Dr. Nikita Banawalikar Interview
Q. Could you begin by telling us about your journey with Kathak and what first drew you towards this beautiful classical dance form?
I started learning Kathak when I was very young, so in many ways, it has grown alongside me. I don’t think I can point to one moment and say, “This is when I fell in love with Kathak.” It was something that gradually became such an important part of my life over time. As a child, when I saw it for the first time, I was fascinated by the pirouettes, speed and grace together, especially since the language was not a barrier. As I grew older, I began to understand the depth behind it.
My relationship with Kathak has also changed over the years. What started as learning a dance form slowly became a way of expressing myself and understanding different aspects of our rich culture, music and storytelling. And I think that is what keeps me connected to it even today. The more I learn, the more I realise there is still so much to discover. For me, that is the beauty of Kathak; it keeps evolving with you. You may perform the same piece after many years, but you are not the same person anymore, so you inevitably experience it differently.
Q. As a Kathak exponent and choreographer, how do you balance preserving tradition with bringing your own creative voice to your performances?
For me, it’s not really about choosing between tradition and creativity. I feel that the stronger your grounding in the tradition is, the more freedom you have to find your own voice within it.
Kathak has such a rich vocabulary and such a vast tradition that I’m always conscious of respecting the grammar of the form, the aesthetics and the way it has been passed down through generations. At the same time, I don’t think an artist should simply replicate; it needs to have its own individuality.
My own creativity comes from asking questions: what does this piece mean at this point? Sometimes it may be through the way I approach a composition, sometimes through modification in choreography, music, or how I emote at that age or phase in life.
I think tradition gives you the foundation, but your experiences, your sensibilities and the world you live in become part of how you interpret that tradition. I try not to force the 'trend' into Kathak. I let it emerge from 'my' understanding of the form, not just because of what is being shipped.
And perhaps that is what keeps the tradition alive for me, not changing it for the sake of being different, but continuing to engage with it deeply enough that something personal can emerge from within it.
Q. You are also the founder of Kalavatika Studio. What inspired you to create this platform, and what vision do you have for it?
Kala Vatikaa came from a very personal need that I felt more for my artistic practice than as a teacher. Over time, it became a space where I wanted to question some of the traditional patterns of teaching and learning, and especially the burden that can sometimes come with them.
I wanted to create a space where learning could be more open and where there could be a genuine exchange between people. For me, Kala Vatikaa is not just about teaching Kathak; it is a platform for learning, conversation and sharing. Through my sessions, I have had the opportunity to meet hundreds of Kathak practitioners and lovers from different parts of the world. Even my relationship with my students is something I value deeply. There isn't a pressure for them to treat me as a “guru” as expected generally in a very formal sense. They talk to me as a friend, a guide or a mentor, depending on what they need at that point in their journey.
I think that is the kind of environment I wanted Kala Vatikaa to create: a space where there is respect for the art form, but also room for conversations, individuality and human connection. For me, that is what makes the learning meaningful.
Q. How do you approach choreography when you want to tell a contemporary story through a traditional Indian dance vocabulary?
For me, it begins with the story rather than with the dance vocabulary. I first try to understand what I want to say, what the emotion is, and why I feel the need to tell that story. Only then do I start thinking about how Kathak can help me express it.
I don't necessarily try to make Kathak look “contemporary” just because the subject is contemporary. I believe the vocabulary of the form is already rich enough to speak about many different experiences. The challenge is to find the right way within that vocabulary.
Sometimes it is a very small change in the way I use a familiar movement, a pause, the treatment of rhythm, or the way I use space. At other times, I may work with music or a text. But I always try to retain the essence of Kathak, rather than using it simply as an aesthetic layer over a contemporary story. So, for me, the process is really a conversation between the traditional vocabulary and the story I want to tell. I don't want either one to overpower the other. I want the tradition to remain recognisable, while allowing the story to have its voice.
Q. You also hold the title of ‘Dr.’ How has your academic journey complemented your identity as a performing artist and choreographer?
Coming from a non-artistic family, academics were always given a lot of importance in my upbringing. So, for me, education was never something separate from my artistic journey. As a dance practitioner, I have pursued 4 master's degrees, including one international degree from King's College London, in addition to my PhD in Kathak. My PhD was particularly connected to my journey as an artist. The research was an extension of my own interest in the growth of choreography and the movement vocabulary of Kathak.
As I was performing and choreographing, I found myself becoming increasingly curious about how the vocabulary of Kathak has evolved, how choreographers have expanded it over time, and how movement can continue to develop while remaining rooted in the grammar of the form. Those questions eventually became the basis for my research.
Therefore, the academic and artistic journeys have always fed into each other. My practice raised questions that led me towards research, and the research, in turn, gave me a deeper understanding of the form. I also feel that having a strong academic foundation has given me the confidence to engage with Kathak not just as a performer, but also as someone who can question, analyse, research and contribute to the larger discourse around the form.
Q. Having worked across India and the UK, what differences have you noticed in how audiences connect with Indian classical dance?
I think the most interesting thing I have noticed is that the response to dance is quite universal. Whether I am performing in India or any country, audiences respond to emotion, rhythm, energy and storytelling. What changes is the familiarity they bring with the form. In India, audiences often come with some cultural familiarity, even if some might not be exposed to the art form. Internationally, what I find particularly interesting is the curiosity and openness that audiences bring towards Indian culture. There is a genuine interest in experiencing Indian music, dance and traditions, and I have often found audiences to be extremely attentive and receptive during performances. Even when they may not be familiar with the vocabulary or conventions of Kathak, they are willing to listen, observe and engage with the form.
I have also noticed this very strongly when it comes to learning the art form. I have met more non-Indian students who are genuinely interested in learning Kathak in its authentic form. They are often very curious about the technique, the traditional repertoire, the nuances of rhythm and even the cultural context behind what they are learning. There is a certain eagerness to understand the form from its roots rather than simply learning it as a style of movement. You realise that tradition does not necessarily belong only to the culture it comes from. It can be received, studied and loved by people from very different backgrounds, while still being approached with respect for its authenticity and lineage.
Q. Is there a particular performance, student, or moment in your journey that you consider deeply meaningful?
There are honestly so many. Some have been on stage, some have come through a particular learning in a class, and some are memories from working on film sets and being behind the camera. Each of these experiences has left me with something different, so it is difficult to choose just one.
But if I had to speak about a recent moment that was particularly meaningful to me, it would be receiving the Guru Kelucharan Mohapatra Yuva Puraskar (Award).
For me, it was much more than receiving an award or a recognition. It came at a point in my journey where it felt like an affirmation, a quiet reassurance that perhaps I am on the right path and that the choices I have made as an artist have meaning. At the same time, I also felt a sense of responsibility with that recognition. To be acknowledged in a space that has such a strong association with our classical dance traditions makes you conscious of the responsibility of carrying the art forward with sincerity.
What made it even more special was the feeling of being among the relatively few artists to receive that recognition. It made me pause and reflect on the journey so far, not just on the achievements, but also on the years of practice, uncertainty, learning and discipline. So, it was an encouragement and a responsibility to continue learning, to continue questioning, and to remain committed to the path I have chosen.
BIO
Dr. Nikita is a distinguished Kathak exponent and choreographer who beautifully blends tradition with contemporary expression. With her artistic journey spanning India and the UK, she has carved a unique space through her dedication to Indian classical dance. As the founder of Kalavatika Studio, she is committed to nurturing the art of Kathak while inspiring the next generation of dancers to connect with its rich heritage, grace, rhythm, and storytelling.
Interviewed By Vanshika Gupta
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