Talk with Rukmini Devi Arundale

Rukmini Devi Arundale (born on February 29, 1904, and passed away on February 24, 1986) was a prominent Indian theosophist, dancer, choreographer, and cultural advocate, widely regarded for her pivotal role in reviving the classical Indian dance form of Bharatanatyam. Before her positive influence, Bharatanatyam was largely associated with the devadasi system and often considered a low and vulgar art practiced in the temples of Tamil Nadu.

Rukmini Devi was born into a Brahmin family and became deeply involved in theosophy at a young age. She was married to George Arundale, a British theosophist, which further entrenched her in theosophical circles and their focus on cultural and spiritual upliftment.

In 1936, she founded the Kalakshetra Foundation in Chennai, a school dedicated to the preservation and teaching of traditional Indian arts, including dance, music, and visual arts. The institution's aim was and remains the reclamation and rejuvenation of Bharatanatyam dance, transforming it into a form deserving of respect and admiration, suitable for performance by all women, regardless of caste or social status.

Rukmini Devi's work transformed Bharatanatyam. She modified its traditional dance forms, eliminating sequences she deemed inappropriate, and re-established its narrative aspects, focusing on its potential for expressing spiritual and religious themes. Her version of Bharatanatyam became known for its emphasis on subtlety, grace, and expression, and is now taught as a prestigious art form worldwide.

Aside from her contributions to dance, Rukmini Devi was involved in animal rights activism and was one of the founding members of the Animal Welfare Board of India. Her impact on Indian culture, with her efforts to elevate traditional arts and crafts, preservation of cultural heritage, and promotion of animal rights, makes her one of the significant cultural figures in modern Indian history.

Rukmini Devi Arundale's approach to dance, particularly to Bharatanatyam, significantly differed from the traditional methods prevalent during her time in several key ways:

1. Reform and Revival: Originally, Bharatanatyam was primarily performed by the Devadasis (temple dancers) and was not considered respectable in conservative society. Rukmini Devi played a pivotal role in reforming Bharatanatyam, elevating its status, and making it acceptable to the middle and upper classes of society. Her approach was to transform it into a performance art that could be appreciated globally.

2. Aesthetic Changes: Rukmini Devi modified the costume of Bharatanatyam. The traditional attire, which was typically a sari worn in a manner suitable for the dance, was transformed by her into a beautiful, stitched costume that covered the body more modestly, which helped in gaining acceptance from conservative societal norms of that time.

3. Framework of Performances: She introduced a structured format to the dance recitals, which included items like Alarippu, Jatiswaram, Shabdam, Varnam, Padams, and Tillana, presented in a particular sequence that is widely followed in Bharatanatyam recitals today.

4. Spiritual and Theatrical Elements: While maintaining the spiritual essence of the dance, she also incorporated elements from Western theatre, including innovative stage settings, lighting, and choreographic patterns that emphasized the drama inherent in the dance.

5. Educational Approach: Rukmini Devi founded Kalakshetra in 1936, an institution dedicated to the preservation and teaching of Indian arts, with a strong emphasis on Bharatanatyam and Carnatic music. Her educational approach was formal and rigorous, aimed at developing not only technical skills but also a deep understanding of the art’s cultural and spiritual underpinnings.

6. Inclusion of Mythology and Philosophy: Her choreographies often included interpretations of Indian mythology and philosophy, making performances not just an art form but also an educational experience for the audience.

7. Global Outreach: She took Bharatanatyam onto the international stage, helping people all over the world appreciate the richness and complexity of this traditional Indian dance form.

Through these innovations and changes, Rukmini Devi Arundale played a crucial role in the renaissance of Bharatanatyam and influenced the modern practice of the dance not only in India but around the world.

Rukmini Devi Arundale was closely connected to the Theosophical Society, an organization that blends philosophical, religious, and occult traditions to explore divinity and the mysteries of the universe. Her involvement with Theosophy began through her family's association with the society and particularly deepened once she married George Arundale, a prominent Theosophist and a leader within the society.

The Theosophical Society, with its headquarters at Adyar, Chennai, was a hub for many cultural and spiritual personalities from around the world. This exposure played a pivotal role in shaping Rukmini Devi's spiritual and artistic pursuits. Theosophy’s emphasis on universal brotherhood and the synthesis of art, science, and spirituality resonated with her, deeply influencing her worldview and her efforts to integrate spirituality with the arts, particularly in the realm of dance.

