Dissertation

CONTENTS

0.00 INTRODUCTION
0.0 Introducing the subject
0.01 Aims & Objectives
0.02 Importance of the study
0.03 Methodology
0.04 Review of literature

CHAPTER-I
1.00 Sattriya dance
1.01 Origin and Development of Sattriya dance
1.02 Classification of Sattriya dance
1.03 Bhaona centric dance
1.04 Independent Dance
CHAPTER II
2.00 A Brief Introduction to Barpeta satra
2.01 Satra premises

2.02 Name of four sets

2.03 Rangial Griha
2.04 Dances prevalent in Barpeta Satra

CHAPTER III
3.00 A brief Introduction to Madhavdeva
3.01 Literary works

3.02 Verse composition

3.03 Plays of Madhavdeva
3.04 Lyrical Affusion
CHAPTER-IV
4.00 Chali Nach
4.01 Origin of Sali nach
4.02 Classification of Sali Nach

4.03 Suddha chali or Pure Chali dance

4.03.01 Presentation style

4.03.02 Raga and Song used in Suddha chali dance
4.04 Rajaghariya chali dance

4.04.1 Classification of Rajaghariya chali nach

4.04.2 Presentation style
4.04.3 Raga and song used in Rajaghariya chali
nach

CHAPTER-V
5.00 Costume & Instruments
5.01 Costume used in Chali dance

5.02 Costume used in Rajaghariya chali dance

5.03 Instrument
CHAPTER-VI
6.00 A comparative discussion of Suddha
chali dance and Rajaghariya Chali dance

Chapter-VII: CONCLUSION

BIBLIOGRAPHY
 0.00 INTRODUCTON
0.01 Introducing the subject
Sattriya dance, a traditional classical dance form from Assam, India, has been an
integral part of India's cultural heritage for centuries. Originating in the 15th century,
this dance form has evolved from the Vaishnavite movement and Bhakti tradition,
reflecting the spiritual and philosophical principles of the region.

Originating in the monasteries known as "Sattras," this classical dance form was
established by the 15th-century saint, poet, singer, dramatist, translator, painter,
director of Ankiya bhaona and social and cultural reformer Sankardev as a medium
for spiritual expression and storytelling. Sattriya dance is characterized by its
intricate footwork, graceful movements, and expressive gestures, which vividly
convey the narratives drawn from Hindu mythology, particularly the life of Lord
Krishna. This introduction will provide an overview of the historical context, artistic
elements, and cultural significance of Chali dance of Sattriya. By tracing its evolution
from a devotional practice to a recognized classical dance form, we aim to
underscore its relevance in contemporary society. The term "Chali," referring to the
specific style of dance within Sattriya, reflects its dynamic nature, emphasizing the
rhythmic and expressive aspects that define its performance.

In the context of Assamese identity, Sattriya Chali serves not only as a form of
artistic expression but also as a means of preserving cultural heritage. The dance is
performed during religious festivals, cultural gatherings, and various social events,
highlighting its role in community cohesion and continuity.

In this dissertation paper, here, discuss the origin of Sattriya dance, origin of Chali
nach, performance style, classificaion of Chali nach, songs, dance, costumes and
instruments etc.

0.02 Aims and objectives

1. To explore the historical and cultural significance of Sattriya dance in
Assamese society.
2. To investigate the significance of Chali dance in Sattriya tradition and its
contribution to Assamese cultural heritage.
3. To analyze the technical and aesthetic aspects of Chali dance, including
its unique movements, footwork and hand gestures.
4. To study the distinctive features of chali dance including its
choreography, music, costume and how these elements contribute to its
unique artistic expression.
5. To contribute to the preservation of Sattriya dance by documenting its
practices and performances, and to promote its appreciation and
understanding among broader audiences.

0.03 Importance of the study

1. Cultural preservation
2. Understanding religious practices
3. Aesthetic and technical aspects
4. Educational value
5. Innovation and creativity
6. Academic contribution
7. Documentation for future generation
 CHAPTER-I
1.00 Sattriya Dance
Sattriya dance is an Indian classical dance form created by
Sankardeva in the 15th century as a powerful medium for propagation of
the Vaishnava faith. The dance form evolved and expanded as a
distinctive style of dance later on. This neo-Vaishnava treasure of
Assamese dance and drama has been, for centuries, nurtured and
preserved with great commitment by the Sattras i.e. Vaishnava maths or
monasteries. Because of its religious character and association with the
Sattras, this dance style has been aptly named Sattriya. Later eminent
personalities and reformers like Late Maniram Dutta Muktiyar Barbayan,
Late Dr. Maheswar Neog, Late Dr. Bhupen Hazarika to name of few
contributed in developing and bringing the Sattriya dance to the outer
world. Though the dance form has come out of the confines of the
Sattras to a wider audience, the Sattras continue to use the dance form
for ritualistic and other purposes for which it was originally created 500
years ago. On November 15th of the year 2000, the Sangeet Natak
Academy of India recognized Sattriya as one of the eight classical dance
of India.

Enriched with the classical elements and its basics related to the
Natyashastra, Srihastamuktavali, Abhinaya Darpana, Sattriya dance has
reached a different horizon from its origin in the Sattras. The Sattriya
dance can be classified into two styles: “Paurashik Bhangi” i.e. Tandava
or Masculine style and “Stri Bhangi” i.e. Lasya or Feminine style. Like all
major Indian classical dance forms, Sattriya repertoire also includes
nrtta, nritya, and natya. Six types of Anga(Limbs), six types of Pratyanga,
six types of Upanga, nine different types of Gatived, eight types of
 Drishtived, nine types of Shiraved four types of Gribaved are found in
Sattriya dance.

