oversee : An Analytical Study: In this paper I have used both analytical and descriptive method with field study on Sattra institution.

Margia- characteristics of the Sattriya Dance: Hoary tradition: The Sattriya Dance pays obeisance to the Lord Krishna as oneness worshipful deity. the Lord Krishna , here ,issaluted in “Natavara Vesha”. The saint Sankardeva in his Ankia Natakaentrusted it obviously as -Awe jagata Kaio paraveshaJinie kauti natavar vesha. Interestingly the Sattriya Dance has been continuing a hoary tradition. It has coined the customaryindications of udramagadhi prabritti well indicated in the Natya Sasta.

International Journal of Advanced Science and Technology Vol. 29, No. 06, (2020), pp.9165-9172

Centralised in to the religious institution: Sattriya Dance and music has been flowrised and Centralized in the satra institution surviving a long trend it isone of a jivanta-parampara. Definition of Nritta- and Natya: Sattriya Dance has rich and vast dance repertoire embracing the element of Nritta,Nritya and Natya. The Nrittaelements are seen in the pure dance part and tha Nritya and Natya elements are availably found in the illustrativeportions of the Sattriya Dance.The Sattra schools have been continuing these through the Routine-Prayer-Session ofthe prayer hall. Worth mentioning that a gamut presentation of these dance units are seen in the deathCeremonies ofthe reacher Sankardeva, Madhab deva and Badalapadma Ata specially in the kamalabari order satra. Four Fold Abhinayas: The Sattriya Dance comprises the four fold Abhinayas namely- Angika, Bachika,Swatika and Aharya. The AnkiaNatakas, by Sankardeva and Madhab deva, are demanding mainly of Bachika and Aharya Abhinaya having efforttowards the swatikabhinaya. Furthermore- Sariraja, Mukhaja and Seshtakrita-Abhinayas are also exercised through thevarious elements of the Ankia Bhaona as well as in geetor Dance part and in oza-pali sequences. Nityadhari Abhinay: The Sattriya Dance is ornamented with Natyadharmi Abhinaya employing, sastrik gesticulation of course, tosome extant, some Lokadharmi Abhinayas are also displayed here with some lokadharmi hastas. Own distinctive costumes: The Satiya Dances may be divided in to two categories i.e (i) and(ii) Lashya. Notably the separatecostumes are also identified for the both dances. A Vast Dance Repertaire:The Sattriya dance has its Vast dance repertoire. Numbers of dance unit are coming from the Ankia Nataka-assuch Ankia Nataka is ornamented to be the mother of the Sattriya dance. Secondly some units were created by thepreacher’s both. Thirdly some are of the later period composition by the Satra-exponents. Own Literary Elements: The literary elements adhered to the Sattriya dance is as old as the Sattriya dance evolved from. The songsand verses identifying the lord Krishna as worshipful deity are being selected from the Borgeeta, Ankia bhawna,, , Kirtana, Dashama, Naamghosa etc. These all elements mentioned above signifies the margio tradition of the Sattriya dance.

Mati Akhara, the gate way to the Sattriya Dance--- “The Sattriya dance is generally taught through a rigorous syllabic process based on ground exercises CalledMati Akhara. It is the grammer or a.b.c. or the foundation stone of the Sattiya dance. Physical flexibility is dependedupon it. Some of the Mati akharas are meant to be a fitness exercises while some of are learnt as the components of the dance sequences or postures. It is assumed that, there are 64 nos of Mati akharas here of course some exponentsare pointing out to an extensive numbers of it. Let us give a glimps of it in brief – Mati Akharas: as fitness exercises: There are some Akharas which make the body of the dancers free and flexible- some of them are as follows- i. Dandavatii. Thialoniii. Kamitanaiv. Kasoi pani khowav. Mourai pani khowavi. Khar vii.Teltupi etc. Mati Akharas; as intricated dance postures: Some Mati Akharas are trained which serve as the related bhangimas or postures of the sattriya dance; someof them are – Ora (four types)(ii) Sata(iii) Jalak(iv) Hat solowa(v) Ketela(vi) Kakila Khosha(vii) Athua(viii)Chattrawoli(ix) Pak (two types)(x) Jap”2 ghara (The Prayer Hall as well as the auditorium of the sattriya dance drama and music): “The Kirtanghar is a large open hall rectangular in shape with gabled root having an apsidal façade .This hall generally points east and west.On its eastern end of perpendiculars to if another small hall is Constructed, it is known as Monikut. A holy alter is placed here wherain the holy epic Bhagawata is kept. This alter is the Guru Ashana or Thapana or Ashana or Simhasana. Interestingly the Sattriya

