An Empirical Research: Indian Classical Dance Education And its Impact on The Students' Spiritual Intelligence

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UDC: 793.3(540) 

COBISS.SR-ID 59625225 CIP - 8
_________________

Received: Oct 28, 2021
Reviewed: Nov 03, 2021
Accepted: Nov 24, 2021

#4
An Empirical Research: Indian Classical Dance Education
And its Impact on The Students' Spiritual Intelligence 

Kanaka Subramaniam
Research Scholar, School of Music and Fine Arts, Vels University, PV Vaithiyalingam Road,
Velan Nagar, Krishnapuram, Pallavaram, Chennai, Tamilnadu - 600 117, India
s.kanakaphd@gmail.com

Sujatha Mohan
Professor and Head, Dr. MGR Janaki College of Arts and Science for Women, 11 & 13,
Durgabai Deshmukh Road, State Bank of India Colony,
Raja Annamalaipuram, Chennai,Tamilnadu- 600028, India

Citation: Subramaniam Kanaka, Sujatha Mohan. 2022. "An Empirical Research: Indian Classical Dance Education And its Impact on The Students' Spiritual Intelligence."  Accelerando: Belgrade Journal of Music and Dance 7:4

Abstract

The aim of this  study  is to empirically investigate the impact that the period of learning of Indian Classical art form Bharatanatyam creates on the Spiritual intelligence of the students. Primary quantitative data has been collected using closed-end survey from 180 students pursuing Bharatanatyam from higher education institutions in India. The variable Spiritual Intelligence has been measured through 24 item SISRI scale. The moderating effect of the gender of the student has also been examined in this research. The statistical analysis of the primary data collected reveals that higher the years of learning of Bharatanatyam by an individual, higher is the level of Spiritual intelligence of the individual. It has also been revealed that out of the four constructs tested in this research to measure the variable Spiritual intelligence the construct critical existential thinking has greater significance when compared with that of the other three constructs namely transcendental awareness, conscious state expansion and personal meaning production. The study also reveals that gender does not moderate the relationship between Spiritual Intelligence and the number of years a person has been practicing and performing Bharatanatyam.
Keywords: Transcendental awareness, spiritual intelligence, Bharatanatyam, critical existential thinking, personal meaning, state of consciousness, gender.

Introduction

The term Bharatanatyam could be split as “bhavam” which referred to expression, “ragam” that denotes music, “talam”, and “natyam”, that signifies dance. The dance that people now addresses Bharatanatyam is widely denotes as Sadir Natyam in the ancient period. Bharatnatyam is filled with spiritual values (Medhuri, 2005). Bharatanatyam is a meaningful dance form which uses various body parts, for example the eyes, hands, fingers and feet to emphasize different human emotions.  Bharatanatyam prospered, since the dance form fix completely into the Chola Empire’s treasure system. The Chola Empire supported the Devadasi practice, and Devadasis were then as well recognized as DevarAdigalar. Other than being a skill form marked by attraction and refinement in its delivery (Rajkumar 2018), Bharatanatyam practice makes for an enthusiastic workout of the brain, mentality, body, and soul and ultimately spiritual values.

All Indian classical dances in general and Bharantnatyam in particular are generally a blend of body movements and expressions displayed on a dancer’s face; these are perfectly harmonized to denote a given perspective, through the flawless vehicle, that is, the human body. Though body and face seem connected with the dance and movements, it is inner soul of a human that directs his/her movements. Bharatnatyam is considered evolutionary art that induce the spiritual growth of the individual and ultimately bring in the Divine feeling. The God of dance, Lord Nataraja, is considered as the source of motivation for all Bharatanatyam dancers who comprehend the deeper portions of their art. Bharatanatyam is no less a religious exploration than the Sanyasi’s way of repudiation. Bhavnani and Bhavnani (2010) specified that Bhartnatyam dance helps its dancers to divinize themselves, to build spiritual quality, devotion, an act of Dharma, discipline, courage, skill, health, contentment and well-being and ultimately calmness.

