Dancer Sonali Mishra, born and raised in the US began training in Odissi in her early teens. She studied under Gurus Smt. Chitralekha Patnaik, Smt. Ellora Patnaik, and Sri Devraj Patnaik. Since 1995, she has trained in Odisha under Gurus such as Sri Ramesh Chandra Jena, Sri Bichitrananda Swain, and Smt. Aruna Mohanty, and in Los Angeles with Smt. Nandita Behera. At Srjan, she trained with Guru Smt. Sujata Mohapatra and Guru Sri Ratikant Mohapatra, and also receives guidance from Delhi-based Guru Smt. Kumkum Lal.
Sonali has participated in the ‘Navarasa Sadhana’ actor’s workshop with Guru G. Venu in Kerala and is trained in yoga by Sri Renjith Babu Choorakad in Chennai. She has performed widely across the US, UK, Canada, India, Europe, and Malaysia, and has conducted workshops globally. In 2014, she founded Global Rasika, an online magazine for Odissi dance discourse. After relocating to Odisha in 2011, she has continued her work and, since 2022, resides in Vrndavan. Interview with INDICA
You have learned dance both outside India and in Odisha. How would you describe the difference?
For me, I think cultural context was the main difference if I were to compare the learning process within and outside Odisha. Learning Odissi in North America was primarily a one-way process of gaining knowledge from the Guru, especially in the pre-internet days. Training in Odisha, the cultural cradle of the art form, was a 24-7 fully immersive cultural experience.
I first started learning Odissi before the time of internet, mobile phones, and social media. Odissi was a lesser-known style of dance in North America at the time, so teachers and institutions were few and far between. I would travel to Canada during school breaks for my dance studies at Chitralekha Odissi Dance Creations under Guru Smt. Chitralekha, Guru Smt. Ellora, and Guru Sri Devraj Patnaik. They were one of the earliest institutes in North America focusing exclusively on Odissi dance and music. The learning was truly an extraordinary experience because I was learning in what would have been considered a ‘modern-day Gurukul.’ I was truly blessed to have wonderful Gurus who ensured a very robust and holistic learning experience .
However, in the US, resources to supplement the classroom learning were very scarce, with the exception of a few books and articles. There were also limited opportunities to witness live performances, as there were few Odissi artists who were touring North America back then. Travel to India was also less frequent. So the learning process, while exciting, was still a challenge outside of the dance school.
Learning in Odisha was very different because I was in the cultural cradle of the art form. Odissi is a dance form that goes beyond movement. It is an art that is very much rooted in the local culture, a unique amalgam of many different art traditions of Odisha: sculpture, painting, poetry, music and theatre. Our founding Gurus brilliantly captured a way of life through movement, which is why learning in Odisha was a cultural education that went beyond the classroom. Language, temple visits, food, dress, pujas and festivals, even the simplest of day-to-day interactions contributed to the cultural ethos which nourished the art and which was very much a part of the learning process. Being in Odisha also gave me the opportunity to be in the constant company of arts practitioners – from dance Gurus, to dance performers, musicians, writers, filmmakers. So my experience learning in India was a full immersion of the art, culture and spirit of Odisha.
You have learnt from multiple gurus. What does one seek in different teachers while learning Odissi?
In my personal experience, learning under multiple Gurus at different phases of my dance journey was inevitable with a career that has spanned over several decades. The transition between Gurus was very organic and the process quite seamless. I have been very blessed to have studied under some extraordinary artistes and thinkers, each of whom have made significant contributions to my growth and development as a dancer.
What one seeks in a teacher largely depends on what they are seeking on this path and the phase in their respective journey. In my case, my goal has always been artistic enrichment, enhancing my skills, and evolving as a dancer. So keeping this in mind, my journey was shaped by a deeply rooted desire to learn and evolve. I sought teachers with the knowledge and experience who were willing to share the same. Every individual has their own aspirations so they will seek something different. Some want teachers who will not only guide them on their path of artistic enrichment but who will also promote and provide professional opportunities for them. Some seek a famous teacher whose brand will endorse them professionally. Others may be looking for a welcoming and supportive teacher with whom them have a strong personal/emotional connection with while they navigate the vagaries of their artistic journey.
It is a very personal decision, what to seek and from whom. These days it is not easy or even practical for a Guru or teacher to provide everything for the student. Also, not all students will realise what they are seeking so early on their journey, so it is a matter of destiny or cosmic connect for the Guru and Shishya to come together.
You have also taken classes from Shri G Venu. How does his teaching add to your dance training?
Venuji’s Navarasa Sadhana actor and dancer workshops have been one of the most unique and transformational journeys I have had as an artist. While I find it to be a deeply personal journey, I will do my best to share what could be relevant for others.
