Prescription
During the Mental Health Awareness month, we take a look at how dance and music can be powerful tools for emotional well-being
Keep your hand straight my child,” coddles the teacher. Little hands contort into a 2,000-year-old mudra. Fingertips touch, neurons re, and that little brain processes neuroplasticity at a magnitude that is still misunderstood.
Classical dance has been scienti cally documented by several prestigious research organisations such as Sarah Lawrence University and the National Institues of Health, Maryland. Not only does classical dance have documented mental health bene ts, classical music has also been well-researched as both a complementary treatment for several major disorders, and a healthy practice for general well being. Albert Einstein Medical College executed a study comparing the brain scans of subjects prescribed treadmill walking for six months versus those prescribed ballroom dancing. Dance was found to prevent cognitive decline and reduce the risk of Alzheimer’s.
Indian classical dance has been lauded for its neurobiological complexity. The nuance of hand-eye coordination speci cally operates through neuroplasticity — our brain’s ability to change through growth and reorganisation, utilising its neural networks. There is an overwhelming amount of research in favour of the mudra, both in a yogic and dance context. If we examine the practice of mudras in dance, it is apparent that there is an underlying signi cance to the choice of ngers touching as well as the movement of the actual hand itself.
Train the brain
Laura Wimberger, a neurological meditation practitioner, has developed a modality of training the brain called neurosculpting. In her practice, the left and right hands often move in dierent directions and hold dierent gestures. She explains how these practices increase memory, protect neural
The Indo Soul band has been captivating audience with its distinct blend of Indian classical music and global sounds. Over the past few years, the band has widened its reach with its digital presence. Last year, it launched an initiative called Soul Sabha to strengthen the connect with its fans.
This sabha is dierent. Around 30 listeners, each equipped with headphones, share space with Indo Soul band members — lead vocalist and violinist Karthick Iyer, lead guitarist Vikram Vivekanand, acoustic guitarist Akshay Yesodharan, bass artist Reshwin Nishith, drummer Ramkumar Kannakarajan and mridangist Venkat Subramanian — during their recording session. They are briefed about the recording process as the cameraman gets ready to shoot.
Indo Soul has so far released four albums and their popular songs include ‘Nagumomu’, ‘Manavyala in my mind’, ‘Rejoicing in Raghuvamsa’, and ‘Clown’s Junket’. Inspired by the function and utilise dierent parts of the brain. One cannot help but correlate her practices to the gestural depiction of performing aarthi in classical dance. The shikara mudra remains rmly planted in the left hand, shaking like a bell, while the pataka mudra assumed by the right hand maintains a clean horizontal line while drawing a circle in the air.
This simple gesture has within it over seven dierent mechanisms to nourish, tone and protect the brain! Yet with so many overwhelming bene ts, it feels as though practicing dancers seem to be constantly under stress. Indian classical dance has become so competitive that young dancers often feel an overwhelming pressure to keep up with their peers and produce new repertoire on command. Social media presence is almost mandated in the current scenario, placing even more pressure on young dancers and musicians to give a glimpse of their yoga routine, studio work, practice sessions and even the occasional recreation of a lm song. Are they reaping the true bene ts of the art?
When one examines the history of Indian classical dance practices, it becomes apparent that the dance cannot be divorced from the temples and the courts. While hereditary dancers might have had healthy competition amongst themselves, one wonders if it can compare to ghting for a slot at a sabha during the
December Season or for an award. When the purpose of a form was to immerse oneself in devotion, or even to entertain the audience, innovation becomes an extension of creativity and not a race for survival. It is on the proscenium that dance has found its most cut-throat form — from televised competitions to festivals that award innovative choreography.
(Left) Haricharan with listeners in Season 1; and (below) the Soul Sabha 2 team led by Karthick Iyer (middle).
To take a form that was designed for self-expression and standardise it into a ruthless, athletic race is perhaps one of the reasons why so many dancers struggle to nd joy in the profession. While the dance itself always remains a source of solace, the networks around it tend to deplete dancers of their mental peace.
In Australia, artistes are 20 times more likely to have mental health issues, and in the U.K. more than 46 per cent report below average mental health. Such studies haven’t been done at scale in India, but it would be not be surprising if the numbers were an extension of the global trend. Artistes are often isolated, and it appears that those with better social skills tend to secure better opportunities. What kind of ecosystem do we want to build for our future? What direction should Indian classical dance and music move in?
While it is impossible to nd all the answers, perhaps changing contexts will help young artistes. Several senior practitioners still maintain the habit of performing in temples for example, which is a deeply personal and grounding experience that help them de ne their art. Improvisational dance is another way of connecting to one’s own creative mind to transcend the external noise.
Whatever the means may be, we need our dancers to stay content for, the joy that they bring us is
nothing short of therapy.
Indian classical dance has been lauded for its neurobiological complexity. The nuance of hand-eye coordination speci cally operates through neuroplasticity
Aikyam) to the rare Muthuswami Dikshitar composition ‘Soma Sundareshwaram’ by Trichur Brothers, and a rhythmic recital of ‘Niravadhi sukhada’ by vainika Rajhesh Vaidhya, the videos were well-received on online platforms.
Ask Karthick about the song selection process and how each song evolves in the hands of the band members, he says that he and mridangist
Venkat Subramanian choose from songs suggested by the collaborators. “For instance, he selected ‘Soma sundareshwaram’ kriti because we wanted to oer our audience something dierent. Each song’s singing and feel are dierent as the artistes bring in their own creativity and expertise,” shares Karthick.
Looking at the response to Soul Sabha - Season 1, the band is coming up with
Season 2, which will feature folk artistes apart from Carnatic musicians and vocalists. “With the coming together of diverse musical styles and artistes, we wish to build a like-minded cultural community. Though Season 1 and our earlier albums were self-funded, we are now looking at promoters who can help sustain this project.”
The Indo Soul Sabha team has gured out the logistics with regard to attendees. They want to increase the number. More details will be shared closer to the date. They also plan to hold their recording sessions much ahead of the Chennai Margazhi Season. “This will enable us to release the videos at a time when music takes over the city,” says Karthick.