Spiritual Intelligence is a collective strength of supremacy,  "since it makes the individual to rise above acquisitive aspects of their survival, it as well contributes to rebuild their individual growth. In Bharatanatyam, the divine consequence is of atma searching for unification with the paramatma." (Chatterjee 2013) Consequently "this feeling is impersonal joy quality of observation of the Supreme Self by the adept, an ecstasy that is completely without personal sensitivity or feeling." (Ibid.)

Bharatnatyam and spirituality are interrelated with one another as its inspirations come from the ancient temple, i.e. Chidambaram. Dance itself regarded as a sanctified space, a medium to reach a higher empire, represents a commixing of the physical and spiritual which is a primary part of Indian cultures, values and philosophical systems. Bharatnatyam gives the spectators with an inimitable essence of a spiritual mixed with a modern broad-based flavor. Bharatnatyam shares its universal human emotions for example love, shyness, fear, amongst others. As pointed out by Katrak (2013) the historic revival of bharatanatyam laid emphasis on its spiritual rather than of its sensual elements.

Indian classical dance can be an effective medium for modern spiritual value, understood to be separated from any particular religious association, and no longer reliant on convention, but established on a contemporary subjectivity and on the spectators’ agency and communication. The communicative performance place of the Indian shrines, as they subsist in the present day, could have an influence on the manifestation of spiritual values through traditional dance, without bringing up any plot of connection with pre-modern religious principles. Royo (2010) emphasized that Bharatnatyam as a dance contributing to a logical, artistic, emotional, and spiritual engagement. An aspect of spirituality could be articulated through Indian classical dance, i.e. Bharatnatyam.

Indian classical dance can be an effective medium for modern spiritual value, understood to be separated from any particular religious association, and no longer reliant on convention, but established on a contemporary subjectivity and on the spectators’ agency and communication. The communicative performance place of the Indian shrines, as they subsist in the present day, could have an influence on the manifestation of spiritual values through traditional dance, without bringing up any plot of connection with pre-modern religious principles. Royo (2010) emphasized that Bharatnatyam as a dance contributing to a logical, artistic, emotional, and spiritual engagement. An aspect of spirituality could be articulated through Indian classical dance, i.e. Bharatnatyam.

I
Literature review

Rangparia (2011) explored Indian culture by means of its unique dance forms and religious practices. The study also examined the spiritual traditions involved in Bharatanatyam dance. The study emphasized that cultural traditions, for example religious rituals, meditation, movements and also dance, had healing elements which positively influence one’s psychological, physical and as well spiritual self. Be it past, or present, Indian culture has integrated various religious or spiritually based practices which help individuals cope with common psychological health issues. For instance, the findings pointed out that Indian philosophers emphasized that postures of Indian classical dance, such as Bharatnatyam were on the basis of asana, or meditation postures.

Thus hypothesis 1 and 2 are formulated:
H1: There is a relationship between the Years of practicing Bharatanatyam and Critical existential thinking.
H2: There is a relationship between the Years of practicing Bharatanatyam and Personal meaning production.

Deekshitulu (2019) expressed that the development and progression of Indian dance was inherently related with Indian philosophical values and spirituality. As clearly mentioned in yoga, devotion towards Gods and spirituality was often articulated and practiced through dance. In actual fact, much Indian art, particularly Bharatnatyam dance is said to be inspired by religion, and every region has its own unique artistic ways, spiritual dance methods, and culture. In classical dances of Hindu religion, the performers effectively articulate the spiritual ideas by attending to four aspects of a performance, i.e. angika, vachika, aharya and sattvika. In Bharata Natyam, around fifty-five root mudras are presented, which are ultimately connected to inner well being of practitioners. In navarasa parts, the dancers articulate their inner feelings and it contributes to discharge their emotions. The study concluded that this practice could be well employed for spiritual and as well psychological wellbeing towards self-consciousness and conscious-state expansion.

Thus Hypothesis H4 is formulated:
H4: There is a relationship between the Years of practicing Bharatanatyam and Conscious state expansion.

Malathi (2020) studied about the development of dance in India. All classical spheres of India have origins in Hindu beliefs and as well spiritual practices. Dance such as Bharatnatyam delivers an active form of exercise which has optimistic effects not only for physical health but also for psychological and spiritual well being. Dance is generally based on the concept that body and soul are interrelated. Ayurveda emphasized dance as a tool of healing and inner awareness, i.e. psychology. The footwork of Bharatnatyam dance positively contributes to release psychological stress and tension. All these postures, muscle movement, muscle constriction is believed to have a strong impact on healing movements. And hymns presented in Natya are believed to develop spiritual well-being among dancers. As the study emphasized (Ibid.) a traditional dance was one that filled with philosophical values, spiritual values, psychological well-being, etc.

