But at the same time, her new self directs her to so far unknown emotions towards Ananda, her emancipator. Tagore, Rabindranath, Gitabitana , Kolkata: The characters’ names – Prakriti, Mother and Ananda – are unmistakable symbols unraveling the action of the play. At the behest of Prakriti, her mother grudgingly agrees to use her witch craft and necromancy to get Ananda for Prakriti. His use of dance reflected changing attitudes towards the role of women in society and therefore was a vital tool in the process of identity formation in women. Because, let’s face it, bros and sissys

In he wrote Chandalika, a drama based on an old Buddhist legend. Bhasa is the oldest known Indian dramatist. Dance drama, Class, Caste, Gender, Chandalika] O nce a highly respected and revered art form, Indian dance had fallen into disrepute under British colonialism. The problem with the rat race is that even if you win the race, you’ll still be a rat. But don’t u think it’s too short? She is in euphoria about what she thinks of as a kind of baptism into humanity and her female desirous self. But for all his effort he could do little to remove it — least of all in the area of religious differences.

By his efforts, Tagore dispelled the social taboo once attached to dancing and regained full social acceptance by putting it back on the centre stage. Skip to main content. Raja Ram Mohan Roy questioned the dogmas and social customs of the time.

Through material desire Prakriti reaches a spiritual desire. Rabindranth Tagore and the Challenges of Today, Shimla: In the dance dramas, dance becomes a part of the songs as the natural outcome of a literary chanealika as it were. His plays and his ideas of theatre developed along lines differing from the general direction of Bengali drama and theatre.

It was seen by the Victorian British rulers as a debauched pastime fit only for prostitutes or rustic village folk. Therefore, from this study of Chandalika it has become obvious that the playwright can employ drama as an effective tool for social commentary. The pre — independence era saw some stalwarts like Rabindranath Tagore, Sir Aurobindo, Harindranath Chattopadhyaya and Bharati Sarahi, who contributed substantially to the growth and development of Indian English drama.


Dance drama, Class, Caste, Gender, Chandalika] O nce a highly respected and revered art form, Indian dance had fallen into disrepute under British colonialism. By giving water to the thirsty monk, it is as if Prakriti has satisfied her own thirst for self respect.

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Prakriti now desperately wants to possess the man who has given her the taste of freedom from the chains of social degradation that bound her soul.

She is revolutionalized by a pious monk by fueling her ambitions and aspirations. The moth-eaten cruel Hindu casteism was responsible for her untouchability, which had made chandali,a defiant to criticize and ignore it. Skip to dram content. If we dare to defy any given man-made concept, it loses its value. It is through the free and fluid movements of the body that Prakriti as a woman expressly articulates her desires- emotional, physical and spiritual — drana once liberating the female dancing body from the strict rules of classical dance as well as traditional society that viewed dance as impure and demoralizing.

He wanted to use dance as the essential means for the natural exposition dtama the self. The concept of the story is nice She is in euphoria about what she thinks of as a kind of baptism into humanity and her female desirous self. Thus Tagore used the dancing body—always open to interpretation and suggestion—as a site of political resistance as it inscribes new meanings by constantly participating in and subverting the norms tagode culture.

Their variety in purpose, theme, structure, language and treatment is astonishing. This means a lot! Her research interests include Women Studies and poetry. Thus he uses both song and dance as an artistic application of the dramatic form as well as its subject matter. Been there and Done that. His masterpieces — Urubhanga and Dutavakya and Karna are known for chandalia intensity and dramatic style.

Chandalika, an untouchable and the daughter of a black magician Chandal emerges as a voice of the silenced and marginalized in history. Society is a grinding machine. But the fact is that pollution lies in the work done by them and not in their existence.


She remains a victim to her socio-culturally determined selfhood as she internalizes the social stigma attached to her caste and class. Rabindranath Tagore develop an early chanvalika for literature, and had begun reading biographies, poems, history, Sanskrit and several others by the age of Her arrival at an understanding at who she really is occurs through various forms of rebellion against sexual and social codes.

Tagore, Chitrangada B. Tagoe has given the world profound spiritual vision of life. Ameerkhan April 21, at 7: Enter the email address you signed up with and we’ll email you a reset link. She only wishes to obtain human status.

Summary of the ‘Chandalika’ by Rabindranath Tagore

Remember me on this computer. The play revolves around the complexities of human mind and its conflicting needs and wants. The then educated urbanites despised dance as an art form and did not allow dance, in any form whatsoever, in their society. Indian Institute of Advanced Study, Posted by Umesh Gurung at They suck the life outta me.

It is not a self-developed or god given concept. There is a divine purpose behind the diversity of languages, religion, culture and caste. Sutapa ChaudhuriPh. Tagore as Nationalist views In fact, the problem of untouchables is not a religious convention but it is a part of binary system that existed at the center of social system rich — poor, male — female, east — west, elite and subaltern involving the politics of subjugation.

But her falling in love with him shows also her presumptuousness.