Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Asian Dance
Author(s): Stacey Prickett
Source: Dance Research: The Journal of the Society for Dance Research, Vol. 22, No. 1
(Summer, 2004), pp. 1-21
Published by: Edinburgh University Press
Stable URL: http://www.jstor.org/stable/4147320
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Research: The Journal of the Society for Dance Research
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history here. Inclusion of the new forms was initiated by Akademi, a British
South Asian dance organisation, with funding from the Arts Council of England.
Asian dance fit into the stated mission of the ISTD? And how does the ISTD fit
into the South Asian dance community and the larger context of a mainstream
arts community? Other relevant issues concern the extent to which classical
South Asian dance forms are culturally specific and their modification to fit
within an ISTD curriculum. Questions on the location and function of the art
forms exist within broader fundamental debates centring on the definition of
the term 'British' - whose version of identity is invoked by the name? And while
definitive answers are still elusive, issues of agency arise in considering the transformation of British dance. Interviews with members of the ISTD South Asian
Dance Faculty and research collected in the Leverhulme Trust South Asian
Dance in Britain project are drawn on to examine the impact of South Asian
dance on a British dance identity.
ARTS EXAMINATION SYSTEMS
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STACEY
PRICKETT
A century old, the ISTD was formed in 1904 to 'educate the public in the art of
dancing in all its forms'.2 Its mission statement sets out four goals:
* to provide, through its syllabi, techniques upon which to train dancers for the
profession.3
According to the ISTD, over 250,000 people are examined every year in
27 countries. Whilst the focus here is on British dance, the ISTD is an
international institution with a total of 13 specialties, 11 of which have graded
examination systems within ten faculties. The syllabi encompass various interests
and skill levels - for example, 'Dance Sequence' includes line dancing, whereas
the Cecchetti Ballet syllabus 'supports the ballet professional'. The Imperial
Classical Ballet syllabus offers classes supporting teacher training and advances
in the 'English style'. Other faculties include Latin American, Classical Greek
and National Dance, with an emphasis on Scottish highland and country dances.
In 1953, the Disco/Freestyle/Rock n' Roll expanded the ISTD base and the
Alternative Rhythms Faculty was added in 1999. Dancers are trained for
a variety of purposes: as a recreational pursuit, as a vocation for the dance
professional, and in training existing and future dance teachers.
and the face of British arts internationally. In 2001 and 2002, ISTD policies,
codes of assessment and standardisation received approval by the Qualifications
and Curriculum Authority in England and similar governmental authorities
in Wales and Northern Ireland. The British Council also provides some
administrative support for examinations abroad, contributing another level of
institutional support. As the British Council promotes and supports touring
programmes of British artists throughout the world, such assistance infers
approval of the ISTD's aims.
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place in British society today stems from wider cultural shifts, supported by the
arts. Rom Gopal's early attempts to set up a permanent dance school in Britain
were undermined in part by the absence of an administrative structure. Khan
also points to the arrival of East African Asians in the UK during the 1960s, who
Backed by the South Asian arts organisations, the imported forms spread into
schools and communities throughout Britain.
Within the university system, South Asian dance has made inroads into
course outlines, with its forms treated as additional dance techniques and
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examples in dance theory classes, rather than being separated out as an example
dance (SADiB), was based at the Centre for Dance Research at Roehampton
University of Surrey and is the subject of a forthcoming book.9 Roehampton
will also be adding an MA in South Asian Dance, subject to validation. Ongoing academic inquiry into South Asian forms is supported by the Arts and
Humanities Research Board funding of the Research Centre for Cross-Cultural
Music and Dance Performance, a five-year multi-institutional project. Although
the list lengthens yearly, a South Asian dance representation remains generally
is a vibrant part of the British dance tradition within both community and
mainstream performing arts venues. Bharatanatyam's legendary religious roots are
traced to the Natyashastra, an ancient treatise on dance, drama and music that
forms part of India's rich cultural heritage. Suppression of the dance form under
British rule was reversed with Indian independence and concurrent search for
Indian identity in the 1940s. Although shifting from temple rituals to the stage,
Bharatanatyam draws from the Ramayana and the Mahabharata epics and Purana
legends, and a spiritual element remains for its performers. Kathak has a more
secular basis, integrating Hindu and Muslim influences where it flourished in the
courts of northern India. Themes also draw from Hindu epics and legendary
tales, yet the storytelling component of both dance forms extend beyond passing
on a literary tradition. Embedded within the tales are ethical values, and dance
is part of a multi-faceted theatrical practice which entertains and educates. Thus
dance fulfils diverse functions for its practitioners and audiences. Today in
Britain, dance is a vital aspect of the migrant communities.
