Echoes of My Mind

The Bhakti Movement in Assam is a significant episode in the socio-cultural history that opened up wider vistas of human experience and directed ways of translating thoughts and ideas into physical reality. Led by Srimanta Sankaradeva, (1449-1568), saint and preacher, poet and playwright, philosopher and reformer, artist and composer (“all rolled into one” as described by Vasudev Saran Agrawal) the Bhakti Movement in Assam brought a ‘new comprehensive outlook on life, a distinctly healthy tone to social behavior with an all pervasive organizational set up, and accelerated the pace of literature and the fine arts.’ (Maheswar Neog). Most importantly, it broke the straitjacketed version of the philosophical doctrine as a reign specified to crème de la crème and spread the emissions of enlightenment to the general masses which surcharged the popular emotional layers with intense devotion. Whether it is Bhaona, or any other form of fine arts, the intention of general mass appeal always moved in sync with the spiritual and devotional fervor without compromising the aesthetic standards. The Brindabani Bastra, is one of those reflections that holds, both artistic virtuosity, and weaving adroitness together with the intelligence of bringing people closer to Lord Krishna, the cowherd Lord reveling in marvelous boyhood feats and playful merry making as well as dalliance with the cowherd maids. This in a way transcended the cluster of Vaisnava philosophy as a devotion to a personal God, to all levels of common man, as a popular religion with the child god Krisna in its centre, in highly poetic and passionate renditions. The Brindabani Bastra is a 120 meter long piece of cloth with a breadth of 30 meter (approx) that depicts the heroic manoeuvers of Lord Krishna. According to popular aphorism, the piece of cloth textured with divine gestures of the Lord was prepared for Koch royalty. The saint -poet moved by the king’s utmost devotion to the Lord decided to prepare this piece of cloth. But as commonly believed, addressing to the king’s intense devotion was only a pretext, for the saint-composer’s creative distinction. Nevertheless, the patronage from the king and support from Chilaray, helped the saint, in accumulating the necessary materials for weaving this amazing fabric.
Unfortunately, like many other aspects of Vaisnava movement of Assam, this area has also not taken much space in the field of analytical research. Few individuals have come forward with understandings and interpretations, but a deeper survey in terms of research work is still under demand.
Mrinal Chandra Kalita’s Brindabani Bastra, published by Banalata (2nd edition), is a good work, advantageous enough for an understanding of the Brindavani Bastra. That the author is well versed with the technological formulations of weaving and textile industry being an executive of that firm is well reflected from the book. With the contents variation, delving various facets of Brindavani Bastra, the author through his writings forays into the artistic excellence of the great saint, in terms of his weaving expertise. Right from selection of material, the saint-preacher concentrated on all the necessities that resulted in developing a cloth of magical wonder. The book begins with the writer’s approach to Brindavani Bastra and his arrangements for undertaking this project. As, sufficient works have not been done in this regard, the author had to take recourse to various discussions with both scholars of Sankaradeva Studies and other experts of fine arts. He also had to rely on the personal accounts of people, privileged with the experience of seeing the cloth.
Preceeding the text, there are several introductions written by Sri Basista Sarma, His Holiness the Sattradhikar of Barpeta Sattra, Professor Bhava Prasad Chaliha, Former Faculty Member of Assamese Department, Gauhati University, and Sri Pradyut Hazarika, Publisher, Banalata, touching upon the background of the subject and in compliment of the author’s endeavour. The book begins thematically, with the analysis of Brindavani Bastra. The first chapter provides a backdrop of making of the cloth. Gradually, it proceeds with a detail illustration of the Bastra, in terms of the saint’s adroitness in selecting raw material for designing the fabric silhouetted with brilliant shades of colours, description of scenic beauty of the cloth, the pictorial vivacity in depicting nature, etc. While, sharp observations with a rich rural setting of folk culture, poetic and passionate rendition and minute details in figuring the incidents of Krisna’s life pictorially, accompanied by a comprehensive description of those incidents are features of Brindavani Bastra, the writer’s efforts in sharing these aspects in words justify the sincerity of his undertakings. The author also highlights the social intention beneath the creative work and describes the spatial significance of the cloth in addition to the saint’s relation with King Naranarayan and Chandari Aai.
Another interesting aspect of the book is the narration of small incidents, related to the significance of the cloth. The writer takes assistance from various sources like the biographical narratives of the Sattra maestros, Rosemary Crill’s write up, personal interactions with various people and tries to embrace their way of understanding the Brindavani Bastra. The next chapter outlines various traits of Brindavani Bastra including the rich pictorial dexterity, the richness of colour and the saint’s minute observations in picking up the yarn etc. and pens down his interpretations with scientific analysis of the cloth’s textural significance. The saint- artisan’s use of ‘mina’ for the first time, as mentioned by the author is a fact, worthy of note. Further technical analysis with a milieu of weaving tradition of Assam is imparted by the author. The chapters succeeding to this, goes on with these technical formulations of weaving structures, like colour vibrancy silhouetted by a concentrated selection of fibres , significance of the length and breadth, etc. in corroboration with the author’s reasonable outlook and sharp observation on each and every facet of this exquisite piece of cloth. Chapter 7 portrays the impact of Chihnayatra, in the bastra as the involvement of the saint-reformer in the artistic deliverance of Chihnayatra prepared a wider base for his later creative constructs. The colossal figure envisioned beyond the immediate reality and wanted the renditions celebrating the greatness of the Lord and his humanitarian ideals, to be installed permanently in the common psyche with a creative insight. Brindavani Bastra, holds that social intention of the great visionary, Srimanta Sankaradeva.
The chaptered divisions thereafter deal with the period of preparing and offering the enchanting Bastra under the tenure of King Naranarayan and Chilaray. Supported by historical accounts from the biographical narratives, the statements provided by the author stand rational. The episodes also deal with the existential prowess of Brindavani Bastra, succumbing a time testing period of 500 years. Various factors including adept selection of material by the saint-philosopher and his dexterous artistry in weaving the cloth together with the creditable performance by Museum of London in preserving the piece of cloth suiting the changing temperature of the climate have contributed in sustenance of the fabric, through the ages. The concluding chapters focus on the journey of the Bastra from Assam to the far areas of Western continent and the efforts in bringing it back, at least a single piece, to Sankaradeva Kalakshetra. The Bastra, today is found in various museums of Western Continent, like Venice, London, Paris, Philadelphia and so on. The mystery behind its journey from the north-eastern corner of Indian sub-continent to European and British soils is yet to be revealed in exact terms. However, the colonial enterprise and several other explorations by various dynasties after the death of King Naranarayan, might have led to this dislocation. The dislocation has also led to a vacuum in research exploration by the scholars in appraising the Brindavani Bastra as an artistic phenomenon. The need to have a glimpse of that marvel is felt emphatically, which would not only generate interest amidst the academic forums of research works, but also help in making people aware of the rich heritage of Assamese culture.
Mrinal Chandra Kalita’s effort in bringing the general masses closer to this cloth of incredulity is indeed praiseworthy. Although this reader felt a need of a further probe of pictorial analysis and its significance in terms of rich colour fabrics, together with a highlight on the on the gestural poses of the figures in the paintings and the pattern of their sculptural movements which seems to have a futurist design, the spiritual metaphor , inherent behind each depiction, the supremacy of pastoral descriptions, valorization of humanistic perspectives of the Lord, for example, his service towards community etc, and its incredible portrayal in terms of minute analysis of figures and sketches in the weaving designs, would have proved more enlightening. Nonetheless kudos to the author’s painstaking efforts. The book stands as an important speculation on this area of Sankaradeva Studies, and fills up to a greater extent the vacuum of research floor in this field of Cultural Heritage of Assam.

