Exclusively with Rudra Jayanta Bhagawati

Rudra Jayanta Bhagawati is a professional Indian Classical Dancer and internationally toured and renowned performer- choreographer and cultural activist from Assam. He has toured his artistic skills across the globe in places like USA, UK, Guyana, Dubai, Tanzania, Maldives, Germany, Qatar, etc. He is the first from the northeast India to be posted as the Director, Swami Vivekananda Cultural Centre (SVCC) from the Indian Council for Cultural Relations (ICCR), Ministry of External Affairs, Govt. of India. He is also an empaneled artiste in the Ministry of Culture and ICCR, Govt. of India.

Born in the cultural heart of Assam-MAJULI, Rudra Jayanta Bhagawati has grown up with the fragrance of art and culture and started his dancing journey from his childhood by learning Sattriya Nritya traditionally under Guru Guna Kanta Borbayan at Natun Kamalabari Sattra, Majuli. After learning Sattriya and semi-classical Nritya couple of years under the legendary Guru Shri Bhaba Krishna Goswami, he has been highly motivated to learn Indian Classical dancing especially after he won Gold Medal in Sattriya Nritya at Dibrugarh University Inter College Competition in the year 1985-86.

He received the scholarship from the Directorate of Cultural Affairs, Govt. of Assam in the year 1987 to undergo Kathak dance training at Bhatkhande College of Hindustani Music, Lucknow under the guidance of Guru Smt. Purnima Pandey, Guru Subhash Dixit, Guru Veena Singh and Guru Surendra Saikia.

After learning for more than 10 years in Kathak Dance in Lucknow, Jayanta Bhagawati has rewarded by NRITYA VISHARAD and NRITYA NIPUN from the esteemed Bhatkhande College of Music. For the attainment of further training, Jayanta Bhagawati received Fellowship from Kathak Kendra, New Delhi under Sangeet Natak Akademi to undergo advanced training under Padma Vibhushan Pt. Birju Maharaj to continue as a Student cum Ballet Staff in Kathak Kendra, New Delhi from the year 1996 to 1998.

Rudra Jayanta Bhagawati's special ability to showcase the native culture of Assam and northeastern states of India through his creative theme-based contemporary choreographies which are magnificently blended with the Indian classical and folklore traditions of the regions. He has a strong sense of rhythm and possesses a contemporary outlook in choreographing dances as well as composing new age music and penning down touching poems.

He has a fine taste in portraying short contemporary choreographies as well as musical dance ballets. He has to his credit a number of magnificent dance choreographies presented for television, stage and field. Some of such were presented during the closing ceremony of the 7th National Youth Festival at Hisar (Haryana) and also in front of former President of India A.P.J. Abdul Kalam at Hisar (Haryana).

Majuli’s cultural depth has curved your cultural consciousness from childhood. In the beginning of your training in Lucknow, how well could you connect yourself with the maestros of the Indian classical genres outside your native State Assam?

In 1987, at the age of seventeen, I left my parents and siblings with a heavy heart but with tremendous motivation and dedication. I went to the Lucknow Bhatkhande Music College (now Bhatkhande University) to learn the Indian classical dance form of Kathak. This decision was not easy, neither for my parents nor for me, because someone like me, who belonged to a remote place like Majuli and had not even seen much of Assam, was determined to go to Lucknow to learn dance. As the eldest son in my family, it was very hard for my father to leave me alone in Lucknow, though he was the one who accompanied me to the State. But my destiny brought me there, separating me from my family—a banvas (exile) that continues to this day, leaving me far away across the ocean from them. However, within a short time, through my dedication, I immersed myself in the fragrance of Kathak. I was blessed to learn from a few revered Gurus in my life, from Lucknow to Delhi, including Guru Smt. Purnima Pande, Guru Shri Subhash Dixit and Smt. Meera Dixit, Guru Veena Singh, Guru Surendra Saikia, and Guru Padma Vibhushan Pt. Birju Maharaj. This learning journey has been tremendously long, spanning more than two decades, and is a process I consider to be still ongoing.

Learning in both institutional structure and Guru Sishya Parampara and witnessing various challenges in your life being a male classical dancer, how you nurtured adaptability?

I am very fortunate to have become acquainted with both learning frameworks: institutional education and the Guru-Shishya Parampara. Both have their own unique qualities and importance. On one hand, learning at an institute provides an opportunity to become familiar with a disciplined time table, gain a basic introduction to other relevant subjects, and build bonds with friends and learners from other disciplines. On the other hand, in the Guru-Shishya tradition, the disciple is completely dedicated to their Guru, becomes acquainted with their traditions, and forms a bond with the Guru’s family. Being a male dancer, dancing with ghoongru (ankle bells) was not easy and was not accepted by all segments of society. However, alongside dancing, I have been very particular about maintaining my bodily kinetic gestures so that I retain a masculine presence. I am also developing my skills as an art administrator and entrepreneur, so that I may become equally

Dedication, penance and engagement towards art forms in today’s time questions its value and authenticity. Coming from the Majuli of 1987, what are your thoughts upon it?

Indian art and culture are a priceless heritage of our country. Majuli is a cultural hub and the backbone of Assam. The people of Majuli are tremendously immersed in culture from their childhood. The sacred music that Majuli has nurtured through its Sattras is a primary reason for building artistry in us from a young age. Though I was not mature enough to understand the depth of art and culture at the age of seventeen when I left Majuli, now—after many years and having served as a Cultural Diplomat —I must say that, India's culture is not only for hymns and entertainment. It is also a true mediator for connecting the world in the spirit of Vasudhaiva Kutumbakam ("the world is one family"). Our heritage is a true instrument of soft diplomacy, building relations with nations worldwide. Above all, it is the true identity of a Sanatani, providing moral guidance for oneself and for generations to come.