42:
1089:"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 (...)".
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502:(waist cloth). Traditionally the dresses 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 dresses. With change of time, as this dance form evolved from the sattras onto stage, the design and materials of the dance dresses changed.
203:. Its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The most studied version of the Nātya Śāstra text consists of about 6000 verses structured into 36 chapters. The text describes the theory of Tāṇḍava dance (
345:) and others, thus premising a theological foundation to Sattriya. 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.
599:(Masks) to depict demons and special characters are also unique of this dance form. The art of mask-making is an integral part of Sattriya culture and originated in the Sattras of Assam. Beautifully decorated turbans and crowns made by the local artisans are used in the
364:
performance is abstract, fast and rhythmic aspect of the dance. The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretive aspect, no telling of
703:
is a style that tells a story and presents the spiritual values of
Vaisnavism in a complete classical format: nritta, nritya and natya. One feature of the Sutradhara (or Sutradhari) style is the included commentary for the audience in local language.
376:, the performance expands to include story-telling, the silent expression of words through gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.
407:), postures, rhythms, training of artistes and other aspects of the Sattriya dance drama closely follow those described in Nātya Śāstra and other classical Hindu dance texts, and are quite similar to other major classical dances such as
251:. One distinctive part of the Sattriya dance inside temples and monasteries is that the dance is not celebrated before any idol, but is performed before a copy of the Bhagavata Purana placed in eastern (sun rise) corner called
266:, and by his principal disciple Madhavadeva. They were mostly composed during the 16th century. Once the domain of male monks, it is now performed by male as well as female dancers. In the second half of the 20th century,
735:
In some compositions, the following additional regional musical instruments, adopted from regional folk dances, complete the orchestra: Bin, Tokari, Dotara, Nagara and different styles of drums (mrdanga, dhol, dambaru,
758:"Book Krishnakshi Kashyap for event | Request Krishnakshi Kashyap for performance | Learn Hindustani Classical Vocal, Kathak, Tabla, Light Vocal, Flute, Harmonium, Sitar, Modern dance forms, Bharatnatyam"
640:(two-faced, asymmetrical drum quite different from the rest of India) played with fingers. The special shape and materials of construction – clay, wood, leather, rice dough, iron filings, rope straps – of Sattriya
437:, are the foundational sets dancers learn during their training. The Akharas are subdivided into Ora, Saata, Jhalak, Sitika, Pak, Jap, Lon and Khar. A performance integrates two styles, one masculine (
383:
is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A
514:) is also used in preparing the dance dress. Other bright colours are also used in the female dresses. These hand-woven materials normally have intricate local motifs like
232:
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 (
719:
The character specific different styles of
Sattriya have their own dress variations, and focus on the various life stages and activities of Radha, Krishna and the gopis.
606:
The facial makeup of
Sattriya dance resembles other classical dance forms of India. However, in earlier times traditional materials and herbs were used for make up.
429:
is a genre of dance drama that tells mythical and religious stories through hand and face expressions. The basic dance unit and exercise of a
Sattriya is called a
803:, pp. 83–84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Cchau, Manipuri, Yaksagana and Bhagavata Mela.
207:), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.
467:
The plays choreographed in a
Sattriya are those found in Hindu texts such as the Bhāgavata Purāna, the Epics, and the compositions by Assamese scholars.
247:. The art was developed and practiced by monks in the form dance-dramas about legends and mythologies of Krishna, particularly from texts such as the
356:(expressive dance, solo), and nātya (dramatic play, group). Like all major classical Indian dance forms, those three categories of performances are:
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Dance and performance arts, states this ancient text, are a form of expression of spiritual ideas, virtues, and the essence of scriptures.
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is slower and expressive aspect of the dance that attempts to communicate feelings, story line particularly with spiritual themes. In a
1935:
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traditions. Singing and musical traditions, similarly, have been traced to
Assamese chorus singing tradition for the Hindu epics: the
1857:
456:
s (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice,
213:
The history of dance arts in Assam goes back to antiquity, as evidenced by copper plate inscriptions and sculpture relating to
395:
historically relied on a team of dancer-actors, while in modern times
Kuchipudi productions include solo or duo performances.
