Anita Sharma on pursuing the lesser-known classical dance form from Assam, Sattriya
Hailing from Assam, Sangeet Natak Akademi awardee Anita Sharma grew up in a family where art and culture were not just appreciated, but deeply woven into everyday life. Her mother’s profound cultural inclination became a strong influence in her early years.
“My elder sister was also receiving formal training in Sattriya dance, which further exposed me to the form. It was my mother who took me, at the age of seven, to begin my formal training in the dance form,” she shares. Her grandfather, the eminent historian late Benudhar Sharma, and her father, who was deeply connected with literature, contributed greatly to this enriching environment, and her home was often visited by poets, writers, and other distinguished personalities from the cultural world. As she performed at Season 2 of World Dance Day & World Heritage Day Celebrations, presented by SPICMACAY in collaboration with the Aga Khan Trust for Culture, at Sunder Nursery, New Delhi, we speak with her.
Any particular reason for choosing Sattriya primarily, especially since you have also learnt Odissi?
Both Sattriya and Odissi have their own distinct aesthetic, philosophy, and technique, and I value both immensely. However, my inclination towards Sattriya became stronger over time, not just artistically but also personally and culturally.
Being an Assamese, Sattriya holds a very intimate place in my identity. Established over 600 years ago by the great saint and reformer Srimanta Sankardev, Sattriya is a living tradition that carries within it the philosophy of devotion, community, and storytelling. While Odissi has given me a strong foundation in grace, geometry, and lyrical expression, Sattriya has given me a sense of belonging and purpose.
The two forms are different in terms of posture. How do you ensure the respective postures are maintained immaculately?
Both Sattriya and Odissi have very distinct body grammars, and training in Odissi in my earlier years truly enriched my understanding of movement. Odissi gave me a strong foundation in aspects like chauka and tribhangi, body geometry, lyrical grace, and a refined sense of line and balance. Those learnings have stayed with me and continue to influence my overall awareness as a dancer. However, over time I realised that to truly give justice to any classical dance form, one needs complete dedication—not just in practice, but in thought, body memory, and internalisation. Around the year 2000, I made a conscious decision to devote myself entirely to Sattriya. Since then, I have focused solely on Sattriya and have not continued practising Odissi in the way I did earlier.
Sattriya, though being such an old, classical dance, is still unknown to many. Why is that?
As early as 1975-76, the Sangeet Natak Akademi had initiated discussions and committee proceedings for granting it the status of a classical dance form. However, the recognition did not materialise at that time. Until the 1950s, this old dance tradition largely remained confined within the premises of the Satras, where Vaishnavite monks practised it primarily as part of prayer rituals and their daily spiritual routine. It is probably because Sattriya received recognition as a classical dance form quite late that the number of professional performers associated with it also remained limited, which continues to be a matter of concern even today. The comparatively smaller number of trained dancers and musicians, along with the lack of large-scale performances and widespread promotion, has prevented Sattriya from attaining the same level of popularity among the masses as some other Indian classical dance forms.
However, I believe that both the government and non-government cultural organisations still have much more to contribute towards the growth and preservation of this art form.
Since you have studied Assamese literature, how has it been reflected in your art?
Studying Assamese literature has enriched and transformed my approach to Sattriya—not just as a performer, but as a practitioner seeking meaning beyond movement. Sattriya is intrinsically connected to the literary and devotional works of Assam, especially those composed by Srimanta Sankardev and his disciple Madhavdev. The Borgeets, Ankiya Naats, and various devotional verses are not merely texts to be performed— they are layered with philosophy, symbolism, and emotional depth. My background in Assamese literature allows me to understand the nuances of language, the metaphors, the rhythm of the poetry, and the spiritual undertones embedded within each word. This understanding directly influences my abhinaya (expression).
Moreover, literature has helped me appreciate the context in which Sattriya evolved—within the Sattras, as a medium of devotion and community engagement. Knowing this context shapes the intention behind every movement. For me, Assamese literature acts as a bridge between technique and meaning.
What are your plans for this year?
One of my key focuses this year is working towards a new production. This is something I am currently developing with great care, and it holds a very special place in my artistic journey. Through this production, I hope to further explore the narrative and aesthetic possibilities within Sattriya. Teaching and performances are also part of my plans.
Are there a lot of upcoming Sattriya dancers in India right now?
There is a growing interest in Sattriya across India, which is very encouraging. Many young dancers today are approaching the form with sincerity, dedication, and a genuine willingness to learn. While the number may still be smaller than some of the more widely practised classical dance forms, the quality and commitment I see in emerging artistes is truly promising.
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