Lokadharmi and Natyadharmi Traditions

The terms Lokadharmi and Natyadharmi describe two fundamental modes of expression in Indian classical performing arts, particularly in drama, dance, and theatre. These concepts, originating from Bharata Muni’s Nāṭyaśāstra (circa 2nd century BCE–2nd century CE), outline the stylistic approaches through which emotions (bhāvas) and actions are represented on stage. While Lokadharmi refers to realistic and natural expression drawn from everyday life, Natyadharmi signifies stylised and codified representation governed by artistic convention. Both are essential to understanding the aesthetics and performance techniques of Indian classical arts.

Etymology and Conceptual Origin

• Lokadharmi (लोकधर्मी) derives from loka (world or people) and dharma (method or way). It means the “way of the people” or the “realistic mode” — a style that imitates real-life behaviour, speech, and emotion as experienced in ordinary human existence.
• Natyadharmi (नाट्यधर्मी) comes from nāṭya (drama or theatre) and dharma (method). It means the “theatrical or dramatic mode” — a stylised, imaginative, and formalised manner of expression that follows the rules of performance as codified in classical aesthetics.

According to Bharata Muni, both methods are necessary for effective dramatic presentation, as they cater to different levels of artistic communication and emotional impact.

Natyadharmi Tradition: Stylised and Symbolic Representation

Natyadharmi is the codified and conventionalised mode of performance that transcends ordinary reality. It relies on gesture, rhythm, posture, and symbolism rather than direct imitation.
Characteristics:

• Stylisation: Actions and emotions are expressed through prescribed hand gestures (mudrās), facial expressions (abhinaya), and body movements rather than realistic behaviour.
• Use of Convention: Every gesture or movement follows a defined grammar as explained in texts such as the Nāṭyaśāstra and Abhinaya Darpaṇa.
• Symbolism: Everyday acts are represented through symbolic equivalents—for example, walking may be shown by simple foot gestures rather than actual movement.
• Speech and Delivery: Dialogue or verse is recited in a stylised, rhythmic tone rather than natural conversation.
• Make-up, Costume, and Stage Design: Use of elaborate costumes, bright makeup, and symbolic props to enhance the imaginative quality of performance.
• Objective: To elevate human experience to an artistic and universal level, leading to the realisation of rasa (aesthetic emotion).

Examples:

• The elaborate abhinaya and mudrā techniques in Bharatanatyam, Kathakali, and Kuchipudi.
• Koodiyattam, the Sanskrit theatre of Kerala, which employs highly codified gestures and stylised expressions.
• Epic and mythological enactments where supernatural events are shown through symbolic acting rather than realistic depiction.

Aesthetic Aim: Natyadharmi transforms reality into art. It is not concerned with literal truth but with spiritual and emotional truth, guiding the audience toward the experience of rasa, the essence of aesthetic pleasure.

Lokadharmi Tradition: Naturalistic and Realistic Representation

Lokadharmi is the naturalistic and realistic mode of performance. It seeks to reproduce life as it is observed in the world, using everyday behaviour, natural gestures, and colloquial speech.
Characteristics:

• Realism: Focuses on lifelike representation of characters, emotions, and situations.
• Natural Expression: Actors use spontaneous gestures, facial expressions, and dialogue as people do in real life.
• Everyday Language: Speech patterns and dialects mirror the social or regional identity of the characters.
• Simple Costume and Setting: Minimal use of ornamentation or symbolism; settings resemble real environments.
• Flexibility: Allows improvisation and adaptation according to context and audience response.
• Accessibility: Easier for common audiences to relate to because it mirrors familiar human behaviour.

Examples:

• Folk theatre traditions such as Tamasha (Maharashtra), Yakshagana (Karnataka), and Jatra (Bengal), which use local language and social realism.
• Modern Indian theatre influenced by realism and naturalism, as seen in plays by Rabindranath Tagore, Vijay Tendulkar, and Habib Tanvir.
• Realistic acting in films and street performances.

Aesthetic Aim: Lokadharmi aims to reflect life truthfully. It appeals to the audience’s direct emotions and intellect by creating an illusion of reality on stage.

Comparative Analysis

While Natyadharmi represents the idealised artistic expression, Lokadharmi represents practical realism. Both aim to communicate human emotions effectively but through different aesthetic strategies.

Integration in Indian Performing Arts

In actual performance, Indian theatre and dance rarely adhere exclusively to one mode. Instead, they synthesise both traditions to balance realism and stylisation.

• In Bharatanatyam, a dancer’s physical gestures (natyadharmi) may depict gods and myths, while her expressions of love or sorrow (lokadharmi) are drawn from human experience.
• In Kathakali, exaggerated acting (natyadharmi) dominates divine characters, whereas clown or messenger roles often employ lokadharmi humour and realism.
• Classical theatre (e.g., in Kalidasa’s plays) employs natyadharmi diction for heroes and celestial beings but introduces lokadharmi dialogues for servants or commoners to create contrast.

This blend ensures that the performance remains both emotionally authentic and aesthetically elevated.

Philosophical and Aesthetic Implications

According to Indian aesthetic theory, art is not a mere imitation of life but a transformation of it. Natyadharmi allows the performer to transcend material limitations and express universal truths through symbolic beauty, while Lokadharmi keeps art grounded in human experience.

• Natyadharmi relates to the transcendental, the imaginative world of gods, heroes, and ideals.
• Lokadharmi relates to the empirical, reflecting social reality and human behaviour.

Both approaches fulfil Bharata’s central aim of Nāṭya: to educate (śikṣā), entertain (vikāsa), and elevate (prīti) the audience through aesthetic experience.

Modern Relevance

In contemporary Indian theatre, dance, and cinema, the distinction between Lokadharmi and Natyadharmi continues to inform creative practice.

• Modern directors and choreographers use Natyadharmi techniques to stylise or ritualise performance, while incorporating Lokadharmi realism to maintain emotional immediacy.
• In cinema, realistic acting often aligns with Lokadharmi, whereas mythological or stylised performances recall Natyadharmi conventions.
• In dance-dramas by artists like Rukmini Devi Arundale and Uday Shankar, both traditions coexist harmoniously, blending abstraction with realism.