How to Dress a National Elite: The Case of the Kalakshetra Sari

This article looks at the emergence of the Kalakshetra sari as an object of consumption for the Indian nationalist elite in the 1930s within the context of the Theosophical Movement, preoc-cupations with the role of women in public life, and the material culture practices of colonial South India. Th...

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Main Author: Kaamya Sharma
Format: Article
Language:English
Published: Arnold Bergstraesser Institute 2018-11-01
Series:International Quarterly for Asian Studies
Online Access:https://hasp.ub.uni-heidelberg.de/journals/iqas/article/view/4072
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author Kaamya Sharma
author_facet Kaamya Sharma
author_sort Kaamya Sharma
collection DOAJ
description This article looks at the emergence of the Kalakshetra sari as an object of consumption for the Indian nationalist elite in the 1930s within the context of the Theosophical Movement, preoc-cupations with the role of women in public life, and the material culture practices of colonial South India. The Kalakshetra School of dance and music, founded by Rukmini Devi Arundale, is considered a leading institution in the classicisation of the performing arts to promote pan-In-dian nationalism. This article looks at the way discourses on female attire, women’s cultural role in society and middle-class nationalism were shaped by the Kalakshetra School through its strategic use of colour and design in the Kalakshetra sari. The visual-material atmosphere the sari created and inhabited off-stage reinforced the aesthetics and classicism of on-stage perfor-mances. In the process, the Kalakshetra sari became part of the visual palette of elite national-ism in colonial and post-colonial Madras/Chennai.
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spelling doaj.art-9a0f139aef6745f1b049e3920b0eaefb2022-12-22T04:26:59ZengArnold Bergstraesser InstituteInternational Quarterly for Asian Studies2566-686X2566-68782018-11-01481-210.11588/iqas.2017.1-2.4072How to Dress a National Elite: The Case of the Kalakshetra SariKaamya SharmaThis article looks at the emergence of the Kalakshetra sari as an object of consumption for the Indian nationalist elite in the 1930s within the context of the Theosophical Movement, preoc-cupations with the role of women in public life, and the material culture practices of colonial South India. The Kalakshetra School of dance and music, founded by Rukmini Devi Arundale, is considered a leading institution in the classicisation of the performing arts to promote pan-In-dian nationalism. This article looks at the way discourses on female attire, women’s cultural role in society and middle-class nationalism were shaped by the Kalakshetra School through its strategic use of colour and design in the Kalakshetra sari. The visual-material atmosphere the sari created and inhabited off-stage reinforced the aesthetics and classicism of on-stage perfor-mances. In the process, the Kalakshetra sari became part of the visual palette of elite national-ism in colonial and post-colonial Madras/Chennai.https://hasp.ub.uni-heidelberg.de/journals/iqas/article/view/4072
spellingShingle Kaamya Sharma
How to Dress a National Elite: The Case of the Kalakshetra Sari
International Quarterly for Asian Studies
title How to Dress a National Elite: The Case of the Kalakshetra Sari
title_full How to Dress a National Elite: The Case of the Kalakshetra Sari
title_fullStr How to Dress a National Elite: The Case of the Kalakshetra Sari
title_full_unstemmed How to Dress a National Elite: The Case of the Kalakshetra Sari
title_short How to Dress a National Elite: The Case of the Kalakshetra Sari
title_sort how to dress a national elite the case of the kalakshetra sari
url https://hasp.ub.uni-heidelberg.de/journals/iqas/article/view/4072
work_keys_str_mv AT kaamyasharma howtodressanationalelitethecaseofthekalakshetrasari