Abstract
Therapeutic way of healing and well-being has been an integral part of Indian culture. The book presents an unconventional view by looking at performing arts becoming an act of therapeutic understanding. The authors have tried to achieve this by studying three art forms of music, drama and dance through six life narratives. Each case study is followed by the authors’ interpretation of the artists’ view and its linkage with healing and well-being. In the preface itself, Bajaj clearly states that the aim of the book is to provide examples and not be directive (p. xvi). Thus, it is left open for the readers howsoever they wish to incorporate and understand the art form in accordance with their lives. The fact that even in contemporary lifestyles that are occupied with work, competition and stress, the ‘regular’-looking performing arts can be means to happiness is surprising and fascinating. Art has been seen as a mean for education and recreation leading to growth and learning. The book also aims to look at the two-way implications of the arts: on the audience and on the performer.
The first chapter introduces ‘art’ through ‘Nritta, Natya, Nrtya’. It is from the second chapter that we get a closer look towards music. Two case studies are presented here. Though both the cases belong to a similar age, their respective journeys in music are quite different. The authors very subtly achieve their aim of bringing about the passion behind music and its consequences which even in such different cases are quite similar. On the one hand is the devotee of Lord Rama, on the other hand is a singer who excels at Hindustani music beginning her journey with radio. The notion of ‘rasa’ is however found among both. Examples from Krishna’s flute to Tansen’s Raga Malhar are cited which look at the historical aspect of music in addition to a short note on bhakti sangeet. The human body is seen as a visible response to the stimulus music.
The next two chapters (3 and 4) are devoted to drama. The two cases have been chosen quite cleverly. Though being quite different in ages, experience and journey, both the cases end up seeing drama as therapy. For one it became a way of overcoming fears, for the other it was about sharing experiences. Both echoed that it is like ‘giving words to pent up feelings and emotions’ (p. 64). The idea of ‘role playing’ and ‘empathy’ is explored in relation to theatre. Theatre is studied as a catalyst for personal and social learning.
The authors finally come to the art form of dance. Clear emphasis is on Bharatanatyam from where both the case studies have been taken. The chapter is written with a detailed introduction of ‘dance’ itself followed by a note on ‘Bharatanatyam’ and different elements of dance including abhinaya, hastas, etc. The absence of such introductory notes in the other two art forms is felt. Nevertheless, in relation to dance, such details are noteworthy and definitely capture the reader’s attention. Personal touch is quite evident here as one of the cases is of the authors’ guruji herself while the other study is from Czech Republic. Again, the difference of age, experience and origin of the two dancers provides two very different journeys which encapsulate the readers mind immediately. The details of different phases of their lives bring you closer to them. This adds freshness to the book wherein reflexivity and empathy become important. Two case studies touch myriad forms of life: family, spirituality, passion and teaching. Thus, dancing is seen and presented as a source of ‘energy, hope and happiness’ (p. 113). The chapter is followed by seeing Bharatanatyam as the ‘ultimate remedy’.
From its role in the growth of children, to human body becoming a medium of communication, to their role in scientific terms, the authors conclude by looking at the therapeutic implications of performing arts specifically. The authors now look at the effect that these art form leave on the audience; however, this too has been seen in the domain of dance and music only. Theatre is a vast medium incorporating elements of both music and dance and has much further scope of study. One may feel that the book suffers from a ‘Hindu-centric’ view with only women being interviewed; however, this has not been a ‘deliberate effort’ that Bajaj clarifies in the preface itself (p. xvi). Also, the major part of the book is devoted to dance which is also due to the author’s own understanding and background of dance (particularly Bharatanatyam). The attention could have been expanded from only Bharatanatyam to other dance forms too. However, the account provided here does much justice to Bharatanatyam and would be pleasing to any and everybody aspiring to learn any dance form. Yoga is central to all three art forms and has been given due attention. The book is enhanced by a well-presented set of annexures, though all are dedicated to dance only. A well-documented glossary is a must for such a book, and the authors take full effort to provide us with it.
It is clear that the journey of all the artists has not been an easy one and it is just their belief and passion in their art that helped them sail through. Art is beyond just being categorised as dance or music or drama, and thus the book should appeal to all. The effort needs to be encouraged also because it concentrates not on ill health or disease but rather on growth and happiness despite all odds of life. The positive approach of the book takes it beyond academia and would be appealing to all who are ready to understand, appreciate and incorporate any art form in their lives. The book leaves you with a smile and a wish to sing, act and dance!