Therapeutic Implications of Dance

7/29/2019 Therapeutic Implications of Dance

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Therapeutic Implications of Dance

Tanvi Bajaj* Swasti S Vohra**

University of Del hi University of Del hi

E f fe c ti ve n es s o f d an c e a s a h e al i ng a r t i s b a se d o n t h e p r e m is e t h at m i nd a n d b o d y a re a g e st a lt i n w hi c h c h a n ge i n o n e o f t h e s e d o m a in sp r od u ce s a c o n se q ue n t c h an g e i n t h e o t he r . T hi s p a pe r i l lu s tr a te s t h e t h er a pe u ti c i m pl i ca t io n s o f B h ar a ta na t ya m , a f o r m o f I n di a n

C l a s si c a l d a n ce , a s e x p er i e n ce d b y p r o f e s si o n al d a n c er s . F o l l ow i n g t h e c a s e s t u d y a p pr o a c h, t h i s q u a li t a t iv e r e s e ar c h e m p lo y s i n - d ep t hi nt er vi ew , st or y wr it in g an d a ut o- ph ot og ra ph y. T he a na ly si s s ho ws t ha t a pa rt f r om t he k no wn b en ef it s o f ph ys ic al e xe rc is e,B h a r at a n at y a m p r o m o t e s p o s i ti v e p h y si c a l h e a lt h . F o c u si n g n o t j u s t o n a b s en c e o f i l l n es s , t h i s d a n ce o f f e r s o p t i m i s e d f u n c t i o n in g o f t h eb o d y . Th e s t a mp i n g o f t he f o o t , m o v e me n t o f e ac h l i m b, t h e m u d r as , t h e r h y t hm i c br e a t hi n g an d t h e a c t i va t i on o f c h ak r a s , a l l i m p ly ah o l i st i c e f f e c t o f B h a ra t a na t y am o n m i n d , b o d y a n d s o u l . A n o th e r d i m e ns i o n t h a t e m e r ge s d i s t in c t l y i s t h e r e l a ti o n b e t we e n d a n ce a n dt h e e x p er i e n ce o f f l o w . Hi g h li g h t in g t h e m e d i ta t i ve a n d t r a ns c e n de n t al q u a li t i e s o f d a n ce , t h e p a p er d r a w s p a r al l e l s b e t we e n Y o g a an dBharatanatyam.

Ke ywor d: dance he aling, ar t, bhar atanatyam, pos itive phys ical he alth, mind flow, yoga, body, soul, e motions , chakras .

W e d an ce f or l au gh te r, w e d an ce f or t ea rs , w e d an ce f or m ad ne s s, w e d an ce f or f e ar s, w e d an ce f or h op es ,w e d an ce f or s cr ea ms , w e a re t he d an ce rs , a nd w e c re at e t he d re am s.

(Anonymous)

A c c or d i n g t o Sa h a i ( 2 0 0 3 ), t o c r e at e b e a u ty , t og i ve p l ea s ur e , to c om m un i ca t e t h at i s t h e p u rp o seo f a ll a rt . D an ce i s t he e mb od im en t o f s ou nd a ndr h y t h m , w h i c h c r e a t e s p o e t r y o f s p i r i t u a l

e x p r e s si o n . R u k m in i D e v i A r u n d al e ( 1 9 5 7) h e ld t h a ti t i s t he e x pr es si on o f t he e vo lu ti on o f m ov em en t, atruly creative force that has come do wn to usthrough ages. Dance is a vital urge in man. It isp r es e n t i n e v e ry k r iy a o r a c ti v it y s ur r ou n di n g us ,f r om t h e f l ig h t o f a bi r d t o t h e s w ay i ng of th e l e av e si n t he w in d ( Ma nj ul a 2 00 2) . I n t he W es t d an ce h asd e ve lo pe d i nt o a m ea ns o f s el f- e xp re s si on a nd av e h ic l e t o c o nv e y t he d a nc e r' s o w n p e rs o na l it y a n di d e as . Ho w ev e r, i n I n di a an d o t he r E a st e rn r e gi o ns ,a l o n g w it h b e i n g a m ed i u m o f e x p re s s i o n, d a n c e h a s

d ev el op ed a s f or m of s pi ri tua l e xpr es si on . A sM a n j ul a ( 2 0 0 2 ) c or r e c tl y s t a t e s, ' i n I n d i a , d an c ed o es n o t e v o l v e t h r o ug h m a n a n d h i s e x pe r im e nt s ; ite vo lv es f rom D ivi ni ty . A s p er B ha rat a' s N at yaS ha st ra , t he f am ou s S an sk ri t t re at is e o n s ta ge cr af t,d ance as a f orm emerge d wh en the world hadb e co m e s t ee p ed i n g r ee d , d e si r e , j e al o us y , a n ge r ,p le as ur e a nd p ai n. Br am ha , t he n o n r eq ue st,m ed it at ed o n t he f ou r V ed as a nd d re w o u t t he f if ths cr ip tu re w hi ch w as c al le d t he N at ya V ed a. I nd ia nd a n ce f o rm s a r e t h us c o ns i de r e d d i v i ne i n n a tu r e.

Bharatanatyam

B h a r a t a n a t y a m i s a c l a s s i c a l d a n c e f o r mo ri gi na ti ng f ro m T am il N ad u. Th e w or d B ha ra ta ,

s o me b e l ie v e, s i g n i fi e s t h e a u th o r o f , N a ty a S h a st r a,i t i s s om et im es g iv en a f ol k et ym ol og y as f ol lo ws :B h a fo r B h av a or a b hi n ay a a nd e x pr e ss i on , Ra f orr ag a or m el od y , a nd T a fo r t al a or r hy th m. W hi les o me a l so b e l i e ve t h at B h ar a ta n at y am m e an s , q u it el i t e r al l y , t h e d a n c e o f B h a r a t a ( I n d ia ) .

B h a r a ta n a t y am i s a v i g or o u s , f o r c e fu l d a n c e . I t sb e au t y l i es i n i t s s t re n g th . T h e g e nt l e g l i di n g o f t h en e ck , t h e p o is e a n d g r ac e i n t h e d a n c e r' s s t an c e, a r m so ut st re tc he d a t s ho ul de r l ev el , f ir m a nd g ra ce fu la nd t he f or ce fu l y et c on tr ol le d m ov em en ts o f h er

limbs, it is i n the se that the true beauty and thev i ta l it y of th e d a n ce m a y b e s e e n. L ik e o t he r I n di a nd a c e s , B h a r a ta n a t ya m h a s t w o d i s t i nc t a s p e ct s ; t h en rt ta o r p ur e d an ce , a nd n at ya o r t he e na ct me nt o rm im et ic pe rf or ma nc e. N rt ta i s b as e d o n t he m us ica lon e; t he d an ce i s pu re m ov em en ts a nd s ta nc es .Th e d an ce r us in g t he m ajo r l im bs an d j oi nt s ( th eh e ad , wa i st , a r ms , le g s , f e e t) i nt e rp r et s t h e r h y th mt hr ou gh w ea vi ng i n tr ic at e g eo me tr ic p at te rn s i ns pa ce . N at ya i s a r e fl e ct iv e i mi ta ti on o f wo rl dl ye ve nt s. I t i s t he i nt er pr et at io n o f th e w or ds o f th el it er at ur e, w he th er i t i s a p oe m o r a n i nv oc at io n,t hr ou gh s ty li ze d g es tu re s . I t e x pr es s es t he e mo ti ono r m oo d a nd a im s t o ev ok e r as a in t he a ud ie nc e. I nt h t f t l d i t i ti ll

Amit y J ournal of Applied Psychology

2011, V ol. 2, No. 1, 54- 68

C o py r ig h t 2 0 1 1 b y A I BA S ,

Amit y Universit y Rajast han ( I SSN 0976 - 6731)

* & ** Department of Applied Psychology, South Campus,


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r ep re se nt ed th ro ug h a bh in ay a. Ab hi nay a is aS a n s k ri t w o r d , t h e p r e f i x a b h i m e a n i ng , ' t o wa r d s 'a n d ' n ay a ' m e an i ng 't o l e ad ' . T h er e fo r e t h e w o rdm ea ns t ha t i t l ea ds t o t he c on ve y an ce o f a n i de a, ane mot ion or a n e ve nt to th e a ud ie nc e. Th re e m os t

c r uc i al a s pe c t o f a bh i na y a a re h a nd s , t h e ' h as t as ' o r' mu dr as ', f ac ia l e xp re ss io ns a nd e y es . T he h as ta sr e fe r t o t he c o mb i na t io n s o f d i ff e re n t h a nd g e s tu r esw h ic h a r e u s ed t o s h ow d if f e re n t a s pe c ts o f l i fe , f o re x a m p l e , r e l a t i o n s h i p s , a n i m a l s , b i r d s , a n yc h ar a ct e r o r s i tu a ti o n, i m ag e s a n d i d e as , t h ou g ht sa n d p e rc e pt i on s a n d p r ac t ic a ll y a n y t hi n g e l s e. T h ef a ce i s t h e g r ea t es t s i ng l e v e h ic l e f o r t h e ' c on v ey a n ce 'o f a f f e ct . M u k ha j a ( f a ce ) m i r r or s t h e a f f e c ti v e s t a t e o fth e mi nd. For example , n arrow ed lips can showe n v y , p a i n , c o nt e m p t, l a u g h t e r ; t r e mb l i n g l i p s c a ns h o w p a i n , c o l d , f e a r , a n g e r , a n d s o o n

( S a t hy a n a r ay a n a , 1 9 6 9 ) . H o w e v er , w i t h ou t t h ei nv ol ve me nt o f t he e ye s t he m ea ni ng c a n n ev er b eco nve ye d. E ve n i n ou r e ve ry da y l if e w e i nf er t hem o od , t e mp e ra m en t a n d e v en t h e p e rs o na l it y o f a ni n d i v i d u a l f r o m h i s e y e s .

Bharatanatyam: The ultimate remedy

D a n c e i n v o lv e s b o d y , e m o t i on , a n d m i n d . So d oillness and pain. At one level it pro ve s to be astre nuo us physi cal e xercis e and can ben efit thed an ce r i n m uc h t he s am e w ay a s a j og gi ng s e ss io n

but at ano the r level it g oes de epe r into the body,a ff ec ti ng th e mi nd a s w el l a s th e s oul . D an ce ca ns af el y b e c on si d er ed a s a v al id a lt er na ti ve t o sp or t.Qu in , F ra ze r a nd R ed di ng ( 20 07 ) i n t he ir s tu dys ho we d t ha t c re at iv e d an ce i nc re as es t he p hy si ca la n d p s y c h o l o g i c a l w e l l - b e i n g o f a d o l e s c e n t s .P h ys i ol o gi c al a s se s sm e n ts i n cl u de d l u ng c a pa c it y ,f l e x i bi l i t y a nd a e r o bi c c a pa c i t y wh i l e t h e w e l l - be i n gas sessments sugge st that creative dance has thep ot en ti al t o e li ci t p os it iv e e ff ec ts o n s el f- es te em ,m o t iv a t i on a n d a t t i tu d e s t o w a rd s d a n c e .

H e ar t

T h e h e ar t , l i ke a n y o t he r m u sc l e o r ga n , n e e ds t ow o r k t o s t a y h e a l t hy . B u t u n l i k e v o l u nt a r y m u s c le ,the heart can not be made to work d irectly. InB h ar a ta n at y am , e ve r y s in g le p a rt o f t he b o dy - t heh e ad , e y es , n e ck , h a nd s , f ee t e t c a re m o ve d . T hi sa u t om a t i ca l l y h e l p s t h e h e a r t t o a d a p t i t s e l f i n a w a yth at t he e ff ic ie nc y of th e h ea rt , a s a pum pi ngm e c h an i s m , i s i n c r e as e d ( S u d h ak a r , 2 0 0 6) . T o a d d t ot hi s i s a u ni qu e f e at ur e: w hi le d a nc in g , t he re i s a na l te r at i on i n a e ro b ic e x e rc i se w i th v i go r ou s b u rs t s o f

a n ae r ob i c a c t i vi t y. F o r e x a mp l e, t h e r i go r ou s d a n ceg e ts a b r ea k b y sy s te m at i ca l ly p l ac e d s l ow b a ckm ov em en ts . D ue t o t hi s t he re i s a n a lt er na te w or k

a nd r es t f or t he h ea rt a nd t he l un gs , w hi ch e ns ur esthat th ere is n o oxy gen de ficiency in such ane x e r c is e . A c co r d i n g t o S in g h ( 2 0 0 6 ), i n I n d i a n d a n c etraining, the skills that are i mparte d are almostu n i v e rs a l - f ro m c o n tr o l o f t h e b o d y in e v e r y po s i t in g

a n d m o v e me n t , t o a he i g h t e ne d s e n s e o f t h e b o d y i ns p ac e a n d o v er a ll a l er t ne s s . A l th o ug h i n d ir e ct b u tt hi s e ff ec t pl ay s an i mpor ta nt r ol e i n h el pi ng t hed a n c e r b e c o m e a h e a l t hy an d f i t i n d i v id u a l .

