We met the legendary dancer at Taj Bengal recently while she was in town for Sampratti, an event by Manipuri exponent Priti Patel’s dance organisation, Anjika. Draped in a beautiful pink sari, her signature red tilak glowing prominently on her forehead, Padma Vibhushan Sonal Mansingh walked in with grace, warmth and an unmistakable presence. At 82, the years seemed to have had little hold on her. During our conversation, every thought came alive not just through words, but through expressive mudras, animated gestures, laughter, and eyes that still held the curiosity of a lifelong learner. What followed was a candid chat on art, legacy, resilience, culture, and the future of Indian classical dance. Excerpts...
Being felicitated in Calcutta at an event, what does this recognition mean to you at this stage of your life?
(Smiles warmly) Every recognition is of great value, and especially when it comes from a colleague, and that too such an eminent name (Priti Patel)… it means a lot. It does.
Looking back at your decades-long career, what have been the most transformative moments in your journey as a dancer?
Not one moment. There were many moments. Right from the time that I ran away from Bombay to Bangalore — to my gurus. I was just 18… literally ran away (laughs). That was a total transformation. And after that I went to Cuttack in Odisha, where my journey in Odissi began, and so on and so forth. Then the Emergency, and therefore no facilities, no programmes, nothing. But transformative moments, they don’t always look positive. From that negation arises something… like a lotus from the mud. Then of course the Padma Vibhushan, the Akademi awards, being nominated to the Rajya Sabha… dancing in front of Mt Kailash… so yes, many moments.
You trained in multiple classical forms. What role did curiosity play in shaping your artistry?
Wanting to know everything that surrounds our dance forms, whether it is the Shilpa Shastras or the Natya Shastras, the costumes, the way they moved, what are the motifs, why were these motifs so amazing, the music, why those particular ragas, the taalas, literature, the sahitya… everything. And of course, when I had seen Balasaraswati (legendary Indian dancer)… my God (eyes widen). In Bombay, on her way to the US for the first time… that abhinaya! To learn abhinaya from the only living Devadasi guru then… I was so lucky. The curriculum was already there, but curiosity to know what the “traditions” really were... because in the name of tradition, so many other things also come in. There is so much to know… and so little time.
How do you balance preserving tradition while also innovating to stay relevant in today’s world?
(Leans forward, smiles) Innovation is a nice word, you know. But the tradition is that you have to put the foundation and have the material in its own place. Staying relevant is a very big point, at least now. My goodness… every day there are hundreds of new things, whether it be dance or music or whatever… I don’t even know all the names. It’s good, I think. It makes all these little tana-bana — the threads — come together and make a cloth. It’s not necessary that every thread is strong, right? Some snap, others remain. So it depends on the quality, the time, and the conviction of that innovation.
Your choreographies often address themes like women’s empowerment. How do you see dance as a medium for social change?
On the one hand, I believe that I am empowered anyway. Like my mother, like my grandmother, like my guru. I think what we lack today is awakening and education. Women are suffering, girls are suffering, children are suffering. The world is not isolated anymore. Whatever happens out there affects us. Social media... everything is open to everyone. Even little boys are doing things they are not supposed to. These are difficult factors to address. That’s my effort. I keep going, and I keep addressing them through my philosophies. And I do believe that art has a great role to play. Art is for education, entertainment — of course entertainment… and enlightenment. That is art.
Through your institution, the Centre for Indian Classical Dances, what core values do you aim to instil in the next generation?
By the way, my institution is entering its golden jubilee this year. So till next year, we plan to do things. Core values, as I have lived by them — those are the ones I try to pass on, share. So these are Satyam Shivam Sundaram… and courage of conviction, passion for something deeper, balancing your left and right brain.
During your Rajya Sabha tenure, you actively advocated for artistes’ welfare and cultural preservation. How did this experience shape your understanding of the challenges artistes face, and what more needs to be done?
I have always raised things about artistes in various forums — whether it’s public seminars, conferences, universities… elite universities in America, big universities in India… everywhere. Artistes used to raise their voices during Independence… now that doesn’t happen much. Most dancers have broken bones. Who pays for that? Also instruments… I raised these issues in Rajya Sabha. I’ve done my work quietly. But it is important to raise your voice, wherever you are. Raise your voice and spread the word.
How do you envision the future of Indian classical dance in the coming decades, and what would you like to tell young dancers?
First of all, I never give advice. I only share my thoughts. Nowadays if you are a hero on social media, you’re famous. Nobody’s bothered about the real quality or value of your work. But even so, I see the future very well. More and more young people are curious to know — what is it? So the point is how to create more opportunities for millennials… Gen Z has come, Alpha is there… Beta is on the way probably… (laughs heartily).
You’ve always shared a special bond with Calcutta. What kind of emotional or artistic connection do you feel with this city and its audience?
Oh my God… my first memory of Calcutta was with my grandfather, who was invited by the governor of Bengal. My grandfather was the chief guest at Santiniketan. That was our first visit. Then of course my visits began. I think I’ve danced in every hall… (laughs). Many, many memories. Dancing here, friends here, artistes here. Phuchka, delicacies from Bhojohori Manna, shopping — I love everything here. And the audience… the audience is wonderful.