The nayika holds a very important place in Indian art; she is the heroine of the story and is an integral part of most presentations in the performing arts. In classical dance, the nayika holds sway centrestage - most often describing her love for the nayaka/hero who is not with her. She adorns herself for his return, she waits for him, she pines for him, goes through all the avasthas or emotional states and sends her friend or messengers to convey her sorrow in separation, urging the hero to come to her.
The nayikas, who hold the pride of place in the performing arts, are numerous and of various types. So one wonders why the different classifications of the nayikas are given mostly relating to her nayaka or based on her reactions in love sport! We have classifications of the nayika as mugdha, madhya and pragalbha based on her experience specifically in the art of love. Sringara is indeed the king of rasas and keeps the world going, but it is not the be-all and end-all of existence, is it?
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Why were the nayikas in ancient times always defined in relation to the nayaka? Was it because society was male-dominated? Did women in those times lack an independent identity? These questions deserve deeper study. The perspective shared in this article about reinterpreting nayikas in the context of today's generation feels both relevant and essential.
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