Reflections on Divya Sharma – Manch Pravesh

As I entered the Midlands Arts Centre I was swept up by the excitement of guests, artists, and friends, echoing the vibrant atmospheres of Delhi or Chennai's sabhas (gatherings). Divya Sharma (who is a dentist by profession) from Birmingham, now living in Newcastle, was presenting her kathak Manch Pravesh. 

The evening diverged from a typical solo kathak recital while maintaining traditional elements – devotional, romantic, abhinaya/semi-classical, and taal pieces. The performance was divided into two parts: the first included expressional works –  ‘Namaha’, ‘Hori’, thumri, and tarana – while the second focused on the nritta (‘pure dance’) aspect, playing with teen taal, the sixteen-beat cycle, which gave ample scope for  showcasing Divya’s control of taal and laya (rhythm and tempo). Her brother, Pulkit Sharma, a disciple of tabla maestro Sarvar Sabri, accompanied her on tabla for the first time in a public forum, and this enhanced a feeling of the significance of the occasion. The audience sensed a strong synergy between them, rhythmic expression complemented by Divya’s mature dancing.The music was a real treat with superb vocals by Gulfam Sabri and instrumental accompaniment from Ganga Kaur on the dilruba and Katie Stevens on flute and clarinet.

Although I'm not a kathak expert, I appreciate the art, having seen many masters. Sabri’s heritage stems from Pandit Acchan Maharaj through her teacher Nahid Siddiqui’s guru, Maharaj Ghulam Hussain Kathak. Siddiqui, rooted in the Lucknow Gharana, learned under Pandit Birju Maharaj, developing her unique style. 

Divya's dance brought the masters' spirit alive. Pirouetting gracefully, she left a mark with her poses that seemed to defy the dimensions around her. Each pose and stretch of her arms created connections across the space, appearing to extend beyond curtains, walls and even further. This exquisite illusion intertwined line, movement, intention, and the inherent spirituality of classical Indian dance, elevating kathak-nritta into something timeless. The dancer’s abhinaya also mirrored this, where her mudras infused life into storytelling. She embodied bhava and hava, vital components of abhinaya: bhava expresses the dancer’s emotions, while hava involves the technique that animates imagery. In the opening piece, ‘Namaha’, the majestic presence of Lord Ganesha resonated in the controlled elephant-ear pose, showcasing the unique slow unfolding of kathak, a contrast to its usual emphasis on speed. The sincere bhava set the tone, while Divya’s abhinaya in ‘Hori’ powerfully evoked the presence of the characters of Krishna and sakhi. 

The performance's first half carried the audience through poetic choreography and masterful execution. True beauty emerges when performers set aside ego, transforming the space into a canvas for shared experiences of bhava and rasa. Divya exemplified this exchange, reflecting her maturity and humility as a dancer while gracefully navigating the space with dignity. Her tarana to finish the first half, set in Megh raga, evoking the monsoon which gives the breath of life to the scorched earth, was a delight.

Divya opened the second half with the teen taal segment. She immersed herself in vilambit lay (slow tempo) compositions with a measured approach, showing control and confidence and presenting traditional masters’ parans, tukdas, and laris from Acchan and Birju Maharaj, her style fused with Sabri's aesthetic. Divya then transitioned into dhrut laya (fast tempo), with intricate rhythms and an impressive crescendo. This segment featured a complex jugalbandi in a question-and-answer format with her brother on tabla and her guru, Sonia Sabri, whose precise padhant (recitation of rhythmic syllables) enhanced Divya's sharp yet melodious recitation of the bols (the rhythmic syllables).

The costuming through the performance also deserves appreciation. Each of the four items of the first half appeared to have a costume change, yet it was only a small alteration of the dupatta, added or taken away, that made a substantial difference to give a unique and appropriate look to match each piece.

Divya’s deep admiration for her teacher and role model was evident in how she embodied the dance. As the compère noted, this admiration fuelled her motivation to pursue kathak. The fruit of her labour blossomed into the exceptional class, grace, and technical skill that she demonstrated in her kathak performance. 

This reflection is written two months after the event. I thank Seetal Kaur for her contributions to this writing. I hope Divya continues to master her craft, upholding the Lucknow Gharana's legacy and Sonia Sabri's contributions to this art in Britain. May life’s chaos not overshadow her pursuit. I trust she will inspire more to pursue kathak with the integrity she showed in her Manch Pravesh. Such gifted artists highlight the need for more opportunities in the British South Asian dance scene. Our sector and funders must create innovative platforms that celebrate traditional and contemporary classical expressions. Artists like this should not be lost due to inadequate support and lack of performance opportunities.

Read about Divya and her learning here