India International Centre hosted a talk event that focused on the <g data-gr-id="25">taal</g> and percussion of the Sattriya dance tradition, on May 20. The <g data-gr-id="26">Sattras</g> of Assam <g data-gr-id="18">reveal</g> a rich <g data-gr-id="27">taal</g> and percussion performance tradition, built around the <g data-gr-id="28">Khol</g> and the Cymbals. This illustrated lecture by Arshiya Sethi and <g data-gr-id="29">Bhabanand</g> Borbayan revealed the origins, and some of the patterns, and intricacies of Rhythm in the Sattriya culture.
Arshiya Sethi, a <g data-gr-id="17">well known</g> writer on cultural issues, has studied Sattriya Culture for her doctoral dissertation. <g data-gr-id="23">Bhabhanand</g> Borbayan, a practicing monk from the Uttar Kamalabari Sattra, Majuli, <g data-gr-id="24">competed</g> his Doctoral dissertation on Tala Patterns of Sattriya Dance, from Rabindra Bharati University.
Sattriya is one among the eight principal classical Indian dance traditions. In the year 2000, the Sattriya dances of Assam received recognition as one of the eight classical dance forms of India. Whereas some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the founder of Vaishnavism in Assam. Traditionally, Sattriya was performed only by <g data-gr-id="21">bhokots</g> (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 <g data-gr-id="22">sattras</g>, on themes not merely mythological.