Venuji has meticulously crafted each phase of the Navarasa Sadhana workshops (there are 8 in total), in a way for artists to experience (and express) a wide range of emotions from the most extreme to the most subtle. I have had the opportunity to experience many states of emotion and expression that I most likely would not have had before.
Venuji’s workshops essentially frees the artist of their inhibitions, thus stripping them from the prettiness and ornamentation to allow the full experience of the innermost raw, core emotion. Dance artists can sometimes become bound by stylisation and technique, which can create a ‘prettiness trap,’ which overshadows the emotion, resulting in abhinaya that can appear contrived and caricatured. Navarasa Sadhana emancipates the artist from these various inhibitions in order to fully engage the core essence of the emotion and explore new interpretations of the character/situation they portray. The artist feels the emotion rather than performing it. The workshops are attended by a variety of arts practitioners: performance artists, writers, dancers and actors – this diversity of art practices within the group offers a very different perspective and further enriches the learning experience.
In short, Navarasa Sadhana is an important training in how to emote honestly and authentically, rather than ‘performing’ the emotion.
What has been your experience giving lec-dems to students abroad. What is it about our dance which draws them?
I have been fortunate to have had the opportunity to conduct lecture demonstrations extensively in the US and Europe for students, young school children, and seniors. The overall response has been very positive. I have found the experience as an educator very fulfilling and enriching, and I have learned a lot in the process.
Audience engagement does not always extend beyond the stage during a performance, and workshops are designed for practising dance students who have an interest in and some working knowledge of the form. Lecture demonstrations are very effective in balancing the theoretical and practical aspects of dance for less-immersed students. They are a wonderful way to provide some cultural context and a framework for students and audiences to further understand what they are seeing and learning. So, lecture-demonstrations can go a long way in driving change in the dance ecosystem by changing the perception of how dance is expressed, practiced, understood, and supported to create a more inclusive dance community.
There are many dimensions of Indian classical dance forms that are appealing to non-Indian audiences. Generally speaking, I think the entire framework of Indian classical dance styles is very different from what is more commonly seen and understood in the Western mainstream (European/Western) dance forms /dance ecosystem. These differences – be it cultural values, movement, philosophy, presentation, music - definitely attract and move people. In my personal interactions, it is usually the spiritual aspect of classical dance as a form of offering, inner awakening, meditation in movement - that people find most appealing. The Aharya is also very eye-catching: costumes, ornaments, elaborate headpieces and makeup give the artiste a ‘larger than life’ feel. Then there are the movement aesthetics: the use of a highly intricate and stylised dance vocabulary, abhinaya and pure dance aspects, the subtle intricacies of the dance, all of which are very captivating. In short, there are many dimensions of Indian classical dance forms that are appealing to culturally diverse audiences.
Is it easy to research our dance traditions? How far back do we have records and what can we glean from them?
The level of difficulty really depends on what the student is researching. Historical research is always challenging, and it is always easy to get waylaid into false (yet logically consistent) narratives. These days, research topics are also changing, so it is not always historical research that students are seeking. The dance field has evolved a lot over the past couple of decades, so the scope for research is endless. Moreover, there is funding available from national/international academic institutes and independent research bodies. From a practical standpoint, the ecosystem is more enabling today for a committed researcher and there is a lot of opportunity to do impactful work.
I cannot comment on the availability and accessibility of historical records for students to research, but I will say, probably unoriginally, that all research points to dance and music being an active part of our cultural/spiritual/religious life since time immemorial.
You have learnt yoga too under a guru? How does yoga enhance the dance and is it necessary to do it additionally to dance?
I started doing yoga in my late 30s, but it was not until later in my 40s during lockdown did I commit to a serious yoga and body conditioning class/practice under Bharatanatyam artiste/Yoga practitioner Sri Renjith Babu Choorakad (Rtmbhara Yoga). I have been incredibly fortunate to study with Renjithji not only because of his extensive knowledge of yoga, anatomy, and body mechanics, but also being an active performer, he understands the inner psychology of a dancer, which influences their habits during practice as well as during performance. Prior to my yoga practice, whatever morning pre-dance yoga/exercise routine I was doing earlier was at best cosmetic and less purposeful, resulting in having little, if any impact. I had reached a point where I was suffering from constant fatigue and minor injuries because of over practice. In the time I have been studying under Renjithji, my understanding of the body and approach to yoga and conditioning has been much more purposeful. His holistic approach to yoga and body conditioning required a lifestyle change – diet, sleep, exercise, and rest to keep the body (and mind) in a healthy state at all times. Working with Renjithji has also completely transformed my approach to practice and performance.
