Widely regarded as one of the UK’s most prominent kathak dancers, the artist continues her lifelong endeavour to blend Western and South Asian cultures through productions, education, and well-being initiatives for patients and carers. Guillermo Nazara chats with the creative and performer to learn more about the company’s enduring legacy and its ambitious new projects for the new year.
How would you describe your journey over all these years bringing elements of Indian and Western culture together?
My journey of bringing elements of Indian and Western culture together has been one of discovery, negotiation, and constant evolution. At its core, it has been about staying deeply rooted in Kathak —its technique, aesthetics, and philosophy— while responding to the world I live in here in the UK.
Working in a Western cultural environment naturally exposed me to different artistic languages, ways of thinking, and approaches to creativity. Instead of seeing Indian and Western cultures as opposites, I learned to experience them as different lenses through which movement, rhythm, and expression can unfold.
The challenge has always been to make sure that in this blending, Kathak’s integrity is never compromised. My aim has never been to dilute the form, but to allow it to breathe in new spaces—to converse with different art forms, artists, and audiences while remaining authentic to its core.
Over the years, this journey has taught me balance: how to hold tradition with respect, how to engage with contemporary ideas, and how to create work that feels honest to my identity as someone navigating both worlds. It has allowed me to expand the reach of Kathak, to connect with diverse audiences, and to show that classical Indian dance can thrive in modern contexts without losing its soul.
For me both these elements together has been less about fusion and more about dialogue— a dialogue that continues to shape me as an artist and keeps my practice alive, relevant, and deeply meaningful.
Where did the wish to merge both cultural identities come from?
The wish to merge both cultural identities came very naturally to me. I was born and brought up in India, and I moved to the UK after marriage. What’s interesting is that I have never felt out of place in either country. When I’m in the UK, I feel completely myself, and every time I return to India, I feel just as much at home.
Because of this, I never experienced my identities as separate or conflicting. Instead, I felt a strong sense of belonging in both places. That dual comfort made me curious about how these two sides of me —my Indian roots and my life in the UK— could speak to each other through dance.
So the desire didn’t come from trying to fit in or bridge a gap; it came from recognising that both cultures genuinely live within me. I was interested in exploring how they could coexist in my artistic practice, how Kathak could reflect the world I inhabit now, and how my journey could be expressed honestly through movement.
Bringing these identities together became a way of acknowledging my full self — everything I came from and everything I have become.
What prompted you to specialise in Kathak out of all Indian classical dance forms?
I feel as though dance has always been a part of my life. I first began learning Bharatanatyam at the age of four and continued for two years. I was apparently full of enthusiasm —but also quite naughty— and never really managed to focus in class!
Everything changed when my mum took me to watch the legendary Sitara Devi perform. After the show, mum took me backstage to receive blessings from Sitara Devi. She blessed me to become a great Kathak dancer. My mum, surprised, said, “But she is learning Bharatanatyam,” to which Sitara Devi responded, “No — she is going to learn Kathak.” I only learned this story later from my mum, but for her, that moment was pivotal.
Determined to follow that blessing, my mum began searching for a Kathak teacher. At the time, Kumudini Lakhia (Kumiben) was teaching. When she took me to meet Kumiben, I was considered too young, and she suggested we wait. However, she graciously allowed me to sit in and observe classes whenever possible.
My mum took me to every single session — watching, absorbing, being present. Her persistence and belief eventually led Kumiben to enroll me.
And that’s how my journey in Kathak began: guided by my mother’s determination, and blessed and nurtured through the generosity, vision, and teaching of Kumiben.
The name of your company, Pagrav, stands for the sound of feet. How would you define its philosophy?
“Pagrav” has always held a deep, personal meaning for me. While it literally translates to “the sound of feet,” its philosophy reaches far beyond that. For me, Pagrav represents the very beginning of a dancer’s journey — that first moment when the sole touches the ground and rhythm awakens. From that point onward, it becomes a dialogue between the body, the spirit, and the art form.
As Artistic Director and CEO of Pagrav Dance Company, I see the name as a metaphor for our core ethos: the journey from sole to soul. It embodies our belief in Kathak as both a classical tradition and a living, evolving practice — one that invites discovery, reflection, and transformation.
Pagrav was originally established to set an example of how art and artists should be viewed and valued. That principle remains at the heart of everything we do. We strive to create an environment where dance is treated with integrity, artists are nurtured with respect, and creativity is given the space to flourish without compromise.
So, Pagrav is not just a name — it is a philosophy. It represents grounding and upliftment, lineage and innovation, and the commitment to honour tradition while boldly engaging with new creative possibilities. It is the echo of our intentions, our stories, and our collective artistic journey.
Beyond your artistic showcases, the company also aims to provide wellbeing to cancer patients and carers among other groups. What can you tell us about this initiative?
Our wellbeing work, especially with cancer patients and carers, grew from a very simple belief: dance is ultimately about connection. It connects us to our breath, our bodies, our emotions, and our inner selves. Through our initiative Kathak Elixir, we use dance as a gentle, grounding pathway for people to reconnect with themselves in moments when life feels overwhelming.
For individuals facing cancer —and for the carers who hold so much on their shoulders— the body can often feel like a site of fear, fatigue, or uncertainty. Kathak Elixir offers a different experience of the body — one that is uplifting, compassionate, and empowering. I truly believe that when we move, something inside us elevates. Dance introduces us to our own existence in a very intimate way, reminding us of who we are beyond illness, stress, or worry.
