Sattriya: Origins, Features and Performance Traditions

Sattriya is one of the eight classical dance forms of India, originating in the northeastern state of Assam as an integral part of the Vaishnavite bhakti movement. Introduced in the 15th century AD by the great saint, reformer, and scholar Srimanta Sankardeva, alongside his chief disciple Madhavdeva, this art form was nurtured within the monastic institutions known as Sattras. For centuries, Sattriya remained confined inside these monasteries as a ritualistic performance dedicated to Lord Krishna, preserving its structural purity, spiritual core, and codification. Recognized as a classical dance by the Sangeet Natak Akademi in November 2000, Sattriya transitioned from sacred monastic environs to secular, international performance stages.

Historical Genesis and Bhakti Roots

The evolution of Sattriya is intertwined with the Socio-Religious Reform Movement initiated by Srimanta Sankardeva in medieval Assam, known as the Ekasarana Dharma (faith in a single supreme entity, Lord Krishna).

Monastic Nurturng in Sattras

• Srimanta Sankardeva established institutional centres called Sattras across the Brahmaputra valley to propagate his monotheistic faith through art, drama, music, and dance.
• Within these Sattras, male celibate monks called Bhokots performed and preserved Sattriya routines as ritualistic offerings to the deity.
• Major historic Sattras that spearheaded this artistic tradition include Majuli’s Kamalabari Sattra, Auniati Sattra, Natun Kamalabari Sattra, Dakhinpat Sattra, and Barpeta Sattra.
• The dance served as a powerful medium of communication, enabling complex Vedantic and Puranic scriptures to reach the illiterate masses.

Scriptural Codification

• Sattriya relies on foundational theoretical texts on Indian dramaturgy and dance, including Bharata’s Natyashastra, Nandikesvara’s Abhinaya Darpana, and regional treatises like Srihastamuktavali by Subhankara Kavi.
• Srimanta Sankardeva authored one-act plays called Ankiya Nats, which combined dance, song, dialogue, and instrumental music, laying the structural foundation for Sattriya dance sequences.

Repertoire and Performance Styles

Sattriya comprises two primary streams of presentation: Purusic (masculine, vigorous) and Stri (feminine, graceful), incorporating pure dance (Nritta), expressional dance (Nritya), and dramatic execution (Natya).

Major Dance Varieties

• Sutradhari: The central anchor of the Ankiya Nat tradition who introduces the play, recites slokas, conducts stage directions, and delivers commentary.
• Bhor Taal Nritya: High-energy group performance using large cymbals (Bhor Taal), showcasing complex rhythm variations and martial stances.
• Chali Nritya: Elegant, graceful feminine dance characterized by delicate footwork and rhythmic patterns.
• Jhumura Nritya: Male-dominated energetic dance form created by Madhavdeva, known for intricate body postures and swift tempo changes.
• Mati Akhara: A foundational set of physical training exercises (64 distinct types) that build flexibility, posture, balance, and stamina before learning formal dance sequences.
• Ojapali: Traditional storytelling performance; the Sattriya Ojapali adapts devotional texts (Puranas, Rāmāyaṇa, Mahābhārata) through hand gestures, rhythm, and song.

Elements of Ankiya Nat and Drama

• Bhaona: The theatrical performance of the Ankiya Nat play, traditionally held inside a spacious village prayer hall called a Namghar.
• Masks (Mukha): Elaborate paper-mache, bamboo, and clay masks used in Bhaona to represent demon kings, divine beings, animals, and mythical creatures.

Music, Costumes, and Musical Instruments

The musical structure and aesthetic presentation of Sattriya adhere to strict traditions developed inside the Sattras.

Musical Framework

• The music is based on classical Borgeets—devotional compositions set to specific classical Ragas and Talas created by Sankardeva and Madhavdeva.
• Key Musical Instruments:
  • Khol: A two-headed clay drum that serves as the principal percussion instrument.
  • Bhor Taal / Manjira: Large and small brass or bronze cymbals used to maintain rhythm (Tala).
  • Flute (Baahi): Adds melodic texture to the performance alongside string instruments.

Costumes and Jewelry

• Female Attire: Dancers wear traditional Assamese silk garments, primarily made of golden Muga silk or white/cream Paat silk. The costume includes a Mekhela (skirt), Chador (drape), and Kanchi (waist cloth).
• Male Attire: Dancers wear a white silk Dhoti, Chadar, and a traditional headgear called Paguri (turban).
• Traditional Jewelry: Handcrafted Assamese gold and silver ornaments decorated with traditional motifs, including Gām Kharu (bangles), Jongbiri (pendant), Dholbiri, and Thuriya (earrings).

Comparative Overview: Major Components of Sattriya

Essential Facts and Key Trivia

• Srimanta Sankardeva introduced the first Ankiya Nat titled Cihna Yatra in the mid-15th century, painted on hand-made bark paper (Sanchi-pat) to explain spiritual concepts.
• Sattriya received formal recognition as the 8th Classical Dance of India from the Sangeet Natak Akademi on November 15, 2000.
• Maniram Dutta Muktiyar Barbayan and Bapuram Barbayan are considered instrumental pioneers who worked to bring Sattriya out of monastic confines onto public stages.
• Srimanta Sankardeva used a regional literary language called Brajavali—a blend of Assamese, Maithili, and Braj bhasha—to write the songs and dialogues for Ankiya Nats.
• The Namghar serves as the traditional venue for performing Bhaona, functioning as both a village community hall and a house of worship without idols.
• Guru Jatin Goswami and Ghana Kanta Bora received the Padma Shri award for their lifetime contributions to the preservation and global promotion of Sattriya.
• The island of Majuli in the Brahmaputra River acts as the geographic hub of Sattra culture, housing dozens of active historical Sattras.