Sattriya

2022-12-04T10:47:23Z

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{{Use dmy dates|date=January 2020}}
{{Use Indian English|date=January 2020}}
{{short description|One of the classical dances of India}}
[[File:Krishnakahi_Kashyap_performing_Sattriya_Dance.jpg|alt=|thumb|Sattriya is a classical Indian dance that originated in its eastern state of [[Assam]]. It was recognised as a classical dance by Sangeet Natak Akademi in 2000.|right|314x314px]]
'''''Sattriya''''' ({{lang-as|সত্ৰীয়া}}), or ''Sattriya Nritya'', is a major [[Classical Indian dance|Indian classical dance]].<ref name="Brown2014p195"/>{{Sfn|Williams|2004|pp=83-84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Cchau, Manipuri, Yaksagana and Bhagavata Mela}} It is a dance-drama performance art with origins in the [[Krishna]]-centered [[Vaishnavism]] monasteries of [[Assam]], and attributed to the 15th century [[Bhakti movement]] scholar and saint [[Srimanta Sankardev|Mahapurush Srimanta Sankardev]].<ref name="Brown2014p195">{{cite book|author=Frank Burch Brown|title=The Oxford Handbook of Religion and the Arts|url=https://books.google.com/books?id=GkvSAQAAQBAJ&pg=PA195 |year=2014|publisher=Oxford University Press |isbn=978-0-19-517667-4 |pages=193–195}}</ref><ref name="Narayan2011p73">{{cite book|author=Shovana Narayan|title=The Sterling Book of INDIAN CLASSICAL DANCE|url=https://books.google.com/books?id=zLOiaGDLYOAC&pg=PA73 |year=2011|publisher=Sterling Publishers|isbn=978-81-207-9078-0|pages=73–74}}</ref>{{Sfn|Farley P. Richmond|Darius L. Swann|Phillip B. Zarrilli|1993|p=22}}

One-act plays of ''Sattriya'' are called ''[[Ankia Naat|Ankiya Nat]]'', which combine the aesthetic and the religious through a ballad, dance and drama.<ref name="Ankiya Nat">[http://www.accu.or.jp/ich/en/arts/A_IND1.html Ankiya Nat], UNESCO: Asia-Pacific Database on Intangible Cultural Heritage (ICH), Japan</ref><ref name=vemsani12>{{cite book|author=Lavanya Vemsani|title=Krishna in History, Thought, and Culture: An Encyclopedia of the Hindu Lord of Many Names|url=https://books.google.com/books?id=4fw2DAAAQBAJ |year=2016|publisher=ABC-CLIO|isbn=978-1-61069-211-3|pages=12–13}}</ref> The plays are usually performed in the dance community halls ([[namghar]]<ref name=vemsani12/>) of monastery temples (''[[sattra]]s'').<ref name="Liu2016p19"/> The themes played are related to Lord Krishna, sometimes other Vishnu [[avatar]]s such as Rama and Sita <ref name="Neog1980p294"/> and stories from the epics (Mahabharata and Ramayana) are also referred to. The philosophic religion of Mahapurush Srimanta Sankaradeva was based on Vedanta, Bhagavadgītā and the Bhāgavata Purāna, so there is no presence of Radha in Sattriya dance presentations.

In 2000, the [[Sangeet Natak Akademi]] of India recognized ''Sattriya'' as a classical dance. Modern ''Sattriya'' explores many themes and plays, and its performances are staged worldwide.<ref name="MunsiBurridge2012p23">{{cite book|author=Sunil Kothari|editor=Urmimala Sarkar Munsi and Stephanie Burridge|title=Traversing Tradition: Celebrating Dance in India|url=https://books.google.com/books?id=kaepAgAAQBAJ&pg=PA23|year=2012|publisher=Routledge|isbn=978-1-136-70379-9|pages=23–24}}</ref>

