Every year on April 30, India pays tribute to a visionary who transformed storytelling forever—Dadasaheb Phalke, revered as the “Father of Indian Cinema.” Born as Dhundiraj Govind Phalke in 1870 in Trimbakeshwar, Maharashtra, his pioneering spirit laid the foundation of what would become one of the world’s largest film industries.
At a time when cinema itself was a nascent medium globally, Phalke dared to imagine its possibilities in India. With relentless determination and creativity, he brought to life India’s first full-length feature film, Raja Harishchandra in 1913. Rooted in Indian mythology, the film was more than just entertainment—it was a cultural awakening. It proved that Indian stories could be told through the powerful medium of cinema, sparking the birth of a new artistic era.
Phalke’s journey into filmmaking was not accidental. A student of the prestigious Sir J.J. School of Art in Mumbai, he had mastered multiple disciplines including painting, photography, and printing technology. This diverse skill set enabled him to handle every aspect of filmmaking—from set design and cinematography to direction and editing—at a time when resources were scarce and technical knowledge limited.
Over a career spanning just 19 years, Phalke created an astonishing body of work: 95 feature films and 27 short films. Among his notable works are Lanka Dahan and Kaliya Mardan, both of which drew heavily from Indian epics and mythology. His films not only entertained but also connected audiences with their cultural roots, bridging tradition with innovation.
Phalke’s contribution goes far beyond numbers. He established the grammar of Indian filmmaking—introducing narrative techniques, visual storytelling, and production practices that continue to influence cinema today. At a time when acting in films was socially frowned upon, especially for women, he overcame societal barriers to bring his cinematic vision to life.
In recognition of his monumental contribution, the Government of India instituted the Dadasaheb Phalke Award in 1969. Today, it remains the highest honour in Indian cinema, awarded for lifetime achievement and excellence, symbolising the enduring legacy of the man who started it all.
As India celebrates his birth anniversary, Dadasaheb Phalke is remembered not just as a filmmaker, but as a pioneer who transformed imagination into reality. His work bridged mythology and modernity, art and technology, vision and execution. In doing so, he gave India not just its first film—but an entire cinematic identity.
His legacy lives on in every frame of Indian cinema, reminding us that great revolutions often begin with a single dream.
In a moment of profound spiritual and cultural significance, the sacred relics of Gautama Buddha have arrived in Ladakh for a rare public exposition, marking the first time these revered remains have been brought out from their permanent repository for display within India.
The sacred relics of Lord Buddha arrive in Ladakh for the public exposition from May 1 to 14.
Transported under tight security via a special aircraft of the Indian Air Force, the relics reached Leh to a ceremonial welcome led by Lieutenant Governor Vinai Kumar Saxena and senior officials.
A Rare and Historic Occasion
The relics, associated with the ancient Piprahwa Stupa in Kapilavastu, believed to be linked to the Buddha’s own clan, hold immense religious and historical value.
What makes this event particularly remarkable is its rarity. These sacred remains have largely remained preserved in institutions like the National Museum in New Delhi and have only occasionally travelled abroad for international exhibitions. This is the first large-scale public exposition within India itself, making it a deeply emotional and significant moment for devotees.
Public Exposition and Schedule
The exposition is scheduled from May 1 to May 14–15, 2026, coinciding with the auspicious occasion of Buddha Purnima. During this period, the relics will be displayed at multiple locations across Ladakh, allowing devotees, monks, scholars, and visitors from around the world to pay homage.
Lord Buddha's relics are being transported by a special flatbed truck to Jivatsal, where they will be placed on display for the public.#LordBuddha#Ladakhpic.twitter.com/QfE8MufOZ4
The arrival of the relics is being seen as more than a religious event, it carries a deeper global message. The exposition, themed around peace and universal harmony, highlights the enduring relevance of the Buddha’s teachings in today’s world. At a time marked by global uncertainty, the relics serve as a reminder of values central to Buddhism, compassion, non-violence, and inner awakening.
Why Ladakh?
Ladakh, often referred to as the “Land of High Passes,” has a deep-rooted Buddhist heritage. Monasteries, traditions, and a living culture of faith make it one of the most spiritually significant regions in India.
