Abstract

Srimanta Sankardeva was a great saint of Assam. Srimanta Sankardeva introduced Neo-Vaishnavism known as Ekk Saran Hari Nam Dharma in Assam. The Neo-Vaishnavite movement, headed by saint Sankardeva is a great socio-cultural revolution in Assam. To propagate Neo-Vaishnavism religion Srimanta Sankardeva created many valuable contributions. Sattra is one of them. Sattras are playing an important role in the preservation and expanding Sattriya dance. Kamalabari Sattra is one of them. Sattriya dance was initiated by Srimanta Sankardeva and later developed within Sattra, so later it has called as Sattriya dance. This paper is an attempt to highlight about the dance numbers of Sattriya dance as practiced in Shri Shri Kamalabari Sattra.

Key Words: Sattriya Dance, Sattra, Kamalabari Sattra etc. 

1. Introduction 

Srimanta Sankardeva is the father of the Neo-Vaishnavite movement of Assam. He introduced Neo-Vaishnavism known as Ekk Saran Hari Nam Dharma in Assam. To propagate Neo-Vaishnavism religion Srimanta Sankardeva created many valuable contributions. Sattra is one of them. The Namghar and Sattra established by Srimanta Sankardeva. The Namghar and Sattra are not only religious institution both are playing an important role as the cultural life of Assamese society and also holding unity and integrity in society. The Namghar and Sattra are the most peaceful place of every human being. Sattras are playing an important role in the preservation and expanding Sattriya dance. Kamalabari Sattra is one of them. Sattriya dance was initiated by Srimanta Sankardeva and later developed within Sattra, so later it has called as Sattriya dance. This paper is an attempt to highlight about Kamalabari Sattra and Sattriya dance.

In this study a detail discussion about the history of Sattriya Dance, the technique of presenting, Classical Characteristics of Sattriya Dance will be discus as far as possible.

0.1 Aims and Objective of the study

The objective of the study is to bring to the light all the details about the Kamalabari Sattra and Sattriya Dance of Assam. In this study a detail discussion about the history of Kamalabari Sattra, classical Characteristics of Sattriya dance and the technique of presenting Sattriya dance will be discus as far as possible.

0.2 Significance of the study

The study can help to get the idea about the Vaishnavism and Srimanta Sankardeva. It will help to understand the history Kamalabari Sattra and Sattriya Dance. It will give idea to know about Classical characteristics of Sattriya Dance. It will be helpful for other researchers who will be interested in doing advance work on the same topic.

0.3 Scope of the study 

The scope of the study is about the dance numbers of Sattriya dance as practiced in Shri Shri Kamalabari Sattra.

0.4 Methodology and Source of data collection

According to the requirements historical, descriptive and analytical methods are used in this study. Both primary and secondary have been employed to get data and information from the source. In primary source, interviews and observation have adopted to collect the data. In Secondary source, several libraries have been visited to collect available information related to the study.

1. Sattriya Dance 

Sattriya Dance is a distinctive style of Indian Classical Dance. It was created by Mahapurusha Srimanta Sankardeva. In 15th to 16th century, Sankardeva to propagate his religious teaching among the people, created Nat Bhaona, which is known as Ankia Bhaona. These Ankia Bhaona have all the elements of Nritta, Nrittya and Natya and a huge stock of literature and a distinctive system of Music. After Sankardeva, his disciple Madhavadeva spread the dance form and made it more popular. More than five hundred years, this dance form had been continuously pursuing and practising in different Sattras; hence it is known as Sattriya. As a distinctive style of classical dance, Sattriya possesses a definite syllabus of its own and follows a definite cumulative order for imparting training to the aspiring learners. In 2000 Sattriya Dance is recognised as a one of the major Indian dance forms by Sangeet Natak Akademi of India. Sattriya dance came to be classified into two groups – Dance derived from theatrical representations and the Dance numbers which are independent of the Drama. 

