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Candidate Number: 002904-008

Elements of Hindu Traditions in Modern Indian Dancing Ishita Bhattacharya IB Candidate Number: 002904-008 Biotechnology High School Extended Essay Topic: History Supervisor: Linda Eno Word Count: 3997

Candidate Number: 002904-008

Contents: Abstract .. 3 Introduction 4-6 Maintenance of Dance Technique in India .... 6-8 Changes in Research and Education of Dance in India .. 8-10 British Influences on Modern Indian Dance ... 10-13 Globalization of Modern Indian Dance .. 13-15 Conclusion .. 16-18 References ... 18-19

Candidate Number: 002904-008

Abstract This investigation examined whether Hindu traditions still remain an integral part of modern Indian dancing, in which modern Indian dancing refers to dance in India after the post-colonial era. Determining the outcome of this investigation helps assess whether Indian dancing is truly reflective of Indian values and culture. The examination studied changes in Indian dance sculptures in temples in comparison to Indias own evolvement as a nation. The maintenance of Hindu traditions was also examined in the dance education systems in India to evaluate whether the dance form has lost or retained Hindu traditions since the 19th century. Also, because Great Britain was the driving factor in Indias post-colonial recovery, it was also important to assess how western influences were fused with Indian dancing and whether they severely diluted the ancient traditions that existed before the colonial era. Aside from Britain, the overall global impact of foreign styles on the art form was also looked at to see whether Hindu traditions have been lost through expansion outside of India. After the investigation was conducted, it was concluded that Hindu traditions still remain an integral part of modern Indian dancing. This conclusion was determined by comparing the different arguments within these topics. It is impossible for Indian dancing to remain as pristine as it was in the 19th century, however throughout changes of the cultural art form, important elements of Hindu traditions still remain the core of modern Indian dancing. Therefore Indian dancing is truly reflective of Indian culture and values.

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Candidate Number: 002904-008 Introduction From 400 BC to the present, Indian dancing has been a defining feature of Indias vibrant culture. Within India, it is one of the most practiced art forms amongst both men and women, and has broken out of the parameters of India to being practiced all over the world. However, to understand how modern Indian dance has evolved, one must first briefly examine the path Indian dancing has taken since its origins. Indian classical dancing traces back to 400 BC, where it was originally performed as a spiritual and ritual activity to honor the Hindu God Lord Shiva, otherwise known as Nataraja or Lord of Dance, and his perpetuation of the cosmos (Mitra, 2006, p.71). From these classical roots emerged the basic Indian dances; the first official dance practices in India. These classical forms are Bharatnatyam, Odissi, Kathakali, Kuchipudi, Kathak, Manipuri, Mohiniyattam, and Sattriya (Singha, Massey, 1967, p. 25). Each dance form is unique to a different area of India and has its own distinct mudras (hand gestures), footwork, performing requirements, and overall style. Though there are different classical dance forms, they all have similar qualities. All of the dances are dedicated to Hindu mythology, since Hinduism is the primary religion practiced in India. They include narration of the different mythological stories of the Gods through dance, honoring the greatness of the Deities. These dances were often performed as devotional rituals in temples and religious events. Also, the dance practices are affiliated with the guru-shishya system, a characteristic pertinent to all Hindu traditions, whether it is dance, music, or academics (Chatterjea, 1996, p. 80). This system, which translates to the teacher-student system, enforces the strict relationship between the teacher and the student, and how each side is