1.01 Origin and development

Sattriya dance is one of the nine major form of Indian classical dance
created by the Vaishnava saint-scholar, poet, playwright, dancer, actor,
musician, artist, social-religious and cultural reformer Sankardeva
(1449-1568), in the late 15th or early 16th century through Ankiya Nat.
The Neo-Vaishnava or Bhakti movement was formed in Assam in the
15th and 16th century under the leadership of Sankardeva. This
movement initiated a revolution in almost all aspects of religion, society,
literature, music, sculpture etc. of assam and brought about a
renaissance in the society and culture of Assam. Sattriya dance is the
result of this devotional movement.
It has already been mentioned that in the late of 15 th or early 16th
centuries, Sankardeva started this dance form through the medium of
Ankiya Nat. This dance form is started by Sankardeva with the first Nat
called Chihna Yatra. Although the attempt to Chihna yatra was
successful, due to the difficult and expensive method of painting,
Sankardeva gave up that method and replaced it with another class of
plays with the addition of full-fledged (Purnanga) stories, dialogues,
nritya-geet-vadya etc. These plays of Sankardeva were known by
various names such as Anka, Nat, Jatra, Nritya etc. but today these plays
are known as Ankiya Nat. This Ankiya Nat is a special category of drama.
In the pretense of this Ankiya Nat, there is a beautiful application of all
the three elements of Nrtta, Nritya, Natya to be present in classical
dance. Therefore, Sattriya dance was born on the basis of Ankiya Nat of
Sankardeva. After this, Madhavdeva, the beloved disciple of Sankardeva,
also composed a class of plays called Jhumura. The Jhumuras are similar
to Sankardeva’s plays. So Madhavdeva’s plays (Jhumura) bring about a
special development of the dance form. Apart from this, Madhavdeva
additionally creates a class of independent dance without being
associated with Bhaona’s dance. These dances are free from the
formalities of Bhaona and have high aesthetic value.
After the death of Sankardeva and Madhavdeva, the Satras of Assam
were divided into different groups (Sanghati). These sets created many
dance forms on their own to demonstrate the superiority of their own
set in the pursuit of art and culture such as- Bhangi nach, Biyohiya
Ojapali, Lavanu churi nach, Kaliya Daman nach, Hajowaliya Natuwa
nach, Shiv nach, Apsara nach, Chali Kirtan, Ghosha Kirtan etc. Therefore,
the Satras became the center of the religion of Bhakat Vaishnava. They
practice the Ankiya Nat, songs, dances, instruments etc. within the Satra.
Thus, the dance form was preserved by the Satras over time. That’s why
this dance is called SATTRIYA DANCE.
In the middle of 20th century, Sattriya emerged from within the confines
of the Sattras, lay people, especially female dancers, begun to embrace
the beauty of the dance form and its philosophy. On November 15th
2000, this dance was recognized as an Indian classical dance. Once
Sangeet Natak Academy (SNA) stepped in, some much-wanted funds
started flowing to boost Sattriya in terms of performance, training and
documentation works. The new generation started showing interest
towards learning Sattriya seriously as SNA provided exposures at
intervals. Today this dance form is becoming increasingly more intense
and has a special place in the context of Indian classical dance.
Therefore, it can be said that the Sattriya dance created in the 15 th and
16th centuries for the propagation of religion has not only been
propagated by the propagation of religion but has also been able to get
respect from all sections of the society by performing on various stages
as Performing art today.
The valuable resource materials of Sattriya lying in almost 550 Sattras of
Assam are yet to be tapped properly. SNA and centrally-funded
Shrimanta Sankardeva Kalakhetra of Guwahati have started
 documentation work of Sattriya dance, music and theatre only on
piecemeal basis. Of late, Indira Gandhi National Centre for the Arts
(IGNCA) has shown interest and has made plans for documentation of
old and valuable manuscripts and texts lying in various Sattras.
Suggestions have been given to IGNCA to start documenting old gurus,
dancers, musicians and theatre persons immediately as valuable
resource materials before they become sick and unavailable. It will be a
great loss for Sattriya culture, if these resource persons go away without
passing their valuable contributions to the present generations. Time
has come for Sattriya to acquire momentum. The essence of boosting
Sattriya culture lies in innovation, creation and enhancement of the
existing Sattriya dance repertoire within the basic structure of Sattriya
culture, to strengthen Sattriya dance as a classical art form. Besides lack
of funding as a set-back for senior Sattriya dancers and gurus to innovate
and to do more productive work, the other bottleneck is the lack of
proper platforms for Sattriya dancers. It will be difficult to encourage the
new generation to continue dance, if proper funding and platform are
not made available to them when required. The movement of
Vaishnavism propagated by Sankardeva in Sattriya culture stresses on
spirituality, peace and harmony across religious and social barriers
through devotion. Today, the world is seeking alternative ways of
combating global terrorism and violence through peaceful and non-
violent ways. Sankardeva’s spiritual message is very relevant today. The
philosophy of Vaishnavism is contemporary. The dance maybe specific to
Assam but the message is global- universal peace and harmony. The
message of Sankardeva needs to be promoted nationally and globally.
Therefore, various important Sattriya projects should be consolidated
and implemented within a stipulated time-frame for development of
Sattriya dance.

1.01 Classification of Sattriya dance

 From the discussion of origin and development of Sattriya dance, it is
clear that Sattriya dance is based on Bhaona and Independent dance
numbers. So, the Sattriya dance is divide into two parts-
1. Bhaona centric dance
2. Swatantrariya or Independent dance

Independent dance is further divided into three parts:

(i) Madhabdeva’s own creation
(ii) Satra centric dance
(iii) Dance created separately from the style of Sankardev and Madhavdeva

1.02 Bhaona centric dance

Bhaona’s dance can be broadly divided into nine parts:

1. Gayan-bayan Nach
2. Sutradhari Nach
3. Krisna Nach or Gosai Pravesar Nach
4 Stree Pravesar Nach.
5. Bhaoriya Pravesar Nach
6. Yuddhar Nach
7. Geet, Sloka, Bhatimar Nach
8. Bhangi Nach
9. Kharman Nach

A brief description of bhaona’s dances is given below:

1. Gayan-Bayan Nach (Dances of Gayan-Bayan)

This is the Purva-ranga (preliminary) of Ankiya Bhaona. A Bhaona begins

with the performance of Gayan-Bayan. There are two powerful parties in
this dance: one is Gayan (the singer) and the other is Bayan (the
instrumentalists who plays khol and taal or cymbal). It is a tradition that
the Ariya (fire torch) comes first, then the group of Gayan-Bayan follow
it while the Agnigarh (a series of nine numbers of earthen lamps) is
lightened up. This tradition is still prevalent in the present period. In
bhaona, the performance of Gayan-Bayan is presented in a series and
they are as follows:
 Baha-Sahini
 Thiyo-Sahini
 Guru ghat
 Lana ghat

The reason why the Gayan-Bayan is regarded as dance form is that it has its
own bhariman (footworks) and hasta-chalana (hand gesture and
movement) like other standard dance forms.

The various bhariman that is still applied by Gayan-Bayan in various Sattras

are: Kerepi or Perengoni, Sakatasya, Ardhyardhika, Salana, Juti, Khusora,
Mattali, Aadjuti, Aabiddha, urudhrta, Pak, Uthal athu, Saran, Luthit,
Begini, Tewai, Chiral, Lecheri, Pitika, Sitika, Khuboli-pisola, Soru-sola,
Bor-sola, Danchakra, Dandapad etc. These bharimans are powerful
elements of the dance of Gayan-Bayan which makes the dhemali part
more attractive.

Despite the fact that the cymbalist and the dancer being the same person,
there are provisions of performing this dance with hand gestures. There
are provisions of thirty five number of hastas in ghosha dhemali of
which nearly 17 to 20 numbers are applied. The most commonly used
hastas are: Mujura, Alapadma, Sarah, Padmakos, Patak, Ketela, Haire,
Dol, Jalak, Sota of Khol is a significant element of this dance. During the
singing of Man-sok, the dance of Gayan-Bayan becomes more beautiful
and captivating. Pani poruwa is an attractive and significant performance
 of Gayan-Bayan. Moreover, it is the best performance of this dance style
on the occasion of Sankardeva, Madhavdeva and Badula Padma ata’s
tithi is noteworthy.

2. Sutradhari Nach

The Sutradhari nach is a unique dance or Sutra-Bhangi performed by the

Sutradhara. This dance is composed with the elements that has to be
performed by the Sutradhar throughout the play such as:

 Pravesar Nach
 Ragar Nach
 Gatar nach
 Slokar Nach

These dances are Tandava in nature. The Sutradhar enters the stage behind a
curtain held by two persons and performs his Pravesar nach with
ashtadala padma which gradually moves to perform the pure dance
form. In the Sutradhari dance, the dance is initiated after singing of the
Sareng raaga. The dance performed after the descriptive songs and
Bhatima is termed as Gatar nach. Towards the end of the dance, the
Sutradhar concludes the dance with Slokar nach. The Sutradhar dance is
a one-man dance and can not be performed in group. He enters the
stage with Pravesar nach and has to perform the preliminaries with such
functions as, Nandi, Prarocona, Prastavana, and Trigot.
The main features of Sutradhari dance are- ulah, sota, jalak, paak and
jaap. In this dance, there is frequent use of the Mati-Akhora such as-
Purus ora, Purus pak, Kati-cata, Sanmukholoi cata, Jalak, Athua, Ketela,
Haat-soluwa etc. can be seen. The hastas used in this dance are: Haire,
Mujura, Alapadma, Patak, Kapot, Sarah, Anjali etc. The bhariman that
are commonly used are: Kerepi, Juti, Siral, Lecheri, Chiral etc. Such
qualities of the various parts of the dance have made the dance a
poweful one.
3. Krisna nach or Gosai Pravesar Nach

The main character in the Ankiya nat is Raam or Krishna. Krishna nach is
primarily about the Pravesa dance of Raam and Krishna. The main
features of this dance are gravity and gracefulness. The dance is
classified as follows:
 Bajanar nach
 Slokar nach

Even though this dance is male specific or Tandava dharmi but it is composed
on the activities and image of krsna so the body movements are carried
out in a graceful and elegant manner. Sasak and Mujura are two hand
gestures that are commonly used in this dance. Apart from the Sasak
and Mujura, the other hand gestures used in this dance are: Carah,
Alapadma, Asimukh, Patak. The Mati akhora used in this dance are:
Purus ora, Purus Pak, Udha cata, Hat soluwa etc. The Bhariman that are
applied in this dance are: Siral, Juti, Nupur-soluwa, khusora, begini,
Leseri etc.