==History of Sattriya==
[[File:Sattriya dance by Ramkrishna talukdar.JPG|thumb|A male Sattriya dancer performing on stage. Originally, all Sattriya dancers were male ''bhokots'' who would dance in their [[Satra]]s. But in recent times, women have taken to dancing Sattriya.|250x250px]]
Sattriya is a classical dance of India, tracing its roots to ancient drama and music texts of India, particularly [[Bharata Muni]]'s [[Natya Shastra|Nātya Śāstra]].<ref name="BajajVohra2015p6">{{cite book|author1=Tanvi Bajaj|author2=Swasti Shrimali Vohra|title=Performing Arts and Therapeutic Implications |url=https://books.google.com/books?id=2MRcCgAAQBAJ&pg=PA6 |year=2015|publisher=Routledge|isbn=978-1-317-32572-7|pages=6–7}}</ref>{{Sfn|Ragini Devi|1990|pp=60-68}} Its first complete compilation is dated to between 200 BCE and 200 CE,{{Sfn|Natalia Lidova|2014}}{{Sfn|Tarla Mehta|1995|pp=xxiv, 19–20}} but estimates vary between 500 BCE and 500 CE.{{Sfn|Wallace Dace|1963|p=249}} The most studied version of the Nātya Śāstra text consists of about 6000 verses structured into 36 chapters.{{Sfn|Natalia Lidova|2014}}{{Sfn|Emmie Te Nijenhuis|1974|pp=1–25}} The text describes the theory of Tāṇḍava dance ([[Shiva]]), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.{{Sfn|Natalia Lidova|2014}}{{Sfn| Kapila Vatsyayan | 2001}} Dance and performance arts, states this ancient text,<ref>{{cite book|author=Guy L. Beck|title=Sonic Liturgy: Ritual and Music in Hindu Tradition|url=https://books.google.com/books?id=UzUMCAAAQBAJ |year=2012|publisher=University of South Carolina Press|isbn=978-1-61117-108-2|pages=138–139 |quote='''Quote:''' "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".}}</ref> are a form of expression of spiritual ideas, virtues, and the essence of scriptures.<ref name=mog17>{{cite web|title=The Mirror of Gesture|author=Coormaraswamy and Duggirala|publisher=Harvard University Press|year=1917|page=4|url=https://archive.org/stream/cu31924012568535#page/n5/mode/2up}}; Also see chapter 36</ref>

The history of dance arts in Assam goes back to antiquity, as evidenced by copper plate inscriptions and sculpture relating to [[Shaivism]] and [[Shaktism]] traditions.<ref name="Neog1980p292"/> Singing and musical traditions, similarly, have been traced to Assamese chorus singing tradition for the Hindu epics: the [[Ramayana]] and the [[Mahabharata]].<ref name="Neog1980p292">{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=292–293 }}</ref>

[[File:ATHKHELIYA NAMGHAR GATE.jpg|thumb|right|190px|Monasteries and temples in Assam, called ''satras'', have dance halls (''Namghar'') for Sattriya. Above: ''Namghar'' entrance.]]
The modern form of Sattriya is attributed to the 15th century Sankaradeva, who systematized the dance using the ancient texts, and introduced drama and expressive dancing (''nritta'' and ''nritya'') as a form of a community religious art for emotional devotion to Krishna.<ref name="Narayan2011p73"/><ref name="Liu2016p19">{{cite book|author=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ&pg=PA19 |year=2016|publisher=Routledge|isbn=978-1-317-27886-3 |pages=19–21 }}</ref><ref name="Neog1980p292"/>

Since the 15th century, the Sattriya art grew as part of the Vaishnava bhakti movement, in Hindu monasteries called ''Sattra''.<ref name="Liu2016p19"/> The art was developed and practiced by monks in the form dance-dramas about legends and mythologies of Krishna, particularly from texts such as the [[Bhagavata Purana|Bhāgavata Purāna]].<ref name="Liu2016p20">{{cite book|author=Farley Richmond|editor=Siyuan Liu|title=Routledge Handbook of Asian Theatre|url=https://books.google.com/books?id=H1iFCwAAQBAJ&pg=PA19 |year=2016|publisher=Routledge|isbn=978-1-317-27886-3 |pages=20–21 }}</ref> One distinctive part of the Sattriya dance inside temples and monasteries is that the dance is not celebrated before any idol, but is performed before a copy of the Bhagavata Purana placed in eastern (sun rise) corner called ''Manikut'' of the dance hall (''namghar'').<ref name="Liu2016p20"/>

