Zaman & Roy - A Study On Satriya Dance in A Vaishnavite Monastery of Majuli, Assam (2023)

Antrocom Online Journal of Anthropology vol. 19. n.
2 (2023) 165-185 – ISSN 1973 – 2880
Antrocom Journal of Anthropology

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journal homepage: http://www.antrocom.net
A Study on Satriya Dance in a Vaishnavite Monastery of

Majuli, Assam
Arifur Zaman1 and Barasha Roy2

Associate Professor, Department of Anthropology, Gauhati University, Guwahati, Assam, Pin: 781014; 2Department of Anthropology,
1
Gauhati University, Guwahati, Assam, Pin: 781014
keywords abstract
Majuli, Vaishnavism, Satra, Assamese Vaishnavite monasteries are frequent venues for performances of the Satriya
Uttar Kamalabari Satra, Dance, a popular type of classical Indian dance (satras). Satriya dance is a source of tremendous
satriya dance, bhaona pride for the state of Assam because it has contributed to the state’s distinct identity. There is
a deep relationship between this style of dance and the Vaishnavism and satra institutions
of Assam. This dancing style has the majority of the classical elements. The Satriya dance is
an integral part of life at Uttar Kamalabari Satra, one of the most prominent Vaishnavite
monasteries in the Majuli area. The bhakats, who are Vaishnavite monks, and the trainees, who
are not monks, are both taught this dance form. There is a strong cultural and social connection
between this dance form and the state of Assam and the surrounding area. This satra is one
of the few places where the ancient dance ritual is still performed regularly. The study of the
history of Satriya dance and its many guises took place at the Uttar Kamalabari Satra in
Majuli, Assam, which is famous for the heritage of the aforementioned dance form. This was
done as part of the current study, the purpose of which was to investigate both of these factors.
Introduction
Satriya the Classical Dance of Assam
Sankaradeva bequeathed Assam a rich legacy of classical Indian dance, for dance has always been a
ritual and a prayer for devout Hindus. Sankaradeva introduced Ankiya bhaona (a vaishnavite one act
play) to Assam, which appealed gracefully to the people and satiated a popular intellectual craving. All
of these categories of dance-drama intended for the common man utilised the classical Indian dance
tradition in varying degrees. The Sankaradeva school of dance is referred to as Satriya Nach (Satriya
dance) due to the numerous institutions, known as satra, of Assam Vaishnavas being the primary
carriers of this art (Neog 1988: 31). In Assam, Satras have established a school of classical dance.
Motives are purely religious. It is commonly known as satriya-nach and has garnered high praise from
eminent Indian dance experts. As with all other classical Indian dances, the satra-dance is performed
by the rhythmic movement of the body and feet, accompanied by poses and gestures of the hands that
imply various ideas and emotions. The gestures and poses utilized in a satra-dance resemble those of
Indian dance scriptures. This dance has a long history that dates back to the pre-Sankaradeva period.
(Sarma 1999: 235). The dance was kept alive and used as a form of worship in the religious-cultural
centre known as a satra for almost 500 years. As a secular performing art, dancing emerged onto the
proscenium stage around the middle of the twentieth century (Bora 2013: 9).
Please cite this article as: Zaman A. and Roy B., A Study on Satriya Dance in a Vaishnavite Monastery of Majuli, Assam - Antrocom J. of
Anthropology 19-2 (2023) pp. 165-185.
166 Zaman A. and Roy B. / Antrocom Online Journal of Anthropology, vol. 19, n. 2 (2023) 165-185
It is widely believed that Sankaradeva, inspired by his pilgrimage experiences and the numerous
materials he had gathered, crafted Satriya as an essential feature of Ankia Nat (vaishnavite theatre).
Sankardeva’s Ankiya Bhaona (one-act dramas) are based on the knowledge he gained during his trip, as
well as on the ingredients he learned from the Natya-Sastra and other treatises of Indian performing arts.
According to his biographies, Sankardeva learned the Natyashastra from his tutor Madhava Kandali,
who also taught him the Vedas and the Upanishads.
The great saint’s aim to spread bhakti led him to develop the unique kind of theatre known as
Ankiya-Bhaona, which he used to communicate with people of all walks of life. Great music, dance, and
acting came together in the Ankiya Bhaona. It had a sastric flavour and also featured certain standard
components of regional culture. It’s worth noting that both Srimanta Sankaradeva and his chief apostle
Madhavadeva wrote a total of six plays, each of which featured extensive dance scenes. This meant that
the plays themselves showcased a vast dance canon, with pieces appropriate for a wide range of characters
and plot points. Outside of the realm of traditional theatre performances, Madhavadeva also introduced
various dance routines. This is how dancing developed into its own unique art form during the era of
the saints. After some time, these dances were separated into two distinct categories:
a. dances based on theatrical representations and (b) dances based on musical scores
b. the parts of the show that involve dancing but have nothing to do with the drama.
As dances came to be pursued as rituals deriving from the It can be mentioned that the particular
dance tradition of Satriya came to flourish within the sacred premise of the Satra, the Vaishnava
monasteries of the Neo-Vaishnavite movement founded by a saint. Carrying on the goals of Vaishnavism
and providing a lasting environment for an overall sociocultural and religious renaissance, the Satra has
been a reservoir of numerous art forms that have acted as a vehicle for desi (folk) and margi (classical)
interpretation in satriya nritya (dance). This has allowed the Satra to act as a vehicle for an overall
renaissance in overall sociocultural and religious practises.
The dance numbers that were an essential part of the Ankiya Bhaona have been taken out by some
satras but are still practised ritually as part of various festivals and events. As a consequence of this, dance
has developed into its own separate ceremonial discipline inside those satras. Oral grammar was established
with the introduction of ground exercises, mati-akhoras, and other pertinent components because it was
important to teach and transfer the ritual art to a younger generation. This led to the development of the
ritual art. The proponents of Satra, in the course of their search of innovation, added new dimensions
to the form by multiplying the numbers and adding colours to them respectively. The dance, which was
originally a part of the theatrical heritage, evolved into a dynamic form as a result of this process.
Over the course of the last few centuries, there has been a significant shift in the position that satriyas
have in society. Now, being a Satriya does not need one to be confined to the borders of the Satras or
even Assam itself. It is not only the culture of the state of Assam; rather, it has made its way into the
fabric of the entire country. This contribution to the culture of India made in Assam is one that is truly
exceptional and beautiful. It should come as no surprise that on November 15, 2000, the Satriya dance
was officially acknowledged as one of India’s classical dance forms.
Even beyond the borders of India, Satriya has travelled far and wide. It has etched out a niche for
itself on the global stage in its new incarnation, garnering much adoration, praise, and recognition.
Scholars and connoisseurs elevated Satriya dance to a national level in order to increase its acceptance
as a classical tradition. Numerous academicians made substantial contributions to elevate Satriya dance
to the national level. Luit Konwar Rudra Barua, Dr. Maheshwar Neog, Kesab Sangkakoty, and Ananda
Mohan Bhagawati are the key figures in promoting the spread of Satriya Dance beyond the state.
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Classical Elements in Satriya Dance