Candidate Number: 002904-008 supposed to contribute to the learning process. To summarize this relationship, the student is to give in unconditional surrender to the guru. While practicing under a guru, the student must show respect by only entering the gurus room without any makeup, personal belongings, or most importantly, ego. She must also be calm in mind and adhere to everything that the guru says, and act without question (Chatterjea, 1996, p. 81). This power relationship was created to ensure that the dance form was properly executed, embodied, and understood by the student. The guru-shishya system and Hindu mythology are both significant elements of Indian culture, and were strongly present in dance when it first emerged in the country. This strong affiliation of dance with culture is also shown in the ancient temples of India, where there are engraved statues of dancing people (Mitra, 2006, p. 71). However, in the early 16th century began the British colonial era in India, during which much of Indias cultural activity was regulated. This resulted in classical Indian dancing to be heavily monitored. Many of the traditional gurus had to quit their dance practice, and colonial British officers mocked traditional dancers as temple prostitutes or nuns (Meduri, 2004, p. 12). Not only did the dancing go on hiatus, but the British occupation of India resulted in Western influences on traditional Indian culture, including education, religious practice, and the arts. When India finally regained full independence in the early 20th century, all aspects of Indian culture, including the arts, began to publicly resurface. In dance, not only did the original classical forms reemerge, but they modernized, and even branched into routes such as semi-classical, and fusion. Since then, Indian dancing has globalized, and is now being practiced all over the world.

Candidate Number: 002904-008 With this reemergence of dance in India, it is important to question whether the art form still remains true to its roots. This investigation examines whether Hindu traditions still remain an integral part of modern Indian dancing. Modern Indian dancing can be classified as all forms of Indian dancing performed from 1940 and on, or in other words, after the removal of British colonialism in India. The arguments presented are evidenced by examination of Hindu traditions in Indian religious architecture and how those changes reflect on India itself, the changes in the Indian education system and new research opportunities, the affect of Western styles on classical dancing, and dance in the global context. Since Indian dance is globally looked at as a part of Indias vibrant culture, it is important to examine the purity of the art form. Are Hindu traditions still the core of modern Indian dancing? This investigation will determine whether modern Indian dancing is truly descriptive of authentic Indian culture.

Maintenance of Dance Technique in India One of the most important religious architecture directly correlated to classical Indian dance is the temple. Typically, dances used to be performed at temples as devotional acts to the Gods, and dance postures were engraved on the statues of the temples. The characteristics of these postures can describe how the art form was performed at that particular time. The oldest temples show dancers with a straight spine, pelvis and shoulders open, abdomen loose, joints flexible, and feet supple. The bodies bespeak naturalness and precision, a sense of strength which is flowing, and power which is at ease, (Sircar, 1993, p. 2068). However, statues from the post-colonial era display different qualities than those from the ancient temples. They show the

Candidate Number: 002904-008 shoulders turned inwards, the pelvis either too far backward or forward of centre, and a decided lack of the total fluidity of the sculptures. The eyes may be unusually and deeply expressive, but technique is generally de-emphasized, (Sircar, 1993, p. 2068). This transition from the ancient statues to the post-colonial statues shows a change in the traditional techniques from classical to modern dancing. Since the statues are supposed to demonstrate dancing at perfection since they are offerings to the higher beings, it seems as though the techniques of classical dancing overtime have lost purity, therefore modern Indian dancing has lost some of its authenticity. In contrast, it can be argued that slight modification of the methods of classical dancing is simultaneous with the changing nation that it represents. India at that time was just recovering from British colonialism, therefore all aspects of India were also modifying. Modern Indian dancing is representative of modern India. Also, other than through statues, the only way the classical practices were preserved from generation to generation was through direct oral and kinesthetic transmission, (Chatterjea, 1996, p.118). Since ancient gurus passed their knowledge only by verbally teaching their students without describing the details of the techniques in books or hard documents, modification of Indian dance is unavoidable. There is nothing to compare to, therefore numerous adjustments must have occurred from era to era (Sircar, 1993, p. 2068). It is unrealistic to expect that modern Indian dancing would be completely identical to the dancing performed during ancient times, as it is unrealistic to think that religious architecture would remain unchanging. Also, since India was going through drastic changes during the 20th century not only with a new-formed government, but education

Candidate Number: 002904-008 and the arts, modern Indian dancing evolved the same way. Consequently, it cannot be inferred that modern Indian dancing is completely separated from Hindu traditions.

