Grace and Precision: Celebrating Tradition through the Kathak Debut of Divya Sharma

MAC, Birmingham - Saturday 14th September 2024

Upon entering the Midlands Arts Centre, I was enveloped by the excitement shared among guests, artists, students, family, and friends, reminiscent of the vibrant atmosphere of sabhas or auditoriums in Delhi or Chennai. This significant event featured Divya Sharma, a dentist from Birmingham now living in Newcastle, who was set to perform her Manch Pravesh in Kathak. As the first and only student of the remarkable Kathak icon Sonia Sabri to be able to present her debut, this program was extraordinary as the level of commitment, hard work, and fine, nuanced maturity displayed by Divya through Sabri’s distinct style cannot be easily imbibed.

This is a work of many years of observance, persistence and a deep-seated love for Kathak, particularly Sonia Sabri’s interpretation of the art. Divya’s deep admiration for her teacher and role model was evident in how she embodied the dance. As the compere noted, this admiration fuelled her motivation to pursue Kathak. Even after a break from university in Spain, she continued her training during holidays and sought ways to practice her Riyaz. This dedication is inspiring and a testament to drive and focus despite other life commitments. The presence of pioneers from the South Asian dance community, along with artists and supporters, hinted at an extraordinary experience, and Divya certainly delivered.

Typically, when we envision a debut performance, we picture young dancers taking their first steps onto a large stage. However, Sharma's presentation felt far from a novice outing. Divya’s dance showcased the poise of a seasoned performer, offering us an exquisite experience of nearly two hours of top-tier Kathak, the fine nuances and class through which presented felt like a rarity in Britain. The evening deviated from the conventional format of a solo kathak recital, though the repertoire adhered to the traditional essentials, including devotional, romantic, abhinaya/semi-classical, and taal pieces.

However, the compositions were not typical Kathak pieces, which many of today’s dancers may not recognise. The performance unfolded in two parts: the first showcased compositions such as Namaha, Hori, Thumri, and Tarana, while the second part focused solely on teen taal. This segment showcased Divya’s deep-rooted training through her dance, characterised by sharp and intricately rich footwork. Adding to the evening's significance was Divya’s brother, Pulkit Sharma, a disciple of Tabla Maestro Sarvar Sabri, who accompanied her on Tabla for her Kathak performance for the first time. The audience could sense the seamless synergy between the rhythmic expressions of her brother and the mature, expressive embodiment evident in Divya’s dance.

Though I'm not an expert in Kathak, I consider myself a connoisseur, having had the privilege to witness some of the greats in this art form. Sabri’s Kathak heritage originates from Acchan Maharaj, mentored by the extraordinary Nahid Siddiqui, a direct disciple of Maharaj Ghulam Hussein Kathak. This lineage aligns with the Lucknow Gharana's evolution, where Siddiqui supplemented her training and learned under Pandit Birju Maharaj ji, cultivating her own unique style. Throughout her journey, Sabri has embraced this evolution, carving out her own niche in the distinctive interpretation of stylistic movements and techniques, which I sincerely appreciated in Divya’s performance. It emphasised her strong connection to these influences. Divya’s performance showcased the aesthetics of Sonia Sabri and resonated with the various inspirations of the master artists who influenced Sabri.

As Divya danced, the spirit of these masters truly came alive. Twirling gracefully, she left a mark with her poses and postures that seemed to defy the dimensions around her. Each pose and stretch of her arms created connections across the space, appearing to extend beyond curtains, walls and even further. I referred to this as the exquisite illusion where line, movement, intention, and the inherent spirituality of a classical Indian dancer transform even the simplest pure dance into something timeless and fleeting, elevating Kathak Nritta to a level of profundity and transformation. A similar effect was inherent in Sharma's abhinaya and expressive storytelling. Her mudras contained prana (breathing life into her storytelling), and her abhinaya was an experiential expression of the narrative rather than mere enacting.

I am reminded of an essential element of Abhinaya, which was joyful to witness in Divya's embodiment: Bhava and Hava. Bhava refers to the emotions experienced by the dancer, while Hava denotes the physical involvement of technique that brings the imagery to life. Divya’s storytelling was richly layered in Bhava and Hava, for which her guru, Sonia Sabri, must be credited for bringing out this essential quality in Divya. In the Opening piece, Namaha, one could feel the majestic presence of Lord Ganesha in the initial elephant ear pose, which was slow, controlled, and filled with the Gambheer Majesty of the dancing Ganapati. Inspired by Dhrupad, Namaha was created specially for Divya to display one of the most challenging aspects of kathak and is unique to Sabri, which is the slow and steadfast unfolding of minimalistic movement and poses.

Today’s kathak usually focuses solely on speed and saturation of movements. The Bhava, sincere and not overtly expressed, set the tone for the start of what was to follow. Through her Abhinaya in Hori, one could envision Divya’s portrayal of the friend she conversed with as she described playing Hori with Krishna. We experienced the showering rain and thunder through the poetic and metaphoric Tarana masterfully choreographed by Sabri and brilliantly danced by Sharma. Every composition in the performance's first half took the audience on a journey from start to finish. Recognizing that true imagery and essence of rasa can only be achieved when a performer puts aside their ego is crucial. Embracing the awakening of imagination through the body transforms the space into a canvas, allowing the audience to become sahridayas in experiencing bhava and rasa.

Divya successfully demonstrated this reciprocal exchange of bhava and rasa as she embodies the vital essence of humility as a performer, reflecting her maturity and the evident accomplishments of a highly skilled dancer. She upheld each character while navigating space with both grace and dignity. Following a brief 15-minute intermission, Divya began the second half with the Teen Taal segment. With a slow, measured approach, she submerged into compositions featuring vilambit lay, displaying both control and confidence. As she presented Madhya lay compositions incorporating traditional masters’ parans, tukdas, and laris from Acchan Maharaj and Birju Maharaj, the influence of various styles melded into Sabri's aesthetic. Divya appeared to find her footing, and as she transitioned into Dhrut Lay at a quicker tempo, she showcased intricate rhythmic patterns and an impressive crescendo.

This segment included a complex jugalbandi with a question-and-answer format alongside her brother on tabla, and her guru, Sonia Sabri, whose precise padhant added depth and rhythmic elegance with Divya's sharp yet melodious recitation of the bols. In conclusion, Divya portrayed exceptional class, tasteful aesthetics, grace, and remarkable technical skill in her embodiment of traditional Kathak, and she demonstrated high proficiency in all the hallmark aspects of this art form. This reflection was crafted two months after witnessing the performance, with the most striking images remaining vivid in my memory. This piece serves more as a reflection than a critique.

I wish to thank Seetal Kaur for her contributions to this writing. One sincerely hopes that the exceptional mastery Divya exhibits will continue. In addition to her career as a dentist, may she uphold the legacy of the Lucknow Gharana and the unique contributions of Sonia Sabri to this art form in Britain. May life’s hustle, bustle, and chaotic race not overshadow this pursuit. I sincerely hope she continues to work through this journey, inspiring many more people to pursue traditional Kathak with the depth and integrity she displayed in her Manch Pravesh. Exceptional dance artists like Divya Sharma highlight the need for more opportunities and platforms within the British South Asian dance scene.

Our sector, organisations, and commissioning funders must develop innovative and forward-thinking platforms that showcase traditional and contemporary expressions of our classical forms. Gifted artists like Divya should not disappear into an abyss of the harsh realities of life (as we have lost many in the past) due to insufficient support, recognition, unambitious initiative development and a lack of opportunities to perform in venues that can celebrate worthy dance talent.

Written by Hiten Mistry