2009-12-14T10:58:00.000-08:00

Eulogizing The Great Master

Anwesa Mahanta

Newer interpretations always find its way in the task of discerning and reviewing a higher ideal. Srimanta Sankaradeva (1449-1568), saint and preacher, poet and playwright, philosopher and reformer, artist and composer (“all rolled into one” as described by Vasudev Saran Agrawal), being the fountainhead of the Bhakti resurgence in Assam, is such a colossus. The magnanimous contributions by this great saint poet stand as a prism that reflects shades of newer horizons of thoughts providing thereby various scopes of insights on Vaisnava Renaissance in Assam. Be it in the field of social reformation, or in creating a new range of literary compositions or even in introducing a different interpretative medium of human expression, theatre, music and dance, the composer, splendidly left an indelible print of creative excellence. Indeed he has remained a ‘Master’ who brought a new change of direction in the society and elevated the life of the common man to a higher spiritual realm through his idealistic concept of humanity and unveiled ways of civilizational progression which hyped the chapter of Assam’s cultural history.
Through the last decades, many individuals in their attempt to understand this colossal figure and his voluminous works have stepped forward with their own interpretative and definitional constructs. Several publishing houses have also provided opportunities by printing those expressional gestures in words. And this process of learning, understanding, exploring and expressing continues unswervingly. Dayananda Pathak’s Srimanta Sankaradeva: The Great Master (2009), is such an effort. Published by the Chandra Prakash, Guwahati, the book gives a good introduction to the saint poet Srimanta Sankaradeva and his philosophy of Bhakti Faith. It highlights in a nutshell the creative genius’ contributions in reforming the psyche of Northeastern people who were drowned in illogical faiths and practices in the name of religion.
The book has nine chapters, each dealing with various phases of life and personality of the saint poet. While the Introduction brings to the fore a basic outline of Sankaradeva’s beliefs, ideas and preachings, propagation of ideals of communal harmony, brotherhood and peace with a Pan- Indian context of other religious beliefs and ideals, like Sufism etc, the second and third chapters undertake political and religious atmospheres of the period. The chapters provide good historical accounts of the ruling dynasties both political and religious in the form of Chutiyas, Ahoms, Kacharis, Koches and Buddhism, Islam, Sakta, Saivism, indigenous systems of faiths etc respectively. Basically it gives a glimpse of the situational grounds which ‘the Master’ had to confront. Sankaradeva tried to bring unity amidst diversity and showed them the way of individual association with the Lord which threatened the absurdities of Brahmanical practices. However an elaborate analysis of the saint poet’s contribution in changing the socio-religious and cultural scenario with his egalitarian and humanistic principles or his diligent efforts in dealing with the governing political and religious forces, his concept of the Sattra Institution as an alternate ground of socio-religious equity which brought the Neo-Vaisnava ideals and Bhagavata religion to the common doorstep, would have helped further in radiating the luminous artistic brilliance of the master mind. The chapter following this provides a genealogy of the saint and accounts of his family origin and the social role with references from the biographical narratives. Chapter V titled Birth to Childhood to Manhood dwells upon the growth of the child prodigy; indications of greatness are figured out by the author by referring to certain anecdotal incidents. The chapter also shares the relation of the ‘master’ with Ahom and Koch kingdoms and highlights his works during the reign of these political forces. Although instances and accounts have been cited by the author throughout the book, this reader missed emphatically the much expected notes and references including the bibliographical assistance for better appreciation of the text in context.
Preacher Playwright is the next chapter, and here, the author highlights Sankaradeva’s design of Ankia Bhaona. The author puts it in the backdrop of Sanskrit theatre with a reference to ancient treatise like Natyasastra, and features the unique traits of Ankia Bhaona, with an illustration of the role of Sutradhara, the linguistic aspects etc. A brief summary of the thematic concerns of the Ankia Nat was provided albeit a further introspection on the stage designing, namghar as a theatre house and a meeting ground of people of diverse sections, community participation in performance, power of performance in bringing spatial and temporal transformation and most importantly, a study of text in performance context would have given a wider understanding of his artistic brilliance. The next chapters concentrate on a descriptive analysis of Borgeets, i.e., the doxologies, the lyrical and the poetic compositions of Kirtanghosa, Dasam and other literary masterstrokes. The chapters delve both into the performatic renditions of the doxologies and a thematic content of the lyrical renditions and translation works. Although a detailed exploration of both the literary and performatic renditions by the author would have enhanced the scope of better comprehension, nonetheless a new learner is facilitated with a good introduction into the field of Sankaradeva Studies. The author also in clear terms has mentioned in the personal note that the book is meant for the common readers and hence a scholarly approach is avoided. However, there is never an end of higher reading of the immortal works of the great saints and the insatiable thirst of human knowledge expects to a greater extent, more interpretations and re-interpretations and speculations of creative constructs, be it literature, performance or any other form of human expressions. But unfortunately, sufficient amount of research has not yet been undertaken and the concluding chapter of the book, Postcript tries to reveal the depressing situation of the present academia or even amidst the youth dilettanti who have not been pursuing the necessary works regarding the Sankaradeva Studies. Nevertheless, books like this, would help people to understand in simplistic terms the ideologies of the Vaisnava Movement in Assam and the saint poet’s creative outputs which would generate more interest amongst the masses and help them traverse a course of detailed exploration, of this glorious chapter of Indian cultural heritage.

A trip to Kerala – A Journey towards Self Understanding

2009-06-11T10:14:00.000-07:00

Engulfing myriads of myths and phenomenal standing with hoary past and historic legacy, each Major Indian Dance tradition celebrates its rich histrionic artistry. Indeed, amidst the handful wonders of earth, Indian Classical Dance in its entirety holds a seat of glory in the global website of arts and aesthetics. And when an opportunity arrives to foray into this amazing world of art, we are left speechless by its grandeur. Needless it is to say, that I too underwent an experience of such a delight. The Avanthika National Dance Festival (a two day classical dance fest in Thrissur on 20th and 21st May last) with an aim to promoting the dance traditions as represented by the young minds, showcased the six forms of margi dance styles, including the Sattriya Dance from Assam. I was overwhelmed when the invitation to represent Sattriya tradition came to me. And looking forward to some great experiences of learning and understanding, I stepped into “God’s own Land”, Kerala. The trip was so rewarding and enchanting. The contours of green shades of coconut trees silhouetted against the sea reflected their energy which they seem to derive from the majestic Arabian Sea. A wondrous spectacle! And, one could easily sense the same vibrancy of energy radiating from the dynamic young performers on stage who revealed spontaneously their energy to imbibe, understand, interpret and represent a particular tradition.

The festival began with a formal inauguration by the eminent Kuchipudi exponent Vyjayanthi Kashi and the evening of rhythmic fair commenced with a Mohiniattam performance by Krishnapriya. A backdrop of Lord Nataraja was set up and the Bharatha Temple stood behind the stage creating in a way, an aura of sanctity. And as the dancers entered the stage, they lost themselves in celebration of the aesthetic nuances of their art forms and prepared ways of the freedom of soul, from the worldly attachments. It seemed that even the tree in blossoms, besides the stage, appreciated the sincere moves of the dancer transformed devotee, as it showered petals at certain points of time. What a perfect coordination of a dancer’s emotion and nature’s spontaneous response to it! Lavanya (Bharatanatyam), Sourav (Kathak), Vrata (Kuchipudi), Tanushree (Manipuri), Geetanjali (Odissi), Shree Laxmy (Kuchipudi) ably proved themselves as sincere devotees carrying forth the lamp of their glorious traditions. Each style marked with grace, elegance and power unveiled a world of ecstasy, where the audience savored rasa unceasingly.

The Sattriya recital was placed on the second day. People from nearby areas of Thrissur thronged on that day and I was given an impression that a majority of the crowd was not initiated to Sattriya Dance earlier. Hence, each time we conversed, the coordinator, Shree Laxmy Govardhan’s repeated mention of “a big responsibility” made me feel more diffident. I wonder whether I could do justice to our hallowed tradition of Sattriya, but the audiences’ cheers in profusion overwhelmed me. Undoubtedly, a unique sense of joy and at that moment, I offered salutations to the great saints. I also remembered the maestros of our tradition and my Adhyapak Bayanacharya Ghanakanta Bora for their immense contributions towards the enrichment of our tradition and also for introducing and handing down the age old praxis to the beginners like us. The trip also facilitated in getting introduced to some more young performers, Shri Anil Iyer (Bangalore), Yael Tal (Israel) apart from the other dancers, who came to see the festival. I could even meet Shri Shyamhari Chakra, the noted dance critic on the occasion and had a lively interaction on various facets of Indian arts, music and dance in particular, and the contemporary scenario of the performance standards. Moreover, I had an opportunity to meet one of my old friends, Kapila Venu (Kapila Chechi), a brilliant Kootiyattam dancer and her parents Shri G. Venu and Nirmala Paniker, renowned Kathakali and Mohiniattam exponents. The visit to their institution ‘Natanakairali’ was unforgettable. I saw an Arangetrams (ritual Ranga Pravesh) of Kootiyattam presented by one of the disciples of ‘Natanakairali’. I was told by Kapila Chechi that this is the first examination that a Kootiyattam learner has to face, and on the basis of her performance the Guru will decide whether the disciple should continue with the training. The percussive feats of Mizhavu and the ritual Vedic chants were fascinating. As I was watching the performance, my mind went back to the ‘Asirvada’ ceremony I had, years back, to mark my formal Ranga Pravesh. The transitory state of my mind further oscillated from the present and took me to the Sattra environs amid the ritual of ‘Mahala Diya’. A day long programme is planned on that auspicious occasion and a disciple has to overcome subsequent examinations. The seniors scrutinize him carefully and suggest the necessary steps to be taken for the Sattra monk’s successful journey in the respective field of arts. Back to the present, the Kootiyattam disciple with all her potentials successfully passed her exam and I ran up to the stage to congratulate her and wished her a flourishing career.

With these heartfelt experiences in Thrisssur, we left for Payannur en route to Kasaragod. The Folkland, a premier institution for promotion of art traditions of Kerala, organized an event of cultural exchange on 23rd of May. Lecture Demonstrations followed by an interaction were arranged. The famous Kathakali exponent Sadanam Balakrishnan, Mohiniattam artist Aruna Sunil and this humble learner were the participants of the programme. It was a genuine endeavour to promote Sattriya Dance amongst the Kerala crème de la crème. Sadanam Balakrishnanji and Dr. V. Jayarajan, a noted scholar conducted the programme. After a brief introduction of the Kathakali tradition by Vidwan Sadanamji, Aruna Sunil took the stage. She narrated various aspects of Mohiniattam dance tradition. While they pronounced their viewpoints in Malayalam, I stood like an illiterate before them, yet trying hard to grasp certain meanings of their language. However, the Para –linguistic features - body language and facial expressions- together with the utterance of certain Sanskrit words became instruments of communication. Delivering my viewpoints in English, I tried to give an introduction of Sattriya Dance highlighting its origin and growth, technique and repertoire and subsequent trends of development. The introductory sessions were followed by demonstrations in which three of us tried to show some of the traits of our dance forms starting right from the breath control to the concluding rites. It was amazing to see during the discourse, existence of common features and a sense of bonhomie that bridge these three distinct performing traditions of far north-east and the coastal region. Be it the ideals of Bhakti while rendering the emotional layers of minds in dance or inclusion of elements from authentic texts like the Natyashastra, convergence from diverse points, always exist and in this interweaving, the local flavours imbued with the regional spirit and a larger national interest always persist. So, a complex game of inter-webbing together with polyphony of stylized interpretations governs the performance canvas of these art traditions. The interaction session was animated with the art lovers’ desires of knowing more of the Sattra institutions, its way of life, impact of the British rule, role of women in Sattra establishment, the social significance of Naamghar – cum theatre house etc. Cherishing these moments we moved to Kasaragod, for another concert and the warm response from the audience made me felt blessed.