Changes in Research and Education of Dance in India As a result of Indias modernization after British occupation, there were many efforts to restore Indian dancing to its cultural roots. Many research facilities were opened so that teachers could refine their dance practice in effort to bring traditional elements back to modern dancing. Ananya Chatterjea, an established researcher and Indian choreographer, examined these research facilities in her works and mentioned several institutions that have significantly contributed to this effort. In fact, majority of post-colonial dance research is dedicated to rediscovering and often reconstructing traditions dying, near extinct, and marginalized in the past years. (Chatterjea, 1996, p. 118). A prominent institution formed in the late 20th century is Nrityagram, also known as Dance Village, which is run and established by Protima Gowri. This particular school is dedicated to the practice and study of classical dance. Students are educated in dance for 15 hours a day. Gowris goal with this school was for the students to preserve and extend repertoire, working constantly towards the perfection of the art, (Chatterjea, 1996, p. 120). Institutions like Nrityagram help keep Hindu traditions alive in dance by tracing the dance form to ancient times and perfecting techniques to the previous standards. Other post-colonial educational opportunities created in effort to maintain ancient Hindu culture in modern dance are the various dance scholarships given through universities. These scholarships strive to give students the chance to extensively

Candidate Number: 002904-008 study dance in India. Many universities also promote classical dance education through diploma programs in Kuchipudi, Bharatnatyam, and Kathak. One of the most famous and debated dance institutions is the Kalakshetra Academy of Mudras, founded by Rukmini Devi Arundale (Meduri, 2008, p. 319). This school was formed in 1934, and is one of the most popular Indian dance schools in the world for participating in research for the recovery of the ancient dance forms and bringing these techniques into the modern era. However, there is debate around the Kalakshetra Academy on whether the school is too modernized. The argument supporting this stems from Rukmini Arundales betrayal of her own male dance teacher in 1943 when she asked him to leave her institution. American scholar in performance studies Matthew Allen describes this event as disrespectful because Devi forced a traditional teacher, who even educated her, out of her institution (Meduri, 2004, p.18). However, in an earlier statement, Devi defended herself, saying that she was the one abandoned by her teacher. Though such a prominent and trans-local academy has pushed some of the traditional and authentic teachers out, there is not enough information on the event to declare Devi as completely betraying her traditional roots. The institution is still highly acclaimed for being one of the top dance institutions of the 20th century, with Devi being one of the pioneers of Indian dance revival. Though there are educational opportunities available in the post-colonial era for studying ancient Indian dance like Nrityagram and the Kalakshetra Academy, there are signs of disengagement of traditional Hindu traditions while preserving the arts. One of the most notable changes is the disintegration of the guru-shishya system, a custom practiced in the arts, especially dancing. As mentioned previously, the guru-shishya

Candidate Number: 002904-008 system ensures that the student completely succumbs to the gurus power. However as dance has modernized, this system does not seem to operate as it did previously. A dance student can now become a performer or teacher just by enrolling in a dance school. This comes to conflict with the traditional student-teacher relationship where the guru's word is law and the student cannot really disobey the guru, particularly in career. In the university system, students can train under different instructors and are not bound by the teacher's directions outside the classroom, (Chatterjea, 1996, p. 84). In other words, students now have the freedom to rebel against their teachers. In this process, students may not appreciate or be educated on the traditional elements of Indian dance, including strict discipline. Universities that offer extensive dance education are also limited by how thorough they can be with authentically teaching dance, due to set time schedules as opposed to full day training. The students are also not able to completely embody the art form because they are only taught end products or repertoires (Carelli, 1953, p. 92). This means that they dont have a full understanding of the background behind the movements. So even though there are efforts in bringing ancient Hindu traditions into the modern dance training, they are not effective.

