My home state of Karnataka has given birth to the distinguished banis (styles) of Bharatanatram such as Mysuru and Kolar Banis, each with their own descent and beauty grammar. I come from Tulunadu, which is an area in coastal Karnataka which is equally immersed in cultural pride. As a Bharatanatyam practitioner in the region, I have long seen the passion with which our gurus and artists try to maintain and preserve traditional art forms.
However, in the last few weeks, I have been disturbed by a tendency, which in my view, threatens the sanctity of classical arts. I was surprised when a young dancer from Mangaluru had performed Bharatanatyam for 170 hours in an attempt to make a world record. After a long time, another dancer of Udupi announced that she would perform for 216 hours – possibly to cross the previous achievement. Recently, I have learned about another young dancer from Chikkalpura district of Karnataka, who has performed for 220 hours (10 days) during Navratri. Now, I think a dancer from Bangalore is trying 250 hours before Chikkalpura girl set her record. Where are they taking it?
My initial response was mistrust. Is this also humanly possible? Even more importantly, is this also Bharatanatyam?
After decades dedicated to the study and performance of this art form, I can definitely say that Bharatanatyam is not only about movement – it is about depth, discipline and devotion. To perform a traditional pathway, which usually extends from one-half to two hours, takes time for years of rigor training, physical endurance, emotional maturity and spiritual grounding. To suggest that anyone can perform continuously for several days, raises serious questions – not only about physical feasibility but also about the integrity of performance.
I am even more concerned that there is a public celebration of such acts. Some famous cultural organizations have chosen to honor and honor these record-setting dancers. But in doing so, are we not inadvertently sending wrong messages to the younger generation and to lay the audience? Are we not reducing a deep spiritual art in a protesting spectator for the purpose of fame rather than expression?
Realized in Bharatanatyam Rush -A slow, inward journey of nostalgia and surrender. At least, it demands accuracy (Finger), Emotional truth (Bhav) And rhythmic alignment (LockThey cannot be compressed in a one -minute social media reel, nor can they be spread for hundreds of hours for a record. The true artistry is not in the period but in the depth of the connection – with itself, with the audience, and with the divine.
For those who argue that it is a personal choice, I ask: When such acts are done publicly and labeled as Bhartanatyam, do they not shape the public understanding of the form of art? When the movements are repeated for mechanically recorded music, sometimes sitting on chairs, sometimes snatched from juice and meaning, what do we really show?
While this is charming for artists to be recognized, I would also like to raise a relevant question about the credibility of the organization that accepts the Golden Book of Records. Who forms a committee that decides these honors? Are there really scholars, physicians and connoisseurs of arts that can assess the depth and authenticity of performance? Without such assurances, the accreditation risk becomes a superficial token rather than real acceptance of artistic ability.
Some may dismiss this anxiety as resistance to jealousy or change. This is neither. My anxiety arises from a deep love for art and commitment to its future. If these performances were done privately, perhaps, this reflection would not be necessary. But once they are brought to the public eye and widely publicized, they become a statement – one that distorts the essence of our classical traditions.
I was now forced to write about this because two of these dancers meet the area I represent. Their intentions may be honest, but the results of such tasks have far -reaching effects. They create a false benchmark, where quantity quality quality is, and endurance is considered wrong for excellence.
As artists, we carry a responsibility – for our gurus, for our audience, and generations yet to come. Let us not pursue fleeting recognition at the cost of centuries of tradition. Let us return to saTolerateFor the cool hours of exercise, for the joy of completing a jati, for the honesty of acting and for peace after a Thailana. Let us not forget: Bharatanatam is not a test of stamina. This is a prayer in motion – holy, dark and eternal.
Radhika Shetty. , Photo Credit: Special Arrangement
The author is a Bharatanatyam artist and the founder-director of Nriti Angan of Mangaluru.
Published – September 30, 2025 02:46 pm IST