I'll get so much hate for this but idc. Just read through before spewing brain rot. Open to discuss obviously.
I need y'all to stop with this cultural appropriation shit with bharatanatyam.
For people who don't know the discourse,
"Bharatanatyam is a culturally appropriated and sanitised form of Sadir-attam, a dalit art form".
Wrong on many levels.
1. Bharatanatyam is not the same as sadir. Sadir is considered a precursor but today's Bnat dancers are NOT dancing Sadir. In fact I can say that it is not even Natyam we are doing but that's another discourse
2. Sadir and devadasi/mahari culture was never dalit specific. Members of all castes learnt dance. Padmavati, Jayadeva's wife, was a devadasi and the daughter of a priest. Shantala Devi, the queen of the Hoysalas, was a former devadasi. I forgot the name but an Odia king (simha something. I read it for my junior exam) was a dancer. @ramayantika will know who I'm talking about being an odissi dancer. Y'all can be delulu about this but the proof is literally engraved in stone.
3. Bnat cannot be said is appropriating Sadir items into its fold with hundred percent certainty. Many of the items we perform now are introduced very recently. Many are taken from Kuchipudi. And Sadir itself is a product of Natyashastra. Devadasis danced to padams and javalis written by Brahmins.
5. Upper caste girls are predominantly dancers cos maybe they are the ones who stay in class. Y'all haven't had to sit on a desk convincing a parent to keep their recently "matured" daughter in class or try to tell them that boys can dance too (cos you naively assume misogyny) and them telling you in their caste "oNLy PrOstITuTes DaNcE".
And the worst part is y'all won't know shit about these things if you don't attend classes. This is not something you will find in Quint or whatever. You have to be there to know it.
Don't think that I am in any way denying casteism. I am way too well-read to do that shit atp and I have seen enough. But y'all wanna talk about caste in dance, talk about how lcs can't afford to attend classes because of systemic economic difficulties. Talk about stagnated uc male centric narratives in abhinaya pieces. Talk about the rampant superstitions and misogyny that keeps lc students from pursuing their art. Talk about the nepotism in the field and how it makes the system inherently rigged against outsiders, especially lcs who can't even claim a surname. Those are conversations worth having. Not your hot-takes with no basic fact checking.
Rukmini Devi Arundale, born on February 29, 1904, in Madurai, Tamil Nadu, served as a catalyst in revitalising the traditional Indian dance form of Bharatanatyam and establishing its prominence. Born into a Brahmin family with deep connections to the Theosophical Society, Rukmini was exposed to humanist ideals from an early age. Her marriage to George Arundale, a theosophist and educator, further fuelled her interest in theosophy and dance.
While travelling with her husband and Annie Besant, Rukmini learned of Western ballet and began studying ballet at the suggestion of the famous ballerina Anna Pavlova. Pavlova also encouraged her to explore classical Indian dance forms, which allowed Rukmini to pursue Bharatanatyam
To challenge the norms and re-establish the artistic integrity of the dance, Rukmini undertook formal education at the Bharatnatyam master Pandanalur Meenakshi Sundaram Pillai.
In 1935, at the age of 31, Rukmini made her debut in Bharatanatyam, defying societal expectations and setting a precedent for upper-class women to participate in the dance form. Witnessing the transformative power of Bharatanatyam, she established the International Academy of the Arts in Adyar in 1936, later renamed Kalakshetra. Through Kalakshetra, Rukmini aimed to teach and popularise Bharatanatyam through this institution, saying that she felt she had been "ushered into a new world of rhythmic beauty and meaning."
Rukmini Devi Arundale's contributions extended beyond dance. In 1934, she founded educational institutions that blended theosophy and traditional Hindu values. Her vision for Kalakshetra went beyond preserving Bharatanatyam; it became a hub for various Indian traditions and the propagation of theosophical ideals. Her efforts earned her accolades, including the Padma Bhushan in 1956 and the Sangeet Natak Akademi Award in 1967. As an animal lover, she chaired the Animal Welfare Board and played a key role in passing the Prevention of Cruelty to Animals Act in 1952. In the same year, she made history as the first ever woman in Indian history to be nominated as the Rajya Sabha member
In 1977, she declined the offer to become the President of India from Prime Minister Morarji Desai post the death of President Fakhruddin Ali Ahmed. In a 2013 speech at Kalakshetra, President Pranab Mukherjee delivered the first Rukmini Devi Memorial Lecture, emphasising on the significance she has had on the revival of classical dance and her commitment to the cultural renaissance of India.
disheveled dance sarees, bindis skittered away from the centre of the forehead, heaving breaths after having completed a jati, that first gulp of water after class feeling like amrit, the sense of satisfaction after executing an item you learnt in class flawlessly
Had odissi class in the morning and did I finally complete learning Desh pallavi? YES
Desh pallavi is based on Desh raga and pallavi is a pure nritta item which means there is no abhinaya i.e acting/drama involved. It looks pleasing to the eyes and for dancers it appears easy to perform but pallavi itself has its own challenge to follow the sargam as well as the bol according to which the steps go.
In the evening had my dance exam whose results I will get to have next year or maybe this year if I get the chance to visit my dance teacher's eyes because she has the marksheets of three dance exams.
Looking forward to executing pallavi in tomorrow's class without forgetting the step in the middle
One firecracker of a jathi in the varnam 'Mogamāginen' in the ragam Kharaharapriya. Really enjoyed dancing to this! The sound of our footsteps is sooo satisfying (~‾▿‾)~