Sonal Mansingh talks about her art, life and life philosophy that went into making the person she is. She opened up to The Pioneer. 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 (,dkxzfpRr), 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.