Nonetheless, this was only a little step. We’ve got more lessons to imbibe for a better understanding of the definition of an artist, his or her relation to the art where a pure assimilation of individuality and social psyche takes place to bequeath an amount of commitment towards the art paving the way for the growth of a responsible interpreter of a tradition and most importantly a thorough aesthetic appraisal of our rich heritage. I often recollect the interaction, “Fraternity Day” organized by The Prasiddha Foundation in collaboration with Kri Foundation, on the occasion of World of Dance Day at the India Habitat Centre, New Delhi, on April 29th. The dance evening started with performances by the eminent maestros like Yamini Krishnamurthy, Uma Sharma, Geetanjali Lal, Kanaka Srinivasan; it proceeded with outstanding exponents like Pratibha Prahlad, Rama Vaidyanathan etc and finally concluded with young representatives like Arunima Kumar and this humble learner. A kaleidoscope of creative brilliance and imaginative excellence were exhibited translating the literal platform into a temple that has seen through the ages, traditions flourishing with the torch bearers, growing in the hands responsible artisans through sensitive re-interpretations and finally being carried by students like us, who has got miles to go for understanding the art traditions. In the informal interaction, noted art connoisseurs like Leela Venkataraman, Uma Vasudevan (writer), Kamalini Dutt, Avinash Pasricha, Shanta Serbjeet Singh, Arshiya Sethi etc, shared their experiences with each of the dancers and said how a dancers relation to her dance goes beyond the mundane affairs and even the passing away of dear ones hardly deters them from their commitment towards the art. So, to pursue a dance tradition or any art form, the learners have to undergo those paths of liberation that would elevate them from the physical space of ephemeral sensibilities to a plane of inexplicable higher sensitivity.

Reminiscing these wonderful experiences we took our steps back home. And I returned with the solace of mind perceiving some understandings of finer aspects of Indian dance forms nevertheless with a realization of the distance to be covered for a fruitful journey of my life.

Anwesa Mahanta,Sattriya on Flickr - Photo Sharing!

2009-06-03T03:16:00.000-07:00

Anwesa Mahanta,Sattriya on Flickr - Photo Sharing!

2009-06-03T03:05:00.000-07:00

Anwesa Mahanta,Sattriya on Flickr - Photo Sharing!

2009-06-03T03:02:00.000-07:00

Anwesa Mahanta,Sattriya on Flickr - Photo Sharing!

2009-06-03T02:53:00.000-07:00

Anwesa Mahanta,Sattriya on Flickr - Photo Sharing!

The Hindu : Friday Review Thiruvananthapuram / Events : Celebrating the arts Fetes

2009-05-11T11:34:00.000-07:00

The Hindu : Friday Review Thiruvananthapuram / Events : Celebrating the arts Fetes

2009-05-11T11:33:00.000-07:00

The Hindu : Friday Review Thiruvananthapuram / Events : Celebrating the arts Fetes

The Hindu : Friday Review Delhi / Dance : World at your feet!

2009-05-08T00:50:00.000-07:00

The Hindu : Friday Review Delhi / Dance : World at your feet!

2009-03-10T12:00:00.001-07:00

COMMENTS FROM THE ART CONNOISSEURS : MOMENTS OF INSPIRATION

· “….spontaneous portrayal of tradition….”
The ‘Amar Asom’, Guwahati
· “….scintillating presentation with chiseled body movements and rare sense of rhythm and space….”
The Assam Tribune, Guwahati
· “….with her rich and sculpturesque footwork, Anwesa widened the vast possibilities of Sattriya Dance in terms of talasrayi and abhinaya compositions….”
The Telegraph
· “….a rare moment of joyful experience….”
The ‘Goriyosi’
· “….with her light footed grace, animated face and eyes Anwesa Mahanta made a lively dancer….”
The Hindu
· “….Anwesa rendered the passage from Rukmini Haran with unsurpassed intensity of inner involvement….”
The Hindu
· “….An accomplished dancer, her excellent abhinaya and controlled nritya made her recital very special, particularly for one who was not yet twenty….There is clarity in her movement which is well-defined, stylized and elegant. There is sophistry not only in her nritta but also in her abhinaya. If she continues to dedicate herself and is nurtured properly and guided to delve within to invoke sattvikabhinaya, she is sure to mature into an exceptional exponent of Sattriya Dance….”
Nartanam, Vol. III, No. 4

· “Nimble footworks captivate the audience…..”
The Telegraph

· “…Anwesa’s impressive expressions coupled with her intricate body movements could effortlessly take the viewers to an altogether different world. She could depict with equal ease and skill the exquisite feminine charm while in the role of a female and also the masculine vigour while playing the male roles….”
The Assam Tribune

· “Enthralling performance...”
The New Indian Express

· “..Anwesa enthralls Delhi audience with her stellar performance..”
The Sentinel
· “Air borne…”
Deccan Herald
· “Up in the air”
The Times of India
· “Anwesa Mahanta with her fine Abhinaya and controlled movements did exceptionally well….”
Nartanam, Volume 8, No.3

· In Anwesa, one discovered all the attributes that goes into the making of a great dancer – talent, passion for perfection, and the joy of dancing with internalization of character.
Nartanam, Vol. III, No. 4
· “Dancing to glory….”
The Telegraph
· “…The find of the festival was, however, Guwahati-based Sattriya dancer Anwesa Mohanta. One rarely comes across such a dancer for whom dance does not mean merely a drill but an act of devotion and passion…”
The Hindu

2009-03-10T11:40:00.000-07:00

Performing Traditions of Assam and The Role of Sattras
Anwesa Mahanta

Assam, often described as a paradise for linguists and anthropologists, is a land replete with richness of ethnic diversity, as well as racial, socio-economic, religious, and artistic manifestations. With its proverbial plurality at all levels of human existence, this land, situated in the northeastern part of India, has contributed immensely towards the treasure and panoramic beauty of Indian Arts. Ranging from literary, plastic as well as performing, the heritage of Arts in Assam taking both synchronic and diachronic views encompasses an amorphous structure of cultural scenario. And hence a conceptual model to perceive and encapsulate these manifold realities of human aesthetic response becomes difficult.
Transcending temporal conditions, several art forms have survived and continue to influence human existence in a socio-cultural atmosphere. Assam, being a land of diverse cultures comprising both tribal and non tribal communities, has grown over the centuries of political and social upheavals in which various artistic tendencies have evolved responding to experiences of life. Leaving aside the myth of Usha-Chitalekha the exquisite artists and a popular aphorism– “gite vadye cha nipuna sa kamarupa kamini”, we get an idea of the prevalence of diverse traditions of paintings, dance and music in the earlier centuries of Christian era. The inscriptional evidences including the extant literary material help us in reconstructing the history or continuity of the performing arts in Pragjyotisha, the puranic name of Assam. The Natyashastra, the earliest available treatise on music, dance and drama, describes four systems (pravritti) of dance and drama prevailing in those days of the 2nd century AD – Dakshinatya, Avanti, Panchala – Madhyana or Panchali and Odramagadhi, among which the Odramagadhi school includes the Pragjyotisha traditions. It amply illustrates the prevalence of a rich variety of dance and drama including music in those early years.

The account of the Chinese traveller Hiuen Tsang mentions about the entertainment by the Kamarupa King Bhaskaravarmana (7th century) with music and dance. The Dubi and Nidhanpur inscriptions of Bhaskaravarmana also describe the king as cognoscenti of music and dance. Some later kings of Kamarupa in the 9th to 11th centuries have been referred to in the various inscriptions as connoisseurs of various arts. Again, as historians have surmised, the Brahmaputra valley of Assam since early years of civilizations have been a convenient passage of human migration with the movement of scores of various social groups belonging to both Aryan and Mongoloid stock. Assam became thereby a settling ground for many tribes and castes of diverse ethnic stock in different periods of time. These inhabitants belonging to both tribes and castes have various forms of artistic expressions, many of which are essentially connected with religious rituals and festivities, agricultural cycle and societal behaviours. The Tibeto Burmese group, from which there is a gradual emergence of the Bodo and the Mising tribe, is one of the best instances in this regard. Earning their livelihood through agriculture, the tribes are endowed with their traditions of dance and music, handloom and handicrafts.
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With the geophysical realities ranging from east to west there has been diverse and at times contiguous similar responses to ecological situations. These get reflected in sound patterns which can be traced back to the physical environment. Again responding to the surrounding nature, there evolves distinctiveness in costuming, dress and decor. Coming across the “geophysical” and “ecological” realities, we have cases of co-mingling of races. The migration patterns and gradual assimilation of certain races into others, the connections of some of these with places both within and outside India have influenced varied artistic expressions. The tea garden community coming from various parts of the country and settling down in Assam and the linkage of South Asian countries with the Ahom Kingdom in Assam are exemplary instances in this regard. Again the social structures of various societies undoubtedly create an impact leading to a general identifying classification of them as “tribal”, “rural” and “urban”. (Dr Kapila Vatsyayan, A Study of Some Traditions of Performing Arts in Eastern India: Margi and Desi Polarities).

A glimpse of the urban scenario is already penned in the earlier part. Forms developed within a framework of agricultural and other functions and particular social organizations are carried forward and taken over in a different milieu. Here they are characterized by a certain amount of dissociation of the agricultural attributes or the interrelation of art and social structure. The prevalent form is “instilled, added, admixed, superimposed, resulting in a “new self conscious awareness”. (Dr Kapila Vatsyayan, A Study of Some Traditions of Performing Arts in Eastern India: Margi and Desi Polarities). However, within these broad categories, of tribal, rural and urban, there are many sub – classifications based on agriculture and economy. According to conventional anthropological terms, the pastoral herdsmen, the nomad might be considered under the first level, the shifting cultivator and the settled cultivator through plough and tools might be the second while the tradesman and organized economy of consumer and producer society, the third. And in turn we get distinct patterns of music, dance, design and crafts. Let us take an example of the tribal community of Dimasa women , who love to ornament themselves with Poal (necklace made of silver coins), Chandrawal (necklace made of silver)etc and express their humanistic expressions in rhythmic beats with the help of Khram (drum), Muriwaitha (bugle like flute), Suphin (flute) etc. It is seen that the artistic expression is dependent on both verbal and nonverbal system of communication While there may be free individual expression, but generally participative activity in weaving, wood carving, or in dance and music is the common phenomenon. Similarly the Rabha tribes render emotions through various dance forms. The Hamjhar dance, the Bahurangi dance, the Sathar dance, the Fakranti dances are some of the artistic renditions of the Rabha communities performed at different periods of a particular year. Again in shift cultivators there appears a variety of fertility rites quite common to the first level, but here immediacy of the life experience is recalled in sound, movement and dance. Dramatic action and spoken words and gestures appear at regular intervals within which the fertility rites connected with sun, earth, moon play important part. The ceremony of Nyada by the Rengma Nagas , a Naga Tribe migrated to the Karbi Anglong District of Assam, proves an evidence in this case.

