Rachel Priyanka Perris, the only trained dancer of the local ancient dance form Gaudiya Nritya in the country strives to revive and keep the classical art form alive…writes Sumaiya Iqbal
SOURAV LASKAR
Infused with mythology, spirituality and the elements of nature, the dance form ‘Gaudiya Nritya’ is an expression of the heritage of Bengal. The classical dance style with many sub-genres captures the essence of the region with its mythological aspects and breathtaking aesthetics. Native to the Himalayan range, the style is impeccably balanced between both rigid stances and fluid movement.
‘What makes the dance form particularly important in the context of modern day Bangladesh is its direct descent from our region. Bharatanatyam is associated with the Tamil Nadu region in India. Kathak, another classical dance form originated with close ties to Hindi users, but Gaudiya is connected with Bengal. Therefore, Gaudiya is known among classical dance connoisseurs as a Bengali dance form,’ says Rachel Priyanka Perris, the sole Gaudiya dancer of Bangladesh with formal training in the dance form.
Priyanka, currently a lecturer at the Department of Dance, University of Dhaka, has devoted her life to revive and spread Gaudiya Nritya, which was on the verge of extinction. Priyanka identifies herself as a researcher and activist of the dance form. With her MPhil in Gaudiya Nritya, she takes part in choreography, direction and international performances. Although in her late twenties, she has already trained in Kathak, Odissi and Bharatanatyam besides Gaudiya, her area of expertise and passion. Priyanka pursued her Masters in Classical dance at Rabindra Bharati University and is a recipient of a scholarship from Indian Council for Cultural Relations.
While the traditional dance forms flourished in the pre-colonial period, after the British invasion, all these classical dance forms suffered due to lack of patronage. In fact, some other dance forms are alive now only in books.
Gaudiya Nritya had been defunct for centuries, left only in the pages of classical literature, paintings and sculptures in numerous temples and museums of Bengal. And it would have remained so if an interest in its revival had not been taken.
Gaudiya translates to ‘Of Old Bengal’, which has its origins from the words ‘Gauda Banga’. The term ‘Gauda’ is believed to have come into use to call the ever popular Bengali delicacy found in the region, ‘Gur’ or molasses.
‘It is a classical dance form of the Bengali School and dates as far back as the fourth century BC. Documentation is evident in the Natyashastra of Bharata (the bible of classical dramaturgy in the Indian sub-continent) which mentions four main varieties of classical dance based on regions namely Dakshinatya, Audramagadhi, Avanti and Panchali,’ explains Priyanka as she walks us through the origin of Gaudiya.
‘While Bharatanatyam, Kuchipudi and Mohiniattam (all popular classical dance forms in Bangladesh but of South Indian descent) are branches of Dakshinatya, Audramagadhi represents dance forms that stretched over the eastern regions and parts of the north. From this originated Odissi in Orissa, Satriya in Assam and Gaudiya in Bengal,’ Priyanka elaborates. About Avanti and Panchali, little is known.
‘People ask me why Gaudiya when there are other more popular classical dances and it surprises me. When I learnt that Gaudiya was Bengali and not of a foreign origin, I knew there was no other dance I would be able to relate to more. I am Bengali and therefore Gaudiya is my language of expression. I have always been passionate about my culture and its elements so it is important to me that it thrives throughout time. Gaudiya is home to me,’ Priyanka shares passionately.
Priyanka had little knowledge on the unique dance form when she had started off as a young but enthusiastic learner of dance at the Bangladesh Academy of Fine Arts (BAFA). After BAFA, she had pursued her passion for dance at Nrityanchal Dance Company. Dr Mahua Mukherjee, the pioneer of the revival of Gaudiya Nritya in modern times, is Priyanka’s guru. Mukherjee researched the dance form for more than 30 years and conducted workshops. She helped Priyanka learn the art; hence Priyanka is a member of the very first generation of Gaudiya dancers in modern times. Priyanka took part in the very first workshop of Gaudiya Nritya conducted by Mukherjee, after its revival in the country.
When asked of the current state of Gaudiya’s popularity, Priyanka mentions the continuous efforts made to reach the masses. With workshops being regularly held at the institutes of Bangladesh Shilpakala Academy, Chayanaut, BAFA, Nrityanchal and so on, more and more people are learning the ancient art and the interest is on the rise. ‘When I perform at various cultural events or festivals, there is a crowd that comes only for the Gaudiya pieces. It is amazing to see that and gives me a lot of hope,’ shares Priyanka as she also mentions the outpour of interest shown by students who wish to be trained in Gaudiya. Apart from workshops and performances, the young artiste makes it a point to deliver lectures on the history and elements of Gaudiya to enlighten individuals.
‘Dance is not merely performance. Dance is similar to prayer and you need to be bound to it from within if you wish to learn. Gaudiya Nritya is where I have found happiness but I stress on the fact that it is not just a dance; it is a field of academics, of research and of enlightenment. Dedication with a lot of perseverance is required if one wishes to passionately be immersed in it,’ she asserts.
Addressing the young individuals with curiosity or an interest in the art, Priyanka mentions the importance of respecting dance with research and education on the field.