1.1 Classical Characteristics of Sattriya Dance 

Like other classical Dances, Sattriya Dance has also classical elements in it. According to Natyashastra, it follows the Odra-Magadhi principles or Pravritti. Since 15th century onwards, Sattriya Dance has been continuing as a living traditional dance as a media of worship to offer devotion to God. The aim of this dance form is to offer worship to Visnu. Therefore, it was confined to the religious centres; the Namghars and for these, it had to follow its classical characters. Nritta, Nrittya and Natya- all these components of classical dances are clearly visible in Sattriya Dance. In each and every dance, it has units of dances. Ramdani, Mela Nach, Gayan-Bayan, Sattriya Ojapali, the Pravesa and Prasthana (entrance and exit from the stage by characters in Ankia Nat) and the sequence of fighting, rejoicing, weeping etc. contain in it. The characters of Nritta, Nritya and Abhinaya are fully there. On the other hand, Gitar Nach, Sloka and Bhatima of Sutradhar, Git and Bhatima of characters and in some parts of Sattriya Ojapali, the characteristics of Nrittya and Natya are elaborately depicted. Natyasastra describes four types of Abhinayas- Angika, Vachika, Aharya and Sattwika. We find all these in Sattriya Dance. As per classical rules of dance, it should always have dramatic expression which we can see in Sattriya Dance. Aharya are applied in Sattriya Dance like all other classical dances. Dramatic sequences are made livelier with the application of mask or Cho-Mukha. Epical literatures are also there in Sattriya Nritya and Ankia Bhaona. Over and above these, in epical stories of Ankia Nat of both the Gurus have compositions like Kirttan, Ghosa, Bargeet etc. All these compositions contain Sastriya elements and traditional and folk characters. (Mahanta Anudhriti, 2011, 125) 

2. Kamalabari Sattra and Sattriya Dance

Kamalabari Satra founded by Badal Ata or Badula Padma Ata in 1673 at Majuli. Badula Padma Ata was born in 1468 A.D. at Narayanpur in Assam. The dance treasure of Kamalabari Satra is rich. Sattriya Dance is practice as a medium of devotion in Kamalabari Sattra. Dance numbers of Sattriya dance, which is a medium of devotion in the Kamalabari Satra, has been playing a big role in the entire filed of Sattriya dance. In Kamalabari Sattra, Sattriya dance has been practice and preserved by daily and occasional observation known as Nritta-Naimitik Prasanga. 

At Kamalabari Satra, Vaishnava bhakats or devotees have been practicing Sattriya dance through the Guru-Shishya tradition as part of their daily observances known as Nitta Prasanga. The entire Sattriya dance has been trained and also preserved by Adhyapak or gurus as part of their practices for centuries through the guru-shishya tradition.

Kamalabari Sattra celebrated lots of festivals like- Guru Kirtan, Rasleela, Bihu Festival, Hari Kirtan, Pal Naam etc. as a part of their occasional observance known as Naimitik Prasanga. Guru Kirtan, Rasleela and Hari Kirtan are the major festivals of Kamalabari Sattras, where entire Sattriya Dance is practiced and performed by Vaishnava bhakats or devotees as a part of their rituals for several centuries.

Guru Kirtan is the devotional or spiritual festival of Kamalabari Sattra. The death anniversary of Srimanta Sankaradeva his disciple Madhavadeva and Badala Padma Ata or Badula Ata are observing as Guru Kirtan in Kamalabari Sattras. In every year, Guru Kirtan is observed for four days in the month of auspicious Bhadro (a month of Hindu calendar) month with grandeur. Though it is observed in other Sattras also. The first day is known as Caul Bhojani, the second day is known as Thaponi, third day is Kirtan and the last day or fourth day is Bhagoni. Various cultural programme including different Sattriya dance numbers like Gayan Bayan, Jumura, Bhojan Behar, Nadubhangi etc. are performed within the four days of Guru Kirtan by the Vaishnava Bhakats in Kamalabari Sattra. This is the major festival where entire Sattriya Dance is practiced and performed by Vaishnava bhakats or devotees as a part of their rituals for several centuries.

Hari Kirtan is one of the devotional or spiritual festival of Kamalabari Sattra. After completing 60 years, Vaishnava Bhakats or devotee of Kamalabari Sattra celebrates Hari Kirtan. Vaishnava Bhakats celebrates Hari Kirtan, according to their ability for two or three days with lots of functions. Sattradhikar is the main leader of Sattra institution and he celebrates his Hari Kirtan after completing his 60 years. He celebrates his Hari Kirtan for seven days with lots of functions. Every day with various cultural programme including different Sattriya dance numbers like Gayan Bayan, Jumura, Bhojan Behar etc. are performed. Vaishnava Bhakats celebrates Hari Kirtan four to five days in Kamalabari Sattra.

