ANKIA NAT
Srimanta Sankardev pioneered the concept of drama in the Assamese language, marking a significant milestone in Assamese culture. During his residency in Bardowa, Srimanta Sankardeva wrote and staged the first Assamese drama, 'Chinhajatra,' in 1468. This event is revered as the inception of drama in any Indian regional language, showcasing Sankardev's innovative contributions to the cultural landscape.
Ankia Nats, or musical dramas, emerged as a distinct form of entertainment and religious propaganda, blending elements of Vaktirasa to captivate audiences. Sri Madhabdeva continued this tradition in Barpeta Satra, where he wrote and staged numerous dramas, enriching the cultural heritage of the region. Alongside his disciples, Madhabdeva practiced, developed, and performed dramas in the Rangial Griha of Barpeta Satra, perpetuating the legacy of Ankia Nats.
The chronology of Ankia Nats performances in Barpeta Satra includes:
Kalidaman and Rambijoy by Srimanta Sankardeva on his death anniversary.
Rukmini-haran and Parijat-haran by Srimanta Sankardeva on the death anniversary of Sri Madhabdeva.
Nrisinha-badh by Doitari Thakur and Kangsa-badh by Ramcharan Thakur on the death anniversary of MathuraDas Burha Aata.
Janmajatra by Gopal Aata on Lord Krishna’s birth anniversary.
These dramas are traditionally staged inside the Rangial Griha. Additionally, during the domahi of Bahag Bihu and Doul utasav, Barpeta Satra presents six religious dramas and two to three mythological dramas in the main courtyard (Tupor Sotal), further enriching the cultural and spiritual fabric of the Satra.
B0RGEET
Bargeet, a musical creation attributed to both Srimanta Sankardeva and Sri Madhabadeva, represents spiritual songs characterized by designated classical notes and devoid of material love. These songs resonate with devotion towards Lord Krishna, embodying a profound spiritual essence that holds a cherished place in Assamese culture, imbued with high traditional value.
The tradition of Bargeets at Barpeta Satra traces its roots back to the time of Srimanta Sankardeva. Despite the unfortunate loss of many of Sankardeva's compositions in a fire incident, approximately 30 Bargeets were preserved by his disciples. Sri Madhabadeva, in response to this loss, composed numerous Bargeets in various contexts and situations, further enriching the repertoire of spiritual songs.
The performance of Bargeets has been an integral aspect of Barpeta Satra since its inception. Through continuous practice and performance, the Satra has preserved the purity of these Bargeets as envisioned by Sri Madhabadeva. Bargeets are seamlessly integrated into both daily and occasional prayers at Barpeta Satra, forming an inseparable part of Gayan-Bayan, Ghosha-Kirtana, Ojhapali, and various traditional dance forms.
One remarkable aspect of Bargeets at Barpeta Satra is their versatility: the same Bargeet may be sung differently in Ghosha-Kirtan, Ojhapali, and Gayan-Bayan, yet the arrangement of the Raga (classical note) remains consistent, showcasing the Satra's commitment to preserving the authenticity and integrity of this spiritual musical tradition.
BHORTAL NRITYA
Bhortal Nritya, as the name suggests, is a dance form where performers use Bhortal, a type of cymbal, in both hands. Originating in Barpeta, known as a Satra Nagar across the state, Bhortal dance has garnered immense popularity not only in Assam but also in various parts of India and abroad. Its unique style captivates audiences, evoking both admiration and a sense of spiritual devotion.
This dance form is distinguished by the rhythmic movements of dancers wielding bright cymbals in both hands, creating a mesmerizing spectacle. Unlike other dances in Assam, Bhortal Nritya is characterized by the continuous use of cymbals throughout the performance, from start to finish. Its ability to evoke devotional sentiments among the audience adds to its appeal.