Acupressure

A c u pr e s s u re , a k i n d o f a v i b r a t i o na l m e d i c in e , i st he a rt o f di ag no si ng , pr ev en ti ng a nd t re at in gm e nt a l a n d p h ys i ca l a i lm e n ts b y a p p ly i n g p re s s ur eo n s pe ci fi c p oi nt s i n t he f e et , h an ds a nd f ac e. T heob je cti ve i s t o r em ov e e ne rg y b loc ks t ha t c aus e

m al fu nc ti on o f b od y, m in d a nd s pi ri t a nd i n t ur np ro mo te t he c hi o r p ra na ( li fe f or ce ) . V ib ra ti on alM ed ic in e i ni ti at e h ea li ng a t a c e l lu la r l e ve l . B ei ngh e al e d a t t h is l e ve l m e an s i n d iv i du a ls f u nc t io n w i tho p t i mu m h e a l t h, p r o d u ct i o n l e v e l s, o p e r a ti n g w i t ha se n se o f a w ar e ne s s a n d b l is s , i n a st a te o f b ei n gn ot doi ng an d pr omo ti ng y out hf ul ne ss a ndl o ng e v it y . O n e o f t h e c l ea r a d va n ta g es a da n ce r h a si s t h e a u to m at i c ' h ea l in g ' t h ro u gh a c up r es s ur e . I t i sa u t o ma t i c s i n c e t h e d a n c e r i s c o m p le t e l y u n a w ar e o ft h is b e n ef i t a s s h e d a n ce s , wh i le p u tt i ng p r es s ur e o nvarious points o n the fee t. It is not a co nscio us ,

d e li be ra te e f fo rt . B ha ra ta na ty am i s a da nc e t ha t i sp er fo rm ed b ar ef oo t a nd i nv ol ve s s ta mp in g o f th ef e e t . A c co r d i n g t o t he p r i n ci p l e s o f F e e t R e f l e x ol o g y ,p oi nt s o n t he f ee t c or re sp on d t o a l l a re as o f t h e b od ya nd e ve ry b od y s ys te m, i n cl ud in g th e o rg an s,e n d o cr i n e s y s t e m, e n e r g y m e r i d ia n s , a n d n e r v e s a r em ap pe d o ut o n t he f ee t. S ti mu la ti ng t he se p oi nt sc au se s a r e ac ti on i n t he c or re s po nd in g p ar ts o f t heb o dy . T h e p r in c ip l es o f r e f le x ol o gy a r e r e la x at i on ,b r i n g i n g b a c k a s t a t e o f b a l a n c e , r e l e a s e o ft o x i ns / t o xi c e m o t io n s , i m p r ov i n g c i r c ul a t i on i n -a re as o f c on ge st io n. F or e xa mp le , t he f ir st s et s o f

s t e p s i n B h a r a ta n a t y am a r e c a l l e d, ' T h a tt a d a v u' . T h ew ho le f oo t i s f la t a nd s tr ik es a t t he f lo or i n t he b ea t o f' ta i y a ta i' . Th is i s a n a cu pr es su re w or k ou t f or t hew h ol e s y s te m c o ve r in g a l l a r ea s o f t h e b r ai n , s i n us e so r g a ns e t c s t i m u la t i n g a n d m a s s ag i n g t h e m . S e c o nda re t he , N a tt ad av us . T he s e e mp ha si ze o n t he h ee lsa n d i n vo l ve s i de e x te n si o ns o f t h e l e gs t o t h e b e at s o f' ta iy um t at a t ay um t a' . T he s e A da vu s p re ss ur e t hea r e a s s p e c ia l l y r e l a t i n g r e c t um , u t e r us p e n i s , c o c cy x ,p r o s t r a t e , o v a r i a n t u b e s , a n d s c i a t i c n e r v e .The re fore, it is no t only a cure for illness butB h ar a ta n at y am a l so p r om o te s o p ti m al f u nc t io n in go f a ll t he o rg an s b y k ee pi ng th e c ha nn e ls t hr ou ghw hi ch e n er gy fl ow s, op en t he re b y p ro mo ti n g

i ti h i l h l t h

THERAPEUTIC IMPLICATIONS OF DANCE


3/16

B h ar at an aty am an d t h e m i n d

Ind ian class ical d an ce emplo ys most of thef a c u l t i e s o f t h e m i n d . F o r e x a m p l e , i nB ha ra ta na ty am t he re e xi st s ev en t yp es o f t al as o rtime cycles and the song is s et any o ne of the se

s eve n. T he t ime in te rv al ( or t he k ar va ye ) i sc a l c ul a t e d m e n t a ll y s o t h a t a n y co m b i na t i o n u s e d i nt h e i t em a d ds u p t o t h e n u mb e r o f b e at s i n t h e t a l a , o ri ts m ul ti pl e. Th e d an ce r h as t o r em em be r a la rg en um be r o f s te ps , w hi ch r e su lt s i n i mp ro ve me n t i nm e m o r y f ac t o r . F ur t h e r , i n a s t u d y S u d h ak a r ( 2 0 0 6 )c on cl ud ed t ha t t he t em po ra l s eq ue n ti al p er ce pt io ni m pr o ve d w i th t h e p r og r es s o f d a n ce t r ai n in g . T h isis be cause a dance like Bharatanatyam is set in as e qu en ti al p at te rn t ha t u nd e rg oe s a s te p b y s te pi ncr ea se i n c om pl ex it y, w hi ch i s m em or iz ed a nd

p er fo rme d to p er fe ct ion . A ll t hi s i nf lu en ce s th ec o gn i ti v e f u nc t io n in g , m a ke s t h e m i nd s h a rp e r a n dt he b ra in a ct iv e. To ge th er w it h th e e mot ion al a ndt h e e x p r e s s i o n a l p a r t , a b h i n a y a , t h e r e i s a ne n ha nc em en t i n t he d a nc e' s p ow e r t o b ri ng a bo utn eu ra l i nt eg ra ti on t he re by i nv ol vi ng b ot h t hep hy si ca l a nd t he n eur ol og ic al h al ve s of th e b od ye n ab li ng t he d an ce r t o d ev el op a h ig h q uo ti en t o fa b i l i ty t o re m e m b e r, c a l cu l a t e , a n d p l a n . T h e i racademic reco rd, to o impro ves (Singh, 2006). The artf or m m ak es v ar iou s d em an ds o n th e b ra in w hi chc an i nc re as e t he o xy ge n t ra ns po rt c ap ac it y t o t he

b r a i n a n d i m p r ov e s t h e I . Q . ( S u d h ak a r , 2 0 0 6 ) .

E m o t io n al v e n t ou t

M a n i s m o u l de d b y em o t i on s . O r d i n ar y h u m a nb ei ng s e xp re ss th ei r e mot ion s d ue t o t he f or ce o fc i rc u ms t an c es . B u t a n a r ti s t v i su a li z es a n d i m ag i ne sthe circumstances and invo kes the emotions in av e ry a r t is t ic a n d r h yt h mi c w a y. E v e ry m a j ore m ot i on i s c a pa b le o f fu r th e r e l ic i ti n g a n e m ot i on a le x pe ri e nc e a nd a ff ec ts o ur m in d. F or e xa mp le , if ad an cer de picts be auty, it wo uld evoke positive

t ho ug ht s. F ur th er , p en t u p a nd c lo gg e d a ng e r,d e pr e ss io n, g ui lt o r u ne xp re ss e d g ra ti tu de , a nyk i n d o f e x tr e me e m ot i on c a n c a us e p h ys i ca l a n d /o rm en ta l d i sc om fo rt . W it h d a nc e t he se e m ot io ns c anbe release d. D ance is the best me dium to e mo tef e e l i n gs o f j oy , s o r r ow , a ng e r , bl i s s , b e i n g c a l m a n dc o l l e c t e d i n t i m e s o f t u r m o i l a n d e m o t i o n a ldisturbance.

Spirituality in Bharatanatyam

A pa rt f ro m c ur in g an d p re ve nt in g ph ys ic al

i l ln e s s, m os t o f th e d a nc e rs a t tr i bu t e a s pi r it u al a n dt r an s ce n d en t al q u al i ty t o t h ei r d a n ce e x pe r ie n ce .S p ir i tu a li t y c e nt r es t h e i n di v id u al w i th t h at w h ic h i s

s pi ri tu al it y w it h r el ig io si ty , t he t he me s u se d i nB ha ra ta na ty am a nd t he v er se s a re c ha nt s o f g od ss u ch a s L o rd S h iv a , L or d K r is h n a. T h e l y ri c s, m u s i c,po etry, g esture s and the abhinaya a ll becomec ha nn el s o f pr ay er a t t he s am e t im e. A cc or di ng t o

S ah ai , ( 20 03 ) t he h um an b od y i s vi ew ed a s t hep er fe ct i ns tr um en t f or a ll h um an a cc om pl is hm e nt .W ha t g re at er w or sh ip c an t he re b e t ha n t o u se t heh u ma n b o dy i ts e l f a s t h e i n st r um e nt . Wh a t g r ea t erw o rs h ip t h e n , t ha n d a nc e ? M ah a tm a G a n dh i h a ds ai d, A h ea rt f e lt p ra ye r i s n ot a r e ci ta ti on w it h t hel i p s . I t i s y e a r n i ng f r om w i t h i n . . . C l a s si c a l I n d i a nd an ce , i n a ll of i ts f or ms , i s pr ay er p er son if ie d:t h r o ug h i n t r i ca t e l y e m b r o id e r e d c o s t um e , g e s t u re st ha t t el l e pi c s to ri es a nd i nv ok e h er oe s , d e mo ns a ndg od s, an d t he d an ce rs ' s ki ll i n p er so ni fy in g t hetr an sc en de nt . B ut s pi ri tu al it y i s m or e t ha n j us t

p r a y e r s ; i t i s a c o n n e c t i o n w i t h a l l t h a t i s .B h ar a ta n at y am o f fe r s a p r iv a te s p ac e t o t h e d a nc e rin which she can re late with what is dee per andb ey on d t he o bv io us . I t i s t ha t m om en t i n w hi ch t hedance r forge ts wh o he/she is and becomes thec r e a t i o n , t h e d a n c e i t s e l f . T h e e g o d i s s o l v e sc o mp l et e ly a n d a c co r di n g to s om e d a nc e rs i t c a n b ee qu at ed t o a h ig h f or m o f m ed it at io n. A s M ih al yC s i k s ze n t m i ha l y i ( 1 9 8 8 ) d e s c r i be s , t h e y e x p e r ie n c eb ei ng in a st at e o f f lo w, a co mp le te a nd o pt im alfeeling.

Flow

F low i s a n opt im al s ta te i n w hi ch mo st o f t he

d i me n si o ns o f e x pe r ie n ce r e ac h t h ei r p o si t iv e p e ak .

T h e m a i n d i m e n s i o n s o f f l o w a r e i n t e n s e

i n v o lv e m e n t, d e e p c o n ce n t r a ti o n , c l a r it y o f g o a l s

a nd f e ed ba ck , lo ss o f se n se o f ti me , la ck o f s e lf

c on s ci o us n e ss a n d t r an s ce n de n ce o f a s en s e o f s el f ,

l e a d i n g t o a n a u t o t e l i c , t h a t i s , i n t r i n s i c a l l y

r e w a r d i n g e x p e r i e n c e . T h e y c o n s t i t u t e a

n e g e n t r o p i c n u c l e u s a n o r d e r e d s t a t e o f

c on sc iou sn es s v al ue d f or i ts o wn s ak e. F low a ret ho se s it ua ti on s i n w hi ch c ha ll en ge s a nd s ki ll s a re

b o th h i g h a n d i n b a la n ce , t h e q u al i ty o f e x p er i en c e i s

d e fi ni te ly b e tt er t ha n i n o th er s it ua ti on s d e fi ne d b y

r e l a t i v e l y g r e a t e r s k i l l s ( b o r e d o m ) , b y a

p r ed o mi n an c e o f c h al l e ng e s ( a nx i e ty ) , o r b y l a ck o f

b ot h s ki l ls a nd c ha ll e ng es ( ap at hy ) . T he f un ct io n o f

f l ow se e ms t o b e t o i n d uc e t h e o r ga n is m t o g r ow in

t he s en se of fu lf il li ng th e po te nti al iti es of th e

o rg an is m a nd t he n g oi ng e ve n b ey on d t ho se l im it s.

F l ow i s a p an h um an , sp ec ie s -s pe ci f ic s ta te o f

p o si t iv e p s yc h ic fu n ct i on i ng . Ho w ev e r, c u lt u re sd i f fe r f r om e a ch o t he r i n t h e o p po r tu n it i es f o r a c ti o n

t he y m ak e a va il ab le , a nd t he re fo re i n t he f or ms o f

T A N V I B AJ A J & S W A S TI S V O H R A


4/16


f l ow t h e y m ak e p os s i bl e . F or e x a mp l e, o l d K o re a n

w o me n e n t er t h e f l ow s t at e w h en r e ad i n g t h e B i bl e ,

w he n k n it ti ng , o r w h en c oo ki ng e la bo ra te d in ne r;

t he A us tr al ia n s ai lo rs w he n t he y l os e s ig ht o f t he

s h o r e a n d s o o n .