In the Kamalabari Sattra, this dance is recognized as one of the fundamental

form of dance.

1.03 Swatantrariya Dance (Independent Dance)

Madhavdeva is the creator of the Swatantrariya dance. These dances were
created by Madhavdeva with high aesthetic values, free from the
formalities of bhaona and in order to perform in less detail. These
dances are now known as Gut-nach (Group dance). Some features of
independent dance are:
1. There is no restriction on performing in swatantrariya dance. However,
Sattra traditionally has a ritual of performing this dance on a particular
tithi or routine context.
2. Swatantrariya dance have their own characteristics and art techniques.
3. There is no context in the song of Swatantrariya dance. Part of its song is
played in a particular raga or in the song of the play.
4. Swatantrariya dance are performed in groups.
5. Swatantrariya dance are found in both Tandavdharmi and Lasyadharmi.

Independent dance is further divided into three parts:

1. Madhabdeva’s own creation

2. Satra centric dance
3. Dance created separately from the style of Sankardev and Madhavdeva

 Madhabdeva’s own creation:

1. Chali dance
2. Jhumura dance
3. Behar dance
4. Nadubhangi nach
5. Bar-pravesar nach
6. Manchok nach

 Sattra centric dance:

1. Rajaghariya chali dance
2. Various Ramdani and geetor nach of Suddha chali
3. Bihohiya ojapali
4. Ghosha kirtanar nach
5. Chali kirtanar nach
6. Namsamora nach
7. Notuwa nach
8. Raasor nach
9. Bhortal nach

 Dance created separately from the style of Sankardev and

Madhavdeva:
After the evolution of Brahma Samhati, some dance numbers
were practiced in their Sattra institutions, these dance are also
part of Sattriya culture.
1. Hajowaliya-Notuwa
2. Apsara nach

CHAPTER II
2.0 A Brief Introduction to Barpeta Satra

Satra is a Sanskrit word. Satra is used in two senses, the first meaning is
religious institution and in the second sense, it is a place of day-long
religious discussions. This is the origin of the Vaishnava satras in Assam.
Barpeta Satra is a well-known sattra situated at Barpeta in the Indian
state of Assam. It was established by vaishnavite saint Madhavdeva in
1505 shakabda (1583 AD). The earlier name of the satra was Barpeta
Than. The name Barpeta comes from the three names ‘Barpat’, ‘Barpit’,
and ‘Barpet’. ‘Bar’ means big and ‘Pat’ means the main alter of religious
spirituality. The old name of Barpeta is Tatikuchi. There are ten names of
Barpeta including Tatikuchi. They are: Tatikuchi, Itchakuchi, Barpeta,
Poravita, Vrindavan, Mathura, Choukhuti sthan, Navaratna sabha,
Pushpak Vimana, Kampur.
When Madhavdeva left the Satra, he gave the responsibility to his
disciple Sri Mathuradas Burha Ata to take care of the Satra and became
the first Satradhikar of Barpeta Satra. It was Mathuradas Burha Ata who
systematized the administration of the Satra leading to development of
 the institution and the region of Barpeta. Barpeta Satra is one of the
satras established in the holy places from Sadiya to Dhubri. The Barpeta
Satra, known as second Vaikunthapuri, has been promoting beautiful
songs, dances and musical instruments, etc., created by Sankardeva-
Madhavdeva.

2.01 Satra Premises

Satra premises start with three Batchara (Entry gate of Areas),
whereas Main complex is surrounded by Wall, they are-

1. Nahati Batchara (westside entry)

2. Uttar Hati Batchara (North entry)
3. Dakshinhati Batchara (entry from south)
There is no entry from East side bacuase a canal flows along the east side.

2.02 Name of four Sets (Samhati)

After Sankardeva, among the Vaishnavas of Assam, the community
was divided into four sects according to customs and rituals. The four
Samhati are-

 Brahma Samhati
 Kaal Samhati
 Purush Samhati
 Nika Sanghati

2.03 Rangial Griha

Towards the end of the 15th century, a sattriya art form was created
through Satra institution based on the Bhakti movement propagated by
Sankardeva. Notable among them are dance, song, music, painting,
architectural arts made of bamboo and cane wood, clay etc.
 The ‘Rangial-Griha’, an ancient monument of the Barpeta Satra, was built
on the orders of Madhavdeva in the gardens of Barpeta Ram Larua
Burha-Burhi. It was on the floor of the Rangial Griha that Madhavdeva
enthralled the devotee community by performing innovative
performance of dance-song-bhaona, revealing the greatness of Hari
Leela-Mala. And this is where Madhavdeva performed the Chali nach for
the first time. This Rangial house of Barpeta Satra was permanent
theatre within the whole of Assam.

2.04 Dances prevalent in Barpeta Satra

Dance, song, music and acting have been taking a strong form in Barpeta Satra.
Dance, song, musical instruments and acting have been in vogue within
the Satra tradition as a carrier of oral tradition from the time of the
establishment of the Satra to the present day. In recent times too, the
Bhakat-Vaishnava of Satra have been promoting various dance groups
through preservation and discussion. Therefore, the dances prevalent in
Barpeta Satra are-
1. Mati-Akhora
2. Gayan-Bayan nach
3. Sutradhari nach
4. Gaher nach
5. Gopi Pravesh nach
6. Juddhar nach
7. Chali nach
8. Jhumura nach
9. Nadubhangi nach
10. Bor-Pravesh nach
11. Behar nach
12. Ojapali
13. Ghosha-Kirtan
14. Bhortal nach
15. Dasavatar Nach
 CHAPTER-III
3.00 A brief Introduction of Madhavdeva

Mahapurush Sri Sri Madhavdeva was a beloved disciple of

Sankardeva, the chief of the propagation of The New Vaishnavism. He
was born in 1489 A.D. at Leteku pond in Narayanpur, Lakhimpur district.
His mother’s name was Manorama and his father’s name was
Govindagiri, a kayastha, who was originally an inhabitant of Banduka, a
place in the Rangpur district of present Bangladesh. In this place,
Madhavdeva come to know the scriptures of grammar, Bhagavata-
Purana, etc. in the tola of a scholar named Rajendra. Within the short
period of time, he learned the scriptures. It was around this time that his
father, Govindagiri died. After his father’s death, he came to his home
Narayanpur for many days. At that same time, he got the news of his
mother’s illness and offered a pair of white goats to Durga Gosani,
wishing for his mother’s recovery. After this, Madhavdeva came to
Majuli’s sister’s house and gave the responsibility of bringing a pair of
goats sent to the sister-in-law Gayapani. But Gayapani did not pay heed
to Madhavdeva’s words as he was already taking refuge in Sankarguru
and being pro-religious. Then a debate broke out between the two over
this and in the middle of this argument, Gayapani said that,
“Amar agot dekhuwaha borgut
Sankarar log paile hoiba lot-sot.”
The when Madhavdeva wanted to know who this Shankara was,
Gayapani spoke about the Shankara guru and Madhavdeva asked him to
take him to Shankardeva. The next day, Gayapani takes Madhavdeva to
Sankar guru in Dhuwahat. It was here that there was an intense debate
between the two great men over Vaishnavism and Shakti. In the end,
 before Sankardeva’s irrefutable logic, Madhavdeva accepted defeat and
took refuge (Sarana) at the feet of Sankardeva. This meeting of the
Gurus was so important that it greatly influenced the Assamese society
and culture as well as the Assamese people. That is why Rasraj
Lakhsminath Bazbaruah described this meting as a “Manikanchan”
connection. He becomes the beloved disciple of Sankardeva and
Sankardeva considered Madhavdeva to be like a son and called him
“Borar Po”.

