Sacred Dance Of India - Book Summary

This document is an excerpt from the book "The Sacred Dance of India" by Mrinalini Sarabhai, published by Bharatiya Vidya Bhavan in 1979. The text explores the rich and diverse history of Indian dance, emphasizing its deep connection to spirituality, philosophy, and cultural traditions.

The author begins by highlighting that Indian dance is an expression of an ancient civilization's quest for spiritual identity, where all arts were dedicated to philosophical insights. Citing Bharata's Nātya Shāstra, the text emphasizes that nātya (dance-drama) encompasses all forms of knowledge and action, serving multiple purposes from pleasure to moral instruction. Art was nurtured in an atmosphere of devotion, and artists were seekers of wisdom. The discovery of a dancing girl figurine at Mohenjo-daro and the image of Shiva dancing at Harappa are presented as evidence of the continuity of this tradition, linking it to the concept of Samsara and the human soul's relationship with God.

The text then delves into the divine aspect of dance, with Nataraja, the God of Dance, being presented as the grandest symbol of the human soul's journey. Shiva's attributes as the cosmic dancer, representing creation and destruction, are explained through the symbolism of the drum and flame in his iconography. Krishna, as the divine dancer and god of melodies, and Saraswati and Parvati as goddesses of music and dance respectively, further underscore the divine connection. Dancers are depicted as devotees, and their art as worship, with music and narratives drawn from sacred texts reinforcing this spiritual content.

The author then traces the historical development of various Indian dance forms, highlighting their regional origins and patrons.

