Inside/Out- An autoethnographic exploration of the structural boundaries of Indian classical dance / Himadri Madan (2021)

This research explores my experience as a female Indian classical dancer in relation to the dominant power structures of hierarchy, expected ideals of perfection and prescribed mode of feminine representation in India. Following Gayatri Spivak’s (an Indian feminist theorist) idea of deconstruction, I aim to deconstruct my relationship with the structures of Indian classical dance, using the methodology of Performative Autoethnography as conceptualised by Tami Spry, a performance studies researcher.

This thesis traces the theoretical context of history of Indian classical dance as it existed in pre-colonial times by elaborating on texts like the Natyashastra written in 2 nd century BC and Abhinaya Darpana written between 500BC – 500 AD and exploring the sculptural representation found in temples of India, built between 13th to 16th century. It further expands on the evolution of Indian classical dance from being ritualistic and sensual and performed by Devadasis, who were married to temple deities, to its abolishment in 1890 due to the colonial influence and emergence of reformed and purified version of dance in post-colonial era of 20th century. It also theoretically contextualises the structures of hierarchy, expected ideal of perfection and prescribed mode of feminine representation, and their development and changes through pre-colonial, colonial and post-colonial time.

Further expands on the research process by detailing the studio practice and the artistic output through the lens of methodology of Performative Autoethnography to understand how I intersect, collide and commune with the structures of Indian classical dance as a female dancer.