Hooman Babak, translator and researcher, announced the publication of his book on Kathakali.

IBNA: In an interview with IBNA, Hooman Babak announced that his book on Kathakali will be soon published in Persian. The book is organized in two parts: the first part is a compilation that makes a survey of the philosophical foundation and representation of Indian aesthetics. The second part contains Babak’s translation of Sadanam P. V. Balakrishnan’s “Kathakali” in nine chapters. 

Balakrishnan is rated as one of the best teachers of this complicated dance form and teaches in many national and international institutions. 

He added: “The first chapter of the book makes a survey of Indian aesthetics from a historical perspective. That is, it begins with a performance method known as Natia-shastra in India and the next chapter studies movement or ‘abhinaya’ in Indian dance or drama. Abhinaya is the source of creating ‘rasa’ (a sentiment) in the actors and conveying it to the spectator. This is explained in an article titled as ‘Abhinaya Darpana’.” 

Babak then elaborated on the references he has cited for the compialtino of the book and said the aesthetic basis of the book is the ideas and theories of Professor Radha Krishan. 

He continued: “There are no appropriate specific book on Kathakali in Persian, except for ‘Kathakali: Dance Theater’ that includes two key articles by Alain Danielo and Kapila Vatsyayan two contemporary professors of Indian theater. The book is converted into Persian by Jalal Sattari and published in 1998 by Namayesh Publications.” 

In response to the question why specific sources on this kind of art are lacking whereas eastern and Indian dramas are included in the academic studies of theater, he said: “This is the same with many other fields of studies where academic textbooks are missing. We should get to realize the necessity to study theaters of other countries essentially. That is, we should begin with their philosophies of art and then survey historical eras of theater in them and finally come up with details about their drama.” 

Babak added: “The points I have mentioned are especially mandatory when understanding Indian theater, as their aesthetics are totally different that western aesthetics or philosophy of arts. In India the aesthetic experience is known as ‘Rasa Sadhana’ or a kind of artistic taste. One capable of such taste is known as ‘rasika’ and the work of art is called ‘rasavat’ – that is, something ripe with such taste.” 

He went to elaborate on Indian Aesthetics and added: “The third part of Sahitya-darpana’ s book expresses that aesthetic experience only belongs to those for whom a sense of beauty is an intrinsic property; this knowledge lies in the highest levels of wisdom and consciousness, and independent of mental forms.” 

Babak added: “The appearance and revelation of this wisdom is a kind of divine epiphany for the individual, like a glittering flame that is ever-encompassing within our existence although it is not visible or subject to analysis.” 

He then referred to the most important thinkers of Indian aesthetics, such as Bharata Muni author of ‘Natya Shastra’ and Abhinavagupta in the ninth century. Bharata was the first to expound the theory of rasa in his significant treatise ‘Natya Shastra’. 

Hooman Babak is author of ‘Indian Muppets’ (published by Namayesh), and ‘Vastu Booklet’, ‘Vastu-Vidya’ on Indian architecture, and ‘Bharat Stories’ all published by Liosa Publications. 

Hooman Babak was one of the speakers of India Cultural Week in Iran Artists House who made his speech on Kathakali for which he was praised by the Indian ambassador.

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