NATYA JOURNAL

Historically, men have performed Bharatanatyam while dressed as women. This practice is rooted in cultural, religious, and social contexts. Bharatanatyam originated as a temple dance performed primarily by Devadasis (women dedicated to temple service). However, during certain periods or in situations where women could not perform, men would take on their roles. They often dressed as women to maintain the traditional aesthetic and the narrative conventions of the dance.

In fact, in some classical Indian dance performances, cross-dressing is actually an important genre convention. The Bhagavata Mela, for instance, is a deeply devotional dance drama. Performed in temples, Bhagavata Mela depicts stories of Hindu legend set to Carnatic music, and it is traditionally performed by men, although modern performances can include female artists as well.

While cross-dressing in modern performances is less common, it still exists in certain traditional and theatrical contexts. The practice underscores the versatility of Bharatanatyam as a medium for storytelling, where the dancer becomes the vessel for divine or mythical characters, transcending gender.

E. Krisha Iyer, born in 1879, was called the Bharatanatyam Guardian Angel. He donned female attire as—at the time—it was unheard of for a man to dance Bharatanatyam. By wearing these garments, he encouraged girls from a young age and good families to take up dance. He later became guru to some of Bharatanatyam’s best female dancers.