A critical approach to the appropriation of the Chakra system in

western dance

by

Anna Majcher

Anna Majcher/ 3809900

Supervision: Konstantina Georgelou

Second reader: Sigrid Merx
Master of Theatre Studies at Utrecht University
May 2015

1
Chapter 1. Introduction 4
Chapter 2. Understanding the Chakra system 11
2.1. The New Age movement 11
2.1.1. Orientalism 12
2.1.2. Positive Orientalism 12
2.1.3 Appropriation within the New Age movement 13
2.2. The construction of the Chakra system within the New Age movement 13
2.2.1. The Indian background of the Chakra system 13
2.2.2. Reshaping of the original Chakra system 14
2.2.3. The popular understanding of the Chakra system 15
2.3. Conclusion of the chapter 18
Chapter 3. Modern Dance and its fascinations / appropriations 19
3.1. The influence of the Delsartes system on modern dance 19
3.1.1. Delsartes System 19
3.1.2 The Delsarte system influences new ways of moving 20
3.2. The influence of Orientalism on modern dance 22
3.3. Eastern contemplative practices in performance arts 24
and performance training
3.4. Conclusion of the chapter 26
Chapter 4. The chakras in the contemporary dance field 27
4.1 Case studies 28
Thomas Krtvlyessy 28
Vraja Sundari Keilman 31
Deborah Campagna 33
4.2 Analysis 35
4.3 Conclusion of the chapter 38
Chapter 5. Conclusion 40
Bibliography 44

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Acknowledgements

My gratitude goes to my tutor Konstantina Georgelou, to whom I am very thankful for her
warm and professional approach with me whilst writing this thesis. I am grateful to
Liesbeth Wildschut for encouraging me in my determination to write about the Chakra
system. I am thankful to Sigrid Merx, as a second reader, for making me think bigger and
consequently rediscovering the subject from an unexpected angle by (paradoxically) at first
rejecting my proposal. I would like to express my biggest thanks to my family and friends
for their great support of my work.

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Chapter 1. Introduction

The Chakra system, one of the cultural elements of Tantric doctrine and general Eastern
traditions, is nowadays highly popular and has been appropriated by Western countries.
Understood as a human energetic system, the Chakra system finds its use in health related
fields, as well as within the fields of psychology, sociology and business. For example a
psychotherapist Grace Ross 1 in her counselling and psychotherapy practice offers, among
others, a therapeutic approach based on the Chakra system called the Healing Journey
through the Chakras; also a business consultant and strategist, Karen Yankovich2 works
with the idea of chakras as a means of improving ones business by making a strategic plan
for the business based on the themes of the chakras called Chakra Balancing for your
Business. Similarly, the Chakra system has spread to Western art, where it has been
appropriated into the Western field of dance, in the area of physical training and in the
choreographic processes.
Its appropriation by the Western cultures is tightly connected to the widely
popularised New Age movement3 . The New Age is originally a movement of modern
Western, industrialized society (Hanegraaff, 1996, 12). The foundations of NA began in
the United States and Western Europe. It freely appropriates from other traditions
spiritual ideas and practices (York, 2001, 9). Within the movement the foreign
knowledge is being applied for the users own purpose, out of its original
context (Hammer, 2001, 185). In the case of the chakras original Tantric context it is
perceived to be a very complex and at times, a not very well defined concept. It is not clear
for example whether chakras are an independent structure or a visualisation of meditating
yogi (ibid). However in NA, chakras are held to be an independent structure and to have a
concrete form. Thus, the New Agers are conversant with chakras that dont represent their
actual intentions. Therefore chakras, deprived of their original meaning, have resulted in
creating a distorted, yet often romanticized vision of Eastern culture. This unfounded
projection relates to Edward Saids notion of Orientalism, where the vision of the East is

1
Online source: Ross, Grace. 2011. Soulground Centre. [Accessed 24th May 2015]. Available from
<http://www.soulground.com/sessions/chakra>
2
Online source: Yankovich, Karen. [no date available]. Karen Yankovichs website. [Accessed 24th May
2015]. Available from <http://karenyankovich.com/root-chakra-the-foundation-work/>
3
In this thesis I use the initials NA to refer to the New Age movement.

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created out of the imaginary rather than its original context. Nevertheless, the use of the
Chakra system can also bring some positive benefits to its users. For example, as will be
later discussed, applied within the field of dance, the chakras body-mind approach helps to
emphasise the body aspect by making it equal to the mind, and therefore enriches dancers,
choreographers and teachers work.

The current ways of using the Chakra system within Western dance is the starting point
for this thesis. The use of the Chakra system is a large phenomenon, which does not only
relate to dance, but as mentioned above, the Chakra system also relates to various other
fields and disciplines, such as business and psychology. Therefore, the scope of this study
goes beyond the dance field. With this study I attempt to highlight the use of the Chakra
system in the discipline of Western dance and generally within Western culture. In this
way, I attempt to contribute to raising the awareness of the subject, which then hopefully
can create a difference in dealing with the use of the Chakra system.
As the subject of the examination in this study, I have chosen the working methods
of three contemporary artists (working as choreographers and as dance teachers), who
openly claim to work with the Chakra system to facilitate their work. Thomas Krtvlyessy,
Vraja Sundari Keilman and Deborah Campagna use chakras as a source for their
choreographic and educative purposes. Krtvlyessy uses the chakras as a system of
organisation for his improvisation classes. The chakras in Vraja Sundari Keilmans work
determine the movement material and the atmosphere of her performances. Deborah
Campagna uses the chakras to create transformative processes for her students. Analysing
their working methods (through an appropriation of the Chakras System that is adherent to
the NA ideology) leads me to the construction of a critical perspective of their use. In the
course of the thesis I will demonstrate that there are two perspectives related to the use of
the Chakra system. First perspective relates to the chakras broader critical context,
which includes the knowledge of the chakras original Tantric meaning and its later NA
reconstruction. The second perspective relates to the commonly known Chakra system in
the West, the NA reconstruction, which is used for the benefit of Western individuals.
The acknowledgment of these two perspectives is crucial for the conscious ways of using
the system and is the answer to my research question:

5
 How can the system of chakras be critically and consciously incorporated in the
physical training of dancers and in the choreographic processes?

To answer this main question I first need to answer the subquestions, which are:
What is the Chakra system? What is the chakras meaning within its original context and
within the context of the New Age movement?
What is the relationship between the appropriation of the Eastern traditions and modern
dance? How was the appropriation from the Eastern traditions used by the pioneers of
modern dance? How did the model of the Delsartes system, which resembles the Chakra
system, help to develop new ways of moving for the modern dance?
And how are the Eastern contemplative practices still used today within the western
performance practice and training?
Following the above-mentioned steps, I will at first describe the Chakra system.
I will do it by presenting the chakras original Tantric meaning, and as wel I will descrive
them through the perspective of the NA movement. I will introduce the NA ideology with
regards to how tradition and history are (mis)appropriated, yet at the same time how these
appropriations are used to create positive changes. In relation to this, I will examine the
following concept and literature with regards to the subject.
I will discuss the concept of positive Orientalism by Olav Hammer (2001) from
his book Claiming Knowledge: Strategies of Epistemology from Theosophy to the New
Age. According to Hammer, in the traditional discourse about Orientalism, the Orient is held
as a mirror in which the modernity of the West can be favourably reflected (96), whether
in case of the positive Orientalism the reflection serves the specific ideological purpose of
presenting a morality for our own culture while purporting to speak of a different one (ibid).
Similarly, the Orients ancient teachings are believed to be the remedy to help with re-
establishing these lost values within the materialistic Western culture (ibid). This concept
helps understand the great fascination with the Eastern traditional practices, and in the case
of this thesis, with the appropriation of the Chakra system. Yet, from another perspective
Hammer notices the danger of a free usage of these traditional beliefs in the process of
appropriation and how it might be misused and changed by New Agers, who are not related
to this tradition. He recognises this in relation to the Chakra system, where the original

6
concept got neutralized and de-indianized (ibid, 114). Michael York (2001) in his article
New age commodification and appropriation of spirituality refers similarly to the idea of
free appropriation, yet approaching it from a different angle. York claims that the
commodification of religion and the freedom to appropriate spiritual ideas and practices
from other traditions (9) is one of the NAs most controversial aspects. He describes how
the NA incorporates freely and abusively various traditions, transforming them according to
the rules of the free-market. George D. Chryssides (2012) in his article New Age observes,
similarly to Hammer, that this free way of appropriating Eastern religious traditions is not
presented truthfully. He claims that the Eastern appropriated aspects are tended to be
propagated in a Westernized and often romanticized form (Chryssides, 2012, 252). This
claim concurs with Hammers notion of positive Orientalism, reflecting the imaginary, yet
harmful consequences of the appropriation within the NA. However, the appropriations
must also be seen from the opposite perspective. Wouter Hanegraaff (1996) in his book
New Age Religin and Western Culture: Esotericism in the Mirror of Secular Thought
states that since the NA came into existence as a reaction in opposition to the old dominant
Western culture, at its core it is regarded as a longing for positive and valuable changes;
concerned with healing and personal growth (46).
I will also write about the relationship between the appropriation of the Eastern
traditions and the beginnings of modern dance. I will present it through the writings of
several authors: Joseph H. Mazo (1977) where in his Prime Movers: The Makers of
Modern Dance in America, critically describes, among others, the Isadora Duncan
inspiration with the Greek cultures and the Indian fascination of Ruth St. Denis; Suzanne
Shelton (1990) Ruth St. Denis: A Biography of the Divine Dance and Uttara Asha
Coorlawala (1992) with her Ruth St. Denis and India's Dance Renaissance, who both
concentrate on the work of Ruth St. Denis; Carrie J. Preston (2005) The Motor in the
Soul: Isadora Duncan and Modernist Performance and Mark Franko (1995) Dancing
Modernism / Performing, from whose writings I take the information about the work of
Isadora Duncan. Moreover, I will take the concept of the new kinaesthetic proposed by
Hillel Schwartz (1992) who in his article Torque: The New Kinaesthetic of the Twentieth
Century claims that the use of the Delsartes system influenced the new ways of
movement used by the pioneers of the modern dance. Ted Shawns (1954) book Every
Little Movement will serve to learn about the details of the Delsartes system. I will draw
a connection between the Delsartes system and the Chakra system and show great

7
resemblance between the two. The purpose of presenting the Eastern appropriation of the
pioneer of the modern dance, and showing the resemblance with the Chakras, the
Delsartes system will allow me to make a connection with Eastern appropriations and
specifically with the usage of the Chakra system in modern dance. Furthermore I will
describe the appropriation of Eastern meditative practices in relation to their use within
performance art and performance training for which I which use the article of Barbara
Sellers-Young (2013) Motion in Stillness Stillness in Motion: Contemplative Practice in
the Performing Arts.