Bringing the relics here is seen as a symbolic “homecoming”—a tribute to a region that has preserved Buddhist teachings for centuries despite geographical and climatic challenges.
A Moment Beyond Religion
For many, this is not just an exhibition but a once-in-a-lifetime opportunity to witness and venerate relics believed to carry the physical and spiritual presence of the Buddha.
It also reflects India’s broader cultural vision—showcasing its ancient heritage while promoting global peace and interfaith harmony.
Conclusion
The arrival of Lord Buddha’s sacred relics in Ladakh is a historic convergence of faith, culture, and national heritage. As thousands gather to pay homage, the event stands as a powerful reminder of timeless wisdom, that peace begins within, and compassion remains humanity’s greatest strength.
Narasimha Jayanti is a significant Hindu festival dedicated to the birth (appearance) of Lord Narasimha, the fourth incarnation of Vishnu. In 2026, the festival will be observed on April 30, falling on the Chaturdashi tithi (14th day) of the Shukla Paksha in the month of Vaishakha.
Who is Lord Narasimha?
Lord Narasimha is a unique and powerful avatar of Vishnu, depicted as half-man and half-lion. According to Hindu scriptures, he incarnated to protect his devotee Prahlada and to destroy the tyrant demon king Hiranyakashipu.
The story symbolises the ultimate victory of faith and righteousness over arrogance and evil. Narasimha’s form itself represents divine intervention beyond logic—neither human nor animal, appearing at dusk—to honour the conditions of a boon that made the demon nearly invincible.
Why is Narasimha Jayanti Celebrated?
The festival commemorates the moment when Lord Narasimha emerged to restore dharma (cosmic order) and protect his devotee. It is believed that worshipping him on this day helps devotees overcome fear, negativity, and obstacles in life.
Spiritually, the day signifies: ●Victory of good over evil ●Protection from harm and negative energies ●Strength, courage, and unwavering faith
Rituals and Traditions
Narasimha Jayanti is observed with deep devotion across temples and homes. The day usually begins early, with devotees taking a ritual bath and preparing for worship.
Key rituals include: ●Fasting (Vrat): Many devotees observe a strict fast until evening or the next day. ●Puja and Abhishekam: Idols of Lord Narasimha or Vishnu are bathed with panchamrit (milk, curd, honey, ghee, and sugar). ●Offerings: Flowers, fruits, sweets, and sacred items like sandalwood and saffron are offered. ●Mantra Chanting: Devotees recite prayers and the Narasimha mantra, often 108 times. ●Evening Worship: Special importance is given to evening prayers, as the Lord is believed to have appeared at dusk.
Many also engage in charity and spiritual readings, reflecting the values of compassion and righteousness.
Significance in Today’s World
Beyond rituals, Narasimha Jayanti holds deep philosophical meaning. It reminds devotees that divine protection comes to those who remain steadfast in truth, even in adversity. The story of Prahlada’s unwavering devotion continues to inspire faith, resilience, and moral courage.
In a broader sense, the festival is a timeless reminder that no matter how powerful injustice may seem, righteousness ultimately prevails.
Conclusion
Narasimha Jayanti is not just a celebration of a divine incarnation—it is a reaffirmation of faith in justice, protection, and the triumph of good over evil. Through fasting, prayer, and devotion, devotees seek the blessings of Lord Narasimha for strength, peace, and protection in their lives.
In a quiet classroom in Devlali, far removed from renowned universities and research institutions, a schoolteacher spent his time exploring something most people take for granted—numbers.
There were no advanced tools, no academic spotlight, and no formal recognition. Yet, within that simplicity, a discovery was made that would later travel across the world, capturing the curiosity of mathematicians and programmers alike.
This was the work of Dattatreya Ramchandra Kaprekar, a mathematician born in 1905 in Dahanu. Unlike many scholars, Kaprekar did not follow a conventional academic path. He was largely self-taught, guided by an intense curiosity and a deep fascination with the hidden behavior of numbers.
To Kaprekar, numbers were more than mere digits—they had patterns, tendencies, even what he described as a “personality.” He would rearrange them, break them apart, and observe their transformations, searching for something beyond the obvious.
And in this process, he uncovered a remarkable phenomenon.
