Traditional Theatre — Ankiya Naat & Bhaona
The traditional theatre of Assam is one of the most distinctive cultural achievements of the state, and it is inseparable from the Vaishnava movement launched by Srimanta Sankardeva. Questions on Ankiya Naat and Bhaona appear frequently in the art and culture and literature sections of ADRE, APSC, Assam Police, DHS, SSC and Railway examinations. Candidates are expected to know what Ankiya Naat is, the language in which it was written, who its chief authors were, how a Bhaona is staged, and the role of the Sutradhara and of the mask-making tradition. This topic also connects closely with the Sattra and Namghar institutions, so studying it together with Sattriya dance and the Sattra tradition makes revision far more effective.
Ankiya Naat and Its Origin
Ankiya Naat, also called Ankiya Bhaona, is a form of one-act devotional drama composed in Assam in the fifteenth and sixteenth centuries. It was created by Srimanta Sankardeva, the founder of the Assamese Vaishnava movement, as a powerful medium for spreading the message of devotion, or Bhakti, among ordinary people who could not read the Sanskrit scriptures. Sankardeva wrote several such plays, and his chief disciple Madhavdeva continued and enriched the tradition. The plays dramatise episodes from the life of Krishna and Rama, drawn mainly from the Bhagavata Purana and the Ramayana, and they combine dialogue, music, dance and mime in a single theatrical form. The term Ankiya Naat literally means a play in one act or a single episode, and this one-act structure is one of its defining features.
The Brajavali Language
One of the most important facts about Ankiya Naat is the language in which it was written. Sankardeva composed his plays in a literary language called Brajavali, which is a deliberate blend of Maithili and Assamese. This language was created so that the devotional literature of the Braj region, the land associated with Krishna, could be understood in Assam while still carrying the dignity of a sacred tongue. Brajavali became the language of the Ankiya Naat and of much of the early Assamese devotional poetry. Questions often ask about the language of Ankiya Naat, and the answer is always Brajavali, not pure Assamese or Sanskrit. This makes Brajavali a high-yield fact that every candidate should commit to memory.
The Chief Ankiya Naats
Sankardeva is credited with several Ankiya Naats, of which Chihna Yatra is regarded as the first. Other well-known plays ascribed to him include Patni Prasad, Kaliya Daman, Keli Gopal, Rukmini Haran and Parijat Haran, while Madhavdeva composed works such as Aranya Kand, Bhumi Letowa and Dakhin. These plays were written to be performed rather than merely read, and each carries a clear devotional message. The Rukmini Haran and Parijat Haran are among the most commonly staged, while Chihna Yatra, meaning the play of symbols, is important because it is treated as the earliest example of the form. Remembering the title of the first Ankiya Naat is a frequently asked objective fact.
What Is Bhaona
Bhaona is the name given to the actual staging or performance of an Ankiya Naat. If Ankiya Naat is the script or the play text, Bhaona is its theatrical presentation before an audience. A Bhaona is traditionally performed in the courtyard of a Sattra or in the Namghar, the prayer hall of the village community. It brings together acting, singing, instrumental music, dance and elaborate costumes in a single devotional spectacle. The performance is usually held on special religious occasions and festivals, and it may continue for several hours. The audience participates through the recitation of devotional refrains, and the whole event has the character of worship rather than mere entertainment. This distinction between the play text and its performance is a common examination point.
The Role of the Sutradhara
The Sutradhara is the central figure of a Bhaona and performs several functions at once. He is the conductor, narrator and master of ceremonies. At the beginning of the performance, the Sutradhara recites the Nandi, an invocation seeking blessings, followed by Sanskrit slokas and a prologue that introduces the theme of the play. Throughout the performance, he links the scenes, explains the action and comments on the moral significance of the events. The Sutradhara also announces the entry of the characters and directs the flow of the drama. Other key performers include the Gayan, who sing, and the Bayan, who play the Khol and the Taal. Understanding the role of the Sutradhara is essential because he holds the entire performance together and is the most frequently asked character of Bhaona.
Music, Dance and Instruments
A Bhaona is never merely spoken drama; it is a composite art in which music and dance carry much of the meaning. The Khol, the barrel-shaped drum introduced and popularised by Sankardeva, provides the rhythmic foundation, while the Taal or cymbals mark the beat and the Bhortal, a large cymbal, is used in some forms. The Gayan sing the devotional songs, called Borgeet, composed by Sankardeva and Madhavdeva, and the Bayan play the percussion. The actors combine stylised movement with gesture and mime, and their entry and exit are closely coordinated with the music. The dance movements within a Bhaona are the source from which Sattriya dance later developed, which explains why the two topics are so closely connected in the syllabus.
Costumes, Masks and Mukha Silpa
The visual appeal of a Bhaona depends heavily on its costumes and masks. The performers wear brightly coloured costumes with crowns, ornaments and distinctive headgear that identify their characters. Masks, known as Mukha, are used for gods, demons and animals, and the art of making them, or Mukha Silpa, is a celebrated craft of Assam. The Samaguri Sattra of Barpeta is especially famous for the traditional mask-making tradition, and its masks are regarded as a living heritage of the Vaishnava culture. Masks may be full-face, covering the head, or smaller face masks, and they are made from bamboo, cane, clay and cloth. This mask-making craft is a frequent subject of art and culture questions and is studied along with Bhaona.
