Wishesh magazine january 2018 Wishesh magazine january 2018 | Page 26

INDIAN DIASPORA TRADITION
The
Bharatnatyam
dancer is
accompanied by
a nattuvanar
(or taladhari)
that is a vocalist
who generally
conducts
the whole
performance,
a part often
executed by the
guru.
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setting up of British colonial
rule in the 19th century.
Such developments saw
decline of various classical
dance forms which were
subjected to contemptuous
fun and discouragement
including Bharatanatyam
that through the 19th century
remained exclusive to Hindu
temples. Eventually social
and economic conditions
associated with Devadasi
culture added with contempt
and despicable attitude from
the Christian missionaries
and British officials, who held
the Devadasis of South India
and nautch girls of North
India as harlots, disgraced
such systems. Furthermore
the Christian missionaries
launched anti-dance
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movement in 1892 to stop
such practice. The Madras
Presidency under the British
colonial government banned
the custom of dancing in
Hindu temples in 1910 and
with this the age-old tradition
of performing Bharatanatyam
in Hindu temples also came to
an end.
Revival
The Indian community
disapproved such ban. The
Tamilians were worried
that such a rich and ancient
custom of Hindu temple
dancing was getting
persecuted on the pretext of
social reform. Many classical
art revivalists like Indian
lawyer, freedom-fighter,
activist and classical artist
E. Krishna Iyer questioned
such discrimination. Iyer
who became involved with
the Bharatanatyam revival
movement was incarcerated
on charges of nationalism
and imprisoned. During his
prison term he convinced the
political prisoners to advocate
for this age-old classical
dance form. Iyer founded the
‘Madras Music Academy’ and
along with Indian theosophist,
dancer and Bharatanatyam
choreographer Rukmini Devi
Arundale, he strived to save
Bharatanatyam from dying
out. Despite the fact that
Hindu temple dances were