In our post-blacklivesmatter 2021 arts landscape in the UK, you could be forgiven for thinking that many institutions have changed, that marginalised identities are being given more space, that anti-racism is becoming centre-stage. And yet, when I try to voice a whiteness-related concern with an institution, most often they reply with a link to their webpage on anti-racism and diversity. Whose job has actually got easier?
Read More“The unpredictability of what will happen is what makes something alive. It is not about trying to recreate aesthetics or trying to make what people expect you to be making.”
Read MoreThe most satisfying moment for me in her talk was when Tara articulated our collective challenge.
Read MoreI associated something this Islamic with kathak rather than bharatanatyam. It didn’t take long however for this connotation to unravel; the Sultanate courts of the Mughal Carnatic in the 18th century had a significant influence on the artistic activities of the time, and the Nawabs of Arcot were huge patrons for dance and music in southern India.
Read MoreChennai is undoubtedly the motherland of bharatanatyam, a rich source of tradition, knowledge and technical expertise. Hosts to the most tightly curated bharatanatyam festivals in the world, Chennai is also a gatekeeper of tradition and thus becomes a benchmark for quality bharatanatyam. The UK in comparison has but a fledgling bharatanatyam industry, where practitioners focus on making work that can sit alongside that of mainstream dance choreographers and win over audiences that know nothing of their form.
Read MoreWhat does it mean to practise bharatanatyam? At the intersection of a sport, an art form, theatre, an inherited culture and a musical tradition, bharatanatyam contains an inherent plurality that doesn't make clear the best approach to practising.
Read More And I can’t deny it; there’s a part of me that feels deeply satisfied to see the tables turned; to see contemporary dancers challenged by the demands of a Bharatanatyam choreographer.
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