The satriya dance, like many other forms of classical dance, contains many elements of different forms
of classical dance. The concepts of Odra and Magadhi, as outlined in Natya-Shastra, are adhered to by it.
As a form of worship and an offering of devotion to god, the Satriya dance has been kept alive as a
traditional dance for as long as anybody can remember.
This adoration of Lord Vishnu is accomplished through the performance of this dance. It was
confined to the religious centres, known as satras, and in order to function properly there, it needed
to adhere to its classical qualities. Both nrita and natya, two of the most important aspects of classical
dance, are readily apparent throughout the performance.
According to the Natya-Shastra, there are four different kinds of abhinayas: angika, which is
performed via bodily gesticulation; vachika, which is performed through speech; aharyya, which is
performed by makeup; and sattwika, which is performed through acting with one’s entire heart. The
Satriya dance includes all of these elements.
The norms of classical dance state that it must always have dramatic expression, and a good example
of this is seen in Satriya dance. Epical literature is also prevalent in Satriya dance. There are also some
folk aspects used into Satriya dance. Satriya is home to the vibrant and colourful cultural practises of
a number of different nationalities and tribes that call Assam home, including the Mishing, the Bodos,
and the Deoris. The dance displays a wide variety of traits, including hand gestures similar to those seen
in Mishing dances, as well as footwork and body movements similar to those seen in Bodo dances. The
name given to the exercises performed on the ground is another example of how traditional culture has
influenced language.
The following is a list of individual or traditional aspects that are included in the dance:
(i) The Satriya dance, which is a component of Neo-Vaishnavism, has as its primary purpose the
gratification of Lord Vishnu.
(ii) Although it is not performed on a daily basis, the dance is given the same amount of importance
at the annual festivals.
(iii) The origin of Satriya Dance can be traced back to Ankiya Bhaona.
(iv) It served as a vehicle for the dissemination of information.
Uniqueness in Satriya Dance
Satriya dance is an extraordinary fusion of elements from both classical and traditional dance.
Position of the body The entirety of the Satriya dance style is predicated on the five fundamental body
positions, which are referred to as purukh ora, prakriti ora, phul ora, and lahi ora, respectively. Every
classical dance style has a signature quality to its body movement that sets it apart from the others and
gives it a sense of individuality. This particular singularity and one-of-a-kindness may also be observed
in Satriya. That is what:
The ulaha of Satriya is perhaps the most defining characteristic of this system. The word “euphoria”
translates to ulaha in Assamese. This ulaha in Satriya is characterised by an undulating and wavelike action.
This dance form is distinguished from others in that it involves distinctive movements such as dipping
and bobbing, known as doop, and horizontal movement of the body, known as hali. Patterns of horizontal
movement, vertical motion, and circular movement are included in this dance’s body movement. This
dance form is distinguished by its use of pada-sthiti (also known as foot posture) and pada-sanchara.
The main distinguishing characteristics of the Satriya dance are its mandala bheda, utplavana or
hops, bhramari or pak gati (several forms of gaits), hasta (hand gestures), sira bheda, griva-bheda (neck
movement), chawani or dristi bheda (eye motions), and chawani or dristi bheda (eye movements).The
dance developed into a distinct type of Indian classical dance because it was full of components of the
classical past and was fortified with a precise system of music and a big store of text.
Many researchers have focused on satriya dance as an integral part of the cultures of different groups.
In depth studies on satriya dance form in cross cultural perspectives has been conducted by scholars like
Neog (1959; 1965; 1988; 1998), Sarma (1973; 1999), Dev Goswami (2000; 2001; 2014), Dev Goswami
(2001 a; 2001 b), Mahanta (2011), Bora (2013), Zaman (2015; 2022), Mahanta (2016), Borah (2017),
Mahanta (2017), et.al. In the course of this current endeavour, an effort has been made to investigate
the Vaishnavite satriya dance legacy of river island Majuli. Particular attention has been paid to the
Uttar Kamalabari Satra of Majuli, which is widely regarded as one the most prominent satra in all of
Assam for the legacy of satriya dance.
Majuli: The Field and Exploration

Sankaradeva is credited for bringing socio-economic and cultural awakening to Assam in the early
sixteenth century, and Majuli is notable for this visit. Majuli is the epitome of this awakening. Located
in the upper parts of the Brahmaputra River in northern Assam, the riverine island District of Majuli
has a mean height of 84.5 metres above maximum sea level. Its latitude ranges from 26°45′ North to
27°12′ North, while its longitude is from 93°39′ East to 94°35′ East. In spite of the fact that Majuli’s
landmass is constantly being eroded, the island’s entire area is currently estimated to be 340 square
miles according to the census taken in 2011. There are 1.6 lakh people living on Majuli, the most of
them are indigenous people. The island offers a significant untapped potential for ecotourism and
spiritual tourism. Sankaradeva sought refuge in Majuli for a few years in the 16th century, settling in
the historically significant and fortuitously named place Dhuvahat Belguri in the island’s west. Belguri,
on the island of Majuli, was the site of the first satra, which had been founded by Sankaradeva. In
Sankaradeva’s day, there were sixty-five satras, but today there are just thirty-four, among those Uttar
Kamalabari Satra have an illustrious history of satriya dance.
North of the Majuli Police Station, the Uttar Kamalabari Satra may be found at a distance of around
3 kilometres. Founded in 1673, the Kamalabari was originally the brainchild of Badula Padma Ata,
Madhabadebadeva’s disciple. It’s generally accepted that the satra has been divided up into sections. In
1837, a group of bards belongs to brahminical sect from the Kamalabari Satra split off to form the original
Kamalabari Satra and established the Uttar Kamalabari Satra. Kamalabari and Uttar Kamalabari, two separate
satras, have a unique talent: the performances of satriya dance.The performing art and culture of satriya
dance has a long and illustrious history on Majuli. Agriculture is the main source of income for the residents
of Majuli, and as a result, their lives are intertwined with the cycle of agricultural labour. The majority of the
other works, such as basketry, boat building, animal husbandry, and so on, are more or less obligated to them.
Objectives
The purpose of this current research endeavour is to investigate the cultural significance of satras
(the vaishnavite monasteries of Assam); the tradition of Satriya dance in Uttar Kamalabari Satra; the
dance form, styles, costumes, and instruments used for the performances of the same; the place of
training, trainer, and trainee; the performances of satriya dance in ritual context; and the impinging
factors associated with the satriya dance in the contemporary context.
Methodology
The purpose of this study is to analyse satriya dancing, a living tradition among the Majuli satras,
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for its potential social and cultural contributions. The purpose of this study is exploratory; further
information regarding the satriya dance and its rich history, as well as other connected themes, is
desired. Ethnographic information collected at the well regarded Uttar Kamalabari Satra in Majuli is
the backbone of this study. Researchers at the Uttar Kamalabari Satra will collect and analyse data
from around the middle of 2019 until the middle of 2022. Recognising the potential constraints of
narrowing attention to just one satra, we also took into account the renowned satriya dance practises
of the nearby satras of Natun Kamalabari, Auniati, Dakshinpat, and Chamaguri. To learn more about
satriya dance’s history, its contemporary situation in the hands of performers, its social and religious
significance, and more, in-depth interviews with important informants were planned. In addition to
these timetables, anthropologists have used methods from the field to obtain qualitative data, such as
non-participant observation, unstructured interviews, the case study approach, etc. The researcher
has also gone door to door in Uttar Kamalabari to speak with locals, participated in both formal and
informal meetings, and been present at a number of ceremonies and festivals on the satra and household
levels. When appropriate, the researcher used multiple methods and/or sources to verify the accuracy
of the initial findings. The majority of the data required to paint an accurate picture of Majuli’s satriya
dance history can be found at these aforementioned satras, where the art form is still being pursued by
its practitioners. To understand more about the origins, trajectory, and continuing importance of the
satriya dance tradition in the studied region, the authors also conduct interviews with several renowned
academics, artists, and scholars.
The Cultural Significance of Satra and Satriya Dance