Raslila is one of such facets which is primarily based on dances of Krishna with gopies at full moon night in the month of October-November (Kati-Aghun month in Assamese calendar) during the autumn season. (Devgoswami, Pitambar, 2021, 58) In Majuli two different types of Rasleela is presented in different places. One is presented with Vedic tradition in open space and other one is presentation on stage. In the Sattra like Uttar Kamalabari, Natun Kamalabari no co-acting is allowed in stage stag presentation also. Still, it is wonderful (Kakaty Keshab, 2020, 22-23). In Kamalabari Sattra, Rasleela is observed for four days in every year. In the first three days of Rasleela, Lord Krishna’s birth to youth is performed. The Last day or he fourth is known as Maharas. Keli Gopal Ankia Naat written by Srimanta Sankaradeva is performed in the day of Maharas. 

Kamalabari Sattra has been playing an important role to preserve and Develop of Sattriya Dance. Dance numbers has been practicing by Vaishnava bhakats of Kamalabari Sattra includes – Gayan-Bayan, Suttradhari Nach, Gosai Nach, Gopi Nach, Balak Krishna Nach, Naadubhangi Nach, Jumura Nach, Bahar Nach, Chali Nach, Rajagharia Chali Nach, Manchokar Nach, Barpravesar Nach and Sattriya Ojapali. The form of Sattriya dance which became a recognized dance form was actually originated from the Kamalabari Sattra tradition of Sattriya dance (Goswami Jatin, 2020, 43).

There is a tradition of learning Sattriya dance and music as a part of worship or ritual in all the Sattras. In certain Sattras, learning of Sattriya dance is very high and in some Sattras it exists just for namesake. There are two types of Sattra in Assam- one is Udaasin Sattra and the other is called Grihasthi Sattra. In the Grihasthi Sattras learning of Sattriya dance and music has been decreasing due to economic and some other social reasons. Specially in Udaasin Sattras like Kamalabari, Auniati, Dakhinpat, Bhugpur etc. the tradition is continuing in full swing. Training of Sattriya dance and music as well as Ankia Bhaona is given immensely in the Sattras derived from Kamalabari Sattra founded by Badula Padma Aata. The Sattras belonging to Kamalabari group are Kamalabari, Natun Kamalabari, Uttar Kamalabari, Bhugpur, Belaguri, Badula and Jorabari. There are several dances like Krishna dance, Nadubhangi, Jhumura, Chali dance etc. in these Sattras. Several dances were created at different times in Kamalabari group of Sattras, for example- the dance of Ramdani part of Chali dance particularly the Rajagharia Chali dance (Goswami Jatin, 2020, 19-20).

The Sattriya dance numbers that complete the dance treasury of Kamalabari Satra are as follows:

Gayan-Bayan : Gayan bayan is a musical orcasta. It is also known as Joragoa. It consists twelve dhemalis- Bar dhemali, Saru dhemali, Na-dhemali, Raag-dhemali, Naat-dhemali, Ghosha dhemali. There are different foot works in dhemalis, which are played significant role in the beauty of its presentations. Instrument like khol (the main percussion instrument of Sattriya dance, which was invented by Srimanta Sankaradeva for the first time for the Chihnayatra) and Pati Taal (one type of cymbal) is used in the presentation of Gayan Bayan.

Suttradhari Nach: Suttradhari dance presented in bhaona is a solo dance. After Gayan-Bayan, Suttradhari Nach (dance) is performed. Suttradhari Nach (dance) is a special dance performed by the one of the main characters of Ankia Bhaona known as Sutradhar. He leads and directs the whole Ankia Nat from the starting to end. Sutradhar is an adept dancer, singer and actor. Sutradhar dance has four parts – Prabesh, Raga, Gaat and Shlok dance. Sutradhar himself performs the dance by singing Raga, Bhatima, Vachan (dialogue) etc. 

Gosai Nach : After Suttradhari Nach, Gosai Nach is performed. It is mainly Purusha (male) is accessible. Gosai Nach is the dance of the Lord Krishna or Lord Rama. In Ankia Bhaona, Lord Krishna and Lord Rama enters the stage on dancing movement. Before the Gosai Nach (dance), sings an entrance song in sidhura raga or nata raga in ek-taal, in which dancer entering with dancing. Now a day, Gosai Nach is performed in two ways- as a part of the Ankia Nat within the Sattra and also as an individual dance form of Sattriya dance in outside the Sattra as a solo performance.

Gopi Nach : Gopi Nach is the dance of the female characters or Gopies of Ankia Nat. Gopi enters into the stage in a circle in a group by the female dancers. Bhakats performed Gopi nach in female attire inside the Sattra. According to the Sattra tradition, Bhakats played all the role of female characters of Ankia Bhaona inside the Sattra. 

