Assam Higher Secondary Sattriya Dance key terms

The classical dance tradition of Assam, developed within the Vaishnava sattras from the fifteenth-century reforms of Srimanta Sankaradeva; recognised as a classical dance form by the Sangeet Natak Akademi in 2000.

Assamese saint-reformer (1449-1568) who founded Ekasarana Dharma and created the dramatic and musical forms, including Ankiya Bhaona and Sattriya dance, that the tradition grew from.

Chief disciple and successor of Sankaradeva, whose compositions such as the Nam Ghosha and dramatic works shaped the ritual and performative repertoire later codified in the sattras.

A monastic Vaishnava institution of Assam housing monks, ritual practice, manuscripts and dance training; historically the main custodians of what is now called Sattriya dance.

The head abbot of a sattra, responsible for religious authority and often for preserving and transmitting the dance, music and manuscript traditions of the institution.

The prayer hall within a sattra or village complex where devotional gatherings, recitation, kirtan and dance performances take place, typically with a central altar and open assembly floor.

The monotheistic Vaishnava faith propagated by Sankaradeva, centring on devotion to Krishna alone without image worship, and providing the theological basis for Sattriya performance.

One-act devotional plays written by Sankaradeva and Madhavadeva, performed in sattras with stylised dance, music and costume; a major source from which Sattriya dance items derive.

Dance performed by female dancers, historically within sattra settings and later on public stages; the term distinguishes women's repertoire from the male monastic tradition.

A foundational Sattriya dance item in several numbered parts, performed by women in a restrained devotional style with fixed rhythmic patterns and expressive gestures.

A vigorous dance item associated with Krishna's playful wrestling and combat exploits, marked by energetic footwork, jumps and rhythmic variation; performed in sattra tradition.

A dance item depicting the entry of the gopis, performed with graceful gait, expressive glances and devotional sentiment; a recognised component of the Sattriya repertoire.

The narrator-conductor figure of Ankiya Bhaona who introduces the play, sings, directs the action and often dances; a role central to understanding Sattriya stage conventions.

The paired ensemble of singers (gayan) and drummers (bayan) who accompany Sattriya dance and Bhaona performance, setting tala and supporting the dancer's rhythm.

The barrel-shaped clay drum of Assam, played with the palms and fingers to produce the rhythmic patterns that govern Sattriya dance and Bhaona performance.

In Sattriya usage, the drummer who plays the khol; also the term for the drum itself in some regional contexts, distinguished from the singer (gayan) in ensemble practice.

A metrical cycle of beats used to organise rhythm in Sattriya music and dance, with specific hand patterns and syllabic recitation marking each cycle.

A single beat or unit within a tala cycle; counting matras accurately is essential for synchronising footwork, hand gestures and drum syllables.

The tempo or speed at which a tala is performed, commonly classified as slow, medium or fast; changes of laya are a standard device for building intensity in Sattriya items.

A rhythmic syllable or spoken drum phrase recited to represent khol patterns; sali recitation is used in teaching and in dance practice to internalise tala structure.

The basic ground exercises of Sattriya training, performed low and close to the earth to build leg strength, stamina, balance and the characteristic grounded stance of the form.

A short, fixed movement sequence or unit of dance composition practised in Sattriya training and repertoire, combining steps, turns and gesture in a set rhythmic pattern.

A low, close-to-ground stance and movement quality characteristic of Sattriya, in which the dancer keeps the body low and the feet firmly connected to the floor.

A hand gesture used in Sattriya dance to denote objects, actions or emotions; gestures may be single-handed or combined, and are codified by usage rather than by a single text.

A meaningful hand configuration used expressively in dance and ritual, often overlapping with hasta; in Sattriya, mudras serve both decorative and narrative functions.

The expressive dimension of dance through which meaning and emotion are communicated, using face, eyes, hands and body; central to Sattriya's devotional storytelling.

An emotional state or feeling portrayed by the dancer; in Sattriya, bhava is drawn mainly from Krishna-centred devotional poetry and conveyed through facial and gestural expression.

The aesthetic flavour or relish evoked in a prepared audience by a well-executed performance; Sattriya typically aims at the devotional and erotic-sweet rasas of Krishna lore.

Pure rhythmic movement without narrative meaning, comprising steps, turns and patterns; it forms the technical backbone of items such as the Chali and Jhumura.

Expressive dance in which movement and gesture convey meaning and emotion, as distinct from purely rhythmic nritta; most narrative Sattriya items combine both.

The Assamese devotional scripture containing Sankaradeva's narrative and lyric verses, a principal textual source for the songs and expressive themes used in Sattriya dance.

Madhavadeva's collection of devotional hymns, widely sung in sattras and used as textual material for Sattriya music and expressive dance passages.

The teacher who transmits Sattriya technique, repertoire and discipline to students; traditionally the relationship is personal and long-term, with training grounded in the sattra or a gharana.

India's national academy for performing arts, which extended classical status to Sattriya in 2000, a decision that shaped its pedagogy, examination and public presentation.

A lustrous Assamese silk used in Sattriya costume, notably for the white and gold garments associated with devotional performance and the traditional dress of dancers.

The performance dress of Sattriya, generally comprising draped silk garments, a fitted upper cloth and ornaments; style varies between monastic, female and staged presentations.

A head ornament or crown worn in Sattriya and Bhaona performance to indicate character, rank or divine identity; its form differs for Krishna, gopis and Sutradhara roles.

The broader Assamese devotional theatre tradition in which Ankiya plays are staged with dance, music, masks and costume; Sattriya dance items are closely tied to this performance context.

An older Assamese performance form combining song, dance and narrative recitation; studied as a related tradition that influenced the development of Sattriya performance practice.