International Journal of Advanced Science and Technology Vol. 29, No. 06, (2020), pp.9165-9172

dancers use this kirtanghara as a house of practice as well as the auditoriumfor theperformance of the same. In the nave of it a Rectangular Enclosure is set apart for displaying the Sattriya dance.Mentioned might be made here that the dancers of the Sattriya dance appear in to the enclosure and pay obeisancetowards the Alter (Guru Ashana) symbolising as the Lord to be worshiped. Remarkably the kirtanghara is the holy house of performing Dance, Drama and Music. The kirtanghara servesas a means of (i) Mass-communicationLoka hamgraha(ii) Mass-concourse Loka .(iii) Mass-entertainment.The devotees take seats here and chant the holy names withfirm faith and deep devotion. Devices are two“” and kirtana. Ascertaining this faith the preacher Sankardeva preaches boldly as- Sravam kirtana karibaikunthaka jai, kama mokhya ata sabe pai”3. Now I Would like to discuss on the dance units stored in the satra generally as follows-

Classification of Sattriya Dance- Drama Centric Dance units:The below mentioned dances are brought coming from the Ankia (drama) Nataka. Gayana-Bayana:“Gayana-Bayana is a orchestral composition. It is presented in a series as a prayer to the deity seekingbenediction for the ensuing play. They display some foot works called Bhariman and some intermediary hand gestureswear called hatdia .There are twelve musical preludeshere, called dhemali. In the later period popularlyit is named as gayana-bayanar nac (Dance). Sutradhari Dance:Sutradhari dance is a principal dance unit in the Bhawna. He entrances to the audience with puredance passing through the fire Arch Agnigar and holding of a screen called aarkapor. After dancing he sings nandi,announces the subject matter, chants bhatima, finally takes seat in the orchestra group and leads the play frombegining to end. His pure dancing is basically divided in to two parts (i) Major Dance (Barbhangi) and (ii) Minor dance(Sarubhangi).Further more he displays Geetar dance which is followed by last Slokar dance. Gosai Prabesar Dance:The entrancing dance to the audiance of the Lord Krishna is Called the gosai prabesar dance. A Curtain(Arkapar) is held aloft, the arch of torches is presented, the entrancing song (praveshar geet) is chanted of haly names() and deafening sound of the big drum (Daba) the Lord makes his appearance. A part of slokar dance is also added here. Gopi Prabesor dance:The appearance of the Gopis of vraja is called Gopi prabesor dance. This dance is feminine and sottlycadenced. The so-called slokar dance is also performed here. Jhumura Dance:Jhumura dance is a vigorous and majestic dance unit. It is believed that when the Lord Krishna disappearedfrom the Rasa-circle, by the way of consolation the gopies enact the deeds of the Boy-God imitating this theme theJhumurara dance was originated. It is divided in to three parts Ramdani, Geetor and Mela dance.Talas punctuated here are: Thukani, Chuta, Ektal, dharamjati, Paritala.etc. Bahar Dance:Bahar dance seems to have derived from Madhab deva’s Jhumura Bhojan Byabahara. Ramdani and Geetardance are the two main parts of this dance. At least 20-30 boys take part here. The Bargeets depicted the grassing ofcows and playing in the vrindavana are taken up for the gitor dance.Geeta-“Vrinabane bhetalo...... ”Tala- Jaman,Chuta,Pari,Jati,Chutkala,Bisham etc. Other Dance in Ankiya Naat:Judhar Nach, Kharmanor Nach, Rashor Nach, Bhaoria Probeshor Nach, Bhongir Nach these dance areperformes in Ankiya Naat. The Independent Dance Units:Besides the above some independent dance units are here, as such Nadubhangi Dance:Nadubhangi dance generally of three pairs of gopas and gopies.It is divided in totwo parts namely-Ramdaniand Geetor dance.Geeta :Aba Sakhi pekhu madana gopala….Tala :Chuta, Jaman, Pari, Ractatal etc. Chali Dance:The Chali dances are 12 in numbers. Among these, eight are called Pure-Chali (Sudha Chali) and another fourare called the Rajagharia Chali.Actually one differs from another mainly in the

