Abstract

Theorists go on to argue why the type of dance that has been consistently called Rabindranritya in Bengal is the culture of every Bengali family. This is a tradition involving spontaneous emotions. During Rabindranath’s life, a definite boundary of his music has been established while his dance thoughts remained as ideas. The songs of Rabindranath and dances on those together have become an essential element of Bengali daily life for decades. Dance schools, institution and other cultural organization all over Bengal teach and perform Rabindranritya. An unceasing flow from creation to re-creation of dance on Rabindrasangit determines the continuum of the tradition. “Today we perceive that the dance idiom introduced by him has stood the test of time and has now become an established tradition of teaching, practice and presentation as the dance-art of the Bengalis-a pedagogical structure is visible” as argued by scholars and practitioners working on the subject. But it is also perceived that due to lack of knowledge and dedicated practice, Rabindranritya has been distorted and the correct idea has not reached the desired articulation. With this paper a humble attempt is made to involve the legal community in ensuring procedural fulfilment towards legal recognition of Rabindranritya as a traditional knowledge of the Bengal community as preached and practiced in reflection of Tagore’s dance idiom, so that the richness and sanctity of Rabindranritya is protected.