Assam Higher Secondary Sattriya Dance study plan

List and physically demonstrate all standing and sitting sthana (body positions) of Sattriya, naming each in Assamese with its English gloss.

Define mati akhara in your own words and name at least eight of the traditional akhara exercises with the body part each trains.

Trace the origin narrative of Sattriya from Sankaradeva and Madhavadeva to its recognition as a classical dance form in 2000, writing a dated timeline of at least ten entries.

Practise the basic ora (starting salutation) sequence slowly until you can perform it without prompting, then record yourself doing it once.

Drill mati akhara daily in two sessions of fifteen minutes, adding two new exercises to your repertoire by the end of the week.

Count aloud and clap the matra structure of at least three talas used in Sattriya, marking tali and khali positions on paper.

Explain the difference between tala, laya and chalan in your own words, and give one example of each from Sattriya practice.

Map the three laya speeds onto a single rhythmic cycle so you can state where each beat falls in vilambit, madhya and drut.

Demonstrate and name at least fifteen asamyukta hasta with their uses, checking each against a reliable text or your teacher.

Demonstrate and name at least ten samyukta hasta and describe one Sattriya context where each appears.

Combine hasta with the sthana learned in week one, performing short static sequences that pair gesture and posture correctly.

Identify which hasta are used in the ora and explain why those particular gestures suit a salutation.

Outline the structure of Chali in its different segments and state which tala governs each section.

Describe the narrative content and mood of Jhumura, distinguishing it from Chali in purpose and tempo.

List the sequence of Gopi Prabesh and explain the dramatic function of the entry within the broader performance.

Characterise the Sutradhara's role, including the nandi and the introduction of the performance, and name two other repertoire items with a one-line description each.

Define the four abhinaya categories and give one concrete Sattriya example of each.

Analyse a single episode from the Krishna legend as it would be portrayed in Sattriya, breaking it into sanchari bhava beats.

Practise one short expressive passage, matching eye, eyebrow and hand movement to the lyric you are conveying.

Explain how bhava in Sattriya differs from purely technical nritta, using vocabulary you can defend in an exam answer.

Summarise the contributions of Sankaradeva and Madhavadeva to the Sattriya tradition, naming at least three works or innovations associated with each.

Describe the traditional costume for male and female Sattriya dancers, including the dhoti, chadar, and the distinguishing features of the pat silk or muga silk used.

Explain the makeup conventions and the reasoning behind them, including the tilak and eye treatment.

Describe stage presentation conventions, including the use of the namghar space and the role of the khol and taal players.

Name at least six notable exponents of Sattriya and state one specific contribution of each.

Identify at least six major Sattras and the region or lineage each is associated with.

List the key institutions and awards that support Sattriya, including training centres and national recognition.

Build a cause-and-effect summary linking the Sattra monastic system to the survival and codification of the dance form.

Answer one timed mock paper covering all eight domains, then mark it and list every weak area.

Rehearse your weakest two domains with targeted recall drills until you can state the key facts without reference.

Recite the full tala, hasta and repertoire lists from memory in a single sitting.

Condense all revision sheets into a single index card set you can review in the final days.