“There were innumerable challenges on the course of my journey, but I danced over them,” Narthaki Nataraj

Dr. Narthaki Nataraj’s life is an inspiring tale of overcoming obstacles and staying true to oneself. Despite facing rejection from her family, she followed her passion for dance and became a well-known figure in a field dominated by others. From Madurai to Tanjaore, under the guidance of Guru Kittappa Pillai, she mastered Bharatanatyam, showcasing not only personal success but also determination and dedication. Through her dance, Narthaki not only preserves cultural heritage but also challenges societal norms.

Her achievements, like receiving the Padma Shri award and being titled Kalaimamani, recognize her remarkable talent and contributions to her art. Narthaki’s journey serves as motivation for others to embrace their identity and pursue their dreams regardless of challenges.

What initially drew you to Bharatanatyam?

I often ponder this question, wondering if my attraction to Bharatanatyam arises from my inherent identity or if the dance form itself bestowed upon me an identity I had yet to fully realize. At times, I sensed a beautiful soul within me, one that didn’t entirely align with my physical body. To express this true essence, I sought a medium—a vessel—and found it within myself: dance. Identifying when I understood my gender identity and when I recognized that dance was the means to boldly proclaim this true self remains a mystery to me.

My dance journey began at a young age, bringing me joy as I embraced both the act of dancing and the expression of feminine qualities. Lacking formal training, I gained exposure through touring theater companies, where actors unintentionally became mentors, guiding my choreographies. Whether I first acknowledged my alternate self or my identity as a dancer remains uncertain. What unfolded initially and what followed later eludes me. What I do know is that I have always been a dancer and inherently a woman.

Your name, Narthaki Nataraj, itself is very political. How do you incorporate elements of your identity into your dance performances?

 I take immense pride in being a symbol of transformation, a pioneer in certain aspects. What’s fascinating is that my very name embodies this essence. I firmly believe that my life’s path was preordained by a higher power, by God. When I entered this world, my parents couldn’t have predicted that I would become a dancer. Yet, they named me ‘Natraj’—the God of Dance. Interestingly, Natraj symbolizes Ardhanareeswara, incorporating both male and female identities representing Shiva and Uma. Even as I identified as a girl, unlike my peers who chose names inspired by popular actresses, I held onto Natraj as my name.

It was my Guru Kittappa Pillai who once called me Narthaki Natraj—the dancing queen. It wasn’t a casual designation; it was a testament to his recognition of my dance prowess. For a revered master like him to bestow upon his disciple the title of ‘Narthaki’ was an unparalleled honour, signifying his acknowledgement of my mastery and talent. ‘Natraj’ remains intertwined with my being, representing the divine aspect of dance, my identity by birth. What other name could possibly encapsulate me better?

Regarding the latter part of your question, consider how we admire a beautiful painting. Do we attribute its beauty to whether it was created by a man or a woman? No, because art transcends gender. When I dance, everything else fades away. It becomes solely about expressing the rasas—the essence of emotions. Yes, there are Nayaki and Nayaka bhavas, but dancers embody all characters, all emotions, through their movements. The same dancer who portrays the mischievous antics of little Krishna seamlessly transforms into his mother, Yashoda.

Art knows no boundaries; it surpasses and dissolves all barriers. Gender, caste, class—these distinctions are meaningless in art. I have the unique ability to effortlessly convey both masculine and feminine elements because, in a sense, I am blessed as a dancer, embodying both identities within one body, making me perhaps the most fortunate dancer in the world.

You derive pride in being addressed as Thirunangai. What was the drive behind popularising the term Thirunangai?

 I recall the painful moments of being taunted, along with others like me, by derogatory terms used to address us. I understood the injustice inherent in such language. I wanted to claim dignity. So, I scanned through Tamil literature and coined the term “Thirunangai.” “Nangai” denotes the epitome of beauty, while “Thiru” signifies greatness or divine power. Later, the former Chief Minister of Tamil Nadu, Karunanidhi, officially introduced “Thirunangai” in the assembly in 2009, enshrining it in law as the respectful term for transwomen and prohibiting the use of derogatory terms to address them. In a sense, I made history.

