Sattriya

Sattriya is a classical dance of India, tracing its roots to ancient drama and music texts of India, particularly Bharata Muni's Nātya Śāstra.[9][10] Its first complete compilation is dated to between 200 BCE and 200 CE,[11][12] but estimates vary between 500 BCE and 500 CE.[13] The most studied version of the Nātya Śāstra text consists of about 6000 verses structured into 36 chapters.[11][14] 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.

[11][15] Dance and performance arts, states this ancient text,[16] are a form of expression of spiritual ideas, virtues, and the essence of scriptures.[17]

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.[18] Singing and musical traditions, similarly, have been traced to Assamese chorus singing tradition for the Hindu epics: the Ramayana and the Mahabharata.[18]

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.[5][19][18]

Since the 15th century, the Sattriya art grew as part of the Vaishnava bhakti movement, in Hindu monasteries called Sattra.[19] 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.[20] 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).[20]

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.[21] 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.[22]

The Sangeet Natak Akademi recognized Sattriya Nritya as an official classical dance of India in 2000. Sattriyas are now performed on world's stages.[21]

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;[23] 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.[24] 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.[6]

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:[25][26]

• The Nritta performance is abstract, fast and rhythmic aspect of the dance.[27][28] 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.[29]
• The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, story line particularly with spiritual themes.[27][28] 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.[29]
• 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.[28] Kuchipudi historically relied on a team of dancer-actors, while in modern times Kuchipudi productions include solo or duo performances.[30]

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.[7][31] Some basic elements and features of Sattriya match those found in the Manipuri dance found in neighboring Manipur state.[32]

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).[33]

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.

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. [7]