To dance is to make the invisible felt: Sattriya dancer Dr Anwesa Mahanta

What happens when centuries-old devotion meets a fiercely contemporary mind? In Paramaleela, Sattriya dancer and scholar Dr. Anwesa Mahanta channels the spiritual depth of Srimanta Sankaradeva and Vaishnavite Bhakti texts, infusing every gesture with meaning.

In this chat with Indulge Express, she reflects on dance as a space for self-realisation, the solo performer’s power to hold complex narratives, and how her training under the legendary Ghanakanta Bora shaped her journey. With imagination and rigour, she’s reimagining classical tradition for today—bridging devotion, intellect, and storytelling in motion.

Sattriya dancer and scholar Dr. Anwesa Mahanta talks about Paramaleela

Sattriya is one of India’s classical dance forms, yet it’s not as widely known as Bharatanatyam or Kathak. Why do you think that is—and how have you worked to bring more attention to it?

Sattriya has long remained within the Sattras since the 15th century, preserved as a ritualistic art. Gradually, practitioners—supported by scholars and connoisseurs—have worked to take it beyond monastic spaces, helping it gain wider recognition.

However, challenges like Assam’s geographic distance, socio-political complexities, and limited promotional support have hindered its national reach. Much of the recognition it enjoys today stems from individual artists’ efforts and backing from institutions like the Sangeet Natak Akademi.

Personally, I’ve collaborated with cultural and academic bodies. Through Kalpa, we’ve created platforms in Guwahati and beyond to celebrate Northeast and classical Indian art forms. Archival projects, academic work, and cultural exchange have been central. I’m also grateful to institutions like the NCPA for showcasing Sattriya nationally.

You’ve taken Sattriya to audiences around the world. When you perform in a culturally diverse city like Mumbai, how do you hope people connect with this tradition?

I believe people connect with good art—across languages and cultures. Sattriya’s grace, depth, and philosophy touch the rasika, the sensitive viewer.

We strive to present it with sincerity, drawing from research and tradition to convey its moods and meanings in a way that resonates, whether in Mumbai or abroad.

Do you feel classical dance can help people better understand the culture of Assam and the Northeast? How do you bring that sense of place into your performance?

Absolutely. Every classical form reflects its cultural and spiritual landscape. Sattriya embodies Assam’s music, literature, textiles, and worldview.

It is deeply inspired by Srimanta Sankaradeva’s Bhakti philosophy, with traces of Southeast Asian aesthetics in its movements. My research explores how dancer and dance together form an “intersubjective space”—a meeting of identities.

Your upcoming piece Paramaleela explores divine storytelling. How does it connect to Vaishnavite philosophy?

While rooted in Bhakti, Paramaleela delves into the play between the seen and unseen—the Leela.

It draws from the Vedas, Upanishads, and Puranas to interpret divine presence. Through three thematic acts—Amukha, Prakriti-Purusha, and Leelaiva Kevalam—we explore the evolving bond between devotee and Divine.

How do you keep classical dance meaningful in today’s fast-paced world?

Classical traditions are timeless. Their metaphors offer insight across generations. Dance is a spiritual gateway—through it, we reconnect with ancestral wisdom and ask enduring questions.

What is the role of a classical dancer today, especially with short attention spans and social media?

We must be adaptive and alert. While technology increases access, we carry the deeper responsibility of being vahaks—carriers of tradition. It’s our task to preserve and share these forms with integrity, balancing innovation with authenticity.

Date: August 1

Time : 6:30 pm

Venue: Experimental Theatre, NCPA, Mumbai

(By Arundhuti Banerjee)

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