Vaswati Mishra
- Dr. Pranaame Bhagawati
- Apr 18
- 4 min read
“Dance is my language, my identity, my strength, and my consciousness.” For Vaswati Misra, Kathak is not merely a performance—it is a lived experience, an ever-evolving dialogue between rhythm, emotion, and spirit. Rooted in the improvisational essence of the form, her dance captures the fleeting beauty of each moment, mirroring the many hues of life itself. In 1984, guided by conviction rather than resources, she founded Dhwani—a space where expression transcends the obvious, and the unspoken resonates more deeply than the seen. This philosophy continues to define her artistic voice. Her journey began at Kathak Kendra, where she trained under Reba Vidyarthi and the legendary Birju Maharaj, whose influence shaped her artistic sensibility. Over the years, her work—both as a performer and choreographer—has stood out for its rare balance of technical brilliance and emotive depth. From her formative years at Shriram Bharatiya Kala Kendra under Sumitra Charat Ram to creating a distinct choreographic identity, Vaswati Misra’s journey reflects the quiet determination of an artist who chose to shape her own path. Dhwani today stands as a testament to that vision—an enduring space for innovation, tradition, and profound artistic exploration.
Today, Vaswati Misra stands as a torchbearer of tradition and innovation, seamlessly bridging the classical with the contemporary. Through Dhwani, she continues to nurture a generation of artists while redefining the boundaries of Kathak. Her journey is not just one of artistic excellence, but of quiet resilience and unwavering belief—proving that when passion meets purpose, art transcends performance and becomes a way of being.
You light up the stage with your thoughtful and innovative Kathak dance choreographies. Being married into a traditional family, did you have second thoughts about not doing things your way?
First of all, thank you so much for your kind and generous words about my work. My journey with Kathak began at a very tender age, and over time, it became not just my passion but my identity and my first love. When something becomes such an intrinsic part of who you are, questioning it or stepping away from it never truly becomes an option. Being married into a traditional family did come with its own set of expectations, but I never had second thoughts about my path. My conviction towards my art has always been unwavering. I strongly believe that when your intent is pure and your dedication is sincere, you eventually find a way to balance both tradition and individuality with grace.
While spectators were still untangling their mental wires to understand your choreographies, you deliberately imposed one critical choreography after another, paving your own path of diligent thinking. Did you face criticism or questions about why you chose your approach instead of the existing conventional one?
To me, one should be open to criticisms ... Listening and analysing criticisms helps you to grow. Progressive thoughts, keeping the grammer intact, are always a welcome ! As I have tried addressing newer concepts, so have I created traditional numbers with innovative treatment. Never did I ever felt the need of diluting the form. Our form is so rich, it is like an ocean, you just need to know how to use it. I believe when you have good command over a form, you develop your own Idiolect, which is transmitted through heart. And then people start relating to it easily. I am really fortunate to receive blessings from both my Gurus, my husband, in-laws, my seniors all through my journey.
Could you walk us through your choreographic process from ideation to stage performance? Do you consciously design choreographic pieces keeping audience perception in mind?
Choreography is a deeply personal and evolving process, and there is no fixed pattern to it. Sometimes it flows effortlessly, while at other times, one has to patiently wait for that spark. I never force the process—when I feel mentally exhausted, I pause and allow my thoughts to settle. Once a concept is identified, I immerse myself in studying it. My mind starts weaving around the idea. My way of composing may appear haphazard—non-linear and scattered—but eventually, I connect all the dots. Those watching me for the first time often feel anxious, while others have come to enjoy this ‘creative tension’. At the same time, I am extremely disciplined and organised. Every detail—costume changes, hair, jewellery, even ensuring nothing disrupts the performance—is carefully rehearsed. The capability and standard of the dancers is something I consider right from the beginning, even before conceptualising. As for the audience, that becomes a consideration towards the end, unless the work is specifically commissioned with that in mind.
Kathak has a rich vocabulary. How do you trigger concepts for your choreographies and innovate without diluting their essence?
An in-depth understanding of the form naturally guides you to remain within its parameters. Over time, the form itself becomes your language—you begin to think, dream, and express through it. Because of this, I have never felt the need to take undue liberties, regardless of the concept I choose to work on. Innovation, for me, comes from within the form, not outside it.
Recently many government events have hosted massive dance performance choreographies featuring vibrant costumes, headgear, musical instruments, and similar movements set to a curated music and conducted by same artistes/dancers/choreographers most of the time. However, choreographic variation along with a thoughtful script is lacking. How do you see dance choreographies evolving in the next decade?
Unfortunately, the world often functions on the principle of demand and supply. If the demand is mediocre, the supply tends to follow—and vice versa. In this context, connoisseurs or rasikas have a very important role to play.
There are only a few who possess the foresight and courage to trust their own instinct and create work that is unique and aesthetically rich, despite prevailing trends. Recognition and encouragement are key to nurturing such work.
I sincerely hope that the immensely talented and intelligent upcoming generation chooses not to be part of the rat race, but instead builds its own identity. One is truly seen and heard only when one has something distinctive to offer—otherwise, one becomes just another face in the crowd.
I wish for every dancer to develop their own hallmark and not get lost in uniformity. To truly restore the richness of the Indian performing arts—especially classical traditions—we need to work in layers, with depth, integrity, and patience.
Comments