Tagore dance

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The Tagore dance form is the dance form created by Nobel laureate Rabindranath Tagore. It does not follow any of the formal rules of traditional dance forms and is regarded as a semi-classical dance form. Just like fusion in music, the Tagore dance form and style is a unique blend of various traditional classical and folk forms. The Tagore dance form contains the deliberate influence of dance forms with their origins outside India, as well as those from within India.

The Indian classical dance forms which have influenced the Tagore dance form the most are Manipuri, Bharatanatyam, Kathakali and Kathak. Similarly, elements of folk dance forms from Sri Lanka (Kandy), Java and Europe are also remarkably present.

Tagore said, "Through my experiences within my own country and abroad, I have made myself fully acquainted with all kinds of dance form. By doing so, I can claim the right to adopt the forms to make any style more effective. I have no hesitation too say that the dance style evolved in Santiniketan is the result of a dedicated effort to combine all streams. Such totality in a discipline of performing arts like dance is very rare."

The artist and genius of Tagore did not wish to confine his creations only to great literature. His genius easily found its expression not only in various aspects of literature but also in his music and in his paintings. In his creation, he was driven by his attraction for new media and also by his search for a new medium in which to express himself. Perhaps it was for that reason that his creation has taken so many different forms. For the sake of expression, he has constantly changed his language and style.

He has enriched the culture of Bengal in a wide variety of ways. In this respect, he has often surpassed the creations of his predecessors or has added new dimensions. However, his role in connection with his dance style is rather different. Before him, there was no established Bengali dance form which was presentable to the wider world.

Dance has been an integral part of the life of the Adibashi people (a tribe of aboriginal people found in Bengal). Surprisingly, though, in spite of the richness of Bengali literature and music, there had not been a tradition of Bengali dance style prior to Tagore.

In other states of India, there had been highly successful dance traditions. In some Western countries, dance was an integral part of their national culture. Highly sophisticated dance styles had been created in the Far East, Persia, China, Japan and the East Indies.

Tagore was very disturbed at the lack of a dance tradition in Bengal. He firmly established dance as a highly respected position in the Bengali cultural scene by making dance a medium of instruction at his educational establishment in Santiniketan.

In 1930, commenting on the neglect of dance, Tagore said that “In all countries, dance is an essential part of art forms and is highly respected as a medium of expression of emotions. In our country, in educated circles, there is an assumption that it does not exist. However, dance does exist in our society in various forms among common people. Unfortunately, we regard the common people as a lower class of society so what they have does not belong to those of us in learned society. Even if it is beautiful and highly skilful, we regard it as too shameful to be accepted by us.”

He introduced dance lessons in Santiniketan in the face of significant opposition from learned society. Even he was unable to ignore this opposition for a time. In the politically unsettled climate of the period, many poured scorn on this idea of Tagore.

At that time, Tagore was in Britain. From there, he protested against the nationalistic critics of his dance movement and said, “I warn these brave souls and religious leaders that, when I return to my country, my songs and dances will not be stopped even if the police hit us with their sticks.”

On his return, he said, “I have always found that it is the educated society which puts up the stiffest opposition to me. Nowhere else in the world can one find such complexity and such opposition. I shall have to overcome that opposition. My efforts will not cease until the last day of my life.”

One can get a glimpse of Tagore’s views, attitude and idealism from the above statement. His thoughts on dance are to be found throughout his writings. Sometimes, it is in his comments on dance styles. At other times, it is in his use of dance as a metaphor for the rhythm in the universe, nature and life itself.

From the views of Tagore above, it is clear that he used to regard dance as being something to be respected and a subject which could be taught and studied at colleges. While he used to derive great pleasure from dance, he was always mindful that others were able to share his pleasure. Tagore’s thoughts on dance and his philosophy of dance have found their ultimate expression in his dance-drama Notir puja – the Dancer’s Prayer. He gave dance a very high status because, outside Bengal, in all the other states of India, dance used to be highly respected.

Tagore wrote three dance dramas (Rabindra nritya natya), all towards the end of his life: Chitrangada, Chandalika and Shyama. Some of his earlier plays also included dance: Tasher Desh, Balmiki Pratibha, Mayar Khela, Basanta and Shaapmochon.

[edit] See also

A study on the influence of classical and folk dance from both within and outside India on the dance form created by Rabindranath Tagore by Kaberi Chatterjee PhD - Sangeet Bhavan, Visva-Bharati University