He’s an avid reader and writer, who is a columnist with several publications, but at heart Madhur Gupta was, is and will always be an Odissi exponent. In his recent solo production Pratibhas – Reflecting Within, he traced the journey of Odissi dance through his own choreography as well that of Padma Vibhushan Guru Kelucharan Mohapatra and Guru Sharon Lowen, and gives all the credit to his parents for his achievements. “They, especially my mother, have always been very supportive. They always told me, ‘become whatever you wish to be and be the best at it, but do it with your own time and money’,” he says. In the field of classical dance, which is mostly dominated by women, Gupta is one of the few who have not only pursued the dance form with devotion but has also excelled at it.
When was the first time that you felt like expressing yourself through dance?
As far as I remember, I always wanted to dance, especially Indian classical. Retrospectively, when I look back, I often wonder how a five-year-old could be so sure! Maybe it has to do with my past life karma.
What made you opt for Odissi though you forayed into dance with Kathak, learning it from Pt Birju Maharaj?
I was in Class II when we moved to Kanpur from Delhi. My mother was teaching chemistry at the IIT there, while my father was practicing law in Kanpur and Prayagraj. I was so keen on learning Kathak and that too from Pt Birju Maharaj that I literally ‘demanded’ it from my parents. They are so liberal that the very next day, I was packed off to my cousin’s place in Delhi. Neither my parents nor I had any inkling that this move would be a life-changing event.
However, I didn’t learn Kathak for long. Discovering Odissi was by sheer chance. I once casually walked into a SPIC MACAY workshop where Guru Madhavi Mudgal was teaching Basant Pallavi, a beginner’s choreography, which is right on the other spectrum of Kathak when it comes to style. It was there I realised that as compared to Kathak, Odissi was better suited for my tiny body frame and my psyche.
Tell us about Pratibhas.
It is a shorter version of Tantu which was premiered at India International Centre in 2017. In rudimentary terms, it is the coming together of three generations of artistic sensibilities. Classical dance has been flowing from one generation to the other; from one choreographer’s perspective to imagine creative works of art to the other.
In a similar vein, this solo Odissi production showcases choreographies belonging to different eras – how Odissi developed in the 50s, got refined by the 90s, and still continues to evolve. Approaches might differ with generations but the traditional parameters are deeply rooted. This production explores the challenges of not only showcasing the traditional in a contemporary vision, but also carrying forward the baton of Odissi by the new generation.
Tell us about your gurus and the training you received. I have had the privilege of training under some of the top maestros of the style:
Guru Madhavi Mudgal, Guru Bichitrananda Swain, and Guru Sharon Lowen. Initiated into Odissi by Madhaviji, she was the one who sowed the seed in me. ‘Bichi sir’, as we fondly call Guru Bichitrananda Swain, was like the roots and the tree trunk giving me the gravitas to continue the training, and Sharonji is like the lilting branches and the fragrant flowers without whom the graceful soul of the style remains elusive. During the journey, there were many rebukes, many rejections, and many a heartbreak. Sweat, blood, and tears formed a staple diet on this voyage but all my gurus came into my life to teach me crucial lessons.
Your message for newcomers.
As one of my gurus says, “One step at a time, and it’ll lead you to whatever you wish for. There isn’t any hurry, enjoying the journey is the most important part of being a dancer.”