SATTRIYA DANCE
Sattriya or Sattriya Nritya (Assamese: 1), is one among the eight principal classical Indian dance traditions. Recognized in 2000 as a classical dance by Sangeet Natak Akademi, the Sattriya is the most recent entrant in this list. Whereas some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the medieval polymath Srimanta Sankardev in 15th century Assam. Sattriya was further extended and defined by Sankardev’s disciple Madhavdev for performances of Ankia Naat (a form of Assamese one-act plays devised by them), which were usually performed in the sattras (monasteries) associated with the Ekasarana dharma. As the tradition developed and grew within the sattras, the dance form came to be known as Sattriya Nritya, a name first coined by Maheswar Neog. Today, although Sattriya Nritya has emerged from within the confines of the sattras to a much wider recognition, the sattras. continue to use the dance form for ritualistic and other purposes for which it was originally created circa 500 years ago. Sattriya Nritya is divided into many aspects: Apsara Nritya, Behar Nritya, Chali Nritya, Dasavatara Nritya, Manchok Nritya, Natua Nritya, Rasa Nritya, Rajaghariya Chali Nritya, Gosai Prabesh, Bar Prabesh, Gopi Prabesh, Jhumura, Nadu Bhangi, and Sutradhara, to name but a few these being the counterpart to items in Bharata Natyam. Like the other seven schools of Indian Classical dance, Sattriya Nritya encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like Natyashastra, Abhinaya Darpana, and Sangit Ratnakara; a distinct repertoire (marg) and the aspects of nritta (pure dance), nritya (expressive dance), and natya (abhinaya).
Sattriya or Sattriya Nritya (Assamese: 1), is one among the eight principal classical Indian dance traditions. Recognized in 2000 as a classical dance by Sangeet Natak Akademi, the Sattriya is the most recent entrant in this list. Whereas some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the medieval polymath Srimanta Sankardev in 15th century Assam. Sattriya was further extended and defined by Sankardev’s disciple Madhavdev for performances of Ankia Naat (a form of Assamese one-act plays devised by them), which were usually performed in the sattras (monasteries) associated with the Ekasarana dharma. As the tradition developed and grew within the sattras, the dance form came to be known as Sattriya Nritya, a name first coined by Maheswar Neog. Today, although Sattriya Nritya has emerged from within the confines of the sattras to a much wider recognition, the sattras. continue to use the dance form for ritualistic and other purposes for which it was originally created circa 500 years ago. Sattriya Nritya is divided into many aspects: Apsara Nritya, Behar Nritya, Chali Nritya, Dasavatara Nritya, Manchok Nritya, Natua Nritya, Rasa Nritya, Rajaghariya Chali Nritya, Gosai Prabesh, Bar Prabesh, Gopi Prabesh, Jhumura, Nadu Bhangi, and Sutradhara, to name but a few these being the counterpart to items in Bharata Natyam. Like the other seven schools of Indian Classical dance, Sattriya Nritya encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like Natyashastra, Abhinaya Darpana, and Sangit Ratnakara; a distinct repertoire (marg) and the aspects of nritta (pure dance), nritya (expressive dance), and natya (abhinaya).
SRI RAM KRISHNA TALUKDAR
Dedication and devotion in the art form since his childhood has turned a mere dancer into one of the most high grade ‘artiste’ of today’s time. Guru Ramkrishna Talukdar is the first man of Assam to have acquired an ‘A’ grade accreditation in Sattriya from the Doordarshan Delhi. He is also the first person to obtain a first class first degree in Sattriya and has done M.Mus in Kathak from Gandharva Mahavidyalay, Indore. His book “Nritya Kala Darpan” has been read more“জয় গুৰু শংকৰ সৰ্ব গুনাকৰ যাকেৰি নাহিকে উপাম তোহাৰি চৰণত ৰেণু সত কৌটি বাৰেক কৰহো প্ৰণাম।”
PERFORMANCES
