Rabindranath Tagore’s contribution to dance is entirely different from the traditional dance form and folk dance forms of India. The dance form was entirely different from the dance forms of his time. He introduced his own creative dance forms to the dance world. Tagore felt that a dance form should be a living art, must be simple and must not be affected by the rhythm, but it must have a natural flow.
The sense of rhythm reflected in Tagore’s dance is very simple and graceful and gentle. According to Tagore man’s first creation of rhythm was experienced in his body itself, the dance was also performed by him initially only to express the grace of his body movements without any other greater purpose and only for the joy of rhythm’.
Dance style
Tagore’s dance could be analysed in two different ways. Some regarded Tagore’s dance as a style. Some others considered it Tagore’s dance concept. One must have a style of a dance which means it must have a structure, formation, and firm type of execution.
The concept of dance must be influenced by various aspects.
Hence Tagore’s creative dance form can be considered as a concept of the dance form and can not be considered a style of the dance form. But many art critics always considered that Tagore’s creative dance is a style of the dance form.
Tagore himself was not only a poet, philosopher, painter, choreographer of dance and drama but also a dance teacher.
His imaginative creativity could be found in all of his art works including dance, drama, music, and poetry. One must understand that during his period dance was not much recognised in the society. Many artists were dominating the Bengali theatre and art scene in Bengal. Tagore recognized that art was a vehicle for education.
General education
According to the available data, Tagore established Shantiniketan at the end of 1901. At that time most of the students joined Shanthiniketan which belonged to the middle-class families. During the time nobody was interested in learning dance as a part of general education. But Tagore introduced the fine arts such as dance, drama, music, and painting as a part of education, from the inception of Shantiniketan.
But at the initial stage, it was not possible for him to impart or provide proper dance faculty. In the year 1878, he went abroad and got an opportunity to witness the western ballet. That influenced his mind and introduced certain techniques based on this basis to his creative dance form. He encouraged the students to study and continue the dance for songs in the plays. First, he used the dance in the play Manamoiyee in 1880. He himself played the role as a dance teacher and choreographer. He himself composed a series of dances based on western ballets.
He choreographed a dance for ‘AayAaySahachari’, again in 1899; he produced another play ‘Punarbasantha’ in which he used the same song for the dance. He composed some songs and danced for the songs himself. Even in these plays, he himself danced.
Participation
His beautiful methodology of dance influenced the young minds. Yet there was no proper faculty to impart dance at his institution. In 1919 Guru Buddhimanta Singh was invited to teach Manipuri dance in Santiniketan. In 1923 in a play named Vasantha, Tagore and so many others participated in this play. Mainly they participated and danced rhythmic movements. In 1924 a group of students from Sourasta danced at Santhiniketan which very much impressed Tagore.
Different gurus came to Shantiniketan to study the special dance form. Some of the ballets produced by Santhiniketan such as ‘Chandalika’, and ‘Chitranga’, were the best examples for the different combined styles of Indian dance forms. Thus was born Tagore’s imaginative creativity.
Add new comment