Indian dancing

EASTERN AND WESTERN DANCE FORMS COMPARED

There ate obviously, then, certain fundamental differences between Indian and Western classical dancing. The one, while not entirely neglecting outer forms, seeks to arouse the ‘inner consciousness’; the other appeals to the ‘outer consciousness’. This is not surprising since, even in religion and yoga, while the Oriental sinks into dhyana, or meditation, the Western mind searches for external aids to bring solace to the spirit. The inner shrine of the Hindu temple and the soating spire of the Christian church well symbolize these contrasting religious attitudes.

However, apart from ballet, we do find in the history of Western dancing attempts to give expression to ‘the urge within’. In comparatively recent times the foremost exponent of what came to be known as the cult of ‘free dancing’ was the American Isadora Duncan who, scorning technique, astounded Europe with her dance expositions inspired ‘from within’. In spirit though not in form (nearly all Indian dancing being highly stylized), her dances perhaps came nearest to those of India.

ART VERSUS INDIVIDUALITY

Natyadharma, ot the code for Indian dancing, lays it down that the dancer must be the vehicle of his art, propagating its beauty and its viniyoga, ot meaning, but never allowing himself or his personality to overshadow it. In Western dancing, on the other hand, it has become the practice to encourage individuality to the point where it is almost a fetish and dwarfs the art of which the dancer should be only the willing instrument. This ‘star’ system, while it allows the virtuoso to bask in the limelight, often deprives the rest of the company of its due, thrusting it into the background and thus preventing the ‘finish’ that can result only from absolute cooperation from the entire company.

The main difference, then, between the Western dancer and his Indian counterpart is that the former uses his art as a handmaiden to attend on him, while the latter dedicates himself to the service of his art, allowing it to use him as its vehicle.

Ior