Satriya Dance is an essential component of Assam’s satras, a place with a rich and illustrious history of
the dance style. During the fifteenth and sixteenth century, Assam had a religious and social renaissance.
Sankaradeva (1449-1569 AD) founded this movement, often known as the Neo-Vaishnava or Bhakti
movement. Sankaradeva’s Vaishnavism was less difficult and more approachable than Hinduism at the
time. In Assam, people of all social classes embraced Sankaradeva’s teachings. Sankaradeva established
two sorts of religious institutions to propagate Vaishnavism’s teachings: the namghar and the satra.
Vaishnavism is predominantly practised at satras, the highest religious institution in Assam, whilst
namghars are mostly found at the village level. “The term satra at the time did not convey the sense of a
systematic institution which developed after the death of Sankaradeva” (Sarma 1999:103). The word satra
can refer to an adhivesana (gathering), a homa (holy fire) or a jagyna (sacred flame), or even a nivasa
(divine being) (abode). In the context of Assam, the phrase designates the pinnacle of Vaishnavism’s
residential units, where the Guru and his pupils dwell and perform the religion (Zaman 2022: 412).
Namghars and satras also acted as agencies of social control and in the course of time, these
institutions have grown into cultural centers. In fact, the satras in contemporary times have
given distinctive flavours of Assamese culture. The establishment of satras, each having a body of
followers, with the emergence of distinct residential communities centering around them, have been
a characteristic feature of the Vaishnavite movement found in full expression through such central
institution as the satras (Barua, 1994:21).
In every culture, classical dance is a cultural construct with various key components. Classical art
forms, notably dances, have piqued the interest of anthropologists and scholars from a wide range of
disciplines. Several ethnicities in India have a history of performing traditional dances, and some of
these tribes continue to do so now. In its auspicious and glorified historical setting, Assam has a long and
distinguished tradition of satriya dance, one of India’s renowned classical dances.
The famous saint Sankaradeva of the 15th century spread Vaishnavism throughout Northeast
India. Majuli played a significant role in his enterprise. Satra is a place of learning where people can get
knowledge in a variety of fields that are essential for participating in society. Theatrical performances
are also an important part of Vaishnavism in Assam. Srimanta Sankaradeva was widely regarded as a
multitalented genius, and it is said that he could fashion a drum, or any number of other Vaishnavite
ritual objects as well as do mundane household tasks with ease. The Vaishnavite saint’s Cinha Yatra (a
dramatic performance with illustrations) in 1468 AD proved to be a watershed moment in history that
planted the seeds for the subsequent Assamese renaissance. Sankaradeva invented and designed musical
instruments like the khol (drum) and taal (cymbals), along with other creative accessories like masks,
costumes, decorations, paintings, and more, for this epic show. It rapidly became the region’s most
significant vessel, capable of navigating both time and space.
Since the beginning of its existence, the vessel that represents the Satriya culture has, without a
doubt, travelled a great distance over the broad sea of culture. In point of fact, it has traversed a staggering
distance of more than 500 years, experiencing numerous highs and lows along the way as it has made
its way through the passageways of time. In a manner that is consistent with the adage that nothing is
constant other than change itself, Satriya has gone through a great many transformations, altering its
appearance on multiple occasions, in order to arrive at its current state. The culture known as Satriya
can be dated back to the 15th century when it first appeared. It is believed that the famous saint, poet,
playwright, and artist Sri Sri Sankaradeva, who lived in the 15th century, was the originator of this
concept. He is considered to be the progenitor of the expansive Satriya civilization.
In those times, Assamese culture was dominated by the practise of offering animals as sacrifices to
Devi (the goddess of power). Humans and goats among other living things were sacrificed. It was viewed
as a means of demonstrating devotion to Devi. The entire Assamese social landscape had been cast
in the gloomy shadows of the sacrificial culture. Sankaradeva made an effort to provide a glimmer of
light—knowledge and truth—to the populace in the midst of this darkness. He established the Satriya
culture, which included the Ankiya Bhaonas (vaishnavite one act play), Borgita (vaishnavite devotional
songs), Khol (drum), and Satriya dance, among other things, to achieve this goal. He gathered a number
of followers over time, who fervently followed his teachings and passed them on to the common people.
But as they say, life isn’t always a bed of roses, and Sankaradeva had his share of challenges. But to his
credit, he overcame every obstacle that was thrown in his path. Madhabadeva, who would later become
his favourite disciple, eventually joined him. They began enthusiastically promoting Satriya culture.
Satriya started to become more and more ingrained in Assamese society throughout time. People
started seeking refuge in the satras Sankaradeva created. The hubs of Satriya culture, where his pupils
might learn and put his teachings into practise, came to be known as satras. In Nagaon district’s
Bordowa the first satra was founded. Other regions of Assam soon followed suit with the building of
satras. The Assam region’s map quickly became covered in countless satras. The Madhupur Satra is one
of these satras, and it was founded in Koch Bihar (now in West Bengal). Promoting the Vaishnavism
developed by Sankardeva was the main reason and goal for the creation of Satras. Thus satras became
the most significant pillars of the Assamese society. Sankaradeva also established Namghars (the village
;level institution) as the place of worship and culture. On special occasions, an Ankiya Bhaona would be
organized, where the entire village gathered together. Apart from these, there was regular Naam-Kirtan
or the uttering of Praise of Lord Vishnu. Thus namghars became the hub of cultural activity in Assam.
Results and Discussions

