A. Being under the tutelage of Kathak legend Pandit Birju Maharaj jiwas like a dream come true for me. I belong to a middle-class simple family, not hailing from any gharanedaar lineage, so truly this was a huge thing for me. I had read about him in my early years, hence coming in direct contact with such a big personality was just unbelievable for me.
Q. What do you feel was his direct contribution in your career?
A. Being his disciple made a lot of difference in the initial stages. I also owe my parents a lot for the success that followed. Without them, crafting a career in dance would not have come true. God›s infinite blessings and selfless hard work and single-minded devotion saw me through.
Q. What made you take up Kathak as a child?
A. Watching me perform as a class I student in Central School, R.K. Puram in Delhi, my father had this sudden revelation that I must be signed up for disciplined and rigorous training under the watch of a guru. Lest I end up as an amateur with a few shows at school level. In hindsight, this proved to be a major decision changing the course of my dance practice. He guided me towards the best of everything without forcing things on us. And my mother held the family together looking out for us, and helping us pursue our goals. After graduating, in 1994, from Kurukshetra University, I joined Kathak Kendra, National Institute of Kathak dance, New Delhi. I started my professional career from there.
Q. Are there any other artists, musicians or dancers in your family?
A. My mom had clear affinities for classical vocal music and father plays the guitar. Like many Bengali families, my family also remained attached to music, dance, art and culture. My grandfather was an excellent painter, and maternal uncle had written scripts for plays.
Q. You have learnt the tabla, painting, Russian language, Hindustani vocal classical music and so on. What made you finally choose a career in Kathak?
A.Kathak came into my life when I didn’t understand the basics of Kathak. As far as the other courses are concerned, in fact I have been always fond of learning new things during free time. This practice of mine continues till date. So I have been trained in painting, computer science, Russian language, sewing, vocal classical music, tabla, pakhawaj, sitar. Many of these subjects complement each other in one way or another.
Q. How does Kathak help you in everyday life?
A.Kathak in our day-to-day life is quite helpful in the sense that it inculcates good body language, mannerism, time-sense, neuro-muscular coordination, ways to cope up daily stress and so on.
Q. What other leisure activities do you pursue apart from dancing?
A.To correct your statement, Kathak is actually not my leisure pursuit. It is my passion, my work, my profession, my income, my life, my outlet of creativity and so on. However, besides Kathak I am extremely devoted to Hindustani vocal classical music. Although I learned it around thirteen years ago, I am doing master›s in the same now, but yet I feel I am a novice in this subject. Personally I feel that classical music is more difficult to engross than classical dance though both are interrelated. I like to do oil paintings also.
“It’s not just riyaaz that contributes to keeping you as a performance artist; what I mean is rigorous and uncompromising practice, which needs to be there in the first place. Sound health, depth of knowledge and understanding, professional attitudes, also play a significant part.”
Q. You have given multiple performances at various venues in India and abroad? Could you talk about the differences between the two settings?
A.Though I have performed in India and abroad in many forums, one thing I must say that the positive enthusiasm, discipline, appreciation, timing, interest, encouragement abroad is worth mentioning, as compared to our own country.
Q. You have performed a fusion piece in collaboration with Kuchipudi dancers. Have you given any other fusion performances?
A. In April this year I did a new medley choreography of Bollywood songs upon Kathak base as it was an international conference of media and they requested me to create something like that for them. I am going to take that piece of composition in the near future abroad as well. Personally I am not interested in such mergers but in one›s work, without compromising your ideals, one can try to create something novel, fascinating, peppy and jazzy, yet at the same time grounded, traditional and grammerised.
Q. What is the most difficult aspect of being a performance artiste?
A. It’s not just riyaaz that contributes to keeping you fit as a performance artist; what I mean is rigorous and uncompromising practice, which needs to be there in the first place. Sound health, depth of knowledge and understanding, professional attitude, also play a significant part. To fend off negative forces, one must develop the presence of mind, meticulous planning, and a responsive intellect. The important part is to keep these things in harmony. The initial stages of your career could be the most testing and without endurance, one could easily get sidetracked. Your evolution as a performer requires time and experience, and it should get preeminence over other concerns.
Q. Learning a classical dance form requires a lot of discipline. Do you think the younger generations are ready to devote long hours of practice in this niche area?
A. Great efforts have been made by SPIC MACAY in this context. And many students are trying to engulf themselves in the rigorousness of these art forms.