Assam is one of the most culturally rich states of India. Its culture has been shaped by the meeting of many peoples — Austro-Asiatic, Tibeto-Burman, Tai (Shan) and Indo-Aryan — who came into the Brahmaputra valley at different times. The result is a composite culture in which tribal and non-tribal, folk and classical streams live side by side and enrich one another.

The single most powerful force that gave Assamese culture its unity is the Neo-Vaishnavite movement of Srimanta Sankardeva (15th–16th century). Through the Namghar (prayer house) and the Sattra (monastery-cum-cultural centre), Sankardeva and his disciple Madhavdeva spread a common faith, a common literature and a common art. Around these institutions grew the Sattriya dance, Ankia Naat (drama), Borgeet (devotional songs), manuscript painting and mask-making.

Alongside this classical stream, the tribal communities — Bodo, Mising, Karbi, Dimasa, Rabha, Deuri, Tiwa and others — have preserved their own languages, festivals, dances and handicrafts. The Tai-Ahom tradition, with its cult of the ancestors (Me-dam-me-phi) and its royal monuments, forms yet another strand. Assam's culture is therefore not one single thing; it is a beautiful synthesis.

The culture of Assam is deeply connected to nature and to agriculture. The three Bihus mark the sowing, the caring and the reaping of the paddy crop. The Gamosa (woven cloth with red borders) is the symbol of Assamese identity — offered to guests as a mark of respect and to the gods in prayer. The Xorai (bell-metal vessel) and the Japi (bamboo hat) are the other famous symbols of the land.

Key points to remember:

• Assamese culture is a composite of tribal and Indo-Aryan, folk and classical streams.
• The Neo-Vaishnavite movement of Srimanta Sankardeva gave Assam cultural unity.
• The Namghar and the Sattra are the two great institutions of Assamese cultural life.
• Classical arts born in the sattras: Sattriya dance, Ankia Naat, Borgeet, manuscript painting.
• Tribal groups (Bodo, Mising, Karbi, Dimasa, etc.) and Tai-Ahom heritage enrich Assamese culture.
• The three Bihus are tied to the agricultural year; Gamosa, Xorai and Japi are cultural symbols.

Sattriya dance is one of the eight classical dance forms of India recognised by the Sangeet Natak Akademi. The Akademi granted it this status in the year 2000. It is the only classical dance of the North-Eastern region of India.

The dance was introduced by Srimanta Sankardeva in the 15th–16th century as a medium of religious expression. It was performed by the celibate monks (bhokots) of the sattras as part of the Ankia Naat and Bhaona (religious theatre). For centuries it remained confined inside the sattras, performed only by male monks. In the 20th century it was taken out of the sattras and presented on the public stage, and today it is performed by women as well.

There are broadly two streams of Sattriya dance:

• The dance performed inside the Ankia Naat, which includes the entry dances of the actors (like the Sutradhara and Gayan-Bayan) — these are the oldest forms.
• The pure dance numbers (Matri Akhora, Jhumura, Chali, etc.) which are performed independently on the stage.

Sattriya dance is based on the classical rules of the Natyasastra. It makes elaborate use of hastas (hand gestures), mudras and body postures, and has its own vocabulary of movement. It is danced to the accompaniment of the khol (drum), taal (cymbals), flute and borgeet (devotional songs). The male dancers wear the bright kach (a traditional Assamese costume) while female dancers wear the colourful riha and mekhela.

Famous modern exponents who brought Sattriya to the world stage include Guru Jatin Goswami, Guru Ghanakanta Bora and Dr Indira P. P. Bora. The dance today is taught in institutions such as the Sangeet Natak Akademi centres and the Sri Sri Sankardeva Kalakshetra, and it has won national and international fame.

Key points to remember:

• Sattriya is the classical dance of Assam, recognised by the Sangeet Natak Akademi in 2000.
• It is the only classical dance from the North-East of India.
• It was created by Srimanta Sankardeva in the 15th–16th century.
• It was traditionally performed by male monks (bhokots) inside the sattras during Bhaona.
• The two streams are the dance inside the Ankia Naat and the pure dance forms.
• Instruments used: khol, taal (cymbals), flute; songs are borgeets.
• Modern gurus: Jatin Goswami, Ghanakanta Bora, Indira P. P. Bora.

The folk dances of Assam are joyous expressions of the common people, performed mainly at festivals, marriages and religious occasions. The most famous is the Bihu dance, performed during Rongali or Bohag Bihu (the spring festival of mid-April).

