'Choodare’ is a Kshetreya padam (composition) that speaks about the emotional upsurges of a woman who is insecure about another woman in a relationship with Krishna.
She carps, gossips, and mentally rebukes the other woman for getting close to Krishna when she could not. This padam is a well-known piece, extensively performed on Bharatanatyam stages.
A recent revisited staging of this padam by Bengaluru-based Bharatanatyam exponent Parshwanath Upadhye introduced a refreshing and enjoyable role change. Instead of a woman expressing insecurity about another woman, the performance featured a man attempting to woo and then criticise a woman for rejecting him and running towards Krishna.
The drama was laced with satire, making the staging immensely admirable, though the entire padam now conveyed a male perspective rather than the original female version.
“The padam and its structure were not changed. What was adapted was the story to suit a male perspective,” says Adithya P V, who teams up with Parshvanath to form one of the most sought-after Bharatanatyam duos today.
“With this, we aimed to break stereotypes — showing that men, too, can be lovelorn, insecure, and prone to gossip, just as women are in situations depicted in the padam. It was about challenging stereotypes.”
The duo performed at the ongoing Nishagandhi Dance Festival in Thiruvananthapuram on the opening day. This year’s festival saw a notable presence of male dancers, including Kathak veteran Pandit Rajendra Gangani, Kathak dancer and choreographer Hari, budding Bharatanatyam exponent Arjun Subramanian from Vellinezhi, Manipuri exponent Thingom Brojen Kumar Singha, and Odissi maestro Lucky Prajna Pratishta Mohanty.
“The number of male dancers in festivals such as Nishagandhi is encouraging. Even the Music Academy (in Chennai) featured a significant number of male performers, showing how classical dance is gaining popularity among men,” says Adithya, who hails from Kannur.
He notes that a growing number of young men are aspiring to take up classical dance as a career, despite families discouraging them. “We, too, faced such odds while growing up. People assumed that a man dancing would be effeminate. But that notion has been proven to be incorrect,” he asserts.
Classical dance guru Sunil Nellay had experienced this first-hand. “I was part of the RLV batch of 1982, when there were no male students. I was the first male to receive a course certificate in classical dance from the state government,” he recalls.
“The idea that men would become like women if they learnt dance was perpetuated by certain films that portrayed it degradingly. Also, there was a period when softer emotions and lasya were given more prominence in dance. But one must remember that nritya also has an equal element of vigour or ‘tandava’, which presents itself in varying hues.”
A man, Sunil adds, need not become woman-like to express the femininity one assumes is required in dance. “Think about it — who is the author of the Natyashastra, the magnum opus on dance philosophy and technique? Bharata Muni. And who is the God or ultimate guru of dance? Shiva, the epitome of masculinity,” stresses Sunil, who runs Nellay Nruthanjaly dance and music school in Kochi.
“Then how can classical dance be effeminate? It is the way it was wrongly practised by some and, of course, the narratives in films and popular media are to blame.”
The wrong belief that dance was inherently feminine led many male performers to imitate women while dancing, says veteran Bharatanatyam guru Abdul Manaf, who is better known as Manu Master.
“A man should remain a man, and a woman, a woman, while performing. The stage does not distinguish between genders,” he adds.
“On stage, a performer is a performer, and the role must be executed with finesse while staying true to oneself. Unfortunately, personal identity often overshadows the character being performed, leading to performances that align with stereotypes.”
It is pertinent to note that, historically, male performers dominated the classical dance scene as gurus until a few decades ago, says Shailaja N, a dancer researching the influence of ancient Indian dance on temple architecture.
“Look at Kelucharan Mohapatra, who could recreate Vrindavan with his art. Or Dhananjayan, who infused Bharatanatyam with the power of Kathakali. Or the Manipuri and Sattriya dancers,” she highlights.
“Even Kathak dancers have performed on lovelorn musical pieces like thumris. Male dancers have always played a significant role in the evolution of classical dance. It was only between the late 1960s and early 2000s that the perception changed. Somehow, people started viewing dance as a feminine pursuit.”
The rise of social media and performances by ace dancers such as actor Vineeth Radhakrishnan and the Parshvanath-Adithya duo have helped break this stereotype. Inspired by them, there are many like Unnikrishnan L P, who runs the Lalithambika Sangeeta Natya Koodam in Thiruvananthapuram, who have taken up Bharatanatyam. Unnikrishnan started learning the art at 34.
“Parshwanath-Adithya’s performances helped me understand the grammar of dance and how men can embrace it. Their training in Kalari brings a certain poise and strength to their performances, which motivated me to learn,” he says.
Unnikrishnan’s art centre now hosts an increasing number of male dancers who perform regularly. Lalithambika Sangeeta Natya Kala Koodam, in fact, is planning a workshop on traditional padams (compositions) that depict the male perspective of passion and angst in the coming days.
The passage of time has also brought the change, says Manu Master. “I discourage my male students from imitating women while emoting softer elements like lasya (feminine grace). They should remain true to themselves and interpret the character naturally. When a man performs lasya, he does not need to become woman-like,” he explains.
“Similarly, when women perform male roles in Kathakali, they embody the character without mimicking a man. The character takes dominance, but they do not lose their identity.”
Manu Master believes social media is playing a crucial role in shaping contemporary dance by taking performances from deeply trained artistes to a wider audience. “Awareness of tradition, spirituality, and the arts rooted in these values is also increasing nowadays,” he says.
Actor Vineeth, however, credits cinema for inspiring his dance journey. Especially Kamal Hassan. “His performance in Sagara Sangamam inspired many, including me, to pursue dance without the fear of being perceived as feminine,” he says.
“Kathak legend Gopi Krishna’s choreography in the film highlighted the beauty of masculinity. I was also fortunate to learn under esteemed gurus and to watch veterans like Vempati Chinna Satyam and Dhananjayan master perform in my hometown, Thalassery. This exposure, along with my formal academic training, shaped my journey.”
Vineeth, too, notes that the number of male dancers who choose to learn later or pursue performance is growing. “There is more exposure and awareness now. This is why we see many men delve into the divine depths of classical dance — actually as a means to accentuate the real masculinity within.”