As Parshwanath S Upadhye took the stage at ‘Kala Utsav 2025’, it wasn’t just another performance — it was a reflection of a journey woven with unfulfilled dreams, unwavering support, and a deep love for his art. His mother’s aspirations, his grandmother’s quiet strength, and the wisdom of his gurus had shaped the dancer he had become. From a small-town boy with big dreams to a globally celebrated Bharatanatyam artist, he had not only embraced the challenges of the art but also carried with him little joys — like his love for Hyderabad’s iconic Irani chai.
Excerpts
What was the theme of your presentation at ‘Kala Utsav 2025’, and what inspired it?
Suta is my production, told from King Himavan’s perspective, Parvati’s father. I first presented it online during the pandemic and have since staged it multiple times. It follows the Margam format of Bharatanatyam, the most traditional and ancient way of presenting it, ensuring the storyline flows with the compositions. The production has four parts, starting with Shabdam, which shows King Himavan’s strength and sorrow of not having a child. His prayers are answered when Parvati, Sati’s reincarnation, is born, leading to his realisation of her divinity.
How did your journey in dance begin, and what sparked your love for Bharatanatyam?
My mother was more passionate about dance than I was. Growing up in a small town in the 60s, 70s, and 80s, she couldn’t pursue it due to societal norms. She hoped for a daughter who could dance but was disappointed when I was born a boy. Still, she became my first teacher, introducing me to dance through films with classical elements. In Belgaum, I formally trained under Guru Sri Ravindra Sharma and completed my arangetram in 1996. Later, I moved to Bengaluru to pursue IAS while continuing my training under Kiran Subramaniam and Sandhya Kiran. For eight years, I worked as a Kannada literature lecturer, practising dance privately, which deepened my artistry. Now, I train under Sudharani Raghupati and run the Upadhyay School of Dance — Antarshala — connecting with over 1,000 students globally.
Who, besides your mother, inspired you and made you realise, ‘Yes, this is what I want to do when I grow up?’
At different phases in life, you find inspiration from different people in small but meaningful ways. For me, it started with my grandmother. She handled everything at home like a true matriarch, especially after my grandfather passed. Her mindset was progressive for that time — she never saw anything wrong with a boy dancing, wearing makeup, or pursuing a female-dominated art form. With her Carnatic music background, she supported me, allowing my mother to ensure I learned. My first guru, Ravindra Sharma sir, inspired me with his dedication and honesty. After my arangetram, he told me he had taught me all he could and encouraged me to move to Bengaluru or Chennai to grow. That kind of humility is rare. Now, my students inspire me the most. Their fresh, entertaining perspectives are deeply rooted in tradition, constantly pushing me to evolve.
Since you’ve talked about performing on stage, what’s the toughest part of live performance, and what challenges have you faced as a classical dancer in the industry — how did you push through them?
The Bharatanatyam ecosystem is complicated — it’s not the same across cities or even within them. Things like how musicians charge and how much practice time they give artists vary everywhere. A reliable musician who understands dance is crucial, especially when doing something new. However working with musicians can be challenging, and artists need to adapt, collaborate, and leave their egos behind. The art form is much bigger than any artist, and only with humility can one truly enjoy it.
How does it feel to be in Hyderabad after a long time? And is there a favourite Hyderabadi dish you always look forward to having here?
I love Hyderabad. Every time I visit, I stay an extra day just to spend the evening at Charminar, stay out late, and enjoy Irani chai — it’s my favourite!