Dancing Queen: Sonal Mansingh at 80

She smiles easily, laughs heartily. Sonal Mansingh’s only prayer is that “till my last breath, I should be singing, jumping, dancing and laughing”. At 80, the celebrated exponent of Odissi and Bharatnatyam is ready with her new classical dance choreography: ‘Bhava Ganga’. As we marvel at her undiminishing energy and creativity, the Padma Vibhushan recipient smiles: “There is no secret.” On second thought, she admits, “When you do what you love, when there is no imposition, only self-motivated mission, one’s belief in a higher order and higher energy guides you.”

Her latest magnum opus brings to life the timeless tales of Bhagirath’s penance, Kevat’s devotion, and the boundless grace of Devi Annapoorna. “I consider myself privileged to have been given this gift to reveal the miniscule particle of art,” she says. An art no less than Indian heritage, which has survived for centuries, “at once philosophy, sculpture, dance and music”, and the one which manifests in her solo dance dramas, in her kathas. All these facets will once again reflect in ‘Bhava Ganga’ when it premieres at the Stein Auditorium of the India Habitat Centre, New Delhi, on April 18.

Sonal Mansingh’s life has been anchored in bhava (expression): “Bhaav hai toh sab kuchh hai; without bhaav, life is a desert.” The Ganga, for her, is a “perennial flow of life”, witness to timeless history and parampara. ‘Tradition’ is a word she is not comfortable with, nor can relate to. So, parampara it is, “which in itself carries the import of moving forward”. The oft-used term ‘mythology’, originating from the Greek word ‘mytho’, too, is alien for her. “Our culture is all history,” she professes. Effortlessly, she weaves modern-day concerns in her dance dramas, making us see our rich past through contemporary eyes. Take ‘Bhava Ganga’; it reflects upon empowerment, equality, and ecological preservation. She elucidates, “I don’t have to make an effort, for our sacred texts have a contemporary resonance. Messages are contained in our historic texts. Take the Ram and Kevat meeting; it’s one of equals, beyond the caste divide. If we have forgotten to look at it, then somebody has to step in.” Thus, she can draw parallels with Krishna’s Kaaliya Daman and the recent act of cleaning of Yamuna waters. Only, she questions, “Who is Krishna, not the government, not the judiciary, but the citizens of Delhi are Krishna.”

Early in life, she mastered the ability to penetrate the sacred texts, understand the unsaid and unwritten, and draw its gist, essence or ‘maakhan’, as she calls it. The maakhan chor, Lord Krishna, she said in the documentary ‘Sonal’ (directed by noted filmmaker Prakash Jha), dances with her on stage. However, he alone is not her fountainhead of inspiration. “When I do ‘Geet Govind’, it’s Krishna; when it’s ‘Shiv Sambhav’, it’s Mahadev; and when doing a piece on Parvati or Jagdamba, she is the one. It’s like a bouquet, each flower has a different fragrance. Together, they are a source of great energy.”

Often, as she looks back at her illustrious journey — no movie star, yet being feted and recognised at airports — she wonders: is it me, is it real? In the same breath, the woman who dared to defy tradition back in the 1960s embraces her Bharatiyata (Indianness). Those were the days when you didn’t just ‘dance, dance’, but coupled it with many other things like marriage, a job or other worldly pursuits. So, when she remembers the 18-year-old Sonal who ran away from home to learn dance, at one level it seems like “another lifetime”. Simultaneously, she recalls her younger self as someone who was not driven by self-confidence but passion, not by the pompous realisation that “I can do it” but that “I have to”. Today, as she stands as an epitome of Indian womanhood with innumerable laurels up her sleeve, she does not consider stints like being the chairperson of the Sangeet Natak Akademi or her nomination as a Rajya Sabha member as achievements.

What is important to her is that like many other dancers, she reached the pinnacle of success through sheer dint of hard work.

She reminds, “Those were not the days of social media where you could gloat about your achievements and declare you are superlative. Rather, it was word-of-mouth exposure. Each newspaper would have elaborate dance reviews which were not only read by people but also organisers, who would then invite you for a programme.” If back in time she performed umpteen times all over India, her calendar is still full. Soon after ‘Bhava Ganga’, she is set to perform ‘Katha Siya Ram Ki’ at a private event.

