Padma Bhushan recipient Uma Sharma is a renowned classical dancer. She speaks to Anindya Tripathi about her love for Kathak, her early influences and the future of the dance form.
Q. What prompted you to take up dancing? Please tell a little about your illustrious journey.
A. I feel that I was in love with dance even before I was born. I used to be in awe of people dancing and would try to imitate them. I was inspired by the melodious songs of Lata Mangeshkar like “More Saiyan” etc, and would just start dancing on them. My father always wantd me to take up singing, but my heart was set on dance. As a creative person, I loved experimenting with different styles. In school, I was given the responsibility to create a ballet and I did that on Emperor Ashok. When I was in college, I was the president of the dance and music society and that’s when the genuine love for dance shaped up. I met guru Shambhu Maharaj Ji. I joined Bhartiya Kala Kendra and followed my journey. Dance has been my part of my soul, heart and mind and still continues to be.
Q.Why Kathak? What about this form inspires you?
A. That was the very first dance I was introduced to as it was very popular in Delhi. There was hardly anyone doing any Bharatnatyam, or any other dance form. My father was very fond of art and culture and he opened a small school at home and I started learning Kathak under the guidance of guru Shambhu Maharaj, guru Sundar Prasad Ji. I was passionately following my routine for rehearsals in Kathak. Though I learned Bharatnatyam, Kathakali, Manipuri when I joined Triveni Kala Sangam when Sundari Shridharani was alive, I preferred Kathak and it’s still with me.
Q. Who has been your role model? Someone’s whose work you have admired.
A. My parents, especially my father pandit Vasudev Sharma has been my biggest influence. He was a classical music singer and Sanskrit scholar. He, at times, used to make me sing with him. Other than him, my gurus have been my strength and I am an ardent believer in the guru shishya parampara. I admire Yamini Krishnamurti and Birju Maharaj, as it was because of him, I have been able to act till now and acting or abhinaya, is the most difficult part of the dance. Maharaj ji’s expressive style and grace are unmatched and he has been a guiding pillar for the most of my journey.
Q. What is unique about Jaipur Gharana?
A. I learned Jaipur Gharana from Sundar Prasad Ji. Beautiful footwork in form of Kavita toda, the pure aesthetics of Kathak, I learnt from him. The Jaipur Gharana focus more on footwork, whereas the Lucknow and Banaras are more about facial expressions, I am glad to have had the privilege of being associated with the Jaipur gharana.
Q. What do you think about the future in this area? Is the youth inclined towards it?
A. The traditional form of Kathak is dying out and that is unfortunate. There’s hardly any abhinaya, singing or focus on expressions. The delicate bhav, the grace and devotion of thumri, tukra is not to be seen anywhere. The kavitya is also slowly losing its presence. There has been talking about Sufi Kathak, there is no such form of kathak, it was born in temples. Already Sufism is there in its essence in the existing form. Fusion has influenced the authentic style so much, that the loss is disheartening and saddening.
Q. What are your views on the so-called “fusion” styles?
A. During my visit to Spain in 1973, there was no fusion going on that time. I was the first one to introduce a collaboration between Kathak and Flamenco styles. Both the styles have a lot in common, in terms of the ballerina spin, gestures, footwork etc. The performance was in the form of a story and I involved the elements of Sahitya in dance such as Soordas, Tulsidas etc. The poetry needs to come out through the act via the expressions and that is what makes a true artist.
Q. Any similarities between Western dance and Kathak, given that you have collaborated with many?
A. There are a lot of them. Certain poses, footwork, gestures are very similar in their rhyme-scheme and expressions. In my collaborations with Spanish flamenco dancers, Iranian artists etc I have realised that dance is a universal language. One just needs to be accepting of art, culture and traditions. Dance is the symphony of the soul.