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BHARATHANATYAM AND GENDER DYNAMICS

Writer's picture: Vajra BalajiVajra Balaji

Bharathanatyam is a classical Indian dance form that originated in the temples of Tamil Nadu. India. It is known for its expressive and intricate movements, rhythmic footwork, and storytelling through dance. When it comes to gender, Bharathanatyam has historically been associated with female dancers, and most of the practitioners are women. However, the relationship between Bharathanatyam and gender is complex, and there have been shifts and discussions around this topic.


Traditionally, the dance form was performed by female dancers known as “devadasis” who were dedicated to the temple and considered servants of God. Over time, there were changes in societal attitudes, and Bharathanatyam underwent a process of reformation and revitalization in the early 20th century. Renowned dancers like Rukmini Devi Arundale played a significant role in transforming Bharathanatyam into a respectable and mainstream art form. This period saw the inclusion of women from different backgrounds and communities.


While Bharathanatyam has been predominantly associated with female dancers, male dancers have also made significant contributions to the art form. Male dancers perform Bharathanatyam with a distinct style, emphasizing strength and masculinity in their movements. Notable male Bharathanatyam dancers, such as Raja Reddy and Birju Maharaj, have gained recognition for their contribution to the dance form.


In recent years, there has been a growing recognition of the need to break gender stereotypes in dance, including Bharathanatyam. Efforts are being made to encourage more male dancers to take up the art form and challenge traditional gender norms associated with dance.


In summary, while Bharathanatyam has a historical association with female dancers, there is a growing acknowledgement of the contributions of male dancers, and efforts are being made to promote inclusivity and break gender stereotypes within the realm of this classical dance form.




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