Alright – so today we’ve got the honor of introducing you to Ananya Goswami. We think you’ll enjoy our conversation, we’ve shared it below.
Ananya, appreciate you joining us today. Did you always know you wanted to pursue a creative or artistic career? When did you first know?
I began my journey in both dance and painting at the young age of 3 1/2 to 4 years in Asansol, India. Recognizing my early passion and aptitude, my parents introduced me to dedicated dance and art teachers. India’s rich heritage of classical and folk dance forms initially exposed me to Kathak and Rabindra Nritya at a local institute. Noticing my progress, my parents soon enrolled me in an academy that focused exclusively on Kathak, marking the true beginning of my artistic journey.
By fifth grade, my dedication and skill were acknowledged on a national level when I received the National Scholarship in Kathak from the Government of India. This pivotal achievement brought me recognition from esteemed judges and opened doors to advanced training in Kolkata. There, my family learned about an upcoming Kathak workshop led by none other than Padma Vibhushan Late Pt. Birju Maharaj Ji, accompanied by his senior disciple, Vidushi Saswati Sen Ji. Successfully passing the audition, I had the privilege of attending this prestigious workshop, a milestone that solidified my path in Kathak