Art historian Alka Pande finds the kathas of this “true vidushi” most interesting. She, in particular, singles out her ability to glean new knowledge out of classical texts with fresh interpretations, “at once deeply reflexive and thoughtful”. She also recalls how eloquently Mansingh spoke about shringar ras at the launch of Pande’s book, ‘Shringara: The Many Faces of Indian Beauty’. “All this reflects her deep understanding of Indian culture and aesthetics,” Pande states.

Unsurprisingly, Mansingh’s busy itinerary also includes motivational talks. Dr Shakuntala Lavasa, chairperson of SPICMACAY (North India Chapter), goes back in time to her own student days at the PGI in 1976. The lecture Sonal Mansingh gave to young doctors, that focused on the use of the index finger in dance, is imprinted on her mind.

Among the many elements integral to dance, Mansingh considers the body as pivotal. She reasons: “Dance is physical, you begin with the physical. It is like painting the space with your body and putting colours with your bhaav. Body is the instrument and can’t be betaal. Like any other instrument, it has to be toned and not taken for granted.” For her, it works organically, on its own. As for her razor-sharp mind, it is forever ticking but does not desire more. There aren’t any unfulfilled ambitions.

Does the woman who reintroduced ‘Panchakanya’, the tale of five exemplary women — Ahalya, Draupadi, Kunti, Tara and Mandodari, see herself as the sixth kanya whose real meaning is ‘complete in herself’? She gives that radiant smile, “Main hoon aaj ki kanya, main Sonal, Salma, main Radha, Ram Pyari, watan ki ek naari hoon, main aaj ki kanya.”

On a possible biopic and who would be most befitting to play her, she challenges with a riposte, “Who do you think?” Indeed, which film star could match her beauty, poise, exemplary dancing skills and, above all, her irrepressible energy?

Zach Toelke said, “A true passion that burns within your soul is one that can never be put out.” Nor replicated or recreated. That’s Sonal Mansingh, in a nutshell.

‘I’VE FOUGHT PREJUDICES, SET MARYADA’

Your understanding of Draupadi is exemplary. It comes across in your dance composition, and in your remarks on how Indian men are intimidated by her fiery persona. Would you say the same applies to you?

Once an Assamese friend of mine did say: Sonalji, do you know the effect you have on men, it’s beyond appreciation. They are intimidated by you. I wondered, why should it be, since I am warm, love to crack jokes, be with my friends, a congenial sort of a person. I guess it has something to do with the fact that I am direct and nobody can take me for granted.

You have always reimagined classical texts, but what would you say to those who view our tradition in a dogmatic fashion and take umbrage at the slightest variation?

What can you say? These are people who want to argue. They are not looking for a dialogue, let them be. Don’t enter into an argument with them. Laugh it off.

As we look at you, we can only see milestones and accolades. Apart from your near-debilitating accident in Germany, what other challenges have you faced?

So many. Running away from home, being homeless for five years. Even today, I don’t own anything. Whatever I earn goes into my dance institute, which is a registered body and hence not my property. Back in time, there were other aspersions, being called ‘naachane wali’, people trying to harm you physically, unwanted gossip affecting my bread and butter, my dance. I was fighting prejudices, setting my own maryada, for which I was branded arrogant, temperamental.

Do you think the scene has changed for the better for women classical dancers?

Certainly, for there are so many more avenues. There is television, social media, umpteen dance festivals and talent hunt competitions too. We survived without these extraneous factors.

What is your biggest concern today when women are supposedly making great strides?

For one, it is not possible to put all women in the same category. Sadly, alien ideas have come to us in different periods. Today, it’s about wokeism and other isms which are like bubbles that look like rainbows one moment, but subside the very next second. Fortunately, many women are realising that they don’t have to follow the West, the Southeast, or anyone else. We are positioned in this country where so much is given to us on a golden platter. Taste it, savour it, think about it. In Vedic times, our women excelled in every field of life. Today, women must develop emotional, physical and economic strength.