By repeatedly arranging the digits of a four-digit number in ascending and descending order and subtracting them, he found that the result consistently converged to a single number: 6174.
Today, this number is known as Kaprekar’s constant—a mathematical curiosity that behaves almost like a fixed point. No matter where you begin (as long as the digits are not all identical), the process leads you to 6174 within a few steps.
It is the final destination for almost all four-digit numbers (with at least two distinct digits) when performing a specific subtraction process—known as Kaprekar’s routine—which always reaches 6174 in a maximum of seven iterations.
What makes this discovery fascinating is not just the number itself, but its journey. From a modest classroom in India, it found relevance in computational thinking, programming exercises, and mathematical exploration across the globe.
Yet, despite the global recognition his work eventually received, Kaprekar himself remained largely uncelebrated during his lifetime in India. He continued to live simply, dedicated to teaching and to his quiet investigations into the nature of numbers.
His story is a reminder that true curiosity does not depend on resources or recognition. Sometimes, the most profound discoveries emerge not from grand institutions, but from individuals who dare to look deeper into the ordinary.
In the end, 6174 is more than just a number—it is a symbol of persistence, curiosity, and the unnoticed brilliance that exists all around us.
(The writer of this article is Shreya Vishwakarma)
India’s dance traditions are a living expression of its layered history, spirituality, and regional diversity. Guided in spirit by the ancient Natya Shastra, these forms are far more than performance—they are storytelling in motion, where rhythm, gesture, and emotion come together to reflect life itself. From temple courtyards to festive gatherings, each dance form carries a distinct identity shaped by its geography and cultural memory.
Bharatanatyam (Tamil Nadu) stands among the oldest classical traditions, born in temple rituals where dance was an offering to the divine. Its strong, grounded stance, precise footwork, and expressive storytelling transform the dancer into both narrator and character. The richly pleated costume enhances each movement, making geometry and grace visually inseparable.
Kathak (North India) traces its roots to itinerant storytellers who narrated epics through movement. Over time, it absorbed influences from royal courts, evolving into a form known for swift spins, intricate footwork, and rhythmic dialogue with music. The dancer’s ankle bells become an instrument, turning each step into sound as much as motion.
In Kerala, Kathakali elevates dance into theatrical spectacle. Performers, adorned with elaborate makeup and grand costumes, embody mythological characters with astonishing intensity. Without spoken words, they rely on precise facial expressions and controlled eye movements to convey complex emotions, turning every performance into a dramatic visual narrative.
Odissi (Odisha), inspired by temple sculptures, is lyrical and fluid. Its signature tribhangi posture creates a gentle curvature of the body, giving the dance a sculptural elegance. Through soft expressions and devotional themes, the dancer appears almost like a figure brought to life from stone carvings.
From Andhra Pradesh, Kuchipudi blends dance with drama in a vibrant and expressive style. Rooted in theatrical traditions, it carries a playful energy, often incorporating challenging elements like balancing on a brass plate. Its movements are light yet dynamic, bridging storytelling with technical brilliance.
Manipuri (Manipur) offers a contrast with its serene and devotional quality, often centered on the life of Krishna. The movements are soft, rounded, and almost weightless, accompanied by delicate costumes that enhance its ethereal charm. Rather than dramatic expressions, it focuses on quiet devotion and grace.
Also from Kerala, Mohiniyattam embodies gentle femininity and elegance. Its slow, swaying movements and subtle expressions create an atmosphere of calm beauty. The understated white-and-gold attire complements its restrained aesthetic, allowing emotion to unfold softly rather than dramatically.
Sattriya (Assam) originated in monastic settings under the guidance of Srimanta Sankardev. Rooted in spiritual storytelling, it combines dance and drama to convey devotional themes, maintaining a disciplined structure while retaining a deep sense of bhakti (devotion).
The energetic Chhau (Eastern India) draws from martial arts and folk traditions, resulting in powerful, acrobatic movements. In many styles, dancers wear elaborate masks, transforming into mythological or symbolic figures. Its vigorous energy and dramatic storytelling make it visually striking and distinct from more classical forms.
Among folk traditions, Garba (Gujarat) is a vibrant celebration performed during . Dancers move in circular formations, clapping rhythmically as music builds a collective energy. It is as much about community and celebration as it is about dance, bringing people together in joyous unity.
