Bhakti through Sattriya

Sattriya, recognised by the Sangeet Natak Akademi as a major traditional and stylised dance form of India, marked its silver jubilee in 2025.

In this regard, the annual Nritya Parva was celebrated between 15 and 18, November 2025 at the Srimanta Sankaradeva International Auditorium, Srimanta Sankaradeva Kalakshetra, Guwahati.

Bhupen Hazarika (8, September 1926 – 5, November 2011), a versatile artist, was instrumental in facilitating the inclusion of Sattriya dance among the major traditional dance forms of India, during his tenure as the chairman of Sangeet Natak Akademi. To commemorate his centenary,Sattriya Kendra Guwahati presented Jajabar Bhupen Hazarika, retelling the story of his life through  some of his most celebrated songs interpreted into Sattriya. The narrative employed archival excerpts of films rather than enacting it in the conventional drama format. Scripted by Anil Saikia, the display showcased vibrancy and colour, besides being informative and engaging, with the collaborative effort of the Akademi’s Secretary Raju Das and project Director Pratibha Sharma, who had burnt their midnight oil to bring it altogether.  The passage of 25 years has not just passed, it has reshaped the very contours of this art form.

In the initial years, beyond the monasteries, Sattriya  performances were drawn exclusively from compositions, written by Srimanta Sankardeb and Srimanta Madhavdeb, known as Borgeet or songs celestial, that were used to commence prayer services in Sattras. Today, however, performers have not only enriched the vocabulary of dance ingeniously, keeping intact the bhakti-sringar rasa, but have also been using new compositions and rhythmic patterns. In the place of ten odd talas that existed in historical times, now there are more than twenty talas.

To honour the silver jubilee celebrations, Seujpriya Borthakur, disciple of guru Jatin Goswami, presented a verse from Sangeet ratnakar of Sarangadeva, which goes on to say that the seven notes in Hindustani music were conceived from the sounds of nature.  Shadaja (Sa) is said to come from the rapturous sound of the peacock; while, rishabha (Re) from the bellowing of a cow when her calf is separated from her; gandhara (Ga), is believed to be the bleating of a goat in a flock, while, madhyama (Ma) is the cry of a heron. panchama (Pa) is considered to be the sound of the Indian kokila (nightingale) in spring, dhaivata (Dha) from the neighing of a horse and nishada (Ni) from the trumpeting of an elephant. The piece was rendered in raga Borari and Ek taal, Sutkala, and Saat taal.

Alongside the traditional khol and taal— played by Arunabh Jyoti Malakar and Rishi Barman respectively— the ensemble also featured the flute and violin, played by Nabajit Saikia and Ripunjeet Bora. Contemporary practitioners increasingly employ a wider range of instruments.

The neo-Vaishnavite tradition that took root in Assam as a religious and social reform movement in the 15^th and 16^th centuries, under the leadership of  Srimanta Sankaradeb is often described as the cultural renaissance, as it ushered in the development  of new genres of music, dance and other allied arts.

The impulse to innovate still persists, and Sattriya stands as a rich dance form. Grace and aesthetics are two assets of Sattriya, and were evident in every dance number performed.

The age-old Gayan-Bayan tradition of Sattras, has been adopted for the proscenium stage. As an ensemble, it links movement and music in a seamless devotional dialogue.

On each of the four days of the Nritya Parva celebrations, the proceedings commenced with the performance of the Gayan-Bayan Sampradaya. Four Gayan-Bayan groups participated in the festival creating a devotional atmosphere by emphasising the bhakti-pradhan Satriya dance form.

Among the groups of performers were Dhuwahat Beloguri Satra Kristi Kendra, Narayanpur Gayan-Bayan, and Sri Sri Kamalabari Sattra Kristi Prachar Samiti of Titabar Gayan-Bayan who inaugurated the first two days with devotional rendition.

Jhaji Moransiga Mridangiya Gayan-Bayan of Sivasagar and the Sattriya Kendra’s training project, Majuli Gayan-Bayan, opened the proceedings on the final two days.

Sattriya dancers of the Namghars or monasteries were and still are all male dancers. However, its transition from monasteries to the modern proscenium stage, the dance form has undergone a demographic shift. Today, female dancers form majority of the performers.

Clad beautifully in the traditional ghudi, chadar and kanchi, and indigenously bejewelled, female dancers, radiated bhakti bhava to the audience.

Solo dancer Anwesa Mahanta’s Madhura Muruti displayed  the significance of Krishna's flute. The choreography highlighted how the swaras or notes emanating from his flute are believed to evoke prana shakti, encompassing the panchatatva that gradually enlivens the chakras of the human body.

