Satras and Mask Makers of Majuli
Amidst the vast waters of the Brahmaputra, on a tiny island untouched by time, Vaishnava monks and master artisans keep centuries-old traditions alive. Visiting these carriers of culture in the cold December winters left me spellbound by the sheer expanse of talent that enriches my country.
The Satras of Majuli were initially founded as Vaishnavite monasteries which have since then expanded into centres of cultural preservation spanning generations. Guru Srimanta Shankardeva is credited with setting up these satras under the patronage of the Ahom kings in the 15th-16th century and uniting the religious and cultural identities of the region. Based on the Bhakti movement, these satras were instituted for young boys to lead a life of discipline and devotion. Propagating the life and teachings of Lord Krishna, these satras run on the spirit of ‘Ek Sarna’ which believes that all human beings are alike irrespective of caste and creed. The satras also teach arts and literature keeping the scholastic traditions alive.
Sri Sri Uttara Kamalabari Satra
One of the largest and most well-known of these satras is the Sri Sri Uttara Kamalabari Satra. As we enter the carved stone arches depicting mythical creatures, the path opens up into a vast courtyard. Small monks, wearing white dhotis, run about the place between heaps of hay spread out for drying. Along the edges of the courtyard are continuous thatched roof housing with small verandas lining the living quarters of the monks. In the middle of the area stands the main temple. The older monks in the compound, give us a tour of the place that is filled with trees. In the main temple complex, they have arranged for a devotional dance performance.
The monks come in wearing white dhotis and kurtas and have drums hanging from their neck. This dance form known as Bhaona is used to teach and narrate religious discourses from the various epics of Hinduism. It has now evolved in one of the classical dances of India called Sattriya Nritya. The monks make a formation in the central court of the temple and start rhythmic playing of the drums with their hands. The beats pick up pace along with their feet as they begin swaying to the music. As the performance goes on, they make various formations that are both gentle and graceful. The dance ends with a chant and leaves us enchanted.
We are then invited for lunch which is a traditional meal served on leaves. After this, we explore the place. While walking on the verandas along the monk’s quarters, I come across an elderly monk basking in the winter light. Striking a conversation with him, I learn that he came to the monastery at the age of 5 and today he is 85 years old – that’s 8 decades of his life in this place! Outside another senior monk tell us that they have been invited by numerous organisations abroad and have performed all over the world. They are also the recipients of the prestigious Padma Awards of India. Later he invites us into his quarters, which is a minimalistic set up with bare necessities of a bed, table and chair. He sits near the rear door and takes out his flute. The music that flows out next is one of the most divine things I have experienced.
Sri Sri Samaguri Satra
From there, we head to the Chamaguri Satra (Samaguri Satra), home to the exquisite mask makers of Assam. During the enactment of the Bhaonas at the Namghars of Assam, Srimanta Shankardeva observed that by putting the figures of the mythological characters in the forms of a mask, the masses were able to relate to the characters better and the enactment of characters had more impact.
Here at Samaguri Satra, this tradition of mask making has continued for more than five centuries now by successive generations. We are greeted by Sangeet Natak Akademi Awardee Hem Chandra Goswami. He leads us to a room filled with masks of various shapes and sizes. He explains that there are mostly three types of masks that are made there:
Mukha – face masks
Lotokai Mukha – masks with moveable lips, eyes, eyelids, and jaws
Bor Mukha – life sized large masks
The frame of these masks starts with a bamboo grid and are then built upon with paper mâché and clay. There are mechanisms fixed within the masks that make the eyelids, eyes, lips, etc. move with the jaw movement of the wearer. The room was filled with various mythological characters such as Jatayu, Surpanakha, Ravana, Bakasura, Nar Singha, Kaliya Bag, Hanuman, etc. He put on a mask to display how it looks and works during the dance-dramas in which they are used. Later in the evening, Mr. Goswami accompanied us to the riverfront and wore the masks, allowing us to capture them in all their glory.
Majuli may be small, but it carries the weight of centuries in its art, its faith, and its people. Here, the river does more than shape the land—it nurtures a culture that continues to thrive against time.