These dance-dramas were, in the early days, written and directed by the Assamese poet-saint [[Sankaradeva]], and by his principal disciple Madhavadeva. They were mostly composed during the 16th century.<ref name="KothariSunil" /> Once the domain of male monks, it is now performed by male as well as female dancers. In the second half of the 20th century, ''Sattriya Nritya'' moved from the sanctum of Assam's ''sattras'' / monasteries to the metropolitan stage.<ref>Kothari, Sunil (ed). ''Sattriya-Classical Dance of Assam''. Marg, The Marg Foundation, Mumbai, 2013, Blurb.</ref>

The [[Sangeet Natak Akademi]] recognized ''Sattriya Nritya'' as an official classical dance of India in 2000. ''Sattriyas'' are now performed on world's stages.<ref name="KothariSunil">Kothari, Sunil (ed). ''[https://books.google.com/books?id=1SCVMQEACAAJ&dq=Sattriya-Classical+Dance+of+Assam&hl=en&sa=X&ei=pSp5Uc-DDY2MrgfzhID4CA&ved=0CDAQ6AEwAA Sattriya-Classical Dance of Assam]''. Marg, The Marg Foundation, Mumbai, 2013.</ref>

==Repertoire==
[[File:Noopur2.jpg|thumb|A sattriya dancer in a posture where the hastas used are Sandansha (the right hand) and alapadma (the left hand at the top) These hastas are called asanyukta hastas according to Sri Hasta Muktaballi. The dress she is wearing is Paat silk.]]
[[File:Devika Pulak Borthaur Sattriya Dance of Assam.png|thumb|A traditional posture of Sattriya Dance.]]
Like the other schools of Indian Classical dance, ''Sattriya'' encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like [[Natya Shastra|Nātya Śāstra]], [[Abhinaya Darpana]], and Śārngadeva's [[Sangit Ratnakara|Sangīta Ratnākara]];<ref>{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=208–221 }}</ref> The ''Sangīta Ratnākara'' of Śārngadeva complements his ''Bhakti Ratnakara'', which traces the [[Upanishad]]s, [[Bhagavad Gita]], [[Yoga]] and [[Vedanta]] themes, the ethical values such as non-violence ([[ahimsa]]), truthfulness ([[satya]]) and others, thus premising a theological foundation to Sattriya.<ref>{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=209, 222–229, 233–234 }}</ref> To Shankaradeva, religious values, ethics, joys of life and performance arts were intimately linked, and he asked the leaders of Hindu monasteries to compose at least one play, during their tenure, before they die.{{Sfn|Farley P. Richmond|Darius L. Swann|Phillip B. Zarrilli|1993|p=22}}

