The ‘ancient’ nature of Indian
classical dance – specifically in terms of its teaching, practice and
performance today – is a contested fact. Many, including myself, have argued that
classical dance forms in India as we witness them today, are modern
manifestations of their original ancient forms – not entirely unscathed and
untouched by changes in history, such as imperialism, post-colonial
nationalism, and the emergence of the middle class in India.
However, what need not be
contested is its use of relatively ancient poetry and texts. In this sense,
classical Indian dance forms still encapsulate and carry the ‘ancient’ within
them today. They draw lessons from classical texts such as the Natyashastra,
written somewhere between 200 BCE and 200 AD. They also extensively make use of
texts such as the Gita Govindam
written by Jayadeva, a 12th
century poet. Many padams belong to the 14th and 15th
centuries and some dance pieces draw their literature from the ancient epics Ramayana (Valmiki’s dating back to
approximately the 4th and 5th century BCE,
Kamban’s in the 12th
century, Kandhali’s in the 14th and Tulsidas’ in the 16th
century) and Mahabharata, written
possibly between the 4th and 8th century BCE.
It is the use of these texts and
narratives that definitely gives an ancient colouring to these dance forms,
however they may have been modernized from their inception until today. This
use of ancient literature makes these dance forms a valuable art, binding the
ancient past with the present. They also provide rich resources for
choreographing abhinaya pieces,
reminding the dancer and spectator of the beauty and complexity of Indian
mythology. Indian classical dance, when paired with the ancient narratives,
takes story-telling to a whole new level.
However, the acknowledgement that
Indian classical dance has this ancient aspect to it has led to several
questions and concerns within the world of Indian dance. For instance, what is
the place of this ‘ancient’ dance in the modern world? How does it remain
relevant in modern times?
I have struggled with these
questions, and do not claim to have arrived at answers – there is always room
for further research and introspection – but my instinct tells me that the
answer may lie in the power of interpretation.
Many dancers struggle with this
question of whether an ‘ancient’ dance form is relevant or even appropriate today.
I do not think there is a simple monosyllabic answer to this question. With
regard to some of the narratives, some of it can be argued to be old-fashioned
and backward in its thinking – specially their reference to lower classes and
women. In a modern world where
untouchability is frowned upon and equality between the sexes is openly
advocated, these narratives seem inappropriate. If these narratives are to be
performed literally, word-to-word, without the dancer digging deeper to find a
meaning and interpretation that is relevant today, then the dancer loses the battle
against his or her opponent. The most beautiful part of these narratives in
dance, is that they are open to interpretation. If a dancer can interpret these
in the modern world, in a modern way – no one could dare call them irrelevant.
For example, behind the apparently powerless and hapless ‘nayika’ pining for
her lover who has strayed into the arms of the ‘other girl’, there is the
powerful strength to survive such a betrayal with dignity, and the potential to
unleash her wrath upon the cheating lover when he finally arrives at her
doorstep. And of course, as I have always believed, there are other narratives
that will always be relevant due to the powerful human emotions that they are
able to depict, display and make the dancer and audience experience.
But for all this to happen, the
ancient texts must not only be simply read and mimed, but need to be
understood, examined and interpreted to find contemporary relevance.
