Sattriya, one of India’s eight classical dance forms, originates from the northeastern state of Assam. Created in the 15th century by saint-scholar Srimanta Sankardeva, Sattriya was initially performed as part of the religious rituals in Vaishnavite monasteries known as sattras. Over time, what began as an offering to the divine has evolved into a sophisticated art form, recognised nationally and internationally for its blend of rhythm, expression, and narrative.
Central to this classical tradition is its choreography – a well-structured and symbolic system that governs movement, rhythm, space, and storytelling. The choreography of Sattriya dance is not just about aesthetics; it is a codified form of devotion where every gesture and step carries meaning.
Choreography in Sattriya was not initially crafted for public entertainment. Instead, it was designed as a medium to convey Vaishnavite philosophy and stories from scriptures like the Bhagavata Purana and the Ramayana. The performances took place within the confines of monasteries, with male monks (bhokots) enacting various roles.
Sankardeva and his disciple Madhavdeva composed Ankiya Naats (one-act plays), which served as the core scripts for Sattriya performances. The choreography embedded within these plays was both expressive (nritya) and dramatic (natya), with occasional segments of pure dance (nritta) to showcase technical skill and rhythm.
With time, especially in the post-independence era, Sattriya began transitioning from monastery to stage. This shift necessitated refinement and formalisation of its choreographic elements to suit a wider audience. Scholars and performers started systematising movements, documenting patterns, and developing performance repertoires that maintained traditional authenticity while adapting to contemporary settings.
One unique aspect of Sattriya’s spirituality is the concept of Dasya Bhava – the attitude of servitude and surrender toward God. This concept is portrayed through the dancer’s posture, facial expressions, and interactions with the divine characters they embody. Dasya Bhava emphasizes humility, with dancers often adopting postures that reflect reverence and supplication.Dancers portray themselves not merely as performers but as devotees and servants of the divine. This is seen in movements that incorporate bowing gestures, folded hands, and gestures of offering. Through these actions, the dancer expresses a sense of humility and surrender, inviting the audience to embrace the same devotional attitude. Dasya Bhava is a reminder of the Bhakti philosophy that lies at the heart of Sattriya, inspiring audiences to approach life with a similar spirit of devotion and selflessness.
The classical dance traditions of India, each with its own unique set of rules and structure, have evolved a specific “grammar” that ensures their preservation and transmission. Sattriya also follows a defined structural pattern, developed over centuries. This foundational structure is known as Mati-Akhora is a series of basic exercise patterns that are integral to laying the foundation of Sattriya dance. These patterns serve as the grammatical forms of Sattriya, upon which the entire structure of the dance is built. By combining these basic forms, various dance poses are created, and these poses are further combined in different patterns to form complete dance numbers.
Derived from the Assamese terms “Mati” (earth) and “Akhora” (training or exercises), Mati-Akhora translates to exercises performed on the ground. Mati Akhora plays an essential role in Sattriya, as it is the first form of training dancers undergo to prepare their bodies for the physical rigors of this classical Indian dance form. The purpose of Mati Akhora is multifold: it instills a strong sense of discipline, builds physical stamina, enhances coordination, and enables dancers to execute Sattriya’s unique postures and movements with grace and precision. Through these exercises, dancers develop not only physical strength but also the mental and emotional discipline required for performance. Each movement, inspired by the grounded nature of “earth,” connects dancers to their roots and enhances their spatial awareness and balance.
Historically, 44 Mati Akhoras were documented in the post-Sankarian period. However, according to the Kamalabari Sattra tradition, 64 are currently practiced. These are systematically classified into eight categories: Ora, Saata, Jhalak, Sitika, Pak, Jap, Lon, and Khar, each focusing on different aspects of physical and rhythmic training.
The choreography of Sattriya is built upon a triadic structure common to Indian classical dance forms: Nritta (Pure Dance), Nritya (Expressive Dance), and Natya (Dramatic Performance). Each component plays a distinct role in the overall choreographic design.