Sattriya repertoire (mārg) includes ''nritta'' (pure dance, solo), ''nritya'' (expressive dance, solo), and nātya (dramatic play, group). Like all major classical Indian dance forms, those three categories of performances are:<ref name="Narayan2011p48">{{cite book|author=Shovana Narayan|title=The Sterling Book of Indian Classical Dance|url=https://books.google.com/books?id=zLOiaGDLYOAC |year=2011| publisher=Sterling|isbn=978-81-207-9078-0|pages=48–49|chapter=Kuchipudi}}</ref>{{Sfn|Reginald Massey|2004|pp=83-84}}
*The ''Nritta'' performance is abstract, fast and rhythmic aspect of the dance.<ref name=koskoff955/>{{Sfn|Reginald Massey|2004|pp=33-38, 83-84}} The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretive aspect, no telling of story.<ref name="Descutner2010p45">{{cite book|author=Janet Descutner|title=Asian Dance|url=https://books.google.com/books?id=8tCYjXOtkdgC |year=2010|publisher=Infobase|isbn=978-1-4381-3078-1|pages=45–46}}</ref>
*The ''Nritya'' is slower and expressive aspect of the dance that attempts to communicate feelings, story line particularly with spiritual themes.<ref name=koskoff955>{{cite book|author=Ellen Koskoff|title=The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia|url=https://books.google.com/books?id=73MO0eiQD_EC&pg=PA955 |year=2008|publisher=Routledge|isbn=978-0-415-99404-0 |pages=955 }}</ref>{{Sfn|Reginald Massey|2004|pp=33-38, 83-84}} In a ''nritya'', the performance expands to include story-telling, the silent expression of words through gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.<ref name="Descutner2010p45"/>
*The ''Nātya'' is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A ''Nātya'' incorporates the elements of a ''Nritya''.{{Sfn|Reginald Massey|2004|pp=33-38, 83-84}} [[Kuchipudi]] historically relied on a team of dancer-actors, while in modern times Kuchipudi productions include solo or duo performances.<ref name="NettlStone1998p516">{{cite book|author1=Bruno Nettl|author2=Ruth M. Stone|author3=James Porter |display-authors=etal |title=The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent|url=https://books.google.com/books?id=ZOlNv8MAXIEC&pg=PA516|year=1998|publisher=Routledge |isbn=978-0-8240-4946-1 |pages=516–518}}</ref>

The hand gestures (''mudras''), footwork (''padas''), postures, rhythms, training of artistes and other aspects of the Sattriya dance drama closely follow those described in Nātya Śāstra and other classical Hindu dance texts, and are quite similar to other major classical dances such as [[Odissi|Odishi]], [[Kathakali]], [[Bharatanatyam|Bharatanātyam]] and others found in southern and northern India.<ref name="Neog1980p294"/><ref>{{cite book|author=Shovana Narayan|title=The Sterling Book of Indian Classical Dance |url=https://books.google.com/books?id=zLOiaGDLYOAC |year=2011|publisher=Sterling Publishers|isbn=978-81-207-9078-0|pages=74–75}}</ref> Some basic elements and features of Sattriya match those found in the [[Manipuri dance]] found in neighboring Manipur state.<ref>{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=298 }}</ref>

''Sattriya Nritya'' is a genre of dance drama that tells mythical and religious stories through hand and face expressions. The basic dance unit and exercise of a Sattriya is called a ''Mati Akhara'', equal 64 just like in ''Natya Shastra'', are the foundational sets dancers learn during their training. The Akharas are subdivided into Ora, Saata, Jhalak, Sitika, Pak, Jap, Lon and Khar. A performance integrates two styles, one masculine (''Paurashik Bhangi'', energetic and with jumps), and feminine (''Stri Bhangi'', Lasya or delicate).<ref name=kothari2013>{{cite book|author=Sunil Kothari|title=Sattriya: Classical Dance of Assam|url=https://books.google.com/books?id=1SCVMQEACAAJ|year=2013|publisher=Marg Foundation|isbn=978-81-921106-6-0}}</ref>

Traditionally, ''Sattriya'' was performed only by ''bhokot''s (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice, ''Sattriya'' is also performed on stage by men and women who are not members of the ''sattras'', on themes that go beyond the mythological.{{citation needed|date=August 2016}}

The plays choreographed in a Sattriya are those found in Hindu texts such as the Bhāgavata Purāna, the Epics, and the compositions by Assamese scholars. <ref name="Neog1980p294"/>

===Costumes===
[[File:Sattriya dancer Meenakshi Medhi.jpg|thumb|right]]
[[File:Sattriya Dancer Krishnakshi Kashyap.jpg|thumb|A ''Sattriya'' dancer in a traditional ''Sattriya'' dance costume made of ''Assam Pat silk'' and traditional Assamese jewellery: ''Kopali'' on the forehead, ''Muthi Kharu'' (bracelets), ''Thuka Suna'' (earrings) and ''Galpata, Dhulbiri, Jethipata'' and ''Bena'' (necklaces). Traditional ''Kingkhap'' motif is used in the main costume with ''Kesh'' pattern on the border. The ''Kanchi'' or the waist cloth has the traditional ''Miri'' motif.]]