‘Thiru’ can also refer to ‘man,’ and when we say Thirunangai, it reveals the identity. Now, at least in Tamil Nadu, there’s a noticeable shift toward showing respect to transgender individuals by using the term “Thirunangai” instead of focusing on anatomical references. It brings me joy to see this change, knowing that even after I’m gone, this term will be left behind for others in my community to use and be respected by.

Several years ago, during my stage performances, audiences often found themselves entranced by my beauty, assuming me to be a woman and approaching me flirtatiously. I considered it a success as an artist and as a transwoman, in a sense. However, a significant incident occurred during one such performance. A ‘bigshot’ expressed feeling deceived and disappointed upon discovering my trans identity, mistaking me for a cisgender woman. I wondered why I should bear responsibility for a stranger’s emotions.

But, this experience made me demand that the program committees include “Thirunangai Narthaki Natraj” on posters and invitations if they wished for my participation. I have no secrecy about my identity, and I take pride in who I am. I am unapologetically a Thirunangai.

 Over the past few months in South India, we have witnessed several debates and controversies about artists and their agency. In this context, how would you view the role of an artist in society?

This question holds immense significance for me, as my life and my art serve as the answer. I don’t believe there were any transgender individuals who pursued a professional career in Bharatnatyam before me. During the 80s and 90s, when I sought to perform on stage, whether to regard me as a male or female dancer perplexed many in the field. Whether they critique or appreciate my dance, that’s a matter of justice.

However, if appreciation for my artistry is overshadowed by prejudice against my transgender identity, it’s utterly unjust. Unfortunately, such biases are not uncommon. I firmly believe that no one, regardless of caste or community, can strip away one’s artistry. Art belongs to no single community; we all share its richness. We all coexist. Just like how priests and devadasis coexisted in the temples.

I’ve performed Bharatidasan compositions at the Music Academy and received acclaims. I’ve also been honoured with the title of Nruthya Kalanidhi, solely due to my talent. I’m privileged to have prime time shows. I am a disciple of Kittappa Pillai who often followed traditional, conventional methods. But I know how my Guru supported innovations. While I maintain fidelity to tradition, I also incorporate modern elements, particularly those addressing social issues. Just like how you have raisins in dessert, I ensure that my traditional dance also has some social themes or a new perspective of the padam. We should not misinterpret innovation.

We need to understand what it really means. It’s crucial not to misconstrue innovation; it should complement tradition rather than dismantle its essence. Tradition is our heritage, and it’s imperative to preserve its antiquity while adapting it for contemporary society. Blindly pursuing novelty without respecting tradition results in distorted art. Art transcends boundaries; we must appreciate it holistically, without dissecting its components. Controversies surrounding art are transient; the artist merely serves as a vessel for its expression. We don’t separate art or dissect it. We appreciate it as a totality. These are all my opinions. Art is everything. All controversies are bubbles, I would say. The artist is just a tool. Art is superior.

What challenges have you faced as a transwoman in the world of classical dance?

Innumerable challenges have been part of my journey, but I see them as interesting obstacles to overcome. Each challenge, when I stand at the centre of the stage, lies beneath my feet. I dance over them, having confronted societal norms, community biases, caste restrictions, educational barriers, financial limitations, and prevailing attitudes. Despite these hurdles, I regard myself as both a triumphant dancer and an individual. My thirst for knowledge is insatiable—I am forever a student, researcher, and thinker, constantly updating my knowledge.

I scrutinize various dance styles and explore the nuances of body language and try to find the origin and meanings of certain adavu. When I go through literature, I compare diverse dance conventions, perpetually enriching my artistry. The accolades I receive for my dance serve as validation for the initial struggles I endured. Today, I am recognized, leaving an indelible mark on history. My dance flourishes, fueled by my relentless quest for knowledge. This quest for knowledge always empowered me. And I have a focused mindset. Therefore, no challenges could ever chain my feet.