The style of Odissi that I practice is one in which much of the energy is contained within, and not released outwards in high intensity movement. There is a lot of control in the body, which requires a lot of strength to execute. When I started practicing yoga regularly, one of the first things I noticed was an effortlessness in the movement, and increased energy levels – my daily practice sessions would no longer leave me feeling completely exhausted. In the last several years I have learned to be much kinder to the body, giving it proper rest and also taking the necessary care and precaution to manage through the minor injuries that flare up from time to time.
Another less obvious yet very important benefit of yoga practice is the mental/ spiritual evolution. As teachers/performers, even in our day-to-day activities, our energy is constantly being exerted outward. Yoga is a wonderful way to still the mind, draw the energy inward and keep oneself centred. Through yoga practice we begin to see how the mind and body are connected. In times of stress, yoga has helped tremendously by releasing subtle tensions in the body that we may not even be aware of, to ease the mind and reach a state of calm.
Overall yoga is an essential tool to nurture and rejuvenate the body and mind. It has been an integral part of my morning routine for the last several years and I highly recommend it for dancers at any stage in their respective careers.
How does the music you choose connect to your dance. It is said dance is the physical expression of music. Is the Odissi musical repertoire changing?
Odissi dance and music are inextricably interlinked, so whatever music I use, be it traditional choreography by our Gurus, or the Odissi items I create, remain in the Odissi style. While I am open to exploring different styles, my preference will always remain with Odissi music. The physicality of Odissi dance is so deeply enmeshed in the music, it is difficult for me to separate them. It is my personal view that the synergy with dance and hauntingly beautiful music is what makes this art form so beautiful and distinct. And like dance, Odissi music is very unique and requires years of earnest and consistent practice, to master the style.
Odissi music possesses a rich history and tradition in itself. In my humble observation, while there are changes that happen with time to the music – from the types of technology available, to instrumentation, experiments have happened with music (and will continue in the future), as per the wishes of the dance artiste and composer. Odissi music gives the soul to Odissi dance. It remains to be seen how we maintain the core musicality and character of the dance in the future. As far as my Odissi sensibilities are concerned, more or less the musical repertoire in relation to dance, should remain in the framework of the Odissi style to maintain the overall ethos, character and identity of the dance form per se.
What are the ways you have got non-Indians to engage with Indian dance?
As a solo performer, needless to say the main channel I use to engage non-Indians with our dance forms is through my dance itself. In addition to performing, I give classes, conduct workshops/lecture demonstrations, and information sharing via social media. I do a lot of writing/editing. Recently I have started to foray into choreography. I believe all of the above, (especially having been born, raised and educated in the West), will have an innate connection to the non-Indian psyche.
From the very beginning of my dance career, my focus has always been to enhance and enrich my abilities as an artist, and let the dance do the work. I have always believed in the power and timelessness of these art traditions, and I believe that if the artist is truly one of quality, they will be able to engage through the power of their work. The best artists I have witnessed were the ones fully committed to their craft, and deeply rooted to their art form and surrounding practices. Their creative genius and greatness is the result of years of sadhana, there is an honesty to the intent of the emotion and the presentation which is the most important to me. I do not change content or create content that is ‘relevant’ to the times because I think relevance is very subjective. Rather I focus my energy and attention on practicing and creating work that I believe in artistically and personally rather than adapting to the sensibilities of the audience or the ‘market’.
In addition to my own artistic journey – I have worked on an online Quarterly, ‘Global Rasika’ to engage on a global level discourse in Odissi dance. This is a quarterly that aims to foster critical thinking and discourse and I am very happy to see the impact that this has had in discussions about Odissi and its future. My personal goal through the quarterly has been to engage with dancers, critics and dance enthusiasts and broaden the discourse within the dance ecosystem around individual themes. We have explored issues related to financial challenges of dance, the practice of Odissi in a changing global context, dance during Covid, and much more. I have found this platform to be very helpful in engaging Odissi artists from all nationalities to share their thoughts and experiences. I am working on a massive relaunch of Global Rasika to address issues relevant to Odissi currently. I think post-Covid, a new culture of dance has emerged and I am looking forward to curating more discussions around the same.
I also try to contribute to the dance ecosystem by leveraging the power of social media. I started the ‘Global Odissi Network’ Facebook page for Odissi artists to share the work they are doing and connect with others. I created this group to focus solely on information sharing so that dancers can find out about workshops, performances, publications, and classes in their part of the world.
In addition, I also partake in a lot of speaking engagements/lecture demonstrations/interviews. I think people find my profile a bit unusual– a second-generation (Odia) Odissi dancer born and raised in the US but settled in India, and that too Odisha (well, now Vrindavan), who has an academic background in policy and management. So I tend to have a unique perspective on things, which some find interesting. Lecture demonstrations, as I had mentioned before, are a means to educate and engage audiences. I try to make it a point to have conversations about the challenges of practicing this dance style in current times – issues of cultural appropriation, discrimination, cultural ‘colonization’ are some of the things that emerge in these discussions. For me, education and excellence have been the key to engage audiences without having to change the content or technical framework of the art form to be true to its source.
