SANKARI DANCE AND TRADITION

Arup Saikia

(arupsaikia07@gmail.com)

The Natya Shastra of Bharat Muni, around 500 BC, is the source of
Indian classical dance. The great Vaishnavite saint Sankardeva developed the Sankari dance with characteristics of Indian classical dance. Initially, dance was part of the song- and dance-based Ankiya Bhaona. After the demise of Sankardeva, the Xatras nurtured the dance as a religious form in a secluded environment. But after much research and revolutionary steps taken with the introduction of female dancers, the dance gained popularity and recognition. The Sankari dance covers the entire Neo-Vaishnavite dance form of Assam. The dancing style in Ankiya Bhaona is also part of this dance.

The different types of Sankari dances are: Mati Akhara, Sutradhara Nritya, Krishna Prabesh, Gopi Prabesh/Raas Nritya, Ojapali Nach, Gayan-Bayan Nritya, Jhumura, Krishna Nritya, Nadubhangi, Chali Nach, Rajaghoria Nach, Behar Nach, Bor Prabesh, etc. All the above-mentioned dances are not presented in Ankiya or in any in any part of it. The Sutradhara Nritya, Gopi Prabesh, or Gayan-Bayan Nritya, etc. are prominent dance forms of Bhaona. The other forms not related to Ankiya are performed separately.

INGREDIENTS OF SANKARI DANCE: Ankiya Bhaona is a product of the Pan-Indian Bhakti movement blended with traditional Assamese elements. Sankari dance is also not an exception to it. The Bagurumba dance of the Bodo people has much influence on other Assamese dances. The Sutradhara of Ankiya imitated the butterfly poses of Bagurumba.

The Natua dance is said to have originated from the Devdasi dance. The natua is a male dancer. The theme and poses of the Chali dance were taken from Devadasi Nritya. The present Chali dance possesses the ideals of Devadasi. Devadasi is a local tradition in Assam.

Many scholars believe that before the birth and development of Sankari dance, the Devadasi or Nati dance was practised in the Shiva temples of Assam. Nati-nach is prevalent among the Bodo community as well. The Kherai dance is also a religious Bathow worship dance. Bathow is their indigenous god, like our Lord Shiva. The chief dancer who performs all the rituals is called Doudini or Deodhani. The Nati dance is the result of the evolution of Doudini. Doudini is assisted by Douri. These are all associated with the religious Kherai dance of the Bodo. The Natua dance influenced the Sankari dance in all aspects. The elements of Assamese Devadasi dance are found in Natua dance. Therefore, tribal resources emerged in the Sankari dance. 

There are numerous kinds of tribes in Assam. Indo-Aryan, Dimasha, Karbi, Bodo-Kachari, Rabha, Tiwari, Sonowal Kachari, etc. all have their own language, indigenous culture, and dance form. The Assamese culture, or Sankari dance, is a combination of all. The ritualised poses of tribal dances are loosely regimented and easily reflective of Sankari dance. The intricate face and hand movements are characteristic of Satriya. The other classical dances of mainland India are not the same. The “Nagara Naam” also has the shadow of Bodo Deodhani.When the “Naam” gets high-voltage momentum, a person behaves in an unnatural way, like Deodhani. Nagara Naam is a kind of song and dance sung to the accompaniment of Nagara and Bhortal. It’s not considered within the sphere of Sankari music but part of the Neo-Vaishnavite musical genre. The Sutradhara dance, besides Ojapali, is also much influenced by the Bihu dance of Assam, bought by Chutiya people in the Sadiya region. It is not possible to clearly assess the tribal influence.Because the many tribes of Assam are aryanized, many changes occur in the characteristics of their lifestyles and cultures.

(Author Arup Saikia is a noted cultural enthusiast, writer, Bhaona artiste and alumnus of the University of Delhi.)