Methodology
In order to understand the many ways in which the Chakra system is currently applied and
give an answer to the question How can the system of chakras be critically and
consciously incorporated in the physical training of performers and in the choreographic
processes? I chose to discuss three cases of Western artists and teachers, who deliberately
work with the Chakra system in their practice.
I look at the work of the Dutch choreographer Vraja Sundari Keilman who
successfully uses the system in her choreographic processes. Then, I look at the ways in
which the Netherlands based Hungarian artist Thomas Krtvlyessy, utilises the chakras as
a point of reference to build his improvisation classes and to adjust them instantly to the
needs of his students. Similarly, I examine the way in which the Netherlands based Italian
dance teacher Deborah Campagna applies the system in her course.
I collected the information about the above-mentioned case studies through the
means of individual oral interviews, which I conducted between 4 and 22 of October
2014. Unfortunately, I could not participate in the dance courses/workshops described in
this thesis and artistic processes. In the case of participation in the workshops of Deborah
Campagna, it was not possible in order not to disturb the intimate processes of the
participants; the improvisational classes of Thomas Krtvlyessy were not available at
the time of gathering the information for this thesis; and due to close date of Vraja
Keilmans new version of dance performance Hanumam (which I attended on 31 October
2014 in Korzo Theater, Den Haag), the possible date to visit the rehearsal process was
greatly limited, which due to personal reasons I could not attend. The oral interviews

8
therefore serve as the exclusive source of information with regards to the case studies.
The purpose of the interviews was to try to understand the ways of working with
the Chakra system by each artist, both on a theoretical level and especially in practice. In
my questions I insisted on learning about the concrete examples of how they are busy
with the chakras, their methodologies. Moreover, the questions were asked to realise
about artists background, religious practices, and their reasons behind the process of
getting introduced to and familiar with the system. This questions helped me comprehend
artists perspective on the chakras in relation to their awareness, or not, of the lack of the
broader critical context. Furthermore, I asked some of the questions as if I had no
knowledge about the chakras in order for the artists to introduce me to the system in ways
that they are familiar with. Through this I learned that the way in which each artist uses
the system differs from another in the themes, interpretations and correlations. The
observed discrepancy in the Chakra system strongly relates to, described in the Chapter 2,
the NA free re-construction of the chakra the system, which results in creation of vast
amounts of interpretations and correlations to it. Additionally, I asked about the specific
movements linked to each chakra.

In an attempt to answer the thesis question about a critical and conscious usage of the
Chakra system, as mentioned above I will analyse the work of Vraja Keilman, Thomas
Krtvlyessy and Deborah Campagna. I do that with regards to the theoretical frame of
ways of appropriation within the NA. I will investigate the application of the Chakra system
within these case studies with regards to the critical concepts of the New Ages
romanticized image of the East, positive Orientalism and the freedom to appropriate various
spiritual traditions for ones own purpose. This understanding will allow me to question
whether it is actually possible to use the Chakra system in Western culture and, in
particular, in the fields of dance and performance, without some of the negative
consequences of that application; e.g. adjustment to the Western perspective of Eastern
culture. Examining the work of these artists and teachers will demonstrate that despite
artists good intentions, the use of the Chakra system is inevitably connected to the
disregard of the chakras cultural context and its vast complexity. Originally, chakras were
related to the Tantric doctrines, perceived as meditative means and were used within the
yogis meditative path for mystical liberation. The chakras meaning within the NA shifted

9
to be an independently existing system within the subtle body, which became concretisised
and fixed to a variety of correlations. Moreover, chakras are perceived as an object in a goal-
oriented market. Modification of the Chakra system displays disrespect for the culture from
where the element was appropriated. It illustrates the Western dominance over the Eastern
culture and is therefore connected with the notion of Orientalism. The misappropriation of
the chakras specifically results in the de-indianizing of the system, disregarding its original
meaning, to instead be linked with Western cultures values and meanings (I will elaborate
further in the second chapter). On that basis, I will argue that it is important to create an
awareness of the issue of chakra appropriation, and most importantly to its negative
consequences. Moreover, I will demonstrate that raising such awareness can help de-mask
the Western cultural values carried in the chakras, and to de-romanticize the system. I
propose that this knowledge will enable a well-considered evaluation of chakra
appropriation by its users in dance (and elsewhere), which can lead to non-Orientalist
approaches to Eastern traditions in general.

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Chapter 2. Understanding the Chakra system

In this chapter I will describe the Chakra system, its origins and its later reconstruction
within the NA. It is significant to perceive the concept of the Chakra system through the
spiritual/religious perspective of the NA movement, as it is the New Ages reconstructed
version that is primarily considered as the Chakra system in Western culture. In order to
better comprehend and more precisely contextualize the NA, as it is approached in this
thesis, I will also refer to Edward Saids notion of Orientalism. In this way, the Chakra
system will be problematised as an Orientalist gesture of the NA movement.

2.1 The New Age movement

The rise of the NA movement can be dated to between the late 1960s and early 1970s. It
was at first identified as the Age of Aquarius. It arose as a combination of various historical
threads of nineteenth century doctrinal elements such as Western Esoterism, theosophy,
harmonial or positive thinking, the religious psychologies like: transpersonal psychology,
Jungianism and a vast variety of Eastern teachings (Hammer, 2001, 73) like Hinduism,
Buddhism and philosophical Taoism. NA is a vision rather than a unified theory. Its various
trends however share common aims, like the New Ages motives for emergence, which
were a concern for peace, an interest in environmental protection, and a belief in plurality
of truths rather then a single objective one (Chryssides, 2012, 251). NA comes as a
reaction and in opposition to the old dominant Western culture and therefore the need for a
significant change to its values. On a cultural level it appears as a desire for a change of the
dominant culture, and on the spiritual level, as a wish for improvement and evolution of the
human consciousness, which is regarded as the creator of the reality (Hanegraaff, 1996,
349). Moreover, the general characteristics of NA are concerned with healing and personal
growth (ibid, 46). It emphasises the interconnectedness, understood to be the key to
balancing stress and bringing health. The NA movement is seen to be a compensatory view
to Western society by offering a life perspective, valuing intuition and spirit over the ratio
(Ferguson, 1993, 145).

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2.1.1. Orientalism
NA interest in the Eastern traditions is a firmly established custom, which was incorporated
already within Western Esotericism, the predecessor of NA. The interest in Eastern
teachings came as one of the manifestation of New Ages rejection of Christianity
(Chryssides, 2012, 252), and thus of the dominant religion. Its curiosity, appropriation and
exploitation of the East is closely linked with Orientalism.
Orientalism is a concept described by Edward Said in his book Orientalism (1977).
It describes the way in which the West perceives the East (Orient), and how this is based on
the idea of a distinction between the Occident and the other . The distinction is built upon
the idea of the domination of Western culture over the Eastern. Consequently the Western
perception of the other is created in a manner that depicts the Occident in a favourable
light in relation to the other .
Orientalism from its beginning was related to colonialism, as the lands of the Orient
were Europes oldest colonies (Said, 1977, 2). Yet, in a geographical sense the term is
vague, as not clearly referring to a precise country or a region. It depicts a romanticized
image of the other projected by the Occident. The Orient, therefore is Occidents own
creation, more than a factual study of eastern cultures and places.

2.1.2 Positive Orientalism

Within the NA, Saids concept of Orientalism took a different turn. Olav Hammer, in his
book Claiming Knowledge: Strategies of Epistemology from Theosophy to the New Age
(2001), explains that in the traditional discourse about Orientalism, the Orient is held as a
mirror in which the modernity of the West can be favourably reflected, whether within a
positive Orientalism the Orient serves a specific ideological purpose of presenting a
morality for our own culture while purporting to speak of a different one (96). The
Orient or a fantasy image of the Orient is used as an example for our own age, a way of
exposing the ills that our culture is heir to (ibid). In that manner the Orient is presented as
ideal, versus the West being regarded as limited, concerned with being intuitive or having a
world filled with beauty. Therefore the Orients ancient teachings are believed to be the
remedy to help with re-establishing these lost values within materialistic Western culture.
Due to Orientalism, therefore, Eastern traditions are approached through a romanticized
perspective.

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2.1.3 Appropriation within the New Age movement
The NAs fascination with the Eastern traditions is closely bound with the appropriation of
various aspects of these traditions. It is however, a controversial issue as the NA very freely
appropriates others religious and spiritual practices, and then subsequently commodifies
them (York, 2001, 9). That puts the ancient traditions to work with Western capitalism.
New Age is part of what is described as the religious consumer supermarketone
which thrives on competition and the offering of various spiritual commodities (ibid, 367).
From the perspective of Westerners, this enables them to consider a variety of possibilities,
such as a new mode of living, based on the Eastern traditions. Although undoubtedly
favourable for Westerners, this process removes the appropriated religious beliefs and
practices from its original context and values. In that way it turns them into a product that
can easily be owned and used, and therefore consumed according to basic free-market
principles (ibid, 361).

The appropriation within the NA is tended to be propagated in a Westernized and often

romanticized form (Chryssides, 2012, 252). From one side, the process goes along with
the notion of Orientalism, presenting the Eastern traditions through the imaginary vision of
the West; and at the same time operates within the capitalistic rules of the free market, where
tradition is subordinated to the requirements of Western modernity.

