Reviews
MATI – AKHARA.

MATI
– AKHARA. The grammar of Sattriya Dance. By Mallika Kandali. 96 Pages. Hard
Bound, jacketed. LBS Publications, Panbazar, Guwahati. Price: Rs. 500.00
By Nita
Vidyarthi
Mallika
Kandali’s second English book on Sattriya Dance, titled Mati Akhara - The Grammar
of Sattriya Dance, carries significant value, even though its content,
primarily in Assamese, is already known to numerous
dancers, scholars, and enthusiasts. It provides valuable insights into the
right approach to the Sattriya culture, institution, its devotional background,
the contribution of Srimanta Sankararadeva in the religio-cultural
arena, the multiple art forms within the premises of a Sattra, including Ankiya
Nat (Vaishnava theatre), and a definite structural pattern of grammar.
In this concise
96-page edition, the author, an associate professor in Guwahati, the first
woman to get a Ph.D in Sattriya dance and a widely performed dancer and
acclaimed choreographer,
shares her
experience and expertise to focus on the quantitative methodology loaded with
valuable material. Hence, the approach is academic, direct and
comprehensible. Brevity is the keynote of its style.
The primary
focus of this work is to unravel the intricacies of the foundational postures
of the Sattriya dance - the mati akhara - which had evolved through the
Sattra-Vaishnava monasteries of Assam. In Assamese, ‘mati’ means ground or soil
and ‘akhara’ means exercises, practices, rehearsals, training and applications
on the ground.
In the preface,
the author mentions that she has endeavoured to explain the significance of
mati-akhara’s nomenclature concerning nearly all foundational postures and
their connections to ancient treatises. She further points out that Sattriya
dance training begins with these mati-akharas, which is the foundation for
learners to build a healthy physical, mental and spiritual being necessary for
a classical dancer - a hitherto uncommon fact, especially to non-Sattriya
dancers. Additionally, the preface mentions that mati-akhara can be practised
with music (bols or rhythmic sounds) or without music. Bols are not mentioned
in the book as they usually vary. Also, mati-akhara encompasses almost all the
features of Sattriya dance.
Without any
divisions of chapters, the author begins with an elaborately enriching
introduction under the heading mati akhara and Sattriya dance encompassing
the body movements in mati akhara determined by the nature of body bending.
There is an exhaustive explanation of how mati-akhara carries
the body positions. The dance form depends
on two foundational body positions - samabhanga and tribhanga - which represent
the basic foot positions or stance. ‘Ora’, meaning measurement in the numbers
of Sattriya dance. They are clearly explained with the help of photographs
representing purusa ora (male) and prakriti or maiki ora (female dancers). The
philosophy behind the mati akhara of purusa ora and prakriti ora (the
male-female divide) and the stances of a specific number of mati-akhara in dance numbers are interesting pieces of information.
By her
admission, the author mentions that in her research work, she has attempted to
describe the meaning of all mati akhara, including the etymology, philosophical
background, similarity with yoga, and elements of ancient treatises and
indigenous tradition. Hence, there is no boundary separating utility from
aesthetics in that art form in the writing.
Every page of
the book bears testimony to the scholarship, meticulous documentation and
analytical skills of the author. The book also contains a bibliography, an
index of the pronunciation of technical
words, close shots of some foot positions and hastas of mati akhara, and
full-length shots of each of the 66 positions and postures of these basic
exercises. It is systematic, detailed, comprehensive and compact. Unity and
continuity are maintained throughout the work.
Encouragingly,
the book consciously avoids meandering through the subject matter and excessive
use of technical language, making it easily readable and accessible to lay
readers. While there are a few spelling errors, these can hardly be considered
a significant drawback. The book has more information and fewer comments on
creativity in Indian arts, music, or dance criticism, which makes for an
undisturbed reading experience. The fascinating feature of the book is the
style and the mode of presentation. With simple language and a lucid approach,
the explication is unhurried. The matter is distinctly and methodically divided
into paragraphs with headings wherever required. Topics are numbered, and
important words are written in bold, making it a reader-friendly publication.
There are appropriate references at the bottom of almost every page. However,
it is not limited to be classified as a textbook in the true sense.
It encapsulates
several important topics that are well thought, planned, and well-produced for
basic education of Sattriya dance and culture in the broader sense. A
patient browser may find valuable and rewarding information. While the book’s
printing is good, there could have been room for improvement in the sharpness
of the black-and-white photographs in the next edition. It would also be
beneficial to introduce a table of contents listing the 66 mati-akharas at the
beginning of the book. With all these, the book is a must-read for anyone
interested in dance and Sattriya culture.
Photos courtesy:
Dr. Mallika Kandali