Moreover, the village or the cluster of them organized by the Vedic concept of Grama also persists with heritage of arts, including the performing ones. Some art forms woven with agricultural functions like the Bihu have been integrated into the life and agricultural cycles of the peasants. Co-existent with these manifestations, are certain artistic tendencies based on epics of The Ramayana, The Mahabharata and other Puranas of Hindu origin. Ojapali is such a tradition. It is however referred to two distinct traditions bearing the stamp of the religious associations to a certain extent - The Byah Gowa variety from the Ojapali and the Devadasi which presumably flourished from late twelve and thirteenth centuries. Between these, the Byah Gowa Ojapali which has been enduring for over seven centuries with its concentrated habitat in the Darrang District of North- Western Assam, is a major performing art tradition of the state combining music, dance and drama. Parallel to this Vaisnavite stream, is another variety centering round the Sakti cult where propitiation of the serpent – goddess i.e Manasa is the mainstay. Like the Byah Gowa, the Sukanani tradition of the Ojapali is also rich in histrionic art and music as well, having elaborate use of hand-gestures, intricate foot-works and facial expositions which are distinctive of the individuality of Assam. Both these traditions remind us of the presence of the great Indian traditions. The Devadasi is another form of dance prevailing in early years mainly in the Siva temples of Assam, parallel to the Devadasi tradition prevalent in Orissa and some temples in Southern India. The Devadasis being the servants to the deity, used to dance to the pleasure of the Lord during various prayer services or worship sessions. Although the dance forms prevailing in Orissa and other parts of the country could be retrieved after the Devadasi tradition was prohibited during the British rule, and reconstructed with the efforts of connoisseurs and scholars, the Assamese Devadasi tradition of dance is virtually extinct bearing the brunt of social curse and stigma. However a little amount of the dance sequences of this form could be documented from the last exponent before his death and is now in practice among the dance lovers describing the rhythmic movement of a Devadasi taking bath before worship. Thus a rich and ancient tradition was given to die in starvation.

Thus there has been a working of a multi-layered game, observed in each region of the state. As a result of the settling down of various groups in Assam, there was growth of diverse cultural patterns born of their lifestyles. There was also constant interaction and intermixing due to social tensions, internecine rivalry and warfare, social camaraderie etc which too led to the evolution of common features in culture components among these groups retaining at the same time their distinctive ethno- religious, ritualistic, linguistic as well as performative traits. Essentially folk and tribal in nature and form, the entire range of performative expressions of art belonging to these myriad groups were mostly related to their religious rituals, social festivities, agricultural cycle and other societal behaviours.

To this polyphony of artistic expressions of performance traditions came another stream of sacred arts born of the Bhakti Movement in Assam during the 15th-16th centuries with Srimanta Sankaradeva (1449-1568), saint and preacher, poet and playwright, philosopher and reformer, artist and composer “all rolled into one” to quote Dr Vasudev Saran Agarwal, the doyen of Indologists, as its fountain - head. Although it was a part of the pan- Indian Bhakti Movement, traveling far from the Deccan lands through the Gangetic plains, centering round the ideal of intense and single - minded devotion to Lord Vishnu or Krishna as enshrined in the Bhagavatapurana and other similar Bhakti treatises, it took roots in Assam and went far beyond the portals of a religious movement, giving it the dimensions of a great cultural resurgence. The Bhakti Movement in Assam also “brought about new and comprehensive outlook on life, a distinctly healthy tone to social behaviour with an all pervasive organizational set up and accelerated the pace of literature and other arts” both plastic and performing, to quote Dr Maheswar Neog, the eminent scholar. Ankiya Bhaona, the distinctive theatre form of Assam, is a hallmark of the saint’s genius. Although conceived as a medium of propagating the faith and reaching out to people, the plays of Sankaradeva and Madhavadeva and other apostles together have become a highly stylized and popular theatre form combining music, dance and drama. The Ankiya Nat and its performance, known as Bhaona present a vast expanse of creativity, flourishing within the religious space. And Sankaradeva dexterously used every opportunity within the given space and time to demonstrate his innovative imagination and artistic brilliance. While the ideal of classical Sanskrit drama was one of the models that was in view of the classicist composer, the idea of reaching out to the vast multitude of unlettered audience, which was the prime target for communicating the message of Bhakti, was also of principal concern for the saint preacher. Thus he had to build a bridge between the two without shadowing the aesthetic appeal of the art form. And Sankaradeva achieved this tri-dimensional goal and established the Ankiya Nat being a “lyrico-dramatic spectacle as a high paradigm of regional theatre, a powerful medium of healthy entertainment and spiritual pursuit”. It is worthwhile to mention that Sankaradeva was perhaps inspired by the sanctifying prescription of singing, dancing and playing by the Natyashastra and also the Bhagavatapurana extolling Abhinaya or playing of the deeds of Lord Krishna as one of the principal paths of devotion of the Lord.
Upagayan grinan se nrtyam
Karmanai abhinayan mama
Matkatham sravayan srnvan
Muhurtam ksaniko bhawa
The Bhakti Movement - like literature, drama and theatre - brought about a new trend in music and dance also. While with the Bargit, the distinct set of doxology by both the saint composers Sankaradeva and Madhavadeva, emerged a new melodic and rhythmic structure, with the Kirtana ghosa and the Nam ghosa they devised another set of congregational chantings comparatively simpler and more popular, which like the margi-desi continuum combined high sense of Bhakti as well as shastric elements with popular melodies of the land. The Carya songs (mystic compositions of Buddhist siddhas set to ragas of classical descent accompanied by veena, venu and mrdangai) occurred and flourished during the 10th-12th centuries as a distinct style of music compositions by a number of Buddhist monks and composers. The influences of these compositions on the Bargit cannot be ruled out. It would not be perhaps out of place to believe that Sankaradeva with his versatile imagination recreated the existing traditions in music and dance and paved the path of creating a and new era in the field of Assamese shastric dance and music. And the new trends became so much popular that numerous devotional songs, lyrics were written and newer formats were devised not only by the contemporary maestros but also later composers. Again, the pursuit of dance formed to be a major component in the resurgent cultural milieu of the Sankaradeva movement. As mentioned earlier, the Ankiya nat introduced by Sankaradeva was an ingenious combination of music, dance and drama. Dances constituted an integral part of various characters and personages including the purvaranga orchestra called gayan bayan. Apart from the Cihnayatra, his other six plays and the playlets of Madhavadeva together, built up a large reservoir of dance numbers characterized by masculine vigour and feminine grace and endowed with subtle embellishment and histrionic artistry, Madhavadeva, the versatile composer, introduced a new number called cali, independent of the dramatic frame, thus opening up the possibility of new choreography outside the drama. He also worked out elegant choreographic work in respect of certain dance numbers of his plays. Thus dance found for itself a wider avenue within the sacred space of religion and even centuries after the movement the verve and vigour of those compositions and forms have not died down. Here the role of the Sattras, envisaged as an institution for the sustenance of the Bhagavata religion together with diverse traditions of fine arts and classical learning to posterity becomes of great significance.

The Sattra institution as prevailed in Sankaradeva’s life time appears to have combined the concept of an assembly (sattresu samajesu) with a discussion session on the Brahman or Paramatman (brahma sattra) or a congregation with singing of prayer. A very relevant point to be noted here is that the discourses on the life of Lord Krishna and the discussions thereupon were conducted not in Sanskrit, but in the vernacular Assamese which might have led Sankaradeva to feel the practical need at the very initial stage of his missionary life, of composing poetry in Assamese so that the common man can very well imbibe the spiritual learning. Thus the idea of Sattra and the Vaisnavite literary tradition are essentially linked with each other. Such sittings were held wherever Sankaradeva and Madhavadeva went and camped. And in course of time all the places, hallowed with the memories of the great masters were considered sacred places. Such places like Bardowa, Barpeta, Belaguri, Patbausi, Sundaridiya, Koc Behar are made permanent institutions of worship and congregational prayers and are called as Sattras or Than Sattras by the apostles and devotees. In addition to pursuing these traditions ritualistically, they are handed down to generations through systematic training given to the youngsters. A definite grammatical structure, extension of rhythmic varieties (tala- structure), together with numerous dance choreographies were developed by the Sattra exponents. With the extensive experimentations with the given tala –system and the experimentative permutations and combinations of basic talas introduced by Sankaradeva, undertaken through the centuries resulted in the evolution of a large corpus of talas. The number of talas in use in the field of dance and music varies from Sattra to Sattra. , Again, in dance, its large repertory and other paraphernalia like oral grammar, sinuous texture, intricate foot-works, stylization in expressional aspects like facial and hand gestures, the Sattra dances had taken an independent form and character and became a hallowed tradition pursued, preserved and nourished by the Sattra circle and hence it was nomenclatured as Sattriya Dance.