Bhortal Nritya shares a close association with 'Thiya Naam,' a form of Ojapali performed in Satra premises and other venues during various occasions. Thiya Naam involves group performances where singers, known as Pathak, lead the rendition of devotional verses, accompanied by Palis who clap their hands in rhythm with the cymbals and Nagara (a leather instrument). The performance progresses from slow to swift rhythms, culminating in a captivating display of skill and devotion.
The dance incorporates mudras such as Sutradhari, Suruka, Kiriti, Ora, Thiyakhar, and Katikhar, each expressing the underlying meaning of the verse with grace and precision. Nagara and cymbals serve as the primary instruments, while singers accompany the performance with rhythmic clapping.
The costumes for Bhortal Nritya typically include Dhuti, Turban (Paguri), Cheleng (a sacred thread worn by Brahmins), and a waistband, adhering to traditional attire.
In summary, Bhortal Nritya mesmerizes audiences with its rhythmic movements, vibrant music, and spiritual essence, making it a cherished cultural treasure of Assam.
Gayan-Bayan
Gayan (singers) and Bayan (instrument players) are integral to the religious activities of Satras, where their prayers are considered deeply spiritual and cultural. They use instruments like Khol and Tal (cymbals) to offer prayers through songs. Srimanta Sankardev developed the Khol instrument during the staging of his first drama, Chihnajatra, considering it a divine instrument used for training Gayan-Bayan.
Since its inception, Barpeta Satra has been a hub of Satriya culture. Initially, all disciples of Sri Madhabdev practiced songs and performing arts. However, Mathuradas Burha Aata, a significant administrator of his time, divided duties among various Bangasaras and Hatis based on their capabilities.
The worship conducted by Gayan-Bayan holds a crucial place in the daily and occasional prayers of Barpeta Satra. They perform various rituals, including Dhemali (saru, bar, ghosha), Ankia Nat, Geetar Pala, Bhojan-Byabahar, Gosai nachuwa, and Sewar Prasanga. Six groups of Gayan-Bayan are responsible for these performances:
Sutradhar Bangsa.
Dakshinhati.
Bhima Bayan Bangsa.
Bayan Bangsa of Galiahati.
Gandhiya Bangsa.
Aaghona Bayan Bangsa.
Sewar Prasanga / Sewar Kirtan:
Sewar Kirtan is a performance that combines Gurughat, Kou Raga, Kalian Raga, and Suhai Raga by Gayan-Bayan. They encircle the Guru-Asan while singing Bargeets and pause nine times as a symbol of homage to nine Aatapurushas. Different groups of Gayan-Bayan have specific responsibilities for performing Sewar Kirtan during various months.
Gitor Pala:
Gitor Pala involves singing songs from Ankia Nats and Jhumura Nat during the death anniversaries of Srimanta Sankardev, Sri Madhabdev, and Mathuradas Burha Aata. These performances usually occur at night and exemplify the original and pure form of Satriya music.
Guru Ghata:
Guru Ghata, performed by Gayan-Bayan, plays a central role in Satra worship. It consists of four different 'Ghatas,' including Lawnou Ghata, Raga-related Ghata, Raga-related Chansar Ghata, and Concluding Ghata. These performances act as cohesive forces among performers and are performed daily as Sewar Kirtan and occasionally during festivals.
Dhemali – The Preliminaries:
Dhemali serves as the musical prelude to Ankiya Nat, resembling the Purvaranga mentioned in the Natya Sastra. It consists of singing and dancing invocations by the Gayan-Bayan with Khol and Tal accompaniment. Dhemalis are an amalgamation of Upabeshana, Pada Sanchalana, and Rag Malita, and hold a significant place in Barpeta and neighboring Satras. Dhemali segments include Bar Dhemali, Saru Dhemali, Ghosha-Dhemali, Nat-Dhemali, and Deva-Dhemali, each integral to the performance. Costumed in white dhotis and kurtas, Gayan-Bayan performs a concert of songs, playing Khols and cymbals while dancing rhythmically.