Has your specialization in Tanjaore Nayaki Bhava tradition had any roles in asserting your identity as a transwoman?

The essence of my art lies in Nayaki bhava. It is also known as Madura bhakti or Madhurya bhakti. This concept not only features in Hindu philosophy but also in Sufi traditions. It suggests that only God is male, while all other beings are female. Nayaki bhava serves as a bridge for my devotion to art, and devotion to God, bringing me great joy and ecstasy. It enables me to polish my feminine identity. I find myself feeling increasingly youthful every day, as this pure devotion-centred Nayaki bhava brings me immense pleasure. Now, I dance solely for myself alone. And the soul of my dance is Nayaki bhava which is so much built-in.

How do you look at your position in the State Planning Commission (SPC) of the Tamil Nadu government? What was done and what more needs to be done?

This membership marks a significant milestone for me. The inclusion of a transwoman in a government planning commission is a commendable step towards fostering inclusivity. I see it as a tremendous opportunity. I read several international economic policies, and scrutinized several databases, which was of course challenging for a Bharatanatyam dancer. I successfully crafted a policy for transgender individuals in Tamil Nadu, despite facing some controversy within the LGBTQIA+ community.

My aim was to unite every transgender individual under one umbrella and ensure they benefit from the policy. Currently, I’m focused on developing a Fine Arts policy. My goal is to promote art not only as a form of entertainment but also as a viable profession, perhaps even as an industry with its own set of privileges. I’m researching methods and possibilities to ensure the sustainability of the arts sector.

In what ways do you think the classical dance community can become more inclusive of LGBTQIA+ artists?

I have established the Velliambalam Trust, guided by the motto ‘Edhanininru edhanai petrormo adhanai adharke arpaniththu vidal,’ which roughly translates to ‘Whatever graces and joys this art has given us should be given back to the art with gratitude.’ Seeing all transwomen referred to as Thirunangai would be a personal victory for me. My aim is to empower others, and the trust has the same mission.

Rather than creating followers, I strive to empower individuals from the transgender community to flourish independently, claiming their rightful place in society. While there’s a growing acceptance among the younger generation, challenges persist for the LGBTQIA+ community, making life difficult. While the eradication of caste binaries remains uncertain, I am confident that the queer community will overcome stigma as society evolves to become more inclusive. Through my success as a dancer, I’ve secured opportunities to make a difference in the lives of others. I believe that numerous role models will emerge in due course.

Could you tell us about your current projects?

People keep asking me this question. However, I believe true satisfaction is elusive; one’s mission is never fully fulfilled. The moment one feels content with their work marks the end of their growth. Each day presents new goals and challenges. For instance, I transformed the obstacles and opportunities from my life journey into dance and performed in the US, thereby immortalizing some of my experiences as inspiration for the transgender community. Additionally, the Tamil Nadu State Government Schools feature a lesson about me for 11th-grade students.

While I dance for my pleasure, contributing to the transgender community is an essential aspect of that enjoyment. I don’t perceive myself as a super leader demanding followers; rather, I’ve attained a position through my art that allows me to support the transgender community. I empower individuals to rise up, using dance as a medium to convey this message of empowerment.

Having embarked on such an adventurous journey through art and having navigated societal biases in the initial phase of your life as an artist, what are your hopes and aspirations for the transgender community, specifically transgender artists?

I have paved a smooth and beautiful path for the transgender community, encouraging more artists to emerge. Despite skepticism from the cisgender community about the ‘usefulness’ of transgender individuals, I’ve emphasized their potential contributions to society. What we need is a strong support system. My friend Shakthi is my pillar of support, and I strive to promote such support systems for the transgender community through my trust, my art, and simply by being myself. I firmly believe that one day, society will fully recognize and embrace the valuable contributions of transgender individuals, accepting them as integral members of our community. I’m confident this day will come.