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1213:
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and others found in southern and northern India. Some basic elements and features of
Sattriya match those found in the
243:
Since the 15th century, the
Sattriya art grew as part of the Vaishnava bhakti movement, in Hindu monasteries called
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encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like
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is a classical dance of India, tracing its roots to ancient drama and music texts of India, particularly
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69:
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Traditional Assamese jewellery is used in Sattriya dance. The jewellery is made by a unique technique in
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173:
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The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia
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506:(also spelled paat) – a silk produced in Assam which is derived from the mulberry plant and
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These dance-dramas were, in the early days, written and directed by the Assamese poet-saint
248:
134:
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Krishna in History, Thought, and Culture: An Encyclopedia of the Hindu Lord of Many Names
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200:
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Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times
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Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times
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Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times
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Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times
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Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times
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The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent
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818:, UNESCO: Asia-Pacific Database on Intangible Cultural Heritage (ICH), Japan
507:
412:
392:
322:
240:) as a form of a community religious art for emotional devotion to Krishna.
119:
1918:
1672:, with photographs by Avinash Pasricha. The Marg Foundation, Mumbai, 2013.
529:
is of yellow and blue keeping in line with the attire of Lord Krishna. The
184:
explores many themes and plays, and its performances are staged worldwide.
2030:
1974:
Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory".
1553:
1363:
1361:
1359:
937:
Sunil Kothari (2012). Urmimala Sarkar Munsi and Stephanie Burridge (ed.).
716:. These are dedicated compositions but feature a ballad, dance and drama.
521:
Uses of play-specific dress are also seen in Sattriya dance. The dress of
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2494:
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2434:
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2231:
1688:
Aesthetic Continuum: Essays on Assamese Music, Drama, Dance and Paintings
663:
or cymbals (Manjira, Bhortal, Bihutal, Patital, Khutital) and the flute (
222:
218:
214:
165:
634:
A key musical instrument that accompanies a Sattriya performance is the
2777:
2644:
2629:
2544:
2509:
2454:
2414:
2374:
2349:
2236:
2206:
2105:
1995:
1767:"In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing"
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619:
460:
is also performed on stage by men and women who are not members of the
334:
142:
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2489:
2449:
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408:
338:
150:
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128:
109:
1987:
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are worn by dancers. Female dancers wear white flowers in the hair.
2614:
2519:
2514:
2499:
2394:
2379:
2359:
2269:
2246:
891:
Farley P. Richmond, Darius L. Swann & Phillip B. Zarrilli 1993
342:
204:
123:
79:
2040:
2003:
Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993).
636:
628:
330:
154:
2044:
580:(pigeon design). Earrings are made in similar designs and also
479:
dance is primarily of two types: the male dress comprising the
1410:
Bruno Nettl; Ruth M. Stone; James Porter; et al. (1998).
1003:
1001:
999:
132:, which are communities of live-in devotees belonging to the
126:. These dances are part of the living traditions today of
533:
also has its specific white dress with a special turban.
1825:
India's Dances: Their History, Technique, and Repertoire
1614:
The Music and Musical Instruments of North Eastern India
1587:
The Music and Musical Instruments of North Eastern India
1074:. University of South Carolina Press. pp. 138–139.
679:
A Sattriya performance comes in many styles such as the
1273:. Motilal Banarsidass. pp. 209, 222–229, 233–234.
595:(dramas) are colourful and character specific. Use of
180:
as one of the eight classical dances of India. Modern
2765:
2719:
2689:
2663:
2255:
2224:
2179:
2128:
2119:
2078:
1532:
Sruti, A Monthly Magazine on Indian Performing Arts
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540:(raw gold). Artistes wear Kopali on the forehead,
75:
65:
51:
1705:
1071:Sonic Liturgy: Ritual and Music in Hindu Tradition
1043:
648:), while producing a deep bass sound on the left (
297:Like the other schools of Indian Classical dance,
1890:Classical Indian dance in literature and the arts
1230:. Marg, The Marg Foundation, Mumbai, 2013, Blurb.
337:themes, the ethical values such as non-violence (
285:as an official classical dance of India in 2000.
1928:Aesthetic theories and forms in Indian tradition
1055:
940:Traversing Tradition: Celebrating Dance in India
856:
854:
548:(bracelets), different type of neck pieces like
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671:and the harmonium have been recent additions.
617:is accompanied by musical compositions called
56:
2056:
1331:
1329:
1177:
1175:
1147:
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780:. Oxford University Press. pp. 193–195.
712:is a subgenre consisting of one-act plays of
627:, among others) which are based on classical
490:(turban) and the female dress comprising the
464:, on themes that go beyond the mythological.
8:
1521:
1519:
1517:
1031:
967:Performing Arts and Therapeutic Implications
811:
809:
777:The Oxford Handbook of Religion and the Arts
32:
1700:. Guwahati: Assam Prakashan Parishan, 1973.