The costume of Sattriya dance is primarily of two types: the male costume comprising the ''dhoti'' and ''chadar'' and the ''paguri'' ( turban) and the female costume comprising the ''ghuri'', ''chadar'' and ''kanchi'' (waist cloth). Traditionally the costumes were of white or raw silk color with use of red, blue and yellow for specific dance numbers. In earlier times velvet and satin materials were mostly used for the costumes. With change of time, as this dance form evolved from the sattras onto stage, the design and materials of the dance costumes changed. [[Assam silk#Pat silk|Pat]] (also spelled paat) – a silk produced in Assam which is derived from the mulberry plant and [[muga silk]]( ''golden silk of Assam'') is also used in preparing the dance costume. Other bright colours are also used in the female costumes. These hand-woven materials normally have intricate local motifs like ''Kingkhap, Miri Motif, Kolka'' etc.<ref name="pnsruti41">{{cite book|author=P.N. Sundaresan|author-link=Sruti (magazine)|title=Sruti, A Monthly Magazine on Indian Performing Arts|url=https://books.google.com/books?id=ViwqAQAAIAAJ|volume=172-183|year=1999|pages=40–41}}</ref><ref name=":0">{{Cite web|url=https://www.sattriyakristi.com/costume/|title=Costume {{!}} Krishnakshi Kashyap|website=www.sattriyakristi.com|language=en-US|access-date=2018-02-11}}</ref>

Uses of play-specific costumes are also seen in Sattriya dance. The dress of ''Krishna Nritya'' and ''Nadubhangi Nritya'' is of yellow and blue keeping in line with the attire of Lord Krishna. The ''Sutradhar Nritya'' also has its specific white costume with a special turban.

Traditional Assamese jewellery is used in Sattriya dance. The jewellery is made by a unique technique in ''Kesa Sun'' ( raw gold). Artistes wear Kopali on the forehead, ''Muthi Kharu'' and ''Gam Kharu'' (bracelets), different type of neck pieces like ''Mata Moni'' (for male dancers), ''Golpata'', ''Dhulbiri'' (shaped like the musical instrument dhol), ''Bena'' (pendant shaped like a crescent), ''Jethipata'' (lizard shaped), ''Dugdugi'' (leaf shaped), Senpata (eagle shaped), ''Dhansira'' (strand of rice grain), ''Lokaparo'' (pegion design). Earrings are made in similar designs and also ''Thuka Suna'' and ''Keru'' are worn by dancers. Female dancers wear white flowers in the hair.<ref name="pnsruti41"/><ref name=":0" />

The costumes of ''Ankiya Naats'' (dramas) are colourful and character specific. Use of ''Mukha'' (Masks) to depict demons and special characters are also unique of this dance form. The art of mask-making is an integral part of Sattriya culture and originated in the Sattras of Assam. Beautifully decorated turbans and crowns made by the local artisans are used in the ''Ankiya Naats''.<ref name="pnsruti41"/><ref name=":0" />

The facial makeup of Sattriya dance resembles other classical dance forms of India. However, in earlier times traditional materials and herbs were used for make up.<ref name=":0" />

===Music and instruments===
''Sattriya Nritya'' is accompanied by musical compositions called ''[[bargeet]]s'' (composed by [[Srimanta Sankardeva|Sankardeva and Shree Shree Madhavdev]], among others) which are based on classical [[raga]]s.{{citation needed|date=August 2016}}