International Journal of Advanced Science and Technology Vol. 29, No. 06, (2020), pp.9165-9172

Ramdani which employs eight differenttalas.Talas used in “sudha chali” are Thukani, Chuta, Ektala are the main.It is divided in to three parts - Ramdani, Geetar and Mela. On the other hand the Rajegharia Chali dance wereoriginally meant to be performed in the Royal -presence of the capital.In pure Chali the dancers do not dance in thega-man, but in Rajagharia Chali the dancers dance in the ga-man also.In the bols of the music, however the mnemonicsyllables resemble the Mridangas; which might mean that the mridanga might havesometimes been used in these dances.Used geeta - pada pekhae mai.Tala used in Rajagharia Chali - Thukani, Ektala, Bisam, , jati, Chuta, Charikhania, Rupak, Rupganjal etc. This dance is also divided in to three parts-Ramdani, Geetor and Mela dance. Barprabesh Dance:This dance is formed in the imitation of the Lord Krishna’s returning from Vrindavana to Gokula in theevening. There are 20-25 natwas are here with Krishna’s costumes.It is only the dance which is performed customarilyin the evening prayer session in a festive occasion. Further more, it is worth mentioning that many more dances are in vogue in the satra schools which are beingcreated by the satra exponents (Adhyapaka) in various satras. Some of them are as Manchok nac, Lownuchori nac,Bhortal nac, Apsara or Indrabhishek nac, Dashabatar nac etc, kalir sira nac, Ramar dhanu-Bhagar nac- etc..”4

Some Solient Features: Hand Gestures:The classical dance is largly dependent on hand gestures.The hastas of the sattriya dance may be classifiedunder two heads:(i) Hand gestures based on classical text like- Natya sastra, Abhinay darpana, Sri Hasta Moktawoli etc.(ii) Hand gestures employed in the Satra traditionally. Below mentioning hastas are used here occasionally: Asamyukta Hastas:(1) Pataka(2) Padmakosa(3) Mustika(4) Hamsamukha(5) Alapadma(6) Tripataka (7) Sikhara(8) Kartarimukha(9) Ardhachandra(10) Sarpasira(11) Samdansa(12) Sushimukha(13) Ardhasusi(14) Urnanabha(15) Mukula(16) Satura(17) Trisula(18) Ankusha(19) Dhanu(20) Bana(21) asaka(22) Tamrachura (23) Grunika(24) Kapitha(25) Mukula(26) Tantrimukha(27) Simhamukha(28)Krishnasaramukha(29) Khatakamukha.(Total -29) Samyucta Hastas are: (1) Gajadanta(2) Anjali(3) Nisada(4) Kapota(5) Karkata(6) Makar(7) Dola(8) uspaputa(9) Sankha(10) Chakra(11) Pasa(12) Maira(13) Samputa(14) Jalaka(15) Mujura(Total-15) Nritta Hastas are-1. Haire 2.Bansi 3. Lola 4. Pranama5. Archana 6. Leela 7.Lalit 8. Lata9. Balit 10.allaba 11. Udvestita Alapadma. 12. Nalinipadma ……………………………. Another 16 from samyucta and Asamyacta hastas mentioned above there are- 1. Pataka, 2.Padmakosa 3.Mustika, 4 Hansamukha, 5. Alapadma, 6.kartarimokha 7. Ardhachandra 8. Amdansa9. Sasaka 10. Gajadanta 11. Anjali 12. Kapota13. Dola 14. Maira 15. Mujura Jalaka. Total Nritta Hastas used 16+16=32 Traditional Hastas- Here there are same traditional hastas which have no sastric resemblance but employedinseparably. They are- 1. Mujura2. Pranam3. Archana4. Sasaka5. Bansi6. Haire.7. Chata8. Salana9. Ketela10. Jalaka11. Eela13. Dhanu14. Bana”5 Foot works - (Pada ) - The technique of satriya dance is primarily dependent on foot works like any otherclassical dances in India. These determine its basic position, cadence of movements, rhythmic patterns, Rhythmicnature of stylization etc. In sattriya a large majority of foot works have no local names of course some of them havegot their sanction from N.S and A.D.A. “Some tool works mentiond here are resemble with the Natya sastra.- 1. Sthitawarta-2. Swashagati (Ga man- in chali dance)3. Bishabya (in krishna Dance)4. Urbritta (in ha hata)5. Adhyadhika (in kati chata)Foot works resemble with (A.D)6. Chalan7. Begini Chari

