Introduction

Bhaona Dance has evolved from the compositions of a "Vaishnavite" saint and a preacher named Srimanta Sankardeva. This dance- drama is purely religious and is based on the episodes of Lord Krishna"s life. The plays which were composed by Sankaradeva are known as "Ankiya" or "Anka". Bhaona Dance is usually played by both the men and women at night. The performers speak the "Brajawali" language.

The Bhaona Dance is a theatrical performance of Vaishnava Ankiya Nat, a one-act play, commenced by Sankardeva. It is mostly aimed at spreading "Vaishnava" and performed in village Namghars and Satra grounds. The Sutradhar of an Ankiya Nat is an essential part of it. Sutradhar recites slokas, sings, dances and explains in prose what Bhaona is.

History of Bhaona Dance

History of Bhaona Dance relates to a Vaishnavite sage and a preacher named Mahapurusha Shankar Deo. He was born in the month of Ashwin, Shukla Dashami in a village named Bordoa in Nowgong district in 1329. For 120 years he spent a saintly life preaching people about god. He left this abode in 1449. Shankar Deo`s father, Kusumbar Bhumian, and mother Satya Sandhya Devi, were from Mithila district in Bihar to Assam. They had died when Shankar was a just a child.

Having learnt Sanskrit and Shastras, Shankar grew up to be a scholarly and learned man. The place where Shankar lived was resided by uneducated hilly tribes. They led an uncivilised and immoral life always fight engaged in feuds among themselves. Shankar wished to rescue them from these aboriginal activities. He wanted to imbibe in them the noble and religious thoughts. He desired to teach them about the Almighty and yearn to crave for God.

Shankar Deo went out for pilgrimage travelling to different places like Mithila, Mathura and Vrindavan. During his journey he had had discourses with scholars, philosophers and other learned men which helped him to gain knowledge in Vaishnava religion. He also met Chaitanya and others. On his return Shankar began teaching the people the Vaishnavite doctrine of Ahimsa.

Shankar Deo is now worshipped in Assam. He is revered as a guru in the Namghars. During the evening episodes of Lord Krishna and Radha are sung by the devotees. These songs are compiled by Shankar and his disciples.

The songs of Shankar Deo are written in Assamese and Brajaboli language as he was well versed in the language of Assam. He preferred to compose songs in the dialect of the common man. This would enable them to understand the meaning of the message conveyed by the songs. Shankar also chose to write in Brajaboli as it is a much refined and soothing language. It is suitable for describing a calm and peaceful narration. Shankara also employed this language as it was used as a dialect by the people from where the episodes of Lord Krishna are narrated.

These compositions of Shankar narrating the life of Krishna are sung in Namghars in the Assam valley every evening. Dramas and dances are performed from the various episodes of Lord Krishna. The basic themes of these drams are thus chiefly based on the compositions of Shakara Deo.

Types of Bhaona Dance

There are two types of Bhaona Dance and these are as follows:
Mukha Bhaona: "Mukha" or masks are used chiefly in Assam"s Mukha Bhaona. Mukha Bhaona or Mask Drama is a form of drama performed in Majuli island of Assam which is the world"s largest river island; in which masks are worn by characters to give a dramatic feel to the act. The tradition is around 500 years old.

Boka Bhaona: It is another type of Bhaona Dance. The Boka Bhaona artists perform the play and turn over themselves in the dirt to convey their delight in the birth of Lord Krishna.

Different characters of Bhaona Dance

Following are the different characters of Bhaona Dance:
Sutradhar or Sutradhari : He is an integral part of bhaona dance; he recites slokas, sings, dances and explains in prose what is what at every stage of Bhaona.
Bhaoriya : The actors presenting the characters as per script.
Gayan : The singers of bhaona dance.
Bayan : They play the khole, Taal etc. from the starting to the end of bhaona.

Dress and Make-up of Bhaona Dance

The dress and makeup during the Bhaona dance is usually very appealing. The dress of a Sutradhar who is the choreographer and director of the dance and the play is very significant. It consists of a `Ghuri` meaning Ghagra and a `Chaddar` meaning a piece of cloth crossed at his chest and hung up from both the shoulders and remains tied at the waist. The Sutradhar also wears a full-sleeved tight singlet (bundi) which remains tied at the sides by strings. He also puts on a silk turban which remains surrounded by a garland of Tulsi leaves. The colour of his dress is usually white. The Sutradhar along with all the performers wears a peculiar form of anklet termed as `Nupurs.` They are made up of thin iron or brass wires and are round in shape. Inside these wires there are round metal pieces.

The Dhyamalis in the drama play the role of warning bells. Next Krishna, the most symbolic character appears on stage. The person portraying the role of Lord Krishna is coloured blue and wears a yellow coloured dhoti.

