On emotion and innovation in bharatanatyam
Published: 5 Aug 2024
Time taken : <5mins
The dance form bharatanatyam is often regarded as one of the oldest and most renowned classical dances of India. It is mostly characterised by its intricate footwork, expressive hand gestures and dramatic storytelling through expressive facial expressions. Elements of rhythm and melody are combined to bring forward familiar and preordained Hindu narratives from devotional scriptures, mythology and classical literature.
Second-generation Indian and American bharatanatyam artist Mythili Prakash is trained by her mother, Viji Prakash, a distinguished dance exponent, has studied with several legendary stalwarts from India, and is trained and mentored by one of India's iconic dancer/choreographers Malavika Sarukkai. Her professional relationship with Akram Khan, since being a principal dancer in Akram Khan Company’s Outwitting the Devil (2019–2022), is particularly notable and she is currently collaborating with him on an upcoming new work.
Mythili brings her rich tapestry of training in and experiences with bharatanatyam to the larger dance audience.
She has performed at international platforms like NBC's televised reality show Superstars of Dance, London Festival Dance Umbrella’s Four by Four which commissions contemporary choreographers to create new work, and more recently in the site-specific dance festival Festival in Motion in Qatar as part of the World Cup 2022. Her exceptional contributions to dance have earned her numerous awards and accolades internationally.
Through her works, Mythili highlights that traditional arts does not need to be hermetically sealed from the contemporary world in which it is being performed, practised and circulated.
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Mythili Prakash
Mythili has made significant contributions to bharatanatyam by integrating contemporary themes and perspectives, and uses inventive choreographic strategies such as incorporating the setting of the new contemporary context within the work itself. With her nuanced understanding of rhythm and expressions, she pushes the boundaries of this classical dance form. Through her works, including She’s Auspicious on 10–11 Aug 2024 which marks her return to Esplanade, Mythili challenges conventional narratives and explores deeper societal issues. This expands bharatanatyam's relevance and appeal to audiences of today.
In doing so, Mythili fosters a wider appeal and reaches out to a larger dance audience—inviting them to revisit their own definitions of the arts.
In this interview, she shares more about her craft and her journey as an artist.
Mythili Prakash in <em>She's Auspicious</em>. Image credit: Chuck Bigger
The ability to inhabit multiple characters (even inanimate objects) allows for perspectives and empathy. I think emotional quality makes it adaptable and accessible.
Tradition and innovation go hand in hand and the balance is ever evolving. What feels balanced to me at this moment in time is different from what felt so a few years ago. I think it’s instinctive as to what feels right and authentic to me at that present time.
I’m in the process of making a new piece about a dance competition between Shiva and Kali. The traditional telling is one that I have always questioned, and so I am taking the creative and artistic liberty of reimagining the story from the perspective of both characters.
Mythological stories, particularly those from Indian culture, fascinate me because they depict gods as “imperfect,” making mistakes and experiencing emotions like humans. Exploring their stories helps us reflect on ourselves.
I’m excited about this new work—this is the first time we are working on a two-part show that explores both character’s perspectives in the same evening.
Responses have been for the most part emotional and involved—whether that means people feel moved by it, or disturbed by, or question it. If it makes them feel something, and reflect on themselves and the world around them in any way—then that is the goal.
The setting of context definitely helps. Seeing pieces in a “conventional” context makes you come in with a specific expectation. In some of my pieces, I try to incorporate that setting of context within the piece itself. As an audience, it’s natural to be primed with certain expectations. But, to leave aside that baggage is the challenge. How can we as performers help facilitate that? That is a question I’ve been thinking about.
Life!
It’s so fragile, tumultuous, varied, painful, joyous and beautiful, all at the same time. How amazing is that?!
I think life continues to change and we as humans continue to change. And so our approach as artists is bound to always be in flux—fluid and ever-evolving. My only goal is to stay true to that and to not respond to what I think I SHOULD do or is expected of me—if I don’t believe in it.
I think the role of dance teachers is incredibly important in teaching the vocabulary, and the music, and the stories to present and future generations. I grew up so immersed in all of that—and it is something I cherish tremendously. It gave me an anchor and a way to understand and relate to the world that is poetic, analytical and with faith.
I already see the challenge of creating such immersive environments with today’s children who are involved in so many activities (my nine-year-old daughter for example!). I think when we instill the rigour of practice and the love for the art in the students, then we can trust that they will take the process forward with integrity. The rest is subjective…
Full-filled.
Contributed by:
Dr Nidya Shanthini Manokara is a dance and theatre practitioner-researcher, educator, performer and dramaturg. She is a lecturer at LASALLE College of the Arts, University of the Arts Singapore.