Again some celibate Sattra exponents of various art forms bring up young artists and impart exhaustive training under their personal care. Thus there is a gradual handing down of creative outputs to generations that contributed to the emergence of refined traditions of arts, particularly the miniature painting, wood carving, highly stylized traditions of drama and theatre, music and dance, the great body of Vaisnava literature including the development of the Assamese literary prose and the biographical narratives (caritas) etc, which are exclusively the contributions of the Sattras. The Sattra institution like the south Indian temples also served as the centres where classical learning was pursued and patronized. The Sattras provided the institutional support to the renaissance spirit to be percolated to the common man. As the Bhagavata reading or chanting of prayers from the Bhagavata related scriptures was made a part of the daily services, it opened up the possibilities of a tremendous intellectual awakening among the common people. The unlettered village man and woman also had the privilege of learning the Bhagavata by attending to the sessions of its recitals or congregational prayers in the Sattras (or village namghars). On the other hand the Vaisnava creed enjoined upon the placing of a religious manuscript on an altar (thapana) whether for congregational prayer in a Sattra or family adoration in a domestic sanctum. This resulted in a great awareness in the Sattras and villages to make transcripts of the original manuscripts. In many Sattras the original Sanskrit Bhagavata- purana is also recited by the bhagavati or the sattradhikara which is followed by recital of the vernacular rendering. Thus the Sattra institution released a second wave of awakening by bringing the Bhagavata to the doorstep of every Assamese and at the same time brought the Sanskrit learning to the popular level. And so an unlettered Assamese could recite the Bhagavata, could sing the devotional songs of Sankaradeva, Madhavadeva and other apostles, could memorize sections of the Kirtana ghosa and the Namghosa, could enact roles in the bhaona even though there was no institution or centre of today’s model for formal education of the villagers except a handful of Sanskrit tols all over the state. This strange phenomenon of the Assamese life is rightly described by Dr. S.K Bhuyan as ‘illiterate literacy’ (S.K Bhuyan, Studies in the Literature of Assam) which is undoubtedly a gift of the Sattra and the village namghar. In this way the Sattra and namghar till today are serving as centres of non -formal education in Assam’s villages.

The Bhakti Movement which swept north India, sowed seeds of democracy as it asserted the dignity of the human soul, raised the socially underprivileged to give them equal share of the religious activities. But the Sankaradeva Movement in this respect went a little further so as to raise the people from the lower strata of the caste hierarchy to the position of apostolate or pontifical order. And in the caritas we have several examples how Sankaradeva and Madhavadeva, Aniruddhadeva, Srirama Ata brought up devotees from among the tribes who were considered even outside the traditional caste hierarchy and raised them to the stature of chief apostles. Thus we have Govinda of the Garos, Paramananda of the Miris (Misings), Narottam of the Noctes, Chandsai and Dhyanpati of the Muslims and all of them were endearingly called as atas. Again there were disciples of Gopaladeva who was authorized to establish Sattras for proselytizing people in upper Assam embracing the Misings, The Sonowals, the Barahis, the Marans and the Deuris. Thus Sattras like Gojala, Ceca, Budbari, Dihing etc. have large number of Misings, Sonowals and Deuris as their laity. Simultaneously the Chaliha Bareghar Sattra of Nazira of this sect went to the hills in today’s Arunachal Pradesh to proselytize the Noctes and King Lakha Khunbao of the Noctes became one of the principal devotees of the Sattra. In the same way, Aniruddha, one of the principal apostles of Gopaladeva proselytized mostly among the Marans, the Barahis, the Chutiyas etc and brought into fold one Muslim tailor Dheli. The descendents of this devotee belonging to the Dheli Gaon are still among the prominent disciples of the Mayamara Dinjaya Sattra of Chabua. The Nikamul Sattra of Purussamhati and the Gharamara Sattra of the Brahmasamhati sects also proselyised among the Akas, Dafalas and Hill Miris of the Arunachal Pradesh.
“Performance”, to quote Richard Schechner, “is an illusion of an illusion, and as such, might be considered more ‘truthful’ more ‘real’ than ordinary experience”. Thus the performative texts and the performance situations in which the varied artistic expressions are represented are also trustful representations of social realities and mental horizons of the individual as well as social psyche. They also present a world view of a society to which the performance situations belong. Performance is also the most important and illustrious for that matter, part of these traditions as they communicate a distinct cultural mode, lead the audience and the cognoscenti to a world of joyful experiences and invite their own interpretations. The emergence of Vaisnava Movement in Assam with its idealistic visions brought a new resurgence of humanistic zeal, and it was percolated down to people irrespective of caste hierarchy and social strata. The unity amidst diversity was sought out and the gradual dissemination of Bhakti through dance, music, drama and other fine arts was experimented. It is noteworthy that performance has remained a major interactive medium during the Sankaradeva Movement. The mode of performance was used to unite people from diverse hues under a common shed i.e. Bhagavata religion. Thus, be it theatre, music or dance or even the oral narrations of the Bhagavata, individual expressions imbued with Bhakti came to the fore in their performance. Moreover, there was a gradual convergence of the individual as well as the social self, in its process. The resultant factor was a new awakening in the history of Assamese society and introduction of a new chapter in the field of its cultural history.
PHOTOGRAPH BY AVINASH PASRICHA

It is observed that, with the evolution of Sattras, there has been a constant interaction of these art forms with the other existing traditions of arts. While on the one hand the folk traditions tend to look at their own soil, they also often look up to the great traditions. The constant penetration of ‘Great Art’ into popular levels and the tribal and other folk forms also influenced the form of ‘High Art’. These cultural interactions and mutual exchanges occur at various levels based on surrounding changes and the development of new trends. Moreover, the cultural exchange helped in extending the roots of the Vaisnava ideals of peace and harmony, beliefs of Bhagavata, to various ethnic groups, both tribal and non-tribal.. Today, namghar has become a common ground, a secular platform for various social activities apart from serving as sacred temple. Social structure of Sonowal Kachari includes Bayan, who imparts training in the art of Gayan bayan (a religious dance sequence of Sattriya art). The namghar is a social platform for them, where village disputes are solved and discussions on various affairs are forwarded. Even in the contemporary context, the social life comprising the various tribes together with non tribal communities reflect the greatness of the Sankaradeva Movement, succeeded by the functionaries of various Sattras preserving the ideals of the Mahapurushas, in making of the Assamese life.

YouTube - Sattriya -Anwesha Mahanta

2009-01-16T05:51:00.000-08:00

YouTube - Sattriya -Anwesha Mahanta

The Telegraph - Calcutta : Northeast

2008-11-02T23:14:00.000-08:00

The Telegraph - Calcutta : Northeast

The Hindu : Friday Review Hyderabad / Dance : Devadasi fest delights audience

2008-11-02T22:44:00.000-08:00

The Hindu : Friday Review Hyderabad / Dance : Devadasi fest delights audience

2008-10-27T11:45:00.001-07:00

Photo: Avinash Pasricha

The National Devadasi Festival: A Treat to the Mind

The image of a trip to a particular place itself sounds arresting and adventurous. Apart from acquainting us with a new atmosphere and apprising us of vivid identities of our socio-cultural milieu, a trip at times also provides us spiritual delight. And why not? Especially when someone is getting an opportune moment to share some great ideals of the Vaisnava faith, transcending all the boundaries of caste and creed, community and other religions, the journey takes a shape of an ensuing pilgrimage. Like many other pilgrims I felt blessed with the invitation from Devadasi Nrutya Mandir, to perform Sattriya Dance in the 3rd National Devadsi Festival. The thought of visiting the punyabhumi of Lord Jagannath itself, uplifts one to the height of utmost satisfaction and adding to it, when one gets an opportunity to offer Nrityanjali, joy overshadows all bounds. Indeed the fest provided a right set of circumstances to extend the ideals of Bhakti doctrine, of Srimanta Sankaradeva and Shri Shri Madhavadeva and I am thankful to the organizers for giving me this golden chance.

It needs no insisting that through the invitation I could see my cherished desire getting realised. And finally the much awaited moment arrived. Smt Anjanamayee Saikia, who was invited for Odissi recital, my mother Smt Minati Choudhury and I reached Bhubaneswar on 24th September and were warmly received by the organizers of the festival. They handed over the festival brochure which contained pictures of a Mahari Dancer and other faces of young dancers shone the document. The brochure itself gave us an image of the event as we saw the names of well groomed talents. My name amidst those glittering stars humbled me almost, with a sense of nervousness. The mileage I have covered in my career made me felt unworthy for that honour. Nevertheless, the document was evident of an efflorescence of energy and youthful vigour, waiting to enrapture the Orissa audience.

The festival started on time, i.e. sharp at 6:30pm. The Ravindra Mandap was attuned to a musical composition of a Sanskrit verse, creating an auspicious atmosphere. There was a turn out of impressive audience braving the inclement weather. Eminent personalities like Smt Sujata Mohapatra, Shri Ratikanta Mohapatra, Smt Aruna Mohanty Satish Mehta, Sarat Das and other government dignitaries figured the scenario. After the formal inaugural session the festival took its pace with a stunning Vilasini Natyam recital by a senior performer Dr.Anupama Kylash. And the scintillating mood sustained throughout the 3 day festival, in all the recitals of the young dancers like Aishwarya Narayanaswamy (Bharatanatyam) Chennai, Vrata Chigateri (Kuchipudi) Bangalore, Amanda Geroy (Odissi) USA, M.Hemolata Devi (Manipuri), Imhal, Katayani (Kuchipudi) Hyderabad, Sonali Mishra (Odissi),USA , Swarnaprava Biswasroy (Mahari) Berhampur, Parwati Dutta (Kathak) Aurangabad, Sachiko Murakami (Odissi), Japan etc. Within the duration of 20-25 minutes given to each dancer, there was a glimpse of different styles of Indian Dances. Each one dazzling with their own beauty and elegance sculptured a mosaic and the pluralistic voices of our margi traditions with a continuum of uniformity running amidst all of them, was transparent. The inception of most of these dance forms has been within the sacred precincts of the temple and hence Bhakti with varied colours dominated these dance styles. Sitting in the audience and watching the recitals, three of us relished these traits. Within a short period we took a bath of immense joy en route from the display of Navarasas with beautiful elaborations exhibiting thereby layers of human emotions. At the same time, the Angika aspect through the Nritta components of different dance styles with their brilliance, captivated equally the audience and revealed a dancer’s command over both the pure and Abhinaya sequences.