2.2 The construction of the Chakra system within the New Age movement
The Chakra system is one of the elements taken from the Eastern tradition, which gained
popularity within the NA. Below, I present the origins of this concept and how it was
changed and adapted within the movement.

2.2.1. The Indian background of the Chakra system

According to Olav Hammer, the original meaning of the Chakra system is different from its
popular understanding in the West. As he writes, the Chakra system is originally a
concept embedded in a context of Indian Tantra (Hammer, 2001, 181). Originally
Tantrism, developed around the sixth century AD, aimed for the mystic liberation of
individuals via various rituals. During the twelfth and thirteenth centuries Tantrism was
reinterpreted, which resulted in replacing the external rituals with meditative manipulation
(ibid, 182) of ones inner world, as a way through which liberation could be reached.

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Development of this thought gave rise to a yogic practice built around a system of cakras
or wheels (ibid, 182), where chakras were perceived as points of meditation. In a process
of strengthening the meditative process general symbolic associations and correspondences
were linked with the chakras.

2.2.2. Reshaping of the original concept of the Chakra system

Tantric knowledge, and with it the Chakra system, was introduced by Sir John Woodroffe
to the Western public who were interested in non-Christian religions, through his
publication The Serpent Power in 1919 (Hammer, 2001, 183). The chakra theories were
completely presented within the traditional religious concepts of the places of its origin
(ibid, 184), remaining in that way unchanged. However, succeeding NA authors of chakra
publications, some of which will be described below, began to change its theories for their
own purposes, within a Western context.
In Tantric doctrines, it is not clearly defined whether the chakras are independently
existing structures in the subtle body, or if the yogi somehow creates the chakras by
visualizing them as part of his meditative praxis (ibid, 185). Despite this, theosophist
Charles Leadbeater formulated the chakras to be an independent system, apart from its
tantric relation to the yogis visualisation, an interpretation which prevailed to be one of the
most influential. According to his view, the chakras have an objective existence and can be
perceived through psychic vision (ibid, 184). The chakras clear presence, as Olav
Hammer sarcastically observes, allows for further fixation of their numbers and properties
(ibid, 185). Moreover, some aspects of the Tantric system were dropped causing a radical
reduction to the system (ibid). Leadbeaters basic transformation of the material from a
complex and sometimes contradictory set of opinions on the chakras presented in
deliberately obscure texts composed over several centuries, to a simple doctrinal statement
directed at a large audience, constitutes the radical reduction of the exotic other on which
all subsequent discussions of the chakras are based (ibid, 185).
In addition, the chakras got reshaped through the process of creating various
correspondences. In time, these correspondences became more fixed and precise, like the
example of associating the spectrum of colours to each chakra by Christopher Hills (ibid,
188). In general, there was a divergence of opinion concerning the correspondences between
the later and earlier theosophical authors, like Leadbeater (ibid, 189). Nevertheless, each
chakra was associated in various interpretations with e.g. a particular gland, a nerve plexus,
an organ, shapes and colours, to then be linked with illnesses and personal problems. The
later associations were a result of the chakras connection with the persons well-being

14
introduced by Caroline Myss. With this interpretation, chakras radically depart from both
Tantric and later theosophical traditions, to then be based on entirely new symbology (ibid,
190). During the 1990s, the concept of the chakras has gradually gone from being part of
a theosophical or post-theosophical worldview to becoming part of popular culture (ibid,
190). By disembedding and reembedding these theories, writers ensured that chakra
beliefs would adapt to a variety of different contexts of modern West (ibid, 184).
Dissociated from its original meaning and being linked to various physical, emotional and
intellectual symbolic associations, chakras started to be perceived as a model or a tool to be
used within diverse fields like business or psychology. This reduced and constructed theory
serves till now as a popular source and is ground for debate about the Chakra system in the
West.

2.2.3 The popular idea of the Chakra system

The Chakra system, as a popular concept functioning within the Western NA society, is
often described as below.
The Chakra system originated from and is part of the ancient Indian tradition.
Mentioned around four thousand years ago in the ancient literature of the Vedas, the oldest
sacred texts of India (Judith, 1996, 5). Generally, when discussing the Chakra system only
seven major chakras are being taken into consideration. However, it is said that there are
88,000 chakras from which only about 40 secondary chakras are considered to be important
(Sharamon and Baginski, 2000, 21). The Sanskrit meaning of chakra is wheel, which
relates to its constant state of rotation (ibid), as each separate chakra is a spinning sphere
of bioenergetic activity (Judith, 1996, 4). The Chakra system in that sense is understood
to be part of the energetic system, together with the subtle body and the energy channels
(ibid, 9). The Chakra system, in a more poetic and metaphorical sense, refers to the symbol
of the sun, which as a wheel, moves across the sky. It depicts the eternal circle representing
universal balance and celestial order (ibid, 4).

The chakra-body relation

The chakras are believed to be places of concentrated energy that relate to the human subtle
body. However, they are also linked with the physical body, showing their direct relation to
particular body parts, vertebras, organs and/or glands (Hammer, 2001, 186). These
connections to the body are located vertically, one on top of another, in the neighbourhood
of the spine (Judith, 2003, 12). These are: base of the spine, abdomen-genitals, solar plexus,

15
heart area, throat, brow and top of the head. Based on their location in the body, the
chakras have become associated with various states of consciousness, archetypal elements,
and philosophical constructs (Judith, 1996, 6). The chakras located physically closer to the
earth relate to survival, movement and action, thus referring to more practical issues; as
opposed to chakras located in the upper part of the body that relate to words, images and
concepts, as responding to mental realms (ibid).
Despite their non-physical constructions, the chakras are believed to have an
influence on the physical body, due to the physical responses of the chakras energetic
functioning. Anodea Judith (2003) believes that the chakras generate the shape and
behaviour of the physical body, much as the mind influences our emotions. An excessive
third chakra would exhibit a big, tight belly; a constricted fifth chakra results in tight
shoulders or a sore throat; a poor connection through the first chakra may show up in
skinny legs or bad knees (ibid, 20). Physical condition, in return influences the
functioning of the chakras, as the connection works both ways. There is thus, a mutual
relationship of influence between the body and the chakras.

The holistic approach

One of the most central concerns of the NA movement is the quest for wholeness at all
levels of existence (Hanegraaff, 1996, 119). However, the holistic approach is not clearly
defined nor linked to a particular theory, it stands in opposition to what is perceived as non-
holistic and linked with the old dominant culture (ibid). The holistic approach therefore
attempts to transform the concept of dualism, like the distinctions between Creator and
creation, man and nature and spirit and matter in its various derivations, from Christian
asceticism to Cartesian dualism (ibid). For example, in the alternative approaches to health
care there is a conviction that a human is a wholistic interdependent relationship of body,
mind, emotions and spirit (Robert C Fuller. 1989. Alternative Medicine and American
Religious Life. 92, quoted in Hanegraaff, 1996, 54), with the immune system or the Chakra
system being the connector between them all (ibid). The chakras are therefore seen as a
kind of a master program that governs our life on each level, which assimilates and
organizes various elements of the system along with various aspects of human life, making
it into a total picture. Depending upon the interpretation, these aspects are survival, sexuality,
power, love, communication, intuition and cognition (Judith, 1996, 7).

16
The Chakra system as a tool
As mentioned before, within NA there is a free appropriation of Eastern traditions, and their
commodification. These processes, together with the Westernizing treatments of NA
authors, changed the Chakra system according to Western cultural and economical
standards. Dissociated from its original context and linked with a variety of meanings, the
system began to be perceived as an independent reality. In combination with the free-market
approach, the Chakra system began to be perceived and used as a tool for various purposes,
and by many as a part of popular culture. Despite its use within various alternative body
oriented healing practices, the system was, and still is applied within fields like psychology,
sociology or business. It is used as a base and/or inspiration for creating various models,
like e.g. the model of group development (Gilchrist, R. and Mikulas, W.L, 1993, A chakra-
based model of group development); the model of consciousness (Robert Beshara, 2013,
The Chakra system as a bio-socio-psycho-spiritual model of consciousness: Anahata as
heart-centered consciousness); or the model for business strategy (Colin Eagan, 2013, The
UX Chakra Model). Moreover, as mentioned previously in the thesis, the chakras were used
as a diagnostic tool by Caroline Myss (Hammer, 2001, 193). Mysss use of the chakras as
a diagnostic tool was founded on the establishment of her correspondences between the
anatomical and psychological aspects. The chakras assist her with making statements about
the genesis of illness and its ways of healing (ibid, 191), and in general they are the
symbolic language in which she discusses her clients emotional difficulties (ibid, 193).
Living in American culture the psychological theories and practices, that she is exposed to,
define certain character traits as part of the psychological constitution of the healthy
individual and other traits as pathological (ibid, 191). This results in construction of certain
psychological value judgments, which are included in the Chakra system. Chakras are
used in a context of a self-help literature where they serve as means through which the
reader can understand and reevaluate his life. This happens as through the understanding
of the psychological aspects of the chakras he consequently assimilates the fundamental
American values reflected by the chakras (ibid, p. 191).
Corresponding chakras to character traits is significant because the system -
despite its connotation with ancient philosophy, which is regarded as perennial
philosophy - implicitly defines contemporary culturally valued aspects of the self (ibid, p.
195). Chakra themes thus carry Western values concerned with the psychological
construction of, culturally accepted or not, person. Therefore when chakras are used for

17
psychological analysis, the analysis is done accordingly to the Western contemporary
value judgments.

