A ZigZag Mind

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Knowledge in India is the purest thing realized through guru-sisya parampara as attested by the Mundaka Upanisad when it says- तद्विज्ञानार्थं स गुरुमेवाभिगच्छेत्, समित्पाणिः श्रोत्रियं ब्रह्मनिष्ठम् । Fostering the rich and diverse guru-ŝisya parampara of our country, the Indira Gandhi National Centre for the Arts (IGNCA) conceived an ambitious programme entitled 'Dikṣā'. Dikṣā primarily aims to aware and inculcate our young generation about the rich musical-cultural traditions of India by inviting renowned and celebrated artists at IGNCA to share their journey and vivid experience.

It gives me immense pleasure to place the book entitled A ZigZag Mind authored by Dr. Sonal Mansingh Ji-a sadhaka, dancer and scholar par excellence. The book narrates the 'splendid resolution' of a 'woman in dance,' whose commitment to explore the rhythm of life required the distinct expression of an invincible self. Her ultimate discovery of the divine soul unfolded in the artistic endeavors that primordially manifested the Supreme Being in musical creations and performative environments.Sketching down such a personality in words requires a complex unravelling of a relationship between the dancer and the dance. Her multilevel and multi-scalar engage- ment with the portrayals on the stage illustrates an intricate dwelling of the past and the present. Embodying varying characters of the epic stories, the intricacies of sequence in the performances divulge her continual practice, accomplishments, and imbibed emotions since childhood.

The eccentric and episodic collection of stories in the book portrays a life journey of an artist Dr. Sonal Mansingh, an exponent of India's classi- cal dance tradition. A ZigZag Mind is an autobiographical testimony of an artist's life that recounts unique and priceless moments of self-revelation. The book has been segmented intotwenty-six chapters in which the author exquisitely illustrates various themes ranging from 'Guru Šişya Parampara, 'Making of a Classical Dancer', 'Creativity in Dance', 'Why Life is Divine', 'Yamuna-Witness to Krsna Līlā', 'Sapta Nadi', 'Why I am Dvija', 'Radha', 'Draupadi', 'When the Gods meet' to 'Rāmāyaṇa as narrated by Tulasīdāsa".

The book unfolds with an interesting narration of the author about her gurus Prof. U. S. Krishna Rao, his wife Smt. Chandrabhaga Devi, Mylapore Gauri Amma, Vempatti Chinna Satyam, Kelucharan Mahapatra, and many more from whom she learnt the multi-faceted art of dancing.Highlighting the role of guru in making a disciple she remembers its age-old metaphor which isthe potter. The paradigm artist in Indic tradition is potter (kumbhakara) who does not make anything rather he only makes to manifest things which were earlier unmanifested. On the contrary, in the West, the ideal of an artist is carpenter who makes things.Artist in India is a sãdhaka, a yogi, a bhakta and his art is yoga.

Based on her own experience, the author beautifully differentiated the three components, namely, natya, nrtya, and nṛtta. Natya is based on rasa; nrtya is based on bhava (emotions); and nṛtta (dance) is based on täla (rhythm) and laya (time). At the sundown, the dance performed by Lord Siva is a manifestation of ecstasy without any purpose. He performs dance being merged only in extreme delight as propounded in the Abhinavabhāratī -भगवान् तु आनन्दनिर्भरतया कीडाशीलः सन्ध्यादौ नृत्यति । In this context, Siva is known as Nataraja the cosmic dancer. Here, the author reminds us the prime importance of dance in our life and the only source of enlightenment.

Besides public triumphs in on-stage performances, the author describes her inner awakening and her victories over self. She gives references to Sapta Nadi (seven rivers), the source of life and the rhythm of which gave tremendous momentum to the cultural civilization that prospered on its bank. While the characters of Radha, Draupadi, and Kṛṣṇa represent the philosophical contemplation of India, their enactment in the play is a source of her inner awakening. The author calls herself dvija as she rose above her mundane body and transcended her limitless passion for exploring new frontiers of Indian aesthetics despite her meeting severe accidents and physical challenges. She also presents a fascinating account of re-narration of our civilizational text Rāmāyaṇa by Tulasīdasa in the 16th century and how she adapted some of its important episodes during stage performances.

Summarizing the journey of Sonal ji in a book or in any form is an uphill task. Specially, when you know her closely or at least if you think that you know her closely, you get so much mesmerized with her multidimensional personality that you get confused which one to choose or leave for depicting her entire personality. One gets to believe that such persons only take birth once a in a while. It is not only her illustrious career as a classical dancer which attracts you but her commitment, dedication and emotional expression about "Bharata and Bharatiyata" has the capacity to change your thoughts and perception. So many books and articles have been written and published on. Her biographies have stood out as best sellers as well. Many writing legends have written about her still they look incom- plete. Even this book which is being attempted to portray Sonal Mansingh (by Sonal ji herself) through her thoughts may not be in a position to present her life and works completely. So wide and vast is her panorama. This book is another example of her versatility where she has portrayed her writing talent.

On behalf of IGNCA, I sincerely appreciateand express my gratitude to Dr. Sonal Mansingh Ji,for her perseverance, magnanimity and dedication towards Indian art. I hope the book will be received with great enthusiasm among academic fraternity and art practitioners.