She just entered 75th year (April 30) of her life on this planet. She has spent over 60 years dancing, 50 years being a star performer, 40-plus years running an institution and trained hundreds of students in the past four decades. And yet, Sonal sits calmly as if all those years and work are just a wisp of scented breeze.
Her grandfather called her Sona to symbolise gold. He also happened to be Governor (Bombay, Mysore) and Bangalore Raj Bhawan remained one of her childhood addresses.
After being trained by assorted teachers in Bharatanatyam, it was decided that the Governor’s granddaughter be taught by U.S. Krishna Rao and wife Chandrabhaga. But they were not impressed by the trappings of Raj Bhavan. “I will not come there to teach, like other students she will come to my school Maha Maya,” thundered the over 6 ft, broad shouldered, chemistry teacher-turned-dancer, whose best friend was the iconic Ram Gopal.
We are talking of another era, when time stood still and no invasions of machine and men; power and politics; aggression and aggrandisement had happened as intensively as we see today. There were real gurus not google as guru.
Thus Sonal Pakvasa learnt Bharatanatyam from one of the most popular husband-wife gurus of the time, the Raos. She then returned to Bombay, the modern city, where she attained a patina of polished city education at Elphinston's. In German literature, no less! And additional dance learning from Mangalorean-settled-in Mumbai, guru Jayalakshmi Alva.
Marriage brought her to Delhi to learn further from the last devadasi Swarna Saraswati (no relative of Balasaraswati as many erroneously often state). Mansingh surname came from an Oriya officer of the Indian Foreign Service, Lalit, and she saw much of the world as his postings took them to some of the nicest addresses and capitals of the world.
Sonal Mansingh attained stardom in Bharatanatyam through hard work. However, marriage to Oriya culture led to learning Odissi, as any guru would die to teach scholar Dr. Mayadhar Mansingh’s bahu. Enter a quick-tempered Kelubabu and it is to Sonal’s credit that she not only learnt but mastered another classical style, much later in life, when her dance bones and body had already set. When one masters a form for long, it’s ang , it’s quintessential features seep into body.
Sonal rose and rose, personally seeking happiness and professionally seeking excellence. She has been a voice in dance, but more importantly, a fierce woman who fought many a battle, often alone and rode the cultural scene like a tigress.
Spunk and substance
She is the only Delhi dance diva who combined spunk with substance. Her word was valued. Ministers and babus quivered in front of her righteous stands and fights for justice in the system. Appointed chairman of Central Sangeet Natak Akademi by President Kalam, she tried to clean the stables but Delhi politics and operators created obstacles.
Did they succeed? Marginally, momentarily, but they could not destroy the shakti in her. The fighter in her rose again and devi Kamakhya became her refuge, guide and support. Her institution has come up brick by brick, rupee by rupee. Today in its 42nd year, it’s a grand edifice.
Last fortnight, her students assembled at Delhi's Kamani auditorium with cake and all, showed how she is an influence on many.
When a peacock decides to stand and dance and spread its wings, the whole world stops to watch. What an oeuvre, what a life! Like no other.
The writer, a critic and historian, is the author of several books and edits attenDance, a yearbook