Bharatanatyam and Yoga

N a t a r aj a i s t h e L o r d o f D an c e , th e i c o n ic , b li s s f u l

f o rm o f S h iv a w h o i s a l so t h e V e di c d e s tr o ye r d e i ty .

S hi va n ot o nl y d e li ve re d t he d iv in e d an ce , he a ls o

g i f t e d t h e t e a c hi n g o f y o g a t o m a n k i nd . I t i s s a i d t h a t

S h iv a 's s u pe r n at u ra l a b il i ty t o c o nt r ol h i s b o dy a n d

m in d e ma na te s f rom h is y og a p ra ct ic e - a nd h is

d a nc e . T h us , a t t h ei r v e ry d i vi n e o r ig i ns , c l as s ic a l

Ind ian thought, yoga and dance are inexorably

linked.

B a l an c e a n d C o n tr o l

I n di a n c l as s ic a l d a nc e i s b u il t a l on g t h e c om p le x

l in es o f Y og a a nd u se s s ym me tr y a nd b al an ce t o

c re at e p os e s. B h ar at an at ya m i s c ha ra ct er is ti c o f

l i ne a r p o se s w i th a r ms s t re t ch e d o u t a n d t h e p o st u re

i n a ra ma nd i ( ha lf s i t ti ng ) . W ha te ve r m ov em en t i s

done o n the rig ht, i t has to b e repeated on the lef t

w it h t he s am e a mo un t o f en e rg y. B ot h t he r ig ht a nd

l e ft a r e c o ns i d er e d e q ua l . T h er e i s v i go r ou s e x er c is e

o f e a ch l i mb , s y mm e tr i ca l o n b o th s i d es , c o mp l et ew it h b en di ng , j um pi ng a nd s tr et ch in g. An d i t i s a

well known fact that bo nes and mus cles never

d eg e ne ra te w h en u se d r eg ul ar ly a nd t he i r g ro wt h

s lo wl y g et s a cc el e ra te d . T he d an ce r u nd er g oe s

t ra in in g p e rf or ma nc e i n t hr ee d if fe re nt s pe ed s o r

k a l a s - Vi l a m b hi t ( s l o w ), M a d h y a ( me d i u m ) , an d

Ru th ( fa st) . In t hi s pr oce ss h e/ sh e i s s upp os ed t o

k e ep h i s/ h er b o dy s t il l a n d o n ly m o ve h i s /h e r f e et

a n d h a n d s . T h i s d e v e l op s s t e a d y b a l a nc e i n h i m / h er

a nd t ig ht en s c al f m us cl es a nd o th e r m us cl e s o f t he

b o dy . T h i s a i m d a nc e s h ar e s w i th Y o ga .

Breathing

A p a r t f r o m a l t e r in g h e a v y b r e a t hi n g w i t h s l o w

t hr ou gh o ut t he d an ce a da nc er i s u rg e d n ot t o o pe n

h er m ou th f or b re at hi ng . Th is e na bl es t he b od y to

release the exhaled air ri ch in carbon di-ox ide

t h ro u gh t h e n o se o n ly . N o m a tt e r h o w r i go r ou s t h e

s te ps , t he d an ce r m us t r em ai n c al m a nd d is pl ay a

ple asant, smiling face at all time s. It see ms so

effo rtle ss that it almost looks like an automatic

m o v e m e n t , w i t h o u t t h e i n v o l v e m e n t o f t h ec on s ci ou s m in d. Pr an ay am o r b re at hi ng , a s w e a ll

k n ow , i s o n e o f t h e m o st e s s en t ia l a s pe c ts o f A s h ta n g

Mudras

T h e p h ys i ca l b o dy i s m a de u p o f f i ve e l em e n ts ,

n am el y a ir , w at er , f ir e, e ar th a nd s ky ( et he r) .

I m ba l an c e o f t h e se e l em e n ts d i s ru p ts t h e i m mu n it y

s ys te m a nd c au se s d is ea se . D ef ic ie nc ie s i n a ny o f

t he se e le me n ts c an b e m ad e u p b y c on ne ct in g o ne

p a rt o f t he b o dy w i th a n ot h er i n a p a rt i cu l ar m a nn e r

t hr ou gh m ud ra s. W he n a f in ge r r ep re se n ti ng a n

e l e me n t i s b r ou g ht i n to c o nt a ct w i th t h e t h um b , th a t

e le m en t i s b ro ug ht i nt o b al an ce . T he re f or e, th e

dise ase caused by the imbal ance is cured. As

m e n t i o n e d e a r l i e r , B h a r a t a n a t y a m i n v o l v e s

e x t e n s iv e u s a g e o f h an d s ( h a s t as ) . De p e n d i ng o n t h e

c on te xt , v ar io us g es tu re s a re u se d t o c on ve y t he

m ea ni ng of th e v er se s o r t he p oe tr y. In y og a, s om e

y og ic te xt s c on si de r m ud ra to be a yo ga ng a, a n

i n de p e nd e nt b r an c h o f y o g a, r e qu i ri n g v e ry s u b t lea wa re ne s s. T he re a re s om e c om mo n h as ta s t ha t a re

u se d i n d an ce a nd y og a, f or e xa mp le ' ar al a h as ta ',

w hi ch i s u se d t o d en ot e a ir i n B ha ra ta na ty am a nd

a f fe c ts t h e d i ge s ti v e s y st e m i n Y og a ng a .

Ashtang Yoga

M o re p r ac t ic a ll y s p ea k in g , i n t h e e i g ht l i mb s o fA sh ta ng Y og a a t e ac h s ta ge t he r e i s a l i nk b e tw ee ny o g a a n d d a n c e : r e s t r a i n t s , o b s e r v a n c e s , a n dp o st u re s , b re a th i n g ex e rc i se s , th e w i th d ra w al o f

s e n s e s f r o m t h e i r o b j e c t s , c o n c e n t r a t i o n ,c o n t em p l a ti o n , a n d t r a n ce ( S w a m i R a m d e v , 2 0 0 5 )

Bharatanatyam and the Seven Chakras

T h e w o rd c h ak r a l i te r al l y m e an s ' w he e l ' b u t i nt he y og i c c on te xt a b et te r t ra ns la ti on i s ' vo rt ex ' or' w h i r lp o o l' . T h e e t h e r ic b o d y i s c o m po s e d e n t i r el y o fl in es o f f o rc e c al le d n ad i s ( wh ic h c or re sp on d t o t h en er ve s b ut a re m or e s ub tl e i n n at ur e ) a nd o f p oi n tsw he re t he s e l in e s o f f or ce c ro ss e ac h o th e r f or mi ng( i n c r o s si n g ) c e n t re s o f e n e r g y c a l l e d c h a k ra s . T h u s ,

t h e c h a k ra s a r e s p i n n in g v or t i c e s o f pr a n i c e n e r g y a tspe cif ic areas in the bod y which control thec i rc u la t io n o f p r an a s e e pi n g i n to t h e e n ti r e h u ma ns t ru c tu r e ( S wa m i S a ra s wa t i, 1 9 96 ) . E a ch c h ak r a i s as wi tc h w h ic h t ur ns o n o r o pe ns u p s pe ci fi c a re as o ft he b ra in . I n m os t p eo pl e t he se p sy ch ic c e nt er s l ied o r m an t a n d i n a c t iv e . C o n c en t r a t io n o n t h e c h a k ra ss t im u la t es t h e f l ow o f e n e rg y t h ro u gh t h e c h ak r asa n d h e l p s t o a c t i va t e t h e m . E v e r y h u m a n b e i n g h a s 7m a jo r c h ak r as a n d m a ny h u n dr e d m i no r o n es . E a chc h a k ra r e p r e se n t s a n a s p e ct o f c o n s ci o u s ne s s v i t a l t oo u r l i v e s ( s a f e t y , s e x u a l i t y , p o w e r , l o v e ,

c om mu ni ca ti on , i nt ui ti on a nd s el f r ea li za ti on ).P h y s i o l o g i c a l l y , e a c h c h a k r a i s c o n n e c t e d t op hy si ca l o rg an s a nd e nd oc ri ne g la nd s t he h ea lt h


5/16

o f th e c o rr e sp o nd i ng c h ak r a. D an c e a l on e d o es n o ta ct iv at e a c ha kr a, i t i s i n c on ju nc ti on w it h c er ta inm u si c al n o te s a n d v i br a ti o ns t h at a r e s p ec i fi c t o e a c hc h a k ra . F or e x a m p le : M oo l a d ha r a ch a k r a i s t h e s e a to r d we ll in g p la ce o f p ri ma l e ne rg y, ku nd al in i

S ha kt i. I t i s t he s ou rc e o f al l e ne r gy i n m an ki nd a ndt he u ni ve rs e w he th e r s e xu al , em ot io na l, m en ta l,p s yc h ic , o r s p ir i tu a l. T h is c h ak r a i s a s so ci a te d w i th

p h ys i ca l h e al t h, su r vi v al i s su e s ( e g w o rk , m o ne y ,a n d h o us i ng ) , f a mi l y r e la t io n sh i ps a n d i n st i nc t ua le n e r g y . P h ys i o l og i c a ll y , t h e b a s e c h a k ra g o v e r n s t h el eg s, fe et , b on es , t ee th a nd l ar ge i nt es ti ne . W hi led a nc in g o ne 's f ee t t en d t o n at ur al l y p ou nd o n t heg r ou nd w hi ch l ea ds t o en e rg y b ei ng p re s en t i n t heb o dy . T h e s e ve n th o r t h e c r ow n c h ak r a i s s i tu a te d a tt he c ro wn o f th e h ea d, i s p ri ma ri ly a ss oc ia te d w it hs pi ri tu al it y a s i t i s t he g at ew ay to hi gh er r ea lm s o f

c o n s ci o u s ne s s . P h y s i ol o g i ca l l y , i t g o v e rn s t h e b r a i na nd c en tr al n er vo us s ys te m a nd i s a ss oc ia te d w it ht h e p i t u it a r y gl a n d . D a n c in g t o t h e f r e q u en c y of t h ecrown chakra can le ad to varying degree s o fspiritual awaken ing an d often brings about an u m i n ou s q u a l i ty , ch a r a ct e r i s ti c o f m o s t s p i r i tu a le x pe r i en c es . F u rt h er , m u dr a s a r e p r ac t ic e s w h ic hl ea d t o a wa ke ni ng of th e p ra na s, ch ak ra s a ndk un dal in i, an d w hi ch ca n b es tow ma jor ps ych icp ow e rs . T he n ad is a nd c ha kr as c on st an tl y r ad ia tep ra na w h ic h n or ma ll y e sc ap es f ro m t he b od y a ndd is si pa te s i nt o th e e xt er na l w or ld . By c re at in gb ar ri er s w ith in th e b od y th ro ug h th e pr ac ti ce o fmudra, the ene rg y i s redirected within (SwamiS a ra s wa t i, 2 0 01 ) T h is i n t u rn a w ak e n s t h e d o rm a nta r ea s i n t h e b r ai n a n d t h e c o rr e s po n di n g f a cu l ti e s i nt he p sy ch ic an d m en ta l b od ie s, al lo wi ng on e t oe x pe r ie nc e h ig he r p la ne s o f c on sc io us n es s w hi chare no rmally inaccessible.

Y og a a nd d an ce a re u ni fi ed i n t he ir i nt en ti on o fu ni on o f p ar ti ci pa nt a nd a ud ie n ce w it h t he d i vi n e.T he d an ce r, l ik e t he y og i, p art ic ipa te s i n a pr iv at es p i r i tu a l j o u r ne y , b u t o n s t a g e , t h e y i n c l u de w i t h t h ea u d i e n ce , a ll o w i ng v i ew e r s t o b e s w e p t a l o n g o n t h et r an s fo r ma t iv e r i de . W h i le a l l a r t h a s a n a s pe c t o f t h es pi ri tu al , t he r e i s s om et hi ng mu ch m or e t an g ib lef o un d i n I n di a n c l as s ic a l d a nc e . Th o se w h o pr a ct i cey og a ma y b e f a mi li ar w it h f in d in g un i on t hr ou ghl in k in g b re at h w it h t he m ov em en t o f t he b od y i n as un s al ut at io n, o r c ha nt in g O m w it h r es on an ce a tt he c om pl et io n o f a m ed it at iv e s es si on , In di anc la ss ic al d an ce l ik e B ha ra ta na ty am o ff er s y eta no th er r ou te t o tr ea d t he s pi ri tu al p at hs . It i s o net hi ng t o h e ar o r r ea d t he e pi cs , an d q ui te a no th e r t o

s e e t he m i n a ll t he i r r es pl en de n ce . D an ce rs l ea d t hes p e c t a t o r s t h r o u g h j n a n a y o g a , t h e p a t h o fk n o w l e d g e , v i a s t o r y t e l l i n g . A s d a n c e r a n d

r un , [th e s tor ie s] g ive us re fi ne me nt f or ou r ow nl iv in g. Th e e pi c of t he R am ay an a i s o ne t ex t f ro mw hi ch s to ri es a re f re qu en tl y p er fo rm ed . T hr ou ghd a n c e , Iy e n g a r s a y s , w e v i e w t he s t o r y of R a m a a n dR av an a, an d w on de r h ow do w e t ra ns la te t o o ur

daily lif e, how do we w in evil over go od withg oo d ne s s i ts e lf , a nd t ra n sl a te s pi r it ua l it y an dd e vo t io n ? T h er e f or e , t h ro u gh d a nc e , t h e d a nc e ra t t a in s k n o w le d g e .

