Sattriya

Sattriya is the classical dance of Assam, developed within the Sattras (Vaishnavite monasteries) established by the 15th-16th century saint Srimanta Sankaradeva. The youngest of the eight forms recognised by the Sangeet Natak Akademi (granted classical status in 2000), Sattriya evolved as part of religious practice rather than court entertainment. Monks performed the dance-drama as devotional offering, maintaining traditions that only recently emerged into concert presentation.

The sattras served as centres of religion, education, and culture throughout Assam. Sankaradeva created the Ankiya Nat (one-act plays) depicting episodes from Krishna's life, performed through a combination of dance, music, and dialogue. The monks developed distinctive movement vocabularies that remained living practice within monastic walls for five centuries before gaining recognition as classical art.

"Sattriya is devotion made flesh—the dance that monks kept alive in monasteries while the world changed around them."

Sankaradeva's Vision

Srimanta Sankaradeva (1449-1568) founded the neo-Vaishnavite movement in Assam, establishing the sattra system that would preserve his artistic and religious legacy. He composed the Ankiya Nats in Assamese and Brajabuli (a literary language combining Assamese and Maithili), creating texts that remain central to Sattriya repertoire. His vision integrated performance into religious life, with monks trained in dance, music, and drama as aspects of devotional practice.

The Borgeet (devotional songs) composed by Sankaradeva and his disciple Madhavadeva provide musical accompaniment. The khol (drum) and taal (cymbals) establish rhythm. This integration of music, dance, and text within religious context distinguishes Sattriya from forms that developed primarily as entertainment.

Movement Vocabulary

Sattriya employs distinctive hasta mudras (hand gestures) and foot movements that differ from both the South Indian forms and Kathak. The dance exhibits both tandava (masculine) and lasya (feminine) qualities, with different items emphasising different characteristics. Male monks originally performed all roles, including female characters, though contemporary practice includes female performers.

The Chaali (basic dance units) comprise the technical vocabulary, with different challis suited to different character types and dramatic situations. Mati Akhara emphasises footwork patterns while Ora and Par describe spatial movements. The dance maintains connection to martial traditions, with some movements reflecting Assamese warrior culture.

Performance Formats

Traditional formats include the Ankiya Nat (dance-drama presenting Krishna narratives), Bhaona (theatrical presentation), and various solo and group dance items. The Sutradhar (narrator) introduces performances and provides commentary. Gayan-Bayan (musicians) accompany with vocals, khol, and cymbals.

The transition to concert presentation required adaptation of monastic forms for secular stages. Individual items were extracted from longer dramatic works, and solo formats developed alongside traditional ensemble pieces. This adaptation enabled Sattriya to reach audiences beyond the sattra context while maintaining its devotional character.

Contemporary Recognition

The Sangeet Natak Akademi's recognition in 2000 acknowledged what Assamese practitioners had long maintained: that Sattriya possesses the codified technique, repertoire, and theoretical foundation that define classical art. Contemporary artists like Jatin Goswami, Bimbabati Devi, and Indira P.P. Bora have brought Sattriya to national and international stages while the sattras continue their centuries-old practice.