Tradition of Satriya Dance in Uttar Kamalabari Satra
The Assamese Vaishnava saint and poet Sankaradeva, who lived in the fifteenth century, developed
the Satriya form of Indian classical dance. Sankaradeva wrote Nat Bhaona, often spelt Ankiya Bhaona
or Ankiya Nat, to spread his religious teachings to the masses. The Bhaonas are the birthplace of the
dance form of Satriya, which also incorporates musical and dramatic aspects. Sankaradeva’s goal in
writing these Ankiya Nat was to promote Neo Vaishnavism and foster a sense of community. When
Sankaradeva was 19 years old, he wrote his first drama, Cinha Yatra, which helped pave the way for
the development of Satriya culture in Assam. All of his works are treasured as part of the trove that is
Assamese culture and the Satra institutions. Madhavadeva, a student of Sankaradeva, continued the
practise and even developed new dances and plays. Madhavadeva has been subject to increasing scrutiny
over time, from both the elite and the populace. Satras are religious-cultural centres where the dance has
been preserved and practised as a form of worship for over 500 years. Around the middle of the twentieth
century, dance emerged onto the proscenium stage to be performed for nonreligious audiences.
Badula Padma Ata, the Satra’s founder, is credited with establishing the tradition of Satriya dance
in the Uttar Kamalabari Satra. He befriended Madhavadeva, who taught him everything he knew about
Neo-Vaishnavism’s musical and dancing traditions. Badula Padma Ata instituted this practise at the
Satra, and after his passing, the other Satradhikara (leader of the Satra) continued in his footsteps. The
Vaishnavite monks (Bhakats) of the Satra ingrained the culture of music, dance, and drama by their
tireless effort and perseverance. They have made it a point to protect its uniqueness over the years.
Satriya Dance as envisioned by Bhakat
The name satra is made up of two parts: sat, which means honest or devout people, and tra, which
means staying in satra. A satra is a location where God resides, where monks carry out their honest
activities, and where there is honest company and honest conversation. Those who live in the Satra
are known as Satriyas, and their culture is known as Satriya Culture. Dance, according to the monks,
was the result of Sankardeva’s cognitive process. Sankardeva believed that if all the monks continued
to chant prayers (Nam Prasanga) 14 times a day in a sitting position, it would cause problems in the
body parts. Blood circulation may cease, and body parts may become hard. As a result, he devised a
medium that could both aid in the propagation of god and maintain their physical health. Similarly, he
introduced dance as a means of worshipping God.
From 1673 until the present, the tradition of Satriya culture in this satra has shone like an armour in
the sky. Badula Padma Ata (Ata meaning senior preacher) sent the monks to learn more about the Satriya
Dance while Madhavadeva was teaching in Bordowa Satra, Bhela Than. It is worth noting that, despite
numerous challenges, such as natural calamities, rulers’ domineering attitude, or Maan attacks, these
Satra institutions have always served as the custodians and keepers of this Satriya culture. Badala Padma
Ata did not request any property or fortune from Ahom King Sukhhampa; instead, he just requested that
the monks be allowed to sing and recite prayers (Nama Prasanga) with a loud voice, with instruments, and
without fear. This is because the monks were tormented and were not allowed to sing or pray throughout
the king’s reign. So, fearful of the rulers, the monks retreated to the jungle to sing and pray discreetly.
Oral tradition
In this particular satra, the Satriya tradition has been transmitted verbally from one generation to
the next over the course of its history. They followed their own particular set of rules, which contributed
to the maintenance of this culture and the authenticity of its practises. The teachings that Sankaradeva,
Madhavadeva, and Badula Padma Ata brought to the Satra are still actively being practised there. The
training is provided by experienced Bhakats of varying ages who are knowledgeable in their respective fields.
It is something that they do on a regular basis. The training tradition is passed down orally, and memory
has been the most important aspect in its preservation. It is interesting to notice that the custom of passing
information orally from person to person has not significantly altered throughout the course of time.
The Managing Committee
The Uttar Kamalabari Managing Committee is the name of the governing body that oversees
the Satra. The Deputy Commissioner of the District serves as the committee’s president, and the
Satradhikar acts as the committee’s secretary. In 1955, a cultural centre was constructed at the Satra
so that the inmates there would have ample opportunity to show off their abilities both on a national
and an international stage. The culture and legacy of the Vaishnavite faith at the Satra are brought to
the attention of people from all over the world thanks to their performances. The Cultural Committee,
which is constituted by a formally elected group that is elected after a period of three years, is in charge
of running the organisation. On May 15, 2010, the current committee was initially established.
The Sankardeva Kala Kristi Sangha is the committee in charge of the satra’s cultural activities. This
committee is comprised of individuals drawn from both outside the satra and from within its own
bhakats. Along with the twelve presidents, thirteen members, and eleven chairpersons, the secretary is
also a special invited visitor at this event. This committee is in charge of managing the entirety of the
fund that has been set aside to assist in the cultural advancement of the Satra. In terms of financial
support, the cultural committee will also consider any recommendations made by the management
committee. This committee is responsible for managing all of the cultural programming that occurs
both inside and outside of the stadium.
The state government provides the Satra with an annual grant in the amount of Rs. 55,175
(that’s fifty-five thousand, one hundred and seventy-five rupees). The sum is contributed to the Satra
Development Fund, where it will be employed in the appropriate manner. The committee in charge of
administering cash provided by the government is providing assistance to a significant number of the
Bhakat people. They obtain the cash from various central programmes such as the Centre for Resource
and Training, the Silpi Pension Scheme, the Young Artist Fellowship of the Ministry of Cultural Affairs,
and other similar programmes.
Case Study
Jadav Bora is an assistant professor at the Dr. Bhupen Hazarika Centre for Performing Arts at
Dibrugarh University. He came to the satra at the age of four years. At the first stage, after spending a
certain period of time away, he went back to his home, but later, at the age of nine years, he again came
back of his own accord. He received his early education in the satra and completed his studies up to
graduation in the satra itself. For his further studies, he went to Dibrugarh University and pursued his
Master’s Degree and did his M.Phil. in the department of Assamese. Now he is a fellow research scholar
doing his Ph.D. in the department itself. He lives in a rented house in Dibrugarh, a town in Assam, and
follows all the rules of the satra.
The investigator asked him what his major work is in the satra. He answered that he is associated
with the keeping of the accounts of the guest house in the satra. He also said that he used to be a guide,
although not regularly, for the tourists who came from outside India. The investigator then asks him if
the rules and regulations of the satra have any impact on him while he is not inside the satra.He said that
he takes care about his dress and food habits as much as possible. He used to dress himself in a simple
kurta and a dhoti (a cotton piece of cloth worn by men from the waist to the ankle), according to the
accounts of the guest house in the satra. He also said that he used to be a guide, although not regularly, for
the tourists who came from outside India. The next question put to him by the investigator is whether,
during his stay outside the satra, the rules and regulations of the satra influence him in any way. He
said that he takes care about his dress and food habits as much as possible. He used to dress himself
in a simple kurta and a dhoti (a cotton piece of cloth worn by men from the waist to the ankle), and
regarding food habits, he adopted a complete vegetarian diet. He also added that, from his childhood, he
was not fond of fish and meat, which helped him adopt the food habits more easily. Although he stays
away from the satra, he is highly influenced by the devotees who are staying in the satra, who in a way
inspire him to abide by the norms of the satra’s life and culture.
Then the investigator asked him, where did you learn about Satriya Dance? He talked about his
Guru, Paramananda Borbayan, who taught him Satriya Dance. He also said that he is an awardee of
the Young Artist Fellowship, which is provided by the Ministry of Cultural Affairs, India. Then the
investigator asked him whether he faces any problems after coming back to the satra. He said, being very
precise, that it is exactly not a problem, but according to the rules and regulations of the satra, he has
to keep fasting during supper, and it is only after the completion of the fast that he can once again start
doing the activities of the satra. The investigator put the next question to him regarding marriage. He
answered that there are hard rules for any devotee in regard to marriage. A devotee is allowed to marry
on the condition that if he marries, he has to leave the satra and move outside of it, and he will no longer
be an insider devotee. If a devotee marries someone, he is not allowed to stay in the satra anymore. The
reason is that the Uttar Kamalabari Satra follows nika samhati (the subsects order of Vaishnavism), a
place solely meant for unmarried devotees. The informant further said that he is not allowed to directly
participate in the ritual activities related to the satra as he stays outside for his service, but he performs
dances in the bhaonas, which is a cultural part of the satra activities. He further informed me that
when he goes to the satra for his lifetime, he will be allowed to take part directly in the ritual activities