Significance and Living Tradition
The Ankiya Naat and Bhaona tradition is significant because it democratised religious knowledge in Assam. By presenting the great stories of Krishna and Rama through music and drama in the local language, Sankardeva made devotion accessible to people of all backgrounds, including those excluded from formal Sanskrit learning. The Namghar became the village centre of this culture, and the Sattras became its institutional home. Even today, Bhaonas are performed during festivals and religious gatherings across Assam, and the tradition has been recognised as an intangible cultural heritage. The form has also influenced Assamese literature, music, dance and puppet theatre, and it remains one of the strongest and most enduring symbols of Assamese cultural identity.
Key Facts at a Glance
- Ankiya Naat is a one-act devotional drama form created by Srimanta Sankardeva.
- Ankiya Naat was written in the Brajavali language, a blend of Maithili and Assamese.
- Chihna Yatra is regarded as the first Ankiya Naat.
- Madhavdeva continued the tradition and composed works such as Aranya Kand and Bhumi Letowa.
- Bhaona is the performance or staging of an Ankiya Naat.
- Bhaona is traditionally performed in the Sattra or the Namghar.
- The Sutradhara is the narrator and conductor of a Bhaona.
- The Sutradhara begins the play with the Nandi and Sanskrit slokas.
- The Gayan are the singers and the Bayan are the percussionists.
- The Khol and the Taal are the main instruments of a Bhaona.
- Borgeet are the devotional songs composed by Sankardeva and Madhavdeva.
- Mukha Silpa is the art of mask making associated with Bhaona.
- The Samaguri Sattra of Barpeta is famous for traditional mask making.
- Sattriya dance developed from the dance movements used in Bhaona.
- Ankiya Naat dramatises stories of Krishna and Rama from the Bhagavata and Ramayana.
- The Namghar is the prayer hall where Bhaonas and devotional gatherings take place.
Quick Revision Points
- Keep the pair clear: Ankiya Naat is the text, Bhaona is the performance.
- Remember Brajavali as the language of Ankiya Naat and Chihna Yatra as the first play.
- Link Sankardeva with the founding and Madhavdeva with the expansion of the tradition.
- Learn the Sutradhara, Gayan and Bayan as the three key performer roles.
- Associate the Khol and the Taal with Bhaona and the Khol with Sankardeva.
- Link Samaguri Sattra with Mukha Silpa when answering craft questions.
How to Prepare This Topic
- Write a short note distinguishing Ankiya Naat from Bhaona in your own words.
- List the chief Ankiya Naats and their authors.
- Memorise the language, the first play and the role of the Sutradhara.
- Study the instruments and connect them to Sattriya dance.
- Prepare a short paragraph on mask making and the Samaguri Sattra.
- Revise the key names using the practice questions on this page.
Common Exam Traps
- Confusing Ankiya Naat, the play text, with Bhaona, its performance.
- Writing that Ankiya Naat was composed in Sanskrit or in pure Assamese instead of Brajavali.
- Attributing the first Ankiya Naat to Madhavdeva instead of Sankardeva.
- Confusing the Sutradhara with the Gayan or the Bayan.
- Forgetting that masks are part of the Bhaona tradition and that Samaguri Sattra is famous for them.
- Linking the Khol to a tradition other than the Sattriya and Bhaona tradition.
Frequently Asked Questions
What is Ankiya Naat and who created it?
Ankiya Naat is a one-act devotional drama form composed in Assam in the fifteenth and sixteenth centuries. It was created by Srimanta Sankardeva, the founder of the Assamese Vaishnava movement, and later expanded by his disciple Madhavdeva. It dramatises stories of Krishna and Rama and was written in the Brajavali language.
What is the difference between Ankiya Naat and Bhaona?
Ankiya Naat is the dramatic text or script of the one-act devotional play, while Bhaona is the actual performance or staging of that text. A Bhaona combines acting, music, dance and costume and is usually performed in a Sattra or Namghar.
What is the role of the Sutradhara in a Bhaona?
The Sutradhara is the narrator and conductor of a Bhaona. He begins the performance with the Nandi and Sanskrit slokas, introduces the theme and the characters, links the scenes, and comments on the action. He holds the entire performance together and is its most important character.
What is Mukha Silpa and which place is famous for it?
Mukha Silpa is the traditional art of mask making used in Bhaona. The masks are made from bamboo, cane, clay and cloth and represent gods, demons and animals. The Samaguri Sattra of Barpeta is especially famous for this craft, which is part of Assam's living Vaishnava heritage.
Which language was used in Ankiya Naat and what is Chihna Yatra?
Ankiya Naat was written in Brajavali, a literary language that blends Maithili and Assamese. Chihna Yatra, meaning the play of symbols, is regarded as the first Ankiya Naat and is attributed to Srimanta Sankardeva.