17th Anniversary Special: Margam to modern: How Bharatanatyam continues to evolve and engage modern audiences

As the rhythms of society shift, Bharatanatyam adapts to the age-old maxim — change is the only constant. Bharatanatyam’s endurance through the ages is rooted in its capacity for assimilation. Vidhya Subramanian, a prominent exponent of the dance form, explains, “Bharatanatyam welcomes individual ideas and concepts. It has passed the test of time because of this generosity.” While Kavitha Ramu, an IAS officer and Bharatanatyam dancer, says, “The art form has endured because it evolved from being limited to a specific group to becoming inclusive, welcoming people from all backgrounds.”

Swarnamalya Ganesh, a distinguished actor, professor, and dancer, stands at the crossroads of tradition and innovation in Bharatanatyam. She tells us that earlier, this dance form went by many names — Chinna Melam, Sadhir, Koothu, and that its current iteration has only been for the past century. Swarnamalya’s work highlights the multicultural influences that have shaped Bharatanatyam. “I’ve explored how various stakeholders — across Islamic, Persian, Marathi, and even Dutch cultures — have contributed to the form we recognise today,” she notes. By bringing these narratives to the forefront, she seeks to acknowledge the diverse heritage of Bharatanatyam, challenging the notion that it is solely linked to a particular tradition.

However, challenges persist. Swarnamalya recounts facing resistance when introducing multicultural elements to Bharatanatyam. “Initially, there was pushback from the dance community,” she reflects, but this ultimately brought in a more diverse audience. “People, who until then never thought that Bharatanatyam would have anything to do with them, started coming to my performances. So now, I have a very interesting set of audience. It’s a mix of young adults and people from across different communities. I believe an art form is sustainable only when a larger cross-section of society is invested in it,” she asserts.

Artistes are increasingly incorporating modern issues into their work. Classical dancer Mahitha Suresh emphasises that Bharatanatyam is a language for expressing diverse ideas, capable of adapting traditional narratives to contemporary themes. She performs adaptations from ancient Tamil literature called Tamizh Ilakkiyamum Bharathamum, showcasing current themes alongside traditional narratives. “This adaptability ensures that the dance form remains engaging for new generations,” she says.

Vidhya’s Still I Rise connects the mythical figure, Draupadi, with poet Maya Angelou to emphasise the fact that not much has changed for women even today.

Environmental sustainability is also becoming a crucial aspect of the dance form. Vidhya actively integrates eco-friendly practices into her work, using reusable materials and recycling costumes. She says, “As an artist, nature plays a big part in my thought process, it is intertwined into my choreography in many nuanced ways.” As the founder of Sparsha Arts Foundation, an organisation that looks at the intersections between art forms, Vidya makes sure, “Paper products are never used at any events.”

Mahitha also embraces sustainability by using heirloom jewellery instead of buying new sets and resorts to digital solutions for ticketing.

Instead of buying a whole new Bharatanatyam costume for each event, dancer and actor Deepthi Ravichandran says she “repurposes silk saris from my collection or my mother’s for my performances. After the show, I dry-clean them, and they return to being saris. This not only reduces waste but also cuts down on costs.”

Swarnamalya laments, that inherently, Bharatanatyam was meant to be performed in intimate spaces, at homes, temples, etc. So, the form by itself is very environment-friendly. “But I think it’s the modern version, the proscenium version, with the use of air conditioners, lights, and generators that this dance form has become a little less sustainable. But, thankfully, the trend is reverting now as the dancers are starting to understand the closeness of the form we practice to our environment.”

Looking ahead, the future of Bharatanatyam lies in its ability to reflect societal changes and engage with pressing issues. Vidhya and Mahitha envision artistes becoming advocates for environmental consciousness. “I believe Bharatanatyam can communicate messages about sustainability and awareness,” says Mahitha. As a testament to the cause, Kavitha has ventured into various themes with her performances to create awareness on AIDS, COVID-19, environmental protection, and cleanliness. She believes that the art form can be sustained by venturing out of one’s comfort zone of sticking to a set repertoire and margams (traditional dance order).

There’s no denying that social media presents both opportunities and complications for Bharatanatyam. While platforms like Instagram increase exposure, they can also dilute the art’s richness. The general populace defend the case by stating that this aids to the sustainability of the art form but Vidhya expresses concern, stating, “Performing Bharatanatyam to trending songs doesn’t add to the art form. It has immense beauty on its own. These songs allow their own way of expression, and by superimposing a strong dance form such as Bharatanatyam over them, one is perhaps doing injustice to both. It may be a sensational visual byte to gain followers or likes, but doesn’t last beyond that.”

Kavitha, however, says that she “loves how they (content creators) present Bharatanatyam, mixing it with Western songs and showcasing a freestyle. It’s great that they are shedding inhibitions and exploring such mediums.”

In this dance of life, Bharatanatyam is not merely surviving; it is evolving, integrating contemporary themes and sustainable practices while remaining anchored in its rich tradition. Through the voices of its practitioners, it honors its past while charting a sustainable future, proving that, indeed, change is the only constant.

(Written by Shivani Illakiya)