How does the power of art manifest in these cases?
In these wellbeing settings, the goal is not performance; it is presence. Through simple rhythmic patterns, gentle movement, expressive gestures, and even moments of stillness, participants find release. For a little while, they can forget the heaviness they may be carrying. Kathak’s rhythm and breathwork offer grounding, while its expressive elements create space for emotional clarity and lightness.
Kathak Elixir provides a safe and joyful environment where people feel seen, supported, and restored. It helps them reconnect with themselves, feel lighter, and rediscover a sense of inner balance — whether they are patients, carers, or members of the wider community.
For us, this initiative is a reminder that dance is not only an art form; it is also a deeply human tool for healing, resilience, and hope.
Would you say art can heal?
Yes — I do believe art can heal, though not always in the clinical sense. Art heals by restoring connection — to oneself, to emotion, to breath, to joy. When people move, express, or simply take part in creative experiences, something within them shifts. They feel lighter, more grounded, more alive.
In that sense, art nurtures the spirit, strengthens resilience, and brings comfort in ways that words alone often cannot. It supports emotional wellbeing and offers a pathway back to oneself. And that, to me, is a form of healing.
As a creative, what particular challenges have you faced throughout this lifelong endeavour?
The challenges I’ve faced over the years have been varied, but each one has shaped me in important ways. One ongoing challenge has been navigating the space between tradition and innovation — staying deeply rooted in Kathak while finding ways to make the work relevant to the world I live in today. That balance requires constant reflection, sensitivity, and courage.
Another challenge has been the lack of infrastructure and support for Indian classical dance in the UK. Building a career, creating work, and sustaining a company in an environment that doesn’t naturally nurture these forms demands persistence, resilience, and a great deal of self-belief. Often, you have to create your own opportunities, your own community, and your own “mohol” (atmosphere).
As a woman of colour leading a company, there have also been moments of feeling unseen or misunderstood within mainstream arts spaces. It takes effort to advocate for the value of Kathak without having it reduced to a box-ticking exercise or a cultural decoration. Ensuring the form is treated with respect and artistic seriousness has been an ongoing endeavour.
And of course, the internal challenges never stop — questioning your choices, carrying responsibility, and constantly pushing yourself artistically. But despite all of this, or perhaps because of it, the journey has been incredibly enriching. Each challenge has strengthened my clarity, my purpose, and my commitment to the art form.
Is cultural integration a tougher challenge in the UK’s current climate?
I wouldn’t say there is a definite yes or no to this. Cultural integration in the UK is complex. On one hand, it is challenging — there are still institutional barriers that make it difficult for Kathak and other Indian classical forms to be recognised at the same level as more established Western art forms. The infrastructure, visibility, and long-term support we need are still developing.
But at the same time, people do make genuine efforts. There are individuals, organisations, and audiences who are open, curious, and committed to engaging with diverse cultural practices. These efforts matter, even if the wider system hasn’t fully caught up yet.
So I would say the challenge lies less with people’s willingness and more with the structures around us. Until those institutional issues are addressed, bringing Kathak into the mainstream cultural landscape will continue to require persistence, advocacy, and collective effort.
Will the company embark on any new missions next year?
Yes, we are embarking on a very ambitious new project next year titled Khoj, which means quest. This work marks a major collaboration between myself and Hetain Patel — an extraordinary visual and film artist.
Khoj is an ambitious and thought-provoking dance production commissioned by Sadler’s Wells and set to premiere at SW East in 2026–27. Bringing together twelve exceptional dancers, the piece is rooted in Indian classical dance traditions but reimagined through a contemporary lens. At its core lies a universal and deeply resonant question: “Who am I?” The work explores identity, migration, belonging, and the many layers that shape us both individually and collectively. Through movement, spoken word, and a powerful visual vocabulary, Khoj invites audiences to reflect on evolving perceptions of South Asian performers —and South Asian identities more broadly— within today’s cultural landscape.
Visually, the production is conceived as a full sensory experience, featuring striking costume design, an immersive set, and dynamic lighting, all contributing to a rich and atmospheric world on stage.
Beyond performing, we are committed to engagement and accessibility. By fostering meaningful conversations around identity, representation, and belonging, we hope Khoj will resonate far beyond the theatre and leave a lasting impact on communities.
Why come see the Pagrav Dance Company?
I strongly believe that our work offers something rare — a blend of tradition, imagination, and emotional depth that speaks to audiences on multiple levels. We are rooted in the classical vocabulary of Kathak, but we bring it into the present with fresh ideas, contemporary relevance, and a strong artistic vision.
Our performances are crafted to be more than just dance pieces; they are experiences. Whether it’s the intricacy of rhythm, the subtlety of expression, or the visual richness of our staging, each work invites audiences into a world where movement, music, storytelling, and visual design come together seamlessly.
What truly defines us is our commitment to authenticity. We honour the lineage and depth of Indian classical dance while creating work that resonates with today’s audiences — regardless of cultural background or prior knowledge of the form. People often tell us they leave our performances feeling moved, inspired, or seeing something familiar in a completely new way.
And beyond the stage, Pagrav stands for nurturing artists, uplifting communities, and using dance as a force for wellbeing and connection.
In essence, come see Pagrav to experience Kathak in its full power — rooted, refined, contemporary, and deeply human.
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