A key musical instrument that accompanies a Sattriya performance is the ''[[khol]]'' (two-faced, asymmetrical drum quite different from the rest of India) played with fingers.<ref name=barthakur81/> The special shape and materials of construction – clay, wood, leather, rice dough, iron filings, rope straps – of Sattriya ''khol'' produces a high pitch with the right side (''Daina''), while producing a deep bass sound on the left (''Bewa'').<ref name=barthakur81/>

Accompanying the ''khol'' are various types of ''Tālas'' or cymbals (Manjira, Bhortal, Bihutal, Patital, Khutital) and the flute ([[bansuri]]). Other instruments like the [[violin]] and the harmonium have been recent additions.<ref name=barthakur81>{{cite book|author=Dilip Ranjan Barthakur|title=The Music and Musical Instruments of North Eastern India |url=https://books.google.com/books?id=oP4vH-4oSEcC |year=2003|publisher=Mittal Publications |isbn=978-81-7099-881-5 |pages=81, 89–90 }}</ref>{{Refn|group=note|In some compositions, the following additional regional musical instruments, adopted from regional folk dances, complete the orchestra: Bin, Tokari, Dotara, Nagara and different styles of drums (mrdanga, dhol, dambaru, etc).<ref>{{cite book|author=Dilip Ranjan Barthakur|title=The Music and Musical Instruments of North Eastern India |url=https://books.google.com/books?id=oP4vH-4oSEcC |year=2003|publisher=Mittal Publications |isbn=978-81-7099-881-5 |pages=11–12 }}</ref>}}

===Styles===
A Sattriya performance comes in many styles such as the ''Sutradhara'' (or Sutra-bhangi), character specific ''Bhangi'', ''Prabesh'', ''Nritya'' and ''Jhumura''.<ref name="Neog1980p294">{{cite book|author=Maheswar Neog|title=Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times|url=https://books.google.com/books?id=DcReZM-rI0MC&pg=PA292 |year=1980|publisher=Motilal Banarsidass|isbn=978-81-208-0007-6 |pages=294–299 }}</ref> The ''Sutradhara'' is a style that tells a story and presents the spiritual values of Vaisnavism in a complete classical format: nritta, nritya and natya. One feature of the Sutradhara (or Sutradhari) style is the included commentary for the audience in local language.<ref>{{cite book|author=Lavanya Vemsani Ph.D.|title=Krishna in History, Thought, and Culture|url=https://books.google.com/books?id=4fw2DAAAQBAJ |year=2016|publisher=ABC-CLIO|isbn=978-1-61069-211-3 |pages=12–13 }}</ref>

''[[Ankia Naat|Ankiya Nat]]'' is a subgenre consisting of one-act plays of ''Sattriya''. These are dedicated compositions but feature a ballad, dance and drama.<ref name="Ankiya Nat"/><ref name=vemsani12/>

The character specific different styles of Sattriya have their own costume variations, and focus on the various life stages and activities of Radha, Krishna and the gopis.<ref name=kothari2013/>

