For over twenty years, Malavika Sarukkai has been bringing the art of Bharata Natyam to the world. Known for her brilliant and dynamic style that is both austere and passionate, she seamlessly blends modernity with the traditional codes she has inherited, making her one of the most innovative interpreters of Indian dance. She began her dance studies at the age of seven, first mastering abhinaya, the art of expression through the eyes and face, and then the Odissi style, a refined ancient dance that originated as a tribute to the divine in the state of Orissa in northern India. Subsequently, she embraced Bharata Natyam, the most popular style of classical Indian dance, which draws from Tamil poetry, Orissan literature, and legendary epics. Practiced in southern India, particularly in the Tanjore region and Madras, Bharata Natyam was originally called dasi-attam, or the dance of the servants of God, as it was performed by young women in temples before the deity.
With the dissolution of the caste of sacred dancers, devâdâsis, under British rule, Bharata Natyam faced a dark period until 1936, when it was revived as a performance art no longer tied to divine worship by two girls from the devâdâsi caste. Currently, only the state of Tamil Nadu regularly appoints an official dancer, since 1977, who is the only one privileged to dance in temples. Bharata Natyam is characterized by quick jumps and small joint movements, primarily performed in a demi-plié position, which demands exceptional firmness and precision. Every gesture, including the hand movements (mudras) and eye expressions, is structured and codified by tradition, as is the costume: a draped sari adorned with jewelry and a golden belt.
Malavika Sarukkai explores new paths within this tradition without contradicting it, bringing forth all the sweetness and virtuosity she possesses. Her performances are an explosion of harmony, ecstasy, and sensuality. The traditional elements of pure dance, nritta, and expressive-narrative aspects, nrytia, both drawn from classical abhinaya treatises, merge in a contemporary fabric connected with archetypal symbols. Malavika explores the relationship with space, reinterprets ancient texts with contemporary awareness, extends the technique to the need to be genuine in every performance, creates new structures, and commissions new music for each production, performed live by three musicians from her company. As René Sirvin, a critic for Le Figaro, noted, "Each of her performances stands out for its intelligence. She is undoubtedly the most expressive of Indian dancers, and her art approaches theater. One admires her brilliance and elegance, the energy of her bare feet that relentlessly keep the rhythm, the perfection of her technique, both mechanical and harmonious, the liveliness and variety of her dance suspended between ecstasy and sensuality, always imbued with refined femininity."