Bajekal (2020) aimed to investigate dance, i.e. Bharatnatyam and spirituality within the framework of dance/movement therapy (DMT). The study links the theoretical base of Bharata Natyam, south Indian traditional dance, with DMT values to form the concept of personified transcendence. This theoretical structure employs concepts from classical dance regarding the association of the mind, emotions, and spirituality and relates them to the DMT framework. The study specially carried out the examination of  the impacts of dance in connection with depression and psychological well-being. The study discussed the Bharatanatyam and its role on psychological well-being. Bharat Natyam can be employed by the performer to enhance his/her psychological state – or energize the insight of a spiritual well-being or feel more energetic. The study emphasized how Bharat Natyam contributed to spiritual wellbeing of dancers which essentially interrelates with the Supreme Self.

Thus hypothesis H3 is formulated:
H3: There is a relationship between the Years of practicing Bharatanatyam and Transcendental awareness.

Thiagarajan (2017) explored how gender and ethnicity in India and Malaysia impacted the classical dance performers. Gender in dance, especially in classical dances like Bharatanatyam and Odissi is mostly viewed as multiethnic and culturally impacted practice, adopted by the performers. But in certain countries, for instance, in Malaysia men are dominant in classical dances, whereas in India, China and Korea Women are dominant in classical dances like Bharatanatyam.

Thus H5 hypothesis is formulated:
H5: Gender moderates the association between the Years of practicing Bharatanatyam and Transcendental awareness.

II
Theoretical framework

The variables in the research are Years of practising Bharatanatyam as independent, Spiritual intelligence as dependent with four constructs (Critical existential thinking, Personal meaning production, Transcendental awareness and Conscious state expansion) and the gender as moderator ( see Figure 1).

Figure 1: Theoretical framework for spiritual intelligence

Hypothesis formulation:

Post in-depth survey of existing literatures and journals, the research focuses on spiritual intelligence as dependent variable with moderators: marital status and gender, through following formulated hypotheses:

1. There exists a significant relationship between the variables, Years of practicing Bharatanatyam and Critical existential thinking;
2. There exists a significant relationship between the variables, Years of practicing Bharatanatyam and Personal meaning production;
3. There exists a significant relationship between the variables, Years of practicing Bharatanatyam and Transcendental awareness;
4. There exists a significant relationship between the variables, Years of practicing Bharatanatyam and Conscious state expansion;
5. Gender moderates the association between Spiritual intelligence and Bharatanatyam.
   

III
Research Methodology

The methods and techniques for research development consist of a framework and structure where the researcher adopts appropriate and accurate methods to validate the analysis and outcomes obtained. Thus, the research being a study upon Bharatanatyam and exploring the truth, facts and information through participants’ opinions, experiences, beliefs and assumptions, the study adopts positivism paradigm which evaluates, validates and analyses the facts is appropriate. The study explores numerical datasets based on assumptions, experiences and participants’ opinions and thus deductive which is a quantitative study that deduces facts from information is appropriate. Since the research narrates and describes the participants’ assumptions and beliefs through personal experiences, the design appropriate will be the descriptive design.

I. Data acquisition and analyses
The targeted participants/ populace are the classical dance performers in India. The sampling plan adopted will be simple random, sample-size n=180 and the sample unit will be the South India performers. To design the tool for gathering data from participants through the survey technique, Closed-end questionnaire is decided as appropriate to reduce the uncertainty in responses and to deduce vague responses. For analysis, SEM as software for analysing acquired datasets with ANOVA regression and Process ‘Hayes’ as techniques with simple percentage and chi-square in SPSS are also used.