Bhangra (Punjab) radiates exuberance and vitality. Originally linked to harvest celebrations, it has grown into a global symbol of Punjabi culture. With lively beats, energetic jumps, and colorful attire, Bhangra captures the spirit of festivity and shared happiness.
From Maharashtra, Lavani combines rhythm and expression in a bold, engaging style. Performed to the beats of the dholki, it uses swift movements and expressive storytelling to captivate audiences, often blending entertainment with social themes in a uniquely powerful way.
Finally, Ghoomar (Rajasthan) reflects the grace and cultural richness of desert traditions. Performed primarily by women during auspicious occasions, it is marked by gentle twirls and circular movements. As dancers spin in flowing ghagras, the swirling fabric creates a mesmerizing visual rhythm, embodying both elegance and celebration in its simplest, most captivating form.
Together, these dance forms create a vibrant tapestry of India’s artistic soul. Each step, gesture, and rhythm carries echoes of history and identity, reminding us that in India, dance is not just an art form—it is a way of experiencing and expressing life itself.
Every year on April 29, cinema lovers pause to remember one of the finest actors India has ever produced—Irrfan Khan. More than just a performer, he was an artist who transformed acting into an experience of quiet intensity, subtlety, and truth.
Doordarshan pays tribute to actor Irrfan Khan on his death anniversary. A legendary performer whose journey began with acting in memorable Doordarshan serials and went on to redefine cinema with his quiet intensity and remarkable depth. From humble beginnings to global… pic.twitter.com/O0cqKNlwyt
— Doordarshan National दूरदर्शन नेशनल (@DDNational) April 29, 2026
Born as Sahabzade Irfan Ali Khan in Rajasthan, Irrfan carved his own identity in an industry often driven by glamour and lineage. Over a career spanning more than three decades, he moved effortlessly between Indian and international cinema, delivering unforgettable performances in films like Paan Singh Tomar, The Lunchbox, Piku, Life of Pi, and Hindi Medium. His ability to express deep emotions with minimal dialogue made him a rare and powerful presence on screen.
Interestingly, Irrfan was always deeply conscious of individuality. In 2012, he altered the spelling of his name from “Irfan” to “Irrfan,” simply because he liked the sound of the extra “r.” Later, he even chose to drop “Khan” from his name, expressing a desire to be known for his work rather than his lineage.
In 2018, the actor revealed that he had been diagnosed with a neuroendocrine tumour—a rare form of cancer. What followed was a deeply personal and courageous battle, one he faced with remarkable dignity. Even during his illness, Irrfan continued to work, with Angrezi Medium (2020) becoming his final film—a heartfelt goodbye that resonated with audiences worldwide.
On April 29, 2020, Irrfan Khan passed away at the age of 53 due to complications from a colon infection linked to his illness. His death left a void not just in Indian cinema, but across global storytelling.
Yet, what makes Irrfan unforgettable is not just his filmography, but the philosophy he carried. He redefined masculinity on screen—moving away from loud heroism to vulnerability, introspection, and authenticity. His characters felt real because they were deeply human. Whether portraying a grieving father, a conflicted lover, or an ordinary man navigating extraordinary circumstances, Irrfan brought a rare honesty to every role.
Years after his passing, his legacy continues to inspire actors and audiences alike. His performances remain timeless, reminding us that true art lies not in exaggeration, but in truth.
On his death anniversary, Irrfan Khan is not merely remembered—he is revisited, rediscovered, and relived through every frame he graced.
India’s Northeast is often described as a hidden gem—an enchanting region where nature thrives in its purest form and culture flows through every valley, river, and mountain. Far from the usual tourist circuits, this part of the country offers a refreshing blend of serenity, adventure, and deep-rooted traditions. From misty hills to vibrant tribal life, here are ten destinations that define the unmatched charm of Northeast India.
1. Tawang
Nestled at an altitude of over 10,000 feet, Tawang is a breathtaking destination known for its snow-clad mountains and spiritual aura. The highlight here is the iconic Tawang Monastery, one of the largest monasteries in India and a significant center of Mahayana Buddhism. With prayer flags fluttering against a backdrop of the Himalayas, Tawang offers both peace and panoramic beauty. During winters, the entire region transforms into a snowy wonderland, attracting adventure lovers and solitude seekers alike.