2.01 Literary works

As an artist Madhavdeva left behind an undying and ever glowing impress
of his creative faculty on the literature of Assam. His literary works
maybe classified into four categories-
A. Kavya
B. Devotional compilations and translations
C. Plays
D. Devotional lyrics
Adikanda (Ramayana) and Rajasuya Kavya belong to the first category,
Bhakti-ratnavali, nama-malika, Namghosha and Janma-rahasya may be
placed in the second category. ‘Namghosha’ is a masterpiece of his
greatest literary creation.
Although the name of Madhavdeva is noticed in as many as nine plays, all
are not considered as products of his own pen. The Vaishnavite tradition
ascribes six plays to him without definitely naming all of them. The
following nine are the extant plays:
1. Arjuna-bhanjana
2. Cordhora
3. Pimparagusuwa
4. Bhumi-letowa
5. Bhojana-Vihara
6. Brahma-mohana
7. Bhusana-harana
8. Kotora-khela
9. Rasa-jhumura
The first five are non-controversial. and the remaining four are controversial. Rama-
Yatra and Goverdhana-yătră are extinct or not yet available.

Although the orthodox Vaisnavites and critics do not accept the last one viz..
Rāsa-jhumurā, as a work of Madhavadeva, the Katha-gurucarita of the
eighteenth century and Gurucarita by Daityäri Thakur of the seventeenth
century accepted it as as a genuine work of the Vaisnava saint. The arguments
for rejecting the four plays noted above are mainly the following:

1. Unlike the genuine plays of Madhava, these plays do

not contain the usual benedictory stanzas (nāndi slokas) and devotional
prayer (bhațima) glorifying the adorable deity. 2. Intermediary Sanskrit verses
as connecting links of

the plot which are usually noticed in the plays of Sańkaradeva and the genuine
plays of Madhavadeva are conspicuously absent in these plays.
3. The relation between Rädhä and Krşņa depicted in the last three of the
above-named plays is not in conformity with the fundamental tenets of Assam
Vaisnavism where dāsya and vatsalya relations between the deity and
devotees reign supreme.

4. The language and the style of these plays are inferior to those of the
undisputed genuine plays. It is difficult to accept the tradition that he wrote
six plays.

With Rama-yatra, and Govardhan-yatră, said to have been composed by him

and enacted under his supervision, as narrated in some of the biographies, the
number of genuine plays increases. In fact, the tradition of twelve plays, six by
Sankaradeva and six by Madhavadeva cannot be accepted unreservedly. The
plausible explanation for ascribing six plays to Madhavadeva would be that
although the exact number of plays by him could not be definitely established
or ascertained the later Vaisnava devotees created a myth of twelve plays on
the analogy of the twelve Bhuyan families (Barabhuya) of Assam, twelve
cantos of the Bhagavata-purana, twelve principal devotees of Vişņu and
twelve apostles nominated each by Madhavadeva, Purusottama Thakur and
Chaturbhuja Thakur to propagate Assam Vaisnavism.
The tradition has nowhere clearly named the twelve plays. While the six plays
of Sankaradeva have been preserved in- tact, those of Mädhavadeva have
created a problem as some spurious works are ascribed to him. So, the exact
number of plays has remained a mute point for the scholars. The number of
non-controversial plays therefore, is five and the genuineness of the other
four is questioned. But on a closer scrutiny Brahmā-mohana, though devoid of
a usual benedictory verse, appears to be a genuine work of Madhavadeva.
It is very difficult to fix the chronology of Madhavadeva's writings. The
scattered references to his works in some of the medieval biographies of
Vaisnavite saints and preachers do not provide sufficient evidence or clues to
determine the chronology. However, his earliest compositions must have
been some of the devotional songs or lyrics commonly known as Bargita.
Although the chronology of his other works is very difficult to establish, it can
be safely said that the trans- lations of Adi-kända and Janma-rahasya are
earlier works. From the evidence available in the medieval biographies of the
Vaisnavite saints, it is known that Madhava composed at least one drama
(Arjuna-bhoñjana) during the life-time of Sankaradeva, i.e., before 1568 A.D. It
is narrated in the Katha-gurucarita that Sankara himself appeared in the role
of Nanda in the performance of Arjuna-bhanjana. Nama-mālikā was translated
at the instance of Virupaksa Kāji, a minister of the Koch King Laksminārāyana
when the saint was forced to reside in Cooch Behar. As Laksminārāyaņa
ascended the throne in 1584. the work must have been composed after that
year. Madhavadeva's last work and his magnum opus, Nama- ghoşă was given
the final touch towards the end of his life. Some of the verses of this work
were certainly composed earlier but the work as a whole received the final
touch of his hand in the last decade of the sixteenth century. Besides the
above genuine works, a few more apocryphal works by later writers, viz., Adi-
carita, Amulyaratna, Guptamani, and Guptasar are ascribed to Madhavadeva.
The language, style and contents of these works clearly expose the
spuriousness of these works. A large number of songs of esoteric and tantrik
significance known as Dehvicar-gitā also spuriously contain the bhanita
(colophon) of Madhava.

3.02 Verse composition

The translation of the Adikanda Ramayana is one of Madhavadeva's earliest works.
This was composed while Sankaradeva was staying at Patbausi. The
approximate date of this work can be placed in the sixth decade of the
sixteenth century. An anecdote is found in the Katha-gurucarita, a voluminous
prose work of the eighteenth century, containing biographical accounts of
Vaisnavite saints wherein it is stated that Madhava Kandali, a literary
predecessor of Sankaradeva, requested the latter in a dream to restore and
preserve his Ramayana of which the first and the last books were lost or
destroyed. Sankaradeva, so the story goes, undertook the task of restoring the
Ramayana of Madhava Kandali to its pristine glory by composing the lost last
book himself and getting the first book done by Madhavadeva. The story is
probably a latter day concoction to justify the part played by the two
Vaisnavite stalwarts in completing the incomplete or mutiliated work of
Madhava Kandali. So, the existing version of Madhava Kandali's Rāmāyaņa is
prefixed and suffixed by the Adikanda of Madhavadeva and the Uttara- kända
of Sankaradeva respectively. Madhavadeva did his job most competently.
Instead of translating all the cantos of the Adikanda he picked up only those
cantos which are related to or have a bearing on Rama's life and personality:of
the remaining cantos, some have been totally omitted, and others are rapidly
passed over. Stories relating to Sagara, Mandhatr, Bhagiratha, Dilipa and other
ancestors of Rama are briefly outlined, but the conflict between Vasistha and
Viśvāmitra and the episodes concerning Trisanku. Ambarisa, Sunahśepha, etc.,
have been totally left out because they are extraneous to the story of Rama.