Lately, I have been exploring the choreographic process, which has been very new and exciting for me. There is a very different kind of artistic fulfilment in creating work around new ideas and universal philosophies cutting across cultural/geographical barriers, especially those that have been anchor in my personal and spiritual journey. There is an altogether a different kind of joy when dance is the medium to foster understanding and raise awareness of these new concepts which are so dear to my heart.
What are your areas of research interest?
I have always been drawn to issues relating to cultural identity and how cultural practices – language, arts, spirituality/religion, food, contribute to expressing and maintaining said cultural identity. How are these identities protected and nurtured? To what forces are these identities vulnerable to?
In the early 2000s, much of my research was around the effect of globalization on traditional cultures/cultural industries sector. I have always had a sensitivity towards those art forms (and artists/artisans) on the verge of extinction because of lack of patronage. Art forms face pressures from the sensibilities of global audiences, the need to stay relevant, the need to have a critical mass of patrons, lack of funding, the list goes on. I have devoted many hours of research, written articles, and curated issues of Global Rasika on this issue. My personal view is that every art form is unique and has something significant to offer in its original form – however often the art forms either morph into something completely different or become extinct altogether because of different reasons. (Here are a couple of articles I have written for Global Rasika: Beyond the Stage: Redefining Arts Practice in Current Times – Global Rasika (wordpress.com), When Local Goes Global: Odissi’s Identity Crises – Global Rasika (wordpress.com )
In addition, I have also been keen to research arts practices of minority communities in the US cultural landscape. I think this interest stems from having grown up a minority in the US. Despite the increased availability of funding to minority arts groups over the years, there is limited on the practices (and needs) of grassroots level minority arts groups. I think there remains a lot of work to be done to create a robust and inclusive cultural landscape in America where the arts of different communities receive the support they need to practise and showcase their art.
Could you describe your experience living and dancing in Vrindavan?
Vrindavan for me, is an immersion into Bhakti culture. For me, it is both novel (I was introduced to it a little over two years now) and refreshing. Philosophically and spiritually, it has given me a new anchor in life.
We have re-organised our daily routine to participate and enjoy the beautiful and blessed offerings here: visiting temples and leela sthalis, reading literature on Braj, Bhakti marg, sant sanga, weekly Vrindavan Parikrama, enjoying the local festivals (and many of them are celebrated with much joy and festivity). Interestingly, our core values, beliefs and aspirations have largely remained the same – living in Vrindavan has only strengthened them. We are able to practice these core values peacefully, and thus our lives are more balanced and sustainable. While our professional commitments/aspirations have broadly remained the same, Vrindavan has infused our work with a new energy and momentum to do differently and better what we were trying to achieve earlier both materially and spiritually.
As a dancer, living in Vrindavan has been a process of transformation to extricate oneself from the material side of the art, returning to the roots of dance as a devotional service for the Almighty. It is a world away from the dance that I have known and practiced for many years, where there is constant pressure for the artist to be seen, be relevant, create work that is out of the box, and where marketing and networking takes precedence over skill and artistry. The material side of dance can also breed an unhealthy narcissism that can be very toxic. Weary of the rat race, I had slowly taken a step back from the mainstream dance scene to create a path for myself. Living and dancing in Vrindavan has been a beautiful and unexpected surprise. I have been very blessed to offer my dance in some very sacred places in Braj. What is truly remarkable is the experience of shedding the ego - who I am, the years of experience, who I have trained with, where I have performed - is completely irrelevant here. Once one’s mind and heart is clear of the muddiness of the ego, something very beautiful in the heart begins to blossom and that feeling of pure devotion and universal connectedness will emerge but in a way that reflects one’s true inner self. Being a dancer in Vrindavan is to de-emphasize, if not cast away completely, the ‘performance’ side of dance, which is not an easy thing to do. But under the right guidance of divine persons and saints, the right company of devotional artists, I began to understand how to exist in and enjoy the material side of dance without being dependent on or attached to its fruits for my happiness. This has been a very grounding experience. My artistic and spiritual journeys are intertwined in a way that they were not earlier, which has given me a lot of peace and far more fulfilment as a dancer.
Life here is an ever-evolving journey. Every day brings a new dimension and change to our internal energies, thus driving change in our relationship with the world. I am happy to observe the changes within myself and I look forward to how this journey evolves.
(Do visit Sonali Mishra's website https://www.sonalimishra.com/ to know more about her work.