of the satra. He was the former president of the cultural committee of the satra. During his tenure,
he organised many programmes outside the satra, in which he himself took part. He helped greatly in
sanctioning the government-aided fund.
The Trainer, Trainee and the Place of Training
Satriya dance is a type of Indian classical dance that features a sizable body of technical guidelines, a
sizable body of literature, and a unique musical structure. Since their inception, Satra institutions have
supported Satriya culture. The Satras convey knowledge according to a conventional technique. They
have their own unique traditions and laws, as well as a set curriculum that emphasises cumulative order
for delivering instruction to the students.
The monks in Uttar Kamalabari Satra live according to Satriya culture, and everyone is expected
to learn. Along with other everyday activities, dance, theatre, and music lessons are introduced as a
must. Although the children at this institution are immediately taught dance and other things, they also
follow a customary schedule to prepare them for their primary annual ritual or festival. The Sankaradeva,
Madhavadeva, and Badala Padma Ata death anniversaries, which fall on the assamese month of Bhada
(July-August), are their biggest annual event. They begin their rehearsals on July 15th, which is the 15th
of the Assamese month of Khawon. This month’s mornings are busy because their practise (akhora)
doesn’t start until five in the morning. Every pupil refers to the instructor by the name Adhyapak. The
Adhyapak instructs the students constantly for nearly two to three hours. The primary goal of the
Adhyapak is to educate the pupils, whether they are 10 or 100.
Case Study
Bhaben Barbayan has come to this satra since he was three years old. He belongs to the Dakhin
Hati and was brought by Matiram Bayan. His father was interested in sending him to this satra to learn
about the Satriya society. The investigator asked him how he had adjusted to the lifestyle of the Satra,
to which he answered that at first he used to miss family and home a lot. But under the guidance of the
Burha Bhakat and the rules and laws of the Satra, he was bound to the lifestyle. He has spent years of
hard work and patience to understand all the elements of Satriya culture. The second question was
how he became the Adhyapak, to which he answered that he had spent several months of hard work to
learn the dance. At their time, the teachers used to be very strict, and a strict order was kept. They used
to fear their teachers by name. His interest in dance and music helped him excel at playing instruments,
building dancing skills, and many other things. He got the title of Bayan at an early age, and now he
is the Barbayan (master drummer) of this satra. All his performances, his skills, and his expertise gave
him the place of Adhyapak in the Satra. He teaches the bhakats here dance, drama, and the playing of
instruments, and is called Adhyapak by all his followers. On being asked about the relationship with the
learners or students, he said he tries his level to make the students learn discipline and create a positive
attitude towards the arts of dance, drama, and music. The only aim is to keep the heritage in its raw
form without concentrating on any amount of money. Sometimes, if needed, a wooden bat is used to
punish the children, but only to make them learn properly. According to him, it is easy to deal with
the big boys, who understand his sayings, but with the little ones, they are quite delicate to handle. He
cannot act very strictly, but with love and care, by playing, making them laugh, and giving kisses on the
forehead, training is given. And also, he could hardly find anyone disrespecting or ignoring him, and
that is the beauty of Satriya training, which makes the Bhakats attached to their values. He is also a part
of the cultural committee of the Satra.
All the learners follow each and every word of their teacher, respect him and always have an obedient
attitude towards him. Punishment is given only to make the learners more hardworking, punctual, and
to bring the perfection. Trainers are none other than the Bhakats of this Satra but at present times
the individuals being interested in the dance also come to the Satra to learn which also includes the
foreigners. The Bhakats who learn and follow each and every aspect of their celibacy lifestyle accepts the
dance and music culture a part of it. They try to master this Satriya Culture with the guidance of their
teachers and thus to preserve it for future.
Case Study
Biswajeet Boruah is one of the Bhakats of this satra, and his home is Jorhat. He came to this Satra
when he was 4 years old and was brought by Leelaram Gayan, the oldest member of his family. He is
learning at the Uttar Kamalabari School in Class VII. At the beginning, he was unfamiliar with the
Satra surroundings and used to cry to go back to his home. But with the passage of time and the love
and care of the Bhakats, he got assimilated into the society. He made friends of his age and always loved
to dance and play the instruments. Every evening, after coming back from school and finishing the
other duties of the satra, like praying, he goes to the Adhyapak’s Baha to learn the instrument. During
occasions and holidays, they are given the dance training in full swing. He likes the different forms of
dance and has also taken part in female-styled dance many times. The investigator asked him about his
favourite dance style, to which he answered that he loved the male style more because whenever he has to
play the role of a Gopi, he has to apply a lot of makeup, which is very hard to remove. He also said that
this dance training has also helped him to grab many awards and medals in his school too. All of them
follow each and every word of their teacher.
The dance instruction for this Bhada-Kirtanar Nach (dance utilised in the annual festival) is given at
a unique spot of the Kirtan Ghar known as Tup. The underlying concept is that if they practise in the
Tup, they can connect with their Lord, and there is also a fear of making any mistake in front of him.
But at other times, during other festivals or programmes outside the satra, the training is offered in the
halls and also in their teacher’s chamber (adhyapakor bohat). Training for dance starts from the day a
boy enters as a monk to the satra. The initiation of the dance takes place with mati akhora (ground
exercises) and is gradually followed by the other forms.
Procedure of Training
With the absence of codified grammar and text the training is basically a flow of the knowledge
from one generation to the other. The training for dancing units, songs, instruments proceeds from the
simple to complex. The dance numbers are taught to the learners in a cumulative order of intricacy. The
simple numbers are taught first. Gradually the intricate numbers are introduced. The initial numbers
are characterized by the use of the ground exercises. Adhyapak by holding hands and feet teaches each
and every ground exercise. For the hand gestures first the name of the fingers are taught. Similar is in the
case of playing instrument and singing which proceeds from the simplistic pattern and reached at the
complex pattern. All the Bhakats helps each other in learning the ground exercises, dance numbers etc.
Process of Selection
The improvement is based completely on their skills and excellency. Those who are judged to be
good in mati akhora are picked for the next level of dancing. Likewise, the Ag Notua (head) of the
group is selected; those judged to be good in all the components are selected for Sutradhar, etc. Apart
from the dancing, training is equally given for playing instruments, singing, etc. The competent and
older monks with competence in the many divisions give the training. It is a component of their daily
activity. There is a phrase in the dance: Jata hasta tatha dristi (where the hand goes, so go the eyes).
Earlier, there were no particular exercises for the eyes, but now some are given. It involves clockwise and
anticlockwise movements of the eyes, focussing at a location for a long period till tears flow out, etc. As
this is a celibate satra, the monks execute both the masculine and feminine styles. One who succeeds in
the feminine style is selected for that style and is given extra training for refining that particular style.
Those determined to be good at singing are nominated for the role of gayana, and those found to
be skilled at instruments are nominated for bayana. After the confirmation of gayana and bayana,
the bhakats can use the terms as their titles for their complete lives. For different characters of ankiya
bhaona, they select individuals who are skilful enough or fit for the character. For instance, the character
of Krishna in the Bhaona cannot be offered to a person who lacks clarity of voice, who has a rigid body,
or who is lethargic. Similarly, figures like kings and devils are provided on the basis of their personalities
and skills. The teacher also takes into account traits like voice clarity, tone, confidence, dancing skills,
language understanding, memorising skills, etc. The teaching-learning process has gained tremendous
importance, and teachers are like guides and father figures to the learners.
One distinctive component of the satra is the choosing of the role of Sutradhar, the narrator,
singer, and dancer of an ankiya bhaona. Among the Bhakats, individuals who can read the sasipat puthi
(religious writings) of Bhaona are often selected for the post. The members of the culture committee ask
the Adhyapak whether he can read the sasipat puthi or not. And if the Adhyapak determines that the
student can read it, he is supposed to read at least four sasipat puthis before the Satradhikar, members of
the cultural council, and the teacher. He is chosen for the post after they have been authorised. At first,
the selected one needs to perform in the satra itself, and if he is found to be good, he is then selected for
programmes outside the satra. It takes years and years to memorise and recite the sasipat puthis.
Age Division in Dance
There is no hard-and-fast rule concerning the age classification of the dancing units. It depends on
the intricacy of the dance numbers. Certain components, like the female-styled dance, sutradhar, etc.,
cannot be assigned to a very tiny age group. Similarly, ground workouts cannot be assigned to elderly
people. The following table displays the age division in dance:
Age Group Dance Unit

