Various excerpts from the works of P.R. Sarkar on arts

 

From "The Practice of Art and Literature"

by P.R.Sarkar

Music

.. The same holds true for music. The totality of song, instrumental play and dance (giita-va'dya'-nrtya) is called sam'giita or music. When a song is composed only to express the laughter and tears of ordinary life, there is hardly any difficulty in conveying this to the ears and hearts of the people: the song discharges its responsibility well enough through the medium of ordinary language and melody. But where the feelings and sensibilities are deep and subtle -- where one has to create vibrations in the molecules and atoms of the body, in the chords of the heart -- there the music has to follow an extraordinary path: Hence to those who are incapable of ingesting the subtle feelings of the Science of Music, the a'la'pa or introductory portion of a classical piece, will be nothing but pra'la'pa or delirious raving.

If music must descend to the ordinary level of life to conform to the slogan of naturalness, then preeminence will be given to doggerels, as the sweetness and charm of real music becomes extinct. Indeed, the music that is in vogue in the world today in the name of "popular music" is nothing but doggerels of this type, though expressed in a better language. Language, rhythm and melody are the indispensable parts of a song: one cannot exclude any one of them. (The difference between song and instrumental music is that songs comprise rhythm, melody and language, but in instrumental music, rhythm is predominant, melody is subordinate, and language is absolutely nil.)

Dance and Recitation

Dance is customarily divided into two categories: gestural and rhythmic. Many people are loathe to accept that gestureless rhythmic dance can be considered dance at all. Judging the characteristics of dance, it must be admitted that both gestures and rhythm are important components in dance: the gestures give expression to inner sentiment, and the rhythm gives it dynamism. If dance is only gestural and devoid of rhythm, it is called pantomime, not dance. And dance, devoid of gestures is nothing but another form of physical exercise -- it is not art.

The greatest difference between recitation and acting is that in acting there is both language and gesture; while recitation (a'vrtti) consists of only language. Thus in acting there is greater scope for the expression of refined aesthetic taste than in recitation.

From the book "Abhimata, The Opinion" by P.R. Sarkar

"The ideal of an artist is to be established in a transcendent realm, beyond the limits of the senses. So the artist, or more precisely, the worshippers of fine arts, have to be spiritual aspirants. Only those who look upon everything of the world as Spirit can realize in everything a subtle, blissful, Transcendental Entity. The greater the artists' understanding of their kinship with God, the greater their art. Those who possess a creative faculty yet do not seek the Transcendental Entity, cannot create a worthy or successful work of art."

"Though separated by many countries, many states, many religions, many communities or by many languages, the human race is an indivisible entity. Every human mind is but the diversified individual manifestations of that same indivisible Cosmic Mind. Today we look forward to the advent of that artist, that writer who will convey this truth to the hearts of humanity in a still sweeter language, still more strongly and deeply."

"The true writer is not only a creator but a sage as well. As the representatives of millions and as architects of society, the writers cannot forget even for a moment the highest sanctity of their avocation. They are the messengers of the mute masses, the guardians of society. Though the slightest mistake on their part may result in a catastrophe, their goodness also has the capacity to transform society beyond recognition. Therefore, those who have failed to learn restraint in thought and expression need not attempt the creation of art or literature."

From a dicourse by P.R. Sarkar entitled "The Cosmic Father has a Special Responibillity"

I invented kaoshikii of September 6, 1978. This dance is both an exercise and a medicine for twenty-two diseases. It is a sort of panacea for almost all female diseases, and for many male diseases in younger boys. It is a medicine for most liver diseases. It ensures safe deliveries for woman, and also checks the advent of old age. It is a medicine.
Tandava - which was not invented by me, but by Sadashiva some 7000 years ago - is an all-corporal exercise, and exercise for the entire body, including the brain. (There are intellectual exercises for the brain, but hardly any physical exercise. In fact, tandava is the only physical exercise for the brain.) And among all dances it is the best. But it is not for women. In Samskrta, `tandu' means `of jumping habit'. You see, when rice is prepared from paddy in the traditional rural way the paddy and rice jump. Because of this, rice is called 'tandulam' in Samskrta. `Tandu' plus the suffix `sna' makes `tandava', the dance where jumping is the main thing. Now this dance was invented by Sadashiva to maintain the physical and psychic purity of sadhakas, and thus help them in their spiritual progress.

And Parvatii, the spouse of Shiva, invented lalita marmika, which means `voice of the inner spirit.' The dance used for kiirtana is lalita Marmika. It represents the inner voice of the spiritual aspirant. The main thing in lalita marmika is the expression through mudra. In tandava there is no mudra. Among the disciples, among the devotees, there was an altercation as to which dance should be accepted. It was decided that both should be equally accepted and equally respected.

And as a result of this adjustment between tandava and lalita, Indian music was started - it is known as Indo-Aryan music. Indian music is divided into two schools: the Aryavarta school, and the Daksinatya school. The common name for the Aryavarta school is Hindustani Samgiita, and that for the Daksinatya school is Karnataka Samgiita. As a result of this adjustment, Indian music was started. It was started by Sadashiva and that is why He is called Nataraja - Nadatanunatesham.' This adjustment first created the Indian tala. The first letter of `tandava' is `ta', and the first letter of `lalita' is `la' - tala was created in Indian music. Lalita is to be used during kiirtana. It is the only dance which is universally accepted as the best dance for kiirtana. Tandava is a heroic dance, a fight between life and death. The knife represents life, represents your vital stamina, and the skull represents the death that wants to destroy you. You are fighting against death with your weapon be it a knife or a trishula (trident). And as per the rule, during the day, if one so desires, one may use a live snake in place of the skull; and at night one may use a fire-mashala or a damaru. This is the rule. So tandava represents the eternal fight, the fight for survival, the fight to maintain existence, the fight to establish oneself as a person in this world.