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{{Use Indian English|date=January 2020}} | {{Use Indian English|date=January 2020}} | ||
{{short description|One of the classical dances of India}} | {{short description|One of the classical dances of India}} | ||
[[File:Krishnakahi_Kashyap_performing_Sattriya_Dance.jpg|alt=|thumb|Sattriya is a classical Indian dance that originated in its eastern state of [[Assam]]. It was recognised as a classical dance by Sangeet Natak Akademi in 2000.|right|314x314px]] | |||
[[File:Krishnakahi_Kashyap_performing_Sattriya_Dance.jpg|alt=|thumb| | [[File:Noopur3.jpg|thumb|314x314px|''A Sattriya dancer performing Mati Akhara (Purush Ora) which means exercises done while being in contact with the ground. This is the basic step of Sattriya dance used in every dance piece. It resembles yoga purely developed by Srimanta Sankardeva. The hasta used here is known as the Pataka hasta accroding to Sri hasta Muktavali.'']] | ||
[[File:Noopur4.jpg|thumb|Two female Sattriya Dancers in the male sattriya costume (dhoti) and paguri (headwear) striking a pose with alapadma hastas. This pose is pefromed in the beginning of a few dance pieces which means to greet the audience sitting in front of them before starting a performance on stage.]] | |||
'''''Sattriya''''' ({{lang-as|সত্ৰীয়া}}), or ''Sattriya Nritya'', is a major [[Classical Indian dance|Indian classical dance]].<ref name="Brown2014p195"/>{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Cchau, Manipuri, Yaksagana and Bhagavata Mela}} It is a dance-drama performance art with origins in the [[Krishna]]-centered [[Vaishnavism]] monasteries of [[Assam]], and attributed to the 15th century [[Bhakti movement]] scholar and saint [[Srimanta Sankardev|Mahapurush Srimanta Sankardev]].<ref name="Brown2014p195">{{cite book|author=Frank Burch Brown|title=The Oxford Handbook of Religion and the Arts|url=https://books.google.com/books?id=GkvSAQAAQBAJ&pg=PA195 |year=2014|publisher=Oxford University Press |isbn=978-0-19-517667-4 |pages=193–195}}</ref><ref name="Narayan2011p73">{{cite book|author=Shovana Narayan|title=The Sterling Book of INDIAN CLASSICAL DANCE|url=https://books.google.com/books?id=zLOiaGDLYOAC&pg=PA73 |year=2011|publisher=Sterling Publishers|isbn=978-81-207-9078-0|pages=73–74}}</ref>{{Sfn|Farley P. Richmond|Darius L. Swann|Phillip B. Zarrilli|1993|p=22}} | '''''Sattriya''''' ({{lang-as|সত্ৰীয়া}}), or ''Sattriya Nritya'', is a major [[Classical Indian dance|Indian classical dance]].<ref name="Brown2014p195"/>{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Cchau, Manipuri, Yaksagana and Bhagavata Mela}} It is a dance-drama performance art with origins in the [[Krishna]]-centered [[Vaishnavism]] monasteries of [[Assam]], and attributed to the 15th century [[Bhakti movement]] scholar and saint [[Srimanta Sankardev|Mahapurush Srimanta Sankardev]].<ref name="Brown2014p195">{{cite book|author=Frank Burch Brown|title=The Oxford Handbook of Religion and the Arts|url=https://books.google.com/books?id=GkvSAQAAQBAJ&pg=PA195 |year=2014|publisher=Oxford University Press |isbn=978-0-19-517667-4 |pages=193–195}}</ref><ref name="Narayan2011p73">{{cite book|author=Shovana Narayan|title=The Sterling Book of INDIAN CLASSICAL DANCE|url=https://books.google.com/books?id=zLOiaGDLYOAC&pg=PA73 |year=2011|publisher=Sterling Publishers|isbn=978-81-207-9078-0|pages=73–74}}</ref>{{Sfn|Farley P. Richmond|Darius L. Swann|Phillip B. Zarrilli|1993|p=22}} | ||
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==History of Sattriya== | ==History of Sattriya== | ||