Madhavadeva's translation of Balakanda (Adikanda) identifies Rama

with Visnu and therefore endows the hero with all the adorable qualities of
the loving deity. The work, though a translation, reads like an original
composition on account of the clarity of exposition, and lucidity of style, and
embellished descriptions.
Of the devotional compilations and translations, Bhakti- ratnāvali seems to be
Madhavadeva's second work, the first being Janma-rahasya. The translation
was undertaken after the demise of the Master when Madhavadeva was
staying in Sundar diya near Barpeta in the seventies of the sixteenth century
and was completed before his migration to Cooch Behar. The Bhakti-ratnavali
is a compilation of devotional verses by Vişnupuri a sanyası of the Advaita
school with a devotional bias. This work is regarded as one of the four
principal sacred books of the Mahapurusiya sect of Assam, the other three
being Kirtana-ghoşa and Dašama-skandha of Sankaradeva and Nama-ghosă of
 Madhavadeva. Madhava- deva's Nama-ghoşā begins with a translation of the
benedictory verse of Kantimälä, the commentary on Bhakti-ratnavalt by the
compiler Vişnupuri himself. It may be interesting to refer here to the
circumstance in which Śankaradeva obtained a copy of Bhakti-ratnavalt which
he assigned to Madhavadeva for rendering into Assamese.
Janma-rahasya, a small work containing approximately three hundred verses.
Nama-mālikā was composed while Madhava was spending the last few years
of his life at Cooch Behar.
The most outstanding devotional work of Madhavadeva is Nāmaghoşă
which is not only the magnum opus of the great saint, but may be considered
as one of the most sublime works of Indian literature. Held in the highest
esteem by the Assamese people it is widely read, memorised and quoted as a
scriptural text. As it contains one thousand hymns it is also known as Hāzāri-
ghoşă. Out of the one thousand verses, approximately half are translations
from various Sanskrit sources, including the Gita and the Bhagavata-Purana,
but the translated verses are couched in such perfect rhythm and form that it
would be more appropriate to call them re- creations rather than translation.
Through the mellfluous flow of the thousand verses the image of a genuinely
devoted soul passionately striving for spiritual realisation is reflected.

3.03 Plays of Madhavdeva

According to the Vaisņavite tradition Madhavdeva wrote six one-act

plays, but nine plays are now available in his name. He wrote plays primarily
depicting the pranks of child Krishna. They are:
1. Arjjuna Bhanjana

3. (Dadhi Mathana)
2. Coradhara
3. Pimpara Gucuwa
4. Bhumi Letowa
5. Bhojana Bihara.
Some scholars consider the plays Brahmamohana, Bhusana Harana,
Kotora Khela, and Rasa Jhumura to be spurious.
According to some biographies, Mãdhava composed two other plays, viz.
Ramayātrā and Govardhana-yăträ which are irrecoverably lost to posterity.
Before we discuss the plays of Madhavadeva it would be worth-while to say a
few words regarding the general nature and characteristics of the early
Assamese Vaişnavite plays introduced by Šańkaradeva. These plays have been
called nāļa, nāțaka, and yātrā by the dramatists themselves in the body of
their works, anka and jhumurā in some biographies and ankiyā-nāta by the
people. Nața and Națaka are familiar terms in the ancient dramaturgy. The
language of these plays is Brajabuli, an artificial literary language based on
Maithili, but reinforced by admixture of regional expressions. Although the
outline of the play's structure is derived from the Sanskrit drama, it has
characte- ristics of its own and it clearly deviates in some respects from the
Sanskrit drama.

Of the genuine plays of Madhava about which there is no controversy, Arjuna-

bhañjana is the earliest composition. It was probably writen about A.D, 1555
while Madhavadeva was staying at Ganak-kuchi. When it was first staged
Sańkaradeva appeared in the role of Nanda and Madhava appeared as
Upananda. The next play Cordhara (Catching the Thief) was composed about
1570 when he was living in the estate of KsIra Maral at Sundaridiyā, near
Barpetā Bhojana-vihāra was composed at Barpeta round about 1585, The
other plays were composed probably between 1575 and 1585 when Madhava
was staying at SundarIdlya where according to one biography he lived for 12
years. According to Kathā-gurucarita, a voluminous prose biography of the
eighteenth century, Madhava wrote Rāsa-jhumurā and Kotorā- khela at
SundarIdiya, but the statement cannot be accepted unreservedly as the
authenticity of these works is highly , doubtful. Rama.yātrā or Rāma-bhãonā
was composed during the later part of his stay at Barpeta, i.e., between 1585-
1590; but it was destroyed subsequently on 'account of its unstage- able
length. Govardhana-yātrā was also composed round about 1575 while he lived
at SundarIdiya, but this play is not available now.
The plot of Arjuna-bhañjana, popularly known as Dadhi- mathana (Churning of
Curd), is taken from the Bhāgavata- purāņa (X,9-11). The play incorporates a
few verses from Krsņa-karnāmrta of Lilāsuka (Vilvamangala).
The third play is Pimparāgucuwā, (Removing of Ants) .
The fourth play is Bhumi-letowa (Rolling on the Ground).
The fifth oncontroversial playlet s Bhojana-vihāra (Plcnic). The plot is based on
an episode in the Bhāgavata- purāņa (X. 12).
3.04 Lyrical affusion
: Madhavadeva lyrics are held in great regard not only in orthodox
Vaisnavite circle but have a strong sway over the entire Assamese society. At
present, the number of borgeets is One hundred ninety one. It is said that
Madhavadeva composed 240 songs, but although only one hundred and
eighty songs are available today. The language of the lyrics, like that of the
dramas, is Brajabuli, commonly used by the Vaisnavite poets of Eastern India
in their devotional lyrics by blending Maithili forms and expression with those
of their own languages. Sprinkling of Bhojpuri, Brajabhākhā and Avadhi forms
is also occasionally noticed. Sankaradeva and Madhavadeva utilised Brajabuli
in their Bargītas and Bhațimās (eulogical verses in praise of gods and
respected personages) as well as in the devotional plays. The Bargitas are free
from the erotic sentiment (syngura rasa) which is one of the domi-nant
themes of the Vaisnavite lyricists of the Gaudiya School and the famous lyrical
poet Vidyapati of Mithila.

Vaisnavas of Assam hold that Bargitas have in them six rasas: (i) līlā (divine
sports of Visņu and his incarnations, mainly those of Krsna), (2) viraha (pangs
of separation from Krsna in the heart of Yasoda and gopis), (3) virakti (apathy
or unattachment to worldly pursuits) (4) caura (acts of stealing milk and butter
by Krsna) (5) catutri (cleverness and naughty behaviour of Krsna) and (6)
paramartha (supreme knowledge). The songs of lila have again been
subdivided into four categories: jagana (waking from sleep in the morning),
calana (movement to Brndāvana with cows and cowherds). khelana (pastoral
sports) and nrtya (dancing).
 CHAPTER-II
2.00 CHALI DANCE

2.01 Origin of Chali nach

Chali dance is the creation of Madhavdeva. It is mention in the
Charit Puthi that, Madhavadeva built “Rongial Griha” in Barpeta satra
and performed this dance taking some young boys(monks) dressed as
natuwa(dancer). The boys (Monks) were dressed as girls and given
proper training to perform this dance. Madhavdeva had to fall prey to
the wrath of the Koch King when it came to creation of the Chali nach. It
is noteworthy that when Madhavadeva made the boy dance in the
Rangial Griha by decorating the boy as a girl, some of the king’s friends
saw him and complained to the king that Madhavadeva was dancing the
girls at the Satra function. On hearing this, the king sent the soldiers and
took everyone, including Madhavadeva, in captivity. When they were
judged in the court, they were released after being known as boys, not
girls.

The dance is believed to have been named on the basis of the word
‘Chali’ applied by Sankardeva to mohini’s graceful dance as ‘Pindhi
saaree khonta jali, jen moira dhore chali’ in the Harmohan of Kirtan. It
means, the soft, sweet and luscious characteristics are the basis of the
Chali dance.

Secondly, as for the origin of the Chali dance it is further said that
Narada Muni performed the Salikya Nritya on his way to Vaikuntha.
From which this dance is said to have originated.
 Thirdly, it is said that Lord Krishna danced this dance while grazing a
cow in Vrindavan. From which the origin of the Chali Nach is mentioned
in some texts.

