Beyond the mudra: dismantling the classical in Indian dance

Why We Dance (and Who Tells Us How)

Think of a dancer. You likely see a figure of perfect symmetry, performing “classical” movements honed over centuries. But what if those movements—and the labels we give them—are actually walls? What if the distinction between “folk” and “classical” isn’t just about style, but about power?

Fort Kochi, Feb. 7-8

A More Democratic Stage

Amith K runs this two-day workshop. He is a scholar-dancer with a PhD from Sree Sankaracharya University. The workshop explores the undemocratic structures of Indian dance.

It is a space to question the strict rules of rasa, bhava, anga and upangam. These rules have shaped the art form for a long time.

The workshop proposes a radical shift. Dance can only be truly democratic if we end the Brahminical ideologies and classicism that keep it alive. Through a blend of movement, shared readings and collective reflection, participants will explore how:

• Caste and class affect who can enter the arts.
• Gender and beauty standards limit expressive freedom.
• Disability and institutional power affect who can join dance classes and how teachers run them.

Meet Your Facilitator

He is not just a theorist. He is a practitioner who challenges the status quo from within the art world.

• He is doing post-doctoral research at the Kerala Council for Historical Research. His work focuses on Mohiniyattam history.
• He blends performance with rigorous academic study to challenge hierarchies.
• He studies the intersections of caste, culture and history in modern Kerala.

Did you know? Between Princess Street and Petercellie Street in Fort Kochi there was a tripod-like appliance. Locals called it “Mukali” and used it to tie up offenders and whip them.