Nostalgia felt as Indians mark independence day
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.