Keywords :Tagore, Rabindranath, 1861-1941
Bengali drama
Bengali literature
Issue Date :2007
Publisher :Sangeet Natak Akademi, New Delhi
Description :A Kathopanishad simile, the evolution of the Supreme Spirit is compared to an inverted tree, with its roots drawing sap from diverse founts and yet growing skywards with a vertical thrust. The towering genius of Rabindranath Tagore might have derived its vital inspiration from several sources for its flowering in the visual and performing arts, but what always emerged was an unmistakable creativity of his own. Such an "inverted tree' also came into being in Tagore's dance, where cross-cultural dialogue played a role in the evolving dance idiom. This study's starting point is the account which Santidev Ghosh, a remarkable chronicler of dance-related events in Tagore's life, has provided, alongside the account of his own dance-learning in the Indian subcontinent and abroad, encouraged by Tagore. Santidev documented, like a faithful Boswell, what he saw as the process of efflorescence of Tagore's dance-interests, observed over three decades at Santiniketan. This study uses many other important sources and examines three key hypotheses: What was the evolutionary nature of Tagore's dance persona? What were its cardinal features? And what kind of cross-cultural liaisons did he undertake to arrive at a clear philosophy and a coherent choreographic mind that could lead to a genre of Rabindra Nritya?
Source :Sangeet Natak Akademi
Type :Article
Received From :Sangeet Natak Akademi
DC Field
Value
dc.contributor.author
Banerjee, Utpal K.
dc.coverage.spatial
Bengal
dc.date.accessioned
2017-07-17T03:27:31Z
dc.date.available
2017-07-17T03:27:31Z
dc.date.issued
2007
dc.description.abstract
A Kathopanishad simile, the evolution of the Supreme Spirit is compared to an inverted tree, with its roots drawing sap from diverse founts and yet growing skywards with a vertical thrust. The towering genius of Rabindranath Tagore might have derived its vital inspiration from several sources for its flowering in the visual and performing arts, but what always emerged was an unmistakable creativity of his own. Such an "inverted tree' also came into being in Tagore's dance, where cross-cultural dialogue played a role in the evolving dance idiom. This study's starting point is the account which Santidev Ghosh, a remarkable chronicler of dance-related events in Tagore's life, has provided, alongside the account of his own dance-learning in the Indian subcontinent and abroad, encouraged by Tagore. Santidev documented, like a faithful Boswell, what he saw as the process of efflorescence of Tagore's dance-interests, observed over three decades at Santiniketan. This study uses many other important sources and examines three key hypotheses: What was the evolutionary nature of Tagore's dance persona? What were its cardinal features? And what kind of cross-cultural liaisons did he undertake to arrive at a clear philosophy and a coherent choreographic mind that could lead to a genre of Rabindra Nritya?
dc.source
Sangeet Natak Akademi
dc.format.extent
12-21 p.
dc.format.mimetype
application/pdf
dc.identifier.uri
http://hdl.handle.net/123456789/4348
dc.language.iso
en
dc.publisher
Sangeet Natak Akademi, New Delhi
dc.subject
Tagore, Rabindranath, 1861-1941
Bengali drama
Bengali literature
Government of India
