Explore the artistic brilliance and cultural legacy of Sonal Mansingh through the fascinating world of classical dance with Gyaneshwar Dayal

In the realm of Indian classical dance, few names carry as much weight and reverence as that of Sonal Mansingh. Her life’s journey is not just a tale of individual accomplishment but a testament to the power of art in transcending boundaries and enriching lives.

Sonal Mansingh’s relationship with dance began at an early age. Raised in a family that valued both tradition and modernity, she was exposed to various forms of art and culture from childhood. Her initial training in Bharatanatyam began under the tutelage of renowned Guru Shri Chandralekha. However, it was her encounter with the legendary Odissi guru, Guru Kelucharan Mohapatra, that shaped her destiny. Under his guidance, Sonal delved deep into the intricate nuances of Odissi, a classical dance form from the eastern state of Odisha, India. She mastered the art with such finesse that she became one of its foremost exponents, earning acclaim both nationally and internationally.

Sonal Mansingh’s journey has not been without its share of challenges. As a woman navigating the patriarchal landscape of Indian society, she faced skepticism and resistance from traditional quarters. Yet, with unwavering determination and resilience, she shattered stereotypes and carved a niche for herself in a male-dominated field. Her artistic integrity and commitment to her craft have been unwavering, even in the face of adversity. Through her performances, workshops, and lectures, she has tirelessly worked towards preserving and promoting India’s rich cultural heritage, inspiring generations of artists to follow in her footsteps.

As a cultural icon, Sonal Mansingh’s legacy transcends boundaries of time and geography. She has not only enriched the world of dance with her unparalleled talent but has also left an indelible mark on the hearts and minds of millions around the world. Her life’s journey is a testament to the transformative power of art and its ability to bridge divides, foster dialogue, and celebrate the beauty of human expression.

Sonal Mansingh’s dance themes often encompass a rich tapestry of mythological narratives, cultural traditions, and social issues. Through her performances, she weaves together stories from Indian history and legends, ancient and contemporary texts exploring the tales of gods and goddesses with intricate choreography and expressive movements. Her interpretations of classical dance are imbued with deep spiritual and philosophical elements, reflecting her profound understanding of Indian culture and traditions.

Additionally, she often addresses contemporary social issues through her choreography, using dance as a medium for commentary and reflection. Whether addressing themes of gender equality, environmental consciousness, or the human experience, Mansingh infuses her performances with relevance and meaning, engaging audiences on both artistic and intellectual levels.

Overall, Sonal Mansingh’s dance themes transcend mere entertainment, serving as a platform for storytelling, cultural preservation, and social advocacy. Through her artistry, she continues to captivate and inspire audiences around the world, leaving a lasting impression with each graceful movement.

Sonal Mansingh, a prominent figure in the world of Indian classical dance, also had a notable involvement in politics. While she is primarily celebrated for her contributions to dance, her engagement in political discourse arose when she was nominated to the Rajya Sabha, the upper house of the Indian Parliament, in 2018. Her nomination was a recognition of her achievements and contributions to Indian culture and arts, acknowledging the importance of promoting and preserving India’s rich cultural heritage within the political sphere. As a member of the Rajya Sabha, Mansingh has used the platform to advocate for the arts, cultural preservation, and the promotion of Indian dance forms. She actively participated in debates and discussions concerning cultural policies, education, sociology of culture and the role of the arts in society.

Sonal Mansingh, a luminary in the realm of Indian classical dance, has left an indelible mark through her illustrious career. Honored with the Padma Bhushan in 1992, and the Padma Vibhushan in 2003, she has been lauded for her exceptional contributions to the performing arts. As the founder of the Centre for Indian Classical Dances (CICD) in New Delhi, Mansingh established a bastion for the promotion and preservation of various classical dance forms, nurturing young talent and disseminating awareness of India’s rich cultural heritage. Her mesmerizing performances have graced prestigious stages worldwide, serving as a cultural ambassador and fostering appreciation for Indian art and heritage. 

“As in life, so in dance, character is essential”

Sonal Mansingh talks about her art, life and life philosophy that went into making the person she is. She opened up to Gyaneshwar Dayal. Excerpts

What are some memorable performances or collaborations that have shaped your artistic journey?