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Foot works found in the sattra tradition-1. Tewai 2. Sitika3. Chiral4. Juti5. Lesheri6. Khosara7. Pitika8. Juria etc. Foot position (Pada sthiti)-The emergence of a perticular dance movement is generally started from identified fixed foot position; thatvery position where from a movement emerged is called the foot position (pada stkiti)Some are as follows-1. Purus ora2. Prakriti ora3. Phul ora4. Lahi ora 5. Kase bhumi lekha ( Jina theni theni...... )6. Pache bhumi lekha (Tak theni...... ) 7. Adha Janupada 8. Udha janupada 9. Garurasana 10. Simhasana etc.” 6

Style and technique Generally all the Sattriya dance units begin full or partially through two gaits- with a particular preliminarybegia (gayan -bayan)2. Sattriya dancer enter in two gaints vii.Employing drum syllable Jih n Thak ssNotable it is the starting movement. Human walking movement is seen here naturally as - extended left foot isfollowed by the extended right hand the extended right foot is followed by left hand. The satra schools opine it to bethe “Archana” towards the Lord. ii. Employing drum syllable “Khri khri...... In some dance units the dancers follow this rhythmic appearancepossessing of Begini Chari. Haire hasta is the main gesture here. It is seen in Bahar and Krishna dance.3. Now the dance takes the kneeling position paying obeisance take Lord on spiritual feelings -The onlookers stand upand extend resalutation to them; mainly the dancer of Bahar dance and Barpraves dance.4. Being standing up, the dancers find the initial starting point on the nave of the enclosure. 5. Then they possess Ora, as it is the basic posture. Usually all the cadence of the movements are to be started fromthis Ora. Technically it is the juncture of the two movements. Practically four types of ora are found here, namely- “Purus ora- In this content the entire foot soles touch the ground with a proper bend and weight is equallydistributed .It is only for the Tandava category of dances. Prakriti ora- The foot position of this ora is almost similar to the purus ora; but a slight turne of the both foot infront . The hands are extended and kept just infront of the both breasts with pataka out turned . It is for the Lasyacategory of dances. Phool ora- In tandava Nritya sometimes the dancers build this posture. Here the left foot is kept on flat position,while the extended right heel touches the ground (Anchita) with a slight bend. Lahi ora- It is protusely seen in the dances. Here the right toes in a slight bend touch the ground (Agratalasanchara),; while the left foot erects on the flat-foot-contact. 6. According to the the dance movements are determined by the nature of deflections from themedian viz.Samabhanga- Here the body is placed in a balanced position and weight is equally divided. In our sattriya it resemblesto ora.b. Abhanga- The pose, where there is only one deflection with a slightly inbalanced position is called Abhanga. Phoolora or lahi ora the example. c. Trivanga- The posture with more than two deflections on opposite sides of the central median or the three deflectedpostures are called Trivanga. 7. Some importance foot kinetics- Basically there are four foot kinetics employed inseparably in this dance form as it is. a. Sama- Both flat foot kept equally in balance shape.b. Agratala samchara- Here one foot is extended towards infront with a slight bend on the tips of the fingers .c. Udghatita- In this work the dancer touches the ground by the foot toes and the heels raised up.d. Ancita- Here the heel of the extended foot touches the ground and the toes raised up.e. Kuncita- In contrary, when the dancer touches the ground with the toes of an extended foot is called kuncita . 8. Body movement pattern – The Indian classical dance apply three types of Body movement patterns viz Horizontal,vertical and diagonal or geometrical. In our sattriya , the semi- circle pattern is the prime body movement patternone, while others are also adopted occasionally while others are also adopted occasionally.9. Like A.D the sattriya dance use= right boot followed by right hand towards the right side.= Left foot followed by left hand moves towards the left side. 10. Like Bhramaris of