II. Instrumentation
The scale designed and developed includes 5-point Likert-scaling as ranking measure where the 5 points is strongly-agree and 1 point as strongly-disagree. The critical existential thinking has 7 constructs, personal meaning production has 5 constructs, transcendental awareness has 7 constructs and conscious state expansion has 5 constructs overall the scale includes 24 items and designed as closed-end survey technique. The scale designed is the adoption of constructs from SISRI-scale developed by King (2008). Thus the constructs are:

1. CET (7 items);
   
2. PMP (5 items);
3. TA (7 items) and
4. CSE (5 items).

Justification: Authors Zulkifi et al. (2017) examined spiritual intelligence factors of 40 participants (delinquent teenagers) from six different locations in Malaysia. According to their analysis and findings, the reliability of scale was good and the outcomes through research were found reliable, accurate and consistent in both pilot study and actual analysis which was similar to their expected outcomes. Henceforth the scale is considered good-fit to experiment the spiritual intelligence level of Bharatanatyam dancers with gender as moderator.

IV
 Analysis and results

1. Demographic data
The descriptive statistics focused here will be prominently gender where the variable is the moderating variable between the dependent and independent factors.

Table 1
Gender - frequency analysys

Figure 2: Gender analysis

Inference: The Table 1 and Figure 2 represents that the female respondents were major (89.4%) than the male respondents (10.6%) among the 180 participants.

1.2 Quantitative analysis
The quantitative analysis in the developed research utilizes two major techniques ANOVA for variance tests and regression for analysing the association of two factors. Prior the analysis, the reliability of each construct has to be verified for accurate, reliable and precise outcome that remains unvaried. To verify reliability of the scale with 4  constructs in the dependent variable (Spiritual intelligence) Cronbach-Alpha test is carried-out (Table 2) upon the constructs where the minimal value for acceptance should be ɑ>=6.

Table 2
Reliability analysis with Cronbach-Alpha test

Inference: Outcomes from Table 2 represents that all 4 constructs obtained higher than 0.6 as alpha value which points that constructs are good-fit for the research and the developed scale is reliable.

1.3. Regression analysis
The association between two variables (independent and dependent) is tested through regression where the formulated hypotheses will be tested in analysis.

1.3.1 Years-of-practising Bharatanatyam (YPB) and Spiritual intelligence (SI) factor Critical existential thinking (CET):
The first hypothesis analyses the relationship of YPB and CET (refer table 3a) where the values of R (.560), R^2 (.314) and adjusted R^2 (.310) are obtained, where the 31.4% of dependent variable is described by the independent variable.

Table 3a
Model Summary

a. Predictors: (Constant), YPB

Table 3b
ANOVA^a

a. Dependent Variable: SICET
b. Predictors: (Constant), YPB

From ANOVA (Table 3b), the p value is observed as lesser than 0.05 (p<0.0005) thus regression model substantially predicts outcomes reliably and ANOVA is significant.

Table 3c
Coefficients^a

a. Dependent Variable: SICET

Table 3c estimates the relationship between YPB and the CET through hypothesis, ‘there exists a significant relationship between the variables Years-of-practicing Bharatanatyam and Critical existential thinking’. Regression equation for estimating spiritual intelligence factor ‘existence’ through practicing Bharatanatyam is analysed through:

YPB = 3.607 + (0.627 * CET)

1.3.2 Years-of-practising Bharatanatyam (YPB) and Spiritual intelligence (SI) factor Personal meaning production (PM):
The second hypothesis analyses the relationship of YPB and PMP (refer table 4a) where the values of R (.515), R^2 (.265) and adjusted R^2 (.261) are obtained, where the 26.5% of dependent variable is described by the independent variable.

Table 4a
Model Summary

a. Predictors: (Constant), YPB

Table 4b
ANOVA^a

a. Dependent Variable: SIPMP
b. Predictors: (Constant), YPB

From ANOVA (Table 4b), the p value is observed as lesser than 0.05 (p<0.0005) thus regression model substantially predicts outcomes reliably and ANOVA is significant.

Table 4c
Coefficients^a

a. Dependent Variable: SIPMP

Table 4c estimates the relationship between YPB and the CES through hypothesis, ‘there exists a significant relationship between the variables Years-of-practicing Bharatanatyam and Personal meaning production’. Regression equation for estimating spiritual intelligence factor ‘personal meaning’ through practicing Bharatanatyam is analysed through:

YPB = 7.815 + (0.313 * PMP)

1.3.3 Years-of-practising Bharatanatyam (YPB) and Spiritual intelligence (SI) factor Transcendental awareness (TA):
The third hypothesis analyses the relationship of YPB and TA (Table 5a) where the values of R (.525), R^2 (.276) and adjusted R^2 (.272) are obtained, where the 27.6% of dependent variable is described by the independent variable.

