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failed “critical liberation” because constraints of “Indian Nationalism”

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Bhara studied globally, Roehampton's Program plays significant role promoting it

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US not researching Bhara, focused on nationalist over global modernity, both influenced since 19th century

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two “modernities”

Colonial = “disruptive”

Nationalist = “enlightened”

revival Indian Arts

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Colonialism displaced/mislabeled devadasi practices, “transnationalized” due to British rule

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revival research not focused on global modernity perspective of colonialism

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Devi = central in transnational movement of Theosophical Society, learned ballet

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Devi theatricalized, juxtaposed Bhara and Ballet developing new aesthetic

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Devi founded Kalakshetra revive Bhara, pioneering movement both local and transnational

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invited international educators, developing multicultural world for Bhara

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“Third Culture” facilitating transcultural communication vision for Bhara

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Devi relevant to modernization of dance, had global impact

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Devi’s history inspires the tracing of BN and Ballet similarities

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Brahmin Devi vs Devadasi Balasaraswati = reformer vs traditionalist

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Bala: not very devoted = married priest, but female ancestors court dancers

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

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

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not "inside nor entirely outside" each history = worth studying

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women both 'traditional dancers' - historic figures of BN

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careers occasionally overlapped - travelled/ shared BN globally

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recognise their two contributions - locations, techniques, popularity

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carrying personal histories: Bala+family/music, Devi + built feminine name off male teachers

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

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identity: caste, class, families = "reinvented past" - these women carry

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Devi’s movement

con: marginalized devadasi practitioners

pro: re-historicize

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inadequate traditions = 1930 Sadir BN represented by males, females, "inside outsiders"

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Rukmini housed five institutions - Besant Cultural Center

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'Traditional practitioners' difficult to say whose representation is authentic

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different parts of world = variations of style

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Catastrophic interruption (FI) = Rukmini “Nationalist”. International Kalakshetra students teach worldwide

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US question whose insiders, not India - styles popular based on country

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Kalakshetra = no bounded territory. Kalakshetra = translocal contemporary art

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Need to develop antiessentalist theory to understand RD aethstetic legacy. Unable because postcolonial dance

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Failure to comprehend = failed promise of postcolonial research on Bharatanatyam

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Authors pov, developed six interdisc courses, explored BN with students in multicultural contexts

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Articles casted frameworks of Indian Nationalism. Devadasi practitioners contrast trajectory of ballet

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

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1. New scholarship = second moment of development in SA dance studies, earlier critiques = recovering repressed history of Devandasi women)

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1. Article = rewrote the script for south indian dance where RD separated from male dancers

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1. RD says was deserted and abandoned by her first teacher

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Allen conflates gender issues (labels “traditional community”). Neduri invites devadasi women to teach

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1. O’Shea’s article = two BN women and their instructional and interpretive communities - excludes RD (historically flawed)