British Influences on Modern Indian Dance Modern Indian dancing has also been directly impacted by Westernization due to Britain influences during the colonial era. Once Britain retreated from India, many dance gurus moved out to Great Britain to freely spread their practice. However in this process, the concept of Westernization, or the combination of styles such as ballet and contemporary to Indian dancing, comes to mind when looking at the preservation of

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Candidate Number: 002904-008 classic Hindu traditions in Indian dancing. Before the colonial times, an Indian dancer would be at, loss in a Western dance class where the students pick up combinations in no time at all, perfect them within the scope of that class, and do not work to memorize them beyond that situation, except while learning repertoire, (Carelli, 1953, p. 92). This is because dancers were fully embodied in the traditional art form during the intense process of the guru-shishya system. Western dancers typically spend a few classes learning a piece, and cannot apply the routine outside of that environment. This was a defining line between Indian and Western dancing that made Indian dancing so unique; the fact that it was so intrinsically linked to its culture that it was used to define it, (Mitra, 2006, p. 71). The Hindu culture was so infused into dancing, extensive training was required to truly master and understand how to perform the art. As well as departure from the art form through performance and embodiment, there is also criticism on the westernized guru-shishya system. After the 1930s, modern Indian dance students do not match up to the ancient Indian gurus. Other than the extensive training required, Indian dancing requires a quality not found in Western dancing that is needed to become a guru; the ability to understand the dance form beyond the choreography and into the Hindu mythology and culture (Carelli, 1953, p. 92). Since modern Indian dance students are incapable of applying short routines to the bigger world of Hindu mythology, the quality of gurus is declining. These Western influences on Indian dancing disrupt the traditional guru-shishya system, causing an important element of traditional Hindu dancing to degrade. On the contrary, the Kalakshetra Academy detected this flaw in the continuation of the guru-shishya system and took the first action in 1999 to repair this problem. In

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Candidate Number: 002904-008 1999, the academy devised a South Asian dance program in Britain, in which the academy would train gurus then send them to Britain to continue a technique-based and traditional teaching (Meduri, 2008, p. 320). This trans-local vision of one of the top established Indian Dance Schools helps preserve the origins of Hinduism in the art form by ensuring that gurus have the best training possible relative to the traditional gurushishya system. After Kalakshetra made this first act, many other popular traditional dance institutions followed to fight against Westernization powers. Consequently, modern Indian dancing still has strong elements of the guru-shishya system because majority of modern students who are not directly trained at institutions in India are still trained by gurus who are associated with these institutions. Other Western influences, such as performance attire and improper concepts, have been criticized in popular Indian choreographers works, including guru, choreographer, and performer Royona Mitra. Some critics perceived her modern work The Silk Route released in Britain as, an obvious departure from my Indian roots and its associated abstinence and morality, (Mitra, 2006, p. 79). The Silk Route is only one example of modern and Indian-based work that has adopted many Western features, including more revealing costume and movements. However, there is a difference between expanding styles and departing from them. Just because Mitra encompassed Western influences, does not mean she sacrificed her Indian roots. Through her modern works, she is not attempting to redefine classical dance, only creatively branch out. Therefore, these westernized works cannot be considered as diluting the ancient art form. Furthermore, Britain has also raised a different issue with Indian dancing by categorizing it as a South Asian after the post-colonial era. This label is not

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Candidate Number: 002904-008 representative of Hindu culture because Indian dancing is grouped with other Asian dances, thereby taking away the depth of the art form and making it a mere public performance. (Coorlawala, 2002, p. 30). Modern Indian dancing is removed from its traditional Hindu elements because modern Indian communities, as a result, also view Indian dancing as nothing more than an Asian dance; not a true definite art form as it used to be. However Gopal, an acclaimed dancer scholar living in Britain, argues against this idea. She claims that while speaking and writing about Indian dance under this South Asian label, other British gurus and she primarily teach classical dance. Though Westernization may have affected some forms of modern Indian dancing, classical training still remains as a basis for most dancers in the United Kingdom. This shows that new students are still kept close to Indian traditional roots. In fact, gurus are bringing awareness of these forms to Indians abroad; therefore Hindu traditions are kept through this geographical movement.