In describing the desi lasyangas Sarangadeva in his Sangitratnakara defines

Chali as:
कोमलं सविलासं च मधुरं तालकास्ययुक् ॥

नातिद्रुतं नातिमन्दं त्यभ्रताप्रचुरं तथा ।

पादोरुकटिबाडूर्ना यौगपद्यथेन चालनम् ॥

In the several sattras of Purusa Samhati like Bordowa there is a tradition

of applying the name Cali to all lasya dances of women characters. In
some Satras, there is a bhangi nach as a Chali-bhangi. However, theories
have also emerged that Madhavdeva took this dance pattern from the
Devadasi dance that was prevalent in the Hayagriv Madhav temple in
Hajo at that time. This dance is an independent Sattriya group dance.
“The symbolic significance of this type of dance seems to have been
drawn from the stunt of the peacock. Cali means spreading out the long
feathery tail of the peacock or any other such bird. When monsoon
comes, the peacock dances up in joy. Likewise, this dance is symbolic as
a comparison of the emotional relationship between the devotee and his
lord with that between the excited peacock and monsoon cloud. Later,
due to the creation of the Rajaghariya Chali dance by the Satras, this
chali dance created by Madhavdeva began to be called Shuddha or Pure
Chali dance. Chali dance is usually performed in the Uttar Kamalabari
satra, Natun Kamalabari satra, Purani Kamalabari satra in the tithis of
the gurus. A description of the Cali nac is also found in the Sangit-
damodara by Sarangadeva and in the Govinda-sangita-lila-vilasa by king
Bhagya Chandra Sinha of Manipur.

2.02 Classification of Chali nach

The cali dance is very lasya. The organ movements of this dance are soft
and vibrant. Chali Nach is generally divided into two main parts. Such as-

1. Suddha Chali nach and

2. Rajaghariya Chali nach

The Suddha Chali dance is again divided into three parts. Such as- the
Ramdani part, the Geeetor part and the Mela part. As same as, the
Rajaghariya Chali dance is also divided into three parts. Such as- the
Ramdani part, the part of the geet(song) and Mela part.

Ramdani: As has been said earlier, ramdani, a three-part-songless Ramdani of

a chali-dance, a song's ghat nas, and mela-nas (there are no songs here
either). Ramdani means the dance of the beginning. Apart from the sali-dance,
rajaghariya dance, there is ramdani in jhumura, naadu-bhangi and behar
dance.

Geetor part: The song is sung in ektaal or parital. Note that the quality of
dance is different from the ga-man of the borgeet of the two taals. Singing
without opening the direct bayan will catch the first frobe of the song. If it is
sung twice, it will hit the third time. While singing for the first two times,
Natuayo does not dance, sits: he keeps his right hand long on his right knee,
the left leg goes from the knee to the old finger, and the left hand is
plundered on the knees The dance begins when the song with ghat is played.
There is no song in the chowk, but the dance continues. Even if this dance is
accompanied by a song, it is not a dance, not an act, that is, it is not given a
hand to explain the object of the song or other organs are not used to convey
the meaning.

Mela-Nach: The mela-dance will begin with the end of the dance cycle of the
song. It should be noted that the post-ga-man beat is called the Sachar. The
second part will play a new ga-man and eight Sachar with it.
In the third part, mela nach will be completed by playing Ga-man and five
sasar. The mela nach is just dancing. There is no jump in the dance.
Second Part Bajana Gaa-Mana: Thei Thei Khihita thei Jidhinak Dhinao
Trikhirata tinita. Part III Ga-Mana: Dhei Dhina khititak (four times).

According to Maniram dutta Borbayan Muktiyar, there are total of

12 chali dance. Eight of them are called Suddha chali nach and four are
called Rajaghariya chali nach.
 The sattra cali dances are eight in numbers. “The sattra chali dance
are said to be eight in number; but one differs from another mainly in
the Ramdani, which employs eight different talas. Only ektal and porital
are used in the ga-nac. The Ramdani are divided into four groups:

(i) Saru ramdani

(ii) Bor ramdani
(iii) Kalakatiya and
(iv) Hajowaliya.
This dance is sometimes known as Natuwa nac also”.

2.01 Suddha chali (Pure chali)

The suddha chali dance is the creation of Madhavdeva. There are 3 main
parts of this Suddha chali dance- Ramdani nach, Geetor nach and Mela
nach. Again there are eight Ramdani of pure chali nach. Among the
eight, the first two are Hajowaliya, the 3rd and 8th are Bar-ramdani, the
4th and 7th are Kalakatiya and the 5th and 6th are named as Saru-
ramdani. The name Kalakatiya is derived from the fact that Madhavdeva
made while he was in Kalakata, but there is no mention of why the name
Hajowaliya came to be. There are Hajowali songs and Hajowali Bajana in
the Garmur Satra and this Hajowaliya name is said to be due to the
because of learning in Hajo. On the other hand, Bor Ramdani is a bit
longer, that’s why it is called Bor Ramdani; and Saru Ramdani dance is
very short and that’s why it is called Saru Ramdani nach.

The Chali dance is performed in Naimittik Prasanga (casual context)

of the Sattra.

2.01.1 Presentation style:

 The first parts of Pravesa(entrance) of all Ramdani is Pranam Bhangi.
This pranam bhangi is performed with the help of avatara mastaka,
udvestita, alapadma hasta, kunchita pad, kapota, griva-bhangi etc. The
tala of this Pravesar nac is ‘Thukani’. The music of the next part is chuta
and Ek taal. Only Bandha raga is used in the sections of the songs sung in
this nac. Usually the songs of the borgeet or naator geet are in the
melaraag. Since bandha raag is used in chali dance. So the songs used
here change tone, rhythm etc. For example, the song ‘Priyakeri kahini
huniye murari’ is originally in the ragas of Emat kalyan, Basanta and Sri
Gandhar in bandha raag instead of being in dhanashree raga. The next
part of the Ramdani part is Geetor Nach. The tala used in Geetor nach
part are Ek taal and Pori taal. The song used here are sung in Bandharag.
The tala has 3 parts such as: Ga-man, Ghat and Chok. However, chok is
played at the end of the dance. It is worth mentioning that the speed of
playing in the chok part is intensified and speed of the dance is also seen
to be faster. Dances with songs are very simple. In the drubapada part of
the songs, instead of performing dance the natowa takes his seat in the
Gadurasnas posture. Moreover, in the portion of ga-man there are so
much dance is performed and the natuwas continue to take seat in the
gadurasana position. But, the natuwa maintains the tala of the song with
the help of leseri bhariman. The suddha cali nach is performed only with
the ghat of khol. Earlier abhinaya is not performed in this song, but at
the present time it has been observed that certain sections have input
abhinaya with the songs.

2.01.2 The Ragas and songs used in Suddha Chali nach

are:

Song Bandha Raag

1. Priyakeri kahini huniye Emat kalyan, Basanta,
murari Sri Gandhar
2. Hariku agu radha anjuri Raamgiri
juri maage
3. Hori hori kina veli Paraj
raajkumari
4. Haripada pekhoye Borari, Suhai
nopawoli mayi
5. Shyam muruti pito Sarath
ambaru lasa
6. Jadab he koisono rat Salengi
begadi hokolo nigama
teri, anto nopawoto
7. Joshomoti pekhite Bhupali
nayana jhurai
8. Brazamangal rasa rasika Sri, Ashowari, Arhana
guru
9. Krishnaka sorone koriye Ashowari
bidai
10. Madhur Ranga bonai Dhanasri
11. Sakala nigome teri aa Salengi

2.01.3 Bol of suddha Chali nach

I will be write the naasor bol.

