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At Home in the World: Bharata Natyam on the Global Stage

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Dancer and award-winning dance history scholar Janet O'Shea presents At Home in the World: Bharata Natyam on the Global Stage, the fascinating true story of the classical dance form of Bharata Natyam. Widely performed in India and around the world Bharata Natyam underwent choreographic transformations as it moved to the urban concert stage in the 1930s and 40s. Examining these changes in the political context of the time, and comparing them to modifications in present-day Bharata Natyam performance, At Home in the World effectively traces the evolution of this beautiful art form, now known to have over 250 teachers in the United States alone. A handful of black-and-white photographs, a glossary, list of references, and an index round out this in-depth study of how a traditional form of art can blossom into global expression.

Dance from India is eloquent, meaningful and sometimes beyond the perception of the viewer. A book of this magnitude is capable of explaining the nuances of these cultural dance forms in both gross and minute detail. One particular style was performed by temple initiates, known as devadasi, and while it is a peculiarly female arena, there are men who dance it today who are lauded for their ability. This sacred art form hit the concert stage in the '30s and '40s.

These temple dances are discussed in detail, as well as contemporary works that take various events and bring them to the stage. One example is "Unable to Remember Roop Kanwar." Roop Kanwar was an eighteen year old woman who was condemned to die on her deceased husband's funeral pyre, as tradition commanded in modern day 1987. While the practice of "widow immolation" may be unique to a given area, the core issue is domestic violence. This is one example of the performances that weld national issues on a global perspective.

The book explains classical and modern dance pieces in great detail. Body position, mudras (hand positions), lighting and other components are reviewed and explained. Because this dance style is so heavily nuanced, there are footnotes, appendices, references, a glossary and an amazing index to help explain detail within detail. The black and white photography may not show the detail of costumes and makeup, but they serve the dramatic aspect much better. One promotional photo of Ana Pavlova (choreographer/ballerina) for her 1923 Hindoo Dance, is especially stunning.

The upside of this book is how well it captures Bharata Natyam. Even the more "casual" student of India's dances will find something of value to bring to their dance interpretations. If you know nothing of Bharata Natyam, you will be given an education that may be overwhelming. It is a true study and evaluation of the art form and leaves the reader feeling inundated with information.