[[File:Sattriya dance by Ramkrishna talukdar.JPG|thumb|Sattriya posture | [[File:Sattriya dance by Ramkrishna talukdar.JPG|thumb|A male Sattriya dancer performing on stage. Originally, all Sattriya dancers were male ''bhokots'' who would dance in their [[Satra]]s. But in recent times, women have taken to dancing Sattriya.|250x250px]] | ||
[[File:Noopurt.jpg|thumb|a Sattriya dancer striking a posture. The costume is the assamese traditional wear known as paat muga which is being used to make the ghuri. Muthi kharu (bracelets) in hands and joonbiri, galpata, jethipata (necklace) while the headwear is known as kopali and the earrings are called thuka sona.|right]] | |||
Sattriya is a classical dance of India, tracing its roots to ancient drama and music texts of India, particularly [[Bharata Muni]]'s [[Natya Shastra|Nātya Śāstra]].<ref name="BajajVohra2015p6">{{cite book|author1=Tanvi Bajaj|author2=Swasti Shrimali Vohra|title=Performing Arts and Therapeutic Implications |url=https://books.google.com/books?id=2MRcCgAAQBAJ&pg=PA6 |year=2015|publisher=Routledge|isbn=978-1-317-32572-7|pages=6–7}}</ref>{{Sfn|Ragini Devi|1990|pp=60-68}} Its first complete compilation is dated to between 200 BCE and 200 CE,{{Sfn|Natalia Lidova|2014}}{{Sfn|Tarla Mehta|1995|pp=xxiv, 19–20}} but estimates vary between 500 BCE and 500 CE.{{Sfn|Wallace Dace|1963|p=249}} The most studied version of the Nātya Śāstra text consists of about 6000 verses structured into 36 chapters.{{Sfn|Natalia Lidova|2014}}{{Sfn|Emmie Te Nijenhuis|1974|pp=1–25}} The text describes the theory of Tāṇḍava dance ([[Shiva]]), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.{{Sfn|Natalia Lidova|2014}}{{Sfn| Kapila Vatsyayan | 2001}} Dance and performance arts, states this ancient text,<ref>{{cite book|author=Guy L. Beck|title=Sonic Liturgy: Ritual and Music in Hindu Tradition|url=https://books.google.com/books?id=UzUMCAAAQBAJ |year=2012|publisher=University of South Carolina Press|isbn=978-1-61117-108-2|pages=138–139 |quote='''Quote:''' "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".}}</ref> are a form of expression of spiritual ideas, virtues, and the essence of scriptures.<ref name=mog17>{{cite web|title=The Mirror of Gesture|author=Coormaraswamy and Duggirala|publisher=Harvard University Press|year=1917|page=4|url=https://archive.org/stream/cu31924012568535#page/n5/mode/2up}}; Also see chapter 36</ref> | Sattriya is a classical dance of India, tracing its roots to ancient drama and music texts of India, particularly [[Bharata Muni]]'s [[Natya Shastra|Nātya Śāstra]].<ref name="BajajVohra2015p6">{{cite book|author1=Tanvi Bajaj|author2=Swasti Shrimali Vohra|title=Performing Arts and Therapeutic Implications |url=https://books.google.com/books?id=2MRcCgAAQBAJ&pg=PA6 |year=2015|publisher=Routledge|isbn=978-1-317-32572-7|pages=6–7}}</ref>{{Sfn|Ragini Devi|1990|pp=60-68}} Its first complete compilation is dated to between 200 BCE and 200 CE,{{Sfn|Natalia Lidova|2014}}{{Sfn|Tarla Mehta|1995|pp=xxiv, 19–20}} but estimates vary between 500 BCE and 500 CE.{{Sfn|Wallace Dace|1963|p=249}} The most studied version of the Nātya Śāstra text consists of about 6000 verses structured into 36 chapters.{{Sfn|Natalia Lidova|2014}}{{Sfn|Emmie Te Nijenhuis|1974|pp=1–25}} The text describes the theory of Tāṇḍava dance ([[Shiva]]), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.{{Sfn|Natalia Lidova|2014}}{{Sfn| Kapila Vatsyayan | 2001}} Dance and performance arts, states this ancient text,<ref>{{cite book|author=Guy L. Beck|title=Sonic Liturgy: Ritual and Music in Hindu Tradition|url=https://books.google.com/books?id=UzUMCAAAQBAJ |year=2012|publisher=University of South Carolina Press|isbn=978-1-61117-108-2|pages=138–139 |quote='''Quote:''' "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".}}</ref> are a form of expression of spiritual ideas, virtues, and the essence of scriptures.<ref name=mog17>{{cite web|title=The Mirror of Gesture|author=Coormaraswamy and Duggirala|publisher=Harvard University Press|year=1917|page=4|url=https://archive.org/stream/cu31924012568535#page/n5/mode/2up}}; Also see chapter 36</ref> | ||