The Bihu dance is performed by young men and women in the open fields. The dancers make fast, brisk movements of the body, hips and hands while the boys play the dhol (drum) and the pepa (a pipe made of buffalo horn). Other instruments of Bihu are the gogona (bamboo jew's harp), toka (clapper of bamboo) and the taal (cymbals). Modern stage Bihu, with choreographed groups, is a popular urban form and is seen at Bihu functions across the state and abroad.

Besides Bihu, each community of Assam has its own beautiful dances:

• Bagurumba — the famous butterfly dance of the Bodo community, performed by girls in colourful dokhnas.
• Bardwisikhla — a Bodo dance connected with their worship of the deity Bathou.
• Gumrag — the dance of the Mising community.
• Chong-a dance of the Karbis and the Chomangkan — performed at the great memorial festival of the Karbi people.
• Deodhani — a dance of the Ojapali tradition performed in the worship of the goddess Manasa.
• Various village dances of the plains and of the hill communities of the state.

Key points to remember:

• The Bihu dance is performed during Rongali/Bohag Bihu and is the most famous folk dance of Assam.
• Bihu instruments: dhol, pepa, gogona, toka, taal.
• Bagurumba (butterfly dance) is the famous dance of the Bodo community.
• Gumrag is the dance of the Misings; Chomangkan is a Karbi memorial dance-festival.
• Deodhani is danced in the worship of goddess Manasa.

Borgeet (literally 'great songs') are the devotional songs composed by Srimanta Sankardeva and his principal disciple Madhavdeva in the 15th–16th century. They are the earliest specimens of Assamese classical music and remain the musical treasure of the sattras.

The borgeets are composed in the Brajavali language, a literary language which was simple enough for the common people to understand. They sing the glory of Lord Krishna, the devotion of the devotee, and the philosophy of surrender (sarana) to God. The most famous borgeets are those that sing the glory of Krishna and describe His childhood, such as the morning and evening prayers of the sattras.

Musically, the borgeets follow the classical raga system. Each borgeet is set to a particular raga and tala (such as raga Sri, Gaud, Vasanta and others), which shows the deep influence of Hindustani classical music on the composers. They are sung daily in the sattras at fixed hours — at dawn, at noon and in the evening — during the naam-prasanga (community prayer). The borgeet is also the song basis of Sattriya dance.

The borgeet tradition is sung by the bhokots (monks) of the sattras, with the accompaniment of the khol and taal. Besides borgeets, the sattras preserve other musical forms such as the Ankia Naat songs, and the musical renderings of the plays. The tradition influenced later Assamese music deeply and continues to be taught in institutions like the Sri Sri Sankardeva Kalakshetra.

Key points to remember:

• Borgeets were composed by Srimanta Sankardeva and Madhavdeva in the 15th–16th century.
• They are written in the Brajavali language.
• They are raga-based classical devotional songs; important for Assamese classical music.
• Borgeets are sung daily in the sattras and form the musical base of Sattriya dance.
• Instruments used: khol and taal.
• Famous ragas used include Sri, Gaud, Vasanta, etc.

The folk music of Assam is as varied as its people. Every festival, every season and every occupation has its own song. The Bihu songs (bihugeet) celebrate love and the spring; the Huchari songs are sung in groups during Rongali Bihu; and the Tokari geet are sung to the accompaniment of the tokari (a stringed instrument). Mothers sing soothing cradle songs to their babies, and the women of a family sing joyful songs at weddings.

The Ojapali is a very old narrative art form in which a leader (Oja) sings and tells stories from the epics and the Manasa legend, while his assistants (Pali) repeat the refrain. There are two main traditions of Ojapali — the Maroi (worship of goddess Manasa) and the Sukananni (the legend of Behula-Lakhindar). The Deodhani dance is connected with the Ojapali tradition.

The distinctive musical instruments of Assam include:

• Dhol — the big drum, the heart of Bihu music.
• Pepa — a pipe made from buffalo horn, played during Bihu.
• Gogona — a jew's harp made of bamboo, played by girls.
• Toka — a bamboo clapper.
• Tokari, Dotara and Ektara — stringed instruments of the folk musicians.
• Baanhi (flute) and Xutuli (a small clay whistle).
• Khol and Taal — used in the sattras for borgeet and Sattriya dance.
• The tribal communities have their own drums, such as the khram of the Bodos and the cheng of the Misings.