Key Elements of Sattriya Choreography:
Nritta: The Geometry of Movement
Nritta refers to pure, abstract dance devoid of narrative content. In Sattriya, nritta is showcased in segments like Ramdani, which serves as an invocation or opening piece. The choreography of nritta focuses on: Footwork (Pada Laghava), Body Movements, Hand Gestures (Hasta Mudras), and Rhythm (Tala). Intricate and rhythmic, the footwork in Sattriya creates a visual and auditory pattern that establishes the tala (rhythmic cycle). Choreography is tightly bound to rhythm, often using complex time cycles that challenge the dancer’s precision. In terms of body movements, Symmetry and geometry are vital. Movements are circular, angular, or linear, and must be performed with balance and control. Though non-narrative, mudras in nritta enhance the aesthetic quality.
Nritya: Expression in Motion
Nritya incorporates facial expressions, hand gestures, and stylized movements to convey emotions (bhavas) and tell a story. This is where the dancer transforms into a character, channeling devotion through performance. Abhinaya, the art of expression, divided into angika (physical gestures), vachika (spoken or sung word), aharya (costume and props), and sattvika (emotional expression). Sattriya choreography draws from the Natya Shastra’s eight classical rasas – love, heroism, compassion, anger, humor, fear, disgust, and wonder. The dominant rasa in Sattriya is Bhakti. Most expressive sequences centre on Lord Krishna, depicting his childhood antics, divine interventions, and romantic episodes with the gopis.
Natya: The Theatrical Frame
Natya encompasses dramatic storytelling, where dance, dialogue, and music combine to enact a scene or narrative. Choreography here is dynamic and character driven. Ankiya Naat is the source scripts for dramatic pieces, where characters are introduced through stylised entries. There is a lot of role-based choreography in Sattriya. Different characters have distinct movement vocabularies. Krishna moves gracefully; demons use vigorous, grounded movements. Dancers lip-sync or subtly mimic signing the lyrics, with choreography aligning closely to the vocal cadence.
Signature Choreographic Segments
Krishna Nritya
A principal component of the Sattriya repertoire, Krishna Nritya centres on depicting the divine exploits of young Lord Krishna. This is a pure dance (nritta) item performed in Sutataal, emphasizing rhythmic precision and stylistic representation rather than narrative expression. The prescribed costume includes a yellow dhoti, a blue blouse or shirt, and a head ornament adorned with a peacock feather, all of which symbolically reference Krishna’s traditional iconography.
Nadubhangi Nritya
Nadubhangi Nritya is thematically based on significant episodes from Lord Krishna’s life, most notably his conquest of the serpent Kaliya. The structure of this dance is bipartite, comprising Ramdani (pure dance) and Geetar Naach (dance performed to vocal compositions). A variety of taals are employed, including Rakta, Poritaal, Jaman, Suta, Melajyoti, Chutkala, and Jatitaal. Costuming typically consists of a yellow dhoti, a dark (blue or black) blouse, a decorative waistband (Kanchi), and a headgear embellished with Kalki motifs.
Jhumura
Jhumura is a pure dance form rooted in the Jhumura Naat composed by Sri Sri Madhavdev. Distinguished by its masculine aesthetic, this dance comprises three components: Ramdani, Geetar Naach, and Mela Naach. It emphasizes vigorous postures and rhythmic complexity. The traditional costume includes a Paguri (turban), a laced blouse or shirt, and a white dhoti.
Chali
The Chali Naach is believed to draw aesthetic inspiration from the dance of the peacock, a motif mentioned in sacred texts such as the Bhagavata Purana. Under the artistic direction of Sri Sri Madhavdev, this dance was historically performed by male dancers in female roles, particularly in Barpeta Sattra. There are two distinct styles: the older, pure Chali, and the later Rojaghoria Chali, which evolved during the post-Sankarian era. The pure style includes eight Ramdanis and, in recent interpretations, elements of abhinaya have also been incorporated.
