Chandalika Essay

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Signifying the Self: Intersections of Class, Caste and Gender in Rabindranath Tagore’s Dance Drama Chandalika (1938) Sutapa Chaudhuri Dr. Kanailal Bhattacharyya College, India Abstract Much has been said about the way Tagore views his women in his poems, essays, novels and drama. Yet it is the dance dramas of Tagore, a genre quite unique in his time and milieu, which portray the radical nature of Tagore’s conception of women and the maturation of their selfhood. The dance dramas illustrate Tagore’s bold and perceptive experimentation with various literary forms and techniques and the radical nature of his ideological orientation. Among the dance dramas of Tagore, Chandalika has a special place as it foregrounds the theme of female desire in an untouchable girl, a tabooed subject in his times, indeed even now in Bengali writings. This paper tries to show how Tagore uses the nuances of the dance form to showcase the intersections of caste, class and gender as well as the evolution of selfhood in Prakriti, the Chandal girl. [Keywords: Dance drama, Class, Caste, Gender, Chandalika] Once a highly respected and revered art form, Indian dance had fallen into disrepute under British colonialism. The then educated urbanites despised dance as an art form and did not allow dance, in any form whatsoever, in their society. The educated elites in particular, were very much against dance of any kind which they considered gross and unrefined. It was seen by the Victorian British rulers as a debauched pastime fit only for prostitutes or rustic village folk. Hence, educated middle-class Indians did not dare to allow their daughters to learn dance any more. To perform on public stage was even a greater taboo. The staging of ‘Notir Puja’ (‘The Dancer’s Prayer’) in 1927 marked the return of girls from respectable middle-class Indian families to
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