Ghosha-Kirtan
Ghosha-Kirtan is a unique and special type of prayer in Satriya tradition where the Ojha and Pali (group leader and followers) spiritually perform literary creations of both Mahapurushas. Its performance pattern differs from other Satriya arts, featuring an Ojha and 18 Palis standing in a crescent pattern.
The origins of Ghosha-Kirtan can be traced back to when Sri Madhabdeva met Srimanta Sankardeva in Dhuahat. According to Charita Puthi, Ramram Guru and Ramcharan Thakur served as Ojhas, while Sarbajoy, Paramananda, Byaskalai, and Ratnakar Kandali were among the Palis who practiced the art of Ghosha-Kirtan. Sri Madhabdeva further trained a group led by Mathuradas Burha Aata during his stay at Sundaridiya.
Upon assuming the responsibilities of Barpeta Satra as its first Satradhikar, Mathuradas Burha Aata integrated Ghosha-Kirtan into the Satra's prayers, making it an inseparable part of the Occasional prayers. It's noteworthy that Ghosha-Kirtan is exclusively practiced at Barpeta Satra, adding to its significance within Satriya tradition.
OJHAPALI
Ojhapali stands as one of the traditional folk dance-dramas deeply rooted in Assamese culture, predating the Satriya renaissance. However, it gained prominence during the era of Srimanta Sankardeva, finding its way into the Satras and evolving into Byash Kirtan, becoming an integral part of Satriya culture.
Byash Kirtan can be described as a musical performance enriched with acting and dance elements. The lyrics utilized in Satriya Ojhapali are the literary creations of Srimanta Sankardeva and Sri Madhabdeva. Typically, Byash Kirtan involves 19 performers, including one Ojha, who employs body language and facial expressions while being accompanied by Palis playing the Khuti-tal instrument.
The lineage of Byash-Kirtan at Barpeta Satra traces back to its inception, with Lakhmana Ojha from the renowned Ojha family serving as the first Ojha, marking a significant beginning in the tradition's journey within the Satra.
THIYA NAM (Nam held in standing posture)
Thiya Nam, a devotional Satriya item characterized by standing, dancing, and rhythmic postures performed in groups amidst the clapping of Bhortal, embodies a vibrant expression of devotion. This form of prayer service is not only observed in Satras but also in households, reflecting its widespread cultural significance. Typically, a group of 25 to 30 men participates in this Nam, infusing it with a heroic fervor reminiscent of a warrior's dedication.
The intensity and vigor required for Thiya Nam, often likened to that of a hero (bir), demand sustained energy for hours. It earns its epithet 'bir-nam' owing to the heroic nature of the prayer service. Accompanied by the resounding beats of nagras (kettle drums) and talas of varying sizes, hymns are sung, drawing inspiration from Kirtan Gosha, Nam-Gosha, Borgeet, Ramayana, and Mahabharata narratives.
The central figure in Thiya Nam, akin to the pathak in other forms of Satriya art, is the pathak, who leads the prayer service with melodious tunes, weaving intricate stories through hymns while expressing emotions through graceful hand gestures akin to dance movements. The participants, wielding cymbals and clapping hands, synchronize their beats with the rhythms of the nagras and cymbals, enhancing the immersive experience of the Nam.
While Thiya Nam finds no mention in earlier biographies of the saints, its emergence appears linked to the hati system introduced by Mathuradas, a member of a chorus party. Interestingly, parallels can be drawn between the role of the oja and the pathak in Thiya Nam, suggesting a transformative evolution where Thiya Nam assumes the mantle of earlier oja-pali nritya.
Holi Songs
Holi songs are an integral part of the cultural and religious celebrations, particularly in Barpeta. Initially composed by Mahapurush Madhavdev, these songs were later enriched by modern writers in the early 20th century and continue to be composed by contemporary artists today.
These songs, often devotional in nature, express the devotees' ecstatic devotion and admiration for nature's vibrant beauty. Accompanied by instruments like the Dhulki (a drum) and Taal (cymbal), the melodious tunes captivate listeners and evoke a sense of collective joy during community celebrations.
PERFORMING ARTS
