Abstract
This qualitative research paper investigates how Bharatanatyam dancers recongure specic cultural histories in their novel choreographies and practices. It considers two stage productions, Shoorpanakha – Navarasa Gadhya by Karthik Hebbar and Shruti Gopal and Shoorpanakha – The Story Only She Nose! by Dakshina Vaidyanathan Baghel. The paper intends to study how these dance labels contest the social and cultural norm from within the traditional art form and from the outside lived- in cosmopolitan life. The discussion will intertwine with the exploration of gender and identity through female characters from Indian mythology. While this paper argues that these artistes continually expand the creative boundary, it also recognises that contemporary Bharatanatyam is in ux that culturally is of value.
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