Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Gati in Sattriya’ of the study on the Theory and Practice of Gati (“gait”) which refers to the “movement of a character on the stage”, commonly employed (as a Sanskrit technical term) in ancient Indian Theatrics and the Dramatic arts, also known as Natya-shastra. This thesis explores the history and evolution of Gati and also investigates how the various Gatis are employed in regional performance traditions.
Gati in Sattriya
[Full title: Deśī forms of Assam (1): Gati in Sattriya]
Assam is rich in dance forms. Bihu, bagurumba, bortal, etc. are some of the folk dance forms popular in Assam. They are performed by the tribals during festivals. Graceful movements and line formations are the specialities of these forms.
Sattriya is the classical dance of Assam, which originated from Aṃkiānāṭ -one act play. Basic exercises are called māti (ground) ākharā (exercise). The postures are ora (half-bending posture) similar to maṇḍala of the Nāṭyaśāstra, uratutha (standing posture), uratboha (sitting posture). They are of two types: purushora (masculine) and prakritiora (feminine). This is similar to the male and female sthānas given in the Nāṭyaśāstra.
Their repertoire consists of gayanbayan with a dhemali, which consists of the playing of instruments such as khol and bartal along with some dancing elements like jumps and leaps. Kṛṣnavandana with a nandislok and bhatima, ramdani, geetarnāṭch, melanāṭch, jhumuranāṭch, dasavatarnṛtya, Kṛṣnanṛtya, gopinṛtya, and chali are used.[1] The performance is of individual dances such as rajaghariya chali, chali, natua, sattriya ojapali and nadubhangi. Among them the Chali is characterized by gracefulness and elegance while the Jhumura is marked by vigour and majestic beauty. The book followed by them is Sri Shubankara’s Hasta muktavali.
Gosai praveśanṛtya is performed for the arrival of kṛṣna and gopipraveśanṛtya is performed during the entry of the gopi. These are all similar to the praveśadhruvas of the Nāṭyaśāstra. Raamdaani, śuddhanṛtta and chali are set to intricate rhythmic variation. After śuddhanach comes gītanach with slow tempo. Last is melanach, which is an elaboration or vistara of nṛtta. This can be compared with vardhamāna of the Nāṭyaśāstra. Vigorous dance movements come down slowly and finally finish in bhakti element.