Introduction:
Fr. Dr. Saju George SJ is both a dancer and a religious. Holding a doctorate in Bharatanatyam, he has performed in approximately 2,000 venues across India and abroad over the last 30 years and has provided dance training to many. His presentation of Biblical themes through Bharatanatyam has captured the attention of art lovers and critics alike. Notably, the famous dancer Methil Devika completed her doctoral research in Bharatanatyam under his guidance. A member of the St. Sebastian Parish, Shanthipuram, Pala Diocese, he belongs to the Kolkata Province of the Jesuits. He currently runs the ‘Kala-Hridaya’ music and dance academy, where he continues to write, direct, and perform dance dramas. Fr. Saju describes dance as a sadhana (spiritual practice) of self-sacrifice where the “ego” is forgotten and abandoned, becoming an experience of spiritual offering.
The Journey to Art and Priesthood
- How did your interest in dance begin? What kind of support did you receive to pursue it as a passion even after joining the Jesuits? How did the church authorities view this?
My interest in dance and arts began through the youth festivals I saw while studying at Peruva (Kottayam District in Kerala) Government School. From 7th to 10th grade at St. Peter’s High School, Elanji (Kottayam District in Kerala), I became more involved in cultural activities and won several prizes. This led me to dedicate more time to art.
- How did the encounter of your love for dance with your divine calling happen?
While at St. Peter’s in Elanji, I saw a documentary before a First Friday Mass about St. Peter Damian, the patron of lepers. His life first inspired me to be a missionary. Later, during Pre-Degree, I saw a documentary on Mother Teresa. That gave me a strong desire to leave Kerala, work for the poor, and meet her in Calcutta.
I met Fr. Joseph Maliyekal at the Pala Mission Home and told him I wanted to be a Jesuit and serve like Mother Teresa. He immediately came to my house, which surprised my family as I hadn’t given them any hint about my desire to become a missionary priest. Soon, I left for Calcutta. At that time, I had thought joining the priesthood meant the end of my singing and dancing. My ultimate desire was to live as a priest in religious robes.
- Where did dance re-enter your life as a serious field of study?
I reached Calcutta in 1984. During occasional cultural programs at the seminary, I would perform dance or music. My Novice Master took a note of it. He would assign me to perform aarati during Mass and teach dance for programs. He was a Bengali inspired by the ideals of the Second Vatican Council. Four years later, while studying Political Science at St. Xavier’s College, the same Novice Master was our in-charge. One day, he took me to a guru named Munro Guruji, a famous Catholic believer among Bengali Catholics. I studied Kuchipudi under him for three years.
Later, I chose Madras (Chennai) for my philosophy studies, because the Kalakshetra Foundation was near our college, Satya Nilayam. With permission, I studied Bharatanatyam and Kuchipudi for two years alongside philosophy. After returning to Calcutta, I enrolled for an MA in Bharatanatyam. After three years, I completed my MA and performed my arangetram (debut), which marked the start of my professional dance career. I began to be noticed as a “dancing Jesuit student”.
Spirituality and the “Ego”
- How does art influence priesthood or its spirituality, and vice versa?
Dance and its accompanying music are a serious spiritual sadhana. It requires dedication and total participation; it is a meditation. Priesthood is also a sadhana—a spiritual commitment of surrendering oneself to Christ. This spirituality deepened in me. Dance gives me another stage and space to reach the depths of divinity. While the field of dance includes elements like Krishna, Radha, or Shiva—which are integral to Hinduism—there is a common element of “divinity” beyond sectarianism where Bible-based spirituality finds a place. For example, the Shiva Tandava is, in a sense, Genesis (Creation).
- There is a perception that dance is feminine. As a priest, have you faced challenges on that count?
