“Mama has always been a wonderful teacher, he builds confidence and motivates us to learn Bharatanatyam,” says a student of Shree Narayani Natyalaya. Its founder, Santosh Kuna Tamang, affectionately called ‘Mama’, has carved a niche for himself in the classical dance world. After a recent performance at Shilparamam, the recipient of the Dance India Young Dance Teacher Award reflects on his journey, challenges, and the evolving landscape of Bharatanatyam.
Excerpts
Tell us about your passion for dance.
I started very young. In school, I actively participated in cultural activities, learning from dancers and performing alongside them. Watching senior students perform classical art forms fascinated me. When I was in the 4th or 5th standard, I felt a strong urge to pursue it myself.
My parents found a teacher near my home, and I briefly got my training there. Later, I met my guru, DK Narayan, a retired principal from a music and dance college. Under his guidance, I trained for 18 years, including my gurukula vasam. After graduation, I dedicated myself fully to dance. On my guru’s advice, I pursued a Master’s degree at the University of Hyderabad. From then on, learning and performing went hand in hand, eventually leading me to establish Narayani Natyalaya.
What attracted you to classical dance?
Initially, I was drawn to the colours and movements, like any beginner. But live performances had a deeper impact on me, they were immersive and moving. Another fascinating aspect is Ekapatra Abhinaya, where a single dancer portrays multiple characters like Radha, Krishna, or Rama. This transformative storytelling intrigued me. I felt a spiritual connection to the art form and believed my guru’s blessings would guide me.
What were the challenges you faced?
As a male dancer, survival in this field can be difficult. It often feels like only those with strong backing can sustain themselves, even with deep knowledge. Another major challenge is the lack of performance opportunities. Bharatanatyam is a detailed solo art form, it cannot be meaningfully presented in just a few minutes. After years of training, being asked to perform for three to five minutes feels inadequate.
There are also biases related to community and background. If someone from another region learns Bharatanatyam, they should be appreciated for carrying forward tradition, not judged. These barriers made the journey tougher.
Have you ever felt like giving up?
Not really. I’ve always believed that if not today, tomorrow will be my day. There was a phase after my Master’s when I struggled to find opportunities. Most performances I got were in the afternoon, when audiences were scarce, while prime slots went to established artists.
I remember calling my guru during a difficult time, feeling disheartened. She reminded me that every dark cloud has a silver lining. That stayed with me. Even today, challenges persist. Sponsors often undervalue our work.
How much time does it take to achieve perfection?
It takes years of training. In our tradition, we call it Andasuddhi, the clarity and precision of the body. The first few years are spent understanding the basics, but depth comes with time, discipline, and consistency.
Practice and learning must go hand in hand. It’s a continuous process. As my guru said, ‘When the art becomes young in the body, the body becomes old’. The body ages, but the art keeps evolving.
How has the response been from your students?
Today’s children are very smart and aware. With better exposure and support, they are more confident and knowledgeable. They have access to multiple learning platforms, which broadens their perspective. Unlike earlier generations, they are more inquisitive and independent, which is a positive shift.
What message would you like to give budding dancers?
I don’t see myself as an inspiration, my gurus are my true inspiration, especially DK Narayan and Keshav Mama. My message is simple: give your heart and soul to the art. Love it, embrace it, and make it your own. When you do that, the art will stay with you for life.