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Sattriya

Sattriya (Assamese: সত্ৰীয়া), or Sattriya Nritya, is a major Indian classical dance.[2][3] It was initially created as part of Bhaona which are performances of Ankiya Nat, one-act plays, originally created by Sankardev, a 15th-16th century polymath from Assam.[4][5] These dances are part of the living traditions today of Sattra, which are communities of live-in devotees belonging to the Ekasarana Dharma, a Hindu sect established by Sankardev.[2][6][7]

Sattriya
Performance by Krishnakshi Kashyap[1]
Native nameসত্ৰীয়া
GenreIndian classical dance
OriginAssam

The themes played are related to Krishna, as well as other avatars of Vishnu such as Rama, [8] and stories from the epics Mahabharata and the Ramayana.

On November 15 of the year 2000, the Sangeet Natak Akademi of India recognised Sattriya as one of the eight classical dances of India. Modern Sattriya explores many themes and plays, and its performances are staged worldwide.[9]

History edit

Sattriya is a classical dance of India, tracing its roots to ancient drama and music texts of India, particularly Bharata Muni's Nātya 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 to Shaivism and Shaktism traditions.[19] Singing and musical traditions, similarly, have been traced to Assamese chorus singing tradition for the Hindu epics: the Ramayana and the Mahabharata.[19]

The modern form of Sattriya is attributed to the 15th century Sankaradeva, who systematized the dance using the ancient texts, and introduced drama and expressive dancing (nritta and nritya) 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 the Vaishnava bhakti movement, in Hindu monasteries called Sattra.[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 the Bhāgavata 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 the Bhagavata Purana placed in eastern (sun rise) corner called Manikut of the dance hall (namghar).[21]

These dance-dramas were, in the early days, written and directed by the Assamese poet-saint Sankaradeva, and by his principal disciple Madhavadeva. 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's sattras / monasteries to the metropolitan stage.[23]

The Sangeet Natak Akademi recognized Sattriya Nritya as an official classical dance of India in 2000. Sattriyas are now performed on world's stages.[22]

Repertoire edit

Like the other schools of Indian Classical dance, Sattriya encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like Nātya Śāstra, Abhinaya Darpana, and Śārngadeva's Sangīta Ratnākara;[24] The Sangīta Ratnākara of Śārngadeva complements his Bhakti Ratnakara, which traces the Upanishads, Bhagavad Gita, Yoga and Vedanta 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) includes nritta (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 Nritta performance is abstract, fast and rhythmic aspect of the dance.[28][29] The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretive aspect, no telling of story.[30]
  • The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, story line particularly with spiritual themes.[28][29] In a nritya, the performance expands to include story-telling, the silent expression of words through gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.[30]
  • The Nātya is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A Nātya incorporates the elements of a Nritya.[29] Kuchipudi historically relied on a team of dancer-actors, while in modern times Kuchipudi productions include solo or duo performances.[31]

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 as Odishi, Kathakali, Bharatanātyam and others found in southern and northern India.[8][32] Some basic elements and features of Sattriya match those found in the Manipuri 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 a Mati Akhara, equal 64 just like in Natya 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 by bhokots (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 the sattras, 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]

Dresses edit

The dress of Sattriya dance is primarily of two types: the male dress comprising the dhoti, chadar and the paguri (turban) and the female dress comprising the ghuri, chadar and kanchi (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 and muga 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 like Kingkhap, Miri Motif, Kolka etc.[35][36]

Uses of play-specific dress are also seen in Sattriya dance. The dress of Krishna Nritya and Nadubhangi Nritya is of yellow and blue keeping in line with the attire of Lord Krishna. The Sutradhar 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 in Kesa Sun (raw gold). Artistes wear Kopali on the forehead, Muthi Kharu and Gam Kharu (bracelets), different type of neck pieces 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 (strand of rice grain) and 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 the hair.[35][36]

The dresses of Ankiya Naats (dramas) are colourful and character specific. Use of Mukha (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 the Ankiya 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]

Music and instruments edit

Sattriya Nritya is accompanied by musical compositions called bargeets (composed by Sankardeva and Shree Shree Madhavdev, among others) which are based on classical ragas.[citation needed]

A key musical instrument that accompanies a Sattriya performance is the khol (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 Sattriya khol produces a high pitch with the right side (Daina), while producing a deep bass sound on the left (Bewa).[37]