2.3 Conclusion of the chapter

In this chapter I introduced the Chakra system by examining the NA movement, which is a
necessary step for establishing a complete view on the Chakra system.
The popularly known Chakra system turns out to be a construction of the NA and
its predecessors. The NA is firmly linked to Orientalism, which refers to the Western
dominant exploration of the other culture. The NA appropriation of Eastern culture however,
strongly relates to the notion of positive Orientalism, since Eastern knowledge is perceived
as a remedy for the West. Moreover, the NA ways of free appropriation and
commodification of the Eastern spiritual findings, makes these findings the subject of free-
market rules. Therefore the Chakra system serves Western culture as a tool to be used for
all, and in various fields. That results in decreasing the chakras original context and meaning
but favourably enriches Western culture with ways that it can benefit from the chakras
various uses.
One of the fields where the chakras are used is in the field of contemporary dance,
which will be elaborated upon in chapter four. Now, however I will describe the use of a
relatively similar system to the chakras by the pioneers of modern dance, and how it
influenced the development of movement in dance. In addition, I will explore the fascination
with the foreign cultures and their appropriation in the creation of choreographies.

18
Chapter 3. Modern Dance and its fascinations / appropriations

In this chapter I will describe Delsartes system and how its incorporation by the pioneers
of modern dance influenced the creation of new movement in dance. I will observe that
Delsartes system, with its divisions of the torso into zones, together with the spiritual and
emotional system of correspondences, greatly resembles the Chakra system. Moreover, I
will attempt to show that the relationship between the appropriation of Eastern traditions by
modern dance dates back to the beginnings of modern dance, as the pioneers created their
dances inspired by their fascination with the East and other cultures. Moreover, I will
present more recent applications of the Zen contemplative practice in the performing arts
and in performance training. I will focus on the aspects of the conceptual framework behind
Zen practice, which are used to facilitate performance and training.

3.1. The influence of Delsartes system on modern dance

3.1.1. Delsartes System

The system of Francois Delsarte, who was French musicial and teacher, deals with
relations between body gestures, expressions and the soul. It is based on the law of
correspondence, which states that [t]o each spiritual function responds a function of the
body; to each grand function of the body corresponds a spiritual act (Schwarts, 1992, 71).
Delsarte designed his system, called also the system of expression, to help actors, singers
and musicians understand the relationships of the body, expression and spirituality as a
means of improving their performance. The system is religiously colored, (..) catholic and
enlightened (ibid.). It organizes the body into zones linked to certain energies: spiritual,
emotional or vital (Foster, 2011, 115). One of the two versions of the bodys division
speaks about the correlation of the head with the mental zone, the upper torso with the
emotional and the lower torso and limbs with the physical vital zone (Shelton, 1990, 12).
The second version differs only by treating limbs as a separate physical zone, linking the
complete torso as emotional. In both versions however, the space above the head is
considered to be the supernatural realm, where the expression of ecstasy, aspiration and
prayer take place. The system of correspondence and the division of the body into zones, as
Ted Shawn (1954) claims, can be of benefit to psychiatrists, teachers, or among other

19
professions for analysing a persons state through his body. For example, the system can
work in a dance class as a means of helping a student with his/her poor balance by assisting
in realising his/her emotional or mental condition (86).
Delsartes system, especially its first version, shares big similarities with the Chakra
system. Both systems are linked with correspondences, which cover aspects of the body,
emotions and mind, and are related to spirituality. The placement of human body parts in
relationship to these different aspects is also the same. Delsartes head relates to the mental
zone, which may connect to the sixth chakras intuition and the seventh chakras cognition
aspect; the emotional upper zone may respond mostly to the fourth heart chakra but as
well to the fifth communication chakra; and the lower physical torso clearly matches the
first survival and second sexuality chakras. The third ego power chakra could be,
depending on the interpretation, linked to the emotional or physical zone of Delsartes
system. Moreover, these two systems were and are used to work with people by means of
including their physical, emotional and mental aspects.

3.1.2 How Delsartes system influences new ways of moving

The spread and popularization of Delsartes system in both Europe and America, made it a
subject of study for many; among them were people in the field of dance, like Genevieve
Stebbins, Ted Shawn, Isadora Duncan and Ruth St. Denis. Delsartes system thus turned
out to have a great influence on the dance scene of this time. It inspired new ways of
thinking about movement, which in opposition to more conservative ballet rules brought a
fresh concern for the absolute integrity of gesture, [his] attention to the expressive power
of the torso and [his] desire for movements liberated from highly mannered codes of
motion(Schwarts, 1992, 72). American dancers adapted these new directions in moving in
a rather selective manner, as they rejected the systems rigid fixation on specific gestures
being associated with specific meaning. Fascinated by and educated in the Delsartes
system, they started to implement his ideas into their art. They took his concept of depicting
the torso as an emotional zone related to the heart and solar plexus (Shawn, 1954, 38),
and consequently began releasing the human torso that had been so rigorously confined
by the costume and choreography of stylized ballet (..) (Schwartz, 1992, 73). The free
torso gave them new possibilities, like for Duncan it began to be a point of the invention of
her movement initiation. Delsarte, the master of all principles of flexibility, and lightness
of body, should receive universal thanks for the bonds he has removed from our constrained
members. His teachings, faithfully given, combined with the usual instruction necessary to
learning to dance, will give a result exceptionally graceful and charming (Shawn, 1954,

20
80). The implementation of Delsartes system influenced new ways of moving, which in
opposition to ballet technique, engaged the torso and therefore enabled the expression of the
whole body. Moreover, it allowed the pioneers of modern dance to support their new claims
about dance, and root them in its physical, emotional, mental and spiritual body of
Delsartes correspondences.

Duncans movement initiation

Isadora Duncan, following Delsartes focus on the expressive potential of the torso,
similarly turned herself towards the lower torso and precisely to the solar plexus as a means
of inspiration (Schwartz, 1992, 72). The solar plexus, as the place where the soul is
temporarily centred within the human body, is the centre of creativity, a sort of motor
(Franko, 1995, 2), and the initiator of her movements.
Whether we are to believe it or not, Duncans personal discovery of movement can
be read as a foundational narrative of modern dance, its myth of origin (ibid, 1). In fact
Hillel Schwartz, in his article Torque: The New Kinaesthetic of the Twentieth Century
establishes the trend of the twentieth-century motion after Duncans designation of the
solar plexus as the physical location of the soul and the motor propelling dance (Preston,
2005, 278). According to him, beside Duncan it was also the work of Rudolf von Laban,
Ruth St. Denis and Martha Graham that (..) together established a model of motion as a
spiral at whose radiant centre was a mystical solar plexus and at whose physical axis was
the preternaturally flexible spine, bound link by vertebral link to the earth as to the heavens
(Schwartz, 1992, 75), or a spiraling outward from a soulful center (ibid, 108).
Jozeph Mazo (1977) deduces that Duncans discovery of the solar plexus
initiations lead her to the experience of ki energy (42). He suspects that based on her
writings, which describe sensations as a tingling or a warmth flowing through the body,
which he claims to be remarkably similar to the flow of ki. Ki energy is tightly related with
eastern practices like yoga, martial arts or shiatsu, therefore I would argue that he assumed
her experiences to be related to Eastern practices by perceiving her writings through the
perspective of Orientalism.
The initiation of the movement in the solar plexus as a soul stood in opposition to
the meaningless movement of the entertainment theatre. Consequently, for the pioneers of
modern dance the meaning behind the movement was of great importance, making a
physical movement [was] a crucial means of human expression, a form of worship. If we
can find that God-Within, wrote Shawn, we can return to the primitive source of dance,
which were the flowering of mans full self-consciousness (Schwarts, 1992, 77).
It can be said that the application of Dalcrozes system had a great impact on new ways of

21
moving that were developed by the pioneers of modern dance. Ted Shawn (1954) claims
that both Duncan and St. Denis freed movement from the stylized and artificial ballet and
from the meaningless acrobatic movement of the commercial theatre. The use of fluid
movement through the entire body, especially the torso, as against the rigid torso of the
ballet dancer of 1900, was one of the major differences in the technique and vocabulary of
modern dance as against its predecessors (82). It is especially Isadora Duncans
fascination with the solar plexus that changed the generated movement material, as it was
now being initiated from the previously constricted torso. Moreover, the connection of the
solar plexus with the soul gave and linked movement to spiritual and therefore more
valuable meaning, in opposition to the meaningless movements of commercial theatre. It can
therefore be said that these pioneers fascination with Delsartes system laid the ground for
the next generation to work with similar ideas of a system that includes correlations to
spirituality, mind, body and emotions.

3.2. The influence of Orientalism on modern dance

In search for the deeper meaning of movement and dance both Isadora Duncan and Ruth St.
Denis, beside Delsartes system, also took ideas from foreign cultures and traditions. At a
time when Orientalism, as a popular cultural phenomenon and an intellectual study, was
popular in America as a phase in the greater cult of the exotic prevalent at the turn of the
twentieth century (Shelton, 1990, 54), Duncan and St. Deniss choices or fascination with
the "other seemed to be rather understandable.
St. Denis was highly inspired by the colonial imagination of the Indian culture. In
her unashamedly inauthentic (Coorlawala, 1992, 144) dances she reflected her own
vision of India. Her growing interest in oriental mysticism was both a shrewd search for
novelty and a quest for the self (Shelton, 1990, 41). Nevertheless, St. Denis appropriation
of the mysterious other was highly sexualised (Picart, 2013, 91), in a similar way to the
general portrayal of the other . Joseph H. Mazo (1977) concludes that by taking what
was handy, meaning a contemporary interest in Orientalism, along with a wish for spectacle,
attractions, a theatre of all kinds, and periodic religious revivals, St. Denis made it serve her
purpose (83). Her performances therefore, among others Radha and The Yogi, a
pantomimic study of an Indian ascetic with incorporation of yoga exercises (Shelton, 1990,
80), fit perfectly the tastes and needs of the audience. St. Denis dancing was perceived as
bringing a universal rhythm, joy and harmony and being beneath industrial modern chaos.
This understanding falls in with the phenomenon of Orientalism, understood as a rejection

