Festival of Ramkatha - 12th - 15th March, 2008
Ramayan in Assam
Ram Vijay, Kamalabari Satra, Majuli, Assam
The history of Assamese drama starts with Ankia-nat of the Vaishnavite saint-poet Shankardeva - dating back to the 15th century, who started a religious movement in this area incorporating literary, dramatic and dance expressions. In Assam, ancient performative practices like Putala-natch (puppet-dance), Ojapali, Dhullia-naach (dance with drums), Kusangan dramatically narrating the stories from the great epics and popular legends had great appeal. Shankardeva crystallized these art-forms, eventually resulting in Ankia-nat, which became the earliest form of Assamese stage-drama.
The stories and legends of Bhagawatpurana and Ramayana – constitute the plot of Ankia-nat. Shankardeva wrote as many as seven Ankia-nats, out of which the text of ‘Chihnayatra’ is lost and only six Nats are available now; these are ‘Kaliya-daman’, ‘Patniprasad’, ‘Keligopal’, ‘Rukminiharan’, ‘Parijatharan’and‘Rambijoy’
As Shankardeva established Sattras and built Namghars which remain the centre of religious activities in villages of Assam, he also started a religious movement which came to be known as Sattriya. The Sattriya or Shankari culture became popular as the number of Shankardeva’s disciples increased.
The integral elements of the religious practices of this sect is intricately linked with performative practices of which the most important elements are the Gayan (singers) and Bayan (musicians), Sutradhar (the story teller), Ankia-geets (songs), and Dhemal (dances). The important and popular characters like the Sutradhar, Krishna, have specific characteristics to their dance movemnts.
In the performance of the bhaktas of the Kamalabari Sattra, the Bhaona part of the performance with active participation of the gayans and bayan plays a very vital role. Displaying a series of dances like Saru-dhemali, Bar-dhemali, Ghosa-dhemali, Na-dhemali, the gayans and the bayans initiate the actual performance of Bhaona. Ankia-nats are musical dramas, incorporating different categories of songs created by Shankardeva and Madhabdeva. The principal accompaniment is in the form of the musical instruments of Khol (the barrel shaped drum) and Taal (cymbals). With Khol and Taal the musicians conduct the Bhaona from beginning to end reciting many verses. Before the actual performance starts, the gayans and bayans enter the stage with two persons holding a white cloth screen (aar-kapor) in front of them, and the same is withdrawn as soon as they are seated in the respective positions. The performance uses Cho (effigies) and Mukha (life size of grotesque type masks such as Ravana, Yama, Kumbhakarna, Hanuman, Kali-Nag, Garunda-pakhi etc). These are made by Khanikar, the specialized village artisans who are experts in making wooden and earthen images of God. These effigies and masks are essential elements of Bhaonas. Elaborate make-up is used by the actors to acquire appearances befitting their roles.
The performance here is based on Madhav Kandali Ramayana which goes on for months and is usually performed through out the night. The story of the epic is portrayed through dance and songs with the help of a few dialogues pertaining to relevant texts – heightening the dramatic moments of the narratives through inclusion of exciting elements of wars, and dances. For example, in the episode beginning with the wedding of Rama and Sita, the court turns into a battle scene moments after the marriage, as Parashuram enters and a battle between him and Vishwamitra is followed by a battle between him and Rama. Similarly the scenes of Bali’s death or battle of Lanka also lays emphasis on the battles to heighten the dramatic quality and the attraction of the quick and varied bold movements, and the celebration of the might and velour of good and the defeat of the evil.
The main episodes of Ramayana are performed with emphasis on a ritual beginning with prayers, and the performance of scenes like, Rama and Laxman going away with Vishwamitra, Rama – Sita wedding, the episode of the golden deer and Sita Haran, Jatayu Vadh, Bali vadh, Hanuman meeting Seeta in Ashoka forest and Ravana Vadh.
This rich musical heritage serves to preserve the devotional elements of the Vaishnavite tradition – as a part of Sattra heritage.