Methodology

T h e p r es e n t s t ud y i s a n e x pl o ra t or y s t ud y t h ata i ms t o u nd e rs t an d t h e t h er a pe u ti c i mp l ic a ti o ns o fd an ce a nd i n p ar ti cu la r, B h ar at an at ya m. I t s tu di est h e j o u r n e y o f B h a r a t a n a t y a m d a n c e r s t oun derstand the ro le and importance of dance in

t he ir l iv es . T he f oc us i s t o u nd e rs ta nd t he e x te nt t ow hi ch i nv ol ve me nt w it h d an ce ( Bh ar at an at ya m)h a s b e n e f it e d t h os e w h o h a v e b e e n a s so c ia t ed w i th i tf o r m a n y y e ar s .

T h e r e s e a r ch u s e s p u r p os i v e s a m p li n g ; a f o r m o fn o n - pr o b a bi l i t y s am p l i ng w h i c h i s c h a r ac t e r i ze d b yt he u se o f j ud gm en t. A d e li be ra te e ff or t i s m ad e t oo b t a i n r e p r e s e n t a t i v e s a m p l i n g b y i n c l u d i n gp re su ma bl y t y p ic al i nd iv id ua ls i n t he s am pl e. T hec u rr e nt s a mp l e c on s i st e d o f on l y th o se w h o m e t t h ec r i t e r i a o f m i n i m u m 5 y e a r s t r a i n i n g i n

B ha ra ta na ty am i n th e l as t 1 0 y ea rs . T he s am pl ec on s i st e d o f 5 f e m al e B h ar a ta n at y am d a nc e rs , 2 o ft he m h av e l ea rn t d an ce f or a t l ea st 2 0 y ea rs a nd a rer e no w ne d d a nc e rs o f D e lh i . T h e o t he r t w o s t ar t edt h ei r j o ur n e y i n d a nc e 1 0 ye a rs b a ck a nd c o nt i nu e t olearn till d ate. And o ne trained Bharatan atyamd an ce r b ut w ho i s n ot l ea rn in g a ny mo re , a nd i s at r a i ne d d a n c e /m o v e me n t t h e r a pi s t .

Tools and Techniques

T h e c u rr e n t s t ud y e m pl o ys q u al i ta t iv e m e th o do f m e a s u r e m e n t a n d f o l l o w s a n i d i o g r a p h i ca p pr o ac h i n w h ic h i n d iv i du a ls a r e s t u d i ed i n d e pt h .

C a se S t ud y m e t ho d

A c as e s tu dy i s a n i nt en si ve d es cr ip ti on a nda na ly s is o f a s in gl e i nd i vi d ua l. Da ta ma y beo bt ai ne d f r om s e ve r al d if f er en t s ou rc es , i nc lu di ngn a t u r a l i s t i c o b s e r v a t i o n i n t e r v i e w s a n dpsycholog ical tests and even archival reco rds.W he n s el ec ti ng a c as e f or a c a se s tu dy , r es ea rc he rso f t e n u s e i n f o r m a t i o n - o r i e n t e d s a m p l i n g , a so p p os e d t o r a n d om s a m p l in g (F l y v b je r g , 2 0 0 6 ) . T h e

c a se s t ud y m e th o d i s u s ed a s a n u m br e ll a t o ol u n de rw h i ch t h e f o ll o wi n g i n s tr u me n ts o f d a t a c o ll e ct i onw e r e u s ed : n a rr a ti v e m e th o d i n d e pt h i n te r vi e w



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sto ry-writing and auto pho to graphy.

In - d ep t h In t er v i e w

The interview ers en courage free and openr es po ns es a nd a im a t c ap tur in g r es po nd en ts 'p er ce pt io ns i n t he i r o wn w or ds , a ve ry de si ra bl es t ra t eg y i n q u al i ta t iv e d a ta c o l le c ti o n. T h i s a l lo w st he e va lu at or t o p re se n t t he m ea ni ng f ul n es s o f t hee x p e r i e n c e f r o m t h e r e s p o n d e n t ' s p e r s p e c t i v e( Dav id , 2 00 2) . It s g oal i s t o e li ci t r ic h, de ta il edmate rial that can be used in analysis ( Lofland &L o fl a nd , 1 9 95 ) . S u ch i n te r vi e ws a r e b e st c on d uc t edf ace t o f ace a nd a re c ha ra ct er iz ed b y e xt en si vep r o bi n g an d o p e n - en d e d q u e s ti o n s . T y p i ca l l y , t h er es ea rc he r p re pa re s a gu id e t ha t i nc lu de s a li st o fq u es t io n s a n d k e y t op i cs t h at a r e t o b e e x pl o re d . T he

i n t e r v i e w s c o n d u c t e d f o r t h i s r e s e a r c h w e r et ra ns cr ip te d t o c ur l o ut n ar ra ti ve s f or e a ch d an ce r.N ar ra ti ve s a re a bo ut p as t h ap pe ni ng s o f o ne s l if e,w hi ch a re r ec on st ru ct ed a s a s eq ue n ce o f e ve n ts i n as t o r y f o r m . B e c a u s e t h e s e a r e c o n s t r u c t e dr e tr o sp e ct i ve l y, t h e y al s o re f l ec t t h e w a ys i n w h ic ht he n ar ra to r u nd e rs ta nd s h is /h er o wn e xp er ie nc es(Jaco bso n, 2001).

S t or y w r i t in g

P eo pl e p ro je ct w ho th ey a re i nt o e ve ry th in gt h e y d o . T h e y p u t a p ar t o f th e m s e l ve s , t h e i r w o r k ,th ei r a tt itu de s, a nd t he ir cu lt ur e i n th e m at er ia lst he y cr ea te a nd s to re . T ha t i s t he i de a of p ro je ct io n( Ke rl in ge r 1 96 4) . V al ue s, a t ti tu de s, n e ed s, a n dwishes as well as impulses and motives, arep ro je ct ed u po n o bj ec ts a nd b eh av io ur s o ut si d e t hei n d i v i d u a l . T h i s m a k e s i t p o s s i b l e t o s t u d yi n d i v id u a l s b y g e t t i ng th e m t o p r o je c t t h e s e i n t e r na ls t a t e s o n t o e x t e r n a l o b j e c t s . L i n d z e y ( 1 9 5 9 )p r op o se d a f iv e -w a y c l as s if i ca t io n o f pr o je c ti v em et ho ds b as ed o n t yp es o f re s po ns e: a ss oc ia ti on ,c o n s tr u c t io n , c o m pl e t i on , c h o i ce o r o r d e ri n g , a n d

expre ssion. The current study use s a type o fcons truction techn ique wh ere the focus is o n thep r od u ct o f t h e s u bj e ct . T h e s t im u li a r e p i ct u re c a rd sw ith v ig ne tt es . T he c ar ds w er e p hot og ra ph s of aB ha ra ta na ty am d an ce r in t he c om pl et e a tt ir e,ma ki ng d if fe re nt p os tur es a nd e xpr es si on s th ats ho w c er ta in e mo ti on s i n B ha ra ta na ty am . T he r e

w er e 9 pi ct ur e c ar ds i n t ot al , 2 s ho wi ng po si ti vee m ot io ns , 3 ex pr e ss in g ne g at iv e e mo ti on s a nd 4n eu tr al . I t w as a tt em pt ed t o i nc lu de a va ri et y o fe motions in the cards and the fo llowing we rec o v e r e d : h a p p i n e s s , n o s t a l g i a ( w i t h s a d n e s s ) ,

s e pa r at i on a n xi e ty , l o ve , j e al o us y a n d f e a r. T h es ub je ct s w er e s ho wn o ne c ar d a t a t im e, t he v ig ne tt er el ate d to t ha t ca rd w as r ea d ou t a nd t he s ub je ct 's

m i nu t es . Th e o r de r o f pr e se n ta t io n o f th e c a rd s w a sa ls o d ec id ed o n t he b as is o f a lt er na ti ng a p os it iv ee mo ti on w it h a n eg at iv e o ne . T he l as t c ar d w it h an e ut ra l e x pr e ss io n w as l e ft o pe n f or i nt er pr et at io na nd w as n ot s up po rt ed b y a ny v ig ne tt e. T hi s w as

d o ne t o a l lo w t h e s u bj e ct s t o p r oj e ct t h ei r e m ot i on sa nd f ee li ng s f re el y, w it hou t a ny d ir ec ti on . Th ev ig ne tt es t ap t he i nt er pe r so na l a sp ec t, e sp ec ia ll y ;t w o r e l a t i o n s h i p s m o t h e r - c h i l d r e n a n dh e t e r os e x u a l, w h i c h a r e t h e m a i n i n B h a r a ta n a t ya m .

Autophotography

A u to p h o t og r ap h y i s a l i t t l e u s ed a p pr o ac h t h atp r om i se s t o g i ve r e se a rc h er s a b et t er v i ew i nt o t h ea ct ua l w or ki n gs o f t he s el f ( Zi ll er , 1 99 0; Zi ll e r &Ro rer, 1985). 'Participato ry pho to graphy' invo lve

i n d i v id u a l s w h o w o u l d t r a d it i o n al l y b e t h e s u b j ec t so f o th e r s' r e s ea r ch i n t a ki n g a nd i n te r pr e ti n g t he i rown ph otographs in o rder to address and sharei mpo rta nt a spe ct s o f t he ir l iv es a nd e xp er ie nce s( Mi le s & K a pl an 2 00 5) . O nc e t he p ar ti ci pa nt s h av eclicke d pictures, discussion is the n carried outb e t w e e n t h e r e s e a r c h e r s a n d p a r t i c i p a n t s t ou nd er st an d t he i nt er pr e ta ti on o f e a ch p ho to gr ap hf r om t h e p e rs p ec t iv e o f t h e p a rt i ci p an t . T h is f o ll o wu p i nte rv ie w e xpl or es th e b el ie fs a nd va lu esu nd er pi nn in g t he d ec is io ns m ad e, a nd p er mi t ot he rs t o vi ew th e w or ld f rom t he v ie w of th e

o bs er ve d p er so ns . I n t hi s s tu dy , t hi s m et ho d w asu s ed o n ly i n c a se o f t h re e d a nc e rs . T h es e t h re e a r e i nt he i ni ti al s tag es o f t he ir j our ne y i nto da nc e a sc om pa re d t o th e o th e r t wo d an ce rs . H e nc e, t o g et ah ol is ti c pi ctu re a nd t o v ie w t hi ng s f ro m t he irp h e n o m e n o l o g i c a l v i e w p o i n t t h i s t o o l w a sa d mi n is t er e d. T h is m e th o d g a ve t h e p a rt i ci p an t t h ef r e e d o m t o c h o o s e a n y 5 i m a g e s f r o m t h ee nv ir on me nt t ha t b es t d es cr ib ed t he m a s d an ce rs .Th ey w er e g iv en a w ee k' s t im e t o c ol le ct t he sei m ag e s a t t h e e n d o f wh i ch t h ey d i sc u ss e d t h em w i tht h e r e s e a r c h e r .

