French dancer finds lifelong calling in Assam’s Sattriya tradition

A growing global interest in Sattriya has found a compelling face in Perrine Legoullon, a French national who has spent nearly a decade immersing herself in one of Assam’s most deeply rooted classical traditions. Her journey from Paris to the Vaishnavite monasteries of Assam reflects how Sattriya has steadily moved beyond regional and national boundaries.

Legoullon’s first encounter with Sattriya did not take place in Assam but in Paris, where a performance by renowned exponent Bhabananda Borbayan sparked her interest. Already trained in Odissi, she chose to pursue Indian classical dance more seriously after completing her Master’s degree, relocating to India in 2018.

Delhi became her base, where she underwent formal Sattriya training under Meenakshi Medhi, completing her Gunin and deepening her understanding of the form. Sattriya, recognised as a classical dance form in 2000, remains closely tied to ritual practice in Assam’s Satras, where it continues to be performed as an expression of devotion.

Rooted in the Bhakti movement initiated by Srimanta Sankardeva, Sattriya blends dance, drama and music, retaining a strong spiritual core even as it reaches wider audiences. Over recent decades, teachers emerging from the Satras have taken the form beyond monastery spaces, enabling students from across India and abroad to engage with it.

Though based in Delhi, Legoullon regularly travels to Assam to visit Satras and remain connected to the tradition’s living context. She has also observed a steady rise in international interest, with students now learning Sattriya in regions as far as South America and Europe.

The learning process, she acknowledges, extends beyond physical technique. Understanding Assamese culture, language, devotional texts, and the specific nature of Bhakti has been central to her training, requiring time and sustained engagement.

Contrary to concerns about waning interest among younger generations, she notes strong participation by youth in Assam, particularly after Sattriya’s classical recognition. She believes continued institutional support through festivals, platforms and scholarships is key to sustaining this momentum.

Legoullon’s family in France has remained supportive of her artistic path, despite initial surprise at her decision to commit herself to an Indian classical form. Looking ahead, she hopes to organise workshops and performances across Europe to introduce wider audiences to Sattriya.

Her husband, Partha Pratim Hazarika, an Indian citizen and trained theatre professional, is also a Sattriya dancer. Together, their work reflects how the form is increasingly finding ambassadors beyond its place of origin, while remaining anchored in Assam’s cultural and spiritual landscape.