22
of the modern world, and with the longing and search for the retreat within the sacred
societies of the primitive spirituality of the East (ibid, 55).
Similarly, Isadora Duncan showed great fascination with ancient traditions by taking
form from the Greek culture. She applied some Greek dances as a model for her new form
of dance, but in the same fashion as St. Denis, she did not reproduce them but took them
only as an inspiration. Duncan was inspired by the bodily poses portrayed on the Greek
vases, and perceived them as capturing natural body poses, in opposition to the
conventionalised ballet positions (Mazo, 1977, 44). Duncans Hellenism (Franko, 1995,
20) also included her fascination with the Dionysian chorus, the staging of which became
her lifelong project (ibid, 17). For that reason she began teaching dance and opened her own
school. Her goal was not the imitation of the choral, but in her own words to "be inspired by
it, to recreate it in myself with personal inspiration; to take its beauty with me toward the
future (Isadora Duncan. 1927. What the dance should be. Ecrits. 45, quoted in
Franko, 1995, 18).
However inspired by the Greek culture, Duncan did not take from the culture of the
other as it can be said that Western thought and culture was shaped on the Greek
culture, with great individuals like Aristotle, Pythagoras, Plato and many others.
Nevertheless I use Duncans fascination to show the way in which the appropriation of the
Greek dances by Duncan, as an American choreographer, took place; which is by using it as
a model, inspiration and perhaps a base to root ones ideas.
Both St.Denis and Duncan enriched their movement material by drawing
inspirations and motivations to move from foreign cultures, appropriating their styles,
mentality and religious elements. The appropriation of dances from Eastern (and Greek)
culture, which looked foreign to an American dance scene at that time, then dominated by
ballet aesthetic and form, was done by regarding them only as a loose inspiration for both
choreographers upon which to draw their artistic visions. Through the notion of
Orientalism, they both searched for the imaginary image of the other .

Martha Graham, as a student of Ruth St. Denis and Ted Shawn, similarly drew on
Denishawns 4 choreographic fascination with the exotic, in her later creations (Picart, 2013,
91). In turn her student Merce Cunningham, a choreographer of the Merce Cunningham
Dance Company, consequently drew on this fascination with the East by integrating Eastern
Zen philosophy into his artistic work and life (Sellers-Young, 2013, 75). His interest

4
Denishawn is a name of the dance school lead by Ruth St. Denis and Ted Shawn

23
however evolved from his long collaboration with the musician and composer John Cage,
rather then from Grahams legacy.

3.3. Eastern contemplative practices in performance arts and performance training

D.T.Suzuki introduced Zen, as a religious tradition, to the United States in 1893. He had the
most direct influence on Western artists and thinkers, such as John Cage, Merce
Cunningham, and others through his extensive writings. Instead of focusing on strenuous
meditation techniques, Suzuki introduced Zen as a method of self-realization which was
essentially an extension of the psychological framework familiar to Western-trained
academics (ibid, 76). For American artists, the combination of psychology and spirituality
that points to the present time, repetition as discipline, development of intuition as means of
enlightenment, became an important element in their creative processes (Helen
Tworkov.1989.Zen in America. 3, quoted in Sellers-Young, 2013, 76). Through the
practice of Zen meditation, which expanded awareness and brought one into new evolved
states of being, aroused many artists creativity. Moreover, trained in contemplative
practices, artists were enabled to embody an attitude of motion in stillness (Sellers-
Young, 2013, 86), a deep listening and a non-attached process of engaging in ideas.
Contemplative practices therefore helped the creative thinking of many artists. In the
1960s and 1970s, Zen and other systems of Asian contemplation and/or performance were
increasingly included in the aesthetic of the Western stage (ibid, 76). For example, director
Jerzy Grotowski incorporated Indians kathakali training exercises into his rehearsal
process, and director James R. Brandon took elements of noh and kabuki to include them in
his theatre programe at the University of Hawaii (ibid). Artists involvement and fascination
with zen philosophy was connected to "an attempt to find bodily meaning in the context of a
post-World War II world. (ibid, 75).
The integration of Zen and other forms of Asian contemplation and performance
training into Western performance training is tightly linked to body-mind relationships. The
idea of connecting body and mind through one intensity of mind by Japanese actor
Zeami5 , was adapted by acting teachers as a means to lead towards the unification of the

5
Zeami Motokiyo (1363-1443) is (together with his father Kannami Kiyotsugu 1333-1384) a founder of
the noh theatre (McCutcheon & Sellers-Young, 2013, 83). Zeami was an outstanding performer, a
playwright and a critic (McKinnon, 1953, 203). His aesthetic ideals undoubtedly derives from the
knowledge of literary, philosophical, and Buddhist sources which he wove so effectively into his writing
(ibid, 206). He was for establishing a procedure of training that would keep an artistic tradition alive when
passed from generation to generation. His procedure focused on the qualities understood by him as

24
performers body and mind, by going beyond the internal versus external conflicts (ibid,
82).

Based on the Asian perception of the integration of body and mind, Western dance evolved
a movement, which grasped the idea of the integration of body and mind. It shows itself in
Margaret HDoublers approach to dance, a teacher of the post-modern artist Anna Harprin,
"as an artful science that integrated body and mind in the creation of the imagination
informed by the physical patterning of the body; and in the work of Mabel Todd, who
incorporated an approach currently referred to as somatic awareness, when working with
dancers on bringing to their awareness unconscious states without referring to a specific
aesthetic (ibid, 84). Somatic practices emphasise the unity of mind and body as
experienced from within, and complement disciplines of inquiry that primarily study
knowledge about the human body and mind(Jill Green. 1998. Engendering Bodies:
Somatic Stories in Dance Education quoted in Sellers-Young, 2013, 84).
Moreover, the concept which is behind each Asian form, of directing attention to
inner states that then transform and open the body to new modes of being (Sellers-Young,
2013, 84), is the basis for creating new dance and movement forms. These, like Authentic
Movement or Feldenkrais, explore the combination of concentration with internal awareness,
which relates to a deep state of consciousness (ibid, 84).

The use of the Eastern Asian practices within the performing arts and training is linked to
the inwardly turned attention. That enables the experience of deep states of consciousness,
which allows the transformation of the body and the non-attached approach to ideas that
help with creative thinking. Moreover, the unification of body and mind gives the performer
a heightened presence on stage, gives another layer of meaning to the body, and is a base to
develop the body-mind related dance or movement techniques. In this respect, it could be
argued that the application of the Eastern meditative practices benefits the field of
performing arts in the West. What is especially important in this matter is the Eastern body-
mind aspect, which brings a perspective of unity, and therefore questions the long time
prevailing Western perspective of Cartesian dualism. In that way, it stresses the equality of
the body in a similar manner that till now only the mind was entitled to. This is a positive
aspect especially within the field of dance, as the body is no longer understood as

essential to the actors successful presentation. He stressed the technical skills together with the mental or
spiritual training as important for the actor to acquire a complete understanding of the Non. This was an
exacting discipline of mind and soul in a search for the means to realize maximum effectiveness in
technical skills (ibid, 209).

25
submissive to the mind, and therefore less important. In this way it changes the way in
which not only dance was created, rehearsed and performed, but also perceived. The body
gains its equal significance against the, till now, primacy of the mind.

3.4. Conclusion of the chapter

In this chapter I described the close connection between appropriation from the Eastern
cultures and the beginning of modern dance, demonstrated in the example of Duncan and
St.Denis work, and later on, the performance arts in general. Moreover, I described the
influence that the system of Delsarte had on the way that early modern dancers begin to
move and I emphasised its great resemblance with the Chakra system, with regard to its
division of the body zones and relation with mental, emotional and physical spheres. It can
be therefore said that within modern dance there is a kind of tradition of working with
systems that are alike. Furthermore, I write about the incorporation of Eastern contemplative
practices into performance practice and training, and specifically the aspects of the body-
mind connection and inward concentration which is shown to have a great influence on the
performers, and on the development of dance and movement integrative practices.
The appropriation of Eastern culture by modern dance and other performing arts is
closely connected. Therefore, it can be claimed that, the appropriation of the Chakra system
within Western modern dance has its seed with the invention of modern dance. It is despite
the fact that the first figures of modern dance and their followers did not engage themselves
directly with its use, but with the similarly functioning system of Delsarte.

26
Chapter 4 . The chakras in the contemporary dance field

In this chapter I will discuss the use of the Chakra system as part of the physical training of
dancers and in the choreographic processes, using examples of working methods by artists
Thomas Krtvlyessy, Vraja Sundari Keilman and Deborah Campagna. They live and work
in the Netherlands and coincidentally all are alumni of the Rotterdam Dance
Academy/Codarts.
In this chapter I will describe their individual working methods with the Chakra
system as part of their choreographic process and dance training. Based on the analysis of
their work methodology I will show that their use of chakras displays the ways in which
cultural appropriation is executed within the NA. The analysis of their ways of working
demonstrates that there is an affinity between them and the pioneers of modern dance. This
shows how appropriating ideas from other cultures, in order to create their artistic vision,
takes place. The previous analysis of these pioneers working methods allows me to
understand that its not a new phenomenon that dance artists work with other cultural
contexts, as in case of contemporary artists, its the Chakra system. In revealing the New
Ages ways of appropriating chakras by artists will consequently allow me to demonstrate
that despite their good intentions with regards to the use of chakras, it is inevitably
connected to the disregard of the chakras cultural context and its vast complexity.
I will begin by describing how artists relate to the chakras and their ways of working
with the system, to then use it for the analysis, which I will conduct through the way of
appropriation within the NA, as it has been described in chapter two.
All the information regarding the artists working methods with chakras were
gathered and recorded during a series of oral interviews6 .

6
The interviews with Thomas Krtvlyessy took place in Rotterdam on the 4 October 2014; with Deborah
Campagna took place in Rotterdam on the 21 October 2014; and with Vraja Sundari Keilman took place in
Baarn on the 22 October 2014

27
4.1. Case studies

Thomas Krtvlyessy

Thomas Krtvlyessy is a Netherlands based Hungarian artist, a founder of The Real

Dance Company. Moreover, he is a teacher of various techniques, among which are dance
improvisation and Kinethic Awareness. He uses chakras during his improvisation classes.

