INDIA’S PRIDE: Bharata Muni’s Natya Shastra

Last month, when UNESCO announced the latest additions to its Memory of the World Register, there was jubilation in India. Of the 74 items inscribed, two hailed from India—Bharatamuni’s Natya Shastra and the Bhagavad Gita, one of India’s most revered spiritual texts. For millions, this was not only a recognition of India’s cultural depth but also an affirmation of its enduring contribution to global heritage.

The Memory of the World Register is a UNESCO initiative to preserve and provide access to the world’s most precious documentary heritage. As of 2025, it holds over 500 inscriptions, now including India’s two monumental texts.

A Timeless Text on the Arts

For the uninitiated, the Natya Shastra is a centuries-old Sanskrit treatise authored by Sage Bharata (Bharata Muni). It is regarded as a treasure trove on the performing arts—covering dramaturgy, music, dance, theatre, stage architecture, acting techniques, and aesthetics. Among its most significant contributions is the theory of Rasa—the philosophy of evoking moods and emotions in audiences through performance.

The influence of this monumental work extends far beyond India. It shaped South and Southeast Asian performing arts and even influenced architecture. The Brihadeeswara Temple in Thanjavur famously depicts most of the dance poses (karanas) described in the text. Because of such contributions, India is often referred to as Prachi Sudha—“Nectar of the East”—celebrated for its rich traditions of music and dance. The UNESCO recognition, many believe, strengthens this reputation.

Pride—and a Sense of Delay

The honour has been warmly welcomed, though many in the art community feel it came later than it should have. As one dancer remarked, “This recognition was long overdue. The Natya Shastra deserved this place on the world stage years ago.” Still, the consensus is clear: better late than never.

Across India and the world, the text is studied in academic institutions where classical dance and theatre are taught. Yet the recognition prompted many to ask: have we given the Natya Shastra the attention it deserves at home?

Voices from the Dance World

Padma Bhushan awardees and Kuchipudi legends Raja and Radha Reddy called the honour “a moment of great pride and inspiration.” They noted that Indian classical dance, a holistic blend of drama, music, poetry, and storytelling, draws its very framework from the Natya Shastra. Celebrated Bharatanatyam dancer Alarmel Valli echoed the sentiment: “That UNESCO has finally recognised this timeless text is a matter of pride for Indians everywhere. The Natya Shastra is a fountainhead of aesthetics and performance, inseparable from the cultural forms of India and Southeast Asia.” She highlighted its unique duality—providing a rich vocabulary and grammar for performers while leaving space for individuality and creative exploration.

Dance scholar Arshiya Sethi, Founder of the Kri Foundation, remarked: “This recognition makes the Natya Shastra a global inheritance. It highlights the antiquity of Indian knowledge systems, which organised and preserved wisdom in a manner unparalleled among ancient cultures.”

The Challenge of Dissemination

While academic institutions include the text in syllabi, private dance schools and home-based training often overlook it. Students practice art forms deeply rooted in the Natya Shastra without engaging with the text itself. Barriers include the language of Sanskrit and the paucity of time—since most schoolchildren already juggle heavy workloads alongside dance lessons.

Experts suggest a balanced solution: dance teachers should introduce students to the text, offer an overview, and spark curiosity, leaving deeper study to motivated learners. As Yamini Krishnamurthy and Sanjukta Panigrahi—actively sought both practical and theoretical knowledge years ago. Similarly, today’s students should be encouraged to engage with the text to understand the roots of their art.

The Reddys emphasise that without a grounding in theory, performance risks losing its “soul.” They advise teachers: “Introduce students—even at a young age—to the text and its concepts. When dancers know where their art comes from, their expression becomes more meaningful.”

Beyond Classical Dance

The Natya Shastra is not confined to classical traditions. As Arshiya Sethi insightfully notes, it also resonates with Indian cinema, today’s most powerful form of drama. “If one limits Bharata’s work to classical forms alone, one misses its essence. The Natya Shastra is about dramaturgy, and Indian cinema—with its songs, dances, and stories—is the modern continuation of that tradition. The text is ever open to reinterpretation and application.”

This observation widens the horizon: far from being a relic of the past, the Natya Shastra remains a living, evolving body of knowledge that shapes both heritage and contemporary popular culture.

Looking Ahead

The UNESCO honour ensures greater global recognition for India’s performing arts. It will likely inspire more seminars, workshops, and academic courses both in India and abroad. Yet, as many artistes emphasise, the deeper responsibility lies within India itself—to popularise, teach, and engage with the Natya Shastra at all levels.

For now, however, celebration is in order. The Natya Shastra has finally received the recognition it has long deserved. Its inscription on the Memory of the World Register is not just a validation of India’s past but also a beacon for its future—reminding us that the aesthetics, wisdom, and creativity encoded in Bharata’s text are as relevant today as they were centuries ago.