The piece on casteism, for instance, is based on a Tamil song called Varughalamo, which in its original rendition, praises a devotee of Shiva who despite being forbidden from entering the temple because of being an "untouchable" is unrelenting in his love for the lord. "The narrative conveniently glosses over the basic premise of exploitation based on someone's birth. And it's important for us to question our stories," says Sarabhai. Another facet that he will highlight is that of long-distance relationships. "In our traditional stories, it is always the woman who pines for the man, who is out on an adventure. Why can't it be the other way round? Our dance forms must be made relevant to the 21st century," he adds.
In his bid to do that and make Bharatanatyam more accessible, Sarabhai includes English translations of the Tamil songs to which most pieces are set. The 34-year-old also makes it a point to stitch together the diverse pieces by speaking to the audience before each one to provide them with context.

With his contemporaries also taking a relook at lesser-known mythological characters like Shurpanakha and Draupadi, does Sarabhai think enough is being done to keep the classical art forms relevant? "This has more to do with reinterpretation [within the framework] of our myths, and I welcome it. There is so much more that remains to be done."

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On: May 9, 7 pm (Royal Opera House, Girgaum, performance)
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Entry: Rs 300 ON May 11, 5 pm (Dr Bhau Daji Lad Museum, Byculla; talk on innovations in Bharatanatyam; entry free)

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