Abstract

Bharat Muni, the author of the Natyashastra, is renowned for his work on dance-dramatic literature, particularly the Nayika. The Natyashastra, categorizes and analyzes the emotional states of men and women in love, known as Nayaka and Nayika. The Natyashastra provides an eightfold classification of Nayikas, including Vasakasajja, Virahotkantitha, Swadheena- Bhartrika, Kalahantarita, Khandita, Vipralabdha, Proshitabhartrka, and Abhisarika. To express the Nayika correctly, a dancer must be aware of its nature and creatively convey the feelings that underlie each Nayika. Nayikas are usually classified into three categories: Uttama, Madhyama, and Adhama, with the Udatta temperament being Divya, Nripatni, Kulastri, and Ganika depending on their social standing. Nayika Bheda holds a significant position in Sattriya dance, where it becomes the central position in the narrative. The name Nayika refers to all female characters in the narrative, not just the main heroine. Nayikas are traditionally divided into several categories based on the feelings displayed in front of a prominent masculine figure. The Abhinaya portion of Sattriya Dance uses Ashta Nayikas, based on Borgeets and songs of Ankiya Nats i.e Ankiya Geet. Lord Krishna is at the center of almost every Sattriya Dance Abhinaya, making Bhakti Bhava the primary Bhava of all compositions.