Interview - Tradition in Motion: Daksha Mashruwala on Choreography and Continuity - Ratikant Mohapatra

My association with Guru Daksha Mashruwala spans over four enriching decades. Both of us had the profound privilege of learning under the guidance of my revered father and Guru, Kelucharan Mohapatra. Over the years, I have watched Daksha evolve into a complete artiste—someone whose journey in Odissi reflects depth, dignity, and devotion. Her understanding of the art form is layered and sensitive, and she brings a unique finesse to both performance and pedagogy.

During my recent visit to Kolkata for my fellowship project work, I coincidentally met Daksha. This serendipitous meeting offered me the opportunity to engage in heartfelt and insightful dialogue with her. The conversations that followed became the foundation for this candid and enriching interview. It was truly a moment of shared reflections—rooted in memory, learning, and the timeless bond of Guruji’s teachings.

How was your overall experience conducting the workshop in Kolkata under the aegis of the Odissi Dancers’ Forum?
The workshop in Kolkata was an enriching and heartwarming experience. The Odissi Dancers’ Forum provided a nurturing and focused environment, and I felt deeply encouraged by the seriousness and dedication of the participants. It was a joy to witness the city's vibrant cultural energy channelled into the practice space each day.

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Interview - Darshana Jhaveri: Recording oral traditions for posterity - Tapati Chowdhurie

Darshana Jhaveri is a distinguished name in the field of Manipuri dance of Guru Bipin Singh style. I had the rare chance of meeting the octogenarian performer at the 51st Khajuraho Festival of dance. Chances like this are rare and I seized this opportunity to interview her. The following are some of her brilliant answers to my questions.

What inspired you to learn Manipuri dance?
The 40s were the times when the youth in Bombay (Bombay was renamed Mumbai on 6th March 1996) were inspired by Mahatma Gandhi and Gurudev Tagore. Inspired to revive our ancient culture, we started learning classical and folk dances for stage performances.

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Book Review - Kathak in Focus: New Performing Arts book released in Pune - Kiran Java

A review of Elements of Dance in Natyashastra and Abhinayadarpan - This book is an exploration of traditional hand gestures as laid out in the two major dance treatises i.e., Natyashastra and Abhinaya Darpan, and their relevancy to Kathak classical dance.

Book Title: Elements of Dance in Natyashastra and Abhinayadarpan
Author: Dr. Nandkishore Kapote
Subject Area: Indian Classical Dance, Performing Arts, Kathak
Published by: Bhandarkar Oriental Research Institute
Supported by: The Academic Development Programme supported by Infosys Foundation
Printed at: New Bharat Printers, Pune
Edition: 1st Edition January 2025
Format: Hardback
ISBN: 978-93-92194-90-0
Total photos: 196

Price: Rs.2000 

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Kathak Kumbha! (Part 2) - Dance Matters: Column by Ashish Mohan Khokar

Kathak Kendra presented the 37th Mahotsava in Delhi from March 21-26. It was a mammoth gathering of scholars, academicians, dancers, gurus, students and audiences. Last year, it had undertaken one such in Pune, where many of the Pune gurus and stars could be platformed like guru Shama Bhate, who had just the year before also been bestowed the SNA honour and Rujuta Soman, who has done unique works and recently devised a sound footboard to keep rhythm while performing! It is a unique invention, since live musicians are so difficult to get both for reasons of cost and time. Next year if Kathak Kendra hosts in Bangalore or Hyderabad, actually there's more Kathak in Bangalore today than even Bombay if pure statistics, festivals and scholars and audience interest is to be seen.

The 37th Kathak Mahotsava in Delhi continued its juggernaut with 3 speakers and a moderator in the morning session and 3 dancers in the evening. For Director of the Kathak Kendra to have got a variety of chief guests - babus and unknown vocalists who like on the first day came 90 minutes late - Invite such but don't wait, is the lesson. Natyashastra even tells what the quality of a sabhapati ought to be, but not many would qualify today! 

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Obit/Tribute - Geeta Radhakrishna: A cultural ambassador of India - Vijay Shanker

Eminent Mohiniattam dancer and scholar Dr Geeta Radhakrishna Menon, left for her heavenly abode on 8th April in New Delhi after ailing for some time. She was 75 and is survived by her husband Radhakrishna Menon, daughter Radhika, brothers and sisters. Geeta was among the best Mohiniattam exponents of the country with several performances to her credit both in India and overseas. She was a prolific writer, dance teacher, choreographer and a motivational speaker, actively associated with the field of performing arts for more than five decades. 