The colours applied on the performers are extracted from the barks, leaves and flowers of a particular type of tree. This paste is known as `Hengul Hightali.` It is from these parts of the tree that different shades of colour, like blue, yellow and red, are produced. Masks are used in Bhaona dance to depict characters of Rakshasas, Danavas, Asuras, birds, serpents, Bakasura, Garuda, etc. The Khanikars who are proficient in this art make the masks with burnt mud. They then paint and shape the masks according to the characters. The Khanikars also excel in crafting images of Krishna and Radha. The mask dances in Bhaona are termed as `Satryia` dances. For making the drama humorous and entertaining few clowns are also brought in. The dramas conclude either with a touch of comedy or tragedy.

Performance of Bhaona Dance

The method of Bhaona dances are differentiated on the basis of respective Satras. These Satras are religious organisations headed by a direct descendant of a disciple of Shankar Deo. These are of mainly four types, Satras, Aoniyati, Dakhinpat, Garmuriya and Karnbahi.

Bhaona Dance is performed in accompany of a minimum of four `Khols`, where the maximum number can exceed upto sixty. As a general rule use of odd number of Khols must be prohibited. There are also pairs of big cymbals (Bhon Tals) which are used in the dance.

The dance is enacted in an open air platform made of mud in the village. Presently they are now performed under pandals or in Dangar Namghars (big Namghars). Earlier a round platform was erected surrounding which the spectators were seated. These days the platform is raised in a rectangular fashion on one side and the audience faces the stage sitting in front of it. A greenroom is also constructed from where the performers walk towards the dais.

Lights play an important role in the performance. For lighting a plantain tree is first cut into three or four pieces. Next a hole is made on one side of each piece into which mustard oil is poured. Two long wicks made of cotton are stuffed inside the hole and each one is lighted. These lights known as Bhota are placed around the stage. Torches are also used to light up the stage but there are arrangements for light for the audience. All the important personalities of the village are invited by the members of the Bhaona. The prominent people are known by the terms, Baroatui, Gaonbura, Haruatui, Mendhi, Baro-gayan, Harugayan and Gohain, (Goswaxni). Even the seats in the hall are arranged according to the grade of aristocracy. One`s position is judged by the number of plough one owns.

Bhaona dance is sometimes performed for many days. Villagers enjoy the performances whole night. At times even twelve dramas are staged which are known as Borokheliya Bhaona. Performers of one Satra travel from one village to another to perform dances.

Presently the dancing technique of the Bhaonas has been developed. The dance commences as a prominent person of the village narrates the audience about the history or Iti-britta of Bhaona dance through a song called `Malita.` Next Dhyamali begins, which is playing of `Khols`. Dhyamali is of two types, one that is played first is known as Horudhyamali (small Dhyamali), and the next one that is played is called Borodhyamali (big Dhyamali). Presently the Satras have introduced a third Dhyamali known as Mazudhyamali. Each Dhyamali is marked by a pause during which both the players and the singers take rest.

A group of Kirtan singers also perform during the Bhaona dance. Before Dhyamali begins, a Ghat between the singers known as Gaya and khol and cymbal players known as Bayan, takes place.

The first Dhyamali starts with slow beats and gradually the rhythm rises and then concludes with a climax. The player in the first stage jumps while playing the Dhyamali. He holds the instrument above his head and also on his sides. Sometimes he plays one side of the `Khol` is played by both the hands. The players of Dhyamalis also sing songs called `Ghosha` while pathetic songs are called `Viiap.` The later one is usually sung during occasions like the death of Abhimanyu who was Arjuna`s son. Many songs are composed in `Payar` metre while some are known as `Khama-prarthana.` The song of Khama-prarthana deals with Lord Brahma asking for pardon from Arjuna.

After the Dhyamalis the choreographer and director, known as the Sutradhar comes up on the stage and gives a brief description about the entire drama by singing and dancing. A Sutradhar in Bhaona is holds a prominent place and has an important role to play. Once he adopts the profession he always remains a Sutradhar. He trains few of his students his art and after his death the best pupil takes up the job.

The songs and dances performed by a Sutradhar remains the same in all the plays, the only change being made is the title and the synopsis of the drama. Before beginning the performance the Sutradhar first performs Lord Vishnu`s Aradhana (invocation of God Vishnu) and then the Dashavatara (ten incarnations of God). A Sutradhar is always present while the drama is being enacted. He is either standing on the sides of the stage on approaching in the middle of the drama to explain the gestures by narrating the complete theme. Bhaona dances are not performed by females hence even the female roles are enacted by the male performers.