Discover the dedication and journey of Prerona Bhuyan and Madhusmita Bora in promoting the 500-year-old Assamese dance form, Sattriya. Utpal Datta explores…

In my exclusive interview with the Sattriya Dance Company, I explore how Prerona Bhuyan and Madhusmita Bora are captivating global audiences with the traditional Assamese dance form, Sattriya. Their performances have received acclaim from renowned publications like The New York Times and The Indian Express, highlighting the divine and mesmerizing nature of their art. The duo emphasizes the importance of providing cultural context to help international audiences connect with the mythological stories portrayed in their dances. Discover how Sattriya Dance Company is preserving and promoting this 500-year-old dance tradition on a global stage. Learn more about their mission, performances, and impact in my full interview.

Visit their performances, intercultural collaborations, and community engagement initiatives, showcasing their unwavering commitment to cultural preservation and innovation.

Interview Highlights:

On the Sattriya Dance Company: Founded in 2009, the Sattriya Dance Company was born out of Prerona Bhuyan and Madhusmita Bora's shared passion for dance and their desire to bring the traditional Assamese dance form of Sattriya to a global audience. Despite living on different continents, they have managed to maintain a strong partnership, performing in renowned venues worldwide, such as the New York Public Library of Performing Arts and the Nehru Centre in London. Their dedication is reflected in their unique approach, which includes bringing their families along on tours and involving their children in the artistic process.

Audience Reactions: The duo's performances have been met with great enthusiasm, particularly from international audiences unfamiliar with Sattriya. They emphasize the importance of contextualizing their performances to help audiences understand the mythological stories depicted. Reviews from various platforms, including The New York Times and The Indian Express, highlight the divine and captivating nature of their performances, often leaving audiences spellbound.

Challenges and Support: Managing a dance company that operates across continents involves significant logistical challenges, from arranging technical aspects like lighting and music to transporting props. Despite these challenges, Prerona and Madhusmita continue to thrive, supported by grants and a dedicated team. While they appreciate the recognition they receive globally, they express a desire for more support and acknowledgment from cultural organizations and the Assam state government.  

Cultural Preservation: Their work goes beyond performance; it is a commitment to cultural preservation and social change. They are intentional about hiring marginalized communities and using their platform to advocate for equity and inclusivity. The duo views Sattriya not just as a dance form but as a philosophy that promotes peace, love, and community building.

I was looking for a dancer who could perform the 500-year-old Assamese Vaishnavite dance, Sattriya. At that time, I was working on a documentary about Borgeet (Sattriya devotional songs, which Assamese people consider a pinnacle of their musical heritage). Despite knowing many dance artists and having seen their performances, I was searching for a particular artist who matched my vision. Then I saw a photo of Prerona Bhuyan on Facebook and felt I had found the artist I was looking for. I contacted her, and she came. We connected again during the COVID-19 lockdown, where Prerona choreographed. It was an excellent work of art. Our last collaboration was the choreography of "Vande Mataram," which we screened as the opening film at the Chalachitram National Film Festival.   

I observed that this talented duo, Prerona Bhuyan and Madhusmita Bora, took dance seriously and genuinely tried to connect with dance lovers through the Assam dance form. I wanted to learn more about their journey in detail. I asked them; they replied...

Q: Could you share with us the unique essence of the Sattriya Dance Company? What is the philosophy behind your dream project? How does it function?

Prerona Bhuyan: The Sattriya Dance Company came into existence in 2009. Both Madhusmita and I loved dancing and were training together when we were offered our first three shows. I was inspired to dance by my mother, and after a brief hiatus following her passing, I continued with the encouragement of my sister-in-law, who also loved dancing. Despite practicing different dance forms, I was drawn back to my roots. Interestingly, although Madhusmita and I are dance partners, we live on completely different continents. We travel long distances to practice and perform together. In 2009, I stayed in the USA for six months, and our major career-starting shows included performances at the New York Public Library of Performing Arts and the Idea Dance Festival in Virginia. Our mentor, Kathak maestro Janaki Patrik, advised us to choose a simple name for our company, which led to the formation of the Sattriya Dance Company. Our mission is to share our love for Sattriya with the world, and we have travelled extensively to promote this art form. Our children are homeschooled to accompany us during our travels, often staying in green rooms while we perform. We operate trans-continentally, with me in India and Madhusmita in the US, usually managing our shows independently. 

