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Devi juxtaposed ballet and BN, developing her own aesthetic of BN known as Kalakshetra, now a classical Indian dance tradition

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Colonialism displaced/mislabeled 19th Century devadasi practices, misnaming them as temple prostitutes

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Two "modernities" in the dance history research in the US

19th Century Colonial Modernity = disruptive, unsympathetic to local issues involved in cultural production of arts

Revivalists = enlightened, rebuts colonial modernity and allows for revival of Indian Performing Arts

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Kalakshetra = common ground

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Allen and O'Shea's Articles casted frameworks of Indian Nationalism. Devadasi practitioners contrast trajectory of ballet

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Devi learned ballet from a member of Anna Pavlova's troupe, influenced her Indian dance practice

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Devi did her work within the worldview of colonialism, developing a "third culture" that supported transcultural communication

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Critiques of BN tradition due to replication of Orientalism (nationalist paradigm)

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reformer vs traditionalist

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Failure to comprehend = failed promise of postcolonial research on Bharatanatyam

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Need to develop anti essentialist theory to understand Rukmini aethstetic legacy. Unable because postcolonial dance

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Devi institutionalized Bharatanatyam in her own institution known as Kalakshetra

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Devi Style popular in India and around World

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Balasaraswati style popular in US

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Kalakshetra = no bounded territory. Kalakshetra = translocal contemporary art

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different parts of world = variations of style

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US questions who are insiders, India does not - style is popular based on country

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Catastrophic interruption of five institutions means Rukmini was titled “Nationalist”. International Kalakshetra students teach worldwide.

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Rukmini housed five institutions and called it the Besant Cultural Center

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Balasaraswati = proud of culture, never fully emersed in devadasi culture

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Rukmini’s Devi’s artwork was not supported. Policy of Disassociation suggested removal of the five institutions.

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Devi = not true Brahmin bc marry Englishman - not fully devoted

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Both "Inside Outsiders" of their respective traditions

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women both 'traditional dancers' - historic figures of BN

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Brahmin Devi vs Devadasi Balasaraswati

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BN is a globally recognized dance form, however, especially in the US, the "colonial modernity" is not the focus of research from the form, due to early dance scholars researching only from the framework of "local modernity" and "Indian Nationalism"

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Devi theatricalized BN, using elements of British stagecraft

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Comparisons between Devi and Balasaraswati

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The relationship between Devi and Kalakshetra dance

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Rukmini Devi altered the way BN is performed/learned about, and, the global view surrounding its history, this had pros and cons to the traditional dance form and cultural community surrounding it

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Postcolonial and transnational viewpoints encourage us to think about the global aspects of BN dance however these perspectives haven't been examined to a proper extent by dance scholars. This idea is represented by the global influence on BN that Rukmini Devi's arts/education movement made, as well as the lack of recognition she received as she changed the face of BN

BN = Bharatanatyam

Devi = Rukmini Devi (Indian theosophist, dancer and choreographer)