Krtvlyessy got introduced to the Chakra system during his studies at the Rotterdam
Dance Academy, where his teacher Els van Buren used mudras7 to facilitate the class.
Mudras are specific hands gestures, which in Indian culture are believed to have powers to
channel energy to a persons body and mind (Carroll and Carroll, 2012, 9). The experience
of seven mudras related to the chakras allowed him realise the power of this system, which
resulted in his later engagement with the Chakra system. He uses the system to further his
understanding of the world, and to organise himself within it. Considering the vast amount
of information that one needs to deal with, chakras are for Krtvlyessy, as he claims in the
interview, a sort of folder system, which helps him getting through the clutter.
Krtvlyessy is aware of the cultural appropriation related to using chakras in a
Western context. He reflects: How something that was created in India a long time ago,
and then got flattened and appropriated by American culture, which was the transformation
process which I need as an European person to get there, how does this relate to my
understanding of the system? What does it illuminate? And I am interested in seeing all
these different cultures that we create, all these cultural artefacts, cultural knowledge that we
create from different cultures .
Moreover, for Krtvlyessy, chakras reflect an Indian and European hierarchical
thinking, where higher and therefore more desired chakras are above the lower mundane
ones. That is why chakras are, at the same time, a combination of holism and imperialism.
According to Krtvlyessy this statement should be realised and remembered. It is

7
Mudras are hand positions and gestures that relates to the energy poits and currents in the physical and
subtle bodies. This can afford them tremendous healing powers and the ability to change how our energy
moves and works (Carroll and Carroll, 2012, 9). Hand mudras have a significant role in Indian yogic
culture. They have a role of channeling high energies into the body and mind. They are as well related with
the rituals of Hindu and Buddihist deities, and are used in Indian dance and drama to e.g. project certain
emotions

28
therefore, due to the fact that associations relating to each chakra are culturally conditioned,
that they hold certain cultural values. The relationship of certain body parts to these life
aspects is therefore symbolic. Nevertheless, Krtvlyessy chooses to work with the Chakra
system, as it is compatible with his work ethics. He believes that it is his and other artists
duty to create experiences that could help people find their own way. When using chakras
he hopes for such experiences. Furthermore, because he is aware of the issues related to
appropriation of chakras, so acknowledging the notion of Orientalism, he is against the
usage of the chakras by Western people who simultaneously continue with racism,
hegemony, sexism, classism and exploitation of the flora and fauna.
Krtvlyessy works in relation to the chakras states of being. He claims to recall
previously experienced states of being linked with particular chakras by visualizing colours
and/or performing mudras. Moreover, the execution of mudras gives him a physical
experience in his body, which is an essential proprioceptive experience, which could only be
strengthened by mental visualization.

Ways of using the Chakra system:

For Krtvlyessy there are different levels that the Chakra system can be worked on.
However, in his work generally, he understands chakras and mudras to be a point of
reference, a reminder, or a system of memorisation. Chakras refer to certain life aspects,
which when taken together can be understood as complete. The memorization of chakras
helps with remembering these essential aspects and states of being, which are then important
for Krtvlyessy in his work.

Warm up
In the past, Krtvlyessy would use chakras for warming up before performances. He
would use them to recall all the states of being related to the Chakra system by performing
the mudras and making visualizations. He claims that in this way he would address all of the
aspects of his being, and therefore be completely prepared and fully present as a performer.
This mental preparation enabled him to communicate with the audience and people around
him.

Communication
Now, Krtvlyessy applies mudras to facilitate his communication with others. He performs
mudra that relates to the heart chakra, which helps to relax the chest muscles. He gets

29
centred and his posture becomes more upright. This also helps him with being more open
for the exchange of information, for better listening and communicating any sort of
messages.

Structuring the course

For over a year, Krtvlyessy has used the Chakra system when teaching his dance
improvisation course. He spends an average of two to three classes for each of the chakra
themes, exploring it through movement. However, the order of the classes is not fixed, as he
always adjusts the content of the class, and therefore the structure, to the groups needs.

Reflecting on the students

In his dance classes, Krtvlyessy uses the chakras as a system of reference, in order to
comprehend his students needs. This awareness helps him to formulate correct tasks at the
moment, which will then help the entire group to go through a certain experience or
sequence of experiences that will hopefully help them to develop their technique and their
way of dancing. For example, even if Krtvlyessy planned to work on the composition,
which he associates with the seventh chakra, but he realised that the students were tired, he
would for instance introduce exercises associated with first chakra, to get students focused
on their bodies and being grounded. Often, when people would experience difficulties with
this movement, he would introduce mudras.

Movement related to chakras

The knowledge of chakras allows Krtvlyessy to realise the specific movements that can
make it easier for students to get into certain states of being. For example, the experience of
first chakra is rooting or grounding. According to Krtvlyessy, some of the movements
applicable to this are; (e.g.) stamping, shaking up and down and going deeper into second
position of the legs. These exercises, as Krtvlyessy claims, help liberate the pelvis, which
then results in a better flow of energy through the legs and enables grounding.

Awareness of the total system

Over time, Krtvlyessy changed his approach to the execution of the Chakra system in
relation to his body. Before, he used to perform mudras disregarding the physical condition
of his body. At times this was very invasive, as the body was forced to adapt itself to the
positions and states of being. This is symptomatic of the tendency to give orders to our

30
physical self, which Krtvlyessy sees widely within our culture. Now, instead of giving
orders to his body he listens to it, as much as to his other aspects. This has also affected his
teaching, as he now uses questions and suggestions rather then orders.
This balanced approach is a result of a deeper understanding of the chakras, as it
truly represents the integration and balancing of all physical, emotional and mental needs. In
this way, for him there is a coexistence of all the aspects. So rather than saying that one
option prevails all the time, I say one option can prevail at a certain time. For example, the
physical needs like sleep or emptying oneself are the first chakra, while being in a
conversation can be the third (relation) and the fifth chakra (voice). It is the awareness of all
these aspects, which should make it possible to integrate the physical and social needs
without invading one or another.

Vraja Sundari Keilman

Vraja Sundari Keilman is the Dutch dancer and choreographer, an artistic director of the
Samadhi Dance Company. She uses the Chakra system during her choreographic process.

Her introduction to the Chakra system came naturally, through her upbringing in the temple
community of Hare Krsna, which her previously catholic parents, entered before her birth.
There she was raised within the Hare Krsnas philosophical, but not religious upbringing,
which for her is the whole point of life. Especially when it is approached and presented
through her artistic work.
Beside the Chakra system, she uses various influences in her work from Indian
culture like mudras, ayurveda and Indian classical dances. She takes from the Bharata
Natyam, a classical Indian dance, an aspect of sharing the emotions with the audience
through focused intention of the dancers. They concentrate on their heart intentions, which
reaches out to the audience through the eyes and then the hands. This is then reciprocated
and comes back to the dancers. Moreover she draws from Odissi and Kathak dance
techniques, a concept that for an art form to be complete it should consist of certain
emotions. Therefore the aim of her choreographies is for the audience to experience these
emotions spread by the dancers. Along with using Indian inspirations she is also fascinated
by the counter technique by Anouk van Dijk and the Alexander technique.

31
Ways of using the Chakra system:
Projection of the emotions
In her work, Sundari uses the knowledge of the Chakra system to understand and to
support the well being of her dancers especially when they need to engage themselves in
heavy emotions with a purpose to projecting them to the audience. Examining her dancers
well being via the chakras makes her able to know which emotional/mental aspect needs to
be supported for them to be emotionally stable to perform.

Reflecting on the body

Reflecting on the dancers bodies via the Chakra system supports the concept of sharing
intentions, for her these are projected through body language. For example, not being
grounded in the pelvic area may cause injury, which then results in the disturbance of body
language and therefore an inability to project the emotions.
Furthermore, her chakra based reflecting abilities enable her to introduce changes in the way
dancers use their bodies. For example, in the case of the third chakra (Ego-Self) when a
dancer has high raised chest, which at times can correspond to a so-called big ego, she
places her hand on his solar plexus, asks him/her to soften and drop his/her chest down.
Often this change in body posture as well as in his state of being, allows the dancer to
obtain so-called high legs. It means that a dancer can lift his/her legs higher when she/he
relaxes his/her ego state related to status, power and, on a physical level, to his/her chest.
She uses chakras to inform herself about the dancers physicality connected with
mental/emotional stages during auditions and rehearsals.

Atmosphere of the performances

Often Sundari refers to the Chakra system through its colours, which is also how she
perceives people and ideas related to her choreographies. Envisaging a particular
performance gives her an idea of certain colours, which would then define the kind of
atmosphere of that performance. For example, a general atmosphere of the piece
Hanuman was pictured as white light blue silver with touches of sun light colours .
However, a hero is seen as green and blue, fourth chakra, since this represents compassion.
Her next piece, about a female warrior is seen in red and orange, as red is linked with anger
and the first chakra. Her visualisation of the colours is not related to the costume design but
to the direction the piece would take.

32
Movement vocabulary
Chakras (colours) related to certain performance will define its movement vocabulary. Each
chakras characteristic affects the use of specific movements, initiations, qualities and body
parts.
In the example of her next production about a female warrior, the exploration of the
first chakra makes her choose choreographic phrases based on deep pli, raw and grounded
movements, with emphasis on the feet and ground. Also, the movement is characterised by
its strong use of the lower body, in order for the upper part to be free and movable. In the
case of movement material for hero Hanuman, its colours draw the attention to the upper
part of the body, emphasizing heart, chest and arms.
Sundari uses chakras to determine movements qualities during her artistic process
and as a tool to communicate with the dancers while rehearsing. The explanation of the
movements, their intentions, initiations and colours in relation to the characteristics of
specific chakras, are especially valuable when a dancer has difficulties learning the dance
material by copying it.

Deborah Campagna

Deborah Campagna is a Netherlands based Italian modern dance teacher. She is also a yoga
teacher, chakra, aura and healing Tao therapist, and a founder of the chakra dance course.
She uses the Chakra system within her practice of chakra therapy and the chakra dance
course.