International Journal of Advanced Science and Technology Vol. 29, No. 06, (2020), pp.9165-9172

A.D many pak (Wheeling movements) are seen in the sattriya dance namely purus pak, pakritipak, urpak Akal pak etc.11. Like A.D the sattriya dances have many jumps, elevation or leaps (utplavan) being loss of contact whith the ground.For example Samokhalai jap, Bhekola jap, Tika jap etc. 12. In the pure dance part the straight movements are strarted first towards the right side- but the wheelingmovements are emerged to be turned towards the left first. 13. As mentioned in the A.D - Yatra Hasta tato dristi.....’’ followed invariably. 15. undoubtedly the Sattriya dance is a bhakti tinged art form. Here bhakti is not only seen in the Abhinaya but in thepure dance part also. So it is to be noted that the Anga, Pratyaga , and upanga used in the pure dance numbers arevirtually woven with the concept of Bhakti. The following pieces of movements would probably make the pointcomprehensive . In the rhythmic appearance of the sutradhara i e- khit khiti tak dhei daon...... This sequence is based on the principle of “ panchapadi” detailed in theN. S. But this very pause would expresses bhakti. In the second step the dancer takes kneeling position emerging soft and gliding griba bhangi. Ntably it is used as“pranam bhangi” for paying obeisance to “ Brahmarupi Sanatana or Sarba vishnumaya jagata.” (c) Usually, a numbers of dance sequences are displayed identifying of paying salutation to the Lord. dhinak dhei tikhirao, tatak dhei trkhiraotadheita khitadhei tao...... (Lahi ora). (d) In fact, being bow down of the dancer, being standing up of the onlookers and paying a few amount of Rs. to thechief dancer considering to be a holy offering to the Lord - these all Aagikas of the pure dance parts enchant thespectators to submerge in Bhakti. 16. In pure dance part , , some cadence of the movements are used in such a way that the mode of the AngaSanchalana of a particular dance reveals the main purpose and character of the very dance apparently.Some instancesare as followes-(a) Khit khiti tak ss dhei dao (sut)- (raised spiritual felling) i) Tadhei khri khri ...... ( Bahar)ii) Tadhei khri khri ...... (Krishna)iii) In pani parua- (gayan bayan)(c) Tanita jidheni tanita (Bahar) raised sportive feeling.(d) Dheitat khita jitdhei tatakhita (Bah)(e) Dhenita khitidao khitita khitidao (Bah)(f) Nakdhei nakdhei nakdhei nakdhei (Nadu) raised water sports, killing Naga.These abovementioned sequences, although belongs to the pure dance part yet each of them would makeunderstandable the playfulness of Krishna and gopabalaka. 17. In pure dance all Angikas are basically divided in to two parts vi2 (i) Tandava and (ii) Lashya anga sanchalana is alsoemerged here accordingly- four exampleTandava - (a) Takdhei tinikhiti dhei tak jidheni tatakhiti tadheni dao ( suttradhara)(b) Khitita khitatikhra z- ( Kirtana)Khititi tao Lashya - (b) Dhagi tinda khititinda (chali) 18. Both the and the Lashya -Lashy (c) Dhagita dhaga tikhra khitita (krishna) The basic Body movement technique of the Sattriya Dance encompasses the fallowing ingredients- Ora- The demiplie portion of the dancer gives rise to its basic stance or initial standing posture is called Ora.It is not only the basic stance-but basic motif too. All the dance sequences of the sattriya Dance are woven with thisOra. In fact- without ora no dance pause is treated as perfect. Ulah- the pivotal feature of the Sattriya Angika is unlike other classical dance farms of India. Here bodyweight of the dancer goes agonist the pull of gravitation. Weavelike movement or uping and diping (occasionally inbobbing mode) of the body is a striking feature of this dance style. This floating and weightlessness emergence iscalled Ulah. Each and every Angika movements are conditioned by this ulah. For this ulah there is no sound in theground even in the high leaps and elevations- (a) Dheni tini2 tak dheni2 dao - (Bah.) tikajap.(b) Even in the fighting scene, in the yodhar dance, such ulah is maintained.(iii)Hali- Diping and bobbing with horizontal- leaning of the body of a dancer conditioned by the rhythmictiming is called hali. It shapes the body on somabhanga, Abhanga, Dibhanga, Trivanga and Bahubhanga.Summing up these above elementes the basic bodymovment technique of the sattriya dance can be defined -“Danceing in ulah keeping Ora inseparably- is the basic body movement technique of the sattriya dance.”Virtually this technique follows the folloeing beatures of the Angika-(1) Head responding towards the hands.(2) yattra hasta tato drishti......

