Feminism and Performing Arts in India- Some Thoughts

by Vasanthi Sankaranarayanan
January 17th 2008

Apology. Begin with an apology. That is my usual trait. For a person who is normally very assertive, I turn apologetic, the moment I start writing on subjects which are close to my heart, but do not know enough. I revel in my original thoughts; I manage to substantiate them also. However, I do not seek established theories or academic discussions or even quotable quotes to justify or prove what I have to say. Instead, I fall back on my own fund of knowledge and experience and wade through a process of argument. Sometimes, and to some extent, it succeeds. But, most of the times people, especially the academicians and theoreticians are not impressed by what they consider as my gimmicks. There was a time when I used to crave for the approval of these people. But, now, I have gone past all that. It does not matter to me that the learned crowd does not appreciate my capability for original thought. I only hope this capacity to arrive at original (maybe puerile) conclusions will never leave me. There is not enough time to master all the theories and the results of academic wisdom and prolonged research. Honestly, I get bored by the content as well as the language used in such research works. So, I desist from that and go back to what I consider original thinking.

So, with this piece of writing also I have to apologise for not being profounder. At the outset I have to state that this is not a well researched paper on the subject. It is only the outcome of lingering thoughts I have had on the subject, out of which at a future date, I may prepare a well structured and thought out research paper. Arguments in this paper will be substantiated not through quoting other documents already written or presented, but my own original and cogent ideas and thought processes.

By Feminism, I mean broadly all that pertains to women and adds value to their cause. By cause I mean the various rights – right to be free, (free thought, free expression, free emotions, free employment) and to have security and protection while exercising those rights. By Performing Arts I mean mainly dance and theatre. Again I would like to emphasise on dance or dance drama.

When we examine the performing arts scene of India, we come across art forms from which women are completely excluded such as Kathakali, Yakshagana, Bhagavatha Mela Nataka and Terukoothu. As we seek for reasons why women are prohibited from these dance forms, we get arguments such as they are very vigorous and therefore causing strain to the body of women. Again, even the body training given to artists such as Uzhichil(body massage) and training in martial arts (Kalaripayattu) are tough and considered to be harmful to the female body and its function in child birth. First of all why have movements which only men can physically perform and challenge women to put themselves through the strain of mastering them? So, excluding women from the arts in the name of strain is not acceptable. The second argument that one hears is that Kathakali training and practice involves a great deal of community living. And women, after a certain age, having their own families, will not be in a position to fully adapt to this community living. Performances in different locations will take them away from home and upset the life at home. Children will be left without anyone to take care of them. Cooking, cleaning and taking care of the house will not be done satisfactorily. Again, this is not a good argument. Times have changed and why should women alone take on the burden of family, children etc? What can’t men also chip in and share the burden and find some workable solution. There are other options such as taking children with you when you go on tours etc. What the children loose by way of monotonous school studies, they gain from experiences and association with different types of people in different places. Also, why not men and women take turns to look after children as they do in Scandinavian countries? . So, in conclusion I feel that exclusion of women from certain art forms is not based on rational or humane arguments, but patriarchal impulses and instincts.

Now, let us take another scenario where women are allowed to fully take part in the performance of art forms. The classic case is that of Bharatanatyam, where the solo woman dancer takes the centre stage most of the times. Now, of course, the situation has changed and even men have started performing Bharatanatyam. But, look at the state of the solo Bharatanatyam dancer. She is in every ways objectified and subjected to the male gaze. She is in fact, performing to please men. The emotions portrayed, the stances taken, the associative ideas are all supporting this objectification. She may seem to be a very independent operator, but, in effect, she is literally and metaphorically dancing to the tune of the Nattuvanar, the singer the accompanying instrumentalists especially the mridangist whose loud and fast tempo produces sounds which literally drown the dancers movements and distracts the audience from her dancing. She is dressed like a doll, she dances like a doll; finally she is transformed into a doll, a doll which gyrates and moves to please an audience, especially a male audience. There is no exaltation of the body or the spirit. She just moves and acts like a robot and produces loud, prolonged thumped claps which she is forced to accept as marks of appreciation. More and More her movements and expressions are becoming convoluted and contrived. She has no connection with reality; nor is she allowed any leeway to move away from the traditional structure in form or theme. It is at best a soul-killing experience.

The last section with regard to women and performing arts is the part played by the audience in promoting these stereotypical ideas and stances. The audience, not only men, but women too are oblivious by far to the implications of the roles played by women when they perform or not perform arts. They are happy to witness maintenance of status quo and aversion to experimentation. Any change or move is vociferously voted down in the name of maintaining the purity and authenticity of the classical form. So, there is no protest even from the audience at this mindless continuance of patently patriarchal practices. Unless, we can get rid of this aversion to experimentation through protest or the extreme measure of banning the presentation of the accumulated baggage there is no salvation to women in performing arts.