What are the implications of a bejeweled dancer in fine silk on the proscenium stage performing a piece that undeniably centers caste? As the Bharatanatyam field reflects on the art form’s appropriation from the hereditary dance community, analyzing choreography reveals different bodily representations of caste. Many Bharatanatyam dancers globally perform excerpts of the Nandanar Charitram, by Tamil composer Gopalakrishna Bharathi. The plot traces Nandanar, a Dalit saint who is not allowed in many temples and ends with his immolation, allowing his “purified” self to unite with the Hindu god Shiva. I study performances of the Nandanar Charitram comparing two Bharatanatyam showings and the 1942 film “Nandanar”. To recognize how caste is both articulated and understood, I analyze choreography, interviews conducted with dancers, and forums where audience members share their responses to the works. I use Judith Butler and Dwight Conquergood’s theorization of performativity, acknowledging that while Bharatanatyam choreography is often “iterative”, it has the potential to “disrupt” dominant norms on caste and politics. Nandanar remains the most prominent Dalit figure seen in the Bharatanatyam repertoire. By studying representations of his story, I highlight the relevance of bodily caste politics in the South Asian diaspora today.

中文翻译：

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Nandanar：婆罗多舞表演中的种姓可视化

一位身着精美丝绸的珠宝舞者在台口舞台上表演毫无疑问以种姓为中心的作品，这意味着什么？当婆罗多舞领域反思这种艺术形式对世袭舞蹈界的挪用时，分析舞蹈编排揭示了种姓的不同身体表现。全球许多婆罗多舞者都会表演泰米尔作曲家戈帕拉克里希纳·巴拉蒂 (Gopalakrishna Bharathi) 创作的《Nandanar Charitram》选段。剧情讲述了达利特圣人南达纳尔 (Nandanar)，他被禁止进入许多寺庙，并以他的自焚结束，让他“净化”的自我与印度教湿婆神结合。我研究了《Nandanar Charitram》的表演，并将两场婆罗多电影和 1942 年的电影《Nandanar》进行了比较。为了认识种姓是如何表达和理解的，我分析了编舞、对舞者的采访，以及观众分享他们对作品的反应的论坛。我使用朱迪思·巴特勒和德怀特·康奎古德的表演理论，承认虽然婆罗多舞的编舞经常是“迭代的”，但它有可能“破坏”种姓和政治的主导规范。南达纳尔仍然是婆罗多（Bharatanatyam）剧目中最著名的达利特人。通过研究他的故事的表现形式，我强调了当今南亚侨民中身体种姓政治的相关性。