Converting A Vulgar Art Form Into A Spiritual One

 The history of Bharatanatyam, and other Indian classical dance forms, reflects a journey of transformation from being part of religious rituals, often performed by devadasis, to becoming a celebrated and refined art form practiced by people from all walks of life. The devadasi system, in which women were dedicated to temple service, had a significant cultural and spiritual role, but over time, it became associated with social stigma and exploitation. The efforts to reform and elevate Bharatanatyam, along with other dance forms, have been crucial in making them accessible and dignified expressions of Indian culture.

A dance form often has certain cultural roots. Spiritual, Mythological and devotional subject matter may be communicated through a particular dance form. We need to study the culture associated with a particular dance form, spiritual message addressed through a particular dance form and, the historical forms through which a dance form might have evolved.

Bharatanatyam is deeply rooted in Indian culture, several mythological and devotional tales or episodes are enacted through the Bharatanatyam dance form. Bharatanatyam had also seen a bad time when it was performed by Devadasis and these Devadasis were exploited and because of this practice not many took up the Bharatanatyam dance form then, but overtime several social reformers and artistes refined it and also the treatment given to Bharatanatyam dancers got refined, and it reached the glorious mark in the history of mankind that it seems to be celebrating today, so much so, that today many of the common people by choice perform Bharatanatyam and today this choice of their also gives them respect in the society.

When we arrive at a decision that a certain art form is actually vulgar or too much vulgar, we need to actually its aesthetic sense in play, its cultural rootedness in depth, its cultural and spiritual potential. If we consciously bring in certain wanted changes in the expression, beauty and emotion of this otherwise vulgar art form, then we can get this art form refined enough that has inbuilt in it the grace, refinement and the cultural depth.

While we may retain the cultural integrity of the art form but we will have to remove certain features of this art form that are actually vulgar. We would need to change the costumes, expressions and movements accordingly withholding due amounts of dignity and artistry to keep vulgarity away from the art for being refined.

We should not limit the dance form to express physical sensualisation, sexy emotions or gestures or postures, sensualisation promotion but it should be changed in a way that it can express devotion or bhakti, higher humane ideals like love, divinity and grace. It is so because we must learn to see an art form or a dance form as a divine form helping us liberate by expressing certain things and grow spiritually.

Just changing a dance form for the better is not sufficient. We need government bodies, various charity organizations, social reformers and arts promoting and teaching centres to act collectively to give this new changed art form acceptance at large. Through various ways to publicize public interest messages need to be spread saying that a certain art form or dance form also has a certain social, spiritual, cultural feature added to it having made it more socially, culturally and spiritually acceptable in our society.  

Artistes should be encouraged to innovate by editing certain features of their art form or dance form in a way that adds to it certain modern day acceptable approaches or ways thereby attracting the modern-day youth to master it at the same time not letting its cultural and spiritual elements fade away, thereby changing it dynamically to the ever-changing environmental settings in which artistes perform. This will help artistes command respect and not demand it.

A campaign must be launched and successfully managed to see to it that dancers and artistes of any rank or style get respect and dignity. Artistes should not be considered just as entertainers by the society. Especially situation of women artistes can be more vulnerable. Women artistes or artistes should not be seen as a means of enjoyment but should be seen as valuable assets of the society. For this to happen we need to teach ever art form including the changed ones for the better to our youths so that they can at the least learn to relate to an art form. Such youths must also be given opportunities to practice and put up their show of the particular art form so as to keep up the artistic tradition of this particular art form.

Such are the steps that need to be taken or the approach that needs to be had to transform a particular art from or a vulgar art form into a better one for everyone’s benefit.

Bharatanatyam’s revival in the early 20th century was largely due to the efforts of pioneers who sought to reclaim it from the stigma attached to the devadasi system and restore its spiritual and cultural value.

Annie Besant, a British Theosophist reformer believed in the transforming power of dance. She saw Indian dance forms as mere means to expression of divine love and harmony. This influenced Rukmini Devi Arundale and her disciple Shri Sarada who transformed the then Bharatanatyam dance form into what it is seen today. While Rukmini Devi Arundale removed sensuality elements of the Devadasi era, made changes in costumes, choreography and enhanced its spiritual depth making Bharatanatyam rise to classical art form level, Shri Sarada refined its spiritual aspects further seeing it as a way to unite our soul with the divine and professed that Bharatanatyam be seen as a spiritual discipline through the dance --- the Natyayoga.

While Swami Vivekananda saw Bharatanatyam as a way to reach divinity or higher consciousness, Mahatma Gandhi saw Indian art as an important expression of India’s soul. Gandhiji believed in the cultural and spiritual significance of Indian art and was open minded enough who professed to bring in changes to reform only those parts that degrade the essence of Indian art including Devadasi Tradition & exploitation related to it and these changes be brought in a way that traditional arts remain preserved.

Some other dances like Odissi, Kathak and Mohiniyattam also had similar history of restoration to glory.

Such is the manner in which an otherwise vulgar art form can be refined.