R e sul t s a n d An a l y si s

DancerI

G u ru j i' s j o ur n e y i n t o d a n ce b e ga n w h e n s h e w a s24 years o ld, married an d with a o ne ye ar oldd a ug h te r . W i th g r ea t s u pp o rt f r om h e r h u sb a nd s h es ta rt ed g oi ng f or c la ss a nd w as a bl e t o h av e h e r s ol op e rf o rm a nc e i n l e s s t h an 2 y e ar s ' t i me . T h at w a s t h eb eg in ni ng a nd s in ce t he n t he re h as b ee n n o l o ok in gb ac k. S he l ea rn t f ro m v ar io us g ur us a nd b ec au se o f

th e dee p kn owled ge in music, Guruji startedco mpo sing very early. To day she is a very successfuland ren owned dancer in India an d abroad. The



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c on ti nu es t o ma ke d an ce h er l if e. N ot h av in g l ef te ve n f or a s in gl e d ay i t i s t he i nn e r c om pu ls io n t ha tk e e p s h e r m o t i v a t e d . D a n c e e n h a n c e d h e r

c re at iv it y a nd o pe ne d u p h er m in d. Sh e i s a bl e t ol oo k a t l if e i n a d if fe re nt w ay a nd d ea l w it h e ve ry

d a y is s ue s . Th i s i s s u pp o rt e d b y M ad u ro ' s s t ud y i nw hi ch h e s ay s t ha t c re ati ve p eop le i nt er na li ze t hec re at iv it y ( Ma du ro , 1 97 6) . D an ce h as g iv en h e r an e w w ay o f un de rs ta nd in g th e w or ld w hi ch h asp e r m a ne n t l y c h a n g ed h e r o u t l oo k t o w a rd s l i f e . S h ef eels that d an ce is the source for energy a ndi n sp ir at io n, i t i s t he p oo l a nd s ou rc e o f p os it iv it y i nh er l ife. After 40 years in dance, Guru ji hase x pe r i en c ed m a ny t h e ra p eu t ic b e n ef i ts o f d a nc e .O ne a sp ec t d ea ls w it h t he p hy si ca li ty o f da nc e t ha ti n c l u de s b o d y p o s tu r e s , n e c k , e y e , h e a d , a n d l e g ,a r m a n d h a nd m o ve m en t s. T h e s p in e i s v e ry c e nt r al

i n B h ar a ta n at y am a n d i t a l so c o n tr o ls b r ea t hi n g. A l lt he s e a ff e ct t he b od y i n m uc h t he s am e w ay a s y og ad o e s . T h e s t a m p i n g o f t h e f e e t a n d m u d r am ov em en ts pr es se s p re ss ur e poi nt s an d v ar iou so r g a n s a r e a c t i v a t e d a n d c o n t r o l l e d l i k e i nacupressure. For Guru ji the other aspe ct is thes pi ri tu al it y o f d an ce t ha t t ak es o ne c lo se r t o t he

d i v i n e. S h e t a l k s o f d a n c e h e l p i ng h e r i n e v o l vi n g a sa h u ma n b e i ng i n t e rm s o f a c ti v at i ng h i g h er c h ak r ast ha t m ak es l if e m or e m ea ni ng fu l. G ur u ji s ay s t ha to n e d o es n o t d e f in e o n es e lf w i th m a te r i al t h in g s a n ddance helps in opening t he min d and one sto ps

l o o k in g a t p e t t y t h i n g s. In t h i s r e s p e ct s h e t a l k s o f t h e3 k os ha s a nd t he e ff ec t o f d an ce o n t he t hr ee l ev el s.Th e s pi ri tua li ty of d an ce i s e ve n m or e o bv iou sd ur in g a bh in ay a. It i s t hi s a sp ec t t ha t m ak e s d an cem or e t ha n a p hy si ca l e xe r ci se . T he m os t t ra um at ice v en t t h at G u ru j i h a d t o g o t h ro u gh w a s t h e d e mi s eo f he r d au gh te r. S he f ee ls t ha t t od ay s he i s h ea le db ec au se of da nc e. E ve n d ur in g th e p ha se of he rd au gh te r 's i l ln es s, i t w as d an ce t ha t w as g iv in g h ers tr en gt h. Sh e d i d n ot e xp er ie nc e a ny gu il t a nd w asable to co pe with the situatio n. Guruji is a fineb al an ce o f p as si on a nd r ol es a nd h as f ul fi l le d a ll h er

d ut ie s w it h g re at j oy b ut f ee ls t ha t t ho se ro le s i sn ot h er i de nti ty , th os e r ol es d on 't d ef in e h er . S oa l th o ug h b a la n ce a n d h a rm o ny a re v e ry i mp o rt a ntf or h e r i n p ra ct ic al l if e, s he i s s om eo ne w ho i n a w aym o ve d b e yo n d s m al l p e tt y t hi n g s. S h e s h ar e s a v e r yc l os e r e la t io n w i th G o d a n d i s e x tr e me l y h a pp y a n dc o nt e nt b e in g w h er e s h e i s .

Table 1.1K e y t h e me s th a t em e r g ed f r o m G u r u j i ' s d a t a

Journ ey Born i nto an art orie nted fa mi ly

S ta rt ed le ar ni ng mu si c b ef or e d an ce B e ga n da n ci n g o n ly a f te r ma r ri a ge a nd b ir t h o f f i rs t d a ug h te r

F a ce d m an y d if fi cu lt ie s, m a de s a cr if ic es a nd c o mp ro mi se s

T o da y a s u cc es sf ul d an ce r, t e ac he r, c o mp os er a n d c ho re og ra ph er

Rol e Made dance her li fe

D an ce a s ou rc e o f e ne rg y, in sp ir at io n

G av e a cr ea ti ve wa y t o v ie w t he wo rl d

O pe ne d th e mi nd , c an lo ok b ey on d p et ty t hi ng s n ow

Therapeutic i mpl ication s Divi des the implicatio ns at 2 leve ls-p hysical and spiritual

P h ys i ca l i n cl u de s -R e le a se o f h o rm o ne s , im p or t an c e o f sp i ne , b re a th i ng , m ov e me n ts o f a ll b o dy ,Parts, stampi ng of the feet and mudras

S p ir i tu a l i n cl u de s c o nn e ct t o di v in e , ab h in a ya , a ct i va t io n a nd b a la n c e o f c ha k ra s a n d hi g he rconsci ousness

Heal ing L ost her ol der daughter

D an ce wa s t he so ur ce of po si ti ve en er gy a nd st re ng th

Interpersona l r el ati ons F ami ly environme nt was very encouragin g

Supporti ve husba nd

H as c he ri sh ed a ll t he se r ol es b ut t he y d o no t de fi ne h er

Guru Shishya parampa ra One of the most intense interp ersonal rel ati ons

2 wa y relationshi p

N ev er lo st of si gh t o f h er gu ru s

V er y l on g a ss oc ia ti on w it h a ll g ur us

A s a g ur u f ee ls s it ua tio n h as c ha ng ed G r ea t es t o ff e ri n g to a n y g u ru i s w h en t h e st u de n t ta k es t h e ar t fo r wa r d ke e p in g t he g u ru i n mi n d

Uniq ue theme Deep and i nte nse conne ct with God



8/16

DancerII:

R a g i n i s t a r t e d d a n c i n g a n d l e a r n i n gB ha ra ta na ty am w he n s he w as 3 y ea rs o ld w hi chw as 2 8 y e ar s a go . S he h as b ee n p er fo rm in g f or t hel a st 2 0 y e ar s a n d i s a w e l l e s ta b li s he d a n d r e no w ne dd a nc e r i n I n di a an d a b ro a d. Sh e w a s b o rn i n a fa m il yt ha t w as v er y m uc h s ee pe d i nt o a rt a nd m us ic a ndt hu s t he se t hi ng s c am e n at ur al ly t o h er . Sh e l e ar ntf ro m v ar io us g ur us , t he f i rs t a nd l as t o ne b ei ng h ero wn m ot he r, a nd h as h ad v er y l on g a ss oc ia ti on sw i th a l l t h e o t he r g u ru s . A l l t h e i m po r ta n t d e ci s io n si n l if e r eg ar di ng c ar ee r, j o b s a ll w er e m ad e k ee pi ngd an ce i n m in d a nd B ha ra ta na ty am h as a lw ay s b ee nh e r f i rs t p r io r it y . Fo r h e r, s h e s a ys , i t i s v e ry d i f fi c ul tt o s ep ar at e t he r ol e o f d an ce i n h er l if e b ec au se s hec an 't i ma gi ne h er se lf wi th ou t d an ce . A s K as hy ap

( 2 00 2 ) f e e ls t h at d a nc e e f f ec t s a d a nc e r' s p e rs o na l it y ,b e ha v io r a n d r e l at i on s hi p s, i t i s s i mi l ar f o r R a gi n i a sw el l. I t h as g iv en h er a n i de nt it y, a f le xi bl e, o pe nm i nd , a b il i ty t o e m p a th i se , e n h an c ed h e r a e st h et i cs e ns e , o r ga n iz a ti o n s k il l s a n d h a s o p en e d h e r e y e s t oa cr ea ti ve w ay of li vi ng . S he i s n ow be tt er a bl e t ou n de r st a nd h e r o w n a s w e ll a s o t he r s ' em o ti o ns . S he

s ay s t ha t d an ce h as d on e a l o t o f c en tr in g f or h er a nds he f ee ls cl os er to he rs el f. Sh e h as l ea rn t t o l ookw i t h i n a n d h a s g o t t o k n o w h e r s e l f b e t t e r. Da n c e a c t sa s a r el e as e f r om e v er y da y te n si o n a n d k n ot s . A f te rd a nc i ng , w h en s h e c o me s b a ck t o t h e r e al w o rl d s h e

f ee ls b et te r e qu ipp ed w it h r en ew ed e ne rg y a ndp o si t iv i ty to d e a l w i th d a il y h a ss l es . D a nc e i s a l sol i ke p r ay e r f o r h e r , h e r m e d it a ti o n. I n t h e p r oc e ss s h es ur re nd er s a nd l os es h er se lf . S he w as 8 ye ar s o ld ,w h e n h e r e l de r s i st e r s t ar e d f a ll i ng i l l. R a gi n i a t t h ata ge s aw l if e f ro m v e ry c lo se q ua rt er s a nd m at ur edm uc h f as te r. S h e d id n ot h av e a n o rm al c hi ld ho odb ut s h e c op ed v er y w e ll , b ec au se o f d an ce . S he s ai dthat dance that time was an ancho r in th eir lif e. Itw a s a s o u rc e o f s t ab i li t y. D u ri n g t ha t t i me w h e n a l o to f th e f a m i l y' s p o s i ti v e e n e r g y w a s g e t t i ng d e pl e t e d ,i t w as d an ce t ha t t he y d re w t he ir p os i ti vi ty f ro m.

R ag i ni i s a v er y b al an ce d p er so n. S h e v al ue s a ll t her e la t io n sh i ps , b e i t w i th h e r p a re n ts , h u s b an d , k i d s,f ri e nd s, s tu de n ts , te ac he rs e tc . S he f ee l s f ab ul ou sw hi le p er fo rm in g w hi ch i s h e r f ir st p as si on a nd t hes yn e rg y b et we en t he a ud i en ce a nd h e r a s a d a nc erg i v e s h e r a ' h i g h '.

Table 1.2

K e y t h em e s t h at e m e r g ed i n R a g i ni ' s d a t a

Journey Danci ng for 28 years with a performa nce career of 2 0 years

Mother i s a dancer E xp os ed t o d an ce s in ce b ir th

L ea rn t f ro m m an y g ur us , m ot he r w as t he fi rs t g ur u

A ll i mp or ta nt d ec is io ns w er e ar ou nd d an ce

I t h as b ee n a w on de rf ul j ou rn ey , n o re gr et s

Rol e of Bharata natyam Enhance d creati vity a nd aesthetic s ense

I nc re as ed o rg an iz at io n sk il ls Cr ea tiv e wa y o f lo ok in g a t lif e

O pe n ed th e m in d, ma d e i t m or e f le xi bl e

Therapeutic impli cati ons Creative way o f viewi ng smal l ups and downs

D an ce r el ea se s e ve ry da y p hy si ca l a nd m en ta l t en si on s

D ea l w it h li fe e ff ec ti ve ly , wi th r en ew ed e ne rg y

L os es h ers el f wh ile da nc in g Like prayer

Hea ling Death of a l oved one D an ce wa s t he a nc ho r t he n, ga ve s ta bi li ty

Abl e to he al due to dance

Interpersonal r e lations Family o riented toward arts

F am il y a lw ay s g a ve s up po rt a nd g ui da nc e bu t th e fi na l d ec is io n wa s h er s

Husband i s v ery encou ragi ng

H er 2 yo un g bo ys a ls o gi ve h er s pa ce a nd t im e to d an ce

Va lu es a ll s ort s o f re la ti on sh ip s

Gu ru Shi shya Mother was f irst and last guru, but rol es w ere wel l d efined

L on g a ss oc ia ti on s w it h a ll h er g ur us C on si de rs h er se lf to be a t ea ch er no t a gu ru

F ir st pa ss io n i s t o p er fo rm no t t ea ch

Others Synergy be twe en au dience and performer is impo rtant

V b l d d ti l i f l if



9/16

DancerIII

R as a, b or n a nd b ro ug ht u p in P ra gu e, C ze chR ep ub li c, w as s in ce c hi l dh oo d i nt er e st ed i n d an ce .S h e j o i n e d g y m n a s ti c s t h e n w e s t e r n b a l l r oo m , b a l l e ta n d f i na l ly B h a r at a na t ya m . R as a w a s i n te r es t ed i n 2t h in g s l e ad i n g a s p ir i tu a l l i f e a n d d a nc e . We s te r nd an ce s d id n ot s at is fy h er s ou l. H er m in d t ha t w ass e e k i ng a n s w e rs t o m a ny q u e s ti o n s , f i n a l l y g o tp ea ce w he n s he c am e a cr os s t he B ha gw at G it a a ndt he V ed ic p h il os op hy . S he j oi ne d t he I sk on t em pl ea nd f e el s t ha t B ha ra ta na ty am i s a m e di um t hr ou ghw hi ch s he c an b e c lo se r t o K ri sh na . T hr ou gh t hi s

d a n c e s h e a i m s t o s p r e a d K r i s h na c o n s ci o u s n es s a n dG o d c o ns c io u sn e s s i n p e op l e. H e r j o ur n ey i n d a nc eh as be en p er fe ct a nd s he i s a w el l k no wn d an ce r i nh e r c o un t ry a n d o u ts i d e. T h e t h er a pe u ti c b e n e fi t s o f

