Doctoral work

Bharatanāṭyam Repertoire and its Female Performers in Early Indian Cinema

Advisor: Prof. Dr. Heike Oberlin
Faculty: Philosophy
University of Tübingen
Year: 2020

The doctoral work is an exposition of the overlapping interrelationship between two powers – Bharatanāṭyam and Indian cinema – during a highly entropic period in the Indian society between the 1930s to 1950s characterized by social reform movements, arrival of sound in Indian cinema, developments in the status of women, freedom struggle, Indian independence, nationalistic agendas, colonial politics and so on. At the apex of reform and revival movements of a dance form piloting towards its transfiguration as Bharatanāṭyam, Indian cinema was infusing Bharatanāṭyam into its early films. This has left a lasting impression on both, Indian cinema and Bharatanāṭyam. This study seeks to examine the evolution of Bharatanāṭyam in Indian cinema and the permeation of its female performers, dance masters, and their characteristic styles in Indian films. Further, it evaluates the representations of Bharatanāṭyam in the Indian cinematic space based on a case study. This work is a mirror of Bharatanāṭyam in Indian cinema during the 1930s to 1950s, albeit one of many. A reconstruction of the past and modelling of the ‘flux period’ (1930s–1950s) facilitates the perception of the underlying forces. To validate the Bharatanāṭyam items that were showcased in Indian films of this period, a clarification of the fundamental standards is furnished. Tools like movement analysis, music notation, concepts of philology and Indian aesthetics are utilized for validation. Beside the analysis portion carrying attention and visibility to the work of female performers of India and their outstanding contributions made as dancers in early Indian films, it contains an in-person interview with a celebrated Bharatanāṭyam dancer and actress. Additionally, this research displays a sample reflection that Indian cinema entertained through Bharatanāṭyam concerning the prevailing social norms in the Indian society. While this work is intertwined in dance anthropology and sociology, by and large, this thesis is an attempt to push the envelope of research in areas of performance studies and dance studies.

Panels and conferences

Conflicting styles during revival of Bharatanāṭyam in the Indian cinematic space

Panel:  Dance into Film, Film into Dance.
Dance Studies Association Conference: ‘Contra: Dance and Conflict’
University of Malta, Valletta Campus
July 2018

The revival of the south Indian classical dance form of Bharatanāṭyam in the 1930s witnessed a massive migration of Naṭṭuvanārs (dance teachers) and non-hereditary Bharatanāṭyam artists into the Indian cinematic realm that offered them enormous opportunities. Depending on the Naṭṭuvanār under whom they undergo training, every Bharatanāṭyam artist belongs to a particular Bāni or a dance style. With Naṭṭuvanārs playing the role of dance directors in films, the Bharatanāṭyam dancers have presented very traditional numbers that even form a part of the Bharatanāṭyam repertoire.

This paper probes into the conflicting Bānis of the two iconic figures in the cinema industry, Vyjayanthimala Bali and Kamala Lakshman. It was fascinating to discover two traditional numbers performed by them in the same year of 1956 in the Hindi cinema industry; an Alārippu by Vyjayanthimala Bali from the movie New Delhi and a Thillāna by Kamala Lakshman from the movie Chori Chori. A personal interview with the 85 year old actress, Vyjayanthimala Bali and from many reviews and articles of Kamala Lakshman, it is quite evident that they both had a conflict of opinion about each other’s dance styles. A comprehensive analysis of their Bharatanāṭyam techniques from the two selected dance sequences goes to prove how beautifully their individual Bānis have blossomed with outstanding creativities, mainly because of their conflicting opinions and a strong adherence to their own dancing style. Specifically, Vyjayanthimala Bali’s characteristic technique and individual accomplishments can be owed to the considerable conflict she had, against Kamala Lakshman’s Bāni.

Evolution of Classical Indian Dances 

Panel discussion
Chamayam 2024
Frankfurt

This discussion touched upon topics like the narrative styles of classical dances, communication to a wider global audience, impact of technology, knowledge sharing, organizer-dancer dynamic and much more along with another artist and a connoisseur of arts.