However, what stood out significant for me was the spirit of zeal, dedication and venture amidst the youth of Orissa, with which they have taken up their art form. Glorying in the magnificence of the tradition, the youth is all set in a flight of the Skylark to traverse beyond the layers of perfection and yet retaining a firm grasp over their parental roots. Prabhat Swain’s recital together with the Rudrakshya Team (whom I happened to meet in an informal session during our rehearsals in their institute) are exemplars of the energetic representation. And even the dancers of the foreign soil have imbibed this trait as I felt the same streak of vigorous energy, in their performances too. Learning from Shri Shyamhari Chakra and Anjana mayee Saikia, about the cultural environs of Orissa and the enthusiasm of the youth, gave me a tremendous inspiration. I had sleepless nights on those days and kept on pondering over the source of this energy. With a constant interaction with the dancers, I was overwhelmed to see their sincerity towards the form, together with the sense of utmost responsibility that each dancer along with their Gurus has undertaken, in their meditative journey of dance. It’s a devotion that they owe to their glorious tradition and hence they live to perform their best, not only in individual terms but with a sense of commitment towards the age old tradition and keeping in view the contributions of maestros like Kelucharan Mohapatra, Pankaj Charan Das, Debu Prasad Das, Gagadhar Pradhan and so on. The revolutionary spirit persisted among the senior disciples of these maestros like Late Sanjukta Panigrahi, Madhavi Mudgal, Sujata Mohapatra etc and they have passed on the same traits to the next generation. What a divine pursuit! Moreover the professional spirits with which the youth have taken the dance form together with their own spiritual contentment have helped them in carrying forward their art towards excellence. The festivals like the one we attended, again, encourage these youngsters in striving forward with their aspirations. They provide a forum for close interaction of the blooming talents with senior exponents and thus an ambience of constant bonhomie surrounds the cultural environs.

Their enthusiasm put me in a state of elation but at the same time saddened my mind thinking about my own land and casual attitude with which most of us have approached our Sattriya art form. We are virtually committing a crime by doing injustice to our great time tested enduring tradition. I am constrained to feel so, keeping in mind the growing dissimilarities in the in the basic formulations, seen in the contemporary scenario. But against this, there was a uni-directional motivational force working among the earlier practitioners of the art form. The dedicated spirit was prevalent in the earlier days , when the Sattra exponents expanded the given repertoire with their creative output and met the challenging demands of the margi tradition. This creative zeal continued even in the childhood days of our Adhyapak (Bayanacharya Ghanakanta Bora Muktiyar). But somehow, today, we have failed to retain its significance. While the youthful ventures of other states are agog with advanced activities of research and performative skills, our own generation here, have failed to imbibe our Gurus’ simplicity, elegance, humility and above all ,the spirit of devotion which entailed a continual flow of past in the present. Again apart from Nritya Parva, the annual Sattriya Dance festival organized by Sangeet Natak Akademi, there are no festivals to encourage the youngsters to undertake the field of performing arts seriously. Hence we see a regression in the contemporary scenario from the earlier state of perfection, with the youth failing to meet the demands of high performative skills, in comparison to other states. Let my speculation be regarded as a humble appeal, from one of the co-representatives of our generation, to come forward with a sense of responsibility to our living tradition and try to keep up the spirit of Bhakti. Let the contributions of the great saints and the Sattra maestros entrenched in the sacred precincts of the Naamghars be also highlighted in the proscenium with same intensity of spiritualism through Nritta, Nritya and Natya sequences. Let the contributions of doyens like Late Maniram Dutta Muktiyar, and others who worked to establish the art form in the secular arena of stage do not go waste.

Coming to our role in the festival, Anjana Baideo did a good job in rendering NavaDurga, a composition by Late Shri Pankaj Charan Das and received a good response from the audience. The fact that an Assamese danseuse was practicing the Orissan art form delighted the onlookers. I offered my recital as a Nrityanjali to Lord Jagannath. My presentation began with a verse from Oresa Barnan, a chapter from Sankaradeva’s magnum opus Kirtana Ghosa and concluded with Behar Nac, illustrating the Bargeet Ava Sakhi Pekho Madana Gopal, a composition by Shri Shri Madhavadeva. I wonder whether I could live up to my Adhyapak’s (Bayanacharya Shri Ghanakanta Bora Muktiyar) and audience’s expectations. But the inspiring words from the spectators at the end of my recital made me felt blessed and at the same time, humbled me at the thought of our ancestor’s grandiloquent compositions and choreographic skills together with my Adhyapak’s lessons. I owe to all of them.

The trip will always be a memorable experience in my life and whenever I revisit the tour in my imagination, it enlightens me with a new strength to undertake my art form with seriousness. Thus the trip was a pilgrimage for me and as in any other pilgrimage, my visit to the punyabhumi offered me unbounded joy.

2008-10-05T06:12:00.000-07:00

Blooming Towards Maturity

Movements of mind with its spontaneous emotional beats set the mystic yet rhythmic pace of our life to a new direction -- a journey of hope replete with the qualities of fresh ideas and finer impressions. And gradually they culminate in a unique feast of the soul leading us to a journey so beauteous and truthful. John Keats undertaking that voyage of mind perhaps had truly spoken of art as the best medium to eternalize a particular moment of life. When he wrote, “Beauty is Truth, Truth Beauty…..” Keats did it through his art of poetry while musicians, dancers and the painters do it with the shades of true emotions and sentiments with their respective genres of art. The truth again perhaps, is the continuance of the artistic journey of the artist celebrating the eternal moments, with fresh blooming, extending to the realm of beauty and the grandeur of human art.

‘Prerona’ was such an event of beauty and joy, initiated for the promotion of the new blossoms in music. Mounted by the Assam Academy for Cultural Relations, an institution of repute, remarkable for its diversified works towards emotional and cultural integration among the varied social groups of Assam and its neighbouring states. The Academy has, to its credit, also undertaken several projects of publications and has continuously been engaged in its activities of holding seminars, lectures by eminent scholars from different corners of our country, giving the residents of Guwahati glimpses of the cultural heritage of Assam and India for that matter. ‘Prerona’ was another such laudable effort of the Academy launched as promotional venture to inspire upcoming talents in music and dance.

The evening of August 24, was an evening of harmony, where there were constant flow of melody and rhythm for hours by a group of youngsters below 20. But their age could hardly stop their flourishing minds, in rendering scintillating performances. The programme began with the lighting of the ceremonial lamp by Shri Paban Bordoloi, the artiste of repute in rhythm and Shri Ram Goswamee, noted critic and playwright and Vice - President of the Academy. Shri Bordoloi in his inaugural address articulated on the significant facets of Indian art and music in general and its environment in Assam. The concept of art can be compared with a flower, whose external beauty signifies its existence amidst other objects of the world but it’s implicit charm and grace gives us a wholistic view with its aesthetic appeal, making it a work of rare artistry in nature. Illustrating on the point of aestheticism in art, he said “…..art is not bounded within the confinements of grammar; it needs the aesthetic vision which gives it a sense of completeness. But somehow, from the wider profile of the present day art scenario, most of the pursuers of art seem to have failed to reach that state, and the teachers have also hardly been able to instill the qualities amongst their disciples. The result of which is the gradual state of regression of art, widening the chasm between the spectators and the performers failing to elevate the minds to the higher state of beauty and joy. He also called upon the learners of music to take up the art and its pursuit with their utmost sincerity and devotion and imbibe the philosophy inherent in it. His words took this humble admirer of performing arts to those maestros of Indian music and dance who idolized their art as God and enriched and widened the horizon of Indian heritage with their soulful contributions.

Coming to the presentation part of the evening, ‘Prerona’ began with the staging of a young talent Kumari Stutivani with her presentation of two Bargits by Sri Sri Madhavadeva, the principal apostle of Srimanta Sankaradeva and a great composer himself. The Bargits are a set of gems of Indian Raga music being devotional compositions of these two great Vaisnava saints of the 15th and 16th centuries set to an intricate melodic and rhythmic pattern. Of high emotive and literary value, the Bargits have given a classic foundation and a sense of distinct individuality to the tradition of Assamese music next only to the Carya songs of the Buddhist esoterism and the Ojapali. Gifted with a sweet and tuneful voice, Stutivani who had her initial training in Hindustani Classical under Smt. Ranju Neog and a few others is presently pursuing her training in Bargit under the guidance of Dr K.D.Goswami, gave her performance with Hari Kamalakanta Koise Bisuri in Raga Badadi and Hari Guna Koise in Raga Dhanashri and Basanta. A significant trait of her performance was her presentation in the traditional style of ‘Rag Talani’ with the display of several talas in a single composition resembling the ‘Tala Malika’ style of Carnatic Music. The first composition was set to Paritaal, Dharamjoti, Domani, Chutkala,Thaktaal. Stuti stood in her part with her fine command over her talas, although her percussionist was not in his best as the singer had at every point of transition from one tala to another, appeared to be jittery of her percussionist. Also, an amount of more coordination and harmony amongst her accompanists would have further enhanced the artistic and aesthetic appeal of this bright student. Later she and her group were felicitated by the distinguished exponent of Sattriya Dance and a SNA Awardee Shri Ghanakanta Bora Borbayan.

With a well knit presentation, Stuti’s recital was followed by the young and bright Shri Manimugdha Choudhury, with his brilliant feat of rhythm in Tabla. Starting his journey in rhythm at the age of 5 under the guidance of Shri Pradip Kalita, Manimugdha is at present taking advanced lessons from Shri Paban Bordoloi with a scholarship from the CCRT. Manimugdha who stole the show that evening with his marvel in playing Pancham Sawari, the 15 beat intricate work in Vilambit, Madhya and Drut presented the audience a moment of rare joy and enthralled everyone. His subtle handling of the intermediary strokes sparkled with brilliance and kept the audience looking beyond with hope and joy for a brighter future. With his gentle stage presence, his performance was supported by a coordinated group involvement. He was accompanied by Shri Dwipen Sarma in Harmonium and Shri Jatin Chetia in Tanpura. Shri Prabhat Sarma, the distinguished artist and a SNA Awardee felicitated Manimugdha and his group.