Accompanying the khol are various types of Tālas or cymbals (Manjira, Bhortal, Bihutal, Patital, Khutital) and the flute (bansuri). Other instruments like the violin and the harmonium have been recent additions.[37][note 1]

Styles edit

A Sattriya performance comes in many styles such as the Sutradhara (or Sutra-bhangi), character specific Bhangi, Prabesh, Nritya and Jhumura.[8] The Sutradhara 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 of Sattriya. 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]

Notes edit

  1. ^ In some compositions, the following additional regional musical instruments, adopted from regional folk dances, complete the orchestra: Bin, Tokari, Dotara, Nagara and different styles of drums (mrdanga, dhol, dambaru, etc).[38]

References edit

  1. ^ https://meetkalakar.com/Artist/1865-Krishnakshi-Kashyap
  2. ^ a b Frank Burch Brown (2014). The Oxford Handbook of Religion and the Arts. Oxford University Press. pp. 193–195. ISBN 978-0-19-517667-4.
  3. ^ Williams 2004, pp. 83–84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Cchau, Manipuri, Yaksagana and Bhagavata Mela.
  4. ^ a b Ankiya Nat, UNESCO: Asia-Pacific Database on Intangible Cultural Heritage (ICH), Japan
  5. ^ a b Lavanya Vemsani (2016). Krishna in History, Thought, and Culture: An Encyclopedia of the Hindu Lord of Many Names. ABC-CLIO. pp. 12–13. ISBN 978-1-61069-211-3.
  6. ^ a b Shovana Narayan (2011). The Sterling Book of INDIAN CLASSICAL DANCE. Sterling Publishers. pp. 73–74. ISBN 978-81-207-9078-0.
  7. ^ a b Farley P. Richmond, Darius L. Swann & Phillip B. Zarrilli 1993, p. 22.
  8. ^ a b c d Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. pp. 294–299. ISBN 978-81-208-0007-6.
  9. ^ Sunil Kothari (2012). Urmimala Sarkar Munsi and Stephanie Burridge (ed.). Traversing Tradition: Celebrating Dance in India. Routledge. pp. 23–24. ISBN 978-1-136-70379-9.
  10. ^ Tanvi Bajaj; Swasti Shrimali Vohra (2015). Performing Arts and Therapeutic Implications. Routledge. pp. 6–7. ISBN 978-1-317-32572-7.
  11. ^ Ragini Devi 1990, pp. 60–68.
  12. ^ a b c Natalia Lidova 2014.
  13. ^ Tarla Mehta 1995, pp. xxiv, 19–20.
  14. ^ Wallace Dace 1963, p. 249.
  15. ^ Emmie Te Nijenhuis 1974, pp. 1–25.
  16. ^ Kapila Vatsyayan 2001.
  17. ^ Guy L. Beck (2012). Sonic Liturgy: Ritual and Music in Hindu Tradition. University of South Carolina Press. pp. 138–139. ISBN 978-1-61117-108-2. 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 (...)".
  18. ^ Coormaraswamy and Duggirala (1917). "The Mirror of Gesture". Harvard University Press. p. 4.; Also see chapter 36
  19. ^ a b c Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. pp. 292–293. ISBN 978-81-208-0007-6.
  20. ^ a b Siyuan Liu (2016). Routledge Handbook of Asian Theatre. Routledge. pp. 19–21. ISBN 978-1-317-27886-3.
  21. ^ a b Farley Richmond (2016). Siyuan Liu (ed.). Routledge Handbook of Asian Theatre. Routledge. pp. 20–21. ISBN 978-1-317-27886-3.
  22. ^ a b Kothari, Sunil (ed). Sattriya-Classical Dance of Assam. Marg, The Marg Foundation, Mumbai, 2013.
  23. ^ Kothari, Sunil (ed). Sattriya-Classical Dance of Assam. Marg, The Marg Foundation, Mumbai, 2013, Blurb.
  24. ^ Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. pp. 208–221. ISBN 978-81-208-0007-6.
  25. ^ Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. pp. 209, 222–229, 233–234. ISBN 978-81-208-0007-6.
  26. ^ Shovana Narayan (2011). "Kuchipudi". The Sterling Book of Indian Classical Dance. Sterling. pp. 48–49. ISBN 978-81-207-9078-0.
  27. ^ Reginald Massey 2004, pp. 83–84.
  28. ^ a b Ellen Koskoff (2008). The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia. Routledge. p. 955. ISBN 978-0-415-99404-0.
  29. ^ a b c Reginald Massey 2004, pp. 33–38, 83–84.
  30. ^ a b Janet Descutner (2010). Asian Dance. Infobase. pp. 45–46. ISBN 978-1-4381-3078-1.
  31. ^ Bruno Nettl; Ruth M. Stone; James Porter; et al. (1998). The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent. Routledge. pp. 516–518. ISBN 978-0-8240-4946-1.
  32. ^ Shovana Narayan (2011). The Sterling Book of Indian Classical Dance. Sterling Publishers. pp. 74–75. ISBN 978-81-207-9078-0.
  33. ^ Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. p. 298. ISBN 978-81-208-0007-6.
  34. ^ a b Sunil Kothari (2013). Sattriya: Classical Dance of Assam. Marg Foundation. ISBN 978-81-921106-6-0.
  35. ^ a b c P.N. Sundaresan (1999). Sruti, A Monthly Magazine on Indian Performing Arts. Vol. 172–183. pp. 40–41.
  36. ^ a b c d "Costume | Krishnakshi Kashyap". www.sattriyakristi.com. Retrieved 11 February 2018.
  37. ^ a b c Dilip Ranjan Barthakur (2003). The Music and Musical Instruments of North Eastern India. Mittal Publications. pp. 81, 89–90. ISBN 978-81-7099-881-5.
  38. ^ Dilip Ranjan Barthakur (2003). The Music and Musical Instruments of North Eastern India. Mittal Publications. pp. 11–12. ISBN 978-81-7099-881-5.
  39. ^ Lavanya Vemsani Ph.D. (2016). Krishna in History, Thought, and Culture. ABC-CLIO. pp. 12–13. ISBN 978-1-61069-211-3.

