BY RUCHIRA GHOSH

Once upon a time, there was a little girl who loved all kinds of performing arts. Her musician father and music-loving mother encouraged her to sing and receive systematic training in Tagore music. Alongside her musical education, she attended public performances by legendary dancers such as Pandit Birju Maharaj and his contemporaries.

One fine morning, the six-year-old girl made a life-changing decision: although she enjoyed singing, dance was the “real thing” around which her life would revolve in the years to come. When she shared this news with her parents, they joyfully agreed.

Thus began a new chapter in the life of Alaknanda Dasgupta, a noted Kathak danseuse based in Delhi who has spread her wings beyond the shores of her motherland, always ready to fly off at a moment’s notice.

Alaknanda Dasgupta is an internationally acclaimed Kathak exponent and art curator, widely regarded as a leading expert in abhinaya (acting), bhava (emotion), and vaachan (storytelling). She has served as the State Icon for the Election Commission of New Delhi since 2019 and has been the Brand Ambassador for the Swachh Bharat Abhiyan since 2021.

We met at a popular café situated in New Delhi’s cultural district. Between sips of tea and bites of delicious sandwiches and pakoras (she is a self-proclaimed foodie), her dramatic life story unfolded. The frank, simple gaze of her kohl-lined eyes, along with her expressive hand and facial movements, made our conversation even more engaging. She candidly shared her views on the world, the environment, and life in general.

---

A true blue Dilliwali, as she likes to call herself, Alaknanda was born and raised in the metropolis and graduated from Janki Devi College (University of Delhi).

Her journey in Kathak is a kaleidoscope of experiences. A graduate of Kathak Kendra (National Institute of Kathak), Alaknanda trained for fourteen years under the guidance of Smt. Reba Vidyarthi, Smt. Bharti Gupta, and Guru Munna Shukla. With her talent and finesse, she became an integral part of Pandit Birju Maharaj ji’s productions. Additionally, she learned under the tutelage of Smt. Rani Khanum, a distinguished pupil of Pt. Birju Maharaj; both represent the essence of the Lucknow Gharana of Kathak.

For Alaknanda, life has been a rollercoaster ride, but she has faced it with grit, determination, and resilience. She reminisces, “I walked out of a failed marriage, was financially independent throughout, and raised my two sons as a single parent. Both boys are adults now. I have dared to do things differently, flouting many existing social norms. I live life on my own terms. I dress the way I want to, and I don’t care what people say.”

I ask her, “Would you define yourself as a feminist?” She smiles thoughtfully and replies, “Yes, I am a feminist, but I don’t believe in fighting against male dominance to achieve my rights and freedom. Men and women should walk side by side instead of being in conflict.”

As part of global recognition for her contributions, she was conferred the prestigious ‘Honours Gratis’ award by the President of Krakow, Poland, in 2019. Besides, she is the recipient of prestigious titles, including Sringarmani, Best Dancer from Sahitya Kala Parishad, and Nrityashri. She proudly showcased India’s cultural heritage on global platforms, including India’s 50th Independence Day in the Maldives, the World Cultural Festival in South Korea (2001), and performances in Poland and the Czech Republic (2003). She conducted workshops, performances, and lecture-demonstrations in Poland, Singapore, Hungary (at the Amrita Shergill Cultural Centre, Embassy of India, Budapest), the Nehru Centre in London, France, and Russia. Significantly, she essayed the role of “Warrior Begum” in the production Women Warriors alongside renowned danseuse Padmashri Prathibha Prahlad. Additionally, last year in Amsterdam, Netherlands, Alaknanda dedicated Guru Naman as a debt of gratitude to her mentor, Munna Shukla.

Alaknanda’s moment of triumph and glory came when her major work, Laal Ishq (translated: Passionate Immortal Love), premiered at the esteemed Kamani Auditorium in New Delhi last year. Throwing light on the production, she says, “Laal Ishq is a passionate and all-consuming love, a deep yearning that sets the soul ablaze. It’s a primal energy that ignites emotions and senses, manifesting in playful and erotic ways. The ancient temples of India celebrate this eroticism in their intricate sculptures, embracing the beauty of physical intimacy. Laal Ishq embodies this love in all its nuances, surrendering body, spirit, and soul to the depths of connection and unison.”

With a four-decade-long career behind her, Alaknanda has bagged numerous national scholarships, honorary titles, and ICCR empanelment. Her brainchild, the Alaknanda Institute of Performing Arts (AIPA), founded in 1990, has introduced Indian classical arts to the cultural desert of the Delhi & NCR region. It is a centre for aspiring dancers and also functions as an examination location for candidates, as it is affiliated with the prestigious Gandharva Mahavidyalaya in the national capital.

Three years ago, Alaknanda was diagnosed with cancer in her reproductive system. For most, it would have been the proverbial last straw that broke the camel’s back. But not for her. She recalls, “There were times when I danced a day before, or a day after chemo. Once, even on the day of chemo. Dance is like my oxygen. I cannot give up on it. Between my third and sixth chemo, I performed 15 shows.” After undergoing open surgery, she was advised to rest for two months. But two weeks later, she was back on stage; though pain racked her mortal frame and there were multiple stitches in her abdominal region, she danced on.

Alaknanda shaved her head when her hair began to fall due to the side effects of chemotherapy. “I didn’t want to see myself losing hair every day, and I also didn’t want my house to be messy,” she grins mischievously. For a female classical dancer, long flowing tresses are a sine qua non, as viewers cannot reconcile to the idea of a bald performer. Yet she performed nonchalantly. She notes, “Women artists go into depression in such circumstances. But my hair is just a part of who I am; it shouldn’t stop me from living my life. I am beautiful even today. Once you accept yourself, society will accept you too.”

Battling cancer has failed to dampen her joie de vivre and mirth. She has now adopted a new avatar: heavy kohl-lined eyes, bold lip colours, and a variety of studs, pins, nose rings, bangles, bracelets, and more! She moves around boldly, exuding confidence every moment.

The dancer sums up her philosophy thus: “You live every day, you die once. The moment you open your eyes, and if you are breathing, it is an opportunity to live that day. So why should I waste it worrying? It is up to you if you want to live life crying or smiling. A little craziness is necessary in hardships. Normal is boring…”

At the time of going to press, Alaknanda is away in Amsterdam, showcasing her passionate zeal before a multicultural audience.