Her fascination with the Chakra system is a consequence of her interest in energies and
spirituality, which began in her childhood and was developed after her mothers interest in,
as she calls it, spooky things . To Campagna, the Chakra system feels the most
complete and it resonates the most with her, as it engages body, emotions and mental
levels.
Within the chakra dance course Campagna does not use chakras in a therapeutic
way, as she does within the chakra therapy context. However, her course facilitates
transformation with regard to several issues, as her students confront themselves with these
issues, while continuously working through the chakras themes. The physical experience
felt in the body accompanies this process. It is an essential aspect of this course, which at
the same time supports the transformation of the issues.

33
 The course is based on meditation, which in the context of the Chakra system,
strengthens the connection with the inner world and yourself, your higher self,
cosmos . Meditation over the concrete chakra is done before and after improvisations, and
the connection with oneself is maintained while dancing. The Chakra system is therefore
used for Campagnas students to become more self-conscious, an attitude which
consequently favours their transformation process.
Campagnas course consists of 15 classes. Following the 1-7 order, each chakra is
explored for two classes, plus there is one summary class. Classes consists of meditations,
discussions and improvisational tasks. She uses Anodea Judiths book "Chakra werkboek
as an indicator of the kind of movements that would be used and explored further with
improvisation.

The working method:

Exploration of the themes

Movements explored in the class are defined by the themes related to each chakra. For
example, the experience of the first chakra leads to extensive usage of legs and feet, and
investigation of the subjects like balance, faith or letting go. Among others she uses the
exercise taken from the healing Tao, which is: at first a person is pushed by somebody and
surrenders to the movement, then using the force to stand on ones own legs, a person tries
to stand despite being pushed, to then engage oneself in meditation over the first chakra
before the exercise. This produces the feeling of being rooted, which allows the almost
effortless maintenance of the position while being pushed. This exercise makes students
experience their inner physical and mental stability, which hopefully can be used in real life.

Chakras in the modern jazz class

Campagna used to work with chakras while teaching modern jazz dance classes. She
matched existing movement exercises with the chakras, based on their qualities, tempo and
involvement of the particular body parts. The order of the exercises was then built upon the
1-7 order of the chakras. That means that there were at first slow and round exercises on the
floor involving the pelvis, to then including legs and continuing with this build up to the
torso. The graduation of the exercises was consequently related to the stimulation of each
chakra.

34
4.2 Analysis
The way that Krtvlyessy, Sundari and Campagna use the Chakra system reflects the
appropriating manners of the New Age movement described in chapter two. In all the case
studies the seven-part Chakra system has been linked to various associations. This is a
flattened Chakra system popularly used by NA writers. Nevertheless the use of the chakras
brings them certain artistic and/or educational benefits.

The most significant issue with regards to the use of the Chakra system, paradoxically, is
the use itself. This is especially so when one considers the Westernized process of chakras
reconstruction within the NA, and its cut off from the traditional Tantric context. Within that
process, the chakras prime functions are changed from being the objects of meditative
praxis in Tantric schools, to a diagnostic tool adapted in the vast fields of Western life,
(Hammer, 2001, 194), or a model.
In this chapter, I observed artists using the chakras as tools for various purposes,
which inevitably relates to the reduction of chakras complexity and their disconnection with
the Tantric origins. Chakras serves as a tool for purposes, like 1) structuring of the dance
courses and single classes, 2) setting an atmosphere of the performances and its characters,
3) reflecting on dancers posture and states of being, 4) using it for warm ups, or 5)
generation of movements. All of these applications of the chakras facilitate artists work.
They are conducted with, as I assume, good intentions and towards good purposes. They
are based on the idea of supporting the dancers in better performance, the dance students in
better development, the course participants in better emotional and physical functioning and
the content or structure of the performance or class. The motives of the artists to have such
intentions, match with the New Ages concern for improvement and change, on various
levels like cultural, human consciousness and the spiritual (Hanegraaff, 1996, 349); and are
concerned with healing and personal growth (ibid, 46). It is especially the concern for
personal development that is emphasised and addressed within the artists work. Both
Sundari and Krtvlyessy, by means of reflecting on dancers bodies and emotional
conditions, intend to support dancers physical and artistic development. And Campagna
facilitates her students transformation, in both emotional and mental issues, by
consequently following and thus confronting her students with the chakras themes.
However from a broader context, using chakras as a form of tool, and especially for guiding
people towards their better self , is a romantic and nave perspective.
Linked to the system of correspondence during the NA, the psychological aspects of

35
a person made [t]he Chakra system becomes a set of terms and concepts by means of
which the readers can understand and reconstruct their life histories as a gradual
assimilation of the [these] fundamental American values (Hammer, 2001, 191). To guide a
persons development, both emotional and otherwise, means then to follow Western
contemporary psychological theories that define who are the healthy and who are the
pathological individuals. It is therefore romantic to think that one follows primordial cultural
values when working with the chakras. Moreover, as mentioned above, taking the Chakra
system as a tool degrades and simplifies its complexity, which in general is the case with
appropriation within the NA. It is mainly done by disconnecting chakras from their origins.
The most recent books, especially Myss, depart radically from this tradition, and create an
entirely new symbology of the chakras that has almost no remaining similarities with
Tantric Hinduism (Hammer, 2001, 190). The Chakra system became de-indianized
(ibid, 114) when stripped from its context, and deprived of its complexity, perhaps not
understood or relevant to Western audiences. In this way, it is made to merely be a means
towards an end, in this case a better performance or the well being of dancers. Rather than
being a culture in itself, chakras are used in goal-oriented settings. Using the chakras in a
goal-oriented manner complies with Michael Yorks claim that NA is modelled upon
Western capitalism, and it freely commodifies spiritual beliefs from other traditions (York,
2001, 367). The cultural appropriations, in this case the chakras, are the subjects of the free-
market. The chakras therefore, can be and are used for clients own purposes, not regarded
from within their primal function. The use of the chakras as a tool is linked closely to
Western culture and its social and economical values.
Commodification of the chakras is clearly seen in the work of Campagna, who uses
the system to create and then sell the product of the Chakra Dance course. However, it is
again important to emphasise that her actions come from good intentions of helping and
facilitating peoples growth, via the content of her course.

As Olav Hammer claims Esoteric literature provides its readers with a means of
structuring their worlds; tells them that these structures are as ancient as the spiritual life of
humanity itself; and explains in scientific terms why this perennial philosophy is valid in a
modern age (Hammer, 2001, 507). The beliefs incorporated within the Chakra system
became the perspective through which, all three artists perceive the world, or at least use this
perspective in the context of their work. The chakras have become associated with various
states of consciousness, archetypal elements, and philosophical constructs. (..) They are

36
ruled by physical and social law [and] represent mental realms (Judith, 1996, 6). The
psychological and physical correlations thus linked to the chakras support the holistic
approach of the body-mind unity, and give equal value to the body, as well as to the mind.
The body-mind approach carried along with the chakras, structures their worlds , or at
least the work, of artists using it. I understand it as a positive aspect especially when
working within the field of dance, and particularly when regarding the long traditions of the
Cartesian body-mind dualism and religious condemnation of the body within Western
culture. The body-mind equal relation is seen in the work of Campagna, who by means of
creating physical situations aims to influence different ways of thinking and behaving; and
by means of mental meditations she aims to strengthen body experiences. She therefore
displays the equality of the two, as the body can be the entrance to the mind and mind to the
body. Similarly, Sundari operates within mental/emotional and physical levels, as she
connects mental/emotional states of being with e.g. the ability to perform high legs.
However, the application of the chakras body-mind unity does not necessarily show itself
to be genuinely embodied. This can be seen in Krtvlyessys example, whose previous
approach when using the chakras was invasive towards his body, as he was not concerned
with its condition. In that sense, I see that Sundaris approach to changing her dancers
bodies using the chakras, is similar. However, Krtvlyessys later realisation of that, led
him to replace the invasive approach with the careful awareness of both the bodys and the
minds needs. In that way, he embodied genuinely the body-mind principle of the chakras.
His change in the approach uncovers the different levels of the engagement with the
systems beliefs, and ones integration of its perception. [h]ow is it possible to construct a
world view that claims to be based on the wisdom of the East without adhering to those
basic tenets that Eastern thinkers themselves follow? (Hammer, 2001, 507). This question
reflects the issue of adhering oneself, or not, to the beliefs; a construction of the world, that
one takes and follows.

The reconstruction of the Chakra system was closely connected with its gaining the
Western features of concrete and precise characteristics, as opposed to its original
complexity and at times vague variety of descriptions. This has caused a radical reduction of
the system (Hammer, 2001, 185), and should therefore be perceived as negative.
Nevertheless, perceiving it from another perspective, it is precisely this process that has
enabled Western users to be familiar with the chakras. It goes along with Krtvlyessys
reflection about the process through which the chakras needed to pass in order for Western
people to get it, and how those changes relate to his personal understanding of the system.

37
 What does it illuminate? asks Krtvlyessy.
The change and degradation of the chakra concept enabled a Western audience to
start working with it. I claim that within the work of the artists that have been discussed in
this thesis, it functions chiefly as a kind of logical construction. I suggest that it can be due
to its relatively simple form, as it is limited to seven chakras; and at the same time relatively
complex, as each chakra has various levels. That results in vast possibilities of connections
between the chakras. As in the case of using the chakras to generate movements, it offers
vast possibilities of inspiration. Furthermore, due to the New Ages custom of freely linking
chakrass correspondences, the construction provides its user with a possibility for similarly
almost free interpretation and creation of associations. This structure is, I would argue,
important to consider during e.g. the creative process of choreographing, or preparing the
dance classes, as it supports the ability to create independently, whilst at the same time it
promotes a rather stable direction towards the seven chakras. Moreover, the stable frame of
chakras can be regarded as such, due to the chakras connection with the ancient tradition,
which is often understood as authentic. In NA it is usually believed that religions "contain a
hidden core of true spirituality (Hanegraaff, 1996, 327). Chakras therefore allow backing up
ones ideas in the body of a spiritually based truth. Furthermore, the construction holds the
aspect of the body-mind relation, which obviously serves the work of the artist within the
field of dance, and in general within the performing arts as I showed in chapter three,
describing the (mis)appropriation of Eastern meditative practices. The chakras provide a
construction, which by including the concepts of both body and mind, freedom and stability,
free interpretation and ancient truth, offers a certain logic or perception about how to operate
within it. This may show that since the chakras attract dance makers and teachers to use it,
there is a necessity to work with such a construction or perception.

