My first doctoral research topic was on ‘Rhythmic patterns of Sattriya dance: an attempt to systematize the diverse forms as practiced in different Satras’ - the research was to collect the numerous rhythmic techniques practiced in different Satras, find the common trend, systematize the diverse forms for documentation, and define their characteristics as per application procedure of physical and emotional aesthetic of the Sattriya dance form. Similarly, my postdoctoral research, which is still going on, focuses on a specific topic titled 'An account of functional integration of awareness through the movement'. It explores how we could cultivate our conscience capability through appropriate mobility. The mobility is an essence of life for any living being that stimulates the central nervous system and impacts all voluntary and non-voluntary actions executed through the limbs. Like other Indian classical dance forms, Sattriya also has some unique components that make Sattriya differs from its counterparts. Naturally, this attracts many students from different domains, including some who have been learning other forms of classical dance. I also believe, the super soft and elegant movement of the limbs, wave, floating and swaying motion of the body, coupled with the emotion of surrendering oneself with the bhakti-bhava -devotional sentiments are the principal elements which have been attracting elements for the learners.

Traditional training procedure of the Satra has been sustained through oral tradition and permanent habitant in a specific campus. The day to day activities of the Satra are completely unwritten but still prevalent under a systematic curriculum on the basis of its own methodology. Each subject is supervised by a principal adhyapak. But in case of dance and drama, there are some assistant Adhyapaks who assist the principal adhyapak during the teaching and performance sessions. It is compulsory for each and every member of the Satra to enrol in dance classes from their first commencement to the Satra at a very tender age. Of course, there are some options to choose more subjects if someone wants to learn. Usually burhabhakat –the guardians, leads the young devotees learn from each subject so that they may enhance their interests. This is the reason why most Satra residents are accomplished in different disciplines. For non- Satra pupils, of course, there are some differences, not in technique rather in the procedure of teaching methodologies. Strong teaching methodologies are not suggested for the non-Satra students for whom the art is more like a profession and the relevant course needs to be completed within a specific period of time.

It is a very relevant question we always deal with. It would be better if such boards could run under a specific Govt.-run university. But technically it is quite arduous, because, the concerned boards then have to follow the academic norms prescribed by the universities and schools. If that happens, the board will fail to accommodate the majority pupils who mostly are enrolled in some other academic disciplines. This is unfortunate that India yet to promote integration of the art education with other academic disciplines and consider performing art as valuable as other academic streams.

Since the mentioned boards are not adhering to the academic rules and regulations of any government recognized authority, there is not much credibility of their certification to get a job in any school and college. Some universities are providing qualified degrees, but there is no any particular post against the Sattriya dance or music; several colleges are still striving to introduce the Sattriya in the curriculum. I believe we should raise our voice and demand to the concerned authorities in this regard. For non-performing Art degree such as MBA, M.Sc., M.A. etc. the candidate will have to acquire a master degree again in performing arts if they are willing to get job in universities or colleges and want to pursue extensive Ph.D. or other academic research programmes. However, let me say that these all formalities for the academic purposes only. Art is beyond that. No need any formal degree or certificate to be an accomplished dancer or musician or a teacher of any performing art. We have many great legends in Indian performing arts without having a single degree. Artists are self-survivable; therefore art will not be abandoned

There are plenty of opportunities to enroll in an academic as well as a professional research programme for an eligible candidate. Most of these opportunities are provided by the overseas universities. Nowadays it’s easy to access any requisite link through Internet. I am just mentioning few prestigious fellowships below: • Fulbright-Nehru Master’s Master/Doctoral Research/Postdoctoral Research/Academic and Professional Excellence Fellowships. • American Institute of Indian Studies Senior Performing and Creative Arts Fellowships • The Phyllis Lamhut Tisch dance scholarships. • Harvard University’s Artist Development Fellowships. • Fellowships from Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) • Scholarships from University of Music and Performing Arts Vienna.etc.

