"It is very gender fluid."
When one thinks of Indian classical dance, Sattriya is one of the first forms in the minds of many.
Originating from Assam, the dance is also known as Sattriya Nritya.
The routine was initially from Bhaona – an Assamese form of entertainment.
Sattriya is also a part of Sattra which alludes to institutional centres in Assam.
Modern forms of the dance also involve several themes and plays.
On November 15, 2000, the Indian Sangeet Natak Akademi listed Sattriya as one of the eight classical dances in India.
DESIblitz invites you to join us as we explore the history of this enigmatic dance.
Origins
The roots of Sattriya lie in ancient Indian music and text. This material dates to approximately 500 BCE and 500 CE.
A key text is Natya Sastra by Bharata Muni. The most popular version of the text comprises 6,000 verses with 36 chapters.
Natya Sastra encapsulates the meanings and representations of elements from Indian classical dance.
These include expressions, gestures, and standing postures.
Sattriya also has a modern form which originates from the 15th century. This format is in devotion to the spiritual being Krishna.
The routine often dramatises stories and legends about Krishna. They were primarily written by the Assamese poet Sankaradeva, who coalesced the dance, intertwining it with drama.
As the adulation for the routine continued to grow, it found its popularity increasing.
Sattriya is often performed on global stages and is not restricted to Assam.
Unsurprisingly, it is regarded as one of the eight classical dances of India.
How is it Performed?
Sattriya encompasses three performances. The ‘Nritta’ is a solo dance that is fast with solid movement.
This typically has no story or dramatisation attached to it.
The ‘Nritya’ is slower and more expressive and is used to display feelings in a spiritual narrative.
Gestures and body movements accompany the music to emotionally connect with the audience.
The third performance is the ‘Natya’. This is mostly a team effort, but it can also be performed solo.
Performers use ‘Natya’ to create characters from stories. This is also done via body movements.
Hand gestures and facial expressions are essential components of the routine.
Dancers undergo significant training to master these elements.
Sattriya usually incorporates two styles. One is the masculine ‘Paurashik Bhangi’ which includes jumps and energy.
The other is the feminine ‘Stri Bhangi’, purported to involve more delicate rhythms and steps.
Sattriya demands the usage of all limbs, which is known as ‘Anga’.
Musical instruments include drums, cymbals, and flutes.
Routines in Sattriya
Sattriya consists of several routines, each that signifies a different element, characterisation, or story.
The Mati Akhara forms basic training sessions for a dancer.
This covers the steps and offers exercise for a dancer to prepare themselves for strenuous choreography.
Let’s take a closer look at some of these routines.
Krishna Nritya
The Krishna Nritya displays the activities of Krishna.
In depictions of Krishna, yellow and blue are common colours along with peacock feathers.
Therefore, dancers also adorn these elements, making the routine seem relatable and authentic.
Jhumura
One of the dance’s purer and more straightforward routines, Jhumura leans on the masculine side of Sattriya.
It has three parts to it: Ramdani, Mela Naach, and Geetor Naach.
The clothing in such performances includes turbans, white dhotis, and laced blouses and shirts.
Chali
As previously mentioned, the peacock feather is an intrinsic part of the dance.
Chali is believed to be connected with a figure of a dancing peacock.
Male dancers who are dressed as females can perform Chali, which has two types.
These are the pure routine and a style known as Rojaghoria which has a more elegant approach in its choreography and attire.
Other forms include the Behar Nach, Sutradhari, Bor Prabesh, and Gopi Prabesh, all of which tie in with Krishna’s myths such as his romance with maidens and his sterling youthfulness.
The Thoughts of Professionals
In 2018, The Library of Congress interviewed the Sattriya Dance Company based in America.
These professional dancers delve into the form. They speak about the fluidity of routine:
“The thing about this dance form is that it is very gender fluid. The men dress up as women.
“It is probably the only dance form right now where women also dress up in a man’s costume.”
Another Sattriya dancer, Prateesha Suresh, explains her reaction when the dance was listed as an official, classical routine of India.
She says: “I was happy but I also anticipated that it would still require a lot of hard work to give Sattriya its due recognition and put it on the map.
“For me, I am a dancer and I have a responsibility towards my art.
“Whether I am the only one or I am one of many hardly makes a difference to me as an artist.
“What disturbs me is the lack of research in the dance field due to which we are not able to represent our art in its depth.
“For me, the philosophical aspect should be represented in dance through the visual aspect.”
Sattriya is an amalgamation of elegance and energy.
Its visual splendour, rigorous choreography, and many methods make it one of the most unique dances in India.
For Assam, it can act as a jewel shining in its culture.
And for the rest of the world, Sattriya is a fluid representation of devotion, colour, and equality.
For that, it will be preserved and practised for years to come.
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