The history of dance arts in Assam goes back to antiquity, as evidenced by copper plate inscriptions and sculpture relating to [[Shaivism]] and [[Shaktism]] traditions.<ref name="Neog1980p292"/> Singing and musical traditions, similarly, have been traced to Assamese chorus singing tradition for the Hindu epics: the [[Ramayana]] and the [[Mahabharata]].<ref name="Neog1980p292">{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=292–293 }}</ref> | The history of dance arts in Assam goes back to antiquity, as evidenced by copper plate inscriptions and sculpture relating to [[Shaivism]] and [[Shaktism]] traditions.<ref name="Neog1980p292"/> Singing and musical traditions, similarly, have been traced to Assamese chorus singing tradition for the Hindu epics: the [[Ramayana]] and the [[Mahabharata]].<ref name="Neog1980p292">{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=292–293 }}</ref> | ||
[[File:ATHKHELIYA NAMGHAR GATE.jpg|thumb| | [[File:ATHKHELIYA NAMGHAR GATE.jpg|thumb|right|190px|Monasteries and temples in Assam, called ''satras'', have dance halls (''Namghar'') for Sattriya. Above: ''Namghar'' entrance.]] | ||
The modern form of Sattriya is attributed to the 15th century Sankaradeva, who systematized the dance using the ancient texts, and introduced drama and expressive dancing (''nritta'' and ''nritya'') as a form of a community religious art for emotional devotion to Krishna.<ref name="Narayan2011p73"/><ref name="Liu2016p19">{{cite book|author=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ&pg=PA19 |year=2016|publisher=Routledge|isbn=978-1-317-27886-3 |pages=19–21 }}</ref><ref name="Neog1980p292"/> | The modern form of Sattriya is attributed to the 15th century Sankaradeva, who systematized the dance using the ancient texts, and introduced drama and expressive dancing (''nritta'' and ''nritya'') as a form of a community religious art for emotional devotion to Krishna.<ref name="Narayan2011p73"/><ref name="Liu2016p19">{{cite book|author=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ&pg=PA19 |year=2016|publisher=Routledge|isbn=978-1-317-27886-3 |pages=19–21 }}</ref><ref name="Neog1980p292"/> | ||
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==Repertoire== | ==Repertoire== | ||
[[File: | [[File:Noopur2.jpg|thumb|A sattriya dancer in a posture where the hastas used are Sandansha (the right hand) and alapadma (the left hand at the top) These hastas are called asanyukta hastas according to Sri Hasta Muktaballi. The dress she is wearing is Paat silk.]] | ||
[[File:Devika Pulak Borthaur Sattriya Dance of Assam.png|thumb|A traditional posture of Sattriya Dance.]] | [[File:Devika Pulak Borthaur Sattriya Dance of Assam.png|thumb|A traditional posture of Sattriya Dance.]] | ||
