Sattriya

Sattriya, one of the eight recognised classical dance forms of India, originates from the north-eastern state of Assam. It was created in the 15th century by the saint-scholar and social reformer Srimanta Sankardeva (1449–1568) as part of the Neo-Vaishnavite Bhakti movement. Sattriya was conceived as a medium of religious expression and moral instruction, integrating dance, drama, music, and devotion.
Originally performed by male monks in Sattras (monastic institutions) to narrate stories from Hindu scriptures, Sattriya evolved into a highly stylised and sophisticated art form that embodies the spiritual, cultural, and aesthetic essence of Assamese Vaishnavism.

Historical Background

The development of Sattriya is inseparable from the Neo-Vaishnavite movement led by Srimanta Sankardeva and his disciple Madhavadeva in 15th–16th century Assam.

• Sankardeva, regarded as the father of Assamese culture, founded the Ekasarana Dharma, a reformed Vaishnavite faith that emphasised devotion to one God (Vishnu/Krishna) through love (bhakti), equality, and community worship.
• To communicate his teachings effectively to the masses, Sankardeva employed the performing arts—creating Ankiya Nat (one-act plays) and Sattriya Nritya (dance)—to dramatise episodes from the Bhagavata Purana and the life of Lord Krishna.
• These performances took place in Sattras (monasteries) and Namghars (community prayer halls), becoming integral to religious life and spiritual education in Assam.

Over time, the dance evolved beyond its religious origins, earning recognition as a classical dance form by the Sangeet Natak Akademi in 2000.

Meaning and Etymology

The term “Sattriya” is derived from the word “Sattra”, meaning monastery. Thus, Sattriya Nritya literally means “the dance of the Sattras.”
It represents the sacred art performed by monks as a form of worship and storytelling, reflecting the philosophical, moral, and devotional ideals of Vaishnavism.

Origins in Ankiya Nat

Sattriya evolved as part of Ankiya Nat, the dance-drama tradition initiated by Sankardeva.

• Ankiya Nats were religious plays written in Assamese and Brajavali (a blend of Assamese, Maithili, and Sanskrit), narrating episodes from Krishna’s life.
• The performance combined dialogue, acting, singing, and dance, with dance sequences forming the aesthetic core.
• These dance interludes developed into a distinct tradition known as Sattriya Nritya.

Sattriya thus represents both dramatic theatre and pure dance, reflecting the integration of narrative and devotion.

Philosophical and Spiritual Context

Sattriya expresses the Bhakti (devotional) philosophy of Ekasarana Dharma, based on the belief that spiritual liberation can be achieved through devotion, love, and service to God rather than through rituals or caste hierarchy.

• The dance serves as an act of worship (seva), a form of bhakti yoga.
• It celebrates the divine play (leela) of Krishna, blending spiritual experience (anubhava) with artistic expression (abhinaya).
• Each performance is both an offering to the divine and a moral lesson for the audience.

Types of Sattriya

Sattriya comprises two principal streams:

1. Bhaona (Dramatic Representation):
   • Enacted portions from Ankiya Nat where dance and acting narrate mythological episodes.
   • Performed collectively by monks (bhokots).
2. Mukhya Nritya (Pure Dance):
   • Dance segments focusing purely on movement and rhythm, not narrative.
   • Includes expressive (nritya) and rhythmic (nritta) elements.

Major Dance Forms within Sattriya

There are several dance categories within the Sattriya tradition, each serving a distinct purpose within performances:

1. Sutradhar Nritya:
   • Performed by the Sutradhar (narrator or stage manager).
   • Introduces the play, summarises events, and guides the audience.
2. Gopi Pravesar Nritya:
   • Enacts the entry of the Gopis (milkmaids of Vrindavan) in Ankiya Nat performances.
3. Krishna Nritya:
   • Depicts episodes from Krishna’s life—childhood pranks, divine love, and miracles.
4. Natuva Nritya:
   • Performed by the Natuva or assistant to the Sutradhar, focusing on intricate footwork and rhythm.
5. Jhumura Nritya:
   • A vigorous male dance, featuring energetic footwork and sharp movements.
6. Pravesar Nritya:
   • A dance performed to announce the entrance of important characters in the play.
7. Chali Nritya:
   • Graceful, rhythmic movements symbolising spiritual devotion.
8. Behar Nritya:
   • Fast-paced group dance representing youthful vitality and divine joy.