Bibliography edit

  • Sunil Kothari, ed., Sattriya, Classical Dance of Assam, with photographs by Avinash Pasricha. The Marg Foundation, Mumbai, 2013. ISBN 978-81-921106-6-0
  • Neog, Maheswar. Aesthetic Continuum: Essays on Assamese Music, Drama, Dance and Paintings. New Delhi: Omsons Publications, 2008.
  • Neog, Maheswar and Keshav Changkakati. Sattriya Dances of Assam and their Rhythms. Guwahati: Assam Prakashan Parishan, 1973.
  • Ragini Devi (1990). Dance Dialects of India. Motilal Banarsidass. ISBN 978-81-208-0674-0.
  • Natalia Lidova (2014). Natyashastra. Oxford University Press. doi:10.1093/obo/9780195399318-0071.
  • Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5.
  • Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" (PDF). Visual Anthropology. Routledge. 17 (1): 69–98. doi:10.1080/08949460490274013. S2CID 29065670.
  • Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0.
  • Reginald Massey (2004). India's Dances: Their History, Technique, and Repertoire. Abhinav Publications. ISBN 978-81-7017-434-9.
  • Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 90-04-03978-3.
  • Kapila Vatsyayan (2001). Bharata, the Nāṭyaśāstra. Sahitya Akademi. ISBN 978-81-260-1220-6.
  • Kapila Vatsyayan (1977). Classical Indian dance in literature and the arts. Sangeet Natak Akademi. OCLC 233639306., Table of Contents
  • Kapila Vatsyayan (1974). Indian classical dance. Sangeet Natak Akademi. OCLC 2238067.
  • Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807.
  • Kapila Vatsyayan. Dance In Indian Painting. Abhinav Publications. ISBN 978-81-7017-153-9.
  • Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249–254. doi:10.2307/3204783. JSTOR 3204783.
  • Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. ISBN 978-81-208-0981-9.