==Notes==
{{reflist|group=note}}

==References==
{{Reflist}}

===Bibliography===
* Sunil Kothari, ed., ''Sattriya, Classical Dance of Assam'', with photographs by Avinash Pasricha. The Marg Foundation, Mumbai, 2013. {{ISBN|978-81-921106-6-0}}
* [[Maheswar Neog|Neog, Maheswar]]. ''[https://books.google.com/books/about/Aesthetic_Continuum.html?id=QVDsMgEACAAJ&redir_esc=y Aesthetic Continuum: Essays on Assamese Music, Drama, Dance and Paintings]''. New Delhi: Omsons Publications, 2008.
* Neog, Maheswar and Keshav Changkakati. ''[https://books.google.com/books/about/Sattriya_Dances_of_Assam_and_Their_Rhyth.html?id=lmdkOgAACAAJ&redir_esc=y Sattriya Dances of Assam and their Rhythms]''. Guwahati: Assam Prakashan Parishan, 1973.
*{{cite book|author=Ragini Devi|title=Dance Dialects of India|url=https://archive.org/details/dancedialectsofi0000ragi |url-access=registration|year=1990 |publisher=Motilal Banarsidass |isbn=978-81-208-0674-0}}
*{{cite document|author=Natalia Lidova|publisher=Oxford University Press |year=2014 |doi=10.1093/obo/9780195399318-0071 |title= Natyashastra }}
*{{cite book|author=Natalia Lidova |title=Drama and Ritual of Early Hinduism |url=https://books.google.com/books?id=3TKarwqJJP0C |date=1994 |publisher=Motilal Banarsidass |isbn=978-81-208-1234-5 }}
* {{cite journal| last= Williams|first=Drid| title=In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing|url= http://jashm.press.illinois.edu/12.3/12-3IntheShadow_Williams78-99.pdf |journal=Visual Anthropology| volume=17|issue=1 |year=2004|pages=69–98 |publisher= Routledge |doi=10.1080/08949460490274013|s2cid=29065670}}
* {{cite book |author=Tarla Mehta | title=Sanskrit Play Production in Ancient India |url=https://books.google.com/books?id=l7naMj1UxIkC | year=1995| publisher=Motilal Banarsidass |isbn=978-81-208-1057-0 }}
* {{cite book|author=Reginald Massey|title=India's Dances: Their History, Technique, and Repertoire|url=https://books.google.com/books?id=t6MJ8jbHqIwC |year=2004|publisher=Abhinav Publications|isbn=978-81-7017-434-9 }}
*{{cite book|author= Emmie Te Nijenhuis |author-link=Emmie te Nijenhuis |title=Indian Music: History and Structure |url=https://books.google.com/books?id=NrgfAAAAIAAJ |year=1974|publisher= BRILL Academic|isbn=90-04-03978-3 }}
*{{cite book|author=Kapila Vatsyayan |title=Bharata, the Nāṭyaśāstra |url=https://books.google.com/books?id=zKW1PAAACAAJ |year=2001|publisher=Sahitya Akademi |isbn=978-81-260-1220-6}}
*{{cite book| author=Kapila Vatsyayan |title=Classical Indian dance in literature and the arts |year=1977 |publisher=Sangeet Natak Akademi |oclc= 233639306}}, [http://library.mpib-berlin.mpg.de/toc/z2008_2719.pdf Table of Contents]
*{{cite book| author=Kapila Vatsyayan |title=Indian classical dance |year=1974 |publisher=Sangeet Natak Akademi |oclc= 2238067 }}
*{{cite book| author=Kapila Vatsyayan |title=Aesthetic theories and forms in Indian tradition |year=2008 |publisher=Munshiram Manoharlal |oclc= 286469807| isbn= 978-8187586357}}
*{{cite book| author=Kapila Vatsyayan |title=Dance In Indian Painting |url=https://books.google.com/books?id=58fUibaZdGYC |publisher=Abhinav Publications |isbn=978-81-7017-153-9}}
*{{cite journal | author =Wallace Dace | title=The Concept of "Rasa" in Sanskrit Dramatic Theory | journal=Educational Theatre Journal | volume=15 | issue=3 | year=1963 | pages=249–254 | jstor=3204783 | doi=10.2307/3204783 }}
*{{cite book|author1=Farley P. Richmond|author2=Darius L. Swann|author3=Phillip B. Zarrilli|title=Indian Theatre: Traditions of Performance|url=https://books.google.com/books?id=OroCOEqkVg4C|year=1993|publisher=Motilal Banarsidass|isbn=978-81-208-0981-9}}

==External links==
{{commons category|Sattriya}}
* [https://www.sattriyadancecompany.com/about/ History and origin of Sattriya Dance] at www.sattriyadancecompany.com website
* [https://www.sattriyakristi.com/about-sattriya-dance/ Sattriya Dance] at www.sattriyakristi.com website.

{{Dance in India}}

[[Category:Sattriya| ]]
[[Category:Classical dance genres of India]]
[[Category:Dances of Assam]]

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Sattriya