Key points to remember:

• Bihugeet, Huchari, Tokari geet, wedding and cradle songs are the main folk songs.
• Ojapali is an old narrative art of the epics and the Behula-Lakhindar legend.
• Main instruments: dhol, pepa, gogona, toka, tokari, dotara, ektara, baanhi, xutuli.
• Khol and taal accompany borgeet and Sattriya dance in the sattras.
• Tribal drums: khram (Bodo), cheng (Mising).

Medieval Assam produced a rich tradition of illustrated manuscripts written on sanchi (the bark of the aloe or agar tree) or on tulapat (paper made from the bark). The scribes and painters of the sattras copied the religious texts and decorated them with beautiful miniature paintings. The earliest known illustrated Assamese manuscript is the Chitra Bhagavata, prepared in the time of Sankardeva. A famous secular manuscript of this school is the Hastividyarnava, an illustrated treatise on the art of capturing and training elephants, prepared for the Ahom kings in the 16th century.

The painters used natural colours prepared from minerals and plants. The main colours were hengul (red, made from cinnabar) and haital (yellow, made from orpiment), from which Assamese miniature painting is often called the 'Hengul-Haital' school. The lines are bold, the figures are simple and full of life, and the borders are decorated with designs of flowers and creepers. This style is called the 'Puthi' (book) painting style.

The visual arts of Assam also include sculpture in stone, wood and terracotta. The remains of the Kamarupa period temples show fine sculpture work. Wooden images of gods and the carved doors of the namghars show great skill. In modern times, painters like the members of the Assam art scene have carried the tradition forward, and the craft of painting on manuscripts is still preserved in some sattras, especially in Majuli.

Key points to remember:

• Illustrated manuscripts were written on sanchi (aloe bark) and tulapat.
• The Chitra Bhagavata is the earliest known illustrated Assamese manuscript.
• The Hastividyarnava is a famous illustrated treatise on elephants for the Ahom kings.
• Natural colours hengul (red) and haital (yellow) give the style its name 'Hengul-Haital'.
• The style is also called the Puthi painting style.
• Sculpture in stone, wood and terracotta also forms part of Assam's visual arts.

Weaving is the most important craft of Assam. In almost every Assamese household the women weave cloth on handlooms. The silk of Assam enjoys world fame, and three kinds of silk are produced in the state.

The golden Muga silk is produced only in Assam by the silkworm Antheraea assamensis, which feeds on the leaves of the som and sualu plants. Muga is one of the costliest natural silks of the world and has a natural golden colour that cannot be obtained by dyeing. It is used for the finest garments, such as the mekhela chador and the gamosa worn on ceremonial occasions. Muga has been granted the Geographical Indication (GI) tag.

Pat silk is a white silk produced by the mulberry silkworm, while Eri silk (also called endi) is a warm, soft silk made by the eri silkworm which feeds on castor leaves. Eri is spun from open cocoons without killing the worm, so it is often called the 'ahimsa' (non-violent) silk. It is used to make warm wraps and quilts.

The handloom products of Assam include:

• The Mekhela Chador — the two-piece dress of Assamese women.
• The Riha and the Aronai — a cloth used to cover the upper part and a small scarf offered as respect.
• The Gamosa — the most famous symbol of Assam, a white cloth with red (or coloured) borders, used to welcome guests and in every religious and social ceremony.
• The Japi — a woven bamboo hat; and warm shawls and wraps of eri and muga.

The centre of the handloom industry is Sualkuchi in the Kamrup district, which is known as the 'Manchester of the East'. The weaving of muga and the gamosa has been given GI tags, and the central and state governments run many schemes to help the weavers.

Key points to remember:

• Three silks of Assam: Muga (golden), Pat (white) and Eri (warm, soft).
• Muga is produced only in Assam by Antheraea assamensis feeding on som and sualu leaves.
• Eri is called 'ahimsa silk' because the cocoons are not killed.
• The Gamosa is the symbol of Assamese identity; the Mekhela Chador is the women's dress.
• Sualkuchi (Kamrup) is the 'Manchester of the East'.
• Muga and Gamosa have been granted GI tags.

The handicrafts of Assam reflect the skill of its village artisans and the resources of its forests and rivers. Cane and bamboo work is the most widespread craft. Baskets, fishing traps, mats, furniture and the famous Japi (hat) are made from cane and bamboo in almost every district. The Japi of Nagaon and the cane furniture of Assam are especially well known.