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(3) Slight bending of the hands instead of stretching out fully. (..)(4) No Hip projection(5)No lateral sharp Neck-extension like “Sundari griba” of A.D.Let me to make clear this Basic style of dancing of the sattriya dance through the rhythemic presentation asmentioned below- (Responding ora and ulah)(a.) Thei Jintak thenengeni tak (Chali)(b) This jintak thenegeai tak(cha.)(c) Dididhei2 tatataeo2 Khitidao tindakhikhi rinthathak (Bah)(d) Takdhei dididhei didhiankhitau...(Raja prabesha) didhinakhitau 19. The sattriya ojapali is a good example of rich in interpretative dance form of the satra schools. The following aresame intricated features.a. The oja is the central figure of this entertainment.b. He is a dancer-cum narrator and singer.c. He takes up a definite theme and acts accordingly in different Roles to create proper representation of them.d. The few others are known as palis.They are subordinates, suporters of the leader. e. The palis consisting of the numbers from 10-15, taken position behind the oja in a semi-circulor pattern.f. Daina- pali is the chief among the palis. He is the second leader of the chorus. He is the right most person of the palisright most person. g. Business of the oja-is to lead the chorus..He sets the retrain for the palis. Palis repeat it with the marking of time on their feet and the striking of the cymbalswith their hands and sing the versee of the narative taken up on the occasion.h. Texual Base- The choral song and the narrative are mostly, taken up from the works of Sankardeva andMadhabdeva. Sometimes the Assamese metrical verion of the epics Ramayana, Mahabharata and the Bhagwata arealso adopted.i) - The dance strictly follows the Rega music. The Ragas used here neither the Ragas used by Sankardeva and Madhabdeva nor those available in the Vyas-Gowa- ojapali. These are a latter-day-introduction of the satras and aretermed as Bandha Ragas.j. The dance may be grouped under two headsi. Pure dance andii. Abhinay or illustrative. 1. Pure dance- Usually the body of the dance remain upright.purus ora and phul ora are used frequentlyThe bobbing of the body followed by the stamping of heel is a distinct feature of the dance performed repeatedly.

II. Abhinay or interpretative aspect- The oja expresses the sung-line through the interpretative picturesque handgestures, vivid facial expressions, dialogues and speeches.The recital begins with the basic movement followed by furnishing- Akal-Pak, phul ora, tripatak and Ardhachandra hand gestures with the syllable punctuatted “khop tiling, Khop, Khop tiling tiling khop.” (to be shown) The dancer gives hints of strategem by displaying pertinent hand gesture before going to interpret a particular sceneor sequence. (as for example...... )The instrument is the small cymble (khutital) Its units and stages performance)i. Ragadia. Sloka3. Geeta4. Diha5. Pad goowa (thia paton)a. Ragmalitab. Rag Charon c. Dhurad. Bana e. Badyakhialif. Kathang. Padjuranih. Upadesha. Rhythmic PatternKhuti tal (cymbal) is the main instrument here.The produced swaras like KHOP, TILING and KRING_are created by the cymbal through striking, knocking andrubbing each other. The basic tala bound here are as follows- 1. Ek tala 2. Dhara Ektala 3. Jap tala 4. Thukani tala 5. Tretal & 6. Junjuni tala (to be demonstrated)Costumes- A quarter sleeved netted blouse: A dhuti withends folowing ends infront.A simple pagri or tarban all of white .OrnamentsMatamaniUntiSilver BrassletsNepur (anklet rnaments)”7 Abhinaya in the satriya danceAnkia bhaona is the mother of sattriya dance as such it demands the aspect of abhinaya relating to the sattriyadance.a. “Here the characters portray various roles, (dance) and create Bhakas and Rasas. Bhakti rasa is the ultimate goal ofsuch Abhinaya in other words here – Bhakti is the rasa. And- Bhakta (devotee) is the prime Rasika.b. Angikabhinaya is performed here employing hastas and foot works.c. Vaci kabhinaya is the large corpus of literature that the saint left behind. d. Aharyabhinaya is performed with dress and décor , mask, varied war weapons, ornaments colors.e. Swatikabhinaya is not always in application in the routine-prayer session in the Namghara although it is very mucha part of it.f. The geetor dance part of the sattriya dance units are being

