Ankiya Bhaona is a classical theatrical form of Assam which is a rare assimilation of music, dance and drama that transports the audience to an enchanting world. Basically operatic in character, the beautifully designed costumes in multiple shades, the rendition of songs in deep and beautiful voices, the beats of drums, sounds of cymbals and the melody of flutes and the seamless flow of dramatic action are the distinct artistic aspects of this art form inspired by “Natya Shastra” and evolved in the 16th Century by Sankradeva, the pioneer of the cultural renaissance of Assam. Later, his disciples like Madhavadeva enriched this form.
Thanks to the efforts of the Sangeet Natak Akademi (SNA) and the Sattriya Kendra, Guwahati, this glorious cultural heritage is not only preserved but is being developed by traditional performers and contemporary theatre practitioners. This was very much evidentat the Ankiya Bhaona festival held on the lawns of the SNA recently. Apart from showcasing the pristine beauty of the form, it also illustrated the cultural unity of the country in diversity.
The four dramas that featured at the festival have uniformity of presentational style and the narrative depicting mythological stories suffused with spiritual sublimity. The languages used are Assamese, Maithili, Braj and Hindi. The open air stage has distinctive features. The acting space with audience on two sides is called Namghar. It is a make-shift stage in rectangular shape. On one side a painted scroll is placed. In the backdrop — formed with a piece of cloth — are hung paintings portraying Dasaavatar. Rituals are performed in a symbolic manner. At the opposite end of the platform special space is demarcated for orchestra and members of the chorus. In the same space, at the opposite corners, doors are erected for there performers to enter and exit. Enough space is left for the actor-dancers to perform.
The show begins with Purvaranga with its members in spotless white costumes, holding drums. The whole scene is beautifully choreographed with hand gestures forming a variety of patterns, creating a rhythmic pattern in tune with the steps. It has vigour and harmony. This is followed by the entry of sutradhar who is also in a white costume. He moves towards the scroll, pays his obeisance and takes the script with reverence. He then returns to the place where the members of the chorus are sitting and then starts the drama.
On the opening evening, the Sattriya Kendra Guwahati presented “Shri Ram Bijay” under the direction of veteran director Dulal Roy, a graduate from the National School of Drama and diploma holder in film editing from the Film and Television Institute of India. He has dedicated himself to innovate this form with elements of modern stage technique without distorting the original form, especially its stage characteristics.
The entire action takes place on the bare stage. We are familiar with the story of “Ramayana”. Ram kills demons like Tadaka who are relentlessly tormenting sages, in search of spiritual enlightenment. This leads to breaking the dhanush (bow) into pieces and Ram-Sita marriage. The suitors in the Sita Swayambar scene are treated as caricatures. It is the same kind of treatment that we see in the “Kumaoni Ramleela”. The production depicts fierce fight between Vishwamitra and hot tempered Parshuram who becomes violent after finding Shiva’s bow broken. In the Ramleelas enacted in North India, thisfight is not shown. The play ends on a joyous note. The director, the performers and the chorus created a theatrical piece which is an aesthetic delight.
“Keli Gopal” presented by Uttar Kamalalbari Sattra Sankardev Krishi Sangha, Majuli under the direction of Bhaben Barbayan is a fine blend of soulful music, rhythmically expressive movements and tender, loving and beautiful facial expressions of young female dancers. Absolutely carefree and forgetting their domestic duties, gopis dance ecstatically with Krishna. One night Samkhachuda, a yaksha, molests a gopi. An enraged Krishna kills the yaksha. The costumes in a variety of colours, radiating with a highly skilful lighting, created visual poetry. The mood ranges from devotional to romantic to meditative to rapturous. Sarbananda Dowari as Sri Krishna is the cynosure of all eyes.
The dramatic conflict in “Parijat Haran”, which was presented by Kola Krishti Bikash Kendra, Darrang at the festival, revolves around two consorts of Krishna-Rukmini and Satyabhama. The mythological character Narada acts as a catalytic element to intensify the conflict. Rukmini gets the flower parijat which is said to empower a wife with complete control over her husband. When a jealous Satyabhama comes to know about this, she becomes furious and fanatically insists to have not just the flower but also the tree. In the process of obtaining parijat, Krishna kills a demon and subdues Lord Indira and finally gives the tree to Satyabhama. The play ends with the message – that purity of soul and true devotion alone can make one dear to Krishna.
The festival ended with a thrilling presentation of “Rukmini Haran” by Pathar Duliajam which was jointly directed by Haricharan Bhuyan Barbayn and Pabitra Chetia.