SOUTH ASIAN IDENTITIES AND THE ISTD
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PRICKETT
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displays of technical and interpretive abilities. Yet the demands of the dance
form - above and beyond a social function of establishing or reinforcing notions
of Indian-ness - require familiarity with elements of the culture, its literature,
and food.'" The ritualised nature of the arangetram has been compared to the
Jewish bas mitzvah.'3
however, the anomalies have been addressed in the interim.'6 Other ISTD
examinations stress more of the bodily activity rather than a range of interpretive
of a training programme. If one was able to train students without time constraints, this is what would be accomplished within a particular grade. But after
her own students took on the examinations, she recognised how difficult they
were in terms of the range of material covered in a year's time, the anticipated
length of time allotted to achieve one grade. Subramanyam commented that the
ISTD generally examines the body, the bodily activity of movement, whereas the
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STACEY
PRICKETT
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Because of the traditional solo nature of both Bharatanalyam and Kathak and
personalised methods of training, problems arise in standardising the forms. The
traditional method of teaching is a one-on-one relationship between disciple and
mentor, the guru-sishya system. In the ISTD magazine, Dance, an article highlighted a potential drawback of the standardisation process. Pushkala Gopal,
Vice Chair of the South Asian Faculty, commented:
One of the successes of the syllabus has been that teachers who have trained in the oneto-one non-institutional methods have reached out to adopt our structure that is largely
inspired by a dominant and equalising style. The challenge facing the Faculty is now
ensuring that the nuances within the different, especially the minority, styles that foster
individual, original expression (some of which eventually contributes to the sustenance or
method to group teaching. And although the ISTD syllabus as written appears
focused on the British student, interest in teaching the syllabus has come from
Germany and India, thus reflecting the international scope of the organisation.
German Kathak dancer/teacher lonna feels that the syllabus helps in two ways:
the syllabus helps provide a better structure for her classes and gives students
a goal to work towards, one of passing an examination.21 The validation of
achievement from an internationally recognised dance organisation endows the
award with what is perceived as a world-wide standard of accomplishment.
In 1999, the process of induction of examiners involved three sessions, during
which examiners had to come to terms with the syllabi. As Gopal explained,
a new method of teaching has emerged, integrating health and safety issues
alongside more fundamental shifts, resulting in an 'unorthodox approach' to the
pedagogic structure.2 Gopal discussed how the ISTD training results in the
dancer's greater level of independence from the guru, partially achieved through
away from a traditional dependence on the guru. Only through repetition can
the fundamentals be embodied, but once this occurs, ISTD students achieve
a broader knowledge, such as developing the ability to communicate with
musicians about rhythm. Therefore, Gopal feels that ISTD students 'achieve a
better understanding of dance as a holistic style'.23
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Ongoing debates within the artistic and academic communities focus on concepts of tradition and classicism. Gopal raised the question of how to balance
measuring levels of achievement of the individual with issues of maintaining the
the traditional canon when she relocated to England. In 1981 Devi founded the
Centre for Indian Classical Dance (CICD) based in Leicester, which offers Kathak
And how do you depict the hatching of four sweet little ducklings and an ugly
one?'26 More recent multi-cultural explorations are seen in CICD's Kathak
projects working with Irish musicians and dancers, African drummers and jazz
musicians. The ISTD aims and objectives for the South Asian dance syllabi of
making the forms relevant for contemporary students are thus aligned with
existing practices of a number of South Asian dance artists performing and
teaching in Britain.
As with other dance forms, people undertake training for diverse reasons.
