“…But I could not have lived any other way,” vouches internationally renowned dancer, cultural educator, guru, scholar, author, social activist and more – the redoubtable Dr Sonal Mansingh.
By Nichola Marie
A legend in your lifetime, it is heartening to note that you have conceptualised and choreographed ‘BhavaGanga’, a breathtaking dance-theatre production that premiered in Delhi in March 2025. What was the inspiration for this ode to Maa Ganga’s journey and what makes it special for you?
Ganga means perennial flow, and ‘Bhava-Ganga’, as the title suggests, represents the perpetual flow of emotions. Emotions exist everywhere in nature — in trees, plants, animals, and human beings. It is said that bhava (emotion) even resides in stones. Why does one particular stone yield the idol of Shri Ram, while another forms the image of a tree? Bhava flows through life and all of creation.
Ganga is not just a river; she is symbolic of the eternal flow of energy and creation. Countless significant events have taken place along her banks. Even today, after the Mahakumbha, where crores of people bathe in her waters, scientists continue to find that Ganga retains its unique purifying elements — an absolute marvel. ‘Bhava-Ganga’ brings to life these remarkable qualities of Ganga while also highlighting pivotal episodes from our history — from her divine descent to the legendary dialogue between Shri Ram and the boatman, to the moment when Mahadev himself stood at the doorstep of Devi Annapurna, seeking alms.
It is equally uplifting to see you creatively active in your 80th year. What would be the secret behind your continued output over several productive decades?
There’s no secret. I eat normal food — I love cheese, chocolate, and ice cream. I love to read and laugh. It’s a great gift that nature has given me. Like my father and younger brother, I have always been inclined toward humour — puns, one-liners, and spoofs. I never take myself too seriously.
Even when I received the Padma awards and later served in the Rajya Sabha, friends and well-wishers would exclaim, “Oh my God! She is still so normal!” People often compliment me, saying, “You are so natural, so simple… We had heard so many things!” But at the end of the day, I am just a human being. I remain who I am. Honours and positions come and go — I focus on doing my best, and that is what I truly believe in.
Passion for dance has been the central force in my life, grounding me, giving me equilibrium, and offering me a deep sense of purpose. I would also say that it has instilled in me a certain degree of gravitas.
Harking back to the beginning, what sparked your interest in dance and did you have family support to follow it? Have perceptions towards dance changed since then?
In childhood, every family plays a role in nurturing interests. In my family, my father, mother, sister, and I were all inclined towards music and dance, even though we came from different backgrounds. In my Gujarati-medium school, there were compulsory classes for classical music, dance, painting, and Sanskrit, which further strengthened my artistic foundation.
However, there came a point when I insisted that I would pursue dance only after completing my BA, and when circumstances didn’t align, I left home to follow my calling.
Dance has come a long way since then. Today, there are more opportunities — numerous festivals, international performances, grants, television shows, and online competitions. But perceptions about dance still vary depending on family, region, and society. In some ways, they have improved, but in others, they remain unchanged. For boys, making a career in dance is still difficult.
Many of my students eventually have to take up school jobs to sustain themselves because their families expect financial contributions. This leaves very little time for dance — they manage somehow until a certain age.
I wish schools would offer more flexibility to serious dance students instead of using them for multiple activities — Bollywood-style performances, Sports Day, Annual Day, and so on. It’s a huge issue that needs to be addressed.
After initial dance lessons in Manipuri and Bharatanatyam, you chose Odissi. What is it about this dance genre that captivated you?
I never left Bharatanatyam. In fact, Bharatanatyam remains my first love. My Arangetram was in 1961 in Bangalore. Since then, I have taught, and I continue to teach it at my institute. Many of my choreographies are deeply rooted in Bharatanatyam, and I have presented full Bharatanatyam performances that audiences remember fondly.
Odissi came later, but I see Bharatanatyam and Odissi as complementary — like two eyes creating one vision.
Another lesser known fact is that you trained in Hindustani and Carnatic classical vocal music and are proficient in the Sanskrit and German languages…
Yes, I learnt Hindustani music from childhood under great gurus, and it was also a part of my family’s tradition. My mother was learning, my father played the pakhawaj, and alongside Bharatanatyam, I also trained in Carnatic music. Later, as I immersed myself in Odissi, I started learning Odia music. Many people don’t know that Odissi has its own distinct musical tradition. The great poetscholar Shri Jeevan Pani was my guide, my guru, and my margdarshak. Under his mentorship, my vocalist Bankim Sethi and I explored rare compositions and revived many beautiful aspects of ancient musical traditions.
From childhood, I also had a deep love for languages. I studied Sanskrit in school and later completed courses at Bharatiya Vidya Bhavan, which helped immensely. My fascination with German literature led me to pursue a degree in German Literature Honours after reading translated poems. Fortunately, it was available at Elphinstone College, Bombay University, where I had the opportunity to study it in depth.
In 1977, you founded the Centre for Indian Classical Dances in Delhi. What have been some of the important highlights of this initiative?