The metal crafts of Assam have a long tradition. Brass and bell-metal are used to make vessels and ornaments. The town of Sarthebari in Barpeta district is the famous centre of bell-metal craft, where the xorai (the offering vessel of Assamese culture) and the bota (a flat tray with a stand) are cast by hand. The Sarthebari bell-metal and brass craft has been given a GI tag. Gold and silver ornaments are made by the traditional sonari (goldsmith) families.

The mask-making (mukha shilpa) of Assam is one of the most artistic crafts of India. Masks are made of bamboo, clay, cow dung, cloth and natural colours, and are used in the Bhaona performances to show gods, demons and animals. The mask-making tradition is specially preserved in the Samaguri sattra of Majuli and has been given a GI tag. The artisans of Majuli also make beautiful wooden dolls and toys.

Pottery, woodcarving and the making of traditional jewellery complete the picture of Assamese handicrafts. The Assamese also make fine articles from the wood of the agar tree, whose oil (sandal-like fragrance) is famous.

Key points to remember:

• Cane and bamboo craft is the most widespread; the Japi is its most famous product.
• Sarthebari (Barpeta) is the centre of bell-metal and brass craft; xorai and bota are made there.
• Mask-making (mukha shilpa) is specially preserved at the Samaguri sattra of Majuli.
• Masks are used in Bhaona and are made of bamboo, clay, cloth and natural colours.
• Japi, Sarthebari metal craft and the Majuli masks have GI tags.

The Ankia Naat is the one-act drama written by Srimanta Sankardeva and his followers in the 16th century. Sankardeva himself is said to have staged the first play of Assam, the Cihna Yatra, at Bordowa, and his other famous plays include Kaliya Daman, Rukmini Haran, Keli Gopal and Patniprasad. Madhavdeva wrote plays such as Arjun Bhanjan, Bhumi Lotowa The plays are written in the Brajavali language so that all could understand them.

The special features of the Ankia Naat are:

• The Sutradhara (the narrator-conductor) who opens the play, sings the benediction and links all the scenes.
• The Gayan-Bayan, the group of singers and musicians who sit on the stage.
• The plays are staged as Bhaona in the namghar or in open village grounds, usually at night.
• The actors enter with graceful dance steps, and the whole performance is full of music, song and dance.
• Masks are used in some plays to show demons and animals; this use of masks is famous in Majuli.

Thus the Ankia Naat and Bhaona became the greatest popular theatre of Assam, and the Sattriya dance grew out of the movements used in it. Even today, Bhaona is performed in villages across Assam during Bihu and other occasions.

Assam also has a tradition of puppetry, known as the Putala Nach, in which dolls are manipulated by strings. This art, seen mainly during festivals, needs great skill and is today kept alive by a few dedicated families and cultural institutions.

Key points to remember:

• The Ankia Naat was created by Sankardeva; the first play Cihna Yatra was staged at Bordowa.
• The plays are in the Brajavali language.
• Sutradhara (narrator) and Gayan-Bayan (singers) are special features.
• Bhaona is the village staging of the Ankia Naat; masks are used for demons.
• Famous plays: Cihna Yatra, Kaliya Daman, Rukmini Haran (Sankardeva); Arjun Bhanjan (Madhavdeva).
• Putala Nach is the string-puppet theatre of Assam.

The festivals of Assam are closely tied to the seasons and to agriculture. The greatest of them all is Bihu, which is not one festival but three, marking the three stages of the paddy crop.

The three Bihus:

• Rongali or Bohag Bihu is celebrated in mid-April (the month of Bohag) to welcome the Assamese New Year and the spring. It is the merriest festival, with the Bihu dance, the Huchari (group singing by men) and much rejoicing.
• Kati or Kongali Bihu is a quiet festival of mid-October when the paddy is growing; the farmers light lamps (saki) in the fields and pray for a good crop.
• Bhogali or Magh Bihu comes in mid-January after the harvest. On the eve (Uruka) the young men build the bhelaghar (a hut of leaves) and the meji (bonfire), and at dawn they feast together on the special preparations.

The festival of Bihu is a symbol of Assamese identity celebrated by all communities of the state.

