Himanshu Srivastava brings Mahabharata’s trans warrior to the stage in Hyderabad

The childhood stories we listen to leave a lasting impression on us. The great epics, whether they are stories from the Indian mythology or Disney fairytales, remain with us because they have some lesson or the other to offer. While they seem simple tales initially, on revisiting them as adults, we discover new layers to them. Himanshu Srivastava explores this realm as he comes to town with two Bharatanatyam productions — The Abandoned Gopi and Shikhandi — as part of Kourtyard Kacheri. Shikhandi is the story of a trans person from the Mahabharata, where the protagonist (Shikhandi) is in search of his identity and a place in the society.

The story of Shikhandi through classical dance

According to the epic, after being born a female to King Drupad, Shikhandi changes his gender to a male. In the previous birth as Amba, she had been granted a boon to have the power over Bhishma’s death. To fulfil this desire, Amba is reborn as Shikhandi and becames Arjuna’s charioteer.

Since a trans identity is not commonly portrayed in Bharatanatyam, Himanshu conducted 260 interviews with the members of the LGBTQIA++ community in order to have a better understanding. “The message I’m trying to convey is that we must take charge of our own lives. Just like Shikhandi voluntarily jumped into the war to fulfil their wish of killing Bhishma, we too must become the charioteers of our lives,” Himanshu says. The piece ends with the dancer walking backwards in the Katti chinna nadai (a feminine walk with swaying hips and upright shoulders, showcasing a dual identity), blowing a conch shell. “Although the conch was traditionally blown to mark the commencement of war, I blow it at the end of the piece to ask the audience an open-ended question about whether Shikhandi really wins the battle, or if it is just the beginning of the battle for him.”

The second piece Himanshu will be performing is titled The Abandoned Gopi, the story of the raas in Vrindavan. Lord Shiva goes to Vrindavan to witness the raas leela but is barred from entering because of his gender. Even after he dresses as a woman, he is not granted an entry. This makes him question the concept of raas, which symbolises love, devotion, and joy. “Raas actually happens within ourselves, not in the outside physical world. We must question our intentions before going on a pilgrimage — do we need to be physically present there, or can the same raas happen at home?” Himanshu asks. In this piece, the dancer uses a veil, symbolising a scissor between the physical and metaphysical worlds.

Himanshu is aware that since the adaptations and the themes portrayed in these pieces are profound and uncommon in Bharatanatyam, they must be communicated clearly to the audiences. “When the subject is bigger than the style, you need to make adaptations to convey it properly. I don’t dance for myself; I can do that behind closed doors too. If the purpose is communication, it must reach the audience clearly,” Himanshu says.

“While the hastas (hand gestures) alone aren’t enough to explain certain concepts, the audience will be able to understand nuances when the whole body expresses. I might be able to explain that I have a veil on my head by just holding two hastas over it, but the audience will really feel it if every part of my face reacts to the touch of the cloth,” he explains.

He adds that when the form shifted from temples to sabhas (kings’ courts), changes were made to cater to the audience. For example, the sarpa nadai (snake-like walk) was invented to address ministers sitting on the sides. Similarly, “I have legal permission to change the form to suit the time.”

Himanshu gives another example of changes in performances, saying, “The stage, as a format, is made for linear and geometric forms. If you dance in a forest in that fashion, you will end up looking like a puppet. In such surroundings, your movement becomes more dynamic. It’s a dancer’s choice whether they want to end up looking like a working laboratory, or just a classroom.”

Tickets at INR 1,563. August 30, 6 pm. At Old School Bridavanam, Jubilee Hills.

Email: ananyadeval.m@newindianexpress.com

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