“Yatho Hasta thatho Drishti,
Yatho Drishti thatho Manah,
Yatho Manah thatho Bhaava,
Yatho Bhaava thatho Rasa.” (Muni, 1917, p.8)
Meaning: Where the Hands go, the Eyes should follow, Where the Eyes go, the Mind should follow, Where the Mind goes, the Emotions are generated and where emotions are generated there is a feeling of inner expression.
The Natya Krama sloka is first slok taught to dancers which journeys from the physical realm of our existence to our inner most selves. It is the exploration of a kind of inner essence that exists within us. This journey is what kathak has inspired within me and it is what led me to my practice as an artist, which explores the entangling journeys of our everyday lives and spiritual consciousness a process of life rather than the constant obsession of death and reaching a state of consciousness as an end result.
Kathak has allowed me to embody this exploration of spirituality within my own journey and acknowledge the many entanglements, knots, looms, and spirals of life through the action of dance itself which evokes the Natya Krama sloka.
My journey in dance started with my mother, a graduated Bharatanatyam dancer. My mother was the beacon of rhythm and grace in my life, introducing me to the enchanting world of dance at a young age. With unwavering dedication, she not only taught my sister and me various dance routines but also meticulously prepared us for performances at ashram events. Through her nurturing guidance, dance became more than just an art form; it became a cherished tradition that connected us to our cultural roots and deepened our family bond. Her influence and teachings have left an indelible mark, shaping my love for dance and inspiring a lifelong journey of exploration and expression.
Her passion for movement eventually led me to discover the elegant and intricate form of Kathak, a dance style that became a profound part of my identity not only within my praxis as an artist but in the rhythm of my daily life. From the moment my mother introduced me to dance, it became a transformative journey that led me to meet my Kathak guru, Shika Didi, who, while being heavily pregnant at the time, inspired me with her dedication and grace. My classes began in a modest classroom at Sagewood School, where every weekend we would shift tables and chairs to make space for our dance sessions. Witnessing Shika Didi’s unwavering commitment even while preparing for a new chapter in her life was profoundly motivating, turning those humble beginnings into a deeply enriching experience that has stayed with me ever since.
Gradually my Kathak classes become not just a weekly session for me to learn how to dance but a sanctuary for me, a place where I truly felt at home and found a sense of belonging. In an environment that seemed so uninviting and distant from the richness of the culture I grew up in, kathak provided an environment where I could seamlessly integrate my cultural heritage into my daily life, allowing me to both showcase and deepen my understanding of my traditions. Through dance, I was able to express the richness of my culture while exploring its spiritual dimensions, finding a profound connection between my personal identity and the broader cultural narratives. This journey not only enriched my appreciation of my heritage but also offered a path for spiritual exploration and growth.
In the midst of my reflections, a poem by Rupi Kaur profoundly resonated with me. She writes:
“it is a blessing
to be the colour of the earth
do you know how often
flowers confuse me for home”
(Kaur, 2017)
Kaur’s poem captures a beautiful dynamic between body and earth. This dynamic was something I first began to explore through my Bhoomi pranam, a salutation to mother earth that is done before we begin dancing to ask for forgiveness for stomping on her. For me however, it also became a bridge of understanding my connection to nature and home through Devi. Through Kathak, I have not only explored intricate rhythms and expressive storytelling but also cultivated a relationship with nature.
This is where my research as an artist began. Kathak’s graceful movements and rhythmic footwork often mirror the natural flow of elements and life. As a result, having felt this powerful connection and just starting my 3rd year of university where I began to deepen my research after a rather trying 2 years amid the pandemic, I became interested in the narrative surrounding Kali ma.
Along with my mentor at the time, Reshma Chhiba, an artist and Bharatanatyam dancer, whose performances I can only describe as divinely impactful and whose words radiated the energies of Devi, Kali ma became a turning point in how I began to think about and use dance within my art and vice versa and apply these findings within my life.
Kali was everything that I was taught not to be as a little Indian girl. She was not shy, or modest or quiet or submissive. She was the complete opposite of the standard I was taught to become growing up. Yet even the men who I had witnessed mistreating the Women in their lives for the very same reason of not meeting that standard worshipped her, kneeling down at her bare breasted towering figure with her tongue sticking out as if to ridicule their hypocritic ways of thinking. This was a complete enigma to me and at the same time it was intricately empowering.
Not completely understanding this newfound obsession with Kali ma, I began to paint her, channelling these energies onto the canvas. Kathak allowed me a another medium of exploration, where I would paint my feet, begin with my Bhoomi pranam each time as a salutation to Kali ma as nature, body and time and dance on the canvas creating footprints trancing the energies and narratives that I had felt.
Eventually, I had the incredible opportunity to collaborate with Shika Didi on a transformative project. Together, we crafted a piece that not only ignited a personal revolution in how I viewed dance but also elevated it as a powerful tool of empowerment. This work was deeply infused with the essence of Kali Ma, integrating her fierce and liberating energy into our work. Through this collaboration, I discovered how dance could serve as a profound medium for expressing strength and resilience, allowing me to further channel and evoke the empowering spirit of Kali Ma in my artistic expression. This experience marked a pivotal moment in my journey, transforming dance into a powerful instrument of both personal and cultural empowerment.
It is incredible to think about how my journey has lead me to where I am today and how each element of my life has played such a major role in my development into the person I am today.
This summary captures the pivotal moments and influences in my Kathak journey, illustrating how foundational teachings, personal mentors, and spiritual inspirations have shaped my artistic and personal development. It outlines the essence of how dance has become a means of cultural connection and self-exploration. In my forthcoming text, I look forward to sharing how Kathak has shaped my artistic practice and guided me to my latest exhibit, ‘Entangled Paths of Consciousness’, which was featured in the Newwork group exhibition at Wits Art Museum.
Having said this, I would be nothing without the many people who I have had the honour of crossing paths with, and whose stories I have found myself weaved within, that have led me to this point in my artistic practices and ultimately, in my life and so I must also acknowledge the relationships within these entanglements, which are like beads that make up a mala.
In conclusion, my journey with Kathak has been a profound exploration of both the art form and my inner self. From the initial introduction by my mother to the transformative influence of Shika Didi and the spiritual revelations inspired by Kali Ma, dance has become a powerful medium for self-discovery and empowerment. Each step, each performance, and each collaboration has woven together a rich tapestry of cultural heritage and personal growth. As I continue to embrace the dynamic interplay between dance, spirituality, and everyday life, where every encounter adds a bead to the mala of my artistic and personal development.