2. Kaziranga National Park
A UNESCO World Heritage Site, Kaziranga National Park is globally renowned for its population of the endangered one-horned rhinoceros. Spread across vast grasslands and wetlands, the park is also home to elephants, wild water buffaloes, and a high density of tigers. A jeep or elephant safari through Kaziranga offers an unforgettable encounter with wildlife in its natural habitat, making it a must-visit for nature enthusiasts and photographers.
3. Shillong
Often called the “Scotland of the East,” Shillong charms visitors with its rolling hills, colonial-era architecture, and pleasant climate. The city blends urban vibrancy with natural beauty, featuring attractions like Umiam Lake and lively local markets. Shillong’s music culture is another highlight, earning it a reputation as India’s rock music capital. 4. Cherrapunji (Sohra)
Known as one of the wettest places on Earth, Cherrapunji is a land of dramatic landscapes and cascading waterfalls. The region’s unique living root bridges—crafted over decades by local Khasi tribes—are both eco-friendly and awe-inspiring. During the monsoon, waterfalls like Nohkalikai Falls come alive in full force, creating a mesmerizing spectacle. 5. Gangtok
The capital of Sikkim, Gangtok is known for its cleanliness, orderliness, and scenic charm. Overlooking the Kanchenjunga range, the city serves as a gateway to several iconic sites, including Tsomgo Lake and Nathula Pass. With its blend of Buddhist monasteries, bustling markets, and modern amenities, Gangtok offers a perfect balance of tradition and comfort. 6. Ziro Valley
Ziro Valley is a tranquil paradise known for its lush green rice fields and the unique culture of the Apatani tribe. The valley’s landscape, dotted with bamboo houses and pine forests, creates a picturesque setting. It also hosts the famous Ziro Music Festival, which draws music lovers from across the country for an immersive cultural experience. 7. Dawki & Umngot
Dawki is home to the crystal-clear Umngot River, often so transparent that boats appear to float on air. This surreal destination lies near the India–Bangladesh border and is ideal for boating, photography, and peaceful retreats. The clarity of the river, especially in winter, makes it one of the most unique natural attractions in India. 8. Majuli Island
Majuli, the world’s largest river island, sits gracefully on the Brahmaputra River. It is the cultural heart of Assam, known for its Vaishnavite monasteries or Satras, which preserve centuries-old traditions of art, dance, and spirituality. The island’s serene environment and vibrant festivals offer a glimpse into a lifestyle deeply connected to nature and heritage. 9. Loktak Lake
Loktak Lake is a natural wonder famous for its floating islands, known as “phumdis.” These unique formations create a one-of-a-kind ecosystem that supports diverse flora and fauna. The lake is also home to the Keibul Lamjao National Park, the world’s only floating national park, where the endangered Sangai deer resides.
10. Yumthang Valley
Popularly called the “Valley of Flowers of the East,” Yumthang Valley bursts into color during spring with blooming rhododendrons and alpine flowers. Surrounded by snow-capped peaks, the valley also offers hot springs and breathtaking views. In winter, it transforms into a snowy paradise, making it equally appealing throughout the year.
Conclusion
Northeast India is more than just a travel destination—it is an experience that touches the soul. Each of these places tells a unique story, whether through its landscapes, wildlife, or cultural richness. For those seeking something beyond the ordinary, this region offers a journey into the untouched, the unexplored, and the unforgettable.
The Natya Shastra is one of the most significant and foundational texts in the history of Indian art and aesthetics. Attributed to the ancient sage Bharata Muni, this Sanskrit treatise is often described as the ultimate guidebook for drama, dance, and music. Written and compiled between roughly 200 BCE and 200 CE (with some estimates extending beyond this range), it stands as an encyclopedic work that shaped centuries of artistic traditions in India.
What is the Natya Shastra?
The term itself combines two Sanskrit words—Natya (drama or performance) and Shastra (treatise or manual). Together, it literally means “the science of theatrical performance.” True to its name, the Natya Shastra is not just about theatre—it is a comprehensive manual that covers virtually every aspect of performing arts, including acting techniques, stage design, music, dance movements, costumes, makeup, and even audience engagement.