0-4 Mati-Akhoras, Bahar Nach, Krishna Nach
5-9 Mati-Akhoras, Bahar Nach, Krishna Nach
10-14 Mati-Akhoras, Bahar Nach, Jhumura Nach
15-19 Mati-Akhoras, Bahar Nach, Jhumura Nach, Nadubhangi Nach, Chali Nach
20-24 Bahar Nach, Nadubhangi Nach, Chali Nach, Gosai Pravesar Nach, Bor Probekh Nach, Gopi
Pravesar Nach
25-29 Bahar Nach, Gosai Pravesar Nach, Gopi Pravesar Nach, Sutradhari Nach, Gayana-Bayana,
30-34 Sutradhari Nach, Gayana-Bayana, Drama based Character

35-39 Satriya Ojapali, Gayana-Bayana, Drama based Character
40-44 Satriya Ojapali, Gayana- Bayana
45-49 Gayana-Bayana
Food Restrictions
There are no dietary restrictions in place prior to the dancing performance. They eat their regular
diet and avoid foods that are oily or spicy. They are vegetarians, however some of them enjoy eating
modest amounts of fish on occasion. They enjoy this type of meal because it cools the blood vessels and
keeps their mind and body cool. It should also be emphasised that they keep fast before any kind of
performance. However, they do not like to eat anything heavy before their dance performances. On the
day of the performance, the person who plays Krishna in bhaona fasts. The bhakats say that they believe
Lord Krishna may not have eaten anything throughout the war days or while defeating the demons. The
bhakats, who play Krishna, are afraid that Lord Krishna will be upset, and as a result, they have no desire
to eat anything. They must portray the character with complete trust and by merging in with it. Those
who take on the role of Narasimha (the incarnation of Lord Krishna) in the Prahlad Saritra (part of an
ankiya-nat) also fast. Aside from that, there are no food limitations. They, however, cannot exceed their
daily calorie allotment.
Programmes outside the Satra and Awards
The dance moved from the satra to the proscenium stage around the middle of the 1950s. Some of
the programmes held outside the Satra are viz.,In 1975, the devotees from Assam performed Ankiya
Bhaona of Ram Bijoy, Gayana-Bayana, and Chali dance in Indonesia with the royal honour of the then-
President of India.A group of eleven artists participated in cultural initiatives in France and Portugal,
led by Dr. Bhabananda Borbayan.They also took part in a cultural event in Paris, France’s capital city.
There was a one-and-a-half month programme in Switzerland and France in 2012. They performed
Gayana-Bayana and Bhortal there. Mati Akhora, Satriya Ojapali, and Gayana-Bayana were performed
in Germany and France.On June 23, 2009, I performed at a Sangeet Natak Academy ceremony in
Guwahati. Madhya Pradesh Gayana-Bayana performance (28 January 2010)
Case Study
Gangram Borbayan is a long-time devotee of this satra. When he was three years old, the burhabhakat,
Rupram Borbayan, brought him to this satra. He completed his lower primary education when banana
leaf was still used for writing. When asked about the Satra’s way of life, he stated that the Satra was in
poor shape when he first arrived. The huts were all made of thatch and bamboo, and they all had to
work very hard for a living. The laws and restrictions were extremely stringent. The investigator asked
him how they learnt the dance and music cultures under such conditions, to which he replied that it
was the tradition of their gurus and it was their obligation to preserve them. So, despite the obstacles,
they acquired the knowledge and passed it on to future generations without change. He studied the
many aspects of Satriya culture and eventually became the Borbayana (master drummer). As a member
of the Gayana-Bayana, he took part in Ram Bijoy Bhaona. He also visited Kashi, Mathura, Brindaban,
and Bhopal for cultural events. He played Sita and Jashoda in the Bhaona, as well as the Nadubhangi
dance, among other things. The investigator asked him how he had such good health at such an elderly
age, and his response was that it was all because of their God’s blessings and the pattern of lifestyle that
he has been following in this satra since he was four years old.
Late Khol wizard Late Paramananda Barbayana received the Sangeet Natak Academy award in 2000,
and Sri Gopiram Barbayan received it in 2012. Many bhakats are now being invited as examiners of
courses of study that involve performing arts, etc. by many universities and other institutions.
Style of Dance
Sankaradeva and Madhavadeva disciples created numerous satras throughout Assam to spread
Neo-Vaishnavism. The number of satras climbed to around 700 in later centuries. To preserve the
rich culture, dance and music are practised in these satras. The Grihasti satra (for households) and
the Udasin satra (for celibates) are the two types of satras. Dance and music were once popular in the
Grihasti Satras, but the Udasin Satras have adopted this culture of dance, theatre, and song.Satriya
has been a live tradition from its inception in the 15th century in Assam by the Assamese Vaishnava
saint Srimanta Sankaradeva. The bhakats in the satra pray using geet, vadya, nritya, and nat bhaona
combined. Satriya dance, being a form of worship, has its own distinct style, techniques, and various
forms and sections. It also incorporates classical features.
The dance expresses two styles. The male style is known as purusha, and the feminine style is known as
prakriti. Both styles are distinct and beautiful in their own right. Purusha style is comparable to Tandava
style, and prakriti style is similar to the Natyashastra’s Lashya form. Tandava is a dance performed by men.
Lashya is a Persian word that signifies fine and delicate. Differences can be found in both types of dancing.
Purusha ora is the primary position of the Purusha-styled dance, and Prakriti ora is the basic stance of the
female-styled dance. In the Prakriti dancing style, high jumps and lifting of the feet are prohibited.
Forms of Dance and Costumes used
The dancing style can be broken down into two distinct subgenres: dances that are performed during
bhaona and autonomous dances. The one-act play known as Ankiya Nat was penned by the two most
notable Vaishnavite scholars of all time, Sankaradeva and Madhavadeva. The Brajawali language was used
to write these plays. It is a combination of dancing and acting in its various forms. In each of these plays,
the narrative focuses on either Lord Krishna or Lord Vishnu, focusing on his life and the heroic deeds
he performed. A drama is capable of producing the desired effect on not only the viewer but also the
listener and the actor performing the role. The primary goals that Sankaradeva had in mind when he set
out to build Bhaona were to advance Neo-Vaishnavism and bring people together. The dissemination of
information was another objective of these plays. Sankaradeva’s first attempt at writing a play was titled
Chinha Yatra. It is believed that he played the role in this play himself, and although there were other
members in the play, the audience could only see Sankaradeva as the sole actor. However, there were other
members in the performance. After that, people learned about his heavenly power and the significance of
this civilization. It is generally agreed that all of these plays served as the inspiration for dance, music, and
other art forms. Sankaradeva composed six plays, and they are Kalia-Damana, Patni-Prasad, Keli-Gopal,
Rukmini Harana, Parijat Harana, and Rama Bijoy. Following in Sankaradeva’s footsteps, his student
Madhavadeva continued the practise and produced a number of plays. His plays are collectively referred
to as Jhumura. These are Arujana Bhanjan, Chor Dhara, Bhumi Lutiwa, Pimpora Gusowa, Bhojan
Behar, Brahma Mohan, Bhusan Haran, Ras-Jhumura, and Kotora Khela.
Literally translated, bhaona is the name of a Vaishnavite play. The group that is performing is known
as bhaoria. The bhakat people have a strong belief that the gopis (consorts of Lord Krishna) of Brindavana
are connected to the founding of bhaona. When Krishna suddenly left Brindavana, all of the gopis were
alarmed and distraught since they would no longer be able to see him. This made them feel terribly
helpless. After that, they made the decision to act out his entire life narrative in the hopes that it would
make him happy and bring him in front of them. Consequently, one of the gopis assumed the persona
of Jashoda (mother of Lord Krishna) and proclaimed, “Moiye Jashoda (I am Jashoda).” Another gopi
assumed the persona of Krishna and proclaimed, “Moiye Krishna (I am Krishna).” Other gopis were
portrayed in a theatrical manner. It is believed that bhaona will emerge as a result of this action carried
out by the gopis. The dance based units of a bhaona as practiced in this Satra are:
Gayana-Bayana
The gayana-bayana is done at the commencement of ankiya bhaona. It creates a religious
atmosphere, and it is similar to asking God for favours so that the Bhaona goes well. Gayana literally
means “singer,” while bayana means “one skilled in playing a musical instrument.” The name derives
from the occupation and has become the surname of everyone from this group of people. Gayana-bayana
is also a popular sight for visitors because they may observe people singing and playing instruments at
the same time. It is an orchestral piece. The team playing the instrument is notable for its use of various
hand motions complemented by footwork. This gayana-bayana is performed by a team of four to five
people for roughly an hour.
Performance style: At the outset, the stage is populated by two individuals carrying hollow bamboo
tubes with fabric or cotton soaked in mustard oil. Light from a candle burns evenly in all directions. It’s
called a bhotah, and the two persons on stage holding them are known as ariya. This ara is significant
because it symbolises the passage from the unknown to the known, and because it provides a source of
light that dispels darkness. After that, a group of bayana members walk on stage, form a circle, and take
seats, while the gayana members stand behind them. The gayana (singer) begins Kirtan (devotional
songs) with Haridhani (uttering god’s name) as “Jaya Rama Bola, Jaya Hari Bola,” while keeping
the pace with Bhortal (large cymbals). After that, the bayana group starts making the bajnas (sounds)
by putting the khol (drum) across their shoulders. The dance moves of the bayana team only consist
of footwork and hand motions. As of right now, this symphonic piece is performed on demand by
the outsider as a single part, like Bhaona, but without the ariya. In dance, only footwork and hand
movements are considered aspects.
Costume: Gayana-Bayana dress in an ankle-length white dhoti (loin cloth), a full-sleeved kurta, and a
white paguri (turban) over the head. Everyone applies a chandan poultice on their foreheads and wears a
tulsi mala around their necks. The Bor Bayan (the master drummer) covers his paguri with a bakul mala.
Case Study
Leelaram Gayan, who was brought by Nandiram Gayan, is a residential devotee of this satra. He was
born in Majuli and moved to this Satra when he was four years old. Since his admission into this satra,
he has performed all of the satra’s duties. He is a gayan in this satra, and when questioned, he stated
that he has always been interested in dance and music culture. He has performed Gayana Bayana both
in Bhaonas and as a soloist. He also took part in programmes outside of the Satra. His genuineness
and love for music earned him the title of Gayan. He occasionally helps the other elderly Bhakats while
instructing the younger ones.
Case Study
Achuyt Kakati is a Bor Bayan from the Uttar Kamalabari Satra. The investigator questioned him
about his whereabouts, as well as when and why he arrived to the satra. He explained that he is from
Chatiya, Tezpur. He arrived in Uttar Kamalabari Satra at the age of six. His family members sent him to
this satra since one of his cousin brothers was staying there. Achyut Kakati tells the investigator that he
teaches gayan bayan in the satra; he can be considered the gayan and bayan (music and dance player)’s
trainer. He instructs the youthful worshippers. The investigator then inquires about his other occupation.