B h a ra t an a ty a m i n cr e a se m a ni f ol d f o r R a sa b e c a us es h e d an ce s f or K ri sh na , b ec au se o f Kr is hn a. D a nc ef o r h e r i s l i ke a s er v ic e t o K r is h n a, h er p r ay e r. W hi l ed an ci ng , s he f ee ls v er y i nt en se an d c los e t o Go d,w hich she e xplains is like a state of Samadhi ort r an c e. D a nc i ng , o n a m e n ta l a n d e m ot i on a l l e v el

h as m ad e h er m or e t ol er an t a nd p at ie nt . S he v ie wsall discomforts and unple asantne ss in her life asKrishna's test for her. This is what gives he r thestre ngth to d eal with d aily ups and do wns. Ane x am p le s h e g a ve w a s j u st a s s h e s t ar t s g e tt i ng r e ad y

f o r a p e r fo r m a nc e , a ll t h e n e r v o us n e s s g o e s , b e c a us et h r o ug h d a n c i ng s h e f e e l s c l o s er t o Kr i s h n a. K r is h n agave her stre ngth at ve ry phase of her dancingc ar ee r a nd s he s ay s s he d an ce s f or H im a nd b ec au seo f H i m . S h e a d ds t h at l i ke a n y o t he r p h ys i ca l a c ti v it yd an ci ng al so re su lt s i n p ro du ct io n o f f e el -g oo dhormone s and make s he r h appy . Rasa, w hen shew as a ch il d f el l s e ve r el y i ll a nd h ad t o g o t hr ou gh 5m a j o r o p e r a t i o n s . T h i s l e f t h e r b o d y , m i n d ,c o n f id e n c e , s e l f -e s t e e m c o m pl e t e l y d a m ag e d . B u th er w il l a nd p as si on to d an ce h el pe d h er i n q ui ckr ec ov er y. R as a be li ev es i n d es ti ny a nd t ha t G od

a rra ng es e ve ry th in g f or h er . H en ce s he of te n,thro ug h her dance s urrend ers to Lo rd Krishna.S p ir i tu a li t y a nd d a nc e g i ve h e r s t re n gt h t o d e al w i thd i ff e r en t e m ot i on s a n d s h e i s c a lm a n d m o r e t o le r an ti n h e r i n t e r pe r s o n al r e l a t io n s .

Table 1.3

Key themes in Rasa's data

Journ ey Interested in dance since chil dhood

B e ga n w it h g y mn a st i cs , t h en w e s te r n b al l ro o m, b a l le t t he n B h ar a ta n at y am

D id no t f in d w es te rn da nc e f ul fi ll in g

S ea rc h f or s pi ri tu al p at h s in ce ch il dh oo d F o u nd f ul f il lm e nt i n B h ag w at G it a , V e di c p h il o so p h ie s a n d B h ar a ta n a ty a m P er f ec t j o ur n ey , f u lf i ll i ng an d i n te r na l ly s a ti s fy i ng

R o le o f B h ar a ta n at y am S a ti s fi e d h e r, h e lp e d h e r i n h e r s p ir i tu a l p a th B ro ug ht he r c lo se r t o L or d K ri sh na

K r is h na co n s ci o us n es s g a ve he r s t re n gt h i n e v er y p h as e o f l i fe

L o ve s ou th I nd ia , Bh ar at an at ya m g av e ex p os ur e

V is it ed te mp le s l ik e Sr i R an g am an d us es t ho se e xp er ie nc e

Therapeutic i mpl ication s Dances for Kri shna, hence source of immense joy

G et s c om pl et el y a bs or be d, li ke in tr an ce S ur re nd er s h er se lf , c lo se ne ss w it h L or d K ri sh na

S t re n gt h t o d e al w i th e m ot i on s l i ke n e rv o us n e ss b e fo r e p e rf o rm a nc e s

P hy si ca l e xe rc is e, re le as es h or mo ne s t ha t m ak e h er fe e l g oo d

Interpersona l r el ati ons Pare nts p lay a n i ndirect role now

H us ba nd v e ry s up po rt iv e a nd e nc ou ra gi ng

Values honest feedback

A i ms t o s p re a d G o d C o ns c io u sn e ss t h ro u gh he r d a n ce to th e a u di e nc e H a s b e c om e mo r e to l er a nt a nd p a ti e nt i n d e al i ng w it h em o ti o ns a n d re l at i on s

Heal ing F ell severely il l as a chil d W en t t hr ou gh 5 m aj or su rg er ie s

Physical and mental damage

W il l t o l ea rn da nc e h el pe d h er in re co ve ry

G ur u- Sh is hy a V er y h ap py w it h h er g ur u

T a u gh t he r th e im p or t an c e of p at i en c e, p ra c ti c e a n d ha r dw o rk

B el ie ve s i n g ur u S hi sh ya pa ra mp ar a

Wi ll not chang e her guru

Other themes Strongl y bel ieves in desti ny



10/16

DancerIV

G r ac e A l be r t w a s i n cl i ne d m o re t o wa r ds m u si c .Ri gh t f rom s ch ool , s he w as k now n f or h er v oca lsrathe r than her d an ce. She joined NavsadhanaC ol le ge , V ar an as i a nd b ec au se t he c ol le ge o ff e re dB h ar a ta n at y am a s a m ai n s u bj e ct a n d n o t m u si c , s h eg o t i n to B h ar a ta n at y am . S h e d i d h e r B a ch e l or s a n dM as te rs i n B ha ra ta na ty am a nd d ev el op ed a g r ea ti n te r es t i n d a nc e . S h e s t ar t ed p e rf o rm i ng an d m a ded an ce h er l if e. T hi s j ou rn ey c am e t o a h al t w h en s her e al i ze d ( w it h h e lp of ot h er s ) t h at i t w o ul d b e b e tt e rf o r h e r t o l e av e p e rf o rm i ng an d g o t o U n it e d S t at e sof Am er ic a f or a cou rs e i n d an ce /m ov em en tt he ra py . Sh e f e el s s he u nd e rw en t a m aj or c ha ng e i nh e r p e rs o na l it y a n d g r e w a s a p e rs o n i n t h os e 5 y e ar so f c ol le ge . D an ce i s t he f ou nd at io n o f h er p re se nt

c ar ee r b ut a pa rt f ro m t ha t i t d ef in ed G ra ce . P eo pl eknew he r as a d ancer and now when she is no tp er fo rm in g a ny mo re s h e f e el s t ha t n o o ne k no wsh e r. D a nc e a n d t h en t r ai n i ng i n e x pr e ss i ve t h e ra p ie si nc re a se d h er c re at iv it y a nd a bi li ty t o t hi nk i nd i ff e r en t w a ys . D a nc e h a s h e lp e d i n c l ea r in g u p h e rt h o u g h t s , i n c r e a s e d h e r c r e a t i v e t h i n k i n g ,

s pi ri tu al it y a nd h as m ad e h er m or e s en si ti ve a nda c c e p t i n g o f c h a l l e n g e s . S h e a l s o v i e w sB ha ra ta na ty am a s a s pi ri tu al d an ce an d i s ab le toc on ne ct t o t he d i vi ne . I n e ve ry d a y l if e , d an ce i s h e rm e nt a l r e la x at i on . S h e f e e ls ' r el a xe d a n d n i ce ' a f te r

d an ci ng a nd e ve ry t im e s he l is te ns t o mu si c he rb od y st ar ts m ov in g. P eo pl e, f ri en ds a nd f a mi ly ,h av e a lw ay s h el d a s ig ni fi ca nt p la ce i n h er l if e a ndd an ce h as i nc re as ed t he a bi li ty t o em pa th iz e a ndunderstand moo d swings in others be tter, thuse n h an c in g i nt e rp e rs o na l r e la t io n s. G r ac e 's b i gg e s td re am i s t o g o b ac k o n s ta ge a nd p er fo rm s oo n. S hes ti ll h as n ot b ee n a bl e t o a cc ep t t he f ac t t ha t s he i s n otd a nc i ng a n y m o r e. S h e k e e ps g o in g b a ck , i n h e r d a y-dreams, to the time whe n sh e was a dan cer and ap e rf o rm e r. S h e m i ss e s t h at p a rt o f h e r l i fe . A u di e n ceresponse had me an t a lot to h er in the s ense that

s pi ri tu al it y f or h er w as t o s ee h er a ud ie nc e b ei ngs p i r i t u a l l y c a p t i v a t e d a n d h a p p y d u r i n g h e rp er fo rm an ce . Ea rl ie r s he u se d t o cr y du ri n g h erperformances and it use d to be a catharsis ofe m ot i on s . E v en n o w w h e n s h e s e e s a p e rf o rm a nc e o rp r ac t ic e s a t h o me s h e g e ts e n er g y a n d m o ti v at i on t og o a h e a d a n d p u r s u e h e r d r e a m .

Ta ble 1 .4

K e y t h e m es i n G r a c e 's d a t a

Journey Preferred music over dan ce earli er

J o in e d c o ll e ge th a t o f fe r ed Bh a ra t an a ty a m a s m a in su b je c t B ac he lo rs a nd Ma st er s i n B ha ra ta na ty am

P e op l e e n c ou r ag e d h e r t o t a ke u p E x pr e ss i ve th e ra p y

Very go od j ourn ey

De ve lo pe d a nd gre w a s a pe rs on

Rol e Gave her a sense of ide nti ty

In cr ea se d e mp ath y s kil ls

T hi nk in g b ec am e m or e c re at iv e

Ba se of he r c ur re nt ca re er

Therapeutic i mpli cati ons Men tal r elaxation

Body rea cts to musi c

P hy si ca l e xe rc is e r el ea se s h or mo ne s

Become more sensi ti ve

M or e a cc ep ti ng of c ha ll en ge s

In cr ea se d s pir it ua li ty

Hea ling Trauma was when she left performing

Loss o f identity

C at ha rs is t hr ou gh he r d an ce s a t t ha t t im e

B y v i e wi n g da n c e a n d pu r s u i ng i t i n d i re c t l y, k ee p s tr e n g th e n i n g h e r d r e a m o f pe r f o rm i n g a g a i n

Interpersonal r e lations Maj or role in important decisio ns

famil y and fri ends

Getti ng marri ed soon

D a nc e in c re a se d em p at h y a n d u n de r st a nd i ng o f i n te r pe r so n a l r e la t io n s

H ow ot he rs v ie w h e r i s v er y i mp or ta nt , t ha t g iv es h er an id e nt it y

S ti ll r em em be rs a nd m is se s h er l if e as a p er fo rm er fe el s t he re i s a v oi d in h er l if e



11/16

DancerV

A li sh a T al wa r i s 1 9 y ea rs o ld , s tu dy in g i nc ol l e ge . D a nc e h a s b e e n l i k e a p a rt n er i n g r ow i ng u p .S h e s t a r te d l e ar n in g w h e n s h e w a s 5 - 6. A l t h ou g h h e rm ot he r i nt ro du ce d h e r t o i t, i t w as h er i nt er e st t ha tm o t iv a t e d h e r t o c o n ti n u e w i t h B h a r a ta n a t y am . H e r

jo urney has been very fruitful and satisfying andd ance play s an in te gral part i n her life. Froml e a rn i ng t o d i ff e r en t ia t e r i gh t f r om l e ft , d a nc e h a sh e lp ed h er i n a ll d e ve lo pm en ta l t ra ns it io ns . I t a ls oe x po se d h er t o t he I nd ia n t ra di ti on a nd c ul tu re , t oe p ic s l i ke R a ma y an a a n d M a ha b ha r at a a n d a l so t oY o ga a nd m e di t at i on t e ch n iq u es . Al l en i n h i s s t ud yi n 2 00 3 e s ta bl is h ed t ha t d an ce i s u se fu l m ed i um f ors o ci a li z at i on a n d e x po s es o n e t o t he c u lt u re b e ca u see v e ry d a n ce i s d e e pl y c o nn e ct e d t o c ul t ur e . A li s ha

g o t a s t r on g s e ns e o f i d en t it y t h ro u gh d a nc e . In h e rf a mi ly , h e r p ar en ts , s is te r a nd s he h e rs el f s t ar te d t ov ie w h er a s a da nc er . I t h el pe d h er i n d ef in in g h erp la ce i n t he f am il y an d i n h er w or ld a nd p ro vi di ngh e r a se ns e o f b el on gi ng ne s s a nd s ec ur it y a nd h asm ad e h er m or e c on f id en t. S t ud i es h av e s ho wn t ha tthe basic posture in dance can even enhancec on fi de nc e ( Ba dr in at ha n, 2 00 2) . Al is ha i s n ot a ne m ot io na l p er so n, fo r h er d an ce i s s om e th in g t ha tc h a r g e s h e r u p a n d s h e f e e l s e l a t e d w h i l ep e rf o rm i ng . In t e rm s o f d a il y is s ue s s h e f e el s d a nc ei s t he b es t w ay to do aw ay wi th on e' s a ng er an d

t en si on . S he f ee ls c al m, r el ax ed a nd m or e p os it iv ea ft er d an ce . A bh in ay a pa rt o f da nc e s om et im esr e su lt s i n c at ha rs is o f n eg at iv e f ee l in gs w he n s he i su p se t . A n ot h er i m po r ta n t t h em e t h at e m er g ed h e re

is that Alisha's relationsh ip with h er d ance ise nt ir el y de pe nd en t o n h er r el at io ns hi p wi th h erg ur u. S he c om pa re s t hi s r el at io n w it h a m ot he r-d a ug h te r r e la t io n a n d f e el s t h at a gu r u i s m o re t h an at e ac h er . S he i s a s p ir i tu a l g u ru , g ui d e a n d a m e nt o r.