Like the other schools of Indian Classical dance, ''Sattriya'' encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like [[Natya Shastra|Nātya Śāstra]], [[Abhinaya Darpana]], and Śārngadeva's [[Sangit Ratnakara|Sangīta Ratnākara]]<!-- The writers have confused the names of Śārngadeva and the saint Śankaradeva. The author of the sangītaratnākara is the former. -->;<ref>{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=208–221 }}</ref> The ''Sangīta Ratnākara'' of Śārngadeva complements his ''Bhakti Ratnakara'', which traces the [[Upanishad]]s, [[Bhagavad Gita]], [[Yoga]] and [[Vedanta]] themes, the ethical values such as non-violence ([[ahimsa]]), truthfulness ([[satya]]) and others, thus premising a theological foundation to Sattriya.<ref>{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=209, 222–229, 233–234 }}</ref> To Shankaradeva, religious values, ethics, joys of life and performance arts were intimately linked, and he asked the leaders of Hindu monasteries to compose at least one play, during their tenure, before they die.{{Sfn|Farley P. Richmond|Darius L. Swann|Phillip B. Zarrilli|1993|p=22}} | Like the other schools of Indian Classical dance, ''Sattriya'' encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like [[Natya Shastra|Nātya Śāstra]], [[Abhinaya Darpana]], and Śārngadeva's [[Sangit Ratnakara|Sangīta Ratnākara]]<!-- The writers have confused the names of Śārngadeva and the saint Śankaradeva. The author of the sangītaratnākara is the former. -->;<ref>{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=208–221 }}</ref> The ''Sangīta Ratnākara'' of Śārngadeva complements his ''Bhakti Ratnakara'', which traces the [[Upanishad]]s, [[Bhagavad Gita]], [[Yoga]] and [[Vedanta]] themes, the ethical values such as non-violence ([[ahimsa]]), truthfulness ([[satya]]) and others, thus premising a theological foundation to Sattriya.<ref>{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=209, 222–229, 233–234 }}</ref> To Shankaradeva, religious values, ethics, joys of life and performance arts were intimately linked, and he asked the leaders of Hindu monasteries to compose at least one play, during their tenure, before they die.{{Sfn|Farley P. Richmond|Darius L. Swann|Phillip B. Zarrilli|1993|p=22}} | ||
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===Costumes=== | ===Costumes=== | ||
[[File:Sattriya dancer Meenakshi Medhi.jpg|thumb | | [[File:Sattriya dancer Meenakshi Medhi.jpg|thumb|right]] | ||
[[File:Sattriya Dancer Krishnakshi Kashyap.jpg|thumb|''Sattriya'' dancer | [[File:Sattriya Dancer Krishnakshi Kashyap.jpg|thumb|A ''Sattriya'' dancer in a traditional ''Sattriya'' dance costume made of ''Assam Pat silk'' and traditional Assamese jewellery: ''Kopali'' on the forehead, ''Muthi Kharu'' (bracelets), ''Thuka Suna'' (earrings) and ''Galpata, Dhulbiri, Jethipata'' and ''Bena'' (necklaces). Traditional ''Kingkhap'' motif is used in the main costume with ''Kesh'' pattern on the border. The ''Kanchi'' or the waist cloth has the traditional ''Miri'' motif.]] | ||
The costume of Sattriya dance is primarily of two types: the male costume comprising the ''dhoti'' and ''chadar'' and the ''paguri'' ( turban) and the female costume comprising the ''ghuri'', ''chadar'' and ''kanchi'' (waist cloth). Traditionally the costumes were of white or raw silk color with use of red, blue and yellow for specific dance numbers. In earlier times velvet and satin materials were mostly used for the costumes. With change of time, as this dance form evolved from the sattras onto stage, the design and materials of the dance costumes changed. [[Assam silk#Pat silk|Pat]] (also spelled paat) – a silk produced in Assam which is derived from the mulberry plant and [[muga silk]]( ''golden silk of Assam'') is also used in preparing the dance costume. Other bright colours are also used in the female costumes. These hand-woven materials normally have intricate local motifs like ''Kingkhap, Miri Motif, Kolka'' etc.