Mati-Akhora, the foundation of Sattriya Dance
Dr. Mallika Kandali
Sattriya Nritya Guru and Scholar
[First published on www.sankaradeva.com, dated Dec 15, 2011 and republished with author’s consent]
All classical dance traditions of India have evolved for themselves a structural pattern or grammar, whether oral or written, for its sustenance and transmission. The Sattriya dance also, as an enduring tradition, has over the centuries as stated earlier, developed a structural grammar of its own. That structural, which is the foundation of Sattriya dance, is called “Mati-Akhora”. These Mati-Akhoras are the basic exercise patterns, also considered as the basic grammatical forms of Sattriya dance and on the basis of these forms, the structure of the Sattriya dance has been designed. With the use of these exercise patterns various dance poses are created, and combining all those poses in different patterns, different dance numbers have been composed.
In Assamese, generally Mati-Akhora means exercise done on the ground. The Sattriya dance training begins with these Mati-Akhoras. After completion of all the Mati-Akhoras, the dancer can be taught the individual dance numbers of Sattriya. Mati-Akhoras are foundation for the learners to make a healthy physical, mental and spiritual set-up which is very necessary for a classical dancer. It is worth mentioning that some of these Mati-Akhoras are similar with some yogic postures or asana (based on yoga Shastra), which help the learners to maintain a physical and mental discipline. For example – “Chakrasan” of yoga is similar with the “Thiyo-Lon” of Mati-Akhora, which helps to make the back strong and the body light, which is essential for the dancer. Again “Dhanurasan” is similar with the “Jur-Kamitona” of Mati-Akhora, which makes the body active, strengthen the thighs and help to remove extra fats from belly areas. Besides these many Mati-Akhoras have yogic qualities which help the learners to shape their body from all sides. It is worth mentioning that Mahapurush Sankaradeva, the architect of Sattriya dance was a great exponent and expert of yoga, who studied Yoga Shastra thoroughly.
It has been observed that there is no unanimity about the total numbers of the Mati-Akhoras; in other words, the different Sattras advocate different numbers of Mati-Akhoras. Kamalabari group of Sattras have been following and practising 64 numbers of Mati-Akhoras. On the other hand, Sattras like Auniati, Bardowa (Narowa and Salaguri), Bengenaati etc. also follow some Mati-Akhoras. It is worth mentioning that, the Asom Sattra Mahasava, the highest association of the Sattras, in a seminar and workshop on Mati-Akhoras held at Jorhat from 13-03-1994, studied the Mati-Akhoras of various Sattras and accepted seventy three Mati-Akhoras. In the recent years, several dancers and researchers have enumerated this figure ranging from sixty seven’ to one hundred twenty. In one school of thought, these Mati-Akhoras are identified or named on the basis of the movements of the hands, while some experts have emphasized their views in naming them as per the movements and the direction of the feet. However, the origin is the same.
The Mati-Akhoras are broadly categorized into two parts – (i) pure exercises and (ii) basic dance units. Pure exercises are based on some acrobatic poses. For example– Thiyo-Lon, Athu-Lon, Tamal-Musura, Morai Pani Khowa etc. These exercises are generally not used in dance, though there are some exceptions. For instance – we can refer to the “Natuwa dance” of Auniati Sattra, where in these exercises or acrobatic poses are extensively used. On the other hand most of the Mati Akhoras belong to the basic dance units.
It has already been mentioned that the Mati Akhoras are grammatical forms for Sattriya dance, and at the same time they are the exercise as well as the structural basis of this dance form. That is why, almost the entire body processes are covered by the Mati-Akhoras and they are a) Utha (rising); Boha (squatting), c) Thiyo (standing position), d) Calana (gati or moving), e) Pak (turns and spins), f) Jap (jump), g) Ulaha (undulating or wavy movements), h) Citika (springing), i) Bura or Duba (porpoising) etc. On the other hand, the Mati-Akhoras are categorized under eight different broad units, such as – Ora, Chota, Jalak, Jap, Muruka, khor, Pak and Lon on the basis of different characters and application patterns. Under these broad units, there are many sub-units. For example – there are four types of Ora – Purush Ora, Prakriti or Stri Ora, Phul Ora and Lahi Ora. Like that there are at least six types of Chota- Ora Chota, Kati Chota, Udha chota etc.
Mati-Akhoras embrace all the features of Sattriya dance. They are – the basic body positions or stances such as Bhangis (body bending, body movements), Pada-chalona (foot-stances and foot movements), Utplavanas (jumps), Bhramari, Paks (turns), Gati (gaits), Hastas (hands), Shira-Bheda (head movements), Griva-Bheda (neck movements), Dristi-Bheda (eye movements) etc.
