Sattriya is one of the eight recognized classical dance forms of India and carries the essence of Assamese culture and spirituality. Founded by the 15th-century saint and cultural icon Srimanta Sankardev, it originated within the satras, or Vaishnavite monasteries of Assam, as a means of propagating the tenets of Bhakti or devotion toward Lord Vishnu, particularly in his incarnation as Krishna. The dances were often presented as part of Ankiya Nat or one-act plays, which included dramatic storylines, devotional songs, and a blend of traditional Assamese musical instruments like the khol (drum), taal (cymbals), and flute. Sankardev’s disciple, Madhavdev, further developed and refined Sattriya, establishing it as a significant medium for both spiritual and cultural education within Assamese society. Originally exclusive to male monks, or bhokots, in the satras, over time, however, this form of dance has evolved to include both men and women, transcending its monastic confines to become a celebrated cultural heritage of Assam and India as a whole. In 2000, Sattriya gained national recognition as a classical dance by the Sangeet Natak Akademi, acknowledging its structured grammar, ancient origins, and codified techniques.

Sattriya dance combines two core elements of Indian classical dance: Nritta (pure dance) and Nritya (expressive dance). Nritta includes rhythmic, non-expressive movements focused on aesthetic beauty and precise timing. In Sattriya, Nritta involves intricate footwork, spins, and symmetrical movements designed to captivate visually and complement the rhythm. Nritya, on the other hand, adds emotional depth, using facial expressions, hand gestures, and eye movements to convey the narrative and spiritual significance. Through Nritya, dancers express the Bhakti (devotional) themes of Sattriya, often reenacting stories from the life of Krishna or other deities, allowing the audience to connect with the emotional essence of the performance.

Sattriya dance has foundational elements that are deeply tied to both its physical discipline and expressive potential. These elements include Mati Akhora exercises, specific postures called bhangi, and the integration of pure and expressive dance forms. Each of these techniques and movements, blending rhythm and symbolism, contributes to creating a language of movement and spirituality that is unique to Sattriya.

MATI AKHORA

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 the 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.

While the structure of Mati-Akhora remains largely consistent, different Sattras (monasteries) may practice varying numbers of these exercises. The Kamalabari Sattras, for instance, follow 64 Mati-Akhoras, whereas other Sattras, such as Auniati, Bardowa, and Bengenaati, practice a different set. In 1994, the Asom Sattra Mahasava, a prominent association of Sattras, convened to study the Mati-Akhoras practiced by various Sattras and officially adopted 73 distinct forms. Over the years, researchers and dancers have identified a broader range, from 67 to 120 Mati-Akhoras. These exercises are often categorized based on the movements of the hands or feet, though the fundamental principles remain unchanged.

The Mati-Akhoras can be broadly divided into two categories: pure exercises and basic dance units. The pure exercises include acrobatic poses like thiyo lon, athu lon, and tamal musura. While these exercises are not typically used in dance routines, there are exceptions, such as in the Natuwa dance of Auniati Sattra, where these acrobatic poses are incorporated. Most of the Mati-Akhoras, however, are used directly in choreography and are considered the basic building blocks of the dance.

Mati-Akhoras cover a wide range of body movements, from basic stances like utha (rising) and boha (squatting) to more dynamic movements such as gati (gait), pak (turns and spins), and jap (jumps). Other forms include ulaha (wavy movements), citika (springing), and bura or duba (porpoising).

These movements are categorized into eight broad groups: ora (stances), chota (small movements), jalak (gestures), jap (jumps), muruka (circular movements), khar (steps), pak (turns), and lon (ground movements).

Each of these categories is further subdivided into specific sub-units. For instance, there are four types of ora: purush ora (male stance), prakriti ora (female stance), phul ora (flower stance), and lahi ora (slender stance).

The Mati-Akhoras embody every aspect of Sattriya dance, including body positions, body bending (bhanga), foot movements, jumps (utplavanas), spins (bhramari), and various hand gestures (hasta), as well as head (sira bheda), neck (griva bheda), and eye movements (drishti bheda). These elements are essential for expressing the aesthetic and emotional depth of Sattriya.

They focus on the positioning and alignment of the body, which is essential for maintaining balance and executing movements with precision. Ora stances help dancers ground themselves, providing a stable base for complex sequences.

Jumps and leaps are critical in Sattriya for adding dynamic energy to the performance. In Mati Akhora, dancers practice different types of jumps, helping them develop strength and control. These jumps contribute to the dance’s expressive quality, allowing dancers to depict excitement, power, or divine energy in mythological narratives.

Bhrama exercises focus on controlled jumps and landings, helping dancers build agility and strength. These dynamic moves enable expressive, expansive movements that capture the energy and grace of the dance. Practising leaps is critical for storytelling segments where dancers need to depict emotions or scenarios through powerful, airborne movements.

Controlled turns and twists enable dancers to perform the spins and rotations characteristic of Sattriya. These are practiced repeatedly in Mati Akhora to build the balance and focus necessary for seamless transitions and to create the visual fluidity Sattriya is known for.

Bhramari involves circular spins that improve a dancer’s balance and coordination, vital for performing Sattriya’s intricate sequences with precision. Practicing various spins helps dancers develop a centred control, essential for maintaining stability during complex movements and ensuring fluid transitions between poses.

Each category plays a role in the development of a Sattriya dancer’s physicality, helping them achieve the coordination and flexibility that the dance demands. Mastering these exercises allows dancers to transition seamlessly between fluidity and rigidity, preparing them for both the nritta (pure dance) and nritya (expressive dance) segments of Sattriya. Beyond physical conditioning, Mati Akhora’s practice fosters a deep connection to the dance’s philosophical roots, reflecting the values of dedication, humility, and mindfulness integral to the Vaishnavite tradition.

