Pirouetting on judgments with grace; journey of male dance performers in India

We speak to two men from Delhi who have confidently embraced dance forms that are traditionally associated with women and are breaking taboo in the process
A picture of Eshan Hilal belly dancing as part of a performance
A picture of Eshan Hilal belly dancing as part of a performance

Dance has forever been a gender-neutral performing art form. In fact, in India, several seasoned male performers—the renowned Kathak dancer Pandit Birju Maharaj or the legendary Kelucharan Mohapatra, an exponent of Odissi dance—have brought glory to the country with their passion for and respect towards dance. However, despite the prevalence of such eminent names in the industry, the mention of a male professional dancer in a few dance disciplines is often met with disbelief.

Widespread criticism and judgments surround the identity of men who make a decision to take up a career in dance, which is usually considered a female-dominated profession. Treading this unconventional path, two male dancers from Delhi tell us about their journey, the discrimination they have faced in the process, and what keeps them going.

Enthralling audiences with his spirit
Hailing from Pathankot, Punjab, Vishavdeep, a professional Kathak dancer now residing in Laxmi Nagar, recalls how his father would drive about four hours to drop him off to his Kathak classes when he was four. “The person who has moulded me into a Kathak dancer is my father,” he says, proudly.

Currently, a senior A-grade dancer at Kathak Kendra, Chanakyapuri, Vishavdeep has a string of achievements to his name. However, despite this, he has received his fair share of criticism for making dance the purpose of his life. “In Punjab, dancing is actually considered a hobby.

People are shocked when they hear that I have completed my education in dance. They just don’t accept this fact and are quick to judge,” explains Vishavdeep who is currently pursuing his PhD in Kathak dance from Patiala University.

Vishavdeep further adds that many people have also questioned his choice of pursuing Kathak as a dance form. “Being a male dancer, it is very difficult to choose this [performing] art form. You have to wear the ghungroo and use make-up. The attire [in Kathak] is also considered very feminine by people. A number of times people have also asked me ‘Why do you want to pursue an art form that belongs to girls?’,” he shares.

Over the years of working passionately towards perfecting Kathak, Vishavdeep has built a sense of resistance towards undue comments. “Whenever you decide to do something in life, the first response from society is in the form of criticism. It is only after you surpass this criticism that you can actually achieve your goal,” the 29 year old concludes.

Moves of courage and self-belief
“I don’t remember a time in my life when I was not dancing,” shares Eshan Hilal from East Delhi. Greatly inspired by Bollywood actor Madhuri Dixit, Hilal started learning Kathak in his early years despite opposition from his family. After years of practising Kathak, he felt drawn towards belly dance at a time when it was fairly new in India. “The shift [to belly dance] was very gradual.

I saw Meher Malik, [a belly dancer from Delhi] on TV and I said to myself ‘I want to try this dance form’. Since it was new, people considered it improper. I remember my guruji saying ‘Why do you want to leave a noble dance form and indulge in a shameless act?,” Hilal says.

Over the years, the 26-year-old dancer has faced judgment from family members, friends, teachers, etc. However, his passion for dance keeps him resolute. “As I look back, I see that I was entrapped by regressive thinking. Society wanted me to be a ‘man’. If I was wearing ghungroo, my manhood was questioned. If I danced in front of an audience, I was considered effeminate.

Now I feel, if I am effeminate and I showcase qualities of women then that should be my power and not something I should be criticised for.”

Advising everyone to follow their dreams unabashedly, Hilal concludes, “Do not ask for acceptance, validation, or respect from anyone. All of us are ‘flawsome’ and we must accept ourselves that way.”

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