The evening’s third item included a vocal recital by Ankita Rekha Bora who has just stepped into the age of teens. With a seductive appearance and commanding voice Ankita’s performance was animated with confidence and promise. Concentrating on Puriya Dhanashree in Ektaal gave the audience a good follow up after Manimugdha’s scintillating feat. Ankita Rekha was felicitated by Smt Minati Khound, the noted Violinist.
The finale of the evening was drawn with a violin recital by Manas Samua. A talent of high order Manas began his early lessons under the tutelage of his father G. Samua, and later under the guidance of Indreswar Sarma of Jorhat who was his father’s guru also. At present he is also undertaking his higher training under the the noted singer and violinist Shri Vidyut Mishra with a scholarship from the Depatment of Culture, Government of India. With accumulated experience of several performances in various prestigious platforms and award of accolades from the music lovers and art connoisseurs. Manas’ tuneful bowing with ease and smoothness in Raga Saraswati enlightened the audience. Starting with a slow rhythm Vilambit it gradually culminated in Drut filling the audience with joy and awe. The Tabla support by Shri Dibyajyoti Changmai was good albeit there was a bit of lack of cohesive communication between the players, the presence of which could have made the recital even more enjoyable and enlivening. Manas and his co-supporter were felicitated by Professor K.D.Goswami of Dibrugarh University.

The evening of euphony with soulful presentations by these young talents left in the minds of music loving audience rare moments of joy not to be forgotten. It is of pertinent importance to put on record with much appreciation the noble venture of the Assam Academy to encourage and promote such young talents of art and hoped that such efforts should be sustained in right earnest in the days to come.

A Cultural Perspective on Society

2008-10-01T12:53:00.000-07:00

Adaptation of new ideas and beliefs, changing a particular state of being to something more aesthetic is a human tendency and it is present in every group, association or in wider terms, society. The history of the civilization of man provides the best illustration in this regard; the course in which man gradually developed from its bestial nature to the standard of higher life of a civilized society through the successive amelioration and the transmitted knowledge of the forefathers. But within this saga underlies certain facets that contributed to the development of man in a true sense, humane. It helped in giving a new outlook as well as a shine to the society. The constant search for something higher within man has led to the evolution of culture. The idea of cultivation inherent in the word culture has again led to the pursuit of refinement and perfection of all human endeavours, physical, mental and societal. Culture with its various means is one such important component that has always enabled to place human society as an idol of wisdom, and further extend towards a great civilization.

The concept of culture idealizes a kind of behavior peculiar to the Homo Sapiens, together with ‘material objects used as an integral part of this behavior’.Usually, the whole of culture ranges from a part to a whole; it ranges from customs to religion, from beliefs and ideas to varied works of art or from language to various institutions and ceremonies and so on. But the existence and use of a culture depends upon an ability possessed by man alone. There has been much debate and studies at various levels on ‘Culture’ and various aspects embraced by the word and also to make it more comprehensive and definable. A classic approach was forwarded in this regard by the 19th century English anthropologist Edward Burnett Taylor in the first paragraph of his Primitive Culture (1871).
“Culture ….is that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as member of society.”
Further, there are analyses that highlight ‘culture’ as a trend ranging from ‘learned behaviour’to ‘ideas in the mind’, ‘logical construct’, ‘a statistical fiction’, ‘a psychic defense mechanism’ and so on.

Generalizing all these views, we can assume the whole of the concept as the idea that helps man to nurture himself and develop individually as a true member of a society. And society being a composite of individuals, in the manner can advance only with this kind of cultural evolution. Thomas Hobbes described primeval man as living in conditions in which there are “no arts, no letters, no society” and his life as “solitary, poor, nasty, brutish, and short”, he was very much proclaiming a popular conception of the “savage”. Things paved towards goodness and civilized as a consequence of slow development from this lowly state. Even rationalistic philosophers like Voltaire implicitly assumed that enlightenment gradually resulted in the upward progress of humankind that further contributed in nurturing up a fine society with its perfect members.

Culture in various parts of the globe or among the various ethnic social has maintained continuity since its existence through some medium. For, a particular art is transmitted socially rather than by biological inheritance. This often reminds me about the art of dance which has through the centuries, been always successful as a medium of communication, interaction, transmission in various dimensions. For instance, ideas, beliefs, customs, behavioral pattern, teachings and so on to the generation next. But what is dance? Usually, there are two expressions in this regard, that reveal the essence of this art. First, dance is not mere body movement in a rhythmic way, but it is also a source of channelizing the various movements of mind. It is a powerful impulse of the mind and the soul that releases energy apart from sharing one’s emotion and ideas. On the otherhand the art of dance is also that impulse which is channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who are not even trained in this field. It involves unification of body, mind, and soul that successively attracts the observer towards its magnanimity. These two concepts are the two most important connecting ideas running through any consideration of the subject which are stronger than in some other arts and can neither exist without the other.

In the realm of Indian Dance, the history is replete with the events in which dance as a means of culture triumphed in playing a major role in the social life of man. We won’t travel far in this respect, as the Vaishnava tradition in Assam provides a fine evidence in establishing the art of dance as a medium of uniting people of various sects and thereby leaving a great impact on the socio-cultural aspect of the Assamese society. Assam, during the 15th and 16th century faced a tremendous hardship in the socio-religious matters that evolved immense chaos conflict and regional disparities amongst the people. Srimanta Sankaradeva (1449-1568) who was a poet and a playwright, dancer and musician, a composer and a choreographer, a social reformer with his principal apostle Sri Sri Madhavadeva brought about the Bhakti Movement in the 15th and 16th centuries which ushered in an all pervading cultural resurgence. The great saints integrated religion and pursuit of arts and thus made the ideal of Bhakti pursued through music, dance and all other arts, both plastic and performing as a medium to propagate the message of unity, morality, ethics, etc and thus doing away the chaos and conflict, disparity and disharmony prevailing amongst various social and ethnic groups. They composed various works based on the great epics and puranas. The Kirtan-Ghosa and the Nam-Ghosa are the magnum opuses of these two great saints. These were transmitted to different section of people through the medium of dance and music. As a result, people, irrespective of their caste and creed joined in this movement and were integrated to the creed of Bhakti. This whole tradition of dance and music that has been lighted up centuries ago is still alive, through the gradual transmission of this art to the later generations. Sattras, the social, religious and cultural institutions developed by the saints for the preservation of this art as well as the religious learning of the Bhakti Movement, is still performing their rituals and rites. They are practising the dance and music that prevailed centuries ago and are teaching to their followers. Thus it is a continuing tradition making stupendous impact in the entire socio-cultural scenario.

Not only this, there are also several other such examples prevalent in different regions of India that has created legend through this medium of art.Orissa’s Gotipua and Mahari, Kerala’s Kootiyattam etc are some of the examples relevant in this context. Indeed, the entire cult of dance itself is a fascinating mark of the greatness of Indian Culture --that is always held with great respect and admiration in international discourse.

Apart from these facets, my contention towards the whole approach of dance is that it enables mankind to experience a spiritual journey and further purification of mind and body. It leads us to a different world far from the mundane affairs, to a world of bliss, deep entertainment and immense delight. It helps us to explore and nurture ourself as a matured individual, and in the manner generate a healthy society--a society in which individuals are groomed to develop creative thinking and forward a new outlook to the world exterminating all kinds of social evils. Also dance helps in finding one’s own identity amongst the whole and thereby prove its existence. In another words, it encompasses all the arts and transcends to a more sophisticated notion of that intangible creativity of man which gives him a unique dignity for determining and shaping the quality of life, inward and outward .Finally, as an element of culture, it succeeds in highlighting the ‘value’ and ‘essence’ of a well developed civilization.

Bayanacharya Shri Ghanakanta Bora Muktiyar

2008-10-01T12:36:00.000-07:00

THE JOURNEY TO REACH BEYOND

“ A man’s reach should exceed his grasp, or what is a heaven for?” said Robert Browning. Whether one reaches or experiences heaven is debatable or a subjective question. But the eternal quest of man makes him always to look and reach beyond in the voyage of his life. It is more so in the peregrination of an artist adhering to a ritual form belonging to the sanctum. It is true of Adhyapak Ghanakanta Bora, the celebated Sattriya Dance exponent who taking an expedition from an obscure village in Dakshinpat of Majuli, the river island of the Brahmaputra, always has envisioned beyond the peripheral grounds.

Contrary to the time honoured saying that the home is the best seat of learning for a child, child Ghanakanta’s journey started with a dislocation from the familiar surrounding paving owards the making of familiarizing the de-familiar. Lifted from the playful household life at 4, the young child was placed at the monastic order of the Kamalabari Sattra, a premier centre of Vaisnava religious art and learning, and groomed by his foster-father Late Maniram Dutta Muktiyar, imparting on him all what there was, more particularly Dance and Music of the Sattra. And there was no looking back for him in the Sattra or outside. Traveling with his mentor like a shadow, the child earned accolades as a budding artist when he danced outside the Sattra premise. Elevated as the ‘Barbayan’, the highest honour that the Sattra can offer to a practicing percussionist-cum-dancer, he had to take reigns of the teaching and directing the Sattra inmates and he managed the young group of the Kamalabari Sattra. He recreated Ramdani which constitutes the nritta sequences and played with intricate rhythmic patterns with a complex synchronization of the bols. Guru-Ramdani is one of them. The meaning of Ramdani is an ananda as one begins to dance offering his hrid-padma. Being a fortunate one to dance his recreation, I could feel that essence of bathing in the ocean of joy in the entire composition. This number was conceived when he offered Nrityanjali on the occasion of his attainment of the honourable designation Borbayan. The visionary mind after that recreated several beautiful presentations in the format of Nritya, Natya and Nritta sequences contributing a voluminous repertoire of Sattriya Dance. Some of them have been imaged with a collaborative work with his inmates and respected scholars. And the ongoing process is still dominant in his creative mind. The shining brilliance of his dance performances gradually brought him honour and recognition from the cognoscenti paving again to his looking beyond. The devastation that the Kamalabari Sattra was subjected to, due to erosion by the riotous Brahmaputra and its translocation brought him to Guwahati. Dislocation always seems to bring new turns and the exploring mind confronted the same turning points. Instead of joining in the new establishment of the Kamalabari Sattra at Titabor, the talented young monk surveyed new paths moving here and there and finally settled in Guwahati with a job in the newly established State College of Music, Govt, of Assam at Rabindra Bhavan. Perhaps destiny took him to carve new lines in the horizons of Sattriya Dance and Music in a comparatively elitist cultural ambience. His childhood teacher and a very distinguished exponent Late Raseswar Saikia Barabayan, whom he remembers reverentially, inspired and gave him a sense of direction. His scintillating ability both as a teacher and a dancer soon brought him adulations from the intelligentsia and there was no looking back. With his spirited endeavour the dance form gradually began to bloom.