Each dance segment corresponds to a particular mood (rasa) and serves a liturgical function within the narrative.

Technique and Style

Sattriya combines Nritta (pure dance), Nritya (expressional dance), and Natya (dramatic representation) as codified in Bharata Muni’s Nāṭyaśāstra.
Key Features:

• Posture and Movement:
  • The body movements are rounded and soft, maintaining dignity and composure.
  • The dancer alternates between graceful (lasya) and vigorous (tandava) elements, symbolising the union of feminine and masculine energies.
• Mudras (Hand Gestures):
  • Uses hand gestures from Abhinaya Darpana and local variations to express emotion and narrative detail.
• Footwork (Pada Karma):
  • Intricate rhythmic footwork accompanied by cymbals (khol beats).
• Expression (Abhinaya):
  • Facial expressions are used to convey bhava (emotion) and rasa (aesthetic essence), especially bhakti rasa (devotion).
• Rhythm (Tala):
  • Dances are set to rhythmic cycles using traditional Assamese taals such as Chutkala, Ekatali, Yati, and Parital.

Music and Instruments

Sattriya music, known as Borgeet tradition, was composed by Sankardeva and Madhavadeva. These devotional songs follow classical ragas but are distinct from Hindustani or Carnatic systems.
Key Musical Features:

• Lyrics are in Brajavali, Assamese, or Sanskrit, dedicated to Lord Krishna and Vishnu.
• The singing follows a call-and-response pattern between lead singer and chorus.

Main Instruments:

• Khol: A double-sided drum central to Sattriya music.
• Taal: Small brass cymbals keeping rhythm.
• Flute and Violin: Provide melodic accompaniment.
• Borgeet (Songs): Form the emotional and spiritual backbone of the dance.

Costume and Makeup

The costumes of Sattriya reflect Assamese aesthetics and are traditionally handwoven from Assam silk.
Male Dancers:

• Wear dhoti, chadar, and paguri (turban).
• Use minimal jewellery and makeup.

Female Dancers:

• Wear the mekhela-chadar, the traditional Assamese attire, usually in white or golden silk.
• Adorned with local Assamese jewellery such as kopali (forehead ornament), muthi kharu, and gam kharu (bangles).
• Makeup is simple, focusing on enhancing facial expressions.

Colour Symbolism:

• White and yellow symbolise purity and devotion.
• Bright colours like red or blue are used selectively for dramatic characters.

Themes and Expression

Sattriya primarily depicts mythological and devotional themes centred on Lord Krishna and Vishnu.
Common Themes:

• Krishna’s childhood exploits and Raas Leela.
• Moral lessons from the Bhagavata Purana.
• The triumph of righteousness and the power of devotion.

Rasas (Aesthetic Emotions): Predominantly Bhakti Rasa, but also includes Sringara (love), Hasya (humour), Veera (heroism), and Shanta (peace).

Training and Institutions

Training in Sattriya follows the guru-shishya parampara (teacher-disciple tradition), though today it is also taught in institutions and universities.
Major centres of Sattriya training include:

• Kamala Bora Sattra, Barpeta Sattra, Auniati Sattra, and Kamalabari Sattra.
• Sangeet Sattra (Guwahati) and Kalakshetra Guwahati.
• Sattriya Kendra (Guwahati) under the Sangeet Natak Akademi.

Leading Exponents

The transformation of Sattriya from monastic ritual to a national classical form owes much to modern pioneers and practitioners:

• Guru Jatin Goswami – Renowned dancer-scholar and instrumental in obtaining national recognition for Sattriya.
• Raseswar Saikia Barbayan – Traditional guru of the Kamalabari Sattra.
• Indira P.P. Bora and Sharodi Saikia – Among the first women to perform Sattriya on public stages.
• Ananda Kumar Boruah, Madhurima Choudhury, and Ghanakanta Bora – Prominent modern performers and teachers.