2.02 Rajaghariya chali nach

Rajaghariya chali dance is the creation of the Kamalabari Sattra. In the

tradition of sattriya dance, the 4no. of Rajaghariya dance have 4no. of
Ramdani. The main aim of Sattriya dance is to propagate bhakti dharma.
This dance has been accepted by both the royals and layman. Thus, the
Kamalabari satra shaped this nach with the objectives to make it
presentable and entertaining at the royal courts as well as the common
people. This sattra oriented dance originally created by Madhavdeva
gradually came to be known as Rajaghariya chali nach. The word
Rajaghariya proves that this dance was created only to listen to the floor
of the king’s house.
In earlier times, some dances were fixed to be performed in the king's
house, so it is believed that they were named 'Rajaghariya Dance'. It is
said that once a bayan danced and wore a kuhumbulia muga turban and
danced in the king's house. It's about the days of Kandapeshwar singha.
It is worth noting that the rajaghariya dance bowl is somewhat different
from the saali-nach bol. In place of saali-nach, dhe (dheh), dao, tao, etc.,
the rajaghariya dance will gradually include ghe (gheh), dang, ting (tin)
etc. There is a mixture of mridangiya bol here.
The songs of rajaghariya dance are sung in bandha-raag, not in mela-
raag. The raga-taal at the core sometimes has to be changed by looking
at it. The dance goes on without a break between Ramdani and the
song. After Ramdani, there is mela nach.
There is hardly any difference between suddha cali and Rajaghariya cali
nach. In Sudha chali dance, the musical instrument played is khol,
whereas, in the Rajaghariya chali nach the musical instrument played is
mridangam. There is relaxation of rules in performing Rajaghariya chali
 nach compared to the suddha chali dance. The Rajaghariya cali nach has
its own 4 ramdani and in Rajaghariya cali dance, the artist must perform
without giving a pause or break.

2.02.1 Classification of Rajaghariya Chali nach:

At first, there was only one Rajaghariya Chali nach, but later four dances were
created. The four types of Rajaghariya Chali dances are:

 Sarikhoniya Talor Raamdani (Ramdani of four-fold rhythm)

 Joti talor ramdani (The ramdani of Joti taal)
 Suta talor raamdani (Ramdani of suta taal)
 Brahma talor ramdani (Ramdani of brahma taal)

Again there are three main parts of Rajaghariya Chali dance:

 Ramdani nach
 Geetor nach
 Mela nach

2.02.2 Presentation style:

The Ramdani part is the opening part of the dance. After that, Geetor part
begins. And then the Mela nach begins as soon as the sok is over. There
is only one Mela nach of Rajaghariya chali nach. Then the dance ends as
soon as the Mela nach is over. In the present times, the Ramdani and
Mela part of the dance can be seen dancing the Suddha chali nach and
act according to the meaning of the songs. There are two types of ragas
used in Rajaghariya chali nach: Bandha rag and Mela rag. The bandha-
raga that is applied in this nach are: Saranga, Pahariya, Purvi, Bhatiyali,
Bhupali, Sri etc. The songs that performed in Rajaghariya chali nach can
be sung in various talas, for instance: chuta taal, brahma taal, soru-
bisham taal, bor-bisham taal, rupak taal, rupganjal taal, sarikhoniya taal,
dukhoniya taal, jati taal and Mishra taal. One of the noteworthy talas
played in this nach is the Misra tala (mixed tala). The talas that belong to
the Mishra tala are-
 Soru Bisham tala
 Duwaz tala
 Rupak tala
 Jati tala

So, Mishra taal is the combination of these four talas and it is also known as
charikhoniya tala. For example,

Mishra tala: Matra-36, Taali-18, Khali-12

Gaa-man-

Soru-bisham tala: Matra-10, Taali-6, Khali-4

Grigridhei Tatakhita

Jidhinakhi taS Rindik

Dhei Rindik

Gheditakhi TaS Khet

Duwaj: Matra-7, Taali-4, Khali-3

Tati nita dhei SSSr rindik dhei khet

Rupak: Matra-12, taali-4, khali-2

Dhei SS dhei dau titi khiti

Tin drik dhei SS khet SS

Joti tala: Matra-7, taali-4, khali-3

Jidhegita khitadhogi tatiniti taaS

Rindrik dheiS KhetS

2.02.3 The Ragas and songs used in Rajaghariya Chali nach

are:
 Song Raaga
1. Chintito gopini pekhiye Sareng
noirasha
2. A hokhi solohu bohuri gouri Bhatiyali
3. Haripada dhori hori chorone Purbi Pahariya
binawe
4. Sundari dhori hori chorone Bhupali
binawe
5. Dekhu jagata guru kanu Malashri, Jayashri, Gandhar
aawata
6. Horibine romoni dekhoto Kedar
andhiyari
7. Ore hokhi pekhu pekhore Malashri
8. Gowarini koisono kalanka Shree
hamari

2.02.4 Bol of Rajaghariya chali nach

Thukani tal-3 matra, Sutatal-4 matra
Thukani tal- Ghedi | Tin | S (16 times)
x 2
Sutatal : Tin | Taghe | Geeta | Tini (12 times)
0 x 0 2
Tin | Khetani | Khetani | Khetani
0 x 0 2
Khetani | Khe | Tin | Tin
 0 x 0 2
Ghedani | Ghedani | Ghedani | Ghedani
0 x 0 2
GheS | Tin | Dhei | Khit
0 x 0 2
Taghedita | Gheditin | Dhoga | Tinoda
0 x 0 2
KhiSta | Tinoda | KhiSta | Tinikhiti
0 x 0 2
Tindhei | Sta | Khiti | Tak
0 x 0 2
Dheitini | Gheditakhi | TiSn | S (2times)
0 x 0 2
Rintha | Tatta | KhiSti | TaSka 2(times)
0 x 0 2

Bhangoni: Rin | S | Rin | S

0 x 0 2
Rindhei | Sdhei | Tana | Yana
0 x 0 2
Ga-man: 1 Ghedi | TindaS | Khiti | TindaS (4times)
0 x 0 2
1no. khosar:
Takhtakh | Tatakhiti | TaS | S
0 x 0 2
Rintha | Tatta | Khiti | Tak
0 x 0 2
Takhtakh | Tatakhiti | TaS | S
0 x 0 2
Takhtakh | Tatakhiti | TaS | S
0 x 0 2
Takhtakh | Tatakhiti | Takhtakh | Tatakhiti
0 x 0 2
Takhtakh | Tatakhiti | TaS | S
0 x 0 2

Bhangoni and Ga man repetation

2 no.khosachar: KhititaS | Dheiya | S | S
0 x 0 2
Rintha | Tatta | Khiti | Tak
 0 x 0 2
Khitita | Dheiya | Khitita | Dheiya
0 x 0 2
Khitakhita | Dheidhei | Khitita | Dheiya
0 x 0 2
Khitakhita | Dheidhei | TaS | S (2times)
0 x 0 2
Rintha | Tatta | Khiti | Tak
0 x 0 2
Khitita | Dheiya | Khitita | Dheiya
0 x 0 2
Khitakhita | Dheidhei | Khitita | Dheiya
0 x 0 2
Khitita | Dheiya | Khitita | Dheiya
0 x 0 x
Khitakhita | Dheidhei | TaS | S
0 x 0 x
Bhangoni and Ga man repetation
3 no. Khosachar:
Dheitata | KhititaS | S | S
 0 x 0 2
Rintha | Tatta | Khiti | Tak
0 x 0 2
Dheitata | KhititaS | Dheitata | KhititaS
0 x 0 2
Tatta | Dherdher | Dhina | Dherdher
0 x 0 2
Dhina | Dherdher | Dhina | S
0 x 0 2
Dheikhita | Dhogidong | Taghedita | Dhogidong
0 x 0 2
Taktak | Tinitini | Tatiniti | TaS
0 x 0 2
Grigridhei | Tatanita | Didhinakhi | TaS
0 x 0 2
DhinaS | Skodhei | Skhra | Tindau
0 x 0 2
KhitaS | Skodhei | Skhra | Tinda (4times)
0 x 0 2
Dhegi | Tadhe | Geeta | Dhoga
 0 x 0 2
Dhoga | Trikhi | Nang | Khita
0 x 0 2
Khiti | Takhi | Tita | Khita
0 x 0 2
Khita | Trikhi | Nang | Khita
0 x 0 2
Dhoga | Trikhi | Nang | Khita
0 x 0 2
Khiti | Takhi | Tita | Khita
0 x 0 2
Khita | Trikhi | Nang | Khita
(4times)
0 x 0 2
Tak | Tadhe | Giti | Tak
0 x 0 2
Tadhe | Giti | TaS | DheSe
0 x 0 2
Stik | TaS | Dhen | Drik
0 x 0 2
Mishra tala: Matra-36, Taali-18, Khali-12