It is worth mentioning that generally the dance is divided into two kinds – (i) Tandava and (ii) Lasya. Tandava style of dance represents the masculine and vigorous expression or movements. On the other hand lasya style of dance represents the smooth, delicate, graceful, gentle expression or movements. This division of tandava and lasya is observed in Mati-Akhoras. It is worth mentioning that Sattriya dance is basically a lasya based dance form. So, though the division of tandava and lasya exists in this dance form, yet we do not have extreme vigorous expression in tandava part of Sattriya dance. Basically it is divided on the basis of general nature or temperament of man and woman. Anyway – this division is strictly followed in the Mati – Akhora. For example – Ora (the basic stance or position of Sattriya) is divided into “Purush Ora” and “Prakriti Ora” which represent the male and female elements. On the other hand, one of the bhramaris is also divided on the basis of male and female elements,that is “Purush Pak” and “Prakriti Pak”.
It is worth mentioning that, the Natya Shastra has mentioned the chari and karana, which are also certain kind of exercises and bhangis like Mati-Akhoras and are used to compose certain dance poses. There are some similarities in the structural pattern of Mati-Akhoras with the structural pattern of those Chari, Karana, Khanda, Mandala, Matrika And Angahara in Natya Shastra. As described by Natya Shastra – poses created by the movements of a single foot are called Chari, poses created by using two feet are called Karana, combination of three or more karanas create a Khanda and the combination of three or four khandas create a Mandala. On the other hand two karanas create a Matrika and two, three or four matrikas create an Angahara. The application pattern of Chari, Karana, Khanda And Matrika is directly observed in Mati-Akhora. For example-the features of Chari are observed in Citika, Karana in Hat-Bhari Chalona khanda in Hat Soluwa etc. There are lots of scopes to create the Mandala and Angahara in Sattriya by using various Mati-Akhoras.
After the completion of Mati-Akhora, when the learner’s foundation becomes strong, then she or he is generally taught Nadubhangi nach, a dance numbers of Sattriya.
Now, some important Mati-Akhoras are mentioned below, according to the application pattern:
NAME OF THE MATI-AKHORAS WHERE TO APPLY
- Khasaka As exercise, and salutation to Guru
- Ora (Purush and Prakriti) Initial position in male and female style of dancing
- Orat baha-utha Both exercise and dance
- Harbhanga As exercise, can be used in dance
- Pani-sisha As exercise, can be used in dance
- Saman ora As dance pose
- Udha-chota In dance
- Baha chota In dance
- Ora chota In dance
- Samukhalai chota In dance
- Kati chota In dance
- Etiya chota In dance
- Gerowa-sowa A exercise, can be used in dance
- Orat jap In dance
- Bagh jap In dance
- Beng jap or bhekola jap Both exercise and dance
- Samukhaloi jap In dance
- Kachobandh As exercise
- Hatpakowa As exercise, can be used in dance
- Moropa In dance
- Muruka In dance
- bahamuruka In dance
- thiyo muruka In dance
- Hat salowa In dance
- Citika In dance
- Ketela In dance
- Jalak In dance
- Sigha jalak In dance
- Tewai In dance
- Kakilakhosa In dance
- Khahaki In dance
- Jatoni In dance
- Athuwa In dance
- Kati khar In dance
- Cit khar In dance
- Luti Khar In dance
- Olata khar As exercise
- Chatrawali Both exercise and dance
- Morai pani khowa As exercise
- Kachai pani khowa As exercise
- Udha lon As exercise
- Thiyo lon As exercise, use in natuwa nach
- Athu lon As exercise, use in natuwa nach
45.Tamal muchora As exercise
46.Buku chuwa Both exercise and dance
47.Purush pak In dance
48.Prakriti pak In dance
49.Akal pak In dance
50.Uor pak In dance
51.Pithi pak In dance
52.Thita pak In dance
- Cereki pak In dance
- Shari pak In dance
- Geri pak In dance
- Thengmela tukura pak In dance
- Udha Cereki pak In dance
- Teltupi As exercise
- Zor kamitona As exercise
- Kamitora As exercise etc.
- Tukura pak In dance
62.Kati pak In dance
63.Uddha cereki pak In dance
64.Theng mela tukura pak In dance
65.Uor pak-tukura pak In dance etc.
Bibliography :
- Goswami, Jatin : Sankari Nrityar Mati-Akhora, Part I
- Saikia, Govinda, Sattriya Nrityar Ruprekha.