Kathak: A love affair

“I’m in love with Kathak,” said dancer Subima Shrestha, who began teaching the dance form at Nritya Aangan in 2009. Kathak, rooted in Sanskrit, is derived from the phrase, ‘Katha Kahe so Kathak Kehelawe’ in Hindi, which translates to ‘the one who tells a story is a Kathak.’ It’s one of the simplest forms of storytelling, historically performed by communities like the Banjara in Northern India, who were believed to belong to a caste of storytellers. These performers narrated tales across different regions, embedding cultural and spiritual narratives in their art.

Shrestha explains that Kathak evolved as a medium of devotion, recounting mythological tales of deities like Ram and Sita. Over time, during the Mughal era, it became an expression of aestheticism, with its graceful movements transitioning into a form of courtly entertainment. However, under British rule, Kathak was suppressed and nearly vanished from practice.

After independence, Kathak had a resurgence. Shrestha recalls learning about Kathak’s rich history which, she says, deepened her respect and love for the dance form. “Kathak isn’t just a dance form for me. There’s a love there I can’t describe,” she says.

She was a teenager when she joined a Kathak class at Padma Kanya Campus in Kathmandu, Nepal. Though her memories of her initial experiences are hazy, she vividly remembers meeting her teacher, Guru Honey Shrestha, who became a significant influence. He not only nurtured her talent but also encouraged her to pursue professional dance education in India, which was a turning point in her Kathak journey.

During her early years as a student in India, she also taught Kathak as a private tutor to support herself. Reflecting on her time there, Subima observes a stark difference in the foundational understanding of Kathak between India and Nepal. “The basic level we learn here in Nepal is already inherent knowledge for most students in India,” she says. To illustrate, she offers a culinary analogy: “Just as Nepalis are experts in making diverse varieties of momo, Indians have a deeper understanding of Kathak.”

She also admires the discipline and ideology that she found more prevalent in India, essential traits for mastering Kathak. “The most important aspect is to feel and give your best through your heart and body and to live with it,” she says. This philosophy, she adds, is the cornerstone of not just learning Kathak but embodying it as a way of life.

Recalling her first performance before formally joining a Kathak class, Shrestha shares a cherished memory of dancing on the show ‘Pratibha Ko Dabali’. The program, which aired on Nepal Television in 1989 showcasing a variety of talents, had been a dream platform for her.

She recollects how her parents had signed her up for the performance, celebrating her passion for dance. “They even had my costume ready,” she says, still amazed at how everything fell into place, though she had no idea where the outfit came from. That moment—her debut performance—remains one of her happiest memories. It’s a vivid reminder of the joy and encouragement she received from her family.

Traditionally, Kathak is a storytelling dance form centered on divine tales, but Shrestha had difficulties envisioning the gods while following the steps her guru taught her. Initially, this made it difficult for her to connect deeply with Kathak. But soon she began to reinterpret Kathak in her own unique way, focusing on human stories and real-life issues. “I still find it hard to imagine gods while dancing. I have to force myself to do it where necessary,” she admits.

But Kathak is a competitive space. Your biggest competition is you, says Shrestha. The dance form demands a lot of physical, mental, and emotional involvement. “One thing you should never do, as a dancer and otherwise, is compare yourself and your progress with others.”

Kathak, she says, has reshaped how she thinks of herself and views the world around her. “Engaging in any form of art—whether drawing, singing, or any other creative expression—is essential because art has always been an integral part of our lives. It’s not just a choice but a fundamental right, enriching our existence and fostering self-expression. Everyone should embrace some form of art for a meaningful and fulfilling life,” she says. 

Reflecting on her past, she admits that she feels a sense of sadness and guilt. “If I could go back, I would have practiced more,” she says. She recognizes there is still a lot of room for growth and improvement. Looking ahead, she has a clear vision of where she wants to be and is actively working towards it, though there is a fair bit of worry and doubt of whether she is approaching things the right way. 

Despite having regrets of missed opportunities in the past, she embraces her journey with hope and resolve. With a clear vision for the future, she remains committed to her growth, navigating challenges with determination and an unwavering belief in her potential.