Gaa-man-

Soru-bisham tala: Matra-10, Taali-6, Khali-4

Grigridhei Tatakhita

Jidhinakhi taS Rindik

Dhei Rindik

Gheditakhi TaS Khet

Duwaj: Matra-7, Taali-4, Khali-3

Tati nita dhei SSSr rindik dhei khet

Rupak: Matra-12, taali-4, khali-2

Dhei SS dhei dau titi khiti

Tin drik dhei SS khet SS

Joti tala: Matra-7, taali-4, khali-3

Jidhegita khitadhogi tatiniti taaS

Rindrik dheiS KhetS

2.02.05 Rajaghariya chali mela nach 2
Sutatal, Matra -4
Ga man- Rinitha | Tinitha | Tinitha | Tinitha
0 x 0 2
(Many times)
Khosachar- Gheda | Nita | Ghedi | Dau
0 x 0 2
Tinkhra | Engkhra | Khiti | Dau
0 x 0 2
(4times )
Gheda | Nita | Gheda | Nita
0 x 0 2
Gheda | Nita | Ghedi | Dau
0 x 0 2
(4times)
Tinkhra | Engkhra | Tnkhra | Engkhra
 0 x 0 2
Khiti | Dau | S | S (4times)
0 x 0 2

Gheda | Nita | Ghedi | Dau

0 x 0 2
Tinkhra | Engkhra | Khiti | Dau
0 x 0 2 (4times)
Dhei | Titanita | Dhei | Tita
0 x 0 2
Khit | Titanita | Khit | Tita (4times)
0 x 0 2
Jiddhei | Tinkhra | Khiti | Tak
0 x 0 2
Jiddhei | Tinkhra | Khrirkhir | Dadau
0 x 0 2
(4times)
Ga-man repetation
Khosachar-
Sta | Nita | Dheita | Nita (3times)
 CHAPTER III
3.00 COSTUMES AND INSTRUMENT
Aharya plays an important role in Sattriya dance. In the sixth chapter of
Natyashastra by Bharat Muni, Abhinaya is divided into four main parts-
Angik, Vachik, Aharya, Satvik. Apart from these four types of abhinaya in
Natyashastra, the Ankiya naat and Sattriya dance style also largely
adhere to other rules and regulations. ‘Aharya’ is the external element
that the artist holds in the body in line with the performance in the
 Performing arts. Aharya is also called ‘Nepathya’. The Natyashastra
divides the Aharya into four parts, such as:

1. Pusta (things which is created with clay and wood)

2. Alankara (Costumes and Ornaments)
3. Angarachana (Makeup)
4. Sanjiva (Living creatures)

All the four types of Aharya are used in Sattriya dance and drama and attracts
the audience a lot. Absence of costumes and makeup for dance and
drama is incomplete in front of the spectators.
The costume of sattriya dance is primarily of two types: the male costume
comprising the dhoti and chadar and the paguri and the female costume
comprising the ghuri, chadar, and kanchi. The following signifies the role
of Aharya in Sattriya dance-
 Sattriya dance has own distinct dress and décor.
 Dances which are based on drama strictly follows specific color, dress
and décor for every character.
 Aharya of Sattriya dance also follows the rule of Natyashastra.
 In independent dance numbers also, there separate number of dress
and décor.

In the context of costumes, the lower garment of the male character is usually
a dhoti, either white or multi-coloured of course, the Sutradhari is
always required to put on ghuri, a long and wide bottomed skirt coming
down to the ankle. Besides, the dancers of some particular dance
numbers and Gayan-bayan party of the dramatic performance are to put
on ghuri. The upper garments consist of different kinds of coats a jacket,
body bands, waist-bands, head gear and a piece of thin and multi
coloured cloth etc.
The upper garments of female dancers comprise of blouses or different
types like buku-cula, celeng chadar, riha and lower garments is mainly
lahanga or ghuri.
3.01 Costumes used in Chali dance:
Cälidance is a symbolic representation as a comparison of the emotional
relationship between the devotee and his Lord with that between the
excited peacock and the monsoon cloud who spread out the long
feathery tail and dances up in joy. The dance is also known as
'Natuwanac' as the dance number was usually performed by young
monks dressed in women's attire like the Gopi's in a dramatic
representation. A tuft of long hair is tied together as a lock on the head
so that it resembles the crest of the peacock, and the rest of the hair is
covered with a veil drawn from the head to neck and tied under the
chin, keeping the mouth open. They wear white ghuris, black jackets
with glamorous workmanship of guna (gold filigree) and wrap tangalis
(waist-belts with red embroidery) round their waist. Wreath of flowers
hang on their necks, nepur cling on their feet, and sometimes artificial
breasts of wood are also used.

3.02 Costumes of Rajaghariya chali dance

Rajaghariya chali is another improvised form which was originally meant to be
performed in the royal court. The dress and décor are same, but
according to Narayan Chandra Goswami, Sattriiya Nrityar Swarnarekha
materials are made of Muga silk as that of the Suddha chali nach.

3.03 Instruments
The musical instruments used in Sattriya are the Khol, Taal or Cymbals and
Flute. Non traditional instruments like Mridangam and Pakhwaj were a
part of the music of Rajaghariya chali dance.
 Chapter-IV
4.0 A comparative discussion of Sudha chali
dance and Rajaghariya chali dance

Rajaghariya chali dance was created in the pattern of suddha chali dance
created by Madhavdeva. There are some similarities between the two
Chali dances. For example- in the case of dress. Both the chali dancers
are similar in costumes. Apart from this, the entry pose is the same with
both the chali dances i.e. Pranambhangi.

 Although there are also some differences between the two dances.
Below are the difference between Suddha chali dance and Rajaghariya
chali dance:

Suddha Chali dance Rajaghariya chali dance

1. Pure chali dance is a part of It is created to perform in royal court.
creation worship.
2. This dance is somewhat This dance is somewhat free and
restrained and slow in nature. shiny.
3. There are eight ramdani. There are four ramdani.
4. In the Geetor nach of suddha There are different types of Ga-man
chali dance, the same Ga-man and natua does not just stop at
is played around and rhythm is showing the rhythm with the
shown only with the feet. feet but also adds different
types of dances.
5. Sattriya music usually does not The Dhruva pada part is also
have rhythm in the first accompanied by taala and
performance of the Dhruva natua continuously dances
pada part of the song. So in from the beginning.
this part of the pure chali
 dance, the natua sits only in
the Garudasana.
6. Only Ektaal and Parital are There are nine taals used in the
used in the geetor nach part. geetor nach part. The
application of the Mishrataal is
one of the features of
Rajaghariya chali dance.
7. The dance bols are- khit, dhei, The dance bols are- ghedi, tin, da etc.
dau etc.
8. There are numerous Sachar in There are limited Sachar in mela
mela nach. nach.

Chapter-V
CONCLUSION

This dissertation has explored the rich cultural heritage and artistic significance
of Sattriya dance, a classical dance form of Assam, India. Sattriya dance
embodies the spiritual and philosophical principles of the Bhakti
movement. The dance form has evolved over centuries, influenced by
social, cultural, and political factors. The unique fusion of music, dance,
and drama in Sattriya dance creates a distinct aesthetic experience. The
efforts of various practitioners, scholars, and institutions to promote this
dance form are commendable and crucial for its sustenance and growth.
 The study of Sattriya dance or Chali dance is testament to the resilience of
cultural traditions in the face of globalization and changing societal
norms. As we move forward, it is imperative to continue supporting and
documenting such art forms to ensure that they thrive for future
generations. Through its rhythms and movements, Sattriya dance will
undoubtedly continue to inspire, educate, and foster a sense of identity
and belonging within the Assamese community and beyond.

Ultimately, this dissertation contributes to the broader discourse on

Performing arts in India, emphasizing the need for ongoing research,
preservation, and innovation within traditional and classical dance

forms.

Findings