Sattriya (Assam)
The Monastic Dance of Bhakti and Discipline
With Sattriya, we complete the journey of the eight classical dances of India.
If Bharatanatyam was temple geometry, Kathak courtly rhythm, Odissi sculptural devotion, Kathakali epic theatre, Kuchipudi lyrical drama, Manipuri meditative Bhakti, and Mohiniyattam graceful femininity — Sattriya represents monastic spirituality disciplined through dance.
Origin – The Sattra Tradition
- Sattriya originated in the Vaishnavite monasteries of Assam called Sattras. These were religious institutions established for spiritual teaching and cultural practice.
- It was initiated by Srimanta Sankardev (15th–16th century)
- He was → A saint, Scholar, Social reformer, Propagator of Ekasarana Dharma (Vaishnavite Bhakti)
Purpose
Sattriya was created as a medium of devotional propagation.
It aimed to:
- Spread Bhakti philosophy
- Narrate Krishna’s life
- Educate masses through performance
Thus, it was originally part of religious ritual.
Participants
Initially:
- Performed by Bhokots (Bhakats) – male monks
- Presented inside monasteries as daily ritual
Today:
- Women also perform Sattriya
- It is staged in public performances
This marks its transformation from monastic ritual to classical stage art.
Main Features of Sattriya
Connection with Ankiya Nat
Sattriya was integral to one-act plays called Ankiya Nat. Also known as Bhaona. These plays were composed by Sankardev himself.
They included → Text, Music, Dance
Thus, Sattriya evolved from devotional theatre.
Geographic Context
Until the mid-20th century, Sattriya remained confined to Sattras in Majuli (world’s largest river island in Assam)
It was preserved within monastic discipline before being recognised nationally.
Technical Foundation – Mati Akhora
The fundamental structure of Sattriya is Mati-Akhora
This includes → Body bends, Foot movements, Jumps, Hand gestures, Head and eye coordination
It is the training grammar of Sattriya.
Themes
Themes revolve around Krishna, Rama and other incarnations of Vishnu. Thus, it is deeply Vaishnavite.
Dual Stylistic Structure
Sattriya integrates two stylistic modes:
| Style | Nature |
|---|---|
| Paurashik Pak | Masculine, energetic, jumps |
| Prakriti Pak | Feminine, delicate, Lasya |
This duality mirrors cosmic balance.
Repertoire of Sattriya
A traditional performance follows a clear order.
1️⃣ Invocation → Prayer to Krishna or Rama
2️⃣Sutradhar’s Dance →The Sutradhar (conductor) introduces the performance.
3️⃣Nritta Items →Ramdani, Chali, Mela Nach, JhumuraThese represent pure dance.
4️⃣Geetar Nach →Expressive dance (Abhinaya)
5️⃣Gayan Bayan →Musical interlude; Drum performance
Thus, Sattriya balances dance and music.
Costume in Sattriya
- Male Costume → Dhoti, Chadar, Paguri (turban)
- Female Costume → Ghuri, Chadar, Kanchi (waist cloth)
- Materials → Pat silk, Muga silk (Assam’s golden silk)
- Colours → White/raw silk; Yellow & blue (for Krishna themes)
- Jewellery → Gold and silver ornaments; Red bindi; Kohled eyes
Costume reflects Assamese textile heritage.
Music in Sattriya
- Instruments include → Khol (two-faced drum), Bahi (flute), Violin, Tanpura, Harmonium, Shankha (conch)
- The Khol produces → High pitch on right (Daina); Deep bass on left (Bewa)
- Musical compositions are called Borgeets (devotional songs composed by Sankardev and others)
Famous Exponents
Important figures include:
- Jatin Goswami
- Ghanakanta Bora | Indira Bora | Anita Sharma | Mallika Kandali
These artists brought Sattriya from monasteries to global recognition.