Hand Gestures and Foot Works of Sattriya Dances of Assam
- Dr. J a g a n n a t h  M a h a n t a

It is the hand gestures which distinguished classical Indian dancing from the dance style prevalent in other parts of the world. In bringing forth a dance from folk to classical dance status, the role of hand gesture is fundamental. Though in both the cases hand gestures are employed to create a decorative effect, the interpretative aspect of classical dance is largely dependent on hand gestures. The situations and the objects (both abstract and concrete) which pose difficulties for exquisite representation, achieve aesthetic expression through the use of hand gesture. It serves as a gesture language and proves a fruitful medium of emotional expression.

In Sattriya, the hand gesture occupies a significant place in the technique of dancing. In this school, the hand gesture is called ‘hasta’ or ‘hat’, while the term ‘mudra’ as used by some to denote the same, has no application here. For its hastas, the dance form seems to have depended mainly on the Natya Sastra, the Abhinaya Darpana and the Sangeeta Ratnakara. The Hasta Muktawali of Subhankara, the only treatise on hand gesture of eastern region, is a contemporary to this dance form. Though Sattriya dance has less scope to depend on this treatise for its hastas, still then, because of its general conformity with the principle mentioned in the N.S. and for induction of regional elements therein, this treatise is indispensable in studying the Sattriya dance.

The hastas used in Sattra School, are in conformity with the old treatises. Of course, there are some hastas which do not occur in any written text but handed down through oral tradition. Besides, there are some hastas which appear to be identical with the descriptions of the above treatises, but their names are different in oral tradition. On the other hand, sometimes the formation of hands of the Sattra school may be identical with that of the some written text of dance and dramatargy, but these may differ in their usages. Therefore, the Sattriya hastas may be classified under two heads – (i) hand gestures based on classical text (ii) hand gesture adhered to from the tradition.

As regards the application (biniyoga) of the hastas, the dance form sometimes follows the treatises and sometimes it is guided by the traditional principles.

The traditional hastas are of the nature of traditional artistic manifestations of the region, which are adopted to suit some special needs of the dance style. One can easily find out the sources of hastas in the archaeological remains, particularly in sculpture and painting of the region.

Here are a number of hastas in Sattriya which include 29 asangyukta nritya hastas, 15 Sangyukta nritya hastas and 12 mitha hastas.

As regards the formation of the asangyukta nritya hastas, it may be mentioned that almost all the 29 hastas of this type have derived their sanction from different treatises and texts. Of course, in the sphere of their applications, the dance style sometimes follows oral tradition too.

The N.S. and S.R. have mentioned 24 Asamyata nritya hastas of the same type. At least 20 hastas of these two treatises have their use in Sattriya. Hastas like Arala, Sakatunda, Kangula and Hamsapaksa as mentioned in these two treatises have no use in this art form. Nandikeswara in his A.D. mentions 5 more hastas in addition to those of the N.S. and S.R. These are Ardha-pataka, Singhamukha Chandrakala, Mayura and Trisula. Out of these five hastas the Singhamukha and Trisula have their use in Sattra School. In some variant editions of the A.D. four more hastas, viz. Ardhasuchi, Vyagiha, Kataka and Palli are found mentioned by Nandikeswara. Of these four hastas Ardhasuchi has frequent use in Sattriya. The H.M. admitting 24 asangyukta hastas of the N.S. and the S.R., has increased the number up to 30 by adding 6 more hastas. These are – Simhasya, Kadambn, Krishnasaramukha, Ghronika, Ankusa and Tantrimukha. Of these 6 hastes – Krishnasaramukha, Ghronika, Ankusa and Tantrimukha may be found in Sattriya.

The remaining two hastas of this group, namely Bana and Dhanu do not appear in the said treatises. But the reference of Bana may be found in the Mirror of Gesture, a variant edition of the A.D. The reference of Dhanu may be found in the Kalika purana, a trantric text written in Assam in the 11th century A.D.

Now, let us illustrate these 29 asangyukta and 15 Sangyukta nritya hastas stating their names in the tradition as well as in the treatise, and their close affinities with particular treatise or treatises in their formation. At the same time let us show one or two applications of each hand taking word or line from the Sahitya (literature) used in this dance style.