When I started serious training in 1988, I heard comments like “this is for girls” or “you will become feminine if you dance.” The mental pressure it caused think of quitting dance, presuming it wasn’t suitable for a priest. But my superiors stood by me. Eventually, I realized that dance also has a masculine aspect to it (Tandava). Both Tandava (vigorous) and Lasya (gentle) elements exist in all humans. I even learned Kalaripayattu and Karate so that my body movements wouldn’t be exclusively “dancer-like”. Unfortunately, some Malayalam films have played a negatively role in this by mocking male dancers.
The Church and Classical Arts
- Does the Church give the same importance to a priest with a doctorate in dance as it does to one with a doctorate in Theology or Philosophy?
The Kerala Church does not recognize those with doctorates in dance or music the same way they do those who take doctorate in other subjects. I am the only Catholic priest to have a doctorate in dance and to be accepted as a Professor of Dance by two universities. Though I have guided nine people to their doctorates, few see our work as important as a Christian-themed academic subjects in comparison.
- How much does the Church encourage dance and art?
Regarding pure classical arts, we only do superficial things. The Church doesn’t encourage deep academic study of India’s classical forms. Many laypeople have dedicated their lives to dance and music, but the Church provides them little recognition or opportunity. Fifteen years ago, I wrote to two bishops in Kerala offering to perform Biblical Bharatanatyam, but I didn’t even receive a reply. I have performed very little in Kerala; most of my work is outside the state. Authorities in Tamil Nadu and the Varanasi Diocese (which started the Nav Sadhana College) have been much more encouraging.
Confronting Criticism and Communalism
- Have you faced opposition from communalists who claim you are using dance as a “trick” for conversion?
Eight years ago, during a tour in Germany, two programs planned with the Indian Embassy in Munich were cancelled because some Indians threatened the organizers. They alleged I wasn’t a representative of the Indian culture but an “agent of the Pope” misusing Bharatanatyam. It was the only time a program was cancelled. I feel only sympathy for them; if they had seen the program, they would realize we are introducing Indian spirituality to the West with good intentions.
- And what about Christians who oppose a priest performing stories from Indian epics?
My answer for it is the same—a lack of education and ignorance. I receive messages saying a priest shouldn’t do dance programmes, because he will “go to hell” for it. I just ignore them. Once, a famous charismatic preacher in Kerala accused me of “blasphemy” after seeing a short, edited clip of a dance drama I performed in Switzerland for the 200th birthday of Bishop Anastasius Hartmann. He hadn’t seen the full performance or spoken to me. Such insults come from ignorance and arrogance.
Inculturation and the Future
- How well has the Indian Church accepted “inculturation” (adapting to local culture)?
In the 80s and 90s, there was a lot of discussion about how to live as a Christian while valuing Indian culture. We had many Indian-style ashrams, and I felt proud that the Church was becoming a truly “Indian” Church. But now, things seem to be moving backward. I doubt any Indian Christian would start an ashram today. However, I have hope in the laity. Many Catholic parents now send their children to learn classical dance and music. The new generation has more respect for these things. As Karl Rahner said, Christianity cannot survive if it does not merge with the culture and emotions of the place where it exists.
- What about the current trend of priests and sisters doing “reels” with cinematic or contemporary dance?
This is a part of the “pop culture”. It helps bring young people together and provides hope for self-expression, which is good. But the criticism remains: we are not going into the depths of Indian culture; we are often just imitating Western movements like breakdance or street dance. This gives the impression that we are “agents of Western culture”, a criticism that some politicians already are making.
- What are your most recognized works?
The Passion of Christ is my most performed work—I wrote the lyrics for it and choreographed it. People often shed tears while watching it. Other works include a Tamil Kirtanam on Jesus healing the blind and the sinful woman, stories of Samson, the Arrival of the Holy Spirit, and dance dramas on saints like Mother Teresa, Francis Xavier, and Vincent de Paul. I am currently preparing an item for the 800th anniversary of St. Francis of Assisi.
- How do traditional Hindu Bharatanatyam masters react to your work?
I have had many Hindu gurus, including Padma Bhushan awardees. They have all wholeheartedly supported me in bringing Christian themes into classical dance.
