‘The young should learn their culture’

Padma Vibhushan Sonal Mansingh has practiced many dance forms, including Manip uri, Kuchip udi, Odissi, and Bharatanatyam. She has been the recipient of many awards, including the Sangeet Natak Akademi Award (1987) and the Padma Bhushan (1992) and Padma Vibhushan (2003), two of India’s highest civilian honours.

She founded the Centre for Indian Classical Dances in 1977. Her choreography is often rooted in Indian mythology though she also explores contemporary topics such as women’s issues and environmentalism. Mansingh was nominated by the President of India to the Rajya Sabha in 2018. This marked a historic moment as she became the first classical dancer to receive this honour. She is currently serving her second term as a trustee at the Indira Gandhi National Centre for the Arts (IGNCA).

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In an exclusive interaction with Surya S Pillai of The Statesman, the Odissi doyen talks about her latest book “A ZigZag Mind”, the stature of Indian performing arts on the global stage, and how the contemporary political class views artists.

Q. You latest book “A ZigZag Mind” was widely praised for its beautiful account of the ‘Guru-Shishya’ (teacher-disciple) parampara, creativity in dance, and the divinity of life itself. How do you feel about it?

A. I feel honoured and am thankful to my readers for the kind feedback. I usually write longhand as there is stream of thoughts, and I do not like the hurdle of technology. Yes, the book talks about the ‘Guru-Shishya’ tradition, which unfortunately is on a decline. India is one of the few countries which still keeps this tradition close to its heart. Apart from this, I have also brought into focus “secularism in the Indian performing arts” in the book. I have talked about how Hindus, Muslims, Parsis, Sikhs, Buddhists, Sufis, maong others have come together to ‘create and worship art’, from time immemorial. I am surprised why people do not talk about it.

Q. Indian art and culture has come a long way. From mere participants to now major influencers, our artists and their craft have made a niche for themselves on the global stage? What role, do you think, the politics of the day play in propagating art?

A. Besides the artists, the political leadership also plays a ists. We have seen many Padma awards being given to many ‘unconventional’ artists from varied backgrounds. When I started off, there were only four dance forms (Bharatanatyam, Kathak, Kathakali, and Manipuri). I am one of the rare art personalities who has lived through various political regimes. Today, art is not just dance and song. There is respect, money, and opportunities for artists across the country. Case in point is the ‘Mera Gaon, Meri Dharohar’ scheme which aims to document the cultural heritage of 6.5 lakh villages of India.

Q. You have been a mentor to many students. How does the young generation, or the Gen Z, view art?

A. For the young today, there is no dearth of opportunities to exhibit their work. From reality shows to OTTs, I am so envious of the range of platforms the youth is getting today. Back in old days, artists depended on print media for the publicity. The Statesman’s art critic Charles Fabri wrote a piece on me titled “New Star on The Horizon”. He made me a star overnight. Regarding the young generation’s attitude towards art, I would say many take it up for pure recreation or as a means of employment. But only those who have the “staying power” can reap the benefits of art. It is all about continuing ‘sadhna’ (practise).

Q. The five-day ‘Festival of New Choreographies – KalaYatra 2026’ is scheduled from January 13-15 and January 28-29 in the nation capital . Can you elaborate on the event?

A. To be really honest, I am a madcap. I am crazy about all aspects of dance. The festival will enter its 49th year in 2026. The non-ticketed event, to be held at Kamani Auditorium, is open to all discerning dance lovers, rasikas, artists and general audiences. KalaYatra, in its true essence, is a continuum of 10 new choreographies, each presented by eminent dance institutions of India and led by their Gurus, showcasing India’s civilizational soul and pride – a timeless cultural expression in motion! I invite all big names from the art world for the festival every year. We will b e presenting many choreographies like Yakshagana, Kathakali, Sattriya from Assam, Kuchip udi from Telangana , Bharatanatyam from Pune, Odissi, among others. For the first time, we also have a group (Rainbow) representing the LGBTQ community from Kolkata.

Q. As an artist, what are the issues that are close to your heart?

A. I have talked about many issues via my art, be it environmental conservation, jail reforms, women empowerment or human rights. But women issues have always been dear to me. I believe ‘women empowerment’ is a misnomer. Women have always been empowered. Right from the Upanishads, Vedas, and even in the freedom struggle, women have been at the forefront. According to me, the women who are toiling hard in the fields are more empowered than the so-called educated ones “caged” in the comforts of their houses. They are more in control of their lives than others who are bogged down by the walls created by the society. So, we cannot and should not lump all women in one basket. Secondly, people, especially the young, are not ‘concerned’ about their traditions. I wish they participate more to learn about their culture and sensibilities.