In Assam’s cultural landscape, where tradition meets modernity, Partha Pratim Hazarika shines as both an accomplished actor and a devoted Sattriya dancer. From a young age, he was inspired by Assamese devotional traditions as well as theatre and film, shaping his unique artistic journey.
For Hazarika, Sattriya is more than just dance — it is a philosophy, blending spirituality, storytelling, and performance. Through this classical form, he brings to life episodes from the Ramayana, Mahabharata, and BhagavataPurana.
Alongside his devotion to dance, Hazarika has earned recognition as an actor. One of his most memorable roles was portraying cultural icon Zubeen Garg in the Assamese film Bhaimon Da — a role that was both challenging and rewarding.
In this candid conversation, Hazarika shares insights about his journey, his love for Sattriya, his experiences as an actor, and how he bridges the worlds of tradition and modern performance.
Q. You’ve been closely associated with BadalaSatra in Narayanpur. How did your early connection with this institution shape your journey in Sattriya?
A. I was associated with both BadalaSatra and BelguriSatra, as they were close to my home. Because of this early connection, Sattriya became a way of life for me rather than just a dance form. Later, I discovered deeper meanings in those lessons and traditional practices, which have always helped me grow both as an individual and as an artist.
Q. Sattriya is both a spiritual and artistic tradition. What drives your passion for preserving and promoting it in today’s fast-changing cultural landscape?
A. What drives me is the realization of the immense richness of Sattriya, both artistically and spiritually. I feel this tradition has not yet been fully explored or understood, especially by the younger generation. We often don’t realize the value of living traditions that carry a legacy of more than 500 years.
In today’s age of AI and rapid digitalization, information is abundant, lifestyles are changing fast, and communities are adapting quickly. But in this process, it becomes difficult to hold on to originality. That is why I believe it is crucial to preserve something of our own. It gives us uniqueness, a distinct identity, and makes others curious about our way of life. Without it, no one will care to know about us, our culture, or our heritage — and eventually, we risk losing our identity. This realization is what constantly drives me to preserve and promote Sattriya.
Q. You’ve made deliberate efforts to introduce Sattriya to people unfamiliar with it. What’s your approach to making such a deeply rooted art form accessible to wider audiences?
A. My approach is quite pragmatic because I often work with non-dancers — actors, movement practitioners, performance makers — and, importantly, most of them are not Assamese. For them, understanding the philosophy of Sattriya can be challenging. Some may not be familiar with concepts of God or religion, or the distinction between spirituality and religion.
When it comes to audiences, the key is to perform widely and make the art form visible. At the same time, it is essential to preserve the uniqueness and originality of the tradition. My aim is to maintain the traditional values and teachings of Sattriya while presenting it in a way that resonates with modern sensibilities and contemporary aesthetics.
Q. Your wife Perrine is a French national and a Sattriya dancer. How did the two of you meet, and how did your shared passion for the art form bring you together?
A. We met through dance. I was a dance examiner for an exam, and later we met again at another event. We started talking, and as we discussed art, creativity, life, and everything in between, we realized that we shared a common understanding, a mutual passion for Sattriya, and similar life goals. Ultimately, it was our shared love for the art form that brought us together.
Q. In what ways has Perrine contributed to your growth – both as an artist and as a person?
A. She is a wonderful human being — passionate, kind, and possessing great judgment. These qualities continually inspire me to be a better person. Coming from a different culture and upbringing, she brings fresh perspectives to the process of art-making. Being French, her way of questioning and sometimes challenging ideas gives me deeper insights into my artistic journey and helps me grow both as an artist and as an individual.
Q. Perrine went on to become the first non-Assamese ‘Gunin’ in Sattriya. How has your shared artistic practice evolved over time?
A. Over time, our understanding of Sattriya, Assamese society, and Indian culture has evolved. Through years of practice, we have learned to adapt to each other’s working styles, which wasn’t easy initially — now we argue less and collaborate more smoothly. Becoming a ‘Gunin’ requires a minimum of six to seven years of dedicated practice, and investing that much time in the dance form allows one to grow deeply as an artist. Through this shared journey, we continue to grow both as individuals and as artists.
Q. Playing a living legend like Zubeen Garg in Bhaimon Da must have been both exciting and daunting. How did you prepare for the role, and what was the most challenging part?
A. Yes, it was both exciting and daunting. The most challenging part was embodying the essence and aura of Zubeen Garg. His spirit is so deeply rooted in the minds of the Assamese people that recreating that image authentically was extremely difficult.