Besides Bihu, the state has many other festivals:

• Ambubachi Mela — the great fair held in June at the Kamakhya temple in Guwahati, attracting lakhs of devotees.
• Me-dam-me-phi — the ancestor-worship festival of the Tai-Ahom community.
• Ali-ai-ligang — the spring sowing festival of the Misings; and Porag — a festival of the Rabhas.
• Rongker and Chomangkan — the festivals of the Karbis.
• Baishagu (Bwisagu) — the spring festival of the Bodo people; the Deuris and other groups have their own festivals.
• The Raas Mahotsav — the colourful performances of the Raas Lila (Krishna's pastimes) staged in Majuli and other places during the full moon of November.

Key points to remember:

• Bihu has three forms: Bohag/Rongali (April), Kati/Kongali (October) and Magh/Bhogali (January).
• Magh Bihu features the bhelaghar, meji and the Uruka feast.
• Ambubachi Mela is held at the Kamakhya temple in June.
• Me-dam-me-phi is the Tai-Ahom ancestor festival; Ali-ai-ligang is a Mising festival.
• Rongker and Chomangkan are Karbi festivals; Baishagu (Bwisagu) is the Bodo festival.
• The Raas Mahotsav of Majuli shows the Raas Lila.

The traditional dress of Assam is simple, elegant and full of colour. The women wear the Mekhela Chador — a two-piece dress of which the mekhela is wrapped around the waist and the chador (a long cloth) is draped over the upper part of the body. Over it, on ceremonial occasions, they wear the Riha, a piece of cloth tied over the chador, and the Aronai, a small scarf that is offered to elders and guests as a mark of respect.

The traditional dress of the men consists of the dhoti and the chadar (suriya), worn with the gamosa on ceremonial occasions. The men wear the Dhoti and Gamosa, and during Bihu they dance wearing the folded dhuti and the gamosa round the waist or on the head. The Gamosa, with its red borders and woven designs, is the essential cloth of every ceremony — offered to the gods, used to honour guests, and given as a gift at weddings.

The Assamese women have a great love for gold ornaments. Some of the traditional ornaments are:

• The Gamkharu — an ornament worn round the wrist.
• The Junbiri — a necklace shaped like the moon (jun).
• The Lokaparo — a necklace whose design is like a pigeon.
• The Keru, the Thuriya and the Dugdugi — ear and neck ornaments of fine gold work.
• The Nupur — the anklet with small bells, worn by dancers.

Silk clothes — of muga, pat and eri — are the pride of Assamese attire; a bride traditionally wears a muga mekhela chador. In the tribal communities, every group has its own distinctive dress — the colourful dokhna and aronai of the Bodo women, and the hand-woven cloths of the Misings, Karbis and others.

Key points to remember:

• Mekhela Chador is the two-piece dress of Assamese women; Riha and Aronai are also traditional.
• The Gamosa is the essential cloth of Assamese ceremonies.
• Men traditionally wear the dhoti with the gamosa.
• Traditional ornaments include Gamkharu, Junbiri, Lokaparo, Keru and Nupur.
• Muga silk is the pride of bridal dress; tribal groups have their own attire like the Bodo dokhna.

The cuisine of Assam is simple, healthy and full of flavour. The staple food of the people is rice, and the Assamese eat rice with a wide variety of side dishes. Fish is the most loved non-vegetarian food, and the famous 'Maasor Tenga' (a sour fish curry cooked with tomatoes, lemon or elephant apple) is a favourite dish. Duck and pigeon meat and various vegetables are also cooked with care.

Some special Assamese preparations are:

• Khar — a dish made with an alkaline water prepared from the burnt peel of bananas (khar), which gives the Assamese meal its special taste and is offered first at every feast.
• Pitika — mashed vegetables, such as mashed potato, tomato or brinjal, eaten with rice.
• Pura — things roasted directly on fire, such as roasted vegetables or fish, which give a smoky flavour.
• Tenga — any sour dish, made with fish or vegetables, loved for its tangy taste.

Rice is used in many forms. Komal saul (soft rice) is eaten soaked; Bora saul is a sticky rice; and from rice the Assamese make the sweets called pitha and laru, which are specially prepared at Bihu. The pitha made with rice flour and coconut, and the til laru (balls of sesame and jaggery), are the most famous. The traditional breakfast, called Jolpan, may include chiura (flattened rice), muri (puffed rice) and curd with jaggery.

Tea is the favourite drink of the whole state; after all, Assam is the largest tea-producing region of the world. The tribal communities have their own traditional drinks made from rice, such as the Judima of the Dimasa people. The food of Assam, like its culture, changes a little from community to community, yet remains simple and delicious.

