Position statement and guideline on media coverage of suicide.

Abstract

Byline: K. Pavitra, K. Shubrata One of the chief concerns of human sciences has been to understand how people think, how they construe meaning and make interpretations. Indian dance forms, Bharatanatyam in particular have always been closely linked to both physical and psychic spheres. The functionalists have understood art as an elaborate mechanism for defining social relationships, sustaining social rules, strengthening social values and forwarding doctrines. [sup][1] Dance movements in and of themselves, communicate effectively and cognitively the values, beliefs, attitudes and learned behavior, a community shares. [sup][2] They also contribute to the dynamic and overcharging phenomenon of culture. Thus, psyche-physique, culture and dance forms are all closely linked. Spencer [sup][3] reviews the recurrent themes emerging from writings on the subject. The first theme treats dance as a safety valve that releases pent-up emotions, tensions and drives. The second theme deals with the educational role of dance and transmission of sentiments. Dance may be seen as a cast or mold which shapes children into culturally conforming adults. Dance among Samoan children separates the adept from the in adept, preparing them respectively for success or failure in adulthood. It initiates grace, proficiency and confidence in skilled and keen children while the clumsy and incapable are rebuked and discouraged. [sup][4] The third theme views dance as transmitting and maintaining culturally desirable sentiments that underlie orderly social existence of society and promote solidarity. The fourth theme bespeaks of dance as a cumulative process in which collective passion rises as dancers lose themselves in the dance becoming absorbed in the unified community and being transported to a state of elation. The fifth theme emphasizes the element of competition in dance demonstrated in the work of Rappaport. [sup][5] The sixth theme tells of dance as a ritual drama lifting the people out of their structural routine into the realm of spiritual beings. The seventh theme regards dancing as a shared activity with non-verbal mode of communication and invites exploration of patterns of dance movements to discern concealed meaning. Emotions are construed as cultural acquisitions which are determined by the circumstances and concepts of a particular culture as well as, or rather much more than, by the functions of biology, more specifically neurology. [sup][6] The major postulates of a general theory of emotions, [sup][7] are (1) the concept of emotion is applicable to all evolutionary levels and applies to animals as well as to humans. (2) With an evolutionary history behind them, emotions have evoked forms of expression in different species. (3) Emotions are adaptive in helping organisms deal with key issues posed by the environment. (4) Despite different forms of expression of emotions in diverse species, there are certain identifiable common elements or prototype patterns. (5) There are a small number of basic, primary or prototype emotions. (6) All other emotions are mixed/derivative states i.e., they occur as combinations, mixtures or compounds of the primary emotions. (7) Primary emotions are hypothetical constructs or idealized states the properties and characteristics of which can be inferred. (8) Primary emotions can be computerized in terms of polar opposites. (9) All emotions vary in their degree of similarity to one another. (10) Each emotion can exist in varying degrees of intensity or levels of arousal. Emotions are being increasingly recognized as central to cultural meaning system, relationships and communication. Since children must be motivated to act in concordance with cultural values, it is important to incorporate, (1) meanings of the particular emotion words and the place of emotions in the structure and functioning of the self. (2) Developmental theories regarding the origin and the emergence of abilities in the child to feel and behave in an emotional manner of an adult, (3) beliefs about the relationship between emotions and personality types, in works of ethno psychology. …