Balak Krishna Nach : Balak Krishna Nritya is a Sudhha Nritta means a pure dance number. It is mainly child Krishna dances with his fellow cowherd boys. On the day of Madhavdeva’s dead anniversary which is held on Bhadro month, Jhumura performed by devotees on the day in every year in Kamalabari Sattar. Thus, every year Gop Balak Nach (dance) performance through Jhumura has been taking place in Kamalabari Sattra. Now a day, this dance number is performed in two ways- as a part of the drama and also as a solo dance form of Sattriya dance. 

Naadubhangi Nach : Nadubhangi Nach is a Sudhha Nritta means a pure dance number. It is mainly Purusha (male) is accessible. it has three parts- Raagtalani, Ramdani and Geetar Nach. First part is known as Raagtalani, second part is known as Ramdani and third part is known as Gitar Nach. According to the Sattra tradition, this dance is performed in group. Now a day, Nadubhangi Nach (dance) is also performed as a solo dance of Sattriya dance in outside of Sattra. Badala Aata’s death anniversary is observed as a Guru Kirtan of Badala Aata in every year at Kamalabari Sattra. On the day of Thaponi (second day of Guru Kirtan) of Guru Kirtan, Bhakat or devotee perform Nadubhangi dance in Sattra as their ritual.

Jumura Nach : Jhumura Nach (dance) is created by Madhavdev. According to the Sattra tradition, this dance is performed in group. Jhumura Nach (dance) is also performed as a solo dance of Sattriya dance in outside of Sattra. Badala Aata’s death anniversary is observed as a Guru Kirtan of Badala Aata in every year at Kamalabari Sattra. On the day of Saul Bhojani (first day of Guru Kirtan) of Guru Kirtan, Bhakat or devotee perform Jhumura dance in Sattra as their ritual.

Bahar Nach : Bahar Nach (dance) is created by Madhavdev. According to the Sattra tradition, this dance is performed in group. Now a day, Bahar Nach (dance) is also performed as a solo dance of Sattriya dance in outside of Sattra. Badala Aata’s death anniversary is observed as a Guru Kirtan of Badala Aata in every year at Kamalabari Sattra. On the day of Kirtan (third day or main day of Guru Kirtan or dead anniversary of Madhavdeva) of Guru Kirtan, Bhakat or devotee perform Bahar dance in Sattra as their ritual. On the day of Hari Kirtan, Bhakat or devotee perform Bahar dance in Sattra as their ritual

Chali Nach : Chali Nach (dance) is a female dance number introduced by Madhavadeva. According to the Sattra tradition, this dance is performed in group. Now a day, Chali Nach (dance) is also performed as a solo dance of Sattriya dance in outside of Sattra. Badala Aata’s death anniversary is observed as a Guru Kirtan of Badala Aata in every year at Kamalabari Sattra. On the day of Kirtan (third day or main day of Guru Kirtan or dead anniversary of Madhavdeva) of Guru Kirtan, Bhakat or devotee perform Bahar dance in Sattra as their ritual.

Rajagharia Chali Nach :  Rajagharia Chali Nach (dance) is a female dance number introduced by Madhavadeva to performed in the Rajdarbar or royal court to entertain the kings. Rajagharia Chali is a composition of Kamalabari Satra. But this dance is another type of dance of Chali Nach created by Madhavadeva. When the Chali dance, performed as a part of devotion, gained respect from both the king and the people, the art loving Ahom kings wanted to make this dance official. The Chali dance performed as a religious purpose was re-created by Kamalabari Satra, worthy of being presented in the royal court. The name of the new form of Chali Nach created by Madhavadeva is Rajagharia Chali Nach (Bora, Karuna, 2009, 133).

Manchokar Nach : Manchokar Nach is a group performance, performed by Bayana the khol players and Gayana the singers. Khol and Cymbals are played in Manchokar Nach. This dance is mainly practised in the Kamalabari group of Sattras. In this dance, a Bar Bayan leads the group. The Git, Govinda guna mana lagi’ in Ahir Raga is sung before the performance. It is followed by the Git ‘Uddhava Bandhu madhupuri’ in the same Raga and Jatiman Tal on ‘Kaha mohe Uddhava jiu’ is sung in Manchokar Nach and Bar Bayana begins the performance with Git different Bharimans and Hastas are used in this dance form (Mahanta, Anudhriti, 2011, 124).

