Mati-Akhora: Physical Exercises

All classical dance forms of India have a structural pattern or grammar for its sustenance and transmission, either orally or written. Sattriya dance has, like any other traditional dance form, developed its own structural grammar over the years. The structural, that underpins Sattriya dance, is referred to as “Mati-Akhora”. The Mati-Akhoras are the basic exercise patterns and can even be called the base grammatical forms of Sattriya dance, upon which the overall structure of the Sattriya dance is built. Different poses are produced with the basic exercise patterns, and by combining those poses in different ways, different dance numbers are created.

In Assamese, generally Mati-Akhora means the exercise forms done on the ground. The Sattriya dance is taught by using these Mati-Akhoras. After all the Mati-Akhoras have been taught, the branch of Sattriya dance one by one can be taught. Mati-Akhoras build a strong foundation or basis for the subject matter of the students to create a healthy physical, mental and spiritual set-up, which is important to any dancer. Being aware that some of the Mati-Akhoras bear similarities with some yogic postures or asana (based on yoga Shastra), they can be useful for the learners to create a certain physical and mental discipline.

It has been found that there is not a general consensus about the total numbers of the Mati-Akhoras; in other words, the various Sattras advocate varying numbers of Mati-Akhoras. The Kamalabari group of Sattras have adhered to and practised 64 numbers of Mati-Akhoras. On the other hand, Sattras such as Auniati, Bardowa (Narowa and Salaguri), Bengenaati and a few others also follow certain Mati-Akhoras. It is worthwhile to note here, that during a seminar and workshop on Mati-Akhoras conducted by the Asom Sattra Mahasava, the supreme body of the Sattras, at Jorhat from 13-03-1994, they studied the Mati-Akhoras of various Sattras and accepted seventy three Mati-Akhoras. In the last few years several dancers and researchers have mentioned this number ranging from sixty-seven to one hundred twenty. In one popular understanding some of these Mati-Akhoras are identified or named on the basis of the hand movements while other researchers have stated their thoughts in naming them according to the movements and direction of the feet. The origin is the same.

The Mati-Akhoras are broadly categorized into two parts – (i) pure exercises and (ii) basic dance units. Pure exercises are based on some acrobatic poses. For example– Thiyo-Lon, Athu-Lon, Tamal-Musura, Morai Pani Khowa etc. These exercises are generally not used in dance, though there are some exceptions. For instance – we can refer to the “Natuwa dance” of Auniati Sattra, where in these exercises or acrobatic poses are extensively used. On the other hand most of the Mati Akhoras belong to the basic dance units.

It has already been mentioned that the Mati Akhoras are grammatical forms for Sattriya dance, and at the same time they are the exercise as well as the structural basis of this dance form. That is why, almost the entire body processes are covered by the Mati-Akhoras and they are a) Utha (rising); Boha (squatting), c) Thiyo (standing position), d) Calana (gati or moving), e) Pak (turns and spins), f) Jap (jump), g) Ulaha (undulating or wavy movements), h) Citika (springing), i) Bura or Duba (porpoising) etc. On the other hand, the Mati-Akhoras are categorized under eight different broad units, such as – Ora, Chota, Jalak, Jap, Muruka, khor, Pak and Lon on the basis of different characters and application patterns. Under these broad units, there are many sub-units. For example – there are four types of Ora – Purush Ora, Prakriti or Stri Ora, Phul Ora and Lahi Ora. Like that there are at least six types of Chota- Ora Chota, Kati Chota, Udha chota etc.

It is important to note that generally the dance is categorized into two forms – (i)Tandava and (ii)Lasya. In this context, tandava movement is generally referred to the male and vigorous motion, whereas lasya movement is referred to as smooth, gentle, graceful, delicate motion. This delineation of tandava and lasya occurs in the Mati-Akhoras. It is important to note that the Sattriya dance is actually considered as a lasya style and being that it is a lasya style and there is not the extreme vigorous form of motion expressed in the tandava portion of Sattriya dance – basically this division of tandava and lasya is divided along the lines of the general disposition or temperament of man and woman. At any rate – this division is strictly observed in the Mati – Akhora. For example – the basic or position of Sattriya (ora) is divided into “Purush Ora” and “Prakriti Ora” which are male and female. On the other hand, one of the Bhramaris is also divided along the male and female lines or elements that is “Purush Pak” and “Prakriti Pak”.