Globalization of Modern Indian Dance Aside from its transition to Britain, Indian dancing has globalized all over the world. It is now practiced in various countries including the United States, Malaysia, Indonesia, and more. In this process, modern dances have been created based as an interpretation of the traditional. Gurus have travelled from India, and have begun their own practices in these other countries. While Indian dance forms travel to other countries, new branch of dances have been affected by these foreign influences through the renovation of classical Indian dancing. Styles formed include semi-classical, fusion, and

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Candidate Number: 002904-008 contemporary. However, whether these new styles still remain true to Hindu heritage is questionable. By adding these foreign elements, some critiques, including researchers Dr. Mandakranta Bose and Uttara Coorlawa, argue that Indian dancing has been infiltrated and say that it is impossible to recreate neo-classical dance traditions, in the 1930s and 1950s (Chatterjea, 1996, p. 123). This is because since India as a nation was still in the midst of rediscovery, not enough information behind classical dancing was present for many of the techniques to have remained through early global exposure. There needed to be more research and establishment of dance in the post-colonial era before the art form branched out to other parts of the world. For example, many modern dances, one of the most popular being the Bollywood dance style, show limited connection to classical Hindu traditions. Bollywood dancing is based around film stories and is widely popular for its energy, bright costumes, and common love stories. Though Bollywood dancing is one of the most globally recognized Indian dances, the dance form shows minimal amounts of the original techniques and traditions of classical Indian dancing (Meduri, 2008, p. 302). There is no use of Hindu mythology and the guru-shishya system is not as traditionally present as it is for other classical forms in the terms that there is no extensive study or training required to master the art form. One of the only linkages of Bollywood dancing and traditional Indian dancing is the occasional use of mudras, or the hand gestures, and elements of footwork. Otherwise, Bollywood dancing receives global credit for being depictive of India, though it is not historically or religiously descriptive. Though some argue that this worldwide spread and post-colonial dance styles such as Bollywood are detrimental to keeping Hindu traditions an integral part of Indian

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Candidate Number: 002904-008 dancing, others argue that spread is really a way for the art form to grow. Performing Arts scholar Ranjabati Sircar argues that global revivalism was not an end in itself, but a means to provide fuel and material for creativity, (Sircar, 1993, p. 2068). In other words, fusion elements and creative outlets in Indian dancing are not an end to Hindu traditions, they are just methods of re-creating it. In regards to Bollywood, that dance form is only one of many, and majority of the modern dance forms such as semi-classical do maintain strong links to traditional dancing, both religiously and culturally. Also, by Indian gurus having the ability to spread their names worldwide, Indian arts also gain global awareness. Moving the dance form beyond India only makes the art culturally stronger because gurus are able to actually expand their teachings to the growing Indian communities that exist outside of India (Meduri, 2008, p. 307). So the Indian dance movement is also a way of maintaining Hindu culture outside of the nation. Also, if modern Indian dance remained in India without global exposure, there would be no chance for growth and improvement. In fact, classical dancing tends to be vitalized by transplantation and the absorption of new influences, provided that the essential basis of technique and tradition is preserved in the new development. (Ellis, 1976, p. 17). Growth and improvement are not synonymous with growing apart from the culture; therefore modern dance is just as traditionally active as it was historically. The underlying goal of most modern dances is to worship Hindu mythology, recognize the surrounding culture, and honors the guru. As long as the original technique is remained, which in part extensive research is being conducted on, Indian dancing will always carry Hindu traditions as its main core.

