Bharatanatyam and Transnational Literacy Through SocioCultural Pedagogy

Abstract

This qualitative research paper intends to examine the socio-cultural pedagogies in Bharatanatyam. As an attempt to educate non-Bharatanatyam dancers and dance education researchers, this study focuses on an extensive literature review including data driven studies and position papers. Bharatanatyam, learned using socio-cultural tenets is a valuable Asian Indian artistic and transnational literacy tool. This paper is also an attempt to analyze studies on ballet and flamenco and other scholarly and researched articles on Bharatnatyam. Absence of cognitive benefits of Bharatanatyam in research studies and scholarly articles impacts dance education and Asian Indian children living in the west. Bharatnatyam and Transnational Literacy Through Socio-cultural Pedagogy Figure 1:Navarasas in Bharatanatyam Perspective: Bharatanatyam enables the dancers to portray the nine emotions as described in Asian Indian aesthetic theory (Dutta, 2008). Navarasas are the nine emotions (nava is nine in Sanskrit). These sentiments, acquired through socio-cultural pedagogy, are portrayed in several of the dance sequences in Bharatanatyam. These emotions enable the audiences to experience catharsis while watching a theatrical or dance performance. The nine emotions are not taught using text or curriculum, but they are incorporated into dance lessons through socio-cultural instructions during Bharatanatyam choreography. The nine emotions are sringara/love, hasya/comic, bhayanaka/fear, shanta/peace, adhbute/wonder, karuna/pity, rowdra/anger, and veera/bravery (Bhavani and Bhavani, 2001). According to Kushwaha (1994), the audience will be able to reachshanta (peace) rasa after they experience the other eight rasas. Purpose This research paper intends to examine the socio-cultural instructional practices that facilitate learning through Bharatanatyam. This project is an attempt to educate non-Bharatanatyam dancers and dance education researchers to consider Bharatanatyam, learned using socio-cultural instruction, as a valuable transnational literacy tool. The researcher attempts to situate Bahratanatyam in the literature by extensively analyzing studies in scholarly and researched articles on dance including the widely popularized ballet and flamenco dances. Bharatanatyam and Transnational Literacy Through Socio-Cultural Pedagogy www.iosrjournals.org 51 | Page Research Question 1. How does the absence of Bharatanatyam and skills enhancement in research studies and scholarly articles impact dance education? Theoretical Framework This articles draws on Socio-cultural tenets involved in learning. Steiner and Mahn (2009) prophesized vygotskian socio-cultural premise, " Physical tools are directed toward the external world; psychological tools are directed internally and are appropriated during activity " (p.1). Steiner and Mahn (2009) elaborate on three of vygotsky " s socio-cultural doctrines. One of the tenets, " semiotic mediation " is vital in co-construction of knowledge and this is an important component in socio-cultural model of learning: Vygotsky (1981) listed a number of examples of semiotic means: "language; various systems of counting; mnemonic techniques; algebraic symbol systems; works of art; writing; schemes, diagrams, maps and mechanical drawings; all sorts of conventional signs and so on" (p. 137). Hence, artistic activities also function as " mediating tools " in learning. Socio-cultural and cognitive psychologists such as Galperin (2003) assert that an individual acquires knowledge " through internalization and transformation of socially constructed shared activities " (Arievitch, p. 284). Two good examples of socially constructed performance arts are the Indian dance and music programs. These two art forms are important popular cultural practices with Asian Indian people living in America. These are derived from practices that are engaging and entertainment pedagogy (Denzin, 2009) that Steiner and Mahn (2009)explained: Other tools, increasingly recognized in socio-cultural discourse --the paint brush, the computer, calendars, and symbol systems --are central to the appropriation of knowledge through representational activity by the developing individual (P. 4). Bharatantanatyam involves intricately codified and stylized bodily movements, schematized expressions, and story telling using music. The dancer becomes the teacher who guides the audiences about what the artist is dancing to. These qualities needed for performance is learned through socio-cultural instructions, internalization of the character " s personality, and narrative modes; therefore, sociological, psychological, and intellectual aspects are needed for optimal performance (Graham, 2011). Galperin " s theory deals with psychology in learning, but Arievitch " s critical analysis of Galperin enables the readers to recognize how the west has neglected Galperin " s contribution to psychology, especially the socio-cultural aspects of the human mind. Lave, Wenger, &Rogoff (2003) have recognized this importance of collaboration in learning that Galperin vouches. The socially constructed shared activity in learning, which is the premise of socio-cultural learning model, is evident in Bharatanatyam instruction. Bharatnatyam is a culturally driven object-driven activity. Galperin " s approach to learning where action is process oriented and socially and culturally mediated, is the premise of socio-cultural processes. Bharatantayam is taught using these socio-cultural pedagogies.Analyzing, Graham " s study on the relationship between dance education and intellectual, social, and emotional literacies, we can elevate our understanding of the educational advances through Bharatanatyam.