The enchanting music of Krishna’s flute  blossomed into the fragrance of bhakti bhava with the sahitya of Srimant Sankardeb, a composition of Sri Sri Madhavadeb, celebrated the transformative power of Krishna’s flute, that changes the law of nature  enlivening the lifeless to evoke rasa sudha. Entrancing the entire universe was the very essence of Sattriya dance which ultimately conveys the message of joyous liberation.  The rendition had the power to transport the audience to the realm of spirituality and bliss. The incorporation of Tal chuta, Parital, Ektal and Rupganjal, elevated its divinity.

Soloist Dimpee Baishya’s rendition of  Ramdani of Rajagharia chali nach was a compelling piece. Yet, it was the abinaya from the Krishna Kathaamrit that was even more compelling. Through the graceful vocabulary of Sattriya, Krishna Kathaamrit —the divine nectar-like stories of Krishna seeped into the soul of the rasikas. It was not just a performance, but a spiritual journey of devotion, rhythm, and expression of eternal joy and love embodied by Krishna. The concept blossomed many fold in the hands of the master-choreographer guru Jatin Goswami.

Himashri Medhi Kalita commenced her bit with Gopi nach, followed by an abinaya titled Krishna Kaita Pao, based on a sloka from the tenth canto of the Bhagavata Purana. She concluded with a verse from the Sree Krishnakarnamritam.

The narrative portion depicted an episode in which Krishna subdued the arrogance and pride of a gopi, who started believing to be the most beautiful of the gopis. Through subtle intervention, Krishna brought her back to humility. Realising his greatness, she bowed to him remorsefully. This piece was carefully conceived and choreographed by Jatin Goswami, while Provakar Goswami rendered rhythmic support with his cymbal alongside other talented musical hands who elevated the piece, that enriched the rich narrative with bhakti rasa.   

Mukunda Saikia Borbayan of Majuli won hearts by his solo rendition of Sutradhar Nritya from Srimant Shankardeva’s one act play Keli Gopal, which is about the dalliance of Krishna with the young girls of Vrindavan on the banks of river Yamuna. The performance captured sringar rasa that gradually turned into bhakti rasa. His assured stage presence left a lasting mark.

Duet performances leant variety to the festival. Gitima Pathak and Jayamoni Gayan’s selection of two verses from Krishnakarnamrit  based on Madhavdeva’s Borgeet — Dekhu Mai Awata Nandakulaal, described the divine beauty, charm, grace, and loving nature of  Krishna. The gopis gasp in amazement when they see Krishna— with his dark complexion, a flute rested on his smiling lips, glow on the face that resembled a rose, and eyes full of divine love. Sattriya dance’s Krishna-centric focus underscores the form’s grace and beauty, making it a form of meditation through the medium of dance.

Manikanchan Kala Manjari, the cultural institute established by Dipjyoti Dipankar,  had people waiting with bated breath for their performance, Narasimha—The half man and half lion incarnation of Vishnu. The episode dramatized the tale of bhakta Prahalad’s annihilation of his father Hiranyakasipu—the arrogant king by Narasimha.

Conceptualised and choreographed by Dipjyoti Dipankar, this piece was based on an extract from the Kirtan Ghosha by Srimanta Sankardev—the great bhakti saint. The music for this production was composed by Kusha Mahanta and Bhupen Nath. Dipjyoti Das excelled in the role of Narasimha, while Dipankar Arandhara portrayed Hiranyakashipu. A dramatically narrated story was savoured delectably by the audience. 

Sonica Hazarika and Dr. Krishna Tamuli began with Ojapali in raag Charan, followed by a Shri Rama shlokam and Ramdani Chali nritya in Chuta Taal. Ojapali as we all know is the traditional art of telling narratives.

In the abinaya part, they performed the Borgeet, Xuno Xuno Re Xuro, written by Mahapurusha Srimanta Sankaradeva. The piece depicted the epic tale of Rama, Sita and Laxman's exile in Panchavati. They portrayed the love, devotion and courage of the trio while they confronted Ravana's machinations. The narration allured the miracle-maker monkey and Ram’s victory over Ravan.

 Mallika Kanadali’s Nayika Varnan was performed by Meernanda Barthakur, Gayatri Mahanta and Kanadali herself. It explored three of the astanayikas  based on the Natya Sastra, interpretted in Sattriya style. The three nayikas portrayed were Vasakasajjika, Khandita and Proshitabhartruka. The portrayal was effective and was based on bargeet and natar geet from Ankiya nat composed by Srimanta Sankaradeva.

Group dances galore, each suffused with intense bhakti. The list seemed endless. The proscenium stage became a temple of delicate movements of Sattriya, that facilitated in displaying bhakti sringara.