1590:. Mittal Publications. pp. 81, 89–90.
1440:The Sterling Book of Indian Classical Dance
1297:The Sterling Book of Indian Classical Dance
1019:
990:
964:Tanvi Bajaj; Swasti Shrimali Vohra (2015).
864:The Sterling Book of INDIAN CLASSICAL DANCE
826:
824:
644:produces a high pitch with the right side (
560:(shaped like the musical instrument dhol),
441:, energetic and with jumps), and feminine (
2125:
2063:
2049:
2041:
1697:Sattriya Dances of Assam and their Rhythms
1217:. Marg, The Marg Foundation, Mumbai, 2013.
1182:Farley Richmond (2016). Siyuan Liu (ed.).
40:
31:
2006:Indian Theatre: Traditions of Performance
1804:Sanskrit Play Production in Ancient India
1246:. Motilal Banarsidass. pp. 208–221.
1128:. Motilal Banarsidass. pp. 292–293.
916:. Motilal Banarsidass. pp. 294–299.
274:/ monasteries to the metropolitan stage.
138:, a Hindu sect established by Sankardev.
1641:Krishna in History, Thought, and Culture
800:
1694:Neog, Maheswar and Keshav Changkakati.
1691:. New Delhi: Omsons Publications, 2008.
1617:. Mittal Publications. pp. 11–12.
1443:. Sterling Publishers. pp. 74–75.
867:. Sterling Publishers. pp. 73–74.
749:
728:
572:(leaf shaped), Senpata (eagle shaped),
118:, one-act plays, originally created by
1105:. Harvard University Press. p. 4.
683:(or Sutra-bhangi), character specific
108:. It was initially created as part of
1548:
1546:
1544:
1542:
1294:Shovana Narayan (2011). "Kuchipudi".
289:are now performed on world's stages.
172:On November 15 of the year 2000, the
7:
1535:. Vol. 172–183. pp. 40–41.
1470:. Motilal Banarsidass. p. 298.
1101:Coormaraswamy and Duggirala (1917).
625:Sankardeva and Shree Shree Madhavdev
423:found in neighboring Manipur state.
348:Sattriya repertoire (mārg) includes
122:, a 15th-16th century polymath from
27:One of the classical dances of India
1849:Indian Music: History and Structure
1185:Routledge Handbook of Asian Theatre
1155:Routledge Handbook of Asian Theatre
1747:Drama and Ritual of Early Hinduism
1670:Sattriya, Classical Dance of Assam
1497:Sattriya: Classical Dance of Assam
564:(pendant shaped like a crescent),
270:moved from the sanctum of Assam's
46:Performance by Krishnakshi Kashyap
25:
1228:Sattriya-Classical Dance of Assam
1214:Sattriya-Classical Dance of Assam
141:The themes played are related to
2029:
2804:Classical dance genres of India
1611:Dilip Ranjan Barthakur (2003).
1584:Dilip Ranjan Barthakur (2003).
1554:"Costume | Krishnakshi Kashyap"
1416:. Routledge. pp. 516–518.
387:incorporates the elements of a
1737:10.1093/obo/9780195399318-0071
1638:Lavanya Vemsani Ph.D. (2016).
667:). Other instruments like the
317:of Śārngadeva complements his
1:
1188:. Routledge. pp. 20–21.
1158:. Routledge. pp. 19–21.
943:. Routledge. pp. 23–24.
157:, and stories from the epics
1644:. ABC-CLIO. pp. 12–13.
1389:. Infobase. pp. 45–46.
1300:. Sterling. pp. 48–49.
837:. ABC-CLIO. pp. 12–13.
2671:Hindi cinema song and dance
1976:Educational Theatre Journal
1731:. Oxford University Press.
970:. Routledge. pp. 6–7.
576:(strand of rice grain) and
516:Kingkhap, Miri Motif, Kolka
2825:
1342:. Routledge. p. 955.
774:Frank Burch Brown (2014).
112:which are performances of
1926:Kapila Vatsyayan (2008).
1913:. Sangeet Natak Akademi.
1909:Kapila Vatsyayan (1974).
1892:. Sangeet Natak Akademi.
1888:Kapila Vatsyayan (1977).
1867:Kapila Vatsyayan (2001).
1786:10.1080/08949460490274013
97:
57:
39:
1959:. Abhinav Publications.
