She has always been known as a scholar among dancers. Attending a performance by Sonal Mansingh offers as much opportunity for the intellect as for the visual and aural faculties. Her ability to choose interesting episodes from ancient Indian scriptures and discuss their philosophical import, or highlight their intensely human aspects — or just to bring the lesser known stories to the notice of a public fed on mass produced images — makes performances by the eminent dancer an occasion to ignite thoughts.
Having been on the stage for the past 50 years — “Dinosaur!” she laughs — the veteran's career has taken many a turn. Now she is most often seen in Odissi performances, but she debuted as a Bharatanatyam dancer back in 1961 and has trained a number of students in both the genres. She is also well versed in Chhau. And of late, she has ventured into the realm of harikatha, relating stories from the epics with the help of musicians, like her trusted associate of decades, Odissi vocalist Bankim Sethi, along with percussionsists. So far having done this at private gatherings for friends, Sonal is planning a public show soon and is palpably excited about the new venture.
Nandikeswara's Abhinayadarpanam, widely referred to by classical dancers as a practical handbook, includes a verse on the 10 qualities a performer should possess. The ninth on the list is vachah ( vacho in the text), which means speech and is taken as the ability to address an audience. So Sonal's storytelling seems but a natural progression. However, the dancer — fresh from a tour of the U.S. as well as a felicitation at the International Film Festival in Goa — is not about to step back from full-fledged dance recitals. Excerpts from a chat:
Is your new performance a harikatha presentation?
It is a katha style…I don't really know which particular tradition. Maybe you can call it Sonal style. It's not pre-meditated. It's very spontaneous. I've done about a dozen or so, so far, and every time it's different. Sometimes a gopi walked in, sometimes Pootana walked in, sometimes Uddhav… I sing, I speak, I narrate, and I'm very happy doing it! I will be performing one in Chennai on December 23.
How did you evolve this katha style?
I'm a great believer in niyati (predestined). New doors open for us. People tend to force me to go out for dinners and such events. So they said, you sing, and I did something for them. Then they said we want you for a whole evening. I said, I'm not a singer, but they insisted. It so happened that two days before that it had been Krishnashtami. I took up Krishna. It went on for two hours. Then others called me…
Dance is storytelling too, and with experience a dancer's abhinaya matures…Is this a natural progression?
This is something that just came about. I'm still dancing. I've been explaining my dances also. I've got my whole repertory — Dashavatar and everything.
How are your students progressing?
I'm preparing a few girls for arangetram. I tell them after arangetram you are free. Don't expect me to organise programmes for you. I can do group compositions like I showed in the CWG. But I don't depend on it. What I'm saying is, I am contained. If the opportunity comes, it comes.
Today's students have multifarious interests…
I'm known as a very strict teacher. No parent is allowed to come and question; that's in the form given to them. They can't say, Guruji, when will the arangetram be, it's been four years… (But) They (students) are very happy in class. On the other hand they don't take it for granted. I tell them if you expect to dance every day, don't come to me. I set the pace. I put the seniors back with the juniors and cut their classes. And they worked sincerely. A lot depends on us — the soft handling. It's not just eating chana murmura …it's chewing lohe ka chana (grains of iron). I do face problems sometimes. (But) I'm enjoying the young ones so much I can't tell you!
Do you screen students or parents before taking them?
Both, but especially the mothers. I talk to them; if they have learnt dance earlier I see what they learnt. And then, something tells me.
Any age limit?
Not certainly before seven.
Upper age limit?
No. Because then the point is don't come here with the idea of becoming a dancer. If dance has chosen you, then you will. If you've come here with the idea of becoming a star dancer, then I'm sorry.
