The river of stories flows on...

Traditional drama

In the 16th century, the Vaishnav cult preacher Srimant Shankerdev developed the  satra tradition.

The idea behind the satra or the monastery appears to be inspired by the Ashrams of ancient sages in Northern Indian which comprised of residential schools spread over a large area.  The guru or the head preacher was the chief and apart from education, taught how to lead a better human existence.

In a similar way a satra was conceived by the head known as Satradhikaar. The Ankia-Bhaona emerging from these satras is a form of traditional dance-drama that primarily not just preaches the victory of good over evil, but also propagates the message of oneness.

Ankia Bhaona dance-dramas highlight the benevolent deeds of Lord Krishna and Lord Rama, both incarnations of Lord Vishnu. Some famous Ankia plays penned by Shankerdev include Rukmini Haran, Paarijat Haran, Keligopal-Krishna and Kaliadaman.

 Some plays inspired by the legend of Ramayan are Ram Vijay and Patni Prasad and became very popular amongst the masses. The Ankia- Bhaona literature was written in Brijavali language by followers who also finalised songs, music and acting-parts.

For staging the Ankia-Bhaona,  a large rectangular pandal, open from three sides is erected. The fourth side is enclosed. A throne made of bamboo framework and white cloth is erected. It is meant for the guru. A Bhagvat Gita is placed on the throne. 
Opposite to this holy throne, on the other short end of the pandal, is the  dohaar, or  the seat of the singers and musicians.  Between the dohaar and the holy book, is the space for the artists who perform according to the role assigned to them. 

A passage on the side of the  dohaar facilitates the entrance of the artists and is known as Agnighar.  The artists enter dancing all the way on the stage and after their role is over they go back via the same route.

The audience is seated on traditional mats on the ground facing the stage.

After the drama is announced, the  artists come gradually towards the stage. They are led by two younger artists holding a burning torch in both their hands. The torch-men stand on the two sides of the stage and the men playing mridangam or the khol (drums and cymbals) take their positions as well.

The drum-beaters begin, as does the singer who sums up for the audience, the spirit and theme of the play about to be staged. The mridangam players gradually gain momentum  and with a fast pace, they leap up in the air.  

The the narrator or the  Sutradhar appears dancing through the Agnighar.  While the Sutradhar in his white robes with colourful border dances, the singers chant the glory of God and sing of the characters who are to enter the stage for the dance-drama.

 As their song draws nearer to the end, the Sutradhar goes near the holy-stage where a holy-book is kept on a small wooden stand called thoga duly decorated with Assamese designed gamechha or the scarf.

Sutradhar then kneels down respectfully before the holy book and gradually lifts it along with the thoga and goes towards the host.  The Sutradhar kneels before him and seeks his blessings.  Thereafter he gradually retreats back to the dohaar and the book is placed at its designated place in the dohaar.

The dress and jewellery of the Sutradhar includes a small cap on his head known as paag, which has a tail-like long cloth stitched to it, a heavy white gown or a chola and colourful borders.  

He wears broad silver bangles called  gam khadu on the wrists and ghunghru in his feet. This special dress singles him out from other characters of the dance-drama.

After the role of the Sutradhar, the guru  announces the beginning of the Ankia and the artists playing different characters come one by one dancing from the entrance gate.
A white fabric screen is placed at the Agnighar and when this screen is lifted, the artists enter the stage. To introduce the artists, the singer loudly narrates their  roles and the background music also changes its tone as per the character.

The dance-drama finally begins. The role of female characters are performed by suitable men. What follows is an enriching performance that blurs boundaries between the audience and the performers.  The atmosphere emphasises that we are all part of the same whole and there are no faultlines that the universal language of music cannot heal.  

Recently, an annual event upholding these ideas was held in the Kamlabari village in the serene Majuli island, which is incidentally the biggest river island in the world and is surrounded by the mighty Brahmaputra. A large ground in this Assamese village  accommodated the devotees and tourists.

The Ankia perforamnces attracted large crowds. Different small shops and kiosks selling collectibles also did brisk business. Such vivacity and love for life is incredible considering the fact that  out of the 244 villages in the island as per the 1991 census,  35 villages have suffered either soil erosion or have been washed away because of floods and earthquakes.

The life of inhabitant has been a story of struggle for survival in the island.   In spite of such odds, the people here have profound faith in God and their culture which they have wonderfully preserved till today in a big way.