It is Through Kathak That I Express Myself Best

The Lalitarpan Festival returns to the 24th edition with the theme of “Antah-Shakti: Courage and Hope”, and Kathak Maestro Padmashri Guru Shovana Narayan reflects dance as a mirror to the dance and flexibility ship. Curated by the stories of survival and transformation – an acid attack from cancer fighters survived and a transsexual artist – festival (8-9 October 2025, India Habitat Center, New Delhi) continues the legacy of blending the tradition with contemporary relevance. In this speech, Shovana-ji talks about Kathak’s timeless ability to deal with social facts, the developing journey of the festival and the most real expression through the dance language.

Quotes from a special interview

This year’s theme Antah-Shakti: It brings stories of courage and hope, flexibility, survival and transformation into the stage. What attracts you to this theme and how do you see the dance as an environment to embody the courage?

Dance is just beyond fun. It must have a purpose as it is well expressed in part of Natyashastra. While exhibiting the beauty of life, we also need to keep a mirror for ourselves. Such presentations allow the message to echo with the audience who has not thought in depth and transforms their potentially perceptions and processes. It also enables individuals to see the vulnerability as a form of power, to have self -confidence through application and connection, and to overcome fear, and to reach a distinctive instinct that strengthens their authentic selves. For this reason, for both artists and spectators, dance presentations focusing on these themes encourage an important awareness of self, flexibility in the face of the difficulties of life and a change in perspectives.

The festival includes strong personal narratives, from survivors of cancer to acid attack survivors and a transsexual artist. How do you balance the storytelling with classical form in such productions?

With all ‘margam’, classical dance is an outward expression of our deep inner feelings. The entry into force of fairy tales, those from Puranas and legends such as old texts are part of the classical dance genre, and such contemporary tales are also in the same way. Classic dance, a Draupadi and the robing of his trauma, can also be shown the trauma of an acid attack victim.

You’ve been running Lalitarpan for 24 years. When you look back, how do you think how the festival shapes opportunities for young dancers while offering new perspectives to the audience?

When we look back, it is satisfactory to see the permanent cultural value, traditions and history of dance. The ability of established professionals to maintain the relevance level and the ability to gain recognition, inspiration and motivation in order to follow and further develop their arts. I am happy that it is a enriching cultural experience that inspires the audience and develops an appreciation for dance art with fine artistic expressions.

Kathak is always known for its rhythmic brightness and storytelling. Throughout your seven -year journey, you see how art developed, especially to deal with contemporary social issues?

Kathak is always dealing with all the technical brightness and nuances of Abhinaya, which is always interested in contemporary social problems in all ages. I once again draw attention to the dance vision and mission of NATYASHASTRA, and we see that Kathaks always lived and lived and lived the ‘spirit of Sammit updesh’ spirit as the narrators of Dharma.

You have followed parallel careers – as a Kathak Maestro and a senior officer. How has every world affected the other and what is the dance despite the demands of the bureaucracy?

Since my childhood, my feet have always been on two boats, that is, my ‘throwing’, my soul, my breath, and then my existence is changed with public service. Therefore, there was no contradiction. The duo helped me not to overlook sensitivity, compassion and humanity, and the head was tightly in place and the feet to be on the ground and that the power and position were just a ‘Maya’.

You have been called a pioneer to push the borders of Kathak, but always remain loyal to its classics. How do you personally describe the balance between tradition and innovation?

Kathak is my slice, my expression environment and Kathak through the best expression. At any time, each of us is not the same as yesterday. Without realizing it, we all change skillfully, inseparable. In life, in lifestyle, we are traditional, but we act over time, we innovate in this tradition. Similarly, dance. Moreover, what others see as ‘innovation’ is a natural extension of the expression of thought, just as I can see.