Dancer Uma Muralikrishna performs the traditional Kuchipudi dance in Bangalore, India. (Vasanthakumar/CreativeCommons)

Kuchipudi, which originated in southwest India in the 13th century, depicts stories from the ancient religious scriptures. Performed mostly in the decadent temples of Hindu gods, Kuchipudi thrived under the Hindu kings, developing into one of the most prominent and complex dances of India.

But when the British—who often had little regard for traditional culture—deposed native monarchies and took over India, Kuchipudi lost its patrons and retreated to the confines of Hindu temples. Only when India became independent did many start to hope that Kuchipudi would regain its lost glory.

Six decades after independence, however, Kuchipudi still struggles to maintain its place while facing new challenges. The rapid influx of Western culture has brought new forms of entertainment that compete with Kuchipudi. The fast-paced life in Indian cities no longer allows much time for three-hour performances about mythological characters. As Rama Bharadwaj, a journalist for The Times of India told the Globalist, “With instant access to the Internet and instant coffee, all the youth of the nation want to learn about our centuries-old tradition is what can be presented in a few minutes—in short, instant culture.”

But while its popularity may have declined at home, Kuchipudi has begun to spread overseas, traveling as far as Australia, Russia, North America, and Europe. The success of famous dancers such as Shoba Natarajan, Asha Gopal, and Mythili Kumar can be measured by the prominence of Kuchipudi dance academies established in the U.S. that now attract hundreds of students each year.

As Kuchipudi moves farther away from its roots, there are signs of change. Performances are usually only secular and most occur without regard to the Hindu calendar. Students’ castes are irrelevant, and the original three-part performance is often cut short. New experimentation with the art form—such as the dance Anuradha Nehru performed to Greek pianist Yanni’s Nostalgia— has been both praised and criticized for its departure from tradition. Purists lament Kuchipudi’s export overseas, worrying that it is losing its essential qualities. According to one patron, Guru Vempatti Chinna Satyam, “Western audiences view not Kuchipudi, but a distorted version that is grotesque, as it is an Indian dance unsuccessfully trying to don a Western garb.”

Yet others like Swati Kumar, who has trained under Anuradha Nehru for several years, disagree. As Swati told the Globalist, “Such experimentation adds to the rich heritage of Kuchipudi and is essential to the survival and growth of any dance form. Why should Kuchipudi be denied this privilege?”

In fact, cultures that are taken from their native contexts often blossom in today’s rapidly globalizing world, as the the 500- year-old Kuchipudi that found its way to Helsinki demonstrates. While the increased exposure finds new fans, the history behind these foreign art forms can be neglected or even forgotten.

The responsibility to preserve Kuchipudi’s historic qualities lies not only with its performers, but also in the audiences themselves. There will always be a tradeoff between tradition and progress. But to truly appreciate the art form, audiences must appreciate the fact that what they are seeing is a glimpse of a complex and ancient tradition.

---

Add this page to your favorite Social Bookmarking websites