<ref name="pnsruti41">{{cite book|author=P.N. Sundaresan|author-link=Sruti (magazine)|title=Sruti, A Monthly Magazine on Indian Performing Arts|url=https://books.google.com/books?id=ViwqAQAAIAAJ|volume=172-183|year=1999|pages=40–41}}</ref><ref name=":0">{{Cite web|url=https://www.sattriyakristi.com/costume/|title=Costume {{!}} Krishnakshi Kashyap|website=www.sattriyakristi.com|language=en-US|access-date=2018-02-11}}</ref> | The costume of Sattriya dance is primarily of two types: the male costume comprising the ''dhoti'' and ''chadar'' and the ''paguri'' ( turban) and the female costume comprising the ''ghuri'', ''chadar'' and ''kanchi'' (waist cloth). Traditionally the costumes were of white or raw silk color with use of red, blue and yellow for specific dance numbers. In earlier times velvet and satin materials were mostly used for the costumes. With change of time, as this dance form evolved from the sattras onto stage, the design and materials of the dance costumes changed. [[Assam silk#Pat silk|Pat]] (also spelled paat) – a silk produced in Assam which is derived from the mulberry plant and [[muga silk]]( ''golden silk of Assam'') is also used in preparing the dance costume. Other bright colours are also used in the female costumes. These hand-woven materials normally have intricate local motifs like ''Kingkhap, Miri Motif, Kolka'' etc.<ref name="pnsruti41">{{cite book|author=P.N. Sundaresan|author-link=Sruti (magazine)|title=Sruti, A Monthly Magazine on Indian Performing Arts|url=https://books.google.com/books?id=ViwqAQAAIAAJ|volume=172-183|year=1999|pages=40–41}}</ref><ref name=":0">{{Cite web|url=https://www.sattriyakristi.com/costume/|title=Costume {{!}} Krishnakshi Kashyap|website=www.sattriyakristi.com|language=en-US|access-date=2018-02-11}}</ref> | ||
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The character specific different styles of Sattriya have their own costume variations, and focus on the various life stages and activities of Radha, Krishna and the gopis.<ref name=kothari2013/> | The character specific different styles of Sattriya have their own costume variations, and focus on the various life stages and activities of Radha, Krishna and the gopis.<ref name=kothari2013/> | ||
==Notes== | ==Notes== | ||
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===Bibliography=== | ===Bibliography=== | ||
* Sunil Kothari, ed., ''Sattriya, Classical Dance of Assam'', with photographs by Avinash Pasricha. The Marg Foundation, Mumbai, 2013. {{ISBN|978-81-921106-6-0}} | * Sunil Kothari, ed., ''Sattriya, Classical Dance of Assam'', with photographs by Avinash Pasricha. The Marg Foundation, Mumbai, 2013. {{ISBN|978-81-921106-6-0}} | ||
* [[Maheswar Neog|Neog, Maheswar]]. ''[https://books.google.com/books/about/Aesthetic_Continuum.html?id=QVDsMgEACAAJ&redir_esc=y Aesthetic Continuum: Essays on Assamese Music, Drama, Dance and Paintings]''. New Delhi: Omsons Publications, 2008. | * [[Maheswar Neog|Neog, Maheswar]]. ''[https://books.google.com/books/about/Aesthetic_Continuum.html?id=QVDsMgEACAAJ&redir_esc=y Aesthetic Continuum: Essays on Assamese Music, Drama, Dance and Paintings]''. New Delhi: Omsons Publications, 2008. | ||
* Neog, Maheswar and Keshav Changkakati. ''[https://books.google.com/books/about/Sattriya_Dances_of_Assam_and_Their_Rhyth.html?id=lmdkOgAACAAJ&redir_esc=y Sattriya Dances of Assam and their Rhythms]''. Guwahati: Assam Prakashan Parishan, 1973. | * Neog, Maheswar and Keshav Changkakati. ''[https://books.google.com/books/about/Sattriya_Dances_of_Assam_and_Their_Rhyth.html?id=lmdkOgAACAAJ&redir_esc=y Sattriya Dances of Assam and their Rhythms]''. Guwahati: Assam Prakashan Parishan, 1973. | ||