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also. For us, spoilt outsiders, it was clear that here an art was
groping its way towards'its proper form. Pakistan was going to
dance again, in no other way but its own. And we, who in Europe
so often saw young artists revolt against an existing form, were
struck. For you, unlike so many others, did not reject rvhat rvas
valuable in the style from which you wished to break au,av. Yes.
much of what had been developed in Bharata Nat-r'am \\.e still
seemed to recognize in your technique. But you loosened those
costly acquisitions from their religious and social background and
gave a fresh -meaning to them. A meaning so entirely new and
characteristic, that often they were only recognizable as a technical
basis or just as an ornament.
In a way this "new meaning" made your aft more accessible to us
than those we saw from India or Indonesia. There every movement
was so much interwoven with gods'and heroes unknown to us,
and the mudras so strongly interpreted the language of creeds not
belonging to us, that .much of the meaning and beauty was lost.
Your faith and philosophy asked for subjects nearer to man and
daily life. Whatever your subject, whether the social outcry of
"Lest we forget" or the simple folkstale of "Snake-charmer",
whether beauty for beauty's sake. in "spirit of the Dance" or the
spirit of your people in the heroic and unforgettable
"Chandsultana",
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stage. But
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