@%^&%^&*%^&*(7890Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically...Read more
@%^&%^&*%^&*(7890Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music. Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music. Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music. Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music. Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music. Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music. Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music. Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music. Recently, dance has expanded its perspectives on mythological content by spotlighting queer characters, and tapping into the several stories from our rich literary tradition that demonstrate a pre-colonial Indian perspective on the matter. Productions such as Harikrishnan’s ‘When Siva Kissed Vishnu’ and Himanshu Srivastava’s depiction of Shikhandi, use traditional choreography skills with a modern sensibility to treat the subject of the queer experience. Yet, it still feels like much of LGBTQ+ material is considered taboo amongst classical musicians and dancers. It is almost as if some self-appointed guardians of the art form see queerness as foreign to India, and specifically to dance and music.