Key points to remember:

• Rice is the staple food of Assam; fish is the most loved non-vegetarian item.
• Maasor Tenga is a sour fish curry; Khar is made with banana-peel alkaline water.
• Pitika (mashed) and Pura (roasted) are typical Assamese preparations.
• Pitha and Laru are the festive sweets of Bihu.
• Jolpan is the traditional breakfast; Komal saul is soaked soft rice.
• Assam is the largest tea-producing region in the world; Judima is a Dimasa rice drink.

Assam possesses remarkable monuments of the medieval period. The temples and palaces of the Ahom, Koch and other kingdoms show great engineering skill and a distinct local style.

The temple architecture of Assam reached its glory in the Kamakhya temple on the Nilachal hill near Guwahati. The present temple, with its beehive-shaped shikhara, was built in the 16th century by the Koch king Naranarayan and repaired by later rulers. Kamakhya is the greatest centre of the Shakta cult of the state. Other important temples include the Shiva temples of Sivasagar — the Shivadol, Vishnudol and Devidol — which stand by the side of the great tanks and were built in the 18th century during the reign of the Ahom king Siva Singha.

The Ahom kings built magnificent palaces and pleasure-houses in and around their capitals. The most famous are:

• The Talatal Ghar and the Kareng Ghar at Rangpur (near Sivasagar) — vast multi-storeyed structures with secret underground passages.
• The Rang Ghar at Rangpur — a two-storeyed oval pavilion with arched openings, often called the oldest surviving amphitheatre (sports pavilion) of Asia, built in the 18th century.
• The Kareng Ghar of Garhgaon, the old Ahom capital.
• The Maidams — the great earthen burial mounds of the Ahom kings and nobles at Charaideo, where the royalty were buried with their possessions.

The Charaideo Maidams, the royal burial system of the Ahoms, were inscribed on the UNESCO World Heritage List in 2024 — the first site of Assam (and of the North-East) to receive this honour. The stone sculpture of the Kamarupa period and the later brick temples show how a distinct Assamese style grew by combining the local tradition with the influences from the rest of India.

Key points to remember:

• Kamakhya temple (Nilachal hill) is the greatest Shakta temple; the present structure was built by Koch king Naranarayan.
• The Shivadol, Vishnudol and Devidol of Sivasagar were built in the 18th century.
• Rang Ghar is a two-storeyed oval pavilion built by the Ahom kings, called the oldest sports pavilion of Asia.
• Talatal Ghar and Kareng Ghar (Rangpur) are vast Ahom palaces with underground passages.
• Charaideo Maidams are the royal burial mounds of the Ahoms.
• Charaideo Maidams were inscribed on the UNESCO World Heritage List in 2024.

The two great institutions created by the Neo-Vaishnavite movement of Sankardeva are the Namghar and the Sattra. They transformed the religious and cultural life of Assam.

The Namghar is the prayer house of the village, where the people gather every evening for the naam-prasanga (community prayer). Inside the namghar is placed the Guru-Asan (the sacred seat of the guru) and the holy books are kept there. The namghar is not merely a temple; it is the centre of village social life. Meetings, Bhaona performances and every religious ceremony of the village are held there. The first namghar was established by Sankardeva at Bordowa.

The Sattra is a bigger institution — a monastery-cum-cultural centre where monks (bhokots) live and devotees are trained. The sattras preserved the scriptures, taught the arts and kept alive the traditions of Sattriya dance, Borgeet, Ankia Naat, painting and mask-making. Each sattra has its own naamghar and its own traditions. Over time the sattras received royal patronage and held large estates.

The most famous sattras of Assam are on the island of Majuli in the Brahmaputra, the largest river island of the world. The leading sattras of Majuli include the Auniati, Dakhinpat, Kamalabari, Garmur, Bengenaati and Samaguri sattras. The Samaguri sattra is famous for its masks and the Auniati for its museum of Vaishnavite art. The sattras of Barpeta and Nagaon (Bordowa) are equally important.

The Neo-Vaishnavite movement, through the namghar and the sattra, threw open the doors of devotion to all — high and low, man and woman — and thus created a democratic religious and cultural order that is the backbone of Assamese society even today.

