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She shares that all her life she has kept the two worlds — that of an administrator and Kathak dancer — apart. "It was the first time that the two came together even though here, too, the performing artiste in me was kept in the backseat." But being a Kathak dancer, was she partial to her muse? She smiles, "Well, not to Kathak in particular, but when you talk of tradition there is no way you can miss out Indian classical arts of which dance is an integral part." The beauty of Indian heritage, according to her, is that even though thousands of years have passed by, it stands firm because of its inherent strength and resilience. As for tradition changing with time, she asserts that artistes don’t set out to reinvent tradition per se. "Only what happens is that none of us live in a vacuum. We influence as much as are influenced. And out of this interaction is born something which others may perceive as new." In fact, the gifted artiste who has enthused a new life into Kathak with her choreographies like "Mera Safar: Ali Sardar Jafri", "Raah De Radhe" and "Moonlight Impressionism" etc and has even brought together Indian and Western classical music, is against experimentation for the heck of it. "It’s only when you plunge deep, its only when you are familiar with your tool and grammar that fresh vistas emerge out of natural volition." Besides, she adds, what is innovation today may become tradition tomorrow, provided it passes the test of time. But, yes, she feels that within the ambit of tradition it is very much possible to talk of today and its concerns. Just as when she looked at the myth of Kaaliya Daman, the physicist in her introspected and found an answer, "This isn’t about Krishna slaying the serpent but subjugating the bad elements and even connected the theme to water pollution." Similarly, Buddha‘s wife Yashodhara for her is an epitome of a woman’s strength and the Draupadi Cheerharan the rape of Mother Earth and environmental degradation. The dichotomy between arts and science, this masters in physics with two M.Phil degrees, including one in Defence and Strategic Studies feels is over-exaggerated. As she tells students during her SPICMACAY performances, "The todas and tukdas that I perform are mathematical permutations and combinations. My pirouettes testify the torque as also the balance between centripetal and centrifugal force." Actually, arts, she suggests, is the best way to teach science. Not only has she written to the Knowledge Commission about it but also penned several articles on it. The author of many books on performing arts, does she think much of what is being written is far too academic? Besides, is there a need to demystify art? She says, "While arts must be made comprehensible, it can’t be brought down to the level of banality. So, some degree of mystique must remain." Not surprising, she is as awestruck by the beauty of Kathak today as when she began training in both the Jaipur and Lucknow gharanas. Blurring the line between the two seemingly different schools beautifully, she says, "The expanse of Kathak is infinite — be it in its movements or the abhinay. It can take any hue, can be modern, yogic, meditative, bewitching actually whatever you are capable of transforming it into." No, she doesn’t think dance is the medium of youth for, "Physicality is only one dimension. The devotional internalisation of dance comes with maturity." Dance, anyway, she feels, is like a deep ocean that you spend a whole lifetime discovering. Finding new layers with each passing day, she says, "Kathak is like knowledge. The more doors you open, the more you encounter. Its a never ending quest." And so in her long fulfilling journey she may have picked many prestigious honours like, Padmashri, Sangeet Natak Akademi Award and Indira Priyadarshni Award her search forging new paths is propelled only by one mission. To serve her muse till her last breath.
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While
many aspersions having been cast over the organising committee of the
Commonwealth Games, one person who has every reason to hold her head
high is leading Kathak dancer Shovana Narayan, who incidentally is the
Special Director- General, Ceremonies, Organising Committee, CWG. As the
world gaped in wonder at both the opening and the closing ceremonies of
the Games at New Delhi, she says, "It was a team effort. It started
with me but soon as other,s like Bharat Bala and Bansi Kaul, joined in
the ideas grew and we put it all together on a magnificent scale."
The experience she recalls was fantastic. To compare it with her own
dance performances would be fallacious, akin to putting oranges and
apples together.