Indian dancing

According to Indian tradition, the first manifestation of dance is the cosmic dance of Lord Shiva. In an attempt to understand Indian dancing, one must bear in mind that to the Hindu, dance demonstrates the fundamental unity and rhythm of the universe, and that this concept of unity in diversity and of rhythm is indeed the basis of all of the arts of India.

The dance, therefore, is not merely an art nor simply a spontaneous expression of joy and harmony with nature; It is all this and more. Much more, it is an expression of the philosophy of India.

Thus, dance is closely associated within religious beliefs and ceremonies. Indian dancing is such an ancient art form that it goes back to the era before Christ. Carved statues in dance poses can still be found in caves and temples.

One can’t even begin to describe the richness and complexity of classical Indian dancing but one might note that its four main schools are Bharata Natya, Kathakali, Kathak and Manipuri. In earlier years, visiting solo dancers demonstrated all four. This week, dances of another noteworthy school, the Odissi of Orissa, were performed by a troupe of three attractive women and two men headed by Sharmila Biswas, a beautiful, exotic dancer and choreographer.

All types of Indian dances, including the Odissi, have symmetrical, perfectly coordinated hand and body movements. Dancers are barefooted and wear ankle bells which accentuate the rhythm principally provided by a percussion instrument. Rhythm, varied and ever-changing, is in fact the very life of Indian dancing.

A basic characteristic is its earthiness; unlike Western ballet which defies gravity with broad leaps or turns in the air, Indian dancing hews close to the ground. Further, the footwork may be contrapuntal to the rhythm of the drum. Plasticity is sill another element of Indian dancing.

The elegant, richly costumed Odissi dancers, the women in ornate head-dresses, executed karana-adavus (sets of hand-and-foot movements or symmetrical patterns) to an orchestra consisting of a sitar, a violin, a harmonium and a two-ended gourd drum. Symbolic hand movements (mudras) – almost always expressing meaning or objects – combined with footwork epitomized precision, discipline and grace. When the karana-adavus became increasingly faster and more intricate, they created peaks of fascination and excitement for the audience.

The classical dances were mostly derived from mythology. The simplest and most easily understood described "a mother trying to put her naughty child to sleep". She threatened her son, warning him that a huge bird and an elephant will come to take him if he stayed awake. All sorts of enticement – these conveyed with eloquent, dainty hand gestures and facial expressions – fail. Exhaustion overtakes the child and he finally goes into dreamland.

The movements of the folk dances were far simpler but much more vigorous and energetic. In the first, the dancers kept jumping from start to finish. In the second, they beat on gongs throughout; in the third, they moved to the rhythm of the singing by an orchestra member. In all three, they were playing games while creating the communal spirit.

H.E. Ambassador Navrekha Sharma, who headed the spectators, was justifiably proud of the excellent dancers who shared their illuminating and enriching ancient art with the audience at the CCP Little Theater.

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Today, concluding India Week will be a screening of the Richard Attenborough-directed film Gandhi at the Tanghalang Manuel Conde, 4 p.m. Tonight, at 7:30 at the CCP Little Theater, Shanti Mantras Chants of Peace, a tribute to Mahatma Gandhi, will feature the UP Dance Co. and the Bharata Natya students, with choreography and direction by Ms. Shanti Sreedhar.

Ongoing until today is the Mahatma Gandhi photo-book exhibit at the Lobby of the CCP Little Theater. The revealing photos displayed along with Gandhi’s quoted gems of thought give an insight into the mind and spirit of the great Indian leader.

Many photos show him in his familiar shoulder wrap and loin cloth he himself wove on the spinning wheel. He had wanted the Indians to follow his example by using only what they produced, and thus strive for self-sufficiency.

Ambassador Sharma, serving as guide to the photo exhibit the other night, told this vignette. As Gandhi, in his usual wear, was about to enter Parliament in London with a Lord, one of the men accompanying them remarked to Gandhi: "Aren’t you underdressed?" To this, Gandhi replied as he pointed to the Lord: "He is dressed for both of us." Several photos show Gandhi with Rabindranath Tagore, eminent Indian philosopher.

As an extension of India Week, lectures on Mahatma Gandhi will be given by P. A. Nazareth. The schedule for the free lectures follows:

Feb. 4: The Legacy of Mahatma Gandhi – "Building a Character of Integrity, Harmony and Peace" at Ateneo U., Loyola, QC at 4 p.m.

Feb. 5: "Gandhi and the World" at AIM, Paseo de Roxas, Makati, 3:30 p.m.

Feb. 6: "The Legacy of Mahatma Gandhi – Applications of Non-Violence in an Era of Terror" – at UP, Diliman, QC, 10 a.m.

"Mahatma" means great soul. Gandhi was "first to apply active non-violent resistance on a large social scale, which finally led to India’s independence from the British Empire. In a world full of hate and violence he fought evil and injustice with the power of his soul".