As a scholar and practitioner of Bharatanatyam I would like, foremost, to express my gratitude to Kapila Vatsyayan for her comprehensive, in-depth studies of Indian classical dance forms. Her work includes attention to both distant and recent epochs in the history of Indian dance as well as to current practice. Her analysis of many divergent sources has laid the groundwork for any academic study of classical Indian dance. She not only provides an exhaustive account of Indian dance in the past and present but also interprets the relationship among aesthetic theory texts, historical dance practice, and contemporary, classical Indian choreography in a nuanced and sophisticated manner.

Because the strengths of Vatsyayan's research are manifold, I restrict my consideration here to a narrow focus. Specifically, this discussion focuses on her concept of dance technique as an integral part of her analytical framework. This essay also addresses the ramifications of her methodology for current and future work in the field of dance studies. In particular, I consider how Vatsyayan's understanding of the bodily subject offers an important paradigm for current writings within dance scholarship, especially those that interpret dance praxis in relation to social theory (1). Moreover, I limit my attention to two of Vatsyayan's major works: Classical Indian Dance in Literature and the Arts and Indian Classical Dance.