In the last few posts, we talked about how Bharatanatyam, given its rootedness in universal themes, can be a great way to facilitate learning of languages and ideas between participants and analyze nuances of language. 
I am so excited to take these ideas forward as a teaching artist for Arts for the Aging. In a series of workshops entitled "The Body Poetic:  Exploration through Indian Dance and Poetry",  certified poetry therapist Lauren Mazow Boyle and I will explore poetry and movement. We will find the joy of poetry, expression, movement, music, and storytelling. Participants will explore Bharatanatyam, a 2,000-year-old dance form that originated in South India, as it entwines with the poetic arts. In this interactive, live 4-week workshop series via Zoom, participants will explore works by poets of Indian origin, dive into the language of emotions (called rasas), and create collaborative poetry inspired by movement in the Bharatanatyam style to strengthen community connections. 

Image to the left: "Tripataka" hasta (hand gesture) showing the act of writing. 
Short video to the right: The Natya Sastra says of poetry, "there is no word without a rhythm, and no rhythm without a word. So when rhythm and word combine, a metre results." I have combined hastas for "writing" and for "rhythm" to symbolize poetry. 

Thanks to my many friends for their suggestions of poets of Indian origin - Kylie Madhav, Margie Sastry, Sminu Achary, Marina Thomas, Vaidya Gullapalli, Amritha Kasturirangam, Smriti Rana, and Vibhakar Kotak. ​

In the last post, we saw how Bharatanatayam can provide a systematic way to express abstract themes and facilitate structured dialog and sharing. Bharatanatyam can also be a way to analyze nuances of language.
For example, participants wonder if a word like “bhavatu” which means “let there be” could also mean “let me make it so”. Although similar in a general sense, differences between the two phrases can be manifested through dance.
In a multicultural place like NYC, we yearn to share our language with others and Bharatanatyam can give participants a chance to share their language which can be an invaluable source of learning for all.

In my creative aging sessions in NYC, I have the privilege of working with individuals from many countries, speaking a variety of languages. Hence, there is the possibility to exchange ideas and talk about our history, childhoods, and countries, and Bharatanatyam is an excellent medium to do so.

As we were learning a piece called Mangalam, we started talking about the feeling of auspiciousness, of being in balance, when everything is as it should be. At the YM & YWHA of Washington Heights & Inwood, a participant shared the Hebrew word "beseder".

This is the power of Bharatanatyam for creative aging. The ideas and themes may be abstract but are universal, and give us a chance to relate to others, share our language and culture, and is the perfect venue for a rich exchange of ideas and emotions.
We have all felt that the world is as it should be when everything is “ok”. Bharatanatyam provides a systematic way to think about these themes and provides scaffolding that facilitates structured dialog and sharing.

How would you describe a state of balance in your language? 

Special thanks to Sminu Achary for her help on this article. 

I presented a poster entilted "Bharatanatyam for creative aging" at the 11th Annual International Conference on Sustainable Development (ICSD). The theme of the conference was "The Midpoint of the SDGs: Global and Local Progress & Challenges”. Below is the poster I presented and the certificate. 

In Sept 23, I spoke at the National Organization for Arts in Health Conference about my work in Bharatanatyam and creative aging at their annual meeting in Cleveland. All thanks to my gurus for guidance and support! 

Below are some images from my workshop.
Picture credit: Randy Miles and Shiela Fontanive

Video credit of Mangalam: Shiela Fontanive

In addition to being an incredibly complex dance form, Bharatanatyam gives us an opportunity to engage with the dance, and by extension, with the world around us in a multitude of ways.

In my sessions, participants learn how to keep talam (rhythm), sing, and chant in addition to the movements. We learn the rituals of the dance form, words and their meaning of songs or poems, and different interpretations. Through this, we learn to appreciate music, language, symbolism, philosophy, and later, the color and design of the stage and props, and the color and texture of costumes.
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By continuing my own learning as a lifelong process, I can bring the gift of these various skills to my participants in NYC and beyond. All gratitude is to my teachers – my gurus who have and continue to guide me in dance, music, and Sanskrit – for allowing and enabling me to see the detail and beatify in our traditional art forms and in our language.
The image is a still from one of my sessions at India Home where I am so lucky to work with incredible seniors who are interested, engaged, and always want to learn and explore more!

Starting July 2023, I am proud to partner with Encore Community Services to bring Bharatanatyam to seniors in NYC. "Encore has provided seniors with a range of caring and quality services to help them live independent and dignified lives."
Below is a video of what participants can expect in these sessions, the adaptations I will use, and the benefits to participants. 

An effective way to participants in this rich form of learning is by highlighting the universality of Bharatanatyam.  

Building on the universality of Bharatanatyam is imagery that includes animals and nature. In sessions with older adults, we typically come up with new hastas to describe animals, birds, and bugs around us. This sense of discovery is not only fun but also helps give participants autonomy and fosters creativity. It also helps us connect deeply with our local nature.

Most importantly, it places Bharatanatyam not merely as a series of movements to learn, but as a form that fosters discovery due to (and not despite) the structure created!

How could you show a squirrel?!

Bharatnatyam is an incredibly complex dance form! However, we can use this complexity to our advantage and to benefit our older adult populations. Layering skills ensure that all participants have something to work on, no matter if they are new to Bharatanatyam, or have been learning for a while.

In this video, I show how we can layer skills using the imagery of elephants. Seated, in a count of four, we can sway from side to side evoking the stability and sure-footedness of elephants, and then, with the hasta “Arala”, we can show its ears. These movements​ also make effective use of our gaze.

Next, we can use “Mukula” hasta to show the trunk of an elephant as it is trying to get a piece of fruit (above), or water (below). The effect of the trunk can be created with the entire arm or the hands. We can also emphasize that the impact of the trunk can be created with the eyes, which is just as beautiful and perhaps more nuanced as compared to the other options.

In previous Vichaar posts, we looked at the idea of complexity as it applies to science and dance. We talked about how the brain processes complex information and makes decisions in the face of uncertainty. We also looked at reductionism as one way by which scientists study complex things.
 
Bharatanatyam is ideal for older adults, as we can use this inherent complexity to our advantage! This means layering skills that participants can work on, no matter if they are new to Bharatanatyam, or have been learning for a while. In a group setting, layering skills also gives participants an opportunity to show and teach one another, which builds camaraderie and connections in the groups.

In the next post, we will see an example of layering skills using the example of elephants. I chose elephants because of their stability, and because baby elephants bring up images of playfulness and fun!