A l is h a f e e ls t h at h e r i n vo l ve m en t w i th d a nc e w o ul dnot have be en there if it were no t because of herguru.

Table 1.1

K e y t h em e s t h a t em e r g e d f r o m A l i s h a' s d a t a

Journ ey Mother exposed to Bh aratanatyam

L ea rn in g s in ce 1 2 y ea rs

Has g rown up wi th dance

V er y f ru it fu l a nd s at is fy in g j ou rn ey

R ol e o f B ha ra ta na ty am G av e h er a i de nt it y

Oth ers know her as a d ancer

P ro vi de s s ec ur it y, b el on gi ng ne ss a n d t hu s c on fi de nc e

E vo lv ed a nd g re w a s a p er so n du e to Bh a ra ta na ty am

E xp os ur e t o I nd ia n t ra d it io n an d cu lt ur e

Therapeutic i mpl ication s Mostly on the physical le vel, feels charged up and energetic

H el ps h er in de a li ng wi th d ay t o d ay s tr es se s, do in g a wa y w it h a n ge r/ sa dn es s

F e el s p os it iv e, re la x ed an d ca lm af te r d an ci ng

E la te d d ur in g p er fo rm an ce s

S pir it ua ll y i t is li ke a p ra ye r

Other themes Has no t experienced anyth ing traumati c Abhinaya i s cathartic

R e la t io n wi t h d a nc e is d e pe n de n t o n t h e r e la t io n wi t h g u ru

Discussion

A s s ee n a bo ve , d an ce p ro vi d es t he d an ce rs w it h

a se ns e o f s ec ur it y a nd s ta bi li ty , g iv es t he m a n

identity and the y are able mak e a place for

t he ms el ve s i n t he ir h om es a nd s oc ie ty . T o s om e i t i s

a w a y o f g et t i n g c l o s er t o o n e s r o o ts a n d o f kn o w i n gone self bette r. For each of th em in o ne way or

a n o t he r d a n c e h a s p r o v ed t o b e t h e r ap e u t i c.

A c c or d i n g t o H a n na ( 1 9 7 9 ) d a nc e o r m o v e me n t

i s a p hy si ca l b eh av io ur a nd a ny f or m o f p hy si ca l

exercise can be therapeutic in the s ense that i t

p r o v i d e s p h y s i c a l h e a l t h . E v e r y i t e m i n

B h ar a ta n at y am , f o r e x a mp l e, A l ar i pu , l o os e ns u p

t he w ho le b od y, s ta rt in g f ro m t he e ye m ov em en t,

h e a d , n e c k , s h o u ld e r s , w a i s t , a r m s , l e g s a n d f e e t . I t i s

a c o m p l e te b o d y w o r k o u t. D u r i n g t h e a b h i n ay a a n d

s o me t im e s a l so t h e n r it t a, t o e x pr e ss e m ot i on s t h ef a ci a l m u sc l es m o ve t o o. R a sa m e nt i on e d t h at e v en

b y ob se rv in g th os e w ho d o h ou se w or k on e c an



12/16

n ot ic e t he g lo w o n t he ir f ac es . G ur u j i s ta te s t ha t

w he ne v er s om eo ne i s u ps et a nd i f h e/ sh e i s m ad e t o

d o a n y p h ys i ca l e x e rc i se t h en p o si t iv e h o rm o ne s a r e

pro duced w hich are responsible for a feel g ood

f ac to r. F or R ag i ni , d an ci ng h el ps i n r e le as in g a ll

s or ts o f p h ys ic al t en si on s, k no ts a nd g i ve s a f e el in go f c a l m . A l i s h a p r e f e r s t h e n r i t t a p a r t o f

B ha ra ta na ty am b ec au se t ha t e ne rg iz e s h er , h e lp s

h er i nc re as e h e r s ta mi na a nd s he f e el s ni ce a ft er

c l as s . H e ws t on e t a l . ( 2 00 3 ) i n t h ei r s t ud y a l so f o u nd

t ha t s tu de nt s h ad a p os it iv e m oo d b ef or e a nd a ft er

c la ss . T he re i s s om et hi ng ab ou t d an ci ng t ha t t he

m om en t o ne s ta rt s, o ne c an 't s to p. O n e o f t he m os t

c e n t r a l o r g a n s o f t h e b o d y i s t h e s p i n e . I n

B h ar a ta n at y am , t h e b a si c p o si t io n i s t h e a r am a nd i

w hi ch i s h al f s it ti ng w it h t he k ne e s o ut wa rd s . I t i s

t he s pi ne h er e t ha t h ol ds t he b od y a nd t hi s p os tu rei n p l ac e . A da n ce r i s u r ge d t o k ee p h e r s p in e s t ra i gh t

a n d t h e p os t ur e p e rf e ct , t h er e by pr e ve n ti n g n e ck

a nd b ac k pr ob le ms . A ls o th ro ug h d an ce t he b od y

l ea rn s t o m ov e i n r hy th m a nd e ve n tu al ly b e gi ns t o

u n de r st a nd a n d i n te r na l is e t h e n o ti o n o f r e g ul a ri t y.

T hi s a ls o a pp li es t o d ai ly li fe i n t he s en se t ha t o ne

l ea ds t he ir l if e i n a s ys te ma ti c, r hy th mi c f a sh io n.

S ha rm a ( 20 06 ) i n h e r s tu dy s h ow ed t ha t d a nc e d ue

t hi s q ua li ty al so gi ve s l es so ns o f d is ci pl in e i n l if e.

F u r t h e r , G u r u e l a b o r a t e s o n f e e t r e f l e x o l o g y .

A c c or d i n g t o a c u p r e ss u r e , t h e m a j o r p r e s su r e p o i n ts

t ha t r eg ul at e t he o rg an s o f t he b od y a re l oc at ed o nf e et a n d t h e p a lm s ( S w am i R a md e v , 2 0 05 ) . R e gu l ar

s ta mp in g o f t he f oo t o n t he g ro un d a nd m ov in g t he

h a nd s s o t h at f i n ge r t i ps w h i ch a r e t h e n e r v e e n d in g s

c om e i n c on ta ct a ct iv at es v ar io us p re ss ur e p oi nt s

a n d t h e b l oo d f l ow to e a ch o f t h e o r ga n s i s r e gu l at e d

a nd c on tr ol le d . Th us , th e b od y be ne f it s f ro m t hi s

kind of an acupre ssure treatment witho ut any

c o n s ci o u s e f f o r t.

A p a r t f r o m t h e p h y s i c a l a s p e c t , a v e r y

i m po r ta n t a s pe c t o f d a nc e i s t h at i t i s a p s yc h ol o gi c al

b e h a v i o u r . T h e H i n d u p h i l o s o p h y d o e s n o t

e n co u ra g e t h e m i nd - bo d y d ic h ot o my . G u ru j i a l so

s tates that any disturbance o n the emo tio nal or

m e nt al l e ve l c an b e p hy si ca ll y m an if e st ed i n t er ms

o f s to ma ch p ro bl em , r e sp ir at or y p ro bl e ms a nd s o

o n. H ow ev er , a n i mp or ta nt d im en s io n i n t he m in d,

b od y r el at ion sh ip , i s t he s ou l. Th is t he n b ri ng s

a n o t h er f a c t or : s p i r i tu a l .

M en ta l f a ct or s a re b ro ad l y d et er mi ne d b y t he

v a ri o us c o gn i ti v e f u nc t io n s. T h i s i n cl u de s h o w o ne

t h i n k s , p e r c e i v e s , r e m e m b e r s , a n d m a k e sc on ne ct io n i n h is /h er m in d. C ar te r ( 20 04 ) i n h is

s t u d y s h o w e d t h a t d a n c e a l l o w s o p t i m u m

i n t e r mi n g l i n g o f t hi n k i n g , f e el i n g a n d a c t i ng t h a t

l ead s t o g ro wth a nd a uto nom y. G ur u ji f el t t ha t

i n vo l ve m e nt i n d a nc e g a ve h e r t h e a b il i ty t o l o ok a t

lif e in a d iffere nt, creative way. Rese arch o n

c re at iv it y h as s h ow n t ha t c re at iv e p eo pl e a re m or e

i ma gi na ti ve ( Fe is t 1 99 9) w hi ch Ra gi ni con fi rm swhe n she says that dance has en hanced he r

c re at iv it y a nd i ma gi na ti on . G ra ce t oo f ee ls t ha t

d a nc e m a de h e r t h in k in g m or e c r ea t iv e a n d n o w sh e

c a n c o me u p w i th a l te r n at e s o lu t io n s t o p r ob l em s i n

no time . Hence, the re is a qualitati ve shift in

t hi nk in g. A t a no th er l ev el , R ag in i f ee ls t ha t d an ce

g i ve s h e r t h e e n er g y t o d e al w i th e v er y d a y h a ss l es

of life and she can handle them be tter. Sh e g ets

r en e we d p os it iv e f ee li n gs a ft er h e r d an ce p ra ct ic e.

Th is c an a ls o b e s up po rte d f ro m P ar ad ox a a nd

R ob in so n ( 19 97 ) st ud y in w hi ch t he y s h ow th att hr ou gh e ne rg e ti c ci rc ul ar m ov em en ts t he d an ce r

p r o t ec t s h e r s e l f f r om n e g a t i ve s e l f f e e l i ng s .

E mo ti on al f ac to rs i nc lu de i na bi li ty t o f ee l,

e x pr e ss , a n d i d en t if y e m ot i on s . C r e a ti v e p e op l e a r e

m o re e m ot i on a ll y s e ns i ti v e a n d i n t u ne ( F e is t 1 9 99 ) .

I t w as i nf er re d t ha t i n c as e o f Ra gi ni s he h ad a d ee p

u n d e r st a n d i ng o f e m ot i o n s a n d c o u l d i d e n t i fy t h e m

v e ry we l l . F o r R a sa da n ce g a ve h e r s t re n gt h t o d e al

w it h e mo ti on s l ik e n er vo us ne ss , a nx ie ty o r w he n

s h e f a ce s c r it i ci s m. G ra c e h a s i m me n se l y b e n ef i te d

from this aspe ct since i t enables h er to d eal moree f fi ci e nt ly w i th c li ni ca ll y d is or de re d p at ie nt s. A

v e r y i m p o r t a n t d i m e n s i o n o f t h e t h e r a p e u t i c

i m pl i ca t io n o f d a n ce t h at e m er g e d w a s r e la t ed t o t h e

s p ir i t ua l f a c to r s, o r t h e s pi r i tu a li t y o f d a nc e .