The text consists of about 36 chapters and nearly 6,000 verses, reflecting a highly structured and systematic approach to art.
Purpose and Philosophy
The Natya Shastra views performance as more than entertainment—it is a medium for education, moral reflection, and spiritual experience. According to the text, drama was created to communicate ethical values and depict human life in a way that audiences could relate to and learn from.
It is often called the “Fifth Veda,” as it is believed to combine elements from the four Vedas—speech, music, action, and emotion—into a single art form.
The Theory of Rasa: Its Core Contribution
One of the most influential ideas introduced in the Natya Shastra is the Rasa Theory, which forms the backbone of Indian aesthetics. Rasa refers to the emotional essence or “flavour” experienced by the audience during a performance.
Bharata Muni identified eight primary rasas, including love (śṛṅgāra), laughter (hāsya), anger (raudra), compassion (karuṇa), heroism (vīra), fear (bhayānaka), disgust (bībhatsa), and wonder (adbhuta).
The goal of any performance, according to this theory, is not merely to entertain but to evoke these emotions deeply, transporting the audience into a reflective and almost transcendental state.
Key Elements of Performance
The Natya Shastra lays out a detailed framework for performance, including: ●Abhinaya (Expression): The art of conveying emotions through body, speech, costume, and inner feelings. It is divided into four types—Angika (body), Vachika (speech), Aharya (costume), and Satvika (inner emotion). ●Bhava (Emotion): The psychological states portrayed by the performer. ●Raga and Tala: The musical aspects, including melody and rhythm. ●Stagecraft: Design and construction of theatre spaces, along with roles like the Sutradhara (stage manager).
It also categorizes different types of plays, acting styles, gestures (mudras), and body movements, making it a complete manual for performers and directors alike.
Dance and Duality: Tandava and Lasya
The text also explains two fundamental styles of dance—Tandava (vigorous, masculine, associated with energy and power) and Lasya (graceful, delicate, associated with beauty and emotion). These represent the balance of opposing forces in art and life, reflecting a deeper philosophical worldview.
Legacy and Influence
The Natya Shastra has had a profound and lasting influence on Indian classical arts. Dance forms like Bharatanatyam, Kathak, and Odissi, as well as traditional theatre and music, draw heavily from its principles. Even today, it continues to guide performers, scholars, and choreographers.
Beyond India, its ideas on aesthetics—especially the concept of emotional engagement—have contributed to global discussions on art and performance theory.
Conclusion
The Natya Shastra is far more than an ancient text—it is a living tradition. By blending art, philosophy, and spirituality, it elevates performance into a powerful medium of human expression. Its enduring relevance lies in its universal insight: that art, at its best, connects deeply with human emotions and reveals the essence of life itself.
Manya Handa, a fresh graduate in Performing Arts and Psychology, is a dual classical dance degree holder and an aspiring dance movement therapist. Rooted in years of rigorous training and driven by a deep connection to her art, she shares her journey below, of pursuing dance not just as a passion, but as a purposeful career.
As the world celebrates World Dance Day, I find myself standing at a beautiful crossroads—looking back at nearly two decades of rhythmic training and looking forward to a future where dance is not just my passion, but my professional calling. For those who believe that dance is merely a hobby, my journey is a testament to the fact that when you grow up with art, the art grows within you, eventually shaping your entire world.
The Early Echoes: Roots in Kathak
My story began at the tender age of five. While most children were just learning to tie their shoelaces, I was being introduced to the intricate footwork of Kathak under the guidance of Dr. Saroj Sharma at the Kala Ashram of Performing Arts. I am eternally grateful to her for sowing the seeds of discipline in me.
This journey was never a solitary one. I was fueled by the unwavering encouragement of my mother, who had the foresight to identify my latent talent and support me through every stumble. Beside her stood my father, the silent pillar of strength who ensured I had the foundation to pursue my dreams. However, my biggest inspiration was my grandfather (Nana). As a defense professional, he was the epitome of discipline, yet he possessed the soul of an artist and the stamina of an athlete. He taught me that an artist must have the heart of a poet but the nerves of a soldier.
