KOCHI: There is something magical in the movements of the eye, sobre yet sensual. Then there is the footwork that creates quite a tremor. The sustained speed that alternates between the right and the left foot ably matched by the natural and deft movement of hands leave one in trance.
The audience at Thiruvananthapuram’s Bharat Bhavan was recently left in such a trance as Kathak exponent Khusbhoo Panchal performed. The Ujjain-based dancer, acclaimed for carrying forward the traditions of the Banaras gharana, was a sheer delight to watch.
Beyond being an ambassador of Indian classical art, this ‘Princess of Kathak’ is known for mentoring hundreds of aspiring dancers at her institute Nrityaradhana. Khushboo has worked with popular Bollywood choreographer Saroj Khan, and is also a familiar face in television as she has appeared on shows like Zee TV’s DID, where she earned the nickname ‘Risky Girl’ for her daring performances. She has also been featured in films and theater, including the lead role in the Sanskrit play Abhigyan Shakuntalam, and currently stars in the mythological serial Avantika on DD National.
Your artistic journey spans over three decades…. What motivated you to pursue Kathak?
When I began my journey, I did not consciously choose Kathak. But gradually, I found my life’s purpose and existence in it. Kathak, derived from ‘katha’, which means story, and my story began 30 years ago at a tender age. This journey had no predetermined destination, and such paths are always full of hardships. I believe I was divinely destined for it, as I come from a family with no artistic background. The one person who has always stood by me is my mom. Her support and determination pushed me to pursue what I love. I cannot imagine where I would be without her encouragement. Once I started, there was no turning back. I met Poonam Vyas, my first guru, who trained me in classical Kathak. I learned that dedication to classical arts goes beyond hard work; it’s a kind of worship. Kathak taught me about the rhythm in life.
Just as music has its three ‘laya’ or tempos, I kept moving forward, first founding my own institution, and then administering an affiliated music college. Thousands of disciples have joined me on this journey. This musical path will only end with me when my breath tumbles out of symphony once and for all. Until that day, I remain married to dance, and the disciples are my children.
How do you connect with new-age audiences while performing traditional stories?
As a classical Indian art performer, it is my duty and responsibility to preserve the intricacies and nuances of traditional Kathak, while also ensuring it withstands the test of time. Artists must take traditional stories and present them to contemporary audiences in a way they can relate to and by creating a bridge to today’s issues and social challenges.
You have trained under and assisted Bollywood dance choreographer Saroj Khan. What was the experience like?
It was a once-in-a-lifetime opportunity, and the moments I spent with the legend of Bollywood dance are simply unforgettable. She epitomised Bollywood choreography, and through her, I learned the subtle nuances of film song choreography — how to captivate audiences and touch their hearts and minds without ever crossing the fine line between art and vulgarity, something we see far too often today. She was hardworking, uncompromising, and strict about her choreography. Her style was charming, effortless, graceful, detailed, yet wonderfully simplistic.
In today’s world, what role do you think classical dance plays in connecting people to their cultural roots?
Today’s youth must understand the value of our classical arts and indigenous heritage, passed down from our ancestors. As citizens of India, we should share these beautiful arts with the world. The only way to achieve this is by encouraging the younger generation to take up these traditions and carry them forward, showcasing them on the global stage.
Social media has become a significant platform for artists nowadays. How do you use it to engage younger audiences with classical dance?
Social media has certainly become a powerful platform to reach not just the youth, but people of all ages. I try to do my part by sharing short pieces through reels. However, there is no denying that social media today is full of misinformation and vulgarity, much of which comes from the dominance of Western philosophies over Indian culture and values. Indian artists must step up and show the younger generation the distinction between true beauty and vulgarity.
You mentioned the ‘rhythm of life’. Could you please elaborate on it?
Classical dances are not just for entertainment; they are a discipline. It requires patience, dedication, perseverance, and devotion. It is more than just a dance form; an artist dedicates one’s life to the art. Understanding of ‘laya and taal’ takes years of consistent practice to master, allowing one to feel each beat deeply. Life, too, is an unheard melody, and how we live and dance through it without skipping a beat and finding our own ‘laya and taal’ – the rhythm of our heartbeat, existence – requires the same qualities an artist needs to excel on stage. Both life and art demand the same devotion.
Bollywood often showcases classical dances. Do you believe these depictions are authentic, or do they require more sensitivity and depth?
There is certainly a big scope for improvement in how Bollywood showcases classical arts. To truly do justice to these art forms, they must involve not just one or two experts, but a larger number of specialists from the field, especially when the project focuses on Indian classical arts. Bollywood has made some strides, and with the rise of OTT platforms, many projects now explore Indian arts and the lives of artists. However, if they involve more people from the classical arts fraternity, it would bring deeper insights and technical accuracy, not only about the art itself but also about the life of an artist.
As a mentor to many young dancers, how do you balance preserving the purity of classical forms while encouraging innovation and creativity in your students?
Nowadays, youngsters lack the patience to learn first and then innovate. It’s like this generation is in a hurry to learn everything and start creating something of their own, but classical arts cannot be approached like that. I would say nothing in life works like that. As an artist, it’s natural to want to create and innovate with your own ideas, but this temptation should not interfere with your learning process. Until you reach a level of true competency and receive approval from your guru, it is important to focus on mastering the fundamentals.
Do you believe that incorporating a spiritual dimension into traditional art forms is essential?
Absolutely. Spirituality and classical arts have a very deep connection. Classical arts have always been an expression of a spiritual journey to which the artist is devoted. These artforms demand a lifetime of dedication, and artists don’t just give their lives to the craft, the work they put in each day is like meditation and devotion, much like a spiritual process leading to the divine.
What are your aspirations for ‘ ‘Nrityaradhna Music and Arts College’?
Kathak is one of the most beautiful arts we have inherited from our foreparents. I see myself as a medium for passing on what I have learned from my gurus to my disciples, ensuring that it receives the reverence and prosperity it deserves, both in our country and abroad. ‘Nrityaaradhna’ is like a temple where we worship the divine every day, with hundreds of girls and women learning the art, and finding ways to express themselves confidently and elegantly. I’m trying my best not only to take this heritage forward but to empower women to fight against social injustices through their art.