The newly discovered - Sattriya Dance

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Mahapurusha Sankaradeva, a famous Vaishnava saint and reformer of Assam, established the Sattriya dance style as a potent vehicle for spreading the Vaishnava religion in the 15th century A.D. Later on, the dance form developed and spread into a separate type of dance. The Sattras, or Vaishnava mathematics or monasteries, have been nurturing and preserving this neo-Vaishnava gem of Assamese dance and theatre for generations. Sattriya is the term given to this dance form because of its religious nature and relationship with the Sattras. Later renowned personalities and reformers such as Late Moniram Dutta Muktiyar Barbayan, Late Roseshwar Saikia Barbayan, Late Dr. Maheswar Neog, Late Dr Bhupen Hazarika, and Late Ananda Mohan Bhagawati, to mention a few, all contributed to the development and dissemination of Sattriya dance. When female dancers began to perform this hitherto forbidden art form, a dramatic shift occurred. Sattriya Dance was finally recognised as a classical dance style of India by the Sangeet Natak Akademi on November 15, 2000.

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The basic posture of Sattriya dances differs from that of other dance styles. Purush Pak is for males, whereas Prakriti Pak is for females. The mythical concepts are reflected in the dance. They perform intricate choreographic patterns employing multiple talas for each stanza sung by the vocalist, as well as traditional Assamese music known as Borgeet, musical instruments like as huge cymbals and drums, and colourful costumes. Ankiya bhaona and Ojapali dances are Sattriya dances in which the lead singer sings and enacts abhinaya while narrating stories, while a group of dancers dance as back up dancers while playing tiny cymbals.

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Different forms of dances are presented in Sattriya.

• Mati Akhara - The Mati Akharas are the fundamental exercises and grammar of Sattriya Dance, and they serve as the foundation for a Sattriya dancer's training. These fundamental movements and workouts help a dancer's body prepare for more difficult and choreographed dances. The 64 Mati Akharas are split into eight different types: Ora, Saata, Jhalak, Sitika, Pak, Jap, Lon, and Khar.

• Krishna Nritya- The Krishna Nritya is a prominent Sattriya dance that depicts the activities of young Krishna.

• Nadubhangi- Nadubhangi Nritya is another dance form based on Lord Krishna's life. It tells the narrative of Lord Krishna killing the deadly serpent "Kaliya" as well as other legends about Him.

• Jhumura- Jhumura is a pure dance that originated with Sri Sri Madhavdev's "Jhumura Naat." It contains three parts: Ramdani, Geetor Naach, and Mela Naach, and employs male postures and style.

• Chali- The Chali Naach is said to be linked to the dancing peacock, which is also described in the Bhagavad. Male dancers disguised as females performed this performance at Barpeta under the direction of Sri Sri Madhavdev.

• Rojaghoria- During the Ahom era, the Rojaghoria Chali dance emerged. Ramdani, Geetor Nach, and Mela Nach are the order in which this dance is done. Rojaghoria Chali Nach's clothing is more exquisite than pure Chali Nach's due to royal influence.

• Behar Nach- The Behar Nach, also known as the Bihar Nach or Bahar Nach, is a group dance that depicts Lord Krishna's active pastimes in Vrindavan with his associates.

• Sutradhari- In the ‘Ankia Naats,' the character of Sutradhar plays a significant part. At the period, Mahapurush Srimanta Sankardev utilised tale telling as a technique to promote Vaisnavism to the ordinary people. The Sutradhar regulates the play's pace by reciting the drama's or Naat's tale.

• Bor Prabesh- The Bor Prabesh Nritya tells anecdotes of young Krishna and his adventures with his buddies while returning from cattle herding.

• Gosain Prabesh- Gosain Prabesh Naach is the dance that the major characters in 'Ankia Naat' do as they enter the stage. This dance's youthfulness is utilised to signal the arrival of dazzling and magnificent figures such as Krishna, Balaram, Ram-Lakshman, and others.

• Gopi Prabesh- With the Gopi Prabesh Naach, the primary female character takes the spotlight. Sattriya Dance's feminine flair is shown in this style.

• Ojapali- The Sattriya Ojapali is based on the pre-Sankarian Byahar Ojapali. This dance technique, like other Sattriya art forms, employs hand gestures and abhinaya to tell tales, and it was widely utilised to preach the message of monotheism.

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