The Sweat and the Soul
The initial years were far from glamorous. I vividly remember days when I felt physically drained. My young body struggled to adapt to the relentless tatkaar (footwork) sessions. There were months of repetitive training that demanded a level of patience I didn’t know I possessed. It was during these grueling hours that I realized:
Great things are not achieved through impulse, but by a series of small things brought together through high resilience and the salt of one’s own sweat.
Slowly, the exhaustion turned into exhilaration. I realized that Kathak was not just a hobby; it was sculpting my personality. It taught me poise, rhythm, and a way to communicate without words. My dedication bore fruit as I began representing my art on prestigious platforms, from national competitions in Ahmedabad and Jaipur to an international stage in Bali, Indonesia. Winning those awards was exhilarating, but the true reward was the realization that this was a lifetime passion.
My schooling at Witty International School, Udaipur, played a pivotal role in this growth. My teachers were constant sources of encouragement, providing me with a stage whenever possible and ensuring my identity as an artist was nurtured alongside my academics. By the time I finished my schooling, I had completed a 10-year journey to become a degree holder in the Jaipur Gharana Sangeet Prabhakar from Prayag Sangeet Samiti, Prayagraj. To add more colors to my repertoire, I also completed a two-year diploma in Rajasthani folk (Bhavai and Kalbeliya) and Maharashtrian Lavani during my final years of school.
The Great Migration: From Kathak to Bharatnatyam
The next chapter of my life took me from the familiar lanes of Udaipur to the bustling metro of Bangalore. I secured a place at Christ University for a double major in Performing Arts and Psychology. This transition was perhaps the most challenging period of my life.
Moving from North India to a southern metropolis brought a massive cultural shift. Adapting to hostel life, new languages, and a different social fabric was daunting. Moreover, I was stepping into the world of Bharatnatyam—a dance form entirely different in its geometry, language, and technique compared to Kathak. I was plagued by self-doubt. Could a Kathak dancer master the sharp, linear precision of Bharatnatyam? During these moments of insecurity, I held onto a simple truth:>
Courage does not always roar. Sometimes courage is the quiet voice at the end of the day saying, ‘I will try again tomorrow.
My mentors at Christ University, particularly Mrs. Padmapriya Sreekanth, became my guiding lights. I am also deeply grateful to Mrs. Tejaswini Halthore, my Bharatnatyam internship teacher, for her specialized guidance and for believing in my true potential as I navigated this new form. A defining moment of my life was receiving my Bharatnatyam Ghungroos from our esteemed guru, Mr. Prabin Villareesh. His belief that I would “shine bright as a Bharatnatyam dancer” was a gift more valuable than any trophy.
The Intersection of Art and Mind
What made my time at Christ University truly transformative was the intersection of Dance and Psychology. I began to see how the Navarasas (the nine emotions of Indian dance) mirrored the psychological frameworks of human behavior.
I discovered that the moment I step onto the stage, my fears evaporate. The “small-town girl” anxieties and the linguistic barriers vanish, replaced by a universal language of expression. Studying Psychology allowed me to understand the “why” behind the “how” of dance. It made me a more empathetic performer and a more confident individual.
Today, I am a proud degree holder in both Kathak and Bharatnatyam. But for an artist, the horizon always recedes as you move toward it. I now aim to learn the remaining six classical dances of India, for I believe that learning is a perennial river.
The Future: Healing Through Movement
As my convocation day approaches, I look forward with a heart full of gratitude. But I am not just looking for a job; I am looking for a mission.
My goal is to venture into the field of Dance Movement Therapy (DMT). By combining my training in classical dance with my background in Psychology, I want to explore Expressive Arts Therapy. Dance is not just for the stage; it is a tool for healing, a way to process trauma, and a medium to improve mental health.
The Scope of Performing Arts Today
To those who wish to follow this path, the scope is wider than ever. We are living in a golden age for performing arts. Beyond traditional stage performances, the industry offers diverse avenues:
Media & Digital: OTT platforms and social media have democratized fame and provided lucrative opportunities for choreographers and performers.
Education & Administration: There is a growing demand for qualified arts administrators and educators who can preserve our heritage.
Technical & Production: Roles in stage management, lighting design, and direction are essential and well-paying.