Well, memorable performances and collaborations are different. From the very beginning in 1961, when I gave my maiden solo performance, to this day, every performance has been memorable for one reason or another. Whether it was in Venezuela or China, Mongolia or Mandi, in a big opera house of a megapolis or on a small-town stage, each one was memorable. Choosing the best among them all is rather difficult. However, the performance in Delhi after my car accident in Germany in 1975 stands out. Many dancers told me they were inspired by it, saying that at times they didn’t see me but saw sparks. The performance for the Dalai Lama in McLeod Ganj in 1994 was also significant for its content, which moved him to tears. Performing in front of Mount Kailash was a once-in-a-lifetime divine experience.

Tell us something about your collaborations.

Regarding collaborations, I haven’t had many. My performances in Bharatnatyam, Odissi, or Chhau are collaborations with musicians, my guide and Guru Shri Jeevan Pani Ji, researchers, gurus, yoga gurus, and anyone from whom I learned something. Life itself is a great collaboration. Learning is an effort unto itself. Things keep happening, and one must become aware of them. Life is a jigsaw puzzle from which one picks little nuggets of wisdom.

What values are essential in classical dance?

As in life, so in dance, character is essential. Character building starts in mother’s womb or even from previous births (poorva janma) and karma samskara. It then grows with upbringing, nurturing, travel, and learning. Due diligence is essential. Even slight lethargy or negativity can creep in if you leave the door of consciousness ajar, so one must always be aware. What must be done should be done in a timely manner, and every detail must be worked out. Humility is important. Remember, reevaluate, reassess, and move on (manan chintan). Reading is essential, especially in times of dependence on social media: read, discuss, understand, and carve your own path.

How do you approach interpreting classical dance forms to suit contemporary audiences?

I always did what I wanted to do, and this tendency was further encouraged by my Bharatnatyam guru, U.S. Krishna Rao. We are different from Western classical dancers, where brochures are distributed at the beginning, and ballerinas dance with 50 other dancers. Audience should read the brochure before the performance begins because later there are no commentaries or announcements. That stuck with me. You cannot give a rundown of every performance you give. Every sanchari (to convey a story or series of events through body language, hand gestures, and facial expressions) must be spontaneous. If it is pre-decided, it doesn’t stay spontaneous. But I leave it to each dancer, as it depends on her training, way of thinking, and approach to dance.

Tell us something about the themes and content of your choreographic works.

I have always chosen themes of women empowerment, such as Devi, Draupadi, Panchkanya, river pollution (Krishna-Kaliya) atmospheric pollution, and thought pollution. I always say the three Vs-vichar (thought), vaani (speech), and vyavhaar (behavior)-need to be cleansed from time to time to ward off negativity. Today, people are stressed, tired, and emotionally burdened. Our dances address these issues and uplift emotionally, physically, and spiritually.

What advice do you have for aspiring classical dancers regarding training and technique?

Many things have changed over the years, but some things remain the same. Ekagrachitta (,dxzfpRr), or focus and commitment, is one such tenet all students must observe. When you go to a Guru to learn, you must be well-prepared for the next class. You must have respect for the teacher, the traditions, the place you perform, the iconography, the messages contained in the Puranas, the temples, their architecture, and so on.

What do you have to say about the mythology of the Puranas from where you draw your themes?

I would say mythology is the wrong word. Mythology comes from ‘mythos’ (in Greek) which is akin to fairy tales. Our stories are not fairy tales; they are actual events that took place long ago. They have messages and inspirations that transcend time. We must honor, respect, and work according to these stories.

What are some of the challenges you’ve faced in your career, and how have you overcome them?

Life is a journey full of challenges, and these challenges shape who you are and how you deal with them. They help you grow, evolve, and become a better person. I took two vows with my grandfather: I will never commercialize dance, so I give all the money from my performances to my institute, Shri Kamakhya Kalapeeth (Centre for Indian Classical Dances). I have lived in rented accommodations and will continue to do so, after my term as Member of Parliament is over.

Could you share a particularly rewarding or transformative experience you’ve had?

There are not just one but many. If one allows oneself to be like a lotus and opens up to Sun, every moment is transformative and rewarding. One needs to open up to accept beauty with one’s eyes, ears, mind, and heart-Satyam Shivam Sundaram. There is a beautiful prayer, “Asatoma Sadgamaya” (Lead me from ignorance to truth), “Tamasoma Jyotir Gamaya” (Lead me from darkness to light), “Mrityorma Amritam Gamaya” (Lead me from time-bound consciousness to the timeless state of Being). May we all have that rewarding journey. Through my dance, learning, and friends, I have lived a fulfilling and rewarding life. The human avatar is very rare; let’s make the most of it.