External links edit

  Media related to Sattriya at Wikimedia Commons

sattriya, assamese, সত, nritya, major, indian, classical, dance, initially, created, part, bhaona, which, performances, ankiya, plays, originally, created, sankardev, 15th, 16th, century, polymath, from, assam, these, dances, part, living, traditions, today, s. Sattriya Assamese সত ৰ য or Sattriya Nritya is a major Indian classical dance 2 3 It was initially created as part of Bhaona which are performances of Ankiya Nat one act plays originally created by Sankardev a 15th 16th century polymath from Assam 4 5 These dances are part of the living traditions today of Sattra which are communities of live in devotees belonging to the Ekasarana Dharma a Hindu sect established by Sankardev 2 6 7 SattriyaPerformance by Krishnakshi Kashyap 1 Native nameসত ৰ য GenreIndian classical danceOriginAssamThe themes played are related to Krishna as well as other avatars of Vishnu such as Rama 8 and stories from the epics Mahabharata and the Ramayana On November 15 of the year 2000 the Sangeet Natak Akademi of India recognised Sattriya as one of the eight classical dances of India Modern Sattriya explores many themes and plays and its performances are staged worldwide 9 Contents 1 History 2 Repertoire 2 1 Dresses 2 2 Music and instruments 2 3 Styles 3 Notes 4 References 4 1 Bibliography 5 External linksHistory editSattriya is a classical dance of India tracing its roots to ancient drama and music texts of India particularly Bharata Muni s Natya Sastra 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 Natya Sastra text consists of about 6000 verses structured into 36 chapters 12 15 The text describes the theory of Taṇḍava dance Shiva the theory of rasa of bhava 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 to Shaivism and Shaktism traditions 19 Singing and musical traditions similarly have been traced to Assamese chorus singing tradition for the Hindu epics the Ramayana and the Mahabharata 19 The modern form of Sattriya is attributed to the 15th century Sankaradeva who systematized the dance using the ancient texts and introduced drama and expressive dancing nritta and nritya 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 the Vaishnava bhakti movement in Hindu monasteries called Sattra 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 the Bhagavata Purana 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 the Bhagavata Purana placed in eastern sun rise corner called Manikut of the dance hall namghar 21 These dance dramas were in the early days written and directed by the Assamese poet saint Sankaradeva and by his principal disciple Madhavadeva 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 s sattras monasteries to the metropolitan stage 23 The Sangeet Natak Akademi recognized Sattriya Nritya as an official classical dance of India in 2000 Sattriyas are now performed on world s stages 22 Repertoire editLike the other schools of Indian Classical dance Sattriya encompasses the principles required of a classical dance form the treatises of dance and dramaturgy like Natya Sastra Abhinaya Darpana and Sarngadeva s Sangita Ratnakara 24 The Sangita Ratnakara of Sarngadeva complements his Bhakti Ratnakara which traces the Upanishads Bhagavad Gita Yoga and Vedanta 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 marg includes nritta pure dance solo nritya expressive dance solo and natya dramatic play group Like all major classical Indian dance forms those three categories of performances are 26 27 The Nritta performance is abstract fast and rhythmic aspect of the dance 28 29 The viewer is presented with pure movement in Nritta wherein the emphasis is the beauty in motion form speed range and pattern This part of the repertoire has no interpretive aspect no telling of story 30 The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings story line particularly with spiritual themes 28 29 In a nritya the performance expands to include story telling the silent expression of words through gestures and body motion set to musical notes This part of a repertoire is more than sensory enjoyment it aims to engage the emotions and mind of the viewer 30 The Natya is a play typically a team performance but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story A Natya incorporates the elements of a Nritya 29 Kuchipudi historically relied on a team of dancer actors while in modern times Kuchipudi productions include solo or duo performances 31 The hand gestures mudras footwork padas postures rhythms training of artistes and other aspects of the Sattriya dance drama closely follow those described