S p i r it u a l i ty i s d i r e c tl y r e l a t e d t o w e l l - b e i ng ( M o h a n ,

e t a l. 2 00 4) . A bh in ay a pl ay s a n i mp or ta nt r ol e h er e

w h er e t h e d a nc e r n a rr a te s s t or i es a b ou t , f o r e x a m p le

L o rd K r is h na o r L o rd R a ma . S h e g e ts i n to t h e r o le o f

God and thus conn ects with Him. Rasa got into

B ha ra ta na ty am b ec au se i t g av e h e r f ul fi ll me nt a nd

s he f e el s v er y c lo se t o G od w h en s he i s d an ci ng . F or

h er d an ce i s h er s er vi ce t o L or d K ri s hn a. Ra gi ni t oo

s a id t h at w h il e p e rf o rm i ng s h e c o mp l et e ly l o se s a n d

s ur re n de rs h er s el f . M c R ob bi e i n 1 99 7 h i gh li gh te d

t h e m ys t er i ou s t r an s fo r ma t iv e p o we r t h at d a nc e

i s s ai d t o ca rr y. T he se a re m om en ts w he n d an ce rs

r ea ch p ea ks o f i nv ol ve me nt t ha t p ro du ce i nt en se

f e e li n gs o f e n jo y me n t a n d c r ea t iv i ty . T h e f r eq u en c y

o f th e se f l ow l ik e e x pe ri e nc es i s r e la te d t o a b e tt er

q u a l i t y o f e x p e r i e n c e i n t h e l o n g e r r u n

( Cs ik sz en tm ih al yi 1 98 8) . S tu di es h av e s ho wn t ha t

m or e t he t im e s pe n t i n h i gh c ha ll en ge a nd h ig h s ki ll

c o nt e xt s , t h e h a pp i er , c h ee r fu l , e x ci t ed a n d s a ti s f ie dpe opl e f ee l i n t er ms of t he ir o ve ra ll e xp er ie nc es

( W el l s 1 9 85 ) Th u s t h os e w h o ar e i n f l ow m o st o f te n



13/16

t h e i r l i v e s . T h r o ug h s u r r e nd e r i n g i n t o d a n c e , a n d

e xpr es si ng lo ve of th e Di vi ne , t he d an ce r g et s

c om pl et el y im me rs e d i nt o da nc e, w hi ch i s w ha t

R as a r ef e rs t o a s a bs or pt io n, t ra nc e l ik e s ta te a nd

' sa m ad h i' . T hr ou g h t hi s i mm e rs i on , t he lo ve r

( da nce r) a nd th e b el ov ed ( God ) m erg e a nd th atg i ve s t h e d a nc e r a fe e l in g o f b e i ng co n ne c te d w i th

G o d. F o r G r ac e w h o is v e ry f o nd o f s pi r it u al t h em e s

a nd s pi ri tu al d an ce s, w ha t i s a ls o i mpo rt an t i s t o

t r an s fe r t h is s p ir i tu a li t y o n t o t h e a u di e nc e a n d t h at

b e c o me s h e r p r a y er .

P r ay e r h a s i m me n se t h er a pe u ti c v a lu e , pe o pl e

w h o ha ve f ai th a nd w h o pr ay a r e p sy ch ol og ic al ly

b e tt er t un ed t o d e al w it h p ro bl em s ( Hu ss ai n 2 00 5)

a nd i n c as e o f d an ce p ra ye r i s t ra ns la te d t hr ou gh t he

e n t i r e b o d y ( G u p t a , 2 0 0 0 ) . H i s t or i c a l ly s p e a k i n g , t h e

e ss en ce o f B ha ra ta na ty am i s a ls o th at i t i s a p ra ye rd an ce . R ag in i h ad m en ti on ed t ha t w he n s he d oe s

c er ta in p ar ti cu la r p ie ce s t ho se a re l ik e h e r p ra ye r t o

G od . Sh e d oe sn 't f ee l t he n ee d t o go a n d s ep ar at el y

p r ay . A n d f o r R a sa B h a ra t an a ty a m i s h e r p r ay e r a n d

o ffering to Krishna.

V a r i o u s s t u d i e s i n d i c a t e t h a t m e d i t a t i o n

f a c i l it a t e s t h e r a pe u t i c p r o ce s s ( C h o w dh a r y , 2 0 0 4 ) .

M e di t at i on i s t h e c on t ro l o f th e m i nd a n d b o dy . Ra s a

m en ti on ed t ha t t o b e c om pl et el y a bs or be d i n h er

d an ce i n a s t at e o f tr an ce t ha t i s m ed it at io n f or h er .W h i l e p e r f o r m i n g s o m e t i m e s s h e f e e l s t h e

p er fo rm an ce b ecom es ve ry i nt en se a nd s he f ee ls

v e ry cl o se t o G o d, t h at i s h e r m e di t at i on . Ra g in i , a s

m e n ti o ne d b e fo r e, a l so t a lk s o f l e tt i ng he r se l f g o

c om pl et el y. S o m uc h s o t ha t s he f ee l s i t i s n ot h er b ut

so me one else who is d ancing. Wh en all of the

i nd iv id ua l c om po ne nt s o f t he d an ce s ee m t o l oc k

into place, and the dance begins to flow in a

c o nt i nu o us a n d e f f or t le s s s t re a m, i t d o es s e e m a s i f a

h ig h er p ow e r t ak es o ve r a nd c ha rg es t he m ov em en t

with ene rgy; and the d an cer is carrie d alo ng as if

f l oa t in g o n a po w er f ul c u rr e n t. It i s p o ss i bl e t o f e e lt he e f fe ct s o f t ha t fl ow o n t he a ud ie nc e. S o t hi s

kind of ecstasy exists not entirely w ithi n the

performe r, but betwe en th e perf ormer an d the

a u di e nc e ( G up t a, 2 0 00 ) . T h is s u rr e nd e r in g o f o n e

s e lf is w ha t i s ' An an da ' o r b li ss a nd t hi s i s w ha t R as a

r ef e rs t o w he n s he s ay s t he s ou l m ee ts i ts o ri g in l ik e

f is h p ut b ac k in to w at er . Da nc e r es ea rc he s h av e

i n d ic a te d t h e p os s i bi l it y o f s e l f t r an s ce n d en c e t h at

d a n c e a l l o ws ( M c F e e 1 9 9 2 , M c Ro b b i e 1 9 9 7 )

T h e l i nk a ge s b e tw e e n B h a ra t an a ty a m a n d y o ga

h a ve a l re a dy b e en m e nt i on e d . A c co r di n g to t he

c l as s ic a l t r ad i ti o n, d a nc e i s p e rf o rm e d a s a n o f fe r in g

which the highe st s piritual g oal can be realized.

T hu s, b e si de s h av in g t he s am e c re at or , d an ce a nd

y og a a r e a ls o s i mi la r i n t he i r g oa l w hi ch i s t he u ni on

of the d oer and audience with the divine . The

d a n c e rs s h a r e t h i s o p i n io n . R a s a w a n t s t o s p r e ad t h e

m e s s a ge o f s p i r i tu a l i t y t h r o ug h h e r d a n c e a n d G r a c ed e f in e s s p ir i tu a li t y fo r h e rs e l f as t h at w h ic h s h e s e es

i n t he e y es o f he r a ud ie nc e. R ag i ni t oo ge ts a ' hi gh '

w h il e p e rf o rm i ng w h en s h e e x pe r i en c es a s y ne r gy

b e tw e en t h e a u d i e nc e a n d h e r s e lf .

F o ll o wi n g i s a d i sc u ss i on a r ou n d t h e 8 l i mb s o f

Y og a. Th e f ir s t l im b i s r es tr a in t a nd se c on d

o bs er va nc es . I t c an b e s pe cu la te d t ha t b ec au se o f

c on st an t a ss oc ia ti on w it h G od , o ne 's t ho ug ht s a nd

i nt el li ge nce g ets p ur if ie d a s i n th e c as e of R as a. A

p ur e m in d f ol lo ws t he p at h o f r es tr ai n i nd ir ec tl y.

R eg ar di ng t h e 2 nd l im b, o bs er va nc es , li k e y og a,dance is perfo rme d as an of fering to God and

th ro ug h t hi s f re ed om ca n b e a tta in ed . H ow ev er ,

s im il ar i s a ls o t he f ac t t ha t t hi s f re ed om i s a tt ai ne d

o n ly t h r ou g h d i sc i pl i ne , n o t o n ly o f t h e b o dy b u t o f

th e ps ych e an d s pi ri t a s w el l. F or t hi s r ea so n, li ke

y og a, d an ce h as b ee n h an de d d ow n f ro m t he G ur u

to the student in a practical s yste m in which

t ea ch in g s a re p as s ed o n o ra ll y ( Gu pt a 2 00 0) . T hi s

ca n b e g ath er ed f rom w ha t A li sh a t el ls a bo ut h er

c l a s s e s , w h i c h i n c l u d e d l e c t u r e s o n y o g a ,

m ed it at io n, a nd o th er f ac to r a bo ut h ow t o le ad as pi ri tu al l if e. T he n ex t l im b i s A sa na s o r p os tu re . I n

i ts b as ic f or m, I nd ia n d an ce c re at es t he e ff ec t o f a

s e ri e s o f st i ll p o se s t h at g r ac e fu l ly f l ow o ne i n to t he

n e xt . T a ke n i n di v id u al l y, th e s e p o se s r e s em b le t h e

c la ss ic al s cu lp tu re s c ar ve d o n t he w al ls o f H in du

T em pl es , a nd s im il ar ly i nc or po ra te a sp ec ts o f

v a ri o us y o ga a s an a s ( G up t a, 2 0 00 ) . Du r in g e ac h

p os e d if fe re nt p ar ts o f t he s pi ne a re c on ce nt ra te d

which activates th e chakras and result in e nergy

f l o w . T h e i m p o r t a n c e o f t h e t h e n e x t l i m b ,

p r a n ay a m a o r b r e a t hi n g h a s a l r e a dy b e e n d i s c us s e d

e a rl i er . P ra t ya h ar a m ea n s w i th d ra w al o f s en s es .

Al is ha s ay s t ha t a s on e s ta rt s t o dan ce on e f or ge ts

e v e r y th i n g ab o u t t h e p a s t , p r e s e nt , a n d f u t u re . T h is

s u gg e s ts t h at s h e i s n o t a w a r e o f h e r s u rr o un d i ng s . I t

h as h ap pe ne d a nu mb er o f t im es i n c la ss w he n t he

g u ru a n d s t ud e n ts g e t s o a bs o rb e d i n d a nc e t h at t h ey

l os e t ra ck of t im e. Th e l as t 3 l im bs i n Y og a ar e i n a

s t e p w i s e p r o g r e s s i o n . C o n c e n t r a t i o n a n d

c on t em p la t io n h a pp e n w h en t h e d a n ce r j u st f o cu s es

o n h er d an ce . D an ce i s s ai d t o c ar ry a my st er io us

t r a n s fo r m a ti v e p o w e r ( M c R o b b ie , 1 9 97 ) . T hi s

m e an s t ha t o nc e t he d an ce r i s c om pl et el y a bs or be di n her dance and s he gets immersed in it and As

m en ti on ed e ar li er t he se f lo w l ik e e xp er ie nc es a re



14/16

p e a k m om e n t s o f c om p l e t e f o c u s a n d a b s o rp t i o n.

Through dance the d ance r al so takes the

a ud ie nc es o n t o t he ir p at h o f k no wl ed ge , J na na

y og a. A li sh a' s t ea ch er d id t ha t f or h er a nd s he l e ar nt

a b ou t I n di a n m y th o lo g y o n ly th r ou g h h e r t e ac h er .Rasa too fee ls that a guru is much more than a

t e ac h er . G u ru is s o me o ne w h o l e ad s t h e s t ud e n t o n

h i s s p i r i tu a l p a t h . I n t e r m s o f t h e a u d i e nc e , R a s a t r i e s

t o m ak e t he a ud ie nc e s ee a nd f ee l K ri sh na t hr ou gh

h er d an ce a nd a s d e sc ri be d e a rl ie r, fo r G ra ce i t i s t he

s pi ri tu al it y i n h er a ud ie nc e' s e ye s th at b ec om es

s pi ri tu al f or h e r. T h us , y og a a nd d an ce s h ar e t he ir

u lt im at e g oa l w hi ch i s t he u ni on o f t he i nd iv id ua l

w i th t h e d i vi n e.

V ar iou s s tu di es h ave b ee n d on e on y og a t ha t

s how t h e be ne fi ts a tt ai ne d t hr ou gh y og a. Y og ar e du c es a n xi e ty ( S ha r ma e t a l ., 2 0 05 ) , d e pr e s si o n

(Ran i & Rao, 2005), i t enhances self concept

( S ah a jp a l e t a l ., 2 00 5 ) a n d p r ac t ic e o f as a na s h e lp i n

th e management o f health and body (Swami

Sa ra sw at i 2 00 1) . It i s s ee n t ha t n ei th er d an ce n or

y o ga a r e p r im a ri l y p h ys i ca l d i sc i pl i n es . B o th a r e

e x pr e ss i on s o f e n er g y. I f d a nc e i s s p ir i tu a l, G u pt a

(2000) says, it is so becaus e through it we can

t r an s pa r en t ly p e r ce i ve t h e m o ve m en t o f e n er g y i n

th e bo dy . Da nc e i s th e p la y b et we en t he ph ys ica l

f o rm , w h i ch i s l i mi t ed , a n d t h e i n fi n it e s p ir i t, w h i chi s f r e e. P h ys i ca l p r ob l em c o ul d b e a m a ni f e st a ti o n o f

t he i nn er f ac to rs a nd i mb al an ce s t he re by i mp ly in g

e ne rg y st ag na ti on . G ur u j i s ay s t ha t d an ce h el ps i n

t h e f r e e f l ow o f en e rg y , by a c ti v at i ng t h e C h ak r as

o ne b y o ne . T he re n ee d s t o b e a b a la nc e b et we e n a ll

t he c

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Therapeutic Implications of Dance

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