Yet parental and community expectations of establishing links to migrant roots
can influence career decisions, following from the development of Bharatanatyam
in India. Bharatanatyam was transformed into a practice considered appropriate
for the participation of middle/upper class young women, in part for purposes
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during the 1930s and 1940s. The Tanjore style emerged from a version of
authenticity established through hereditary lines to the devadasis (temple dancers)
Sanskrit symbols and treatises. Issues of nationalism also emerge in the postcolonial period, although O'Shea highlights how the forms were influenced by
western aesthetic concerns. Rukmini Devi (1904-1986), who established the
Kalakshetra school near Chennai in 1936, studied ballet with Cleo Nordi, a
soloist in Anna Pavlova's company. Pavlova is credited with encouraging Devi to
return to India to study the dance of her own country. O'Shea discusses aspects
of the Kalakshetra style of Bharatanatyam that are influenced by western dance
systems and aesthetic concerns, in terms of the shape of dance class exercises and
the utilisation of stage space in performance.27 A number of those involved in the
of the dances.29 Sringara was a component of the devotional basis of the dance
practice, but deemed by Devi to contribute to the degradation of the form.
Specifically, Devi's belief system integrated tenets of the Theosophical Society, a
philosophical society founded in New York in 1875.3o Issues of cultural specificity
are thus complicated by the manner in which Bharatanatyam was codified and
influenced by Western aesthetic concepts and Protestant mores among the
colonised middle and upper classes of India in the 1930s when Bharatanatyam
became accepted by the Indian elite. Whether or not the element of sringara is
integrated, an emphasis on dance as a devotional practice necessitates what
are integral elements of religion and cultural practices inherent in the art form.
'Indian dance is made up of several layers: every line, triangle, square or circle
within the nritta aspect as well as every mudra [gesture] and movement in abhinaya
Radha's feelings of dejection that Krishna has not arrived. She argues that an
absence of experience can be overcome through the acknowledgement that
Bharatanatyam is a theatricalised form, the abhinaya component is a skill, a vital
part of the actor's learning process.33 Western performance styles are taught with
an emphasis on bodily movement rather than the intricate facial expressions that
comprise part of abhinaya. Although, to some degree, facial expressions and hand
gestures are integral to performance of every dance style, western forms such as
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studied separate from learning about its roots evolved from the French (and later
Russian) aristocracy; however, an understanding of the cultural specificity of the
classical Indian forms remains vital to their performance.
Additional complexities exist, grounded in issues of identity and migration
Pedagogic shifts in the forms emerge in the structure of the ISTD examination
Nina Rajarani (the South Asian Dance Faculty Secretary) discussed how she
modified her teaching from her Bharatanatyam training in India, with the
inclusion of more theory than she initially received. She also separates adavus
(dance units) and repertory classes while integrating an unconventional usage of
the tattukali blocks, wooden instruments used to set the rhythm. In order to
reinforce rhythmic structures, students learn to tap out rhythms with their own
set of blocks, thus breaking traditions of privilege since the blocks were used only
by the guru.36
Some resistance to the ISTD from the South Asian dance community
exists - for numerous reasons.37 On one hand complaints have been expressed
concerning the use of examinations administered by a non-Indian organisation.
Examinations systems already exist in India and among South Asian dance
centres in Britain. One of the primary training and Indian cultural institutions
in London is the Bhavan Centre, where examiners are flown in from India
to conduct examinations. Yet those involved in the ISTD consultation and
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Mehta has been attracted to the syllabus for her own students in India.40 The
ISTD emphasis on training the performer makes it more accessible to those who
take up the style as a hobby. Gopal noted that students are 'being trained to
perform from the start, not just dance'.41 Also, a focus on posture and prevention
The ISTD pedagogic structure includes elements of warm-up and cooldown, thus attending to non-aesthetic issues of dance education. The syllabus
for Kathak and Bharatanatyam both highlight environmental differences facing a
are offered for warm-up exercises, stressing the significance of choosing ones
with relevance to the form, using precise terms and set rhythms, as the time
cycles of Kathak technique are distinct from western musical structures.
An attention to detail of the environment highlights the diverse locations
where South Asian dance occurs. Areas with high populations of South Asians
or British Asians have organisations such as the Bhavan Centre and Akademi in
London, offering different aspects of training and administrative functions for
the dance community. The Centre for Indian Classical Dance offers Kathak,
Bharatanatyam and folk-based forms in Leicester. Kadam and Sampad arts organ-
standardised across the regions. At arts venues, London's South Bank Centre
includes a wide range of South Asian music and dance performances, and the
Free Summer Events are highly inclusive in their programming.