4.3 Conclusion of the chapter

In this chapter I have discussed individual methods of working with the Chakra system in
the context of three selected case studies, looking specifically at their choreographic
processes and dance training. The analysis of their work methodology shows that they
reflect distinctly the manner in which the cultural appropriation is executed within the NA.
I have demonstrated that the use of the Chakra system as a tool is closely connected
with its Westernised reconstruction. It inevitably disregards the chakras vast complexity,
and its cultural context, to instead reflect Western contemporary value judgments and
economical rules. Westernised chakras are consequently designed to be goal oriented,

38
treated as a means toward achieving something, like inner balance or a good performance.
Moreover, I talk about the chakra belief system that becomes the perspective through which
to perceive their work. In the example of the body-mind connection included in this belief, I
see how taking on this perspective can be connected with the different levels of engagement
with the chakras.
From another perspective however, I have observed that the appropriation of the
chakras, and therefore its simplification and degradation, paradoxically serves its Western
users well. In the case of the artists under discussion, I conclude that the chakras provide
them with a certain construction to operate within. I assume that it is this, along with the
feeling of freedom, stability, ancient truth and above all the body-mind relation, that makes
the construction to be very attractive to work with. I suggest that it is the necessity of
working within a kind of structure, offering certain or similar aspects that direct the artists
towards supporting their work with the chakras. Therefore, positive Orientalism is here
clearly significant as it points to Eastern teachings as the remedy for the Wests lacks of
things in the first place.

This analysis showed that, in the case studies, the Chakra system is used according to the
ways of appropriation within the NA. The use of the Chakra system is, hence, an inevitable,
yet often unconscious process connected to the disregard of its original context. The
chakras are perceived as a reality in themselves. Furthermore, it shows how the need for a
so-called authentic knowledge, ones true self, or in other words the spiritual experience,
prevails over the recognition of plundering others culture tradition. The spiritual longing,
from this point of view, should be understood within White, privileged connotations. In this
sense, it places the dance makers and teachers who work with the Chakra system in an
unfavourable position. However, looking at it from their individual perspective, because all
of them are using the chakras for good purposes, it is difficult to maintain that claim. Yet, at
the same time, it is exactly this, which again shows that they use the system according to the
manner of appropriation of NA, when it goes along with the NA claim for beneficial
changes.
Regarding the evidence of this analysis I observe a general lack of awareness with
regards to the NA appropriation methods and its consequences on the Chakra system. I
consider it to be a significant issue that needs to be addressed, in order to change the up till
now approach towards the chakras and other cultures findings. Moreover, I consider the
search for a construction to work with within the Eastern tradition, to suggest the lack of a
Western based system for the artists to work with, and most importantly to believe in.

39
Chapter 5. Conclusion

In this thesis I discussed the difficulties of using the Chakra system within the Western
field of dance, most particularly within the choreographic process and physical training of
dancers.
At first, I introduced the Chakra system through the concept of the NA movement,
which I did in order to expose the complete perspective of the system. With regards to NA,
I introduced the notion of Orientalism and consequently the notion of positive Orientalism.
The examination of the NA helps reveal the chakras unfavourable Western context, and
thus points to negative connotations linked to the chakras appropriation. From another
perspective, it also explains the popularity of foreign religious beliefs within Western
culture.
In the third chapter, I described early modern dance in relation to the appropriation
of Eastern cultures and of Delsartes system. I wrote about the great influence that these
aspects had on the modern dance, emphasising the impact of Dalcrozes system on the
development of new ways of moving. Its main principle of connecting certain body parts
with emotional and spiritual states resembles the chakras body-mind perspective. It can
therefore be said, that the appropriation of the chakra within Western dance culture has its
seed in the invention of the modern dance, despite the pioneers lack of direct engagement
with the system. Contemporary choreographers and educators fascination with the Chakra
system, in a way resembles the fascination with Dalcrozes system and the appropriations
from the Eastern cultures that then happened. Moreover, I described the appropriation of
Eastern contemplative practices within the performing arts and dance training. This displays
the significant conceptual framework behind Asian practices, which is the body-mind
relation and the inward concentration that help with the creative thinking and the heightened
presence of the performer. In general, it shows that the application of Eastern practices and
beliefs, is closely connected to the performing arts, and the use of which is greatly
beneficial.
Later, I described and analysed the ways that dance artists Thomas Krtvlyessy,
Vraja Sundari Keilman and Deborah Campagna use the chakras in their work. The analysis
of their work methodology reflects distinctly the manner in which the NA appropriates other
cultures beliefs. I claim that the use of the Chakra system is inevitably connected with the
negative connotations of the New Ages appropriations, described in the second chapter.
However, I state that chakras are very beneficial for the particular artists, as it provided them
with a great logical construction to work with. Moreover, I interpreted this construction to be

40
both relatively simple and complex, and therefore giving both feelings of freedom of
interpretation, limitation, concrete direction and truth. Above all, however, it is the body-mind
relation, similar to the application of Zen contemplative practice, which is a significant aspect
of this construction.

I observe that there are two perspectives related to the use of the Chakra system. The first
perspective is concerned with the broader and critical context of the chakras, which includes
its Indian origins and its abusive reconstruction within the NA. The second relates to the
limited perspective of the Western New Age users, and how they benefit from its use, and
therefore the performance arts and specifically the field of dance.
However, the second perspective not only points to the selfishness of Westerners,
which can be coupled with the concept of white privilege. But at the same time it points
to the necessity of wanting something essential, therefore revealing its lack, which is then
filled by the chakras system and other Eastern practices. Certainly, this manner of thinking
is closely linked to the notion of positive Orientalism, as Eastern teachings are seen as the
cure for the West. With regards to the choreographers and dance teachers, this lack could
be interpreted as a need for a concept or mental construction, or a (spiritual/religious) belief
system that could in some ways support their work.
Jerzy Grotowski, Polish theatre director, during one of his artistic periods called
Art as a Vehicle was similarly engaged with working with energetic centres located in the
body. However, his awareness of the broader perspective made him not want to relate to it to
the chakras, for the purpose of not relating to any culture and its traditions.

In our work we avoid as much as possible to verbalize the questions of the

centers of energy which we can locate in the body. (..)The best known are
the centers according to the yoga tradition, those called chakras. (..) Why do
I say like the chakras? Because the tradition of the centers exists in
different cultures. Lets say that in the Chinese culture it is more or less
linked to the same tradition as in India. But it existed also in the West, in
Europe. (..) If all this is verbalized, there is also a danger of manipulating
the sensations which one can artificially create in different places of the
body. So we prefer a less fixed terminology, even if in precise work one can
discover here something very precise and fixed (Jerzy Grotowski. 1992.
Cetait une sorte de volcan. 102-103, quoted in Richards, 2008, 37).

41
This approach points to the possibility of the existence of some kind of energy centres in
general, and the Chakra system being one of the specific interpretations coming from the
Indian culture. On the basis of Grotowskis brief comment, which doubtlessly displays
only a small aspect of his approach to his work with energy centres, I assume that his
individual need of working with an energy system did not interfere with appropriation and
therefore, with a degradation of other cultures traditional elements.

This thesis is designed around the research question How can the system of chakras be
critically and consciously incorporated in the physical training of dancers and in the
choreographic processes?. On the basis of my analysis, and by including the two
perspective on the Chakra system, relating to the broader critical context and the limited
perspective of the Western New age users, it can be said that what is crucial and most
essential with regards to the Chakra system and its western appropriation is the awareness
of both, broader and individual, perspectives. I consider the act of raising awareness upon
this issue as the most significant aspect related to the use of the chakras. It is mostly in
relation to the negative consequences of the use of the Chakra system, such as its
degradation and at the same time its connection to Western cultural values, that this
should be made clear to the chakras users. In this way the chakras have a chance to
become de-romanticized and perceived for what they recently have become, which is a
Western contemporary construction carried under the cover of an ancient tradition. I
conclude that it is this realisation that would allow for a critical re-evaluation of the
Chakra system by its users.
For the purpose of this research, which has a specific size, I could not
explore the thesis subject further, by for instance examining other choreographers with a
different or negative approach towards the use of the chakras, to get even more deeper
understanding of the phenomena of the use of the Chakra system. Moreover, the lack of
possibility to participate in workshops and/or artistic researches by analyses in this thesis
artists, deprives the research of my individual experience of their work, making it
dependent on their claims, provided during the oral interviews. The limitations of this
research should be acknowledged when regarding the research conclusion.
Further research could be conducted in relation to the use of the Chakra system

42
within other fields of Western culture, like for instance in the psychology of group
development. The founding of this research could be closely related to the use of the
Chakra system during the dance/improvisation classes, with the purpose of underlining
the usefulness of the system in the potential facilitation of the emotional and
developmental needs of students. Moreover, the research should focus on the possible
negative aspects related to the use of the system, for instance using of the hierarchical
construction and/or the positive or negative regards of the certain psychological
behaviors related to each chakra. There could also be further research conducted in the
direction of exploring possible applications of other systems or philosophies within the
dance field by choreographers and dance teachers. The research should establish the
characteristics of the systems and philosophies, including the spiritual/religious aspect,
and define in which way the characteristics are useful to the creating processes and/or
dancers training. Based on that research, the analysis of the Chakra system could be
conducted to establish its position (pros and cons) against other systems. I assume the
researches would add to the discussion of appropriating the Chakra system within the field
of Western dance and culture.

43
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