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Sattriya Dance : an Analytical Study

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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 Assam Women’s University, Jorhat, Assam, India 2Assistant Professor, Assistant Professor Dr. B.H. Centre for Studies in performing Arts ,Dibrugarh university, Assam, India Abstract Sattriya 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 Krishna 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 Satra 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 Bhakti Movement.Sankardeva established satra institution tophocus that religious fragrance among the Bhaktas. His mainsuccessor Madhab deva 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 guru Kaio paraveshaJinie kama 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- Nritya 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) Tandava 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,Ramayana, Mahabharata, 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 Kirtan 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 sthiti .(iii) Mass-entertainment.The devotees take seats here and chant the holy names withfirm faith and deep devotion. Devices are two“shravana” and kirtana. Ascertaining this faith the preacher Sankardeva preaches boldly as- Sravam kirtana karibaikunthaka jai, Dharma artha 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.
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  • Concerts in Chennai

    Concerts in Chennai

    Concerts in Chennai Given below is a list of carnatic music concerts in Chennai. I will keep updating the list as frequently as possible. The list is as per information received from different sources. Some of the programs might change without my getting to know about the same, in which case, I will not be able to update this page with the changes. I have put a ? wherever I am not sure of the timings (mostly these concerts should be in the evening). A list of sabhas with address and phone no is given at the bottom of this page. {Source: Artist websites, newspapers (The Hindu), schedules released by sabhas, word of mouth etc} You can use Ctrl+F in your Internet Explorer/Mozilla Firefox window to search for a particular artist/ sabha Please refer to this link for directions to the venues (thanks to Bharath for the excellent work with the map) Please refer to this link for a list of concerts that happened in the past in Chennai. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= CHENNAI (DECEMBER) MUSIC SEASON 2011-12 =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= DECEMBER 2011 2nd December 2011 (Friday) 10:00 AM – Rajini Hariharan (Vocal), Tiruvallur Parthasarathy (Violin), Hanumanthapuram J. Bhuvarahan (Mrudangam) @ Narada Gana Sabha Mini Hall, TTK Road, Alwarpet (Kartik Fine Arts) **Free** 10:30 AM – B. Suchitra (Harikatha) @ BharatiyaVidya Bhavan Main Hall, East Mada Street, Mylapore (Bharatiya Vidya Bhavan) **Free** 12:15 PM – Aswath Narayanan (Vocal), B. Sudha (Violin), Nellai V. Sreekrishnan (Mrudangam) @ Narada Gana Sabha Mini Hall, TTK Road, Alwarpet (Kartik Fine Arts) **Free** 2:00 PM – J.B. Keerthana (Vocal), J.B. Sruthi Sagar (Flute), Sudha R.S.