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.