Mati Akhora exercises also embody two contrasting aspects of movement: Tandava (vigorous and dynamic) and Lasya (soft and graceful). Tandava movements, often associated with masculine energy, emphasize powerful, assertive actions, such as strong jumps and expansive stances. These movements convey intensity and grandeur, reflecting the more forceful emotions and divine personas within Sattriya narratives. In contrast, Lasya movements, characterized by gentle, flowing gestures and softer postures, evoke feminine grace and gentleness, conveying emotions such as compassion, love, and beauty. Together, these aspects create a harmonious balance, reflecting the aesthetic duality present in Sattriya dance and enabling dancers to explore the full spectrum of expression.

This gendered division in Mati-Akhoras is evident in the differentiation of stances like purush ora (male stance) and prakriti ora (female stance), as well as the classification of certain movements, such as purush pak and prakriti pak (male and female turns).

The Natya Shastra, an ancient Indian treatise on performing arts, outlines principles like chari (poses created with a single foot), karana (poses with two feet), and mandala (complex movements formed by combining several poses). These concepts closely align with the principles of Mati-Akhoras, where elements such as chari are seen in citika, karana in hat-bhari chalona, and khanda in hat soluwa. This structural similarity illustrates how the Mati-Akhoras echo classical dance techniques described in the Natya Shastra.

These symbolic gestures are not merely aesthetic but also reinforce Sattriya’s spiritual dimension, as dancers connect with both mythological and natural symbolism during their performance. The animal-inspired gaits enhance the storytelling aspect of Sattriya, enabling dancers to embody and convey complex spiritual narratives.

Physically, Mati Akhora prepares dancers for the demands of Sattriya by strengthening core muscles, enhancing flexibility, and improving coordination and spiritually, it serves as a means of internal alignment, instilling focus, humility, and dedication in the dancer.

Once a dancer has mastered the Mati-Akhoras, their foundation is solid enough to move on to more advanced dance numbers, like Nadubhangi nach, which further build on the techniques learned in the exercises. Thus, Mati-Akhoras play a crucial role not only in the physical preparation of dancers but also in shaping the very essence of Sattriya dance, ensuring that this ancient tradition remains vibrant and sustainable for generations to come.

BHANGI

Bhangi refers to the postural and stylistic variations in Sattriya that differentiate masculine and feminine qualities. These variations allow the dancer to embody different characters and roles, whether powerful and heroic or graceful and gentle. The balance between tandava (vigorous, masculine energy) and lasya (delicate, feminine energy) is crucial in Sattriya.

• Purush Bhangi: This masculine posture embodies strength, control, and vigor, often used to portray gods, warriors, or heroic figures. The movements are angular and precise, lending assertive energy to the performance.
• Prakriti Bhangi: The feminine posture is softer, more flowing, and gentle, used to depict goddesses, celestial beings, and nurturing or compassionate characters. Prakriti Bhangi creates an elegant, soothing effect that contrasts with the boldness of Purush Bhangi.

These postural variations enrich the storytelling within Sattriya, enabling dancers to fluidly shift between characters and emotional tones. The use of both masculine and feminine postures in a single performance reflects the dance’s thematic versatility, encompassing themes of creation, destruction, compassion, and strength.

CHARI and GATI

Chari refers to the specific footwork in Sattriya, while Gati describes the stylized body movements. Together, they create the dance’s rhythmic framework, setting the tempo and flow for the performance. Different types of Chari and Gati are essential for achieving the dance’s visual impact and character portrayals. Key examples include:

• Chari: Footwork in Sattriya ranges from gentle stamps to powerful, accented steps. This footwork provides the rhythmic foundation for the dance, coordinating with instrumental beats to establish timing and intensity.
• Mandala Gati: A circular movement that symbolizes unity and continuity, frequently used to represent the cycles of time and divine creation.

• Sarpagati: A snake-like movement, symbolizing fluidity and grace. This style of movement is typically used in more delicate or mystical moments, such as portraying river deities or celestial figures.
• Hamsagati A swan-like movement emphasizes elegance and poise; characteristics often associated with divine or feminine energies.
• Mayuragati A peacock-like movement captures the vibrancy and beauty of a peacock, often symbolizing divine beauty and playfulness, aligning with tales of Krishna and his association with peacocks.

Through these varied steps and movements, Sattriya dancers create patterns that represent themes of nature, eternity, and divine presence. Each movement is designed to connect rhythmically with the tala (beat cycle) played by musicians, creating a seamless interaction between dancer and music.

ABHINAYA

Abhinaya is the expressive aspect of Sattriya, enabling dancers to embody various emotions, characters, and divine personas. It is the element of performance that brings stories to life, transforming the dancer into a medium of narrative and emotion. Abhinaya in Sattriya is achieved through a combination of facial expressions, eye movements, and body gestures that convey a wide range of emotions, such as love, devotion, valor, and compassion.

• Mukhaja Abhinaya: Facial expressions play a vital role in Sattriya’s storytelling. By changing expressions, a dancer can shift from depicting a joyous moment to portraying sorrow or awe. Eye movements, known as drishti, direct the audience’s focus and enhance the dancer’s expressiveness.
• Sattvik Abhinaya: The portrayal of deeper emotions that arise from within, such as devotion or ecstasy, which is often used to depict scenes involving spiritual experiences or divine visions.

Abhinaya allows the dancer to step into various roles within a single performance, bringing to life narratives from Hindu mythology and spiritual tales. Through Abhinaya, Sattriya dancers create a bridge between the earthly and the divine, inviting the audience to experience the emotional depth of these stories.

DASYA BHAVA

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.

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 can 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.