He also stated that he was involved in the one-act drama Bhaona, which was performed in the satra. He
portrays Kansa, a legendary figure. The investigator inquired whether he participates in bhaonas. He
responded by stating that the bhaona’s names are Ram Vijay, Rukmini Haran, Keli Gopal, and Parijat
Harana. He also stated that he will be acting in Bhaona outside of Assam. The detective then inquired
as to where he had honed his acting and gayan bayan skills. He mentioned his instructor, Paramananda
Borbayan. He also stated that he received a Ministry of Culture fellowship for his gayan bayan. He stated
that he teaches music and dance to the satra’s younger inmates as well as others who come to study these
traditional skills. He occasionally travels to different Majuli satras to provide gayan bayan training. The
investigator then inquired about his other jobs aside from being a borbayan and a teacher. He informed
the investigator that he works in the business world. He has a shop in front of the satra, and he also told
the investigator that he has 42 bighas (acres) of land that he obtained from the satra atoi or his elder, who
introduced him to this satra. He employs labourers to do agricultural on that plot of land, and the goods
are consumed in the satra in which he resides, with extra amounts stored in the satra granary.
Sutradhari Nach
Sutradhari Nach is the most significant element of an Ankiya Bhaona, and the person who performs
it is referred to as Sutradhar. He is like the Ankiya Bhaona string in that he stays stationary at the end.
He is the recitor, the storyteller, and everything else. When Gayana-Bayana Sutradhar first reaches the
stage, he bends down and pays tribute to the god behind Ar-kapor (the curtain). Ar-kapor is a necessary
component of Ankiya Bhaona. Two persons seated face to face at the Bhaona stage’s entrance hold this
distinctive coloured or white fabric, keeping the characters out of sight of the audience before their first
appearance. The sutradhar bows down and receives blessings from the crowd before proceeding and
doing the dance steps to the beat of the song. Major and small body movements are included in the
dance portion. The dramatic explanation is then given through Nandi-Sloka, Song (geet), and Bhatima.
Because the first portion of the dance is sluggish, it is called the Sarubhangi, while the second part is called
the Barbhangi. The sutradhar must recite this Nandi-Sloka (prayer song), Bhatima (praising song), and
Katha (speech) with a beautiful tone. The sutradhar utilises various hand motions during recitation
to make it clearer and more meaningful. Some dance steps are shown in between the recitation on the
beats of Khol. Though the Sutradhari Nach is a solo performance in Tandava style, his movements and
actions are employed to express the meaning in Lasya style as per the demands or necessity of the sung
line of Nandi and Bhatima. The sutradhar explains the theme, maintains the relationship between the
play, and announces the entrance of other characters by name and role. He goes on to explain what will
happen next. Because certain members of the audience are deaf, facial expressions play a significant role
in the dance.So, with all those watching the Bhaona in mind, each element is meticulously checked and
done. The sutradhar’s function is so crucial that the other characters cannot move forward without his
guidance. The role of the sutradhar was also chosen at random in this satra. The first selection criteria
are solely based on ability. It is necessary to have a decent voice, dance talent, and facial expression.
Another requirement is that you know how to read the Sasipat Puthi. Sutradhars are often chosen from
those who can read Sasipat Puthi’s letters.
Costume: The outfit consists of a white ghuri (skirt), a white full-sleeved kurti, and a material called
sutradhari kapur that is placed vertically over the two shoulders in the front. The backside of the turban
worn on the head resembles a parrot’s beak, hence the name bhatouthutia tupi. Motamoni (a beaded
neck jewellery), gamkharu (hand bangles), and kundol (earrings) are among the ornaments.
Case study
Bhaskar Saikia has arrived from the district of Lakhimpur. Maniram Borgayan brought him as the
Aldhora. He arrived at Satra when he was five years old. By remaining in this satra, he completed his
education and graduate studies. Maintaining the schedule of his regular study and Satra duties was not
an easy chore. Maniram Gayan, his atoi, assisted him in finishing his studies. He had a strong interest in
the bhaona and dancing from the start. In 2018, he was cast as sutradhar. But it needed years of practise
and patience. He had to study and recite Sarit Puthis, which was extremely difficult. He was chosen
for the role of the sutradhar after doing admirably in his Adhayapak. When asked how tough Bhaona
was in comparison to other independent dances, he stated that both dance units have their own level of
difficulty; the only difference is that Bhaona-based dance units require a lot of memorising. They must
study the Slokas. When the investigator asked him if he was anxious about performing as a sutradhar,
he answered that he initially offered jaggery balls in the Kirtana-ghar a day before the performance of
Bhaona. Because the satra states that anyone who acts as a sutradhar or Krishna for the first time must
make a gift of rice flour and jiggery balls called as Poka-Mithoi. In this way, God’s and the elders’ blessings
reinforced his confidence. Everyone praised his initial performance as sutradhar.
Gosai Pravesar Nach
This is a pure dance form that does not include any abhinaya. In Ankiya Bhaona, the character
Krishna or Rama does this dance. These two characters are thought to be the god’s. Only Nritta Hastas
are employed with varied rhythemic patterns and movements, and it has characteristics of Tandava
style. Gosai Pravesar Nach, also known as Krishna Nach, comes in two varieties: Bajnar Nach and
Slokar Nach. In the instance of Rama, the slokas are different, and the hand gestures are likewise not the
same as in the case of Krishna. The Bajnar Nach, however, is the same for both characters.
Costume: A yellow dhoti, a blue shirt, and a tangali are worn by the dancers. The ornaments consist
of junuka on the legs (an anklet), gamkharu on the wrists (bangles), kundol (earrings), and a vibrant
peacock feathered cap on the head (a beaded chain in the neck).
Gopi Pravesar Nach
Gopi Pravesar Nach is the performance of the female characters in an ankiya bhaona. Following the
entrance of Rama and Krishna, the gopis enter the stage performing lasya. After the entrance of the
female characters Rukmini, Sita, Jashoda, and the Gopis, the plot begins. This performance, like Gosai
Pravesar Nach, consists of two sections: Bajnar Nach and Slokar Nach. They circle while dancing.
Costume: Behind the hair bun, dancers wear a blouse, sador tucked in frontways, ghuri (ankle-
length skirt), asol (waist cloth), kanchi (middle waist cloth), and uruna (veil). Gamkharu or muthikharu
(bangles), tini sukial tikli (forhead chain), earrings, dugdugi (a choker necklace), and flowers for the
hairbun are among the decorations.
The entry of the other characters in the drama are based on the nature of the characters, such as
kings, devils, and so on, and include some dance steps in between; dancing is utilised to describe the
various happenings and situations. Rasar Nach (Krishna and the Gopis’ dance), Pravesar Nach (the
dance at the entrance), Prasthanar Nach (the dance during the exit), Yudhar Nach (the dance depicting
a war situation), and Kharmanar Nach (the dance during the closure of a Bhaona) are among them.
The performer in Bhaona must sing Sloka (prayer song), Bhatima (panegyrics), and Geeta (song) to
convey the numerous happenings.
a) Elements of a Bhaona
All of the characters enter by passing through the Agnigarh (light archway), which is another source
of light in ankiya bhaona. On the two ends, nine clay lights are arranged in a semicircle row over a finely
painted wooden frame. This Agnigarh represents naba bhakti (the nine varieties of faith). This Agnigarh
was first utilised by Sankaradeva in the play Cinha Yatra. Because it is currently impossible to transport
this Agnigarh, a miniature model is created and set on stage, and it must be present in an ankiya bhaona.
Abhinaya (facial expression) is unique to bhaona and is not found in the other dances. Angika (through
physical gesticulations of limbs), vachika (acting through dialogue, songs, etc), aharyya (representation
with dress and costume, make-up, etc), and swattika (whole-hearted acting with proper application of
all the elements) are the four types of abhinaya used in ankiya bhaona to interpret dramatic situations
as well as moods, feelings, and emotions of characters. The makeup known as aharjya is only used in
bhaona dances. Fabric colours and various forms of cosmetics are employed. Masks of birds and animals
are sometimes employed as well, depending on the needs of the character. There is also fake hair, a tail,
and a beard.
(b) Independent dance forms
These distinct dance forms are the creation of the satra’s bhaktas, in which parts of the Ankiya
Bhaona’s plays are taken and developed as an individual unit of dance. The autonomous dance form
is divided into three sections. Ramdani, Geetankho, and Mela are their names. There is also a fourth
section that is not referenced by others and does not have a name. Because dance is a means of praising
God, this section is centred on him. The dancer takes four steps forward with left feet and a right hand
grasping Alapadma Hasta (influenced by lotus petals) at the start of the dance. (This is to say, Lord,
that I have placed lotus flowers on your feet from my heart.) The dancer then takes four steps back
and kneels. With both hands in front, the dancer bows to the front, then to the left, then to the right.
Standing up, the dancer bends sideways, looks back, and then rests in the Namaskara pose. All of these
measures are intended to solicit blessings from the audience on all four sides. The dancer with hand
motions announces that he will say something, so please pay attention. This section is used to request
blessings prior to the dancing performance. The last three sections are as follows:
(i) Ramdani: This is a pure dance element that is more essential than Geetankho, Geetar Nach,
and Mela Nach. It is the most important aspect of a dance. A Ghat is played to signal the shift of one
portion. Ramdani is divided into three parts:
• Ga-man is a four to five-times-repeated pattern of bols or bajna (musical rhytm).
• Sachar are bajnas or bols that are repeatedly played at the same specified laya (speed). In the Sachar,
the dancer alters her dancing steps.
• Bhangoni: It is also known as Ghat, and it marks the end of Ramdani.
(ii) Geetankho or Geetar Nach—Geet means song; after Ramdani, a song is followed by the Geetankho
dance. In general, borgeet are chosen to sing in the Geetankho. The dancer uses body movements to
preserve the rhythm of the geet but never interprets the lyrics. It also includes three sections:
• Ga-man: More than two talas are played in Madhya Laya (medium speed).
• Ghat: bajnas and bhangi are the same as in Ramdani.
• Chok is the ending part of Geetar nach. The bajnas are played in a fast tempo, and the dancer performs
accordingly.
(iii) Mela – A pure dance is concluded with Mela nach. Mela means open. It also has Ga-Man,
Sachar, and Bhangoni. Bajnas are more complex, and for that, they become more attractive.
Jhumura Nach
Madhavadeva is the one who created Jhumura Nach. Jhumura is the name of his plays. He recited
the children’s plays where this dance was created. Jhumura means “moving with the air” in Sanskrit. This
dance, which consists of extremely quick spins (Pak), hops (Jap), and rolling up (Khor), has its own unique
beauty. This dance, which is performed by boys between the ages of 8 and 12, is done in the Tandav
style and features the Purukh Ora (male foot stance) and Purukh Pak (male spin). Four to five Natuas
(dancers) do this dance, and because it moves quickly, the dancer does not have time to stop. Rag Repini,