Table 5a
Model Summary

a. Predictors: (Constant), YPB

Table 5b
ANOVA^a

a. Dependent Variable: SITA
b. Predictors: (Constant), YPB

From ANOVA (Table 5b), the p value is observed as lesser than 0.05 (p<0.0005) thus regression model substantially predicts outcomes reliably and ANOVA is significant.

Table 5c
Coefficients^a

a. Dependent Variable: SITA

Table 5c estimates the relationship between YPB and the TA through hypothesis, ‘there exists a significant relationship between the variables Years-of-practicing Bharatanatyam and Transcendental awareness’. Regression equation for estimating spiritual intelligence factor ‘awareness’ through practicing Bharatanatyam is analysed through:

YPB = 10.265 + (0.462 * TA)

1.3.4 Years-of-practising Bharatanatyam (YPB) and Spiritual intelligence (SI) factor Conscious state thinking (CSE):
The fourth hypothesis analyses the relationship of YPB and CSE (refer table 6a) where the values of R (.349), R^2 (.122) and adjusted R^2 (.177) are obtained, where the 12.2% of dependent variable is described by the independent variable.

Table 6a
Model Summary

a. Predictors: (Constant), YPB

Table 6b
ANOVA^a

a. Dependent Variable: SITA
b. Predictors: (Constant), YPB

From ANOVA (Table 6b), the p value is observed as lesser than 0.05 (p<0.0005) thus regression model substantially predicts outcomes reliably and ANOVA is significant.

Table 6c
Coefficients^a

a. Dependent Variable: SICSE

Table 6c estimates the relationship between YPB and the CSE through hypothesis, ‘there exists a significant relationship between the variables Years-of-practicing Bharatanatyam and Conscious state expansion’. Regression equation for estimating spiritual intelligence factor ‘state expansion’ through practicing Bharatanatyam is analysed through:

YPB = 60.984 + (0.650 * CSE)

V
 PROCESS macro - Gender as moderator

The moderating factor ‘gender’ is tested through Hayes-PROCESS Macro to test the association of practicing Bharatanatyam for years and spiritual intelligence. The R-value for developed model was found as 0.1721 and R^2 value was found as 0.0296; however the interaction among the variables were found as ‘insignificant’ (see Table 7 below).

Table 7
Hayes process for gender as moderator

Inference: Thus through Table 7, the outcome is found as p=0.1625 (i.e. p>0.05) it is evident that there is no association between the tested hypothesis: years of practising Bharatanatyam and spiritual intelligence is moderated by gender. Thus hypothesis5 association between YPB and SI is moderated by gender is rejected.

VI
 Hypothesis testing

The hypotheses formulated were tested through regression and Hayes-PROCESS techniques for analysing the research aim; the testing results are:

Table 8
Hypothesis-testing outcomes

Interpretation: The Table 8 represents that formulated hypothesis H1, H2, H3 and H4 are accepted stating that practising Bharatanatyam for years, impacts the individuals’ spiritual intelligence level positively and contrarily, gender as moderating-factor is rejected, stating that, practising Bharatanatyam doesn’t have any impact upon dependent and independent factors.

VII
Discussion and findings

Through regression analysis and ANOVA table, the constructs, scale and the model were found to be good-fit and significant. Findings showed female dancers / classical dance performers in India were major and dominant than the male performers, especially Bharatanatyam dancers. Bharatanatyam dancers are viewed and witnessed as transnational interpreters who can reform and reshape one’s mind and psychological well-being more than themselves (O’Shea 2003). Though gender could be a factor that impacts the dancers psychological wellbeing (Thiagarajan 2017),  it is not evident that practising classical dance has prolonged impacts on individuals’ spiritual intelligence in particular gender.

For instance in North and South India, Kathak (classical dance-form) is majorly portrayed by men (Pandey 2021) where the word “Kathak'' defines male dance-actors depicting bhavana and abhinaya from life-cycles and ideal-life philosophy through story-telling mode majorly from Brahman-Kathak caste (Shah 1998).

