Radha Varadan’s ingenious reimaginings of some of ballet’s most famous variations using kathak, a form of Indian classical dance, have earned her serious traction online. Based in India and the U.S., Varadan trained in both ballet and kathak growing up. She later studied postmodern dance (and molecular biology) at George Washington University, and today she dances with the Abhinava Dance Company in Bengaluru, India.
Varadan took a moment to talk about her viral hybrid videos, her creative process, and how Indian classical dance is perceived in the West.
What inspired you to bring ballet and kathak together?
As a young student, I found the artistry my ballet teachers would compliment me on was coming from kathak, and my use of épaulement in kathak was coming from ballet—they complemented each other. But at the same time, I felt this divide. I got the sense that I looked a bit too different to be a white swan in a corps de ballet, and I had lines which were sharper than other kathak dancers. It wasn’t until recently that I embraced both sides and became comfortable with having a different look.
You have reinterpreted Odile’s variation from Swan Lake and Kitri’s variations from Don Quixote. What drew you to those roles?
The word “kathak” comes from the Sanskrit term “kathakar,” which means “the storyteller.” I’m drawn to these characters because they have these stories that are so fantastical and yet so human. The same is true of kathak—it revolves around mythological stories. I’m drawn to these characters because of their stories and how I can use my body to tell these stories in a different way.
How do you approach your reinterpretations?
I’ll internalize the variation and deconstruct it. There are moments I like to get right, like the movements of Kitri’s fan or certain body positions. I’ll map out directions and what the body is doing. Once I have the skeleton laid out, I piece it together. It’s not really the movements that come first, it’s about how you’re using the space to convey that story.
Are there misconceptions about Indian classical dance in the West that you would like to challenge?
I’m actually working on a project that examines how choreographers from the 17th and 18th century mined India for themes for ballets. The most famous is La Bayadère. The term “bayadère”was the name given to the devadasi, the temple dancers of India. The British outlawed Indian classical dance, but at the same time, the devadasi were made into caricatures in ballets.
In the West, there is a hierarchy where ballet is heralded as the purest art form. I believe education and exposure will help us overcome this hierarchy.
Are there other ballet variations you’d like to adapt?
Esmeralda is one I want to do, and Aurora. And some solos from La Bayadère—it has a complicated history, but I think there’s power in reclaiming that and saying, “This is what it should have been.”
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