ISSUES OF POST-COLONIAL IDENTITY
Among all the debates, a fundamental dichotomy exists in the name, the title
of the organisation - the Imperial Society of Teachers of Dancing - and the
integration of post-colonial dance forms in its portfolio. The very title of the
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ISTD labels the ideological structures upon which a colonial relationship was
based - imperial. Although there are other non-British dance forms represented
within the faculties, a range of historical precedents can be traced for their
inclusion as British dance styles.
Asians in Britain, the ties are more recent to their homelands. Identity issues
encompass influences of gender, class, region and generation, thus issues beyond
origins must be considered. Generational differences are evidenced in the crosscultural navigations of younger generations whose daily lives consist of diverse
identities drawn upon depending on the immediate situation. Conforming to the
daily experience of fitting into a multi-cultural, urbanised population, contrasts
to interactions with family members, perhaps first or second generation immigrants, and a localised enclave with a predominant cultural otherness to what is
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forms, yet mediated by the experience of early twenty-first century British life?
The Akademi research and consultation process for the ISTD was supported by
the Arts Council of England, thus endowing another level of institutional
validation. Between 1 January 1999 and 31 December 2003, 456 examinations
have been undertaken in the South Asian Dance Faculty. Of this total, 189 are
in Kathak (up to grade 4) and 267 in Bharatanatyam (up to Grade 5).51 The inclusion
extent to which the process goes both ways. Gopal emphasised that teachers in
India are increasingly exposed to new dance practices acquired through international travel, thus dance practices there are shifting as well.52
TOWARDS THE FUTURE
Asian Dance Faculty, comprised of dancers and performers in the two styles,
continue to refine the syllabi, addressing new issues as they arise. Significantly,
the potential influence on British culture extends beyond promoting knowledge
of the dance forms themselves, due to a focus on the cultural forms embedded
within the education. The ISTD's inclusion of the forms enhances their
accessibility for those without a South Asian heritage. In filling gaps created by
the absence of India's literature, music and spiritual elements in Britain today,
there is potential for a more comprehensive understanding of the nation's multi-
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NOTES
1. There are different ways of spelling Bharatanatyam. The spelling here conforms to the
ISTD's publications.
2. Anon., 1999, 3.
3. Ibid.
25. Ibid.
29.
30.
31.
32.
33. Ibid.
48.
49.
50.
51.
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Allen, Matthew Harp (1997). 'Rewriting the Script for South Indian Dance', The Drama
Review, 41, no. 3 (TISS), Fall, 63-100.
Anderson, Benedict (1991). Imagined Communities, rev. edn., London: Verso [orig. pub. 1983].
Anon. (1999). An Introduction to the Imperial Society of Teachers ofDancing, London: Imperial Society
of Teachers of Dancing.
Anon. (2000a). South Asian Dance Faculty Bharatanatyam Grade Examinations Specifications, London:
Gheerawo, Vena (1997). 'South Asian Dance: The British Experience? Holism and
Individualism', Choreography and Dance, 4, no. 2, 51-3.
Gopal, Pushkala and Chitra Sundaram (2001). 'Standardising a Solo Form', Dance,
November, 47.
Gorringe, Magdeline (2001). Arangetrams - the rituals and role ofa bharata natyam dancer's solo events,
unpublished paper.
Grau, Andree and Stacey Prickett (2002). South Asian Aesthetics Unwrapped, report on Akademi's
O'Shea, Janet (1998). "'Traditional" Indian Dance and the Making of Interpretive
Roy, Sanjoy (1997). 'Dirt, Noise, Traffic: Contemporary Indian Dance in the Western City;
Modernity, Ethnicity and Hybridity', in Thomas, Helen, ed., Dance in the City, New York:
Additional Sources
Devi, Nimila (2000). Interview with Magdeline Gorringe, 30 June 2000, for the Levehulme
South Asian Dance in Britain Project.
Dutta, Sanjeevini and Biasakha Sarker, eds. (2000). Living Tradition: Celebrating. South Asian Dance
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21
Rajarani, Nina (2001). Interview with Magdeline Gorringe, 19 January 2001, for the
Leverhulme South Asian Dance in Britain Project.
Ghosh, Sushmita (2000). Interview with Magdeline Gorringe, 15 February 2000, for the
Leverhulme South Asian Dance in Britain Project.
Subramanyam, Anusha (2001). Interview with author, 15 October 2001, London.
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