Key points to remember:

• The Namghar is the village prayer house and the centre of social life; first established at Bordowa.
• The Sattra is the monastery-cum-cultural centre; it preserved religion, art and learning.
• Majuli (largest river island in the world) has famous sattras: Auniati, Dakhinpat, Kamalabari, Garmur, Samaguri.
• The Samaguri sattra is famous for masks; Auniati has a museum of Vaishnavite art.
• The movement removed caste barriers and gave Assam social unity.

Assam is home to many tribal communities, each with its own language, dress, festivals and arts. They form a very rich and living part of the state's culture.

The Bodo community is one of the largest. Their language belongs to the Tibeto-Burman family. The Bodos celebrate the spring festival Bwisagu (Baishagu), perform the famous Bagurumba (butterfly) dance, and worship Bathou, whose symbol is the siju (Euphorbia) plant. The colourful dokhna is the dress of Bodo women. Their festivals and dances are full of colour and rhythm.

The Misings live mainly on the northern bank of the Brahmaputra. Their sowing festival is Ali-ai-ligang, and their most important dance is the Gumrag. The Karbis live in the hills and plains of central Assam; their festivals include Rongker and Chomangkan, and their dance and music are performed at every festival. The Dimasas live along the southern bank of the Brahmaputra and in the North Cachar hills; their culture includes the making of the rice drink Judima.

The Rabhas, Deuris, Tiwas and Sonowal Kacharis also have distinct traditions, and the Tai-Ahom and other Tai peoples have kept alive the worship of ancestors (Me-dam-me-phi) and their own festivals. The tea-garden (Adivasi) communities, brought to Assam in the colonial period, have added the Jhumur songs and dances to the culture of the state.

These communities practise shifting cultivation, hunting and fishing alongside agriculture, and they have a deep knowledge of the forests. Every group has its own weaving tradition — Bodo dokhna, Mising cloth and the Karbi cloths — and its own crafts of bamboo, cane and wood.

Key points to remember:

• Bodo: Tibeto-Burman language; festival Bwisagu; dance Bagurumba; worship of Bathou (siju plant).
• Mising: festival Ali-ai-ligang; dance Gumrag.
• Karbi: festivals Rongker and Chomangkan.
• Dimasa: makers of Judima (rice drink).
• Tai-Ahom community observes Me-dam-me-phi (ancestor worship).
• Tea-garden Adivasi communities brought Jhumur songs and dances.

The culture of Assam, though ancient, is very much alive today. It is preserved by institutions, by the artists and by the love of the common people, and it is promoted through festivals and the media.

Some of the important cultural institutions of the state are:

• The Sangeet Natak Akademi, which recognised Sattriya as a classical dance in 2000 and runs centres to train young dancers.
• The Sri Sri Sankardeva Kalakshetra in Guwahati, a grand cultural complex (opened in 1999) with a museum, a library and an open-air theatre, which keeps alive the memory of Sankardeva.
• The Assam State Museum, the first museum of the state, founded in 1940 in Guwahati, which preserves the antiquities and art of Assam.
• The Asam Sahitya Sabha, the oldest and largest literary body of the state, founded in 1917, which works for the Assamese language and literature.
• Universities and academies that teach the languages, music and dance of the state; and the Mahapurusha Srimanta Sankardeva Viswavidyalaya in Nagaon district, named after the saint.

The government and cultural bodies organise many festivals to promote the arts — such as Bihu functions and Assamese cultural celebrations, the Raas of Majuli and the Brahmaputra Beach Festival. Radio, television and the internet now carry Bihu songs, Sattriya performances and folk music to every corner of the world. Great artistes of Sattriya dance, such as Jatin Goswami, Ghanakanta Bora and Indira P. P. Bora, have received national honours and taken Assamese culture abroad.

At the same time, steps are taken to protect the crafts — the muga silk, gamosa, jaapi, masks and metal crafts of Assam have received Geographical Indication (GI) tags, and the Charaideo Maidams were declared a UNESCO World Heritage site in 2024. By combining preservation with promotion, the people of Assam keep their rich art and culture secure for the coming generations.

Key points to remember:

• Sangeet Natak Akademi recognised Sattriya dance in 2000.
• Sri Sri Sankardeva Kalakshetra (Guwahati, 1999) is the major cultural complex of the state.
• The Assam State Museum (1940) is the first museum of Assam.
• Asam Sahitya Sabha (founded 1917) works for the Assamese language.
• GI tags have been given to muga, gamosa, jaapi, Sarthebari metal craft and the Majuli masks.
• Charaideo Maidams became a UNESCO World Heritage site in 2024.