An anniversary special
Shambhavi’s International School of Kathak (SISK) was back with its flagship show, Darpan, coinciding with the school’s tenth anniversary in the Bay Area, making this edition even more special.
Unlike traditional performances that focus on delivering a message or an idea to the audience, Darpan takes an introspective approach. “It is a mirror,” says Shambhavi Dandekar, Founder-Director and Kathak guru at SISK. “Every two years, SISK organizes Darpan to allow my students to gauge their progress as artists and for me to reflect on my role as a guru.
Darpan brings something fresh to the stage each time. It showcases a diverse array of performances, blending various styles and techniques, musical vivacity, rhythmic footwork, expressions, and storytelling within the Kathak tradition. For Shambhavi, it’s about balancing the traditional performance art of Kathak with contemporary themes.
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Hybrid performances
Now in its fifth edition, Darpan presents several thought-provoking and exciting performances. These include a short dance film featuring Shambhavi and her guru, Pt. Maneesha Sathe, as well as hybrid performances where on-stage dancers perform alongside virtual dancers. One notable piece, Nritya Keli, based on playful rhythmic movements, takes the audience on a nostalgic journey, evoking memories of childhood games.
Another highlight is Barkha, composed by Pune-based Tabla artist Uday Ramdas. This energetic exposition captures the vivid beauty and colors of Monsoon through Kathak’s aesthetic and skillful movements. .
Shambhavi’s solo, Abhinaya, is an emotionally charged performance themed around Holi and love, carrying a subtle social message. Additionally, the dancers will engage in what Shambhavi calls a “rhythmic challenge,” performing to intricate fusion music composed by renowned Tabla maestro Bickram Ghosh.
Through her thoughtful curation of music, rhythm, and dance, Shambhavi aims to provide the audience with maximum exposure to classical arts. She firmly believes that rasikas or connoisseurs are capable of appreciating art at a sensory level. “Kathak is abstract and can be interpreted in many ways. What’s important is that its beauty is translated and appreciated,” she explains.
For Shambhavi, the ultimate measure of success is when the audience experiences a state of meditativeness during her performances. “The true purpose of performing arts is to dissolve everything into a state of shanti (peace) and ananda (inner bliss),” she says.
An Homage to the Guru-Shishya Parampara
Marking SISK’s ten years in the Bay Area, this year’s Darpan also serves as a tribute to the ancient guru-shishya parampara, the sacred tradition that binds student and teacher in the pursuit of knowledge.
Shambhavi opened the show with a solo performance of Shiva Dhrupad, originally choreographed by her mother and guru, Pandita Maneesha Sathe, affectionately known as Maneesha tai. “This is a tribute to my guru and the dance tradition that flows from Maneesha tai to me and down to my students,” Shambhavi reflects.
Another significant piece is Mrignayani, originally sung by Pandit Jasraj in the Haveli Sangeet style. In 2012, Shambhavi worked closely under his mentorship to choreograph Mrignayani, which fuses elements of folk dance and Kathak. The piece explores the themes of love between Krishna and Radha, part of the Madhurabhakti genre, where Radha is the protagonist.
The recital concluded with taalmala, which translates to a garland of rhythmic cycles and ragas. Composed of six different taalas, this piece is a tribute to ‘Taalyogi’ Pandit Suresh Talwalkar, who imparted his deep knowledge of rhythm (laya) and beat (tala) to Shambhavi.
In addition to the on-stage performances, the audience also witnessed a dance film directed by Ashay Javadekar. The film emphasizes the profound influence a guru can have on a shishya (student). For Shambhavi, the film delivers two key messages: First, it highlights the irreplaceable role of a guru, especially in performing arts, where the guru-shishya parampara fosters dedication and intensity, crucial for mastery. Second, it encourages younger dance professionals to experiment with diverse genres and technologies and platforms to enrich their Kathak journey.
The Journey of SISK
Shambhavi reflects on the ten-year journey of the Shambhavi International School of Kathak as deeply “satisfying and heartwarming.” More than just a dance school, SISK has become an institution that instills life values in its students.
As a performer and teacher, Shambhavi views Kathak as a commitment, requiring discipline, effort, and dedication. “When I started teaching in the Bay Area, I consciously chose to teach adults. To my amazement, despite their busy schedules, my students have shown great commitment to learning. This dedication is deeply touching and inspires me to keep teaching.”
SISK also emphasizes building a strong community culture. Shambhavi is inspired by Socrates, who wrote in Republic: “Musical training is a more potent instrument than any other because rhythm and harmony find their way into the inward places of the soul.” For Shambhavi, the goal is to make classical art forms a medium for living better, happier lives.
As a teacher with over thirty years of teaching experience, Shambhavi sees the synergy created when students learn together. “Not just students, but technicians and all the people we work with share a passion for the art form. We set aside personal preferences and work toward a common goal: the pursuit of knowledge through art. This instills a sense of giving and working together without seeking personal material gain, something rare in today’s society.”
To keep the guru-shishya tradition alive, SISK has developed innovative programs. The SISK Gurukul Retreat offers Kathak dancers in North America a two-week residency led by renowned Kathak gurus. Past residencies have been led by stalwarts such as Pt. Rajendra Gangani, Pt. Maneesha Sathe, and Guru Shama Bhate.
Additionally, the Global Distance Learning Program has enabled dance enthusiasts from around the world to learn Kathak online, overcoming their personal or geographical limitations. “What started as a logistical necessity during COVID has now become one of our strongest teaching formats,” Shambhavi says. “Students from places as far as Tasmania, Norway, and remote villages in Kerala can now access Kathak.”
Reflecting on her journey from the classical music hub of Pune to establishing a tight-knit community of dancers in the U.S., Shambhavi says it wasn’t easy, but it has been incredibly rewarding. “The commitment to continuing the guru-shishya tradition is crucial for me. Despite moving and adapting to change, one thing has remained constant: the intensity with which I trained. I continue to pass this intensity on to my students so that Kathak becomes a transformative experience.”
Photo Credits: Vikas Shinde
