Bharatha Natyam Projects
Gayathri's dance projects seek to democratize the form of Bharatha Natyam, with special attention to the lost court and temple history of the courtesans.
The projects mentioned below were conducted in addition to Gayathri's regular performance career which includes dancing in prestigious venues such as Jawaharlal Nehru University, and the United Nations to name a few.
Srishti Art-in-Transit Grant
Cubbon Park, like other urban public spaces, occupies a changing landscape and meaning in the daily transience of city life. This project aims to bring the multiplicity of meanings in a public space to light, with focus on the historical context of Cubbon Park, and the significance of dancing body in movement, through Bharatha Natyam performance.
I designed a performance of the javali tradition, patronized by Sri Chamarajendra Wodeyar., addressing notions of history, public access, the democratization of classical dance, and the fat body in performance. It was a performance of 70 minutes in length (Divided into two 35 minute segments), encompassing three main pieces of music and utilizing a style that was interactive, sometimes mimicking passers-by, sometimes speaking to them through facial expression alone. Interactions will be attempted while maintaining the body language and tropes of Bharatha Natyam. The performance began near the statue of Sir Mark Cubbon, progressed through the staircase of the Metro at Cubbon Park, and ended on the platform.
IFA Project 560 Grant: Sundara
Sundara is a Bharatha Natyam production based on 3 years of research on Venkatasundara Sani, a dancer associated with the Ulsoor Someshwara temple in the early 20th century. Through translating and analysing a book that she authored, titled the “Rasika Jana Manollasini”, this production features aspects of the repertoire that she would have danced. Furthermore, employing the use of archival images, the textile and jewellery design for the performance was executed to be period-specific, in detail. Weavers from Arani and jewellery makers of the Saivite temple tradition lent their skills to ensure authenticity. The dancing body of the Bangalore-Kolar tradition was greatly influenced by odissi and therefore Gayathri trained in basic odissi to gain a sensibility of that movement vocabulary. Furthermore, she worked on maintaining a physical aesthetic that was similar to archival images, aiding in understanding the difference between Bharatha Natyam today and the dance aesthetic of the early twentieth century. This is enhanced by prioritising hereditary artistes from the Nadhaswaram and Thavil traditions who were integral to the temple space. The production showcases these elements, with a combination of dialogue, repertoire and music.
Rati
Rati was conceptualized as an ode to the court-style baithak performances of India. Staged in an intimate setting, audience numbers were limited and seating was placed in the round, instead of frontally (as found in the proscenium context). The project featured carefully selected love poetry from a range of sources, from Purandara Dasa and Kshetrayya to unnamed composers featured in a courtesan's notebook. This project explores shades of love through the Bharatha Natyam repertoire, with audience engagement and historical context.