Nostalgia felt as Indians mark independence day

By L. Sailaja Kumar

JAKARTA (JP): Mother and motherland are probably the only two identities holding the highest prestige in the heart and soul of every individual. Perhaps no one else can understand the pain of staying away better than the one who is experiencing it.

Talking about missing one's native land is not just describing the agony of nostalgia but the ecstasy that surges through you once you get a "feel" of your country.

This is what happened to all of us from India who gathered recently at the Erasmus Huis to pay tribute to our motherland. What a coincidence that Indonesia and India not only bear similarities in nomenclature but culture as well, with both having the best temple architecture in the world. Probably it is this feeling of kinship that makes the bonds stronger and fills Indians with a warmth so characteristic of this land.

An air charged with patriotic fervor, a resplendent Indian national flag standing tall and proud in the background and kids bubbling with enthusiasm are but a few phrases describing the cultural extravaganza that night.

Commemorating 50 years of Indian independence, there we were shuffling through the annals of our history, paying homage to the brave sons of our land who toiled to free the country from the shackles of cruelty and made a noble exit from this world. Since then our country has marched forward, never looking back. Hum Honge Kamyaab (We tread the path of success) has always been our motto. The land of diverse cultures and languages, of ascetics, scholars and snake charmers, all bound together with ties of affection.

Talking of dance, in India it is not just a form of entertainment but a form of worship. Probably it is this element of sanctity which gives an aura of holiness to this art. It was earlier considered a religious ceremony most pleasing to God. Perhaps because of this inexplicable union between dance and the divine, we have to adapt all the themes from mythology. Just as the water flows from the Alps, knowledge has to come from the guru to the sishya (pupil). This succession of knowledge is deeply rooted and ingrained in Indians. Accompanied by philosophical meaning, the guru shows the path of light to his pupils and once he feels the disciple has attained that noble stage, he departs from the scene. Not only in academics today but in all performing and fine arts it is customary to start the process of learning only after offering humble prayer to the guru.

Dance is one such art imparted by teachers who do not merely mean dance of the body, but also of the soul. As a medium of expression it not only gives the taste of ecstatic bliss but also tames the ego in you and makes you wise and close to God.

One of the lessons of dance says: "Where the hand goes, the glance follows. Where the glance leads, the mind follows. Where the mind goes, the mood follows. Where the mood goes the real flavor is born."

Since the audience too should understand the dance to appreciate and savor it's beauty, Indian dance has been classified into two-one classical or a pure form of dance, which is for the intellectuals who understand the intricate nuances of dance. The other, folk dance, soothes and entertains a tired soul and is meant for the layman.

Coming back to the cultural potpourri, it was an attempt to blend these two forms of dance and give a cultural taste of India. It was done by the India Club.

That night's event opened in an absolutely Indian way with Vandemataram song worshiping, or singing the praise of the nation. The actual dance fete commenced with Odyssey, a dance from eastern India, as the idea was to present dance from different zones of the country -- north, south, east and west. Odyssey, the dance of delight, performed by the graceful Nilajana Mukherjee, explains the eternal love between Radha and Krishna, the divine beloveds, again from Hindu mythology. The dancers mused and talked not only about worldly love but also about the yearning of Radha for a soul union with Krishna -- again a tinge of philosophy comes into this, as it is mainly a temple dance.

Presenting recitals on occasions like this gives you a feeling of not only being near to your homeland but a sense of pride and achievement that our dance is being accepted in a foreign land. Incidentally, she has given quite a few performances here, one being a combination of Indonesian and Indian dance based on famous Indian poet and noble laureate Rabindranath Tagore's Chlirangadha. It was a fine blend of dance from Bali and Odyssey.

Folk dances enlivened the atmosphere and refreshed the audience with their feet-taping tunes, joyous mood and sprightly steps. Maharastra, the west of India, was represented by a Lavni dance performed by Beena Rao. This dance is again for the layman who completely immerses himself to forget his tedious day. With undertones of provocation it was well presented with proper attire.

The event highlight was a lively folk dance. A Koli fishermen dance was staged by a bunch of bubbly kids all under seven, but done with such synchronization that even a professional dancer would be amazed. Kathak, a dance from the north, was presented by Rekha Rao, whose undaunting foot work and movements as gentle as the sway of a palm are her assets. Punjab has no classical dance, but was represented by a simple one called Gidda, which is uncomplicated, and purely entertaining, just like the people, who are said to be the happy-go-lucky kind.

The culmination of the dance festival was the Bharatanatyam -- a legendary dance of the south which was presented by Sharmila Majumdar. This dance educates, entertains and enlightens the audience as the messages are communicated through elaborate techniques of Abinaya or gestures. Folk dances from the south concluded the festival as if to say the journey had reached it's destination; but truly speaking there is no end to art and genuine pursuits will never cease. The choreography and superb direction left an everlasting impression on many hearts.