Defining Classicism in Post-Independent India: Construction of Cultural Identity

Indian Classical Dance is a complex product of colonialism, nationalism, and postcolonial concepts interwoven in the dialogical relationship between scholarship and practice. This paper questions the utilisation of the term classical in identifying the Indian dances and present an analysis where the identity of dance is formed in an interactive connection between artists and state. Formulation of cultural policy is a state activity, and this activity is comprised of the institution of state such as Sangeet Natak Akademi. From formulation to implementation of cultural policy, classical is a recognition tool of categorisation for cultural governance. The agents of state who are part of the process are the artists and scholars who are also part of an institution like Sangeet Natak Akademi. The paper argued that through the indirect patronage system, the recognition of classical is conferred and this recognition solidifies the authoritative position of Akademi in cultural politics. For such analysis, archival sources on Akademi and Indian cultural policy provided a mirror to reflect the oral narrative of Mahua Mukherjee, the fountainhead of Gaudiya nritya. The Case of Gaudiya in relation to how Akademi functions show a new aspect of history on Indian classical dance. Classicality is a form of recognition which is a product of indirect patronage of post-independent indian state. This indirect patronage system ensures the recognition of the classical and authoritative role of SNA in cultural politics. However, the authority of SNA is actually comprised of artists with their own regional and professional reputation.