The Centre for Indian Classical Dances (CICD) was established in 1977. Initially, I was encouraged — rather, compelled — by my dear friends Vasant Sathe (then a Member of Parliament and Minister in multiple governments), KP Salve (also a Minister), and Shri Madhu Limaye (the socialist leader). They strongly believed that while musicians could continue teaching throughout their lives, dancers would struggle to command the same level of respect from students over time, given the physically demanding nature of dance. They insisted that I establish an institution to pass on my knowledge and experience.
What began as a necessity has now blossomed into an institution that completed 47 years this April. Over time, the Centre has evolved and is now known as Shri Kamakhya Kalapeeth. It has expanded beyond just dance training to incorporate yoga, Sanskrit, Indian cultural traditions, and discourses on our heritage.
Bharatanatyam and Odissi remain at its core, but the institution has become a unique confluence of artistic and intellectual pursuits.
Many of my students have gone on to earn worldwide recognition, while others have established themselves in India and abroad, carrying forward our traditions in their own ways. Seeing their journey fills me with immense pride.
Your choreography is known to have often been rooted in Indian mythology, though you also explored contemporary topics and social issues.
Social issues have always interested me, influenced by my family’s involvement in politics and societal work, as well as my own temperament. I have worked extensively in spaces where art is least expected — such as Tihar Jail, where I interacted with prisoners serving life sentences, including those convicted of murder and dacoity. Out of that experience, I created ‘Manavta – Humanity’, which was staged at Siri Fort on International Human Rights Day in 2000.
Women’s issues have been a central theme in many of my productions, from ‘Panchkanya’ and ‘Draupadi’ to my Natya Kathas like ‘Devi’. More recently, in ‘Bhava-Ganga’, the ‘Annapoorna’ episode explores the profound moment when Mahadev himself comes to beg for alms at the feet of Devi Annapoorna.However, I do not consider these stories as “mythology” because myth implies fiction or fairy tales, which I strongly disagree with.
Our collective memory and history have preserved these narratives because they hold timeless truths that continue to speak to us today. The problem is that most people focus only on the storyline and miss the deeper messages contained between the lines. I believe it is a gift from nature that I can perceive these messages, which is why I feel so passionate about bringing them to life through my work.
As a woman who has lived on your own terms, professionally and personally, what are some of the lessons that life has taught you?
Living life on my own terms has not been a bed of roses. But I could not have lived any other way. My focus has always been dance and remains so to this day. I would like to mention two promises I made to my paternal grandfather, my Dadaji, in 1961 before my Arangetram in Bangalore, which have guided my life. He was a Governor then and said, “I support you, but I want two promises from you.
First, you will never turn dance into a business — never commercialise it.” I have upheld this promise to this day. “Second, you will never compromise your self-respect.” I have stayed true to this as well.
Because of this, I have often been called arrogant, hot-tempered, temperamental, and difficult. I take those as compliments. However, I have also faced professional hardships — instances where my name was deliberately excluded from platforms by those who didn’t get my approval or held personal grievances.
Even today, I do not own a house or apartment because I have poured everything into my institute. I have always been generous with my musicians and collaborators. There have been betrayals, and I have been unfairly dragged into controversies where I had no involvement. This is the price one pays for uprightness and conviction.
Recipient of many awards, including the Sangeet Natak Akademi Award (1987) and the Padma Bhushan (1992) and Padma Vibhushan (2003), which are some of your achievements that hold a special place in your heart?
Honours and awards are always welcome, especially when they come at the right time — when people say, “This should have come to you much earlier,” rather than “Oh, she got it too soon.”
When I was nominated to the Rajya Sabha, I took it as an honour bestowed upon the entire performing arts community. Similarly, being conferred the Sangeet Natak Akademi Ratna and several other recognitions has been meaningful.
However, some moments transcend awards. One such moment was in 1994, when I danced in front of His Holiness the Dalai Lama at the Tibetan Theatre Institute in McLeodganj. Another was the divya darshan of Mount Kailash. After taking a holy dip in Mansarovar, I had the extraordinary blessing of performing in front of the southern face of Mount Kailash on Ashtapad — an experience beyond words, truly divine.
There have been many such unforgettable moments during my tours across Africa, Latin America, India, Indonesia, Japan, and other nations. These experiences are etched in my memory, and I feel deeply fortunate.
What are some of the positive and less-than-favourable changes that you perceive in today’s world?
I prefer not to dwell on negatives. Just as we brush our teeth, bathe, and groom ourselves daily, we must also cleanse our thoughts and attitudes. Every day, one should take 1015 minutes to reflect — evaluate one’s thoughts, remove negativity from yesterday, and let go of lingering emotions. Otherwise, the debris accumulates — just like that towering garbage dump.
What would be your advice to women – and men?
Nature’s greatest creation is woman — but let us not forget that nature created both woman and man. A woman is a creator — she gives birth, sustains, nourishes, and cherishes life. The man is a protector, supporter, and admirer. Nature intended for both to coexist in balance — with beauty and strength, beauty with character, beauty with courage, beauty with imagination, and beauty that leads to spirituality.