Q. Your portrayal of Zubeen Garg was widely appreciated. What kind of feedback from audiences – or from Zubeen himself – stayed with you the most?
A. I’m truly grateful to the audience for their appreciation. I remember one lady telling me that Zubeen Garg was not her favourite initially, but after seeing my portrayal, she began to like him — that compliment stayed with me. Zubeen Daa himself said he loved it and was very happy, and his words left a lasting impression. Another feedback that touched me was from the Gen Z audience: they hadn’t seen the older Zubeen Garg before, and through my performance, they got to experience that version of him.
Q. You’ve also acted in Sundarpur Chaos and other projects. How has acting influenced your understanding of movement and performance in Sattriya?
A. Acting is a different art form compared to dance, but studying it has greatly enhanced my understanding of movement and performance in Sattriya. Acting emphasizes the connection between mind and body. In the beginning, when learning any dance form, one often focuses on steps without fully understanding the deeper meaning behind them. Applying acting to dance movements helps me grasp the intention, the emotion, the beginning, middle, and endpoint of each movement. This deeper insight, gained through acting, has enriched my approach to Sattriya and performance overall.
Q. You’ve been part of re-creations of Bishnu Prasad Rabha’s classics. How do you see his artistic legacy connecting with today’s generation?
A. Bishnu Prasad Rabha’s artistic legacy was never limited to art alone. His vision integrated dance, music, theatre, and literature as tools for social awakening. His work encourages us to reflect on our own creations — whether they are merely for entertainment or intended as a mirror of society. Rabha’s artistry blends tradition and modernity, incorporates political consciousness, and gives voice to the common people, all while maintaining a beautiful aesthetic that continues to resonate with today’s generation.
Q. You’ve drawn parallels between Sattriya movement and the Stanislavski system. Can you share an example of how these two worlds meet in your practice?
A. The Stanislavski system, largely based on his books An Actor Prepares, Building a Character, and Creating a Role, emphasizes how an actor should prepare for their artistic journey. This preparation is quite similar to the training of a Sattriya dancer. Stanislavski focuses on the connection between body and mind and the flexibility of muscles — which is also taught at the very beginning of Sattriya training through Matiakhora to develop physical and muscular flexibility.
He also emphasizes experiencing rather than merely representing. In Sattriya, training begins with a similar principle: the dancer must experience each movement carefully. For instance, the guru teaches: ‘Yato hasta tatodrishti… Yatodrishtitatomanaha… Yatomanahatato bhava… Yato bhava tato rasa’— meaning, “Where the hand gestures go, the eyes follow; where the eyes go, the mind follows; where the mind goes, the emotions follow; and where the emotions go, the essence (rasa) follows.” Every movement in Sattriya engages the mind and body, ensuring the dancer is fully present in the moment, experiencing the performance rather than just executing it.
This mirrors Stanislavski’s concept of concentrated attention. Many Western acting systems, like Stanislavski or Grotowski, were in fact influenced by Indian arts such as Kutiyattam and Yoga, and similar principles exist in Sattriya. However, Sattriya remains largely unexplored outside its tradition. If people understand it deeply, they can move beyond repetitive, stereotypical practice and discover its profound artistic and spiritual essence.
Q. Looking back at your journey so far, could you share some of your past projects that shaped you as an artist, and tell us about what you’re currently working on?
A. Even in school, projects like Antigone and Mother Courage, along with classical productions, shaped me as an artist. Training in Kutiyattam, Chhau, and Kalaripayattu further enriched my journey. I’ve worked on devised and solo productions, incorporating Sattriya elements and personal experiences.
Currently, I’m preparing a solo production based on Rashmirathi, and my upcoming projects include the Assamese film Good Bye Guruji and choreography for an upcoming French film.
Q. When you’re not immersed in work, what are some activities or hobbies that truly make you happy?
A. When I’m not working, I enjoy cooking, painting, and watching movies — simple activities that truly make me happy.
Q. Who are your favourite filmmakers, actors, or films that have inspired your creative vision?
A. Some of my favourite filmmakers include Akira Kurosawa, Andrei Tarkovsky, Martin Scorsese, Quentin Tarantino, Satyajit Ray, Bhabendra Nath Saikia, and Jahnu Barua. As for actors, from Hollywood I admire Al Pacino, Dustin Hoffman, and Daniel Day-Lewis. From Bollywood and Assamese cinema, I am inspired by Irrfan Khan, Naseeruddin Shah, Om Puri, Raghubir Yadav, Adil Hussain, Arun Nath, and Moloya Goswami.