Similarly, the world renowned “Narthaki Nataraj”, the first transgender-superstar who outperformed many classical dancers in South India (Sai 2016), is a legend in Bharatanatyam. His grit, benevolence, tenacity and interest with love for spiritual and cultural heritage led him to break social and gender barriers and climb the ladder with strong spirit. Thus it is evident that - whether it is male, female, and transgender, as ‘actual gender’ classification doesn’t impact the spiritual intelligence level in Bharatanatyam performers or other classical dancers (Azzarelli 2015). Rather, gender is just a ratio classification for classical performers in different countries.

Findings shows,

• Among other factors critical existential thinking of spiritual intelligence was found to be higher where majority of participants (59.4%) felt they were more related to the fact that the existence of higher power (god/ goddess/ higher-energy/ divinity) is true;
• In the personal meaning production of life as factor in spiritual intelligence, major respondents (55%) felt that ‘purpose of their life’ was meaningful and they lead a life with reason and purpose;
• Similarly among the transcendental awareness factors major respondents (55%) found that practitioners are more  able to identify people’s inner quality, personality, attitude and emotions than their outer physical appearance;
• In the conscious state expansion factor analysis it was found, 56.1% of respondents felt, they were able to cross-over their awareness and enter higher-state of consciousness in spiritual intelligence.
  

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Conclusion

The spiritual intelligence level of the Bharatanatyam practitioners in South-India with n=180 as sampling-size was focused to study the developed research purpose. The evident literatures and research focused mainly on spiritual intelligence and lack of practising Bharatanatyam (independent variable) upon one’s spiritual intelligence (dependent variable) and how gender moderates was the purpose of the study. Reliability of scale developed was verified and through ANOVA and regression outcomes were obtained where critical existential thinking as spiritual intelligence factor impacts Bharatanatyam practitioners’ spirituality followed by the consciousness state expansion, transcendental awareness and personal meaning. The gender was found insignificant; outcomes and hypothesis revealed that, it doesn’t impact the association between the focused variables. Thus with evidences and results, the study concludes, gender has no relationship and has no impact of spiritual intelligence and years-of-practising Bharatanatyam. Whether there are no boundaries to practice dance when it comes to  age, gender or culture, it is redefined and roots back to one’s involvement; similarly practicing classical dance redefines one’s psychological well-being and spirituality and moulds them into an individual with heightened transcendence.

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ReferenceS

1. Azzarelli, S. 2015.  “Dancing across gender boundaries. An exploration on the process of gender identity construction through the Indian classical dance Bharatanatyam.” Acta Ethnographica Hungarica 60(1): 77-84.
   
2. King, David Brian. 2008. “Rethinking Claims of Spiritual Intelligence: A Definition, Model, and Measure” Unpublished  master's thesis, Trent University, Peterborough, ON, Canada. [link] (Retrieved on 24th September, 2021.)
3. O’Shea, J. 2003. “At Home in the World?: The Bharatanatyam Dancer As Transnational Interpreter.” The Drama Review-TDR 47(1): 176-186.
4. Pandey, R. 2021. “Gender clash and Patriarchal Hegemony in Dance Like a Man.” Compliance Engineering Journal 12(7): 595-602.
5. Sai, V. 2016. “On World Dance Day, meet the transgender superstar of Bharatanatyam”.  [link]  (Retrieved on 24th Sptember, 2021.)
6. Shah, P. 1998. “Transcending Gender in the Performance of Kathak” Dance Research Journal 30(2): 2-17.
7. Thiagarajan, P. 2017. “Gender and Ethnicity in Indian Classical Dance in Malaysia.” Asian Theatre Journal 34(1): 97-121.
8. Zulkifi, Wan Nurayunee Bt Wan, , Noor Azniza Bt  Ishak,  and Zarina Bt Mat Saad. 2017.  “The Spiritual Intelligence Self Report Inventory (Sisri 24) Instrument Reliability Among Delinquent Teenagers. ” IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Vol. 22 Issue 7 Ver. 5 (July): 44-47. DOI: 10.9790/0837-2207054447

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