Dr. Sandhya Purecha is a prominent figure in the world of Indian classical dance, known for her contributions as a performer, choreographer, and educator. As an exponent of Bharatanatyam, she has dedicated decades to mastering and popularizing this ancient dance form, blending traditional techniques with innovative choreography. Dr. Purecha's work extends beyond performance; she is a respected scholar who has made significant contributions to dance research, helping to preserve and propagate India's cultural heritage. Her leadership roles, including serving on various cultural committees, underscore her commitment to fostering the growth of Indian classical arts at national and international levels. She talked about her journey, International Festival of Indian Dance and art with ABHI SINGHAL. Excerpts 

Your background is incredibly diverse, spanning from law to dance. What inspired your journey into the performing arts?

As a young girl, my exposure to the arts came from my father, who was very open-minded and passionate about art. He encouraged my mother, despite the societal norms of the 1930s, to ensure that I learned dance. We couldn’t afford classes, so he would walk miles with me to attend them. Dance became a part of my life, not just as an extracurricular activity but as an essential experience. Meeting my guru, Acharya Parvati Kumar Ji, was a turning point. He challenged me to reflect on my reasons for learning dance, and I realized I wanted to become like him and open a college for dance. That encounter ignited a lifelong dedication to dance.

What are the biggest challenges facing the Indian performing arts scene today?

The primary challenge is the perception of performing arts as merely extracurricular activities. Our ancient Sanskrit literature, including the Puranas, recognizes 64 art forms as vital disciplines, placing them on par with subjects like mathematics. However, colonial influences have marginalized these art forms. Unless performing arts are treated as mainstream education from the school level, we won’t be able to inspire future generations.

What is your vision for the future of Indian classical dance?

Since taking over the Sangeet Natak Akademi, my goal as chairperson has been to foster an inclusive and collaborative dialogue. For instance, at the G20 summit, we showcased 85 rare musical instruments in a three-hour non-stop performance. Initiatives like these help connect people to our cultural heritage. My vision includes expanding the Republic Day celebrations to involve thousands of artists performing tribal and classical dance, covering the entire Kartavya Path. This reflects the collaborative spirit needed to promote Indian dance on a global stage.

What inspired the idea for the first-ever International Festival of Indian Dance, and what do you hope to achieve?

As the principal of the College of Fine Art and Culture, I’ve attended many national and international seminars. The openness at these events to discuss the challenges facing dance inspired me to create a platform for collective dialogue. The festival aims to bring together artists, scholars, and enthusiasts to explore and celebrate the depth of Indian dance.