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Candidate Number: 002904-008 Conclusion It is evident that whether Hindu traditions have been maintained in modern Indian dancing is a heavily debated topic in which there are multitudes of opinions and facts that both support and refute the idea. Looking back at ancient Indian temple statues compared to modern Indian statues, it is clear that certain ancient Hindu techniques have modified after British occupation. However, these changes are reflective of the changing nation itself, therefore it is unrealistic to expect that the orally preserved art form would not adjust over the years. In efforts to revive some of the lost traditions, post-colonial education movements, including various new institutions and academies have been formed since the 1940s. These opportunities allow extensive research on classical dance, allowing Hindu traditions to be maintained in modern dancing. Other signs of disengagement from classical Hinduism include the modern guru-shishya system, which is more lenient, allows less rigorous training, and lets students have more of a voice in the learning process. Additionally, Western influences have taken a toll on Indian dancing, because British styles have slightly merged with new Indian styles in aspects including training methods, once again taking a toll on the guru-shishya system. On the other hand, popular institutions such as the Kalakshetra Academy have taken the initiative to privately train gurus that go back to Britain to properly train modern students under proper Hindu instruction. Also, it can be argued that new branches of Indian dance styles, whether affected by Westernization, still carry essential elements of Hindu traditions, though diluted from original forms. In fact, majority of modern Indian dancing stems off from the traditional techniques and Hindu mythology; therefore Hinduism will always remain an integral part of modern Indian dance. On a global scale, modern Indian

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Candidate Number: 002904-008 dancing has also been impacted by foreign influences, suggesting that Hindu traditions are no longer able to primarily classify modern Indian dancing. However the expansion of the dance practice outside of the country and exposure to foreign influences are not detrimental to the art form, rather a Segway for gurus to spread their dance practices while bringing awareness and appreciation to the beautiful art form. Modern Indian dance does not need to be sustained only in the nation for it to carry Hindu traditions. Although modern Indian dancing has changed in the post-colonial era, Hindu traditions still remain an integral part in Indian dancing. Modern Indian dancing is representative of India as a whole and, despite the changes, is still representative of India and its values, as India as a country has also changed in the post-colonial era. It cannot be assumed that the art form would remain in ancient form forever, however Hindu traditions and cultures have also progressed since the 19th century. These traditions have been maintained in Indian dancing through the various universities, dance academies, and through gurus that continue to support it, despite location or atmosphere. Though, it is true that the guru-shishya system has slightly broken down, the core elements of the system still remain, including honor and respect of the guru. As research and development of traditional dance progress, hopefully the art form will continue to uphold Hindu traditions and Indian culture.

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Candidate Number: 002904-008 References Carelli, M. (1953). ON INDIAN DANCING. East and West. 4(2). 91-94. Retrieved from JSTOR: http://www.jstor.org/stable/29758078 Chatterjea, A. (1996). Dance Research in India: A Brief Report. Dance Research Journal , 28 (1), 118-123. Retrieved from JSTOR: http://www.jstor.org/stable/1478122 Chatterjea, A. (1996). Training in Indian Classical Dance: A Case Study, Asian Theatre Journal, 13(1). 68-91. Retrieved from JSTOR: http://www.jstor.org/stable/1124303 Dimmitt, C., Buitenen, J. A. B. (1978). Classical Hindu Mythology: A Reader in the Sanskrit Puranas. Philadelphia, PA: Temple University. Ellis, H. (1976). The Art of Dancing. Salmagundi. 33/34. 5-22. Retrieved from http://www.jstor.org/stable/40546915. Meduri, A. (2004). Bharatanatyam as a Global Dance: Some Issues in Research, Teaching, and Practice. Dance Research Journal. 36 (2),11-29. Retrieved from JSTOR: www.jstor.org/stable/20444589 Meduri, A. (2008). The Transfiguration of Indian/Asian Dance in the United Kingdom: contemporary Bharatanatyam in Global Contexts. Asian Theatre Journal. 25(2), 298-329. Retrieved from ebsco. Mitra, R. (2006). Living a Body Myth, Performing a Body Reality: Reclaiming the Corporeality and Sexuality of the Indian Female Dancer. Feminist Review. 84. 67-83. Retrieved from JSTOR: http://www.jstor.org/stable/30232740 Singha R., Massey, R. (1967). Indian Dances. New York, NY: George Braziller, Inc.

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Candidate Number: 002904-008 Sircar, R. (1993). Contemporary Indian Dance: Question of Training. Economic and Political Weekly. 28(39), 2067-2068. Retrieved from JSTOR: http://www.jstor.org/stable/4400196 Smith, D. (1996). The Dance of Siva: Religion, art and poetry in South India. Cambridge, UK: The University of Cambridge.

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