Dr. Sachchidanand Joshi
Member Secretary, Executive and Academic Head of IGNCA
A thought-provoking speech by Dr. Sachchidanand Joshi addresses the importance of decolonising thought and rediscovering the essence of Indian culture, literature, and traditions. Here are some of the key points and themes from his address:
Children’s Literature and Environmental Stories
Dr. Joshi begins by acknowledging a question raised by Neelam Bhagi regarding the need for environmental stories in children’s literature in India. He compares this need to countries like Australia, where such content is already being produced, and stresses the importance of instilling values related to nature, the environment, and sustainability in Indian children’s literature.
Decolonisation and Liberation from Conventional Mentality
Dr. Joshi emphasises that decolonisation is an ongoing process in India-moving away from colonial influences and mentalities that have shaped the way the nation and its culture have been perceived. He critiques the imposed classification of Indian culture into “folk” and “classical”, arguing that these artificial divisions were created by foreign scholars to maintain a colonial framework and should not be adopted as a legitimate way of understanding India’s cultural legacy.
Reinterpretation of the Word “Folk”
Dr. Joshi raises the question of why the term “folk” continues to be used in a manner that diminishes the respect and significance of indigenous traditions. He advocates for a redefinition of this term to reflect the true essence of Indian culture, which is inherently holistic, inclusive and interconnected. Folk culture, according to him, is not secondary or lesser but is deeply woven into the fabric of Indian tradition.
Secular Ideology of India
Dr. Joshi reflects on the circular nature of Indian thought, contrasting it with the linear approach found in many Western ideologies. This unique secularity, rooted in Indian culture, allows for continuous evolution, reinterpretation and adaptation of cultural practices and knowledge systems. It is this flexibility that has helped sustain and evolve India’s rich traditions through the centuries.
Integration of Folk and Classical Traditions
Dr. Joshi argues that what is often classified as “folk,” such as folk dances and folk music, should not be viewed as separate from classical traditions. In fact, he posits that classical dance forms and music have deep roots in folk traditions. He emphasises that these traditions are not isolated but part of an organic, evolving cultural landscape that has always been deeply intertwined.
Cultural Evolution and Future Vision
Dr. Joshi envisions a future where the distinction between “folk” and “classical” traditions will dissolve. In this ideal future, Indian culture will be recognized in its entirety-without the artificial boundaries imposed by colonial classifications. He uses the metaphor of huts transforming into grand structures to symbolise the cultural evolution, suggesting that as society progresses, traditional forms will be integrated into contemporary expressions of culture.
Pavilion-Dance
Siddhendra Yogi
Siddhendra Yogi was an exceptional scholar and artist of the 14th century AD. He played a significant role during the Bhakti Movement, which spanned from the 11th to the 13th century. His early life details are sparse, but his contributions to Indian classical dance and literature are well-documented. Siddhendra Yogi was deeply influenced by the principles of the Natya Shastra, the ancient Indian treatise on performing arts. He adopted and incorporated these principles into his work, blending them with existing folk traditions to create a more distinct and elegant form of dance. During the Bhakti Movement, Siddhendra Yogi revolutionized the dance form of Kuchipudi. He took the existing format of Yakshagana folk dance dramas and gave it a new form by introducing aesthetic and stylized footwork, along with the usage of traditional classical music. His work was characterized by a blend of folk traditions and classical forms, which elevated the spiritual tone of the dance.
Siddhendra Yogi is best known for his famous play “Bhamakalapam,” which deals with the Hindu god Lord Krishna and his companions Satyabhama and Rukmini. He also created the dance ballet “Parijathapaharanam” in praise of Lord Krishna, which is considered the oldest known Kuchipudi dance drama. His contributions to the Kuchipudi repertoire, particularly the Satyabhama cycle, are highly regarded. Siddhendra Yogi’s legacy is profound in the realm of Indian classical dance.
Personal Anecdotes and Life Lessons
Dr. Joshi shares several personal stories to highlight the relevance of traditional stories and teachings. One particular anecdote from his childhood illustrates the powerful lessons imparted by storytelling traditions, such as the wisdom of a Kathavachak (storyteller). These stories, according to him, provide timeless life lessons and insights into human nature, relationships, and spirituality.
Call for a Unified Cultural Identity
In his closing remarks, Dr. Joshi calls upon scholars, intellectuals, and cultural custodians to work towards the formation of a unified cultural identity for India. This identity must reflect the true spirit of India, free from the distortions and labels imposed by colonial powers. He stresses that reclaiming India’s cultural heritage involves embracing and celebrating its diverse traditions and moving away from divisive mentalities.
Conclusion
Overall, Dr. Joshi’s speech is a passionate call to decolonize the mindset and rediscover and celebrate the richness of Indian culture in its entirety. It emphasises moving beyond imposed classifications and encourages a more inclusive, respectful and holistic understanding of India’s diverse traditions. By doing so, India can preserve and promote its cultural heritage while also ensuring its continued evolution in the modern world.
“What is often classified as “folk”, such as folk dances and folk music, should not be viewed as separate from classical traditions.”
– Dr. Sachchidanand Joshi
Executive and Academic Head of IGNCA
