Kathak

Performing arts in India look back upon a common yet richly diverse tradition. Diverse classical dance/dance theatre styles that we know today as Bharatanatyam, Kuchipudi, Odissi or Kathak, emerged as distinct styles based on regional aesthetic preferences and the context in which dance was practised. While they can be traced back to ancient dance treatises, the earliest being Natyasastra (ca. 3 BC – 5 AD), every period in history, every decade, every practitioner and every context has brought changes, thus contributing to a practise that perpetually evolved and continues to evolve even today. In the past these various forms were brought to perfection, in particular, in the temples and/or courts of the respective regions. Today they have reached global relevance, with ever more practitioners of various backgrounds learning and perfecting the art.

What makes these dance traditions relevant even today is essentially a well-defined structure, that has withstood the pressures of time, with a continued practise over time moulding and re-defining it. That is the transformative power of dance itself. This is particularly evident in the dance style Bharatanatyam. I recognise in the aesthetics of the classical forms, insights into movement and expression that can be defined in most contemporary scientific terms. In the well-defined structures of these styles there is a profound knowledge of the human body and its ability to move and express. The rich diversity lies in what aspects of movement each style has emphasised in practise. And that there is a body-mind connection and even more, is an integral aspect, in fact the side effect of the very practise of such dance.

Yet, there is often a whiff of exoticism engulfing what is called Indian dance in Europe. My work over four decades has thus taken a triadic approach – innovative stage productions, teaching and research, to enable a critical understanding of this rich and, yes, loaded dance tradition. While content and context may appear to be rooted in specific cultural or religious practises, I recognise how the essence of its form can contribute to an understanding of human movement and expression at its core. That is what makes it universal, revealing itself to be beyond all categorisations when one gets on to the floor and practises it. Classical forms are not trendy forms. They evolve in the body over time or a life time and enable deep and rich experiences.

Rajyashree Ramesh
Berlin, September 2018