Indian Dances: Their History and Growth by Rina Singha and Reginald Massey (review)

454 MODERN DRAMA February INDIAN DANCES: THEIR HISTORY AND GROWTH, by Rina Singha and Reginald Massey, George Braziller, New York, 1967, 264 pp. Price $12.50. When confronted by the multiplicity and diversity of the dances of India, a general reader may want to consult a book which offers a simple and clear approach to the materials. Indian Dances: Th.eir History and Growth is a start in that direction. But unfortunately it falls short of the mark for several reasons. In general the authors have provided a picturesque survey of the better-known dance styles of the Indian sub-continent. They divide their text into five parts, one for each of the following styles-Dasi Attam (Bharata Natyam), Kathakali, Kathak, Manipuri, and Odissi and other styles. Subdividing each part are chapters dealing with history, technique, and performance. Specific chapters for similar or derivative forms of the major styles follow. At first glance this format seems clear and logical. But on closer inspection some faults are apparent. Nowhere in their brief introduction to the book do the authors state on what basis they have divided the materials into five parts. The reader must assume from the caption to the map of India which precedes the introduction that the five styles represent the "classical" dancing styles. But the authors have failed to define anywhere in the text what they mean by the term "classical." Consequently, the reader is left to form his own definition from the available data. Certainly the age of a style is not a determining factor for Manipuri and Kathakali are of recent origin when compared to the ancient Dasi Attam. Nor can a common origin be determined for all of the styles. It may be concluded that definition of the term "classical" was purposely left out of the discussion in order to facilitate the organization of major and minor divisions of the text. This prompts the reader to question still further. "On what basis have the authors chosen to categorize the derivative styles?" the authors have used words such as "dance-dramas" and "folk dramas" to describe several of the styles thus confusing the issue still further. It would seem that somewhere in the text, perhaps in the introduction, definition of the terms "classical" and "folk" ought to have been made clear. Not that the content of the book is unreliable. On the whole the information is well written and accurate. Interesting sidelights on Indian customs and traditions relating to the dance hold the reader's attention. The most convincing and lively part of the text is that dealing with Kathak, the North Indian style which resulted from a synthesis of Hindu and Muslim traditions. Undobutedly, Mrs. Singha's own study and performance of Kathak has added a personal touch to this section of the work. An unusual feature of the book is that it contains a few well-chosen and dramatic photographs. Fortunately, the authors have not cluttered their pages with smudged pen sketches, colored drawings, and poorly lit photographs that characterize similar works on Indian dance. In an appendix, the authors have generously provided a descriptive list of gurus (teachers) and dancers. Considering that this is a survey, however, the list hardly seems useful to the general reader. The specialist is more likely to appreciate its value. But then he might find this information sketchy and incomplete. The general reader will probably appreciate the useful glossary of terms. And after skimming the Bibliography, one may safely assume that the writers have taken care to consult materials on a wide range of subjects-sodal, cultural, religious, literary, and artistic. FARLEy RICHMOND Michigan State University ...