In 2008 after starting the training institute in New Delhi, I led my dance group to Europe for one month long tour with dance performances and workshops. The activities have gradually been expanded to different parts of the globe- not only for the performance and workshop, but also for the academic purpose through association with some prestigious Universities, like- Paris-VIII University, & University of Toulouse, France, King’s College University of London, Brown University & Drexel University, USA. National Autonomous University of Mexico, Dali university, China and Dhaka University, Bangladesh. The first master degree in Sattriya dance was obtained from Paris-VIII University in 2013, whereas the first batch of Master’s degree course from the Dibrugarh University was out three months later than the Paris-VIII. Then a doctoral degree was also pursued from King's College London in the last year. Till to date, more than thousands of foreign students have been engaged in Sattriya training as well as in academic study in different countries like- France, England, United State of America, Hong Kong, Switzerland, Germany, Italy, Portugal, Mexico, Columbia, Brazil, Russia, Denmark, Norway, Belgium, Belarus, Chile, China, Bangladesh etc. Due to the continuation of the multinational training processes, we are able to execute some remarkable projects as well; I want to mention two below- • The Vrindavani Vastra research cum production project- this project was started in 2009 and its work has been presented in the Musee Guimet, Paris, British Museum, London and Philadelphia Museum of Arts, USA. There were also performances of about 100 shows in different prestigious festivals, museums and universities of different countries. • Ankia Bhaona production project- Several Ankia Bhaona were enacted by the foreign students in different foreign languages. They are- Parijat Haran in French Language by students from France, Italy, Belgium and Denmark; Ram-vijoy in Spanish Language by students from Mexico, France, Italy, Belgium, Denmark and Slovenia; Keli-gopal in English Language students from Brown University , USA. It has been a fulfilling experience for me to engage in Sattriya activities outside India. In addition to the above, we have a strong and long activities list as well.

You are absolutely right! Sattriya already has a powerful tool called matiakhora for physical as well as mental nourishment which are considered milestones of a dance practitioner. Etymologically, the word Matiakhora means rehearsal aground. In another sense, maṭi refers to the soil and akhora for dig. It is essential to plow the soil properly before any cultivation procedure. Likewise, the Matiakhora nurtures the each and every posture with its fairness of movements. The Matiakhora was introduced in Sattriya through the dramatic works of Mohapurukh Srimanta Sankaradeva as he had mastery in different disciplines including Naṭyashastra and Yoga-shastra. Hence, it is observed that some postures that are seen in Sattriya are exactly same as those seen in Yoga. The matiakhora is still practiced on a regular basis in the celibacy Satras not only to develop the artistic skills, but also to maintain equilibrium among physical, mental and spiritual states. It is very necessary to create awareness among the common people about the benefits of matiakhora. Through regular practice, we can live a healthy and prosperous life. I am happy to inform you that, I have been introducing the matiakhora as a fitness exercise like yoga) in international platforms since 2009.

In general, the word ‘therapy’ is an act of caring for someone as medication or remedial training. Like other mediums, dance is also used as a psycho-therapeutic tool to promote emotional, social, cognitive and physical integration of any Individual. Although the actual benefits are not yet fully known, the services have been provided with all forms of art through the traditional festivals. If any dance form is used for therapeutic purpose, there is possibility that it will affect the authenticity of any form of dance. In therapy, the client needs not to follow the exact details of the dance movement. Thus, the client has the freedom to go ahead only with the flow of any dance movement so that he/she can adapt the steps as per acceptance of the body. As a traditional practitioner of a dance form, it's quite difficult for us to allow our dance form to be distorted. It's also true that we may utilize our dance form for healing purpose without compromise of its authenticity. The dance itself is a unique healing apparatus with an infinite beauty of rhythm, emotion, posture, music and costume. Having said that, I believe there are some great options for an intensive research on this topic to explore the numerous possibilities ahead.

I would like to share here one of my experiences that happened in 2018 during the US tour to present my “Vrindavani Vastra” project. I was invited to an Intermediate School to interact with the students who had inherent anxiety disorder. The teenage students were so impatient that they couldn't sit for a while without support of some other persons. Few of them were roaming around and some tried to run away from the room. It was a totally chaotic situation that I couldn't control. I had to change my plan as per the demand of the situation, keeping my motive the same. I requested to the teachers to let them do whatever they want. We did a khol-playing like gayan-bayan, but more vigorous than what gayan-bayan usually does. Finally, the resonance of the khol's sound attracted to the students and they become passionate to watch the performance. The students who left the room earlier, gradually returned. They were trying to imitate the steps used in the khol playing. After a while, when they were tired, I requested them to sit on the floor. Then, a beautiful flute piece was played which made them immersed into pleasant emotion. The whole lot of chaotic students became quiet and interestingly, they joined us for practicing matiakhora, dance and basic singing procedure for about three hours. The staff of the school was astonished to see the changing behavior of their students. The school principal expressed the gratitude with a weeping throat. We were ecstatic after receiving their utmost regards. The students became emotional- some of them came close to us and touched; some of them were just falling short of weeping. This is the real virtue of any art form; especially the great guru Srimanta Sankaradeva gives us this Sattriya art for spreading the love and compassion what we called bhakti -the real healing tool of mankind.