Rojaghoria Chali
Emerging during the Ahom dynasty, Rojaghoria Chali represents a stylistic evolution of the original Chali dance, influenced by royal patronage. It is structured around three sections: Ramdani, Geetar Naach, and Mela Naach. The choreography is accompanied by a more ornate costume design, reflecting courtly aesthetics. Musical accompaniment includes not only traditional instruments but also additions such as the Mridanga and Pakhawaj.
Behar Nach
Also referred to as Bihar Nach or Bahar Nach, this is a group choreography that depicts Lord Krishna’s interactions with his companions in Vrindavan. The dance is divided into two parts: the Ramdani, typically performed in Chuta Taal, and the Geetar Naach, which incorporates rhythmic cycles such as Poritaal, Jaman, Suta, Chutkala, and Jatitaal. This dance reflects a communal celebration of divine play.
Sutradhari Nritya
The Sutradhar, or narrator, plays a pivotal role in the Ankia Naat tradition, functioning as both guide and commentator within the dramatic framework. Originally conceptualized by Mahapurush Srimanta Sankardev, the Sutradhari Nritya encompasses narrative and performative elements and is structured into three segments: Geetar Naach, Slokar Naach, and Ragor Naach. It uniquely synthesizes all three classical components—nritta, nritya, and natya—making it central to the storytelling tradition of Sattriya.
Bor Prabesh
The Bor Prabesh Nritya illustrates pastoral scenes from Lord Krishna’s youth, particularly his return from cattle herding with his companions. This dance is imbued with innocence, rhythm, and the playfulness characteristic of Krishna’s early life.
Gosain Prabesh
This choreographic sequence marks the entrance of key mythological figures in the Ankia Naat, such as Krishna, Balarama, and the Ram-Lakshman duo. The performance is choreographed to highlight youthfulness, divine majesty, and the elevated status of these characters.
Gopi Prabesh
Gopi Prabesh Naach is the formal entrance dance for principal female characters in Sattriya performances. Embodying the feminine qualities of the style, it is used to introduce figures such as Rukmini, Satyabhama, and Sita. The choreography emphasizes grace, expressive gesture (abhinaya), and emotional depth.
Ojapali
Ojapali is a composite art form that predates the Sankarian reforms and is derived from the earlier Byahar Ojapali. In Sattriya, Ojapali serves as both a narrative and performative medium, blending dance, gesture, and song to communicate religious themes, particularly those aligned with monotheism and Bhakti. The performance comprises various segments including Raag Diya, Raag Malita, Raag Charun, Geet, Diha, Thio Paton, Kathan, Bana, Dhura, Baadya Kheyali, and Upadesh.
As Sattriya evolves in contemporary times, its choreographic structure remains its backbone – holding the art form steady as it reaches new audiences and creative heights. Through rigorous practice and training, dancers develop the skills required to perform Sattriya’s complex choreography and, more importantly, connect with the spiritual essence of the dance. By mastering these foundational techniques and elements of Sattriya, dancers develop qualities like discipline, balance, and devotion, and are able to embody the divine narratives of this dance form as well, blending technique with spirituality and transforming performance into a living expression of cultural and spiritual heritage. As Sattriya continues to gain popularity, particularly among younger generations, these techniques ensure dancers maintain a strong connection to the origins, essence and philosophy of the dance. This foundational training upholds Sattriya’s technical standards and honors its spiritual lineage, allowing dancers to approach their performances with a grounded understanding of the dance’s deeper significance. The choreography of Sattriya dance is a rich blend of precision, spirituality, and storytelling. It is a deeply codified system, reflecting centuries of tradition and a philosophy rooted in devotion. Every choreographed movement is a step toward the divine, a gesture of faith, and an expression of cultural continuity.