Veteran exponent Jatin Goswami on how Sattriya, as soon as the protect of male monks, in the present day options a number of ladies artistes and new-age interpretations
Veteran exponent Jatin Goswami on how Sattriya, as soon as the protect of male monks, in the present day options a number of ladies artistes and new-age interpretations
Jatin Goswami, a revered Sattriya guru, performer, choreographer and scholar, has ceaselessly labored for the reason that Sixties to popularise the dance kind that was initially a medium of worship at Sattras (monastries), primarily on the Majuli island within the Brahmaputra river, and in different components of Assam. He established dance establishments akin to Pragjyoti Kala Kendra, Alok Shilpi Sangha and Sattriya Academy to coach a number of younger fans. Apart from contemporarising its method and repertoire to take Sattriya to viewers worldwide, he has authored many books tracing the dance kind’s virtually 500-year-old journey. Owing to efforts of outstanding artistes like him, Sattriya was accorded a classical standing within the 12 months 2000. The newest among the many lengthy record of honours and awards the veteran has acquired through the years, is the Sangeet Natak Akademi Fellowship. He talks about how, regardless of non secular elements being the defining function of the dance kind, he has strived to showcase its inventive and inventive elements.
l I used to be privileged to be born and introduced up in a Sattra (monasteries of Assam). As a baby, I may witness elaborate performances of dance and ankiya bhaonas (dance-dramas) that have been carried out to pay tribute to Srimanta Sankardeva and Sri Sri Madhavdeva and on Janmashtamis. Even on common days, there have been dance rehearsals within the evenings. So I don’t keep in mind precisely once I was formally launched to the dance kind; it was truly an necessary a part of my rising up years. Subsequently, I started performing totally different roles. Our Sattra adopted the Bordowa thul (type of dance).
l My first gurus within the Sattra have been Babula Bayan and Gopiram Bayan. In 1962, I met Rasheswar Saikia Borbayan and stayed with him for about 5 years. It’s then that I began studying the dance of the Kamalabari thul, which is essentially the most generally carried out type now. Later, I had the chance to be educated solely below Kalaguru Bishnu Prasad Rabha, particularly the theoretical elements of dance together with the Natya Shastra and the Srihastamuktawali.
How would you describe Sattriya dance and its philosophy
l The very function behind the creation of Sattriya by Sankardeva was to make use of the medium of artwork to propagate his philosophy of ‘Ek Saran Bhagabati Dharma’. The fundamental philosophy was of ‘Krishna eka deva dukhahari’ or ‘Eka Krishna’, which meant existence of 1 ‘Universal Power’. Thus, between each efficiency, the phrase ‘Nirantare Hari Bol’ is repeated. So, most feelings revolve round bhakti and each efficiency begins with an arpan bhangima (prayer). Even in the present day these arts are practised within the Sattras by the male monks as a part of non secular rituals.
A ladies ensemble led by Krishnakshi Kashyap performing Sattriya
| Photo Credit: Special Arrangement
When did Sattriya’s transition from monasteries to stage occur?
For round 500 years, it was largely confined to the Sattras. Even although in 1958, Sattriya was carried out for the primary time at a Sangeet Natak Akademi seminar in New Delhi, it took time for the dance to realize recognition amongst folks. Eventually, Sangeet Natak Akademi recognised it as a classical dance kind. It was my guru Rasheswar Saikia Barbayan, who started coaching ladies for the primary time.
A much-debated transfer, it’s mentioned that he needed to depart the Sattra due to this. But now, Sattriya is usually carried out by feminine dancers, in contrast to earlier, when it was solely carried out by male monks. When it was taught to ladies, few modifications needed to be made, primarily when it comes to costume. The dance kind was additionally altered to make it appropriate for stage. Even when it comes to music, all the things needed to be synchronised and introduced in tune to make the presentation extra subtle. Repetitions have been additionally eliminated to make totally different items match for the usual repertoire. But all the things was achieved retaining in thoughts the normal boundaries.
What do you suppose makes Sattriya music distinctive?
l Sattriya music is backed by a wealthy treasure of literature, written by the 2 saints, and an unbiased musical arrange with its personal taals and raags. There are many raags and taals with names just like different music types, however the strategy of singing and the taal measurements are fairly totally different. Moreover, in Hindustani music, the sam the place geet, badya and nritya coincide is normally within the first taali. But in Sattriya sangeet, sam happens within the final taali.
Gayan bayan efficiency at Kamalabari Sattra
| Photo Credit: Special Arrangement
You have many choreographic works to your credit score which have made a huge effect on the Sattriya repertoire. How do you stability conventional parts and fashionable sensibilities?
l Over the years, I’ve tried to create new works to mirror the altering occasions. Any Sattriya conventional piece consists of Ramdani, Geetor Naach and Mela Naach, and at occasions, simply the primary two. In these items, abhinaya could be very restricted. But abhinaya is necessary a part of Ojapali dance and a few portion of Ankiya Naats. So, there was a necessity to include Sattriya-based abhinaya compositions within the repertoire and that made me create new works, most of that are based mostly on texts from Sankardeva or pre-Sankardeva period. Whatever be the type of choreography, Sattriya’s type, music and philosophy ought to be maintained and the message behind the work ought to attain the viewers.
What are your views on utilizing artwork to handle points and create social consciousness?
l The goal of any artwork kind ought to be the betterment of society. Sattriya dance was launched to propagate Vaishnava idealogy. Dance will probably be left with none which means if a thought-provoking message can’t be put ahead by way of it. And if in the present day, Sattriya dance can be utilized as a software to handle modern social points that want consideration, then it turns into our responsibility to work on it.
Do you suppose digital expertise and social media have a job to play in popularising historical artwork kinds?
l This dance kind survived by way of the Sattra tradition, oral traditions and the guru-shishya parampara. Now within the fast-paced world, digital expertise and social media would play a major position in enabling dance communities to achieve out to a bigger viewers in a really restricted span of time, be it by way of performances, instructing or analysis.
Looking again at your lengthy journey in dance, what challenges did you face as a younger practitioner? Do you suppose the state of affairs is healthier in the present day?
l We needed to face lots of difficulties. People who didn’t belong to the Sattras weren’t taught the dance. At occasions, those that belonged to at least one Sattra weren’t allowed to be taught at one other. Also, it was past the society’s creativeness that dance might be a career. So not many have been . This mindset has modified utterly. The authorities, media and organisations are actually patronising and supporting arts, and so, alternatives have definitely elevated.
I really feel younger practitioners ought to take Sattriya throughout the globe by way of performances which might be aesthetically interesting and theoretically appropriate. They ought to have a look at artwork not as leisure, however as prayer.
The Guwahati-based author is a well known Sattriya artiste.
Source: www.thehindu.com