The Sattriya Dance, hitherto not much known or taken with stride outside the Sattra, received a new momentum and glitter with his leadership and involvement. Without compromising the virtuosity and nuance of the Sattra tradition, the aesthetic viewer and dedicated teacher in him brought to the form a sense of communion of traditional fervour and artistic elegance. Even with his firmness in traditional roots he has an openness which contributed to nourishment of the bud into blossom. The history of the art form goes back to 15th and 16th centuries with Srimanta Sankaradeva as the fountain head. But the evaluation of the dance form in the secular arena is a recent development and the form needs a proper care to find its deep entrenchment in the wider proscenium space of Indian Classical Dance and beyond. He tries to meet the contemporary demands of the stage scenario with traditional artistic virtuosity which imprints in the mind of this humble disciple, an idealization of the idea of ingenuity. I often hear Adhyapak speaking about the inbuilt power of the tradition which could answer all modern and post modern questions. And when his disciple asks about the individuation of a human being he gently smiles and says that an individual exists and communicates with a knowledge which is a given and the self owes to that ancient heritage which surpasses myriads of generations. Therein lies the classicality of the tradition. However the self of the individual is independent to explore with his innovative mind the heights of human faculty with a historical sense. This awareness is both abiding and has a prospect of temporality. The gradual appraisal of it makes him true to both the tradition and the contemporary age. His words remind me the famous essay by T.S Eliot, “Tradition and the Individual Talent” in which Eliot said :

Tradition is a matter of wider significance…it cannot be inherited and if you want it you must obtain it by great labour…it involves the historical sense which we may call nearly indispensable to anyone…the historical sense involves a perception not only the pastness of the past, but of its presence…this historical sense is sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity.

In the same essay he mentions that the progress of an artist is a continual self-sacrifice, a continual extinction of personality. Probably such a historical regard endows my Adhyapak a flexibility which can understand both the contemporary urges of art and yet the form and the being flow from the past. He often prescribes the words of the Bhagavad-Gita and accepts it as a repository of all kinds of human dilemmas. An interaction with him each time provides us an undertaking of a spiritual discourse that freshens up our mind and soul.

The visionary artist also stands for me as an ideal Adhyapak. Being one of his humble disciples as I look back, it is a story of building up confidence. I always see him as trying to understand the fundamental strength or weakness among his students. And he always strikes at the root of one’s weaknesses with a healing touch to rebuild and rekindle the confidence. While he inspires the capable ones to forge ahead he at the same time takes utmost care to make his disciple feel humble towards the tradition, and not to develop a sense of pride for an individual’s ability. He believes gentleness and humility as traits of an artist and tries to instill those virtues in his disciple’s mind. I always remember the ways he lessoned me the facets of Purusa and Prakriti and he laboured to make me feel both the essence of male vigour and the feminine grace in the numbers. And my initial understanding which often led me to happiness with a victorious spirit followed a sense of awe at the next steps far more intricate than the former. The victorious spirit becomes docile and I am taught intelligently to move in a calm and spirited effort reposing at the specific features of the numbers and imbibing thereby an understanding of them with their specialties. However the journey of such a learning under him is unending. The loving teacher as he always is, puts his lessons to the convenience of his students. I can particularly refer to my inhibitions as a student of Bharatanatyam. He tried to transform my training in the crystallized and geometric lines of Bharatanatyam to convenient accommodation in the grace and curved postures of Sattriya keeping both the spirit of Tandava and Lasya. Once the inhibitions were over and he found some amount of internalization he gradually put forward intricate aspects. This is how he always looked beyond the immediate. Another marvel in him as a teacher is his openness in reception. While interpreting any text of the great saints in dance, he expects the dancer to think, put his or her own feeling and perception within the norms of the form. He offers the basic meaning of the text and allows the dancer to soar high up with his or her imaginative skill and creative potency and rectifies one if the dancer digresses from the norms of the text. There cannot be a single meaning of a word or dance phraseology. There can be multiple interpretations of a particular word or text. However the interpretations should never hinder exactitude of textual meaning. Further he can easily understand the receptivity of his students absorption of thoughts. Here I can refer back to my first encounter with my Adhyapak. The communication to his place during that time was not favourable and Deta (father), Ma and me had to cover a long walk. The distanced pace exhausted me and finally we reached his place climbing up the steep. With a lamp ( as there was electricity failure) he opened the door and gave a warm welcome. I could hardly recollect the interactions between him and my parents. I was eager to tell him about my desire in learning Krisna Nac, but I could hardly articulate my fascination for Krisna. His words “ Would you like to learn Krisna Nac?” stupefied me. The words sounded magical for me and this magical spell of his, comprehending our hidden mental ratiocinations without any voice of articulation by us charms me even today together with my other inmates.

Going back to his unprejudiced concentration, the indivisible mind extends in seeing a disciple at times as a good teacher and source of information and knowledge. And when this disciple asks about the origin of his openness he remembers his Adhyapak and the Sattra atmosphere which shaped his mind, together with the influences of the philosophy of Bhagavad-Gita and the great saints. They constantly encourage him to practice indiscrimination. The non-discriminatory mind values words of people with least idea of academia and a high intellectual keeping his own receptacle mind under the process of filtration. A fortunate association with Adhyapak always gives ample opportunities to wonder over this mystic. The physical discriminations are marginalized and gradually with this he attends to the responses of true humanity. I still remember his sayings regarding his travelling in the executive class and on some other occasion in a sleeper class compartment of a train, he believes each experience has merged in a single soul promoting only variegated joys of life. He holds the same principle even when he is invited for a performance. Every space in which we perform is sanctified by our dance and hence it transcends into a sacred space where Gods are implored and we as devotees offer our salutations to the Divinity through the testaments of great saints. Any sort of triviality by matters of discrimination would be to dishonour our great tradition and the monumental works of the sages which glorifies our ancient heritage. As proponents of their thoughts we should propagate their ideals rather than getting involved in mundane inhibitions. And his advice extends to people irrespective of the caste and creed, sex and gender. Thus to traverse from the physical reality to a state beyond, is his continous aspiration and he tries to cultivate this transcendence amidst his disciples.

The journey that he began decades back and the long way he traversed is on and endless and he has miles and miles to go. In its pursuance, there has been a gradual metamorphosis of the art form itself. His translocations are often accompanied by gradual movement of the course of art from the ritual and traditional art form to a cultured, polished and sophisticated presentation of the style in a performance arena. Along with the radical moves at the inception by doyens like Maniram Dutta Muktiyar, and legendary exponents like Late Shri Raseswar Saikia, their apostle contributed immensely in taking the Sattriya art from the sacred precincts of the sanctum to the secular environs of the proscenium. The inspiration behind it is his visionary gleam to propagate the ideals of the Mahapurusas in a wider sphere. And the saga continues…let the beacon light that he kindled in this journey with Sattriya Dance shed light on newer grounds to bring glow and glory to this great and enduring tradition.

Sattriya Dance

2008-10-01T12:34:00.000-07:00

Traditional art forms are subject to cycles of growth, decay, renewal and reconstruction, many a time. Indian Dance for centuries survived in the precincts of temples and courts that nurtured the art forms and contributed to its sustenance. However, it suffered a gradual decadence during the colonial period and it was only after the emergence of the Nationalist Movement that there was an upsurge of Indian dance. And the regeneration can undoubtedly be acclaimed as Dance Renaissance that followed during the Post Independence period. Situated in an extreme corner of the country Assam with its Sattriya art however escaped from such amelioration. The lamp lit in the 15th and the 16th centuries leavened through the ages and continue to lit with all its brightness even today. Thus with such a hoary past Sattriya Dance is one of the greatest living traditions of Indian art.

The Sattriya Dance, one of the finest forms of Indian dances, emerges from an offshoot of the Neo-Vaisnava movement in Assam in the 15th and 16th centuries, with Srimanta Sankaradeva (1449-1568), the great saint poet as its fountainhead. The term Sattriya is a new appellation appended to the form of dance preserved and practiced traditionally in the Sattra institutions of Assam. This institution was envisaged by Sankaradeva and his principal apostle and successor Madhavadeva (1489-1596) as the repository of learning. The Sattriya Dance follows some traditional principles supported by written texts of Indian classical dance. Those contain the grammar of the performance pattern with mathematical precision in terms of melodic and rhythmic structure, aesthetics, footworks and hand gestures etc. A distinct system of melody and rhythm, not akin to other forms, has given this tradition a separate entity besides the nritta and natya elements of it. Many of the dance numbers forming the large repertoire of the Sattriya, constituted a major part of the plays of the Sankaradeva and Madhavadeva, the enactment of which is called Ankiya Bhaona. It was a powerful device for the propagation of Bhakti, which at the same time combined nritya ,natya and sangita. There are several dance numbers outside the Ankiya Bhaona as well. The Sattriya Dance has coined and appended local vocabulary for the grammar and angika abhinaya aspects like gaits, stance and body postures without departing from the basic principles of the classical dance treatises. It has thus two distinct set of repertoire – the one centering round the Ankiya Bhaona and the other, independent of this form of theatrical performances. As mentioned earlier, Sattriya is embellished within a unique Raga and Tala pattern set to a large corpus of compositions of Sankaradeva and Madhavadeva and which are also hailed as great literary works and in technique it strictly follows the principles of Tandava and Lasya.

With the passage of time the dialectic of tradition and modernity have also developed in this form.Although originally preserved and practised in the Sattra institution as a means of cultivating Bhakti and being done even today, the Sattriya has now also taken the new dimension of a distinct performing art form of secular, aesthetic and academic interest. In contrast to early period women have also participated in the performing arena and in the presently the women performers are gradually increasing dominating the performance scenario of present stage. But even then, the basic principle of Bhakti is always there because of the sources of the themes being taken mostly from the Bhagavat Purana with special emphasis on Lord Krishna as the only adorable deity. He is also conceived as the Natavara and all sentiments expressed in course of depicting different themes tend to merge ultimately in the sentiment of Bhakti.