South India: The continuity of cultural heritage in the South is noted, with mentions of the Cheras, Cholas, and Pandyas. The Pallava king Mahendravarman and the Chola kings are highlighted for their patronage. The emergence of temples dedicated to dance, like the Tanjore Brihadeesvara temple, and the illustration of Nātya Shāstra principles in stone at Chidambaram are significant points. The Vijayanagar Empire's patronage and the subsequent influence of the Nayakas and Marathas in shaping Bharata Nātyam are detailed. The text explains the etymology of "Bharata Nātyam" from Bhāva, Rāga, and Tāla, and the role of Nattuvanars and Devadasis in preserving the art. The rigorous training, culminating in the Arangetram, and the symbolic significance of the Thalaikol are explained. The structure of a Bharata Nātyam performance, from Alarippu to Tillana, is described with its spiritual and aesthetic significance.
Kerala: The historical evolution of dance-drama in Kerala is linked to primitive rituals and majestic symbolism. Various folk dances like Pana, Muttiyettu, and Therayattam are discussed, their connection to temple worship and appeasing deities and spirits emphasized. The narrative of Ayyappan and the syncretic nature of worship in Kerala are touched upon. The snake worship and the Pambu Tullal dance are also described. The text then moves to more sophisticated forms like Chakkiyar Koothu and Kudiyattam, emphasizing their scholarly and dramatic elements, and their connection to ancient Sanskrit theatre. The influence of Jayadeva's Gita Govinda and the emergence of Ashtapadıyattam are noted. The evolution of Kathakali from Rāmanattam is detailed, including its training in Kalari, its elaborate makeup symbolizing character traits, and its powerful storytelling. The text emphasizes Kathakali's role as a custodian of Hindu thought.
Manipur: The origins of Manipuri dance are traced to the legends of Shiva and Parvati. The Lai Haroba festival and the love story of Khamba Thoibi are highlighted. The influence of Vaishnavism and the development of Ras dances depicting Krishna's life are discussed. The lyrical quality and devotional aspect of Manipuri dance are emphasized. The Sankirtan, Kartal Cholom, and Pung Cholom are described as unique expressions of this dance form, often blending Tandava and Lasya styles. The role of King Bhagya Chandra in codifying Ras dances and developing costumes is noted.
Kathak: The text explains that Kathakars were narrators of epics, similar to the Bhagavatars of the South. The influence of Mughal rulers and the Vaishnavite tradition are discussed, with Kathak evolving to depict episodes from Krishna's life. The major gharanas (schools) of Lucknow, Jaipur, Benaras, and Rajasthan are mentioned. The lyrical and poetic quality of the Lucknow school, influenced by Wajid Ali Shah, and the development of thumri, dadra, and ghazal are highlighted. The devotion to Krishna as the divine dancer forms the basis of Kathak's patterns. The text describes the rhythmic syllables (bols) as the essence of Kathak's movements. The Jaipur gharana's blend of Shiva's Tandava and Krishna's Lasya is discussed. The performance structure, including salutations to Ganesha, Amad, Thata, Paramelu, Parhant, Tattkara, and Gat-bhav, is detailed.
Odissi: The contribution of the Chola dynasty to the cultural history of India and the presence of Devadasis in temples are mentioned. The Maharis, dancers dedicated to deities in the Jagannath temple, are described, along with their roles in temple rituals and festivals. The text notes the systematized and technical nature of early Natya. The influence of the Kalinga emperors and the intertwining of Orissan and Telugu cultures are highlighted. The dance's connection to Jayadeva's Gita Govinda and the development of gotipuras (boys trained as dancers) are discussed. The sculptures in Orissan temples are presented as evidence of the dance's quality and adherence to the Nātya Shāstra. The performance structure, including Bhumi Pranam, Ganapati, Batu Nntya, Ishta Deva Bandana, Swara Pallavi Nritta, and Tarangam, is outlined.
Bhagavata Mela Natakam (Andhra & Tamil Nadu): The origin of Kuchipudi dance-drama is traced to a donation by Nawab Abdul Hasan Tanhisha to the village of Kuchipudi. The influence of Siddhendra Yogi and the story of Bhama Kalapam are highlighted. The Pravesadaru, the entrance of each player with dance and song, is noted as a distinctive feature. The text also mentions Srikakulam as a center of Buddhism and the contribution of the Gajapati rulers and Jayappa. The influence of the Gita Govinda in Andhra and the development of Ashtapadiattam are discussed. The patronage of the Vijayanagar Empire and the Nayaka dynasty in Tanjore, particularly rulers like Achyutappa Nayak and Raghunatha Nayak, are detailed. The Maratha rulers' continued patronage and contributions, such as Raja Pratap Sinh and Tulajaji, are also mentioned. The text emphasizes the parallel development and shared influences between Bharata Nātyam and Kuchipudi.
Yakshagana: This dance-drama from Karnataka is described as primarily a form of ballad, with themes from the Bhagavatam, Ramayana, and Mahabharata. The role of the Sutradhara or Vidushaka in commentary is highlighted. The colourful and symbolic costumes and makeup are discussed, indicating character traits. The performance begins with prayers and culminates in traditional blessings. The unique musicality of Yakshagana, with its rare ragas and rhythmic introductions, is noted.
Chhau Dance: This military dance from Orissa and Singhbhum is described as evolving from war-like movements. The patronage of rulers like Shri Krishna Chandra Bhany Dev and the establishment of training rules are mentioned. The dances are vigorous and performed entirely by men, often depicting themes from epics. The Seraikela style, with its use of masks, emphasizes bodily expression. The Jatra-ghat ceremony and its symbolism are explained. The repertoire includes stories of Hanuman and Krishna, as well as mythological narratives like the story of Chandrabhaga. The basic movements and expressive footwork are highlighted, including animal imitations.
Folk Dance: The diversity and unity of India are exemplified through its folk theatre and dance. The theme of Shiva and Parvati, representing purusha and prakriti, is a common thread. Dance is presented as prayer and a means of mirroring society. Various folk dances from Gujarat (Bhavar, Garba, Ras), Maharashtra (Tamasha), Himachal Pradesh (Natti), Assam (Bihu, Naga dances), Bengal (Jatra, Karam), Madhya Pradesh (Gonds), and other regions are discussed, highlighting their connection to festivals, nature, social events, and tribal rituals. The text emphasizes the spontaneous expression of joy and community in folk dances, often contrasting them with the disciplined techniques of classical forms. The importance of scarves, animal imitations, and "question and answer" dances are also noted. The underlying theme of dance as a means of spiritual connection and seeking divine favor is recurrent throughout the chapter.

In essence, "The Sacred Dance of India" by Mrinalini Sarabhai presents a comprehensive overview of the historical, spiritual, and artistic dimensions of Indian dance, showcasing its evolution from ancient rituals to sophisticated classical forms, deeply interwoven with the fabric of Indian life and spirituality.