Dancer Sumanya Kashyap takes us through Sattriya, a classical dance form from Assam
Sattriya is not just another classical dance; it’s a spiritual calling. Rooted in the temple performances of Assam. It has now found exposure on modern stages. Dancer Sumanya Kashyap from Assam, who took Parijat Haran and her character Satyabhama to the stage recently, opens up about this art form on the sidelines of the Delhi Kala Festival 2026.
What made you pursue Sattriya?
My first encounter with Sattriya was deeply rooted in Assam, my family, and my upbringing. It was a part of the cultural environment I grew up in, and over the years, I developed a deeper appreciation for its history, traditions, and artistic richness. What made me want to continue Sattriya was a growing consciousness of the need to preserve and carry forward this beautiful heritage and cultural legacy of Mahapurush Srimanta Sankaradeva.
What has been the most difficult part of becoming a Sattriya dancer?
The real challenge has been finding an encouraging and positive ambience—one that is free from negative human emotions and distractions. For me, Sattriya is not merely a dance form; it is a path towards Bhakti. I have always felt the need for an environment that allows me to pursue that spiritual dimension of the art with sincerity and devotion.
Tell us about turning Satyabhama for Parijat Haran
I feel a strong connection with Devi Satyabhama, who is regarded as an incarnation of Mother Earth. Sankaradeva’s portrayal of her is remarkably human; she experiences and expresses the entire spectrum of human emotions, which makes her character deeply relatable to me. At the same time, I approach the role with great humility and reverence. I seek her blessings so that I may become a vessel through which her emotions and essence can be expressed.
Is the Sattriya we see performed on stage different from its traditional form?
The Sattriya performed in the satra prayer halls is rooted in its devotional purpose and is an integral part of the ritual and spiritual practice. On stage, the form undergoes certain adaptations to suit the space, duration, and expectations of a contemporary audience. That is why, whenever we perform, we try our best to retain and present the traditional rituals and practices as faithfully as possible. For us, these rituals are not merely formal elements of the performance; they help preserve the devotional character and spiritual context of Sattriya. Even within a theatrical setting, we feel it is important to honour the tradition and allow the audience to experience something of the sacred atmosphere from which the form originates.
When you perform outside Assam, do you often find yourself introducing them to the form first?
I think this is true to a certain extent for all eight Indian classical dance forms. Most people may recognise the names of two or three forms, but may not necessarily know much about their distinct vocabulary. In the case of Sattriya, there is an even greater responsibility because it continues to retain its ritualistic and devotional character. So, when we perform outside Assam, we often feel the need to first introduce audiences to Sattriya and the tradition from which it has emerged.
Sattriya was officially recognised as a classical dance form 25 years ago. Do you think it has achieved the national visibility that such recognition should have brought?
Classical recognition was an important milestone, but recognition as a classical form and genuine understanding among the wider public are two very different things. Much of contemporary entertainment is driven by speed and spectacle, whereas classical dance demands a different kind of engagement . Classical dance is ultimately about realisation. It asks the viewer to slow down, observe, feel and turn inward. To truly become a rasika or a sahridaya, one who can experience and respond to the rasa of an artistic work, the audience must cultivate that inward sensitivity.
Traditionally, Sattriya was performed by male dancers. How do you view the inclusion of women in the field?
I see it as a natural and enriching evolution. It was historically performed by male practitioners within the satras (the Vaishnavite monks/ bhokots), and it is still there as it is a living spiritual tradition; outside the monasteries, women have brought their own sensitivity, strength, and artistic perspectives to the form.
Where do you see yourself within the Sattriya tradition?
I see myself as a custodian of the tradition. My responsibility is to understand it deeply, preserve its authenticity, and pass it on with integrity. At the same time, a tradition remains alive only when it continues to speak to each generation. I am open to exploration and experimentation, but within the grammar and philosophy of Sattriya.
For more updates, join/follow our WhatsApp, Telegram and YouTube channels.