in Natya Sastra and other classical Hindu dance texts and are quite similar to other major classical dances such as Odishi Kathakali Bharatanatyam and others found in southern and northern India 8 32 Some basic elements and features of Sattriya match those found in the Manipuri 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 a Mati Akhara equal 64 just like in Natya 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 by bhokots 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 the sattras on themes that go beyond the mythological citation needed The plays choreographed in a Sattriya are those found in Hindu texts such as the Bhagavata Purana the Epics and the compositions by Assamese scholars 8 Dresses edit The dress of Sattriya dance is primarily of two types the male dress comprising the dhoti chadar and the paguri turban and the female dress comprising the ghuri chadar and kanchi 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 and muga 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 like Kingkhap Miri Motif Kolka etc 35 36 Uses of play specific dress are also seen in Sattriya dance The dress of Krishna Nritya and Nadubhangi Nritya is of yellow and blue keeping in line with the attire of Lord Krishna The Sutradhar 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 in Kesa Sun raw gold Artistes wear Kopali on the forehead Muthi Kharu and Gam Kharu bracelets different type of neck pieces 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 strand of rice grain and 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 the hair 35 36 The dresses of Ankiya Naats dramas are colourful and character specific Use of Mukha 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 the Ankiya 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 Music and instruments edit Sattriya Nritya is accompanied by musical compositions called bargeets composed by Sankardeva and Shree Shree Madhavdev among others which are based on classical ragas citation needed A key musical instrument that accompanies a Sattriya performance is the khol 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 Sattriya khol produces a high pitch with the right side Daina while producing a deep bass sound on the left Bewa 37 Accompanying the khol are various types of Talas or cymbals Manjira Bhortal Bihutal Patital Khutital and the flute bansuri Other instruments like the violin and the harmonium have been recent additions 37 note 1 Styles edit A Sattriya performance comes in many styles such as the Sutradhara or Sutra bhangi character specific Bhangi Prabesh Nritya and Jhumura 8 The Sutradhara 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 of Sattriya 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 Notes edit In some compositions the following additional regional musical instruments adopted from regional folk dances complete the orchestra Bin Tokari Dotara Nagara and different styles of drums mrdanga dhol dambaru etc 38 References edit https meetkalakar com Artist 1865 Krishnakshi Kashyap a b Frank Burch Brown 2014 The Oxford Handbook of Religion and the Arts Oxford University Press pp 193 195 ISBN 978 0 19 517667 4 Williams 2004 pp 83 84 the other major classical Indian dances are Bharatanatyam Kathak Odissi Kathakali Kuchipudi Cchau Manipuri Yaksagana and Bhagavata Mela a b Ankiya Nat UNESCO Asia Pacific Database on Intangible Cultural Heritage ICH Japan a b Lavanya Vemsani 2016 Krishna in History Thought and Culture An Encyclopedia of the Hindu Lord of Many Names ABC CLIO pp 12 13 ISBN 978 1 61069 211 3 a b Shovana Narayan 2011 The Sterling Book of INDIAN CLASSICAL DANCE Sterling Publishers pp 73 74 ISBN 978 81 207 9078 0 a b Farley P Richmond Darius L Swann amp Phillip B Zarrilli 1993 p 22 a b c d Maheswar Neog 1980 Early History of the Vaiṣṇava Faith and Movement in Assam Saṅkaradeva and His Times Motilal Banarsidass pp 294 299 ISBN 978 81 208 0007 6 Sunil Kothari 2012 Urmimala Sarkar Munsi and Stephanie Burridge ed Traversing Tradition Celebrating Dance in India Routledge pp 23 24 ISBN 978 1 136 70379 9 Tanvi Bajaj Swasti Shrimali Vohra 2015 Performing Arts and Therapeutic Implications Routledge pp 6 7 ISBN 978 1 317 32572 7 Ragini Devi 1990 pp 60 68 a b c Natalia Lidova 2014 Tarla Mehta 1995 pp xxiv 19 20 Wallace Dace 1963 p 249 Emmie Te Nijenhuis 1974 pp 1 25 Kapila Vatsyayan 2001 Guy L Beck 2012 Sonic Liturgy Ritual and Music in Hindu Tradition University of South Carolina Press pp 138 139 ISBN 978 1 61117 108 2 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 Coormaraswamy and Duggirala 1917 The Mirror of Gesture Harvard University Press p 4 Also