Barpravesar Nach : It is a dance of Lord Krishna. It is believed that when the Lord Krishna returned from Vrindavana to Gokula, this dance was performed (Kandali Mallika, 2014, 24). Shri Krishna performs this dance with Gopa Balak while returning from Brindavan to Gokul on evening time. Among all the Natuwas (dancers), only Aag Natuwa (chief or main dancer) wears the attire of Shri Krishna. In Sattra, this dance is performed only on the day of Thapani after the presentation of Ram-Dhemali. this dance is not allowed to performed outside the Sattra. There is a rule to be punishment for performing outside the sattra. That is why Sattriya artists are watched with great respect and do not perform outside. That is why Sattriya artists have observed this dance with great respect and do not perform outside. The bajana or Bol of this dance, cannot be played by anyone other than the artist who has received blessings of Barbayan (Bora Jadav, 2015, 149).

Sattriya Ojapali: The performing style of Sattriya Ojapali are different in every Sattra like Kamalabari, Auniati, Barpeta etc. Sattriya Ojapali performance may be categorised under several units presented stage wise like- Raag Guwa, Sloka, Git, Diha and Pad-Guwa.  In Kamalabari Sattra, the last unit Pad-Guwa has contained some sub units. Bandha Ragas are used in Sattriya Ojapali. Changes has taken place in the performance of Sattriya Ojapali, but still maintaining its own traditional characteristics. In Kamalabari group of Sattras, about 82 Ragas were practised in this tradition. After Raga, the Oja recites a Sloka on the basis of the tune of the Raga and also on the theme or subject matter of that recital. In the Geet part, Bargeet in Bandha Ragas are used. In Diha part, the Oja narrates the Chaturvimsati Avatara section from the Kirtan Ghosa or from others composed by Sankardeva or Madhavadeva. Pada is the most important and attractive part of Ojapali. Here, the Oja asks some questions to the Palis and again the Oja explain the story to the audience (Mahanta Anudhriti, 2011, 124).

3.0 Conclusion 

Srimanta Sankardeva was a great saint of Assam. Srimanta Sankardeva introduced Neo-Vaishnavism known as Ekk Saran Hari Nam Dharma in Assam. The Neo-Vaishnavite movement, headed by saint Sankardeva is a great socio-cultural revolution in Assam. The Neo-Vaishnava movement started by Srimanta Sankardeva also gave birth to the Sattriya culture and dance thereby giving a whole new definite shape to the ethnic culture of Assam. Sattriya Dance is one of the finest expressions of Indian dance tradition. The Sattras have been playing important role in the presentation, development, propagate of Sattriya Culture. Because of its religious character and association with the Sattras, this Art tradition is ably name as Sattriya Culture.

Contribution of Kamalabari Sattra established by Badala Padma Ata is playing significant role to preserved and developed the Sattriya dance. Particularly, practiced and preservation of dance numbers of Sattriya dance has high appreciations. Sattriya dance has been practice and preserved by daily and occasional observation known as Nritta-Naimitik Prasanga in Kamalabari Sattra as their rituals.  Now, Vaishnava Bhakats have given training of Sattriya dance in many institutions to promote Sattriya dance. Several significant steps by some Vaishnava Bhakats of Kamalabari Sattra contributed to recognized this dance form as an Indian classical dance form by Sangeet Natak Akademi in 2000. Maniram Dutta Bayan Muktar was one of the them. Maniram Dutta Bayan Muktar was the eminent exponent of Sattriya dance. He was the first Sangeet Natak Akademi Awardee of this art form. He was honored with Sangeet Natak Akademi Award on 20th November, 1963 by Sangeet Natak Akademi, Government of India for his contribution towards Sattriya dance. Later Bapuram Bayan, Paramananda Barbayan, Raseswar Saikia Barbayan, Padmashree Gopiram Bargayan Burahbhakat, Jugen Dutta Bayan, Padmashree Ghanakanta Bora Barbayan, Tankeswar Hazarika Barbayan, Haricharan Bhuyan Barbayan, Bhaben Barbayan etc. are some Vaishnava Bhakats of Kamalabari Sattra who contributed in the presentation, development, propagate of Sattriya dance and they also honored with Sangeet Natak Akademi for their contribution towards Sattriya Dance. Contribution of the Kamalabari Sattra and the Vaishnava bhakats that the glory of the Sattriya Art tradition has spread all over.