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adopted for abhinaya. (Demonstration of geetabhinaya.)The sutradhara in the Ankia Nataka makes Abhinaya with Nandi Geeta, Bhatima etc. through proper gesticulationh. As the semi dramatic entertainment the sattriya ojapali is one of a good example of interpretative aspect of the satra schools . About this , it will be discussed latter on.”8 Conclusion :After critically investigating the various facts of Sattriya Dance relating to performance, techniques etc. In theforegoing chapters, it may be concluded that this distinctive from has come into extence on the basic of the classicaltext of India both structurally and technically. Ritually and aesthetically, it is also a career of the hoary classical art witha long and strong tradition of five centuries behind it. It also need to be mentioned that the performance, and techniques of Sattriya Dance which has been handed down form generation of generation of ritual performerdevotees in the Sattras, derive their authoritives sanction from treatises like the Natya Sastra, Abhiaya Darpan andSangeet Ratnakar etc. The new traits innovated by the performers by the devotees following have also process a hire.Classical dance in spite of the none availability of written manuals pertaining to this stylized Bhakti tinged art form.We discuss the term of Sattriya Dance in a modern appellation as it has been traditionally preserved pursuedand practice in the Sattriya institutions, in the later period it is termed as the sattriya dance properly.

Foot Note : 1. Mahanta; The Sattriya Dance of Assam, Page – 13 2. Karuna Borah; Sattriya Nrityar Rup-Darshan, Page – 3. Data Collected from Gopiram Borgayan, Uttar Kamalabari Sattra, . 4. Mallika Kandali; Sattriya The Living Dance Tradition of Assam, Page : 21-24 5. Jagannath Mahanta; The Sattriya Dance of Assam, Page : 187-193 6. Jagannath Mahanta; The Sattriya Dance of Assam, Page : 214-226 7. Data Collected from Bhaben Borbayan, Uttar Kamalabari Sattra, Majuli. 7. Data Collected from Karuna Borah, Kamalabari, Majuli.

References 1. Borah, Karuna : Sattriya Nrityar Rup-DarshanPublished by – Majuli PressDec, 2006 2. Kandali, Mallika : Sattriya the Living Dance Tradition of AssamPublished by – Assam Publication Board, -03 Kothari, Sunil (Edited) : Sattriya Classical Dance of AssamPublished by – Radhika Sabavala for the mark foundation of Army &Nevy building, Mumbai. 3. Mahanta, Jagannah : The Sattriya Dance of Assam : An Analytical andCritical Study Published in Indian by Sattriya Kendra SangeetNatak Academy, New Delhi, 2016 4. Neog, Maheswar &Changkakoti, Keshab : Sattriya Nritya Aru Sattriya Nrityar Published by – Publication Board, Assam, 1975 5. Neog, Maheswar : and His TimesPublished by – Guwahati University, 1965 6. Sharma, S.N. : The New Vaishnavite Movement and The SattraInstitution of Assam Published by – Guwahati University, 1966 7. Field Study Resource Person : 8. Gopiram Borgayan, Sangeet Natak Academy Awardee and Sattriya Guru, Uttar KamalabariSattra, Majuli. Age : 95 9. Karuna Borah, Sattriya Scholar, Kamalabari, Majuli Age : 55 10. Bhaben Borbayan, Sattriya Guru (Dance & ) Age : 46