From Kuchipudi to Ballet: similarities between Indian classical dance and Russian ballet

Natya Shastra and spiritual essence of rasa

The Natya Shastra is an ancient Indian treatise on the performing arts, written in Sanskrit and traditionally attributed to the sage Bharata. It is considered the foundational text for Indian classical dance, drama, and music, and was written between 200 B. C. and 200 C. E. although some parts are believed to be even older. It comprises 36 chapters and over 6,000 verses in poetic form. The Natya Shastra is not only a text about dance and drama, but also explores the spiritual purpose of art. It emphasises the idea that the performing arts serve as a means of emotional and spiritual upliftment for both the artist and the audience.

Bharata relates bhava, the emotion presented by the performer, to rasa, the spiritual experience of the audience. Rasa is an aesthetically transformed emotional state experienced by those in the presence of great art.

The word itself is derived from the root "rasah", which does not have an exact equivalent in English but may be understood as "essence." Rasa is associated with the palate; it is a delight afforded by all forms of art. Some scholars have suggested that rasa is meant to provoke an emotion that already lies latent within an audience, simply awaiting expression.

Indian classical dance and theory of rasa

The theory of rasa informs all of India’s classical arts, including its many forms of classical dance. India has a rich and ancient tradition of classical dance dating back to the 2nd century B.C. Some of the most prominent country’s classical dance forms include Bharatanatyam, Kathak, Kuchipudi, Manipuri, and Odissi, among others. While these forms have evolved and diversified into distinct styles over the years, they are all rooted in ancient texts like the Natya Shastra. They are often characterised by quicksilver rhythmic footwork, highly expressive facial expressions, and intricate movements of the hands and eyes that all move in harmony.

There are many parallels between Indian classical dance and Russian ballet, despite being separated by millennia and vast distances. Russian ballet dates back to the late 17th century, during the reign of Peter the Great, while classical Indian dance traces its roots to the era before Christ. Both are highly structured disciplines and demand exceptional rigour from students.

The training is traditionally hierarchical, and students advance only once they have achieved mastery of more fundamental steps. Students who are serious about studying classical dance in India often attend boarding schools where they can immerse themselves fully in their studies – just as young dancers in Russia compete for admission into elite ballet academies in St. Petersburg and Moscow.

Vaganova Method

There are many intellectual synchronicities between classical Indian and Russian dance. Agrippina Vaganova was one of the most influential exponents of Russian ballet in the 20th century and wrote two seminal works – Basic Principles of Classical Ballet and Foundations of Classical Ballet – both of which laid the foundation for a uniquely Russian pedagogy. Remarkably, the syllabus she outlines mirrors the Natya Shastra in its intellectual rigour and attention to detail.

Now the cornerstone of Russian ballet training, the Vaganova method is renowned for its holistic, systematic approach to ballet technique. Its use of port de bras (arm movements), epaulement (shoulder alignment), and its emphasis on musicality and expressiveness distinguish it from other European styles.

Like the Natya Shastra, the Vaganova method emphasises engaging the entire body in deliberate, dynamic harmony. The connection between dancer and audience was highly prized in both the Natya Shastra and the writings of Vaganova, who believed that technical precision, expressive movement, and dramatic storytelling must work together to fully engage the audience.

Contrasts and parallels in Kuchipudi and ballet technique

There are stylistic similarities between Russian ballet and classical Indian dance too. Kuchipudi is one of the most popular dance forms in southern India.

Kuchipudi and ballet appear to be diametrically opposed at first. Kuchipudi is characterised by highly rhythmic footwork, which beats and strikes the earth. Kuchipudi dancers wear ghungroos, or ankle bells, to accentuate this rhythmic striking. If ballet defies gravity, Kuchipudi honours it by yielding to its inevitable pull. Kuchipudi also includes stylised mudras, or hand gestures, which form the basis of storytelling in narrative dance, whereas in ballet the hands generally follow the line of the arm in a more neutral position.

Closer inspection, however, reveals several striking parallels in technique.

• First, both ballet and Kuchipudi rely on the legs being turned out. This rotation originates from the hips and is technically demanding in both forms. It is called "first position" in ballet and aramandi in Kuchipudi.

• Secondly, the posture of the torso is nearly identical. Dancers in both forms are taught to "pull up" through the torso while keeping the shoulders down, maintaining an elongated position at all times – even when the knees are deeply bent.

• Third, the movement of the head and eyes in both ballet and Kuchipudi generally follows the movement of the hands.

• Fourth, both styles demand particular attention to the seamless transfer of weight between feet, as dancers must constantly transition from one foot to the other, always passing through a brief moment of balance in a neutral position.

• Finally, the structure of a ballet class and a Kuchipudi class is also remarkably similar. A ballet class begins with foundational steps at the barre that gradually develop into more complex combinations. Similarly, in Kuchipudi, classes begin with basic steps called adavus, which are later combined into intricate sequences known as jathis. Only once a dancer has mastered these basics are they permitted to learn the most celebrated narrative ballets and dance-dramas, such as Swan Lake or Bhama Kalapam.