Therapy: As mental health awareness grows, the field of Arts Therapy is expanding rapidly in hospitals, schools, and corporate wellness programs.
Conclusion: Art as a Social Contribution
My journey from a five-year-old in Udaipur to a double-degree holder in Bangalore has taught me that dance is a bridge. It bridges the gap between the ancient and the modern, the North and the South, and the mind and the body.
By pursuing a career in Dance Movement Therapy, I hope to contribute to society by offering a holistic approach to well-being. In a world that is increasingly digital and disconnected, dance brings us back to our breath, our bodies, and our shared humanity. To grow up with a passion is a gift; to build a career out of it is a responsibility. I am ready to dance my way into this future, one rhythmic step at a time.
On International Dance Day, stories that celebrate the enduring spirit of passion take centre stage. In a world where demanding professions often leave little room for creative expression, there are individuals who continue to nurture both—with grace, discipline, and unwavering dedication.
One such inspiring journey is that of Dr. Leena Dave, a senior cataract and phaco surgeon at Tara Netralaya, who has performed over 30,000 successful cataract surgeries. Alongside her distinguished medical career, she is also a trained Kathak dancer, having earned her Visharad from Bhatkhande Sangeet School, Lucknow.
Her story is not just about balance—it is about rediscovery, resilience, and the belief that passion has no age. On this occasion, she shares her journey with Kanan Rathore, the one of living between the precision of surgery and the rhythm of dance.
Q1. Let’s begin at the start—when did dance first become a part of your life, and what initially drew you towards it?
Dance has been with me since my nursery school days. I still remember a time when we didn’t even have a television at home, and after dinner, I would perform in front of my family. Those little moments of joy and expression were where it all began.
Q2. Looking back, how would you describe your journey—from your early days as a dancer to becoming a doctor who continues to stay connected to it?
Dance was always a constant. I participated in it every year during school, and even in medical college, I continued performing—both solo and in groups. At the same time, becoming a doctor was my childhood dream, and by God’s grace, I was able to fulfill that. It was during the COVID period, however, that I truly paused and realised the importance of focusing on my passion as a dancer again.
Q3. Medicine and dance are such contrasting worlds—how have these two identities shaped you?
At the age of 48, I formally started learning Kathak. That phase was transformative. Learning dance at that stage of life helped me deal with professional stress in a much better way. Both fields may seem different, but they have shaped me into a more balanced and composed person.
Q4. In the middle of a demanding medical routine, what does dance mean to you today?
Dancing is, and always has been, a form of therapy for me. It not only helps me relax mentally but has also added a certain grace to my personality.
Q5. Has being a dancer influenced the way you approach your work as a doctor?
Yes, definitely. Dance has taught me to stay calm and composed. I don’t react impulsively, and that sense of balance reflects in my professional life as well.
Q6. Was there ever a time when balancing both felt difficult or when you thought of stepping away from dance?
Balancing was never really a problem, but due to some health issues, I did consider stepping away from dance for a while. However, during that time, I realised even more deeply that dancing is essential for my mental well-being—it is truly my therapy.
Q7. How has your journey with dance evolved in recent years?
I completed my Visharad in Kathak at the age of 52, which was a very fulfilling milestone. Now, I am more focused on performing semi-classical dance and continuing to grow in this art form.
Q8. What have these parallel journeys in medicine and dance given you personally?
Both performing surgeries and dancing bring me immense happiness and satisfaction. Whether it is appreciation from patients or from people who watch my dance, those moments are deeply fulfilling.
Q9. What would you like to say to young people who feel they must choose between a stable profession and their passion?
Since I started learning dance formally a bit later in life, I would always advise young people to develop a passion or hobby alongside their profession. It definitely enhances your performance in every aspect of life.
Dr. Leena Dave’s journey beautifully captures the essence of International Dance Day—not just as a celebration of movement, but as a reminder that passion knows no age and no boundaries.
Even within the most demanding professions, there is always space to nurture what truly moves you.
Her story gently challenges the idea that one must choose between responsibility and passion. Instead, it shows that with courage, consistency, and a willingness to begin—at any stage of life—it is possible to embrace both. Whether it is dance or any other calling, it is never too early or too late to start. What matters is the decision to begin, and the courage to keep going.
