Rhythms of Rabindranath: The Journey of Rabindra Nritya in Bengal’s Cultural Tapestry

1. Introduction: When Compositions Finds Its Rhythm in Dance

In the colorful cultural tapestry of Bengal, Rabindra Nritya, or Rabindrik dance, translating ‘dance forms by Rabindranath’- is a special method of expression which integrates literature, music, and movement into a complete whole. Rooted on the musics and dance-dramas of Rabindranath Tagore, this special form of dance brings his poetry and songs to life. It doesn’t follow the rigid codes of classical Indian dance; instead, it flows with a natural grace, shaped by Tagore’s ideas about beauty, humanity, and the world. Over the decades, Rabindra Nritya has become a unique manifestation of Bengali identity, sensitive and strong, grounded and visionary.

2. Origin: A Dream Born in Shantiniketan

The story of Rabindra Nritya starts in the quiet, open spaces of Visva-Bharati, Shantiniketan. This educational institution was founded by Tagore in 1921.

He believed that education should nourish both the mind and the soul. For him, the arts—music, poetry, painting, and dance—were crucial to that process.

Tagore’s exploration of different cultures had a big impact on his dance form. He learned from various places, including Manipur, Cochin, Malabar, Java, Bali, Thailand, Japan, China, Myanmar, and Sri Lanka, as well as England. He mixed different dance styles, such as folk and pure classical Manipuri, Kathak or Bharatanatyam from India, and Kandyan dance from Sri Lanka. His work had a global character, embodying inclusiveness and the concept of ‘Vasudhaiva kutumbakam,’ which translates to ‘the whole world is a family’.

The evolution of Rabindra-nritya incorporated influences from Manipuri initially, and later, Kathakali and Mohiniyattam from Kerala and other classical and international dance forms were added. Additionally, folk dances like Garba, Dandiya and Baul were incorporated into his dances. Notably, Pratima Devi, Tagore’s daughter-in-law, traveled to the UK to study European modern dance under Kurt Joss, a student of Rudolf von Laban, and introduced cooperative choreography to blend various dance idioms.

With all these elements, Mandrakanta Bose, a writer and professor with a doctorate from Oxford in Sanskrit textual studies in the classical performing arts of India, describes Rabindra Nritya as the first ‘modern dance’ of India.

3. How It Flourished: From Shantiniketan to Global Recognition

The initial nurturing ground for Rabindra Nritya was the campus of Shantiniketan, where it became a staple part of festivals and celebrations like Basanta Utsav, Barsha Mangal, Halakarshan, Visva Bharati Foundation Day and many more as well as theatrical performances on the compositions of Tagore himself. The style was continued and nurtured by passionate individuals like Shantidev Ghosh, Jamuna Sen, Nivedita Bose and Nandita Devi- people who truly believed in Tagore’s artistic vision.

Over time, the dance traveled beyond Shantiniketan. In the mid-1900s, cultural programs in Kolkata began showcasing Rabindra Nritya, dance schools started their journey with this new, amalgamated form of dance. The advent of Doordarshan and other regional broadcasting services in the later phase of 20^th century, also helped popularize this dance form by airing televised versions of Tagore’s dance dramas.

According to the scholars, the reason behind the popularity of Rabindra Nritya was the fluidity and simplicity. The dancers could use movements or gestures from any ‘classical’ or ‘folk’ dance, perhaps more than one dance forms, yet the dancers are not bound to follow the structured movements or ‘mudras’ of the classical forms. The negligence is using Ghungru is probably one of the best indications of how Rabindra Nritya is different from any other classical dance forms of India, yet taking influences from several.

4. Costume Variety within Rabindra Nritya: Multiple Souls in One Body

Rabindranath encouraged the students and teachers of Visva-Bharati to learn various dance forms, but he believed that his songs gave expression to certain moods (bhava), and while dancing to his songs, priority should be given to conveying the mood, instead of blindly following any particular dance form. Hence, the form is also known as ‘bhavanritya’. Rabindra Nritya gives the dancers maximum liberty to improvise their movements, to combine any form with any other, thereby making the form extremely subjective. Along with the dance forms, the costumes used in Rabindra Nritya form are adaptable and can be changed according to the character or song being portrayed.

However, through time, two distinct costumes came into the light. One is the traditional Bengali attire- white saree with red border with minimal jewellery and the second one is generally termed as Shantiniketani style, comprising of sober colour cotton sarees, worn in a specific draping with Uttariyas (preferably Shantiniketan Batik) as well as minimal jewellery.

One point to mention, these costume variations are applicable with only Rabindra Sangeets, songs composed by Rabindranath Tagore, not for his dance dramas. They choose their costumes depending on their characters.

