The Global Stage and the Pressure to Simplify
When Indian classical dance is performed on a world stage, there is an undeniable pressure to present a version that is accessible and easily understood by a diverse, often non-Indian, audience. This can lead to a focus on the most recognizable aspects
of forms like Bharatanatyam or Kathak, creating a 'greatest hits' version of the art. The desire for marketability in a competitive global arts scene often encourages a standardized product. This commercial pressure can lead to a 'pan-Indian' performance style that glosses over the specific cultural and historical contexts from which these dances originate. Performances may be shortened, complex narratives simplified, and the more esoteric or regionally specific elements removed to cater to what is perceived as a global taste. While this popularises the art, it risks creating a monolithic representation of a deeply varied tradition.
The Erosion of 'Gharanas' and 'Banis'
The true richness of Indian classical arts lies in its regional schools of thought, known as 'gharanas' in Kathak and Hindustani music, and 'banis' in Bharatanatyam. These are not merely stylistic variations; they represent distinct artistic lineages, philosophies, and aesthetic approaches developed over centuries in specific geographic and cultural milieus. For example, the Jaipur gharana of Kathak emphasizes powerful footwork and spins, reflecting its history in Hindu courts, while the Lucknow gharana focuses on grace and abhinaya (expression), shaped by its Mughal court patronage. Abroad, the distinctions between, say, the Pandanallur and Vazhuvoor banis of Bharatanatyam can become blurred. Gurus in the diaspora may teach a blended style, either because they themselves were not trained in a single pure tradition or as a pragmatic choice to offer students a more 'comprehensive' curriculum. This well-intentioned approach can inadvertently lead to the dilution of these unique and historically significant traditions.
Teaching for a New Generation
The role of the guru in the diaspora is immensely challenging. Teachers are often the primary, and sometimes only, link to cultural heritage for second and third-generation immigrant children. They are tasked not only with teaching technique but with imparting a whole cultural ecosystem of mythology, philosophy, and values to students who may have little other exposure. In this context, preserving the hyper-specific nuances of a particular regional style can seem less important than the broader goal of connecting young people to their Indian roots. The 'guru-shishya parampara' (teacher-disciple lineage), which traditionally involves years of immersive, one-on-one training, is difficult to replicate in the context of weekly classes in a suburban studio. As a result, the depth of knowledge transmission can be affected, with a focus on repertoire rather than the underlying grammar of a specific bani or gharana.
A Homogenised Story
The flattening effect can also be seen in the choice of repertoire. The vast narrative landscape of Indian classical dance draws from pan-Indian epics like the Ramayana and Mahabharata, but also from regional puranas, local folklore, and the works of regional poets and saints. When performing for international audiences, there is a tendency to rely on the most universally known stories of gods and goddesses, which require less specific cultural context to appreciate. While beautiful and profound, this focus can sideline the rich tapestry of local narratives that inform specific dance traditions. The story of a local deity from a single village in Tamil Nadu, or a composition by a lesser-known poet from Rajasthan, may be deemed too niche or difficult to translate for a global audience, leading to its gradual omission from the diaspora repertoire.
A Call for Conscious Preservation
Recognizing this challenge is the first step toward addressing it. The goal is not to condemn the global success of Indian dance but to ensure its success is sustainable and authentic. This requires a conscious effort from artists, gurus, patrons, and audiences. Artists can make it a point to present and explain the specific regional styles they practice. Gurus can strive to educate their students not just on the movements, but on the history and philosophy of their particular lineage. Presenters and festival organizers can actively seek out and promote artists who represent different regional traditions, celebrating diversity rather than seeking a single, easily marketable aesthetic. And audiences, particularly within the diaspora, can become more discerning consumers, seeking to understand the difference between gharanas and banis and celebrating the artists who are keeping these traditions alive.