Her Theosophical background was instrumental in her approach to reforming and elevating the traditional Indian dance form of Bharatanatyam, which she worked to purify and elevate, transforming it into a respected art form that conveyed spiritual and ethical messages.

Rukmini Devi Arundale was a pioneering advocate for animal welfare in India. In addition to her contributions to Indian dance and culture, she was deeply committed to the cause of animal rights and welfare. She founded the Animal Welfare Board of India in 1962 under the Ministry of Environment and Forests, Government of India. She was instrumental in the enactment of several animal welfare legislations, including the Prevention of Cruelty to Animals Act, 1960.

Her advocacy aimed at improving the conditions and treatment of animals across the country. She promoted vegetarianism as part of her commitment to non-violence and animal rights, strongly influencing her followers and the public to consider the ethical treatment of animals.

Furthermore, Rukmini Devi established several animal shelters and was involved in campaigns against animal cruelty, including efforts to limit the use of animals in performances and experiments. Her legacy in animal welfare continues to influence efforts in animal rights and protection in India today.

Rukmini Devi Arundale founded Kalakshetra in 1936, inspired by her deep love for traditional Indian arts and a vision to preserve and uplift classical Indian dance, particularly Bharatanatyam, which at the time had a dwindling status and was mired in social prejudice. Her encounter with prominent Russian ballerina Anna Pavlova in 1928 also encouraged her to pursue a career in the arts rather than in dance directly, influencing her direction towards indigenous Indian dance forms. Rukmini Devi's establishment of Kalakshetra was driven by her commitment to cultural renaissance; she aimed to create a space where the artistic traditions of India could be taught in an environment that respected the purity and spirituality of these art forms.

Rukmini Devi Arundale’s philosophy on dance and education was deeply intertwined with her appreciation for Indian culture and the arts, and her vision of elevating the spiritual and cultural lives of people. She believed that dance, particularly Bharatanatyam, which she worked diligently to revive and reform, was not merely a form of entertainment but a significant medium of spiritual and moral education.

In her quest to rejuvenate Bharatanatyam, she removed elements she considered vulgar, restructured its repertoire, and introduced a spiritual and aesthetic dimension that aligned with her Theosophical beliefs. She envisioned dance as an expression of the soul and a path to transcendence, integrating themes and stories that uplifted the audience morally and spiritually.

Regarding education, Rukmini Devi founded Kalakshetra, an academy dedicated to the preservation and teaching of traditional Indian arts while encouraging a holistic education system. Her approach was comprehensive, focusing not only on the artistic skills of the students but also on developing their personal character and appreciation of cultural heritage. She aimed to create a nurturing environment that respected the dignity of each individual and promoted values such as humility, integrity, and respect for all life forms.

Her educational philosophy was also shaped by her environmental and animal welfare interests, spreading awareness and advocacy through her teachings and activities. At Kalakshetra, she fostered a sense of responsibility towards nature and all living beings, which was reflected in the campus's lifestyle and the values imparted to students.

Overall, her integrated approach to dance and education reflects a fusion of artistic excellence with ethical and spiritual growth, aiming to create well-rounded individuals who could contribute meaningfully to society.

No, Rukmini Devi Arundale did not have any biological children. She was married to Dr. George Arundale, an English theosophist and educator, and together they focused much of their energy on cultural and educational projects, including the founding of Kalakshetra Foundation, a cultural academy dedicated to the preservation of traditional Indian arts and crafts.

Rukmini Devi Arundale established Kalakshetra in 1936 with the aim of revitalizing traditional Indian arts, particularly focusing on Bharatanatyam and the Tamil Nadu gurukul system of teaching. She was motivated by a desire to preserve and foster the cultural heritage of India which was facing neglect and denigration during the British colonial period. Rukmini Devi was influenced by the Theosophical ideals of universal brotherhood and believed that art should be used as a means for moral and spiritual upliftment.

Kalakshetra was founded as a space where the arts could be taught in an environment that respected their sacredness and integrity, free from commercial exploitation. She envisioned it as a place of artistic excellence which upheld high standards in craft, technique, and aesthetic sensibility. The institution became a pivotal center in rejuvenating Bharatanatyam from its erstwhile decline and played a crucial role in shaping the modern identity of this classical dance form.

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