a unique music, is played to signal the start of the dance. The dance has tunes by Ras Jhumura. Ramdani,
Geetankho, and Mela, the three components of the dance, are all present. The Ramdani portion of the
dance, which also features Thio Lan, Athu Lan, etc., begins. The Geetankho portion follows, which is
accompanied by devotional melodies. Dance moves are demonstrated to the music. There are steps of
sitting on the ground and then swiftly standing up again in the final section, which is the Mela part. The
Mati-akhoras’ Kati Khar and Cit Khar are employed. Both horizontally and vertically, dancers move.
Costume: The dance’s clothing is distinctive in that it combines male and female elements. They
wear a white paguri on their hats, a ghuri (skirt), and a tangali (waistcloth). A beaded necklace worn
around the neck, kundol (earrings), and gamkharu (bangles) are some of the accessories.
Chali Nach-
Chali Nach is a feminine dance known as Lashya Dharmi. This is a lovely and elegant dance form with
a challenging musical composition. As a result, this dance is taught to guys between the ages of 15 and 18.
This dance is performed by four to five dancers. There are several traditional linkages to the creation of this
dance, some of them are as follows: Chali’s literary connotation is a peacock’s outspread long tail. Kirtana’s
“Harmohana” chapter (Pindhi Sari Khanta Jali Yena Maira Dhare Chali) mentions Sankaradeva. This
story is told when Lord Krishna took the guise of a lovely lady and danced to entice Shiva. On his way to
Baikuntha, Narada Muni is said to have performed the Chalikya Nritya, which impacted the Chali Nach.
Krishna used to perform this dance with the Gopalbalakas when grazing cows in Brindavana. It is also
believed to have been inspired by the Devdasi Nritya of Haigrib Madhava Mandir in Hajo.
Madhavdeva created the Rangiyal Griha (a gold and silver-decorated theatre auditorium) and
composed this dance in Barpeta, where the dancers wore female attire. Madhavdeva was then accused of
allowing girls to dance in the satra, and the king detained him as well. However, when the truth about
the dancers was discovered, all of his claims were dropped.
Chali Nach is likewise divided into three parts: Ramdani, Geetankho, and Mela. Sudha Chali Nach
and Rajaghariya Chali Nach are the two sections. Both sorts feature outfits that are similar; the first part
is the same. The distinction is seen in the Ramdani section. After finishing Ramdani, the dancer sits in
Gurudasana and does not dance in the part of the Geet’s Ga-man. Dancers perform while ghats are played.
However, at the end of Ramdani, dancers in Rajaghariya Sali Nach dance in Geetar Nach. Dancers
exclusively perform in the Geetankho section during the Ghat and the Chok. Prakriti Ora Mati-Akhora is
the basic foot stance of the dance, and shoes such as Jalak, Prakriti Pak, Hat Solua, and others are utilised.
Costume: The dress is same like Gopis. They wear ghuri (skirt), black or blue velvet blouse, tangali
in waist, hairs are tied in a knot and behind it a veil (uruna) is covered. The veil is tied around the chin.
Ornaments include nupur (anklet) , baju in hands.
Bahar Nach-
This dance is based on the drama Bhojan Behar by Madhavdeva. Bhojan means recipe, while Bahar
refers to the kid Krishna’s fun antics with his pals. In this satra, the dance is performed in two ways:
first, as part of the Bhaona, soon after Gayana-Bayana, and second, separately in a yearly ceremony.
This dance is performed by twenty-five dancers in rounds. Bor Notua and Dohoria are the front and rear
leaders in this dance.
Costume - Dancers wear a yellow dhoti, a yellow blouse, a tangali around their waist, and mukut
(headgear). Motamoni, gamkharu, and kundol are some of the ornaments.
Nadubhangi Nach-
The Nadubhangi dance is a type of tandav dance. The Bhakats of this Satra dance appear to be
inspired by the account of Lord Krishna defeating the snake ‘Kalia’. When the Gopalbalaks became
unconscious after drinking water from Lake ‘Hrod,’ Krishna discovered poison in the water and later
discovered the snake ‘Kalia’. He killed the snake and danced on his forehead by swimming (Naduri
Naduri), which inspired the dance. Purukh Ora is the most common foot stance. Mati-Akhoras Jalak,
Chata, Hat Pokua, and other units are utilised. This dance is done in pairs.
Costume- Dancers dress in a yellow dhoti, a yellow blouse, and a yellow tangali around their waist.
They wear the same headpiece as Krishna. Motamoni, gamkharu, and kundol are some of the ornaments.
Bor Probekh Nach-
Bor means big one and Probekh means coming. The dance is inspired from Lord Krishna’s daily
activity, it is related with Krishna’s return to home in the evening with his friends after grazing cows
for the whole day. He played his flute in the entire road of return to his home. On the other hand his
mother Jashoda was tensed for not seeing her son and after she saw him kissed him, hugged him and
felt relief in her heart. This welcoming of Krishna has inspired the Bor Probekh Nach. This is the only
dance preformed in the night time and this dance is not performed outside the Satra. It is a male styled
danced and 20-25 dancers perform this. The dance is performed in rows consisting of four members in
a particular row. Purukh Ora, Pad Chalona etc are used in the dance.
Costume- Dancers dress in a yellow dhoti, a yellow blouse, and a yellow tangali around their waist.
They wear the same headpiece as Krishna. Motamoni, gamkharu, and kundol are some of the ornaments.
Case Study
Mridul is a young residential Satra follower. He was brought to this Satra by his maternal uncle,
who is one of the Satra’s elderly Bhakats. He attends Kamalabari High School and is in class VII. The
researcher inquired about his interests, to which he said that he enjoys playing cricket, the khol, and the
dance numbers. He had little problem because he was accompanied by his maternal uncle. The second
question was about the dances he has done so far, to which he said that he has done the Mati-Akhoras,
Jhumura Nach, and also played the role of Gopi in Bhaona. He also stated that he enjoys participating in
programmes outside of the Satra since it allows him to try new things and meet new people.
Satriya Ojapali, a unique and difficult composition of dance, music, and acting, contains certain
elements of dancing as well. This is a collective performance. The other members are led by one primary
performer. He is referred to as the oja, while the other members are referred to as the pali. The oja is at
the centre of the circle formed by the palis. While executing this satriya Ojapali, the oja makes various
hand movements. To retain the beat, a type of taal known as khuti taal is employed. The oja sings first,
followed by the palis. The concept is later expressed through various face expressions, hand gestures,
and foot movements. The oja is everything. During the satra’s annual festival, the oja must sing eight to
nine kirtanas without seeing. The outfit consists of a dhoti, seleng, and kurti, as well as a paguri turban.
Instrument used
Two instruments utilised in the dance are the khol (a two-sided drum) and the taal (a cymbal). The
khol is a hollow earthen drum with two drumheads at either end. Cow or goat skin is used to make the
drumheads. One drumhead is smaller than the other, and the instrument is slightly oval-shaped. A rope
with both ends fastened is hung over the shoulder. The kohl’s sound is known as bajna.
The taal is a set of two clash cymbals that produce high-pitched percussion sounds. The word taal
is derived from the Sanskrit word tala, which meaning “clap.” It is made of bronze, brass, copper, zinc,
and other metals, and each cymbal is connected by a cord that runs through a hole in the centre. The
pitch of various forms of taal varies according on size, weight, and other factors. The timbre can also
be adjusted by altering the point of contact while playing. Bortaal (large and used in Gayana-Bayana,
bhortal) and khuti taal (little and used in Satriya Ojapali) are the two varieties of taal used in the dance.
Borgeet in the Dance
Borgeet is invariably incorporated into the dance. It is an essential component of Satriya culture.
Sankaradeva and Madhavadeva are the creators of Borgeet, the devotional melodies. The subject of
these devotional hymns is Lord Krishna. Sankaradeva emphasized Krishna and Madhavadeva’s divine
authority over the child Krishna. There are a total of 157 Borgeet, but only 36 are still surviving. This
satra is the first to teach its disciples Dhansiri Raag. In the bhaona-based dance units and the independent
dance units’ geetankho, numerous borgeets composed by the two Gurus are utilised.
The performance of dance in Ritual context.
The anniversary of the deaths of Sri Sri Sankaradeva, Sri Sri Madhavdeva, and Badula Padma Ata is
one of the most important ceremonies that they perform every year. This ceremony takes place during
the month of Bhado in the Assamese calendar (August–September). Each of these three anniversaries
is broken down into a total of four distinct stages. Saul Bhojoni, Thaponi, Mul Tithi, and Bhangoni are
the names given to these four phases of performances. Saul Bhojoni Gayan-Bayan is the performance
that takes place on the first day. The Thaponi Nadu Bhangi dance is done during the daylight, and the
Bor Probekh dance is performed during the nighttime. In addition, the Chali dance is performed later on
in the evening. The Bahar dance is performed on the Day of Mul Tithi, and the dramas of Sankaradeva
and Madhavdeva, which are referred to collectively as Bhaona, are staged on the last day, which is known
as the Bhangoni. On the anniversary of Badula Padma Ata’s, Bahar Nach’s, and Bhaona’s passing, no
ceremonies are carried out in their honour. The Bhakats have the belief that Badala Padma Ata prefers
simplicity, and they refer to him as Nirakar, which means shapeless. They also believe that he does not
have a preference for any particular colour. Na Oja is performed during his tithi; this is the first time
Na Oja has ever performed as Oja. The prayer hall, also known as the Kirtanghar, is where all of these
performances are held. Bhaona is one of the dances that is performed in the halls during the Rash Festival,
which is a festival that lasts for three days. Other dances are also performed. At some of the more sporadic
ceremonies and events that are planned and put on by the committee, dances are performed.
Impinging factors
The tradition of Satriya dance in this satra has changed very little despite the shifting circumstances.
Previously only taught to males, the dance is increasingly being taught to females as well. Bhortal Nritya
(dancing with large cymbals in hand) and Dasahavatar Nritya (a dance that discusses the ten incarnations
of Lord Vishnu) are two new dance styles added to and taught in Barpeta Satra (one of the renowned
satra of lower Assam, India). These two styles are not typically associated with Satriya dancing. This
dance is put on for curious onlookers. A group from Ghana, South Africa, and France receives dance
instruction. Previously reserved for specific dance styles, Aharjya (makeup) is now routinely used for
performances outside of the Satra. They’ve taken their brand of Indian dance all over the world, from
France to Bhutan to Goa and beyond.
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Zaman & Roy - A Study On Satriya Dance in A Vaishnavite Monastery of Majuli, Assam (2023)

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Antrocom Online Journal of Anthropology vol. 19. n.

2 (2023) 165-185 – ISSN 1973 – 2880

Antrocom Journal of Anthropology

A Study on Satriya Dance in a Vaishnavite Monastery of

Arifur Zaman1 and Barasha Roy2

Gauhati University, Guwahati, Assam, Pin: 781014

Classical Elements in Satriya Dance

Majuli: The Field and Exploration

The Cultural Significance of Satra and Satriya Dance

Results and Discussions

Age Group Dance Unit

30-34 Sutradhari Nach, Gayana-Bayana, Drama based Character

(b) Independent dance forms

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