Hiten Mistry, a Gujarati native from Leicester, began learning Bharatanatyam at the age of eight and has never looked back. In his youth, he garnered numerous accolades, including winning the prestigious Boogie Woogie International title, which brought him significant recognition in the dance world. Currently, he is pursuing a PhD in Dance Research at Coventry University, furthering his expertise and contributions to the field.
Speaking to Asian Voice about his inclination towards doing PhD, Hiten said, “After university, I pursued freelance dance work, and through that experience, I realised the need to delve deeper into dance research, particularly British South Asian dance, as it remains underrepresented in academia. The existing research is outdated, and I’ve always had an inquisitive mind with a desire to contribute. I’m the type of person who takes initiative, always asking myself, "What can I offer the world?" While there are countless dancers, how many truly leave a lasting impression? That thought led me to explore what I could do differently.”
“During the pandemic, like many other dancers, I found myself at a standstill. I was teaching, running my dance school, and doing a lot of work in health settings, including hospitals. Toward the end of that period, I came across an advertisement for a PhD studentship. I applied with a research proposal that examined the impact of Covid-19 on South Asian community dance practices in the UK, particularly how dancers like myself adapted to remote working. Fortunately, my proposal was accepted, and I’m now nearing the completion of my thesis,” he added.
Making dance more inclusive and accessible
Hiten highlighted that one of the key applications of his research is to look at how we can expand the virtual space for dance beyond the adjustments that were made during the pandemic. He said, “How can we make dance more democratic and inclusive? In traditional Indian dance, especially forms like Bharatanatyam and Kathak, many gurus resisted teaching online, but the pandemic broke down that barrier. It became a necessity—otherwise, we would lose our students, communities, and practices. That shift made Indian dance training more accessible, but the question now is: how can we make it even more inclusive? How can we reach disabled individuals, LGBTQ+ communities, and those from lower socioeconomic backgrounds? How can this practice extend beyond the South Asian community?”
“One of my goals is to democratise Indian dance and provide platforms for community artists beyond traditional performances. There's a misconception that artists working in schools or hospitals do so because they lack stage opportunities, but their work is equally valuable. These artists are ambassadors of the dance form, keeping it alive by adapting it to modern contexts, rather than just repeating what was taught 100 years ago,” he added.
Hiten underscored that his research revolves around four key themes stated that, “First, the increased digital and technical skills dancers had to acquire; second, how connections between dancers and their communities adapted without physical interaction; third, the exploration of adversity and new methods of remote engagement; and finally, how communities reconnected and re-socialised as dance practices resumed. My research has revealed compelling insights into how dancers navigated these challenges, with significant long-term implications for the future of dance."
Speaking about the using qualitative approach by taking interviews, Hiten said, “I focused on three case studies: Debbie Ganguly Patel, a Bharatanatyam teacher in Milton Keynes; the renowned Kathak artist Sonia Sabri, exploring her remote teaching strategies; and Akademi, a pioneering South Asian dance organisation in the UK that does extensive work in health settings, including hospitals and dementia care homes. I aim to bridge the gap between academic research and real-world application by making this content more accessible. Research often stays confined to university libraries, but with the tools available today, we can bring this knowledge to a wider audience.”
Evolving perceptions in Indian classical dance
Hiten emphasised that in Indian classical dance, particularly Bharatanatyam, there's a deep historical and societal context. He said, “Traditionally, dance was governed by men, as seen with Lord Nataraja, the Lord of Dance. Even in the Devadasi tradition in Tamil Nadu, men—called nattuvanars—were the custodians of dance, shaping how women performed and holding the knowledge they passed down to temple dancers. However, when the British colonised India, their Victorian ideals influenced perceptions of gender roles, including dance. This led to a societal question: Why would a man dance? While I’ve faced some of this questioning, my personal experience has been largely positive. Many women in the field, including senior teachers, have been warm and welcoming.”
“Society’s perception of male dancers has evolved, especially with the rise of male dancers on television and popular culture. Although classical dance still carries some of the old biases, where people wonder what a man could know about it, the landscape is changing. Historically, women were favoured in dance for their beauty and grace, while men were associated with strength. Today, however, beauty standards are shifting, and these perceptions are evolving.With these changing dynamics, we’re witnessing a more progressive conversation around gender roles and representation in dance and the performing arts,” he added.