Madhusmita Bora: The Sattriya Dance Company is a labour of love for Prerona and me. We founded the company with a mission to promote, archive, and spread awareness about Sattriya. We believe in equity and pride ourselves on working with marginalized communities, using our work as a vehicle for social change. Sattriya embodies ideals of peace, love, and community building, and we use it to celebrate indigenous rights, people, and cultures. We strive to stay true to the form and its origins while embracing diverse audiences. Our work is driven by love for art, each other, food, and community. For us, dance and music are ways of life, and our children, who often critique our work, have grown up immersed in this philosophy.

Q: You are performing Sattriya Dance in front of an audience unfamiliar with this 500-year-old tradition. How does the audience react to the performance?

Prerona: Besides the United States, where we frequently perform, we have also showcased Sattriya in London, Singapore, Mexico, and various venues in India. The response has always been positive, often leading to repeat invitations. Our performances adhere to the traditional 550-year-old movements created by Srimanta Sankardev, taught by our adhyapaks, while adding new elements to each show. In the US, audiences unfamiliar with Sattriya often describe our performances as divine and spiritually uplifting. We provide context and summaries of the mythological stories we portray, and audiences appreciate the clarity and expression in our dance. Our shows have received coverage from prestigious international and Indian publications, which helps spread awareness about Sattriya.

Madhusmita: I’m sharing some close-to-heart dream projects:

1. Threads of History: Resurrection of a Textile - Pew Center for Arts & Heritage
2. Local Voices: Sattriya Dance Company - Grounds for Sculpture
3. The Table Sessions: Madhu - Intercultural Journeys

The last project involved pairing food with dance and music, creating a unique immersive experience in Assamese culture. Held in an old cathedral in Philadelphia, we collaborated with Chef Babi Borah and her sister Buli Borah to offer traditional Assamese cuisine. This performance was particularly special as it intertwined personal and mythological narratives, food, poetry, and live music.

Q: As a performing artist, how do you feel presenting an oriental traditional dance to a western modern audience?

Prerona: Every performance is unique, influenced by the audience's energy. At a recent performance at the Table Sessions Intercultural Journeys, we experienced varied reactions over three days. The audience on the first day was calm and reverent, while the second day saw a joyful and excited crowd. The third day's audience was emotionally moved, with many expressing how the performance deeply touched them. The presence of our mentor, Janaki Patrik, added a special significance. Performing Sattriya, whether in India or abroad, we have been fortunate to receive positive engagement from audiences, which fuels our passion as dancers.

Madhu: Dance and music are universal languages, and Sattriya is always received with love. We invite audiences into our stories, lives, movements, and music, breaking the fourth wall to demystify the dance and welcome them into our world. As a woman far from my homeland, practicing Sattriya is an act of resistance and connection to my roots. We carry our ancestors' legacy and share it with our audience, resonating with them deeply.

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Q: How do you manage the music, lighting, and other elements of your performances?

Prerona: For festival performances organized by others, we provide technical details, and they handle arrangements. For our productions, we handle everything from inception to execution, including hiring technical staff, setting up props, and even creating Sankari paintings for projections. Our sons, now 12 and 16, assist with various tasks, from decoration to ushering. We’ve learned different skills over the years, and our dedication to our craft is unwavering.

Madhu: Our productions are entirely grant-funded, allowing us to work with managers, light and sound artists, and volunteers who have become family. We are intentional about hiring women and marginalized communities, creating a trust-based, holistic team environment.

Q: Do you feel the need for specific support from cultural organizations or the state government of Assam?

Prerona: We are grateful for the recognition and opportunities we've received. However, acknowledgment and support from our home state of Assam would be meaningful and affirming.

Madhu: While we haven't sought support from the government, it's essential for artists to receive recognition and funding. Artists are custodians of culture and tradition bearers, but they also have practical needs and responsibilities.