see chapter 36 a b c Maheswar Neog 1980 Early History of the Vaiṣṇava Faith and Movement in Assam Saṅkaradeva and His Times Motilal Banarsidass pp 292 293 ISBN 978 81 208 0007 6 a b Siyuan Liu 2016 Routledge Handbook of Asian Theatre Routledge pp 19 21 ISBN 978 1 317 27886 3 a b Farley Richmond 2016 Siyuan Liu ed Routledge Handbook of Asian Theatre Routledge pp 20 21 ISBN 978 1 317 27886 3 a b Kothari Sunil ed Sattriya Classical Dance of Assam Marg The Marg Foundation Mumbai 2013 Kothari Sunil ed Sattriya Classical Dance of Assam Marg The Marg Foundation Mumbai 2013 Blurb Maheswar Neog 1980 Early History of the Vaiṣṇava Faith and Movement in Assam Saṅkaradeva and His Times Motilal Banarsidass pp 208 221 ISBN 978 81 208 0007 6 Maheswar Neog 1980 Early History of the Vaiṣṇava Faith and Movement in Assam Saṅkaradeva and His Times Motilal Banarsidass pp 209 222 229 233 234 ISBN 978 81 208 0007 6 Shovana Narayan 2011 Kuchipudi The Sterling Book of Indian Classical Dance Sterling pp 48 49 ISBN 978 81 207 9078 0 Reginald Massey 2004 pp 83 84 a b Ellen Koskoff 2008 The Concise Garland Encyclopedia of World Music The Middle East South Asia East Asia Southeast Asia Routledge p 955 ISBN 978 0 415 99404 0 a b c Reginald Massey 2004 pp 33 38 83 84 a b Janet Descutner 2010 Asian Dance Infobase pp 45 46 ISBN 978 1 4381 3078 1 Bruno Nettl Ruth M Stone James Porter et al 1998 The Garland Encyclopedia of World Music South Asia the Indian subcontinent Routledge pp 516 518 ISBN 978 0 8240 4946 1 Shovana Narayan 2011 The Sterling Book of Indian Classical Dance Sterling Publishers pp 74 75 ISBN 978 81 207 9078 0 Maheswar Neog 1980 Early History of the Vaiṣṇava Faith and Movement in Assam Saṅkaradeva and His Times Motilal Banarsidass p 298 ISBN 978 81 208 0007 6 a b Sunil Kothari 2013 Sattriya Classical Dance of Assam Marg Foundation ISBN 978 81 921106 6 0 a b c P N Sundaresan 1999 Sruti A Monthly Magazine on Indian Performing Arts Vol 172 183 pp 40 41 a b c d Costume Krishnakshi Kashyap www sattriyakristi com Retrieved 11 February 2018 a b c Dilip Ranjan Barthakur 2003 The Music and Musical Instruments of North Eastern India Mittal Publications pp 81 89 90 ISBN 978 81 7099 881 5 Dilip Ranjan Barthakur 2003 The Music and Musical Instruments of North Eastern India Mittal Publications pp 11 12 ISBN 978 81 7099 881 5 Lavanya Vemsani Ph D 2016 Krishna in History Thought and Culture ABC CLIO pp 12 13 ISBN 978 1 61069 211 3 Bibliography edit Sunil Kothari ed Sattriya Classical Dance of Assam with photographs by Avinash Pasricha The Marg Foundation Mumbai 2013 ISBN 978 81 921106 6 0 Neog Maheswar Aesthetic Continuum Essays on Assamese Music Drama Dance and Paintings New Delhi Omsons Publications 2008 Neog Maheswar and Keshav Changkakati Sattriya Dances of Assam and their Rhythms Guwahati Assam Prakashan Parishan 1973 Ragini Devi 1990 Dance Dialects of India Motilal Banarsidass ISBN 978 81 208 0674 0 Natalia Lidova 2014 Natyashastra Oxford University Press doi 10 1093 obo 9780195399318 0071 Natalia Lidova 1994 Drama and Ritual of Early Hinduism Motilal Banarsidass ISBN 978 81 208 1234 5 Williams Drid 2004 In the Shadow of Hollywood Orientalism Authentic East Indian Dancing PDF Visual Anthropology Routledge 17 1 69 98 doi 10 1080 08949460490274013 S2CID 29065670 Tarla Mehta 1995 Sanskrit Play Production in Ancient India Motilal Banarsidass ISBN 978 81 208 1057 0 Reginald Massey 2004 India s Dances Their History Technique and Repertoire Abhinav Publications ISBN 978 81 7017 434 9 Emmie Te Nijenhuis 1974 Indian Music History and Structure BRILL Academic ISBN 90 04 03978 3 Kapila Vatsyayan 2001 Bharata the Naṭyasastra Sahitya Akademi ISBN 978 81 260 1220 6 Kapila Vatsyayan 1977 Classical Indian dance in literature and the arts Sangeet Natak Akademi OCLC 233639306 Table of Contents Kapila Vatsyayan 1974 Indian classical dance Sangeet Natak Akademi OCLC 2238067 Kapila Vatsyayan 2008 Aesthetic theories and forms in Indian tradition Munshiram Manoharlal ISBN 978 8187586357 OCLC 286469807 Kapila Vatsyayan Dance In Indian Painting Abhinav Publications ISBN 978 81 7017 153 9 Wallace Dace 1963 The Concept of Rasa in Sanskrit Dramatic Theory Educational Theatre Journal 15 3 249 254 doi 10 2307 3204783 JSTOR 3204783 Farley P Richmond Darius L Swann Phillip B Zarrilli 1993 Indian Theatre Traditions of Performance Motilal Banarsidass ISBN 978 81 208 0981 9 External links edit nbsp Media related to Sattriya at Wikimedia Commons Retrieved from https en wikipedia org w index php title Sattriya amp oldid 1204366827, wikipedia, wiki, book, books, library,

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