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Article - A tribute unto the Guru - Lata Surendra

Sometimes in black and white, feelings flow as thoughts, seeking to be shared as the timeless wisdom through words. The past week has seen us miss the tangible presence of several legends who live on through their bequeathed legacy. Some whose contributions gathered merit and others who merited but did not receive the acknowledgement they deserved. But both categories have categorically transformed their programmed spaces in their own way and their worthiness would perhaps glaze the cheeks of their disciples or create a sense of guilt in those who could have but overlooked merits as an illusion even as the world around passively watched and wondered at the duality in an arty world where the loftiness of art and the manipulations of the mind walked or danced together. Thus, it is, that I thought of sharing a tribute to all those Gurus who have been instrumental in widening the connotations of the dance and its didactic potency and irrespective of poetic justice kept on reaching out to etch their love for the art as their very life breath! 

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Obit/Tribute - Kumudini who gave Kathak its new look is no more - Leela Venkataraman

Kumudini Lakhia has left this world! Even while the Kathak world in particular mourn their great loss, I feel that the entire dance world needs to celebrate the work of an inimitable artiste who, while not going against the classical tenets of her dance tradition, managed to give it an entirely new face, universally accepted. I remember seeing her first group production 'The Coat' based on Sarveshwar Dayal's work 'The Coat', in an SNA sponsored New Dance Festival, which left me amazed with the kind of creative imagination giving rise to such a production. 

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Obit/Tribute - Kumudini Lakhia (1930-2025) - Ashish Mohan Khokar

A leading Kathak artiste-guru, who sanitized the form and distinguished herself as a contemporary choreographer, bows out on April 12, 2025.

Born on May 17, 1930, Kumudini Jayakar-Lakhia learnt Kathak from many distinguished gurus like Pt.Sohanlal, Shambhu and Birju Maharaj of the Lucknow gharana; Pandit Sunder Prasad and Radhe Lal of the Jaipur gharana and Ustad Ashiq Hussain of the Benaras gharana. Despite varied schools (gharanas), she charted an independent and individual course which is known for fine technique and high aesthetics.

Bombay was where she was in her early years as Kumudini Jayakar. She was an upcoming dancer when Damayanti Joshi, Roshan Kumari and Sitara Devi ruled the roost. She came to the Shriram Bharatiya Kala Kendra in the mid-fifties and took stellar roles in its initial productions of Kathak such as 'Malati Madhav' and 'Kumar Sambhava'. She impressed with her work and her teaming with Birju Maharaj led to a successful dance partnership. Her association with the Kendra continued for many years. 

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Interview - Ratikant Mohapatra: Evolution is an integral part of any living art form - Tapati Chowdhurie

Classical era or classical age is the period of European cultural history. Also 'classicism' was a term that referred to a style of music written in Europe about 1750 and 1830. Neo-classicism emerged as a Western cultural movement that drew inspiration from the art and culture of classical era of antiquity.

In India, we use the word 'classical' to refer to our shastriya arts. In the Indian context the meaning of the term 'classical' has changed. We refer to our shastriya dance as 'classical dance'. By logic, the term 'Neo-classical' means a style that has been derived from the original.

It is an intrinsic human quality to innovate. Dance today is not the same as it used to be before. It is the birth right of every artist to innovate. Whatever newness an artiste may give to his innovated dance form, he must keep in mind the audience to whom he is presenting his form. In the ultimate analysis, all innovated art have to prove the test of time.

In a brief interview, Guru Ratikant Mohapatra answered a few of my questions on neo-classical Odissi.

Neo Classical Odissi and its evolution
The vision for Neo-Classical Odissi stems from a profound respect for tradition and a quest to explore new creative dimensions within the dance form. While remaining deeply rooted in the rich heritage of classical/shastriya Odissi, it expands its artistic scope by refining movements, enriching expressions, and introducing innovative choreographic structures. By integrating unexplored elements from the Shastras, it enhances their relevance in present times.

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Anita says...April 2025

Happy birthday NARTHAKI. 25 years old!

How time has flown!

Who ever thought that this online infant, created and launched on April 14, 2000, would continue uninterrupted for a quarter of a century and make the impact that it has!
Thousands and thousands from the global Indian dance eco system have nurtured, cheered, applauded and welcomed our presence online.

As I write this, it is still sinking in that a small spark in 1992 caught fire to birth two best selling phone books and finally - this online web portal. I salute the small and dedicated team that has kept the back end of this "passion project" of mine going, in spite of all the pressures to give up and cave in.

As we congratulate ourselves in our Chennai headquarters, we also send out a collective cheer to all of you who read my thoughts and scour the site for news, interviews and information about dance across the globe. Thank you, readers, members and subscribers. Your positive feedback has been crucial for our sustained motivation.

March has been a gruelling month for my ensemble and particularly for me. There were two shows to navigate, various venues to negotiate, and multiple communication blips between the organisers and us. These days the back end of a performance is getting more and more important. It is not enough to just have a programme booking. As artistes, we are also responsible for generating content for social media postings and to maintain the excitement and momentum leading up to the main event.

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