1956:Dance In Indian Painting
1930:. Munshiram Manoharlal.
1870:Bharata, the Nāṭyaśāstra
1828:. Abhinav Publications.
1822:Reginald Massey (2004).
1437:Shovana Narayan (2011).
1383:Janet Descutner (2010).
1370:, pp. 33–38, 83–84.
861:Shovana Narayan (2011).
831:Lavanya Vemsani (2016).
433:, equal 64 just like in
2009:. Motilal Banarsidass.
1807:. Motilal Banarsidass.
1780:(1). Routledge: 69–98.
1765:Williams, Drid (2004).
1750:. Motilal Banarsidass.
1744:Natalia Lidova (1994).
1727:Natalia Lidova (2014).
1712:. Motilal Banarsidass.
1708:Dance Dialects of India
1103:"The Mirror of Gesture"
1044:Emmie Te Nijenhuis 1974
1022:, pp. xxiv, 19–20.
1911:Indian classical dance
1558:www.sattriyakristi.com
1494:Sunil Kothari (2013).
1464:Maheswar Neog (1980).
1336:Ellen Koskoff (2008).
1267:Maheswar Neog (1980).
1240:Maheswar Neog (1980).
1122:Maheswar Neog (1980).
910:Maheswar Neog (1980).
452:was performed only by
445:, Lasya or delicate).
106:Indian classical dance
70:Indian classical dance
2590:Poikkal Kuthiraiattam
2038:at Wikimedia Commons
1226:Kothari, Sunil (ed).
1211:Kothari, Sunil (ed).
1107:; Also see chapter 36
1056:Kapila Vatsyayan 2001
659:are various types of
610:Music and instruments
279:Sangeet Natak Akademi
174:Sangeet Natak Akademi
1801:Tarla Mehta (1995).
1704:Ragini Devi (1990).
1668:Sunil Kothari, ed.,
1368:Reginald Massey 2004
1321:Reginald Massey 2004
1068:Guy L. Beck (2012).
552:(for male dancers),
512:golden silk of Assam
352:(pure dance, solo),
176:of India recognised
2086:Perini Sivatandavam
1873:. Sahitya Akademi.
1774:Visual Anthropology
1500:. Marg Foundation.
1152:Siyuan Liu (2016).
1008:Natalia Lidova 2014
399:The hand gestures (
321:, which traces the
309:, and Śārngadeva's
255:of the dance hall (
145:, as well as other
36:
1953:Kapila Vatsyayan.
1852:. BRILL Academic.
1844:Emmie Te Nijenhuis
2786:
2785:
2676:Hindi dance songs
2220:
2219:
2034:Media related to
2016:978-81-208-0981-9
1966:978-81-7017-153-9
1904:Table of Contents
1880:978-81-260-1220-6
1835:978-81-7017-434-9
1814:978-81-208-1057-0
1757:978-81-208-1234-5
1719:978-81-208-0674-0
1678:978-81-921106-6-0
1651:978-1-61069-211-3
1624:978-81-7099-881-5
1597:978-81-7099-881-5
1560:. 13 January 2017
1507:978-81-921106-6-0
1477:978-81-208-0007-6
1450:978-81-207-9078-0
1423:978-0-8240-4946-1
1396:978-1-4381-3078-1
1349:978-0-415-99404-0
1323:, pp. 83–84.
1307:978-81-207-9078-0
1280:978-81-208-0007-6
1253:978-81-208-0007-6
1195:978-1-317-27886-3
1165:978-1-317-27886-3
1135:978-81-208-0007-6
1081:978-1-61117-108-2
1032:Wallace Dace 1963
993:, pp. 60–68.
977:978-1-317-32572-7
950:978-1-136-70379-9
923:978-81-208-0007-6
874:978-81-207-9078-0
844:978-1-61069-211-3
787:978-0-19-517667-4
655:Accompanying the
568:(lizard shaped),
527:Nadubhangi Nritya
341:), truthfulness (
315:Sangīta Ratnākara
311:Sangīta Ratnākara
85:
84:
16:(Redirected from
2816:
2737:Himachal Pradesh
2640:Thitambu Nritham
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1046:, pp. 1–25.
1041:
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1020:Tarla Mehta 1995
1017:
1011:
1005:
994:
991:Ragini Devi 1990
988:
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2072:Dance in India
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2025:External links
2023:
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2015:
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1982:(3): 249–254.
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893:, p. 22.
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801:Williams 2004
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623:(composed by
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475:The dress of
470:
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435:Natya Shastra
432:
428:
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418:
417:Bharatanātyam
414:
410:
406:
403:), footwork (
402:
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327:Bhagavad Gita
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104:, is a major
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78:
74:
71:
68:
64:
54:
50:
43:
38:
35:
30:
19:
2703:
2696:
2664:Contemporary
2620:Singhi Chham
2460:Kachhi Ghodi
2355:Dandiya Raas
2295:Bedara Vesha
2225:Divine forms
2170:
2161:Mohiniyattam
2028:
2005:
1979:
1975:
1955:
1927:
1910:
1889:
1869:
1848:
1824:
1803:
1777:
1773:
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1729:Natyashastra
1728:
1707:
1695:
1686:
1669:
1663:Bibliography
1640:
1633:
1613:
1606:
1586:
1562:. Retrieved
1557:
1531:
1496:
1466:
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601:Ankiya Naats
600:
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593:Ankiya Naats
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303:Nātya Śāstra
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201:Nātya Śāstra
197:Bharata Muni
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164:
158:
140:
133:
127:
113:
101:
88:
87:
86:
33:
29:
2766:Accessories
2635:Thirayattam
2625:Sword dance
2310:Bommalattam
2285:Bardo Chham
2275:Baagh Naach
2111:Veeranatyam
2101:Parai Attam
1564:11 February
1386:Asian Dance
542:Muthi Kharu
443:Stri Bhangi
431:Mati Akhara
281:recognized
264:Sankaradeva
227:Mahabharata
160:Mahabharata
52:Native name
2793:Categories
2752:Tamil Nadu
2690:Literature
2655:Yakshagana
2610:Raut Nacha
2600:Puliyattam
2580:Pavri Nach
2570:Paampattam
2540:Mayilattam
2470:Karakattam
2345:Corridinho
2335:Chheih Lam
2129:Recognised
2091:Margamkali
816:Ankiya Nat
744:References
709:Ankiya Nat
701:Sutradhara
681:Sutradhara
582:Thuka Suna
323:Upanishads
293:Repertoire
115:Ankiya Nat
2650:Veeragase
2595:Puli Kali
2565:Oyilattam
2485:Khual Lam
2480:Keisabadi
2440:Hulivesha
2385:Duffmuttu
2280:Bagurumba
2242:Rasa lila
2151:Kuchipudi
2146:Kathakali
2121:Classical
1946:286469807
1898:233639306
566:Jethipata
550:Mata Moni
546:Gam Kharu
508:muga silk
413:Kathakali
393:Kuchipudi
287:Sattriyas
120:Sankardev
2799:Sattriya
2773:Ghungroo
2720:By state
2585:Phulpati
2575:Padayani
2495:Kolattam
2465:Kalbelia
2445:Jhijhiya
2435:Hojagiri
2425:Gombhira
2365:Dhunachi
2340:Chholiya
2325:Chang Lo
2232:Nataraja
2171:Sattriya
2156:Manipuri
2036:Sattriya
1846:(1974).
1794:29065670
1529:(1999).
714:Sattriya
620:bargeets
578:Lokaparo
574:Dhansira
558:Dhulbiri
538:Kesa Sun
486:and the
477:Sattriya
458:Sattriya
450:Sattriya
299:Sattriya
225:and the
223:Ramayana
219:Shaktism
215:Shaivism
193:Sattriya
182:Sattriya
178:Sattriya
166:Ramayana
163:and the
153:such as
98:সত্ৰীয়া
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89:Sattriya
58:সত্ৰীয়া
34:Sattriya
2778:Silambu
2757:Tripura
2645:Tippani
2630:Tertali
2545:Mussoll
2510:Lahasua
2455:Jhumair
2420:Ghumura
2415:Ghoomar
2375:Domkach
2350:Dalkhai
2300:Bhangra
2237:Tandava
2207:Gotipua
2202:Gaudiya
2106:Theyyam
2079:Ancient
1996:3204783
1919:2238067
697:Jhumura
689:Prabesh
665:bansuri
570:Dugdugi
554:Golpata
471:Dresses
462:sattras
335:Vedanta
272:sattras
257:namghar
253:Manikut
188:History
147:avatars
143:Krishna
2747:Punjab
2742:Odisha
2711:Mudras
2681:Nautch
2605:Rasiya
2560:Oppana
2505:Lavani
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365:story.
362:Nritta
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350:nritta
339:ahimsa
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234:nritta
151:Vishnu
129:Sattra
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100:), or
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