4.1 Shantiniketani Style

Shantiniketani Style of Rabindra Nritya costumes is soft, expressive, and deeply connected to nature. As the movements are subtle but meaningful almost like a gentle breeze or a flowing stream, this style draws inspiration from Manipuri dance and Southeast Asian traditions that Tagore admired. Costumes are typically simple- cotton sarees, Uttariyas, floral garlands, and natural colours, in tune with the minimalist aesthetic of Shantiniketan.

4.2 Connecting The Tradition

Connection of Rabindra Nritya costumes with the ‘lal par sada saree’ (white saree with red border) of Bengali tradition is somewhat interesting. This style includes the saree, with floral garlands and minimal jewellery. In my observation, when Bengalis started worshipping Tagore as Thakur (God), they started to associate traditional puja rituals with the performances regarding his compositions.

5. Rabindra Nritya in Popular Culture

Over the decades, Rabindra Nritya has found a place in Bengali popular culture. It appears regularly in school annual functions, college cultural events, and community-based Tagore festivals like Rabindra Jayanti, as well as in general community gatherings and family events. It is often the preferred dance for expressing themes of love, nature, and humanism, topics that resonate with people of all ages.

Television and film have also welcomed this art form. Iconic scenes in Bengali cinema have showcased Rabindra Nritya, especially in films that depict Bengali households, cultural settings, or Tagore’s life. Many well-known movies like ‘Dadar Kirti’, ‘Bhalobasa Bhalobasa’, ‘Chander Bari’, along with more recent films like ‘Muktadhara’ and ‘Abohoman’, are remembered for their memorable scenes of Rabindra Nritya. Documentaries about Tagore, both from India and abroad, often feature dance segments from his plays to illustrate his artistic legacy.

Moreover, Rabindra Nritya has been featured in international arts festivals and multicultural performances, acting as a cultural ambassador for Bengal and for India as a whole.

6. Current Status: Holding On, Moving Forward

In many ways, Rabindra Nritya is flourishing. It is taught in institutions like Rabindra Bharati University, performed by professional troupes, and passed on by teachers around the world. Thanks to the internet, you can now watch performances online on platforms like YouTube, take classes via Zoom or Google Meet, or even choreograph your own piece based on Tagore’s songs.

But there are challenges too. Some purists worry that with its growing popularity, the form is being diluted. They feel it is becoming too showy, too theatrical, or drifting too far from Tagore’s original vision. Others believe that change is natural and that the dance must evolve to stay alive.

To preserve the integrity of Rabindra Nritya, several efforts are underway. Organizations are digitizing old recordings, documenting choreography, and encouraging research. Projects to archive original performances from Shantiniketan are ongoing, and scholars are working to create a formal body of knowledge around the art form.

7. Conclusion: A Dance That Speaks the Language of the Heart

Rabindra Nritya is not just a dance form; it’s a feeling. It captures the joy of spring, the pain of longing, the call for justice, and the celebration of life through movement. Inspired by the timeless work of Rabindranath Tagore, it continues to enchant and inspire.

In our ever-changing world, Rabindra Nritya offers something truly timeless. It shows us that art doesn’t need to be loud or perfect to have an impact. Sometimes, a gentle gesture, a soft turn of the wrist, or a quiet sway to the music is enough to reach the soul.

As long as Tagore’s music and poetry exist, this graceful, lyrical dance will continue, carrying with it the rhythm of Bengal’s heart.

REFERENCES:

JOURNAL ARTICLE

1. Bhattacharya, Nilanjana, “The Dance Movement of Bengal: Rabindranath and His Dance-Dramas”, Critical Stages June, No. 29 (2024). https://www.critical-stages.org/29/the-dance-movement-of-bengal-rabindranath-and-his-dance-dramas/

NEWSPAPER OR MAGAZINE ARTICLE

1.s Mukhopadhyay, Dyuti, “Rabindranath O Adhunik Nach Somporke Kichu Odorkari Kotha”, Aynanagar, April 3, 2015. http://www.aainanagar.com/bn/art-performance/%E0%A6%B0%E0%A6%AC%E0%A7%80%E0%A6%A8%E0%A7%8D%E0%A6%A6%E0%A7%8D%E0%A6%B0%E0%A6%A8%E0%A6%BE%E0%A6%A5-%E0%A6%93-%E0%A6%86%E0%A6%A7%E0%A7%81%E0%A6%A8%E0%A6%BF%E0%A6%95-%E0%A6%A8%E0%A6%BE%E0%A6%9A/

WEBSITE CONTENT

1. Imphal Review. “Rabindranath Thakur and Manipuri Dance Part 1”. last modified November 27, 2021. https://imphalreviews.in/rabindranath-thakur-and-manipuri-dance-part-1/

2. India Art Review. “Rabindra Nritya: A Fusion of Emotions, Melody and Poetry”. last modified August 5, 2023. https://indiaartreview.com/stories/rabindra-nritya-emotion-melodies-poetry/