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Kuchipudi Indian Classical Hindu Dance Sabrina D

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Kuchipudi Indian Classical Hindu Dance Sabrina D IN THE CLASSROOM Mindfulness as a Pedagogical Tool: Kuchipudi Indian Classical Hindu Dance Sabrina D. MisirHiralall ontemplative pedagogy is necessary important to mention that I engaged in a similar in the dance world because it can be a presentation when I was invited to present and dance very dangerous place without it. Dance for a religious studies undergraduate class at Fairfeld students who aim to sustain the so-called University. I met a few students who entered into “right” body image too often develop a physical dialogue with me. Te students conveyed to me that Cobsession that leads to dangers like bulimia and they plan to integrate mindfulness before, during, anorexia. Moreover, the stresses of performing on and after various activities in which they participate, stage, combined with other pressures of daily life, such as when they partake in sports and gymnastics. may overwhelm dancers to the point where they Tus, although I shared my contemplative practice of might feel depressed or even suicidal. Tus, it is vital mindfulness as a Kuchipudi Indian classical Hindu to develop a pedagogy that thinks about not only the dancer, I recognize that those who encounter these physical but also the spiritual well-being of dancers. ideas freely apply these practices as they develop their Te application of mindfulness as a pedagogical tool own individualized self-pedagogy. However, I urge that focuses on physical and spiritual wellness is ideal readers to understand the sacredness of mindfulness in this regard. practices to prevent the reduction of mindfulness to a therapeutic tool, and also to block the fourishing of 2 I originally developed this thesis for a presentation “Orientalism,” as articulated by Edward Said. at Te Center for Contemplative Mind in Higher Education, where I embodied key components of Te methodology of this paper involves overcoming mindfulness. I engaged the audience in an aesthetic the duality of mind and body through unity. To experience as I danced a Kuchipudi Indian classical accomplish this, I analyze the venerable Tich Nht 1 3 Hindu dance. I demonstrated mindfulness before, Hnh’s defnition of mindfulness. Ten, I apply during, and after the dance. I wore a traditional mindfulness to my contemplative practice as a Kuchipudi costume and adorned my body with the Kuchipudi Indian classical Hindu dancer. I discuss Sabrina D. MisirHiralall sacred ornaments of Kuchipudi dance. Troughout the mindfulness before the dance, during the dance, and recently defended her dissertation “De-Orientalized time I dressed for the dance, I practiced mindfulness. after the dance. Te method consists of an analysis Pedagogy: Educating Before I danced for those attending the conference, and synthesis of the components of mindfulness, Non-Hindus about Hinduism 4 I described my spiritual transformation to the which include the concepts of no-self and interbeing. Through Kuchipudi Indian Classical Hindu Dance” at audience. Ten, I continued to practice mindfulness Te fndings are positive in the sense that they serve Montclair State University. She as I engaged in a Kuchipudi Indian classical Hindu the intended purpose of mindfulness as described often lectures and dances in dance. Te audience was instrumental in this aesthetic by Hnh. Te criteria for the positive fndings are higher education to overcome the legacy of colonization. She experience because they participated in my practice dependent on a pragmatic notion of mindfulness. If holds the title of Natya Tilakam, of mindfulness. After the dance, I described how I mindfulness does not allow the dance to function in a having ascended the stages of propose to practice mindfulness as a dancer. pragmatic manner, then mindfulness will hinder the classical Hindu dance. Currently, she teaches philosophy and dance. In other words, this application of mindfulness Here, Sabrina D. MisirHiralall, as the dancer, student success courses Te audience at the conference spoke about the way allows the dance to function as dance. part-time at Middlesex County that I portrayed mindfulness as a self-pedagogical College, courses at New Jersey tool. Furthermore, we talked about how this applies City University, and courses at MINDFULNESS Montclair State University. She across the disciplines of music and dance. After the serves as the Vice-President on conference experience, I realized that mindfulness the Executive Board of the Mid- practices are a vital part of my contemplative practices Te great Zen master, Tich Nht Hnh, discusses the Atlantic Region of the American Academy of Religion. as a Kuchipudi Indian classical Hindu dancer. It is art of mindful living in several of his publications. ARTS ARTS',#&'%&*eV\Z(( “Mindfulness is the miracle by which we master and positive energy of the garden. As a result, the people costume, and jewelry that adorns the body. In essence, Om Aangikam Bhuvanam Yasya 5 restore ourselves.” For Hnh, when people embrace around them may enjoy the mindfully reaped fruits of it is signifcant to the spiritual transformation of Vaacikam Sarwa Vaanmayam themselves through the practice of mindfulness, they the garden. the Kuchipudi Indian classical Hindu dancer to Aahaaryam Candra-Taaraadi learn to acknowledge their emotions peacefully. For become the dancer by putting on the dancer’s attire. Tam Vandee Saatwikam Sivam example, a person may acknowledge anger in a non- Bharatamuni thinks about this spiritual transformation violent manner by focussing on one’s breathing. Tis MINDFULNESS BEFORE THE DANCE that the dancer undergoes before the performance. Tis sloka (prayer) describes Shri Natraj, the Cosmic will cause the individual to water a seed of peace as Dancer who is also known as Shivaji. In the frst opposed to a seed of anger. Tus, mindfulness causes According to Hnh, individuals practice mindfulness Te painted body together with the change of line, the dancer acknowledges that the movement of people to live peacefully in the present moment as they if they learn to see themselves as a part of the objects the costume should be considered the result of the human body is used by Shivaji to represent the breathe and acknowledge their emotions. that they are in contact with. Hnh uses the term Natyadharma (conventional practice) afecting movement of the entire universe. Te prayer continues “inter-be” to describe an individual’s awareness of a the characters. A creature that enters and the by realizing that the speech of Shivaji is the language Breathing, like meditation, is no less than an connection to material objects to which they are linked body renounces its previous nature of the previous of the entire universe. In addition, the Cosmic Shivaji’s art. You have to be very artful handling your spirituality. For Hanh, to inter-be means to recognize body and assumes another character [sic]. In hair is adorned with the moon and stars of the in-breath and out-breath, so that harmony can the essence of materialistic objects by thinking beyond the same way a person with diferent costume universe. Te prayer ends by saying that Shivaji is the 15 be reestablished in your body and your mind. the materialistic elements of the objects. People learn and colours adopts the behavior of the person One whom we worship as the Cosmic Entity. Te 10 . Once your breathing has become calmer and to inter-be with materialistic objects by realizing that concerned [sic]. Hindu dancer should engage in mindfulness while deeper, you can continue breathing like this in they co-exist with the elements of the earth. reciting the sloka and while placing the Ghungaroos on 6 order to embrace diferent parts of your body. As the spiritual transformation begins, the Kuchipudi the ankles. Looking even more deeply, we can see we are in Indian classical Hindu dancer adorns the human People who practice mindfulness are aware of it too. Tis is not difcult to see, because when body with jewelry as radiant as the sun’s rays. To illustrate how the music of Ghungaroos prompts breathing in and out in a manner that allows each we look at a sheet of paper, the sheet of paper is Correspondingly, the costumes are a part of the one to be mindful, Hnh describes the sound of bells individual to embrace the human body with breaths. part of our perception. Your mind is here and my theatrical language that represents the characters at Buddhist retreats. Tis relates to the Ghungaroos of Hnh discusses belly breaths as breathing that is fully mind is also. So we can say that everything is in that the Hindu dancer becomes during dance. Hindu dancers. 7 aware of the rise and fall of the abdomen. Breathing here with this sheet of paper. You cannot point to In this sense, the Hindu dancer is mindful of the in and out helps to establish a harmonious relationship one thing that is not here – time, space, the earth, beginning of a spiritual transformation that occurs Te sound of the bell reminds us to return to our between the mind and the body when it is done the rain, the minerals in the soil, the sunshine, when getting dressed. By the same token, the spiritual breathing in the present moment. Listening mindfully. Because the mind uses mindfulness as a the cloud, the river, the heat. Everything co-exists transformation continues to occur as the Kuchipudi to the bell, our mind becomes one with the sound tool to control the breathing that is occurring, this with this sheet of paper…‘To be’ is to interbe. Indian classical Hindu dancer brings a particular as it vibrates along, settles down, and fades away. harmonious relationship between the mind and the You cannot just be by yourself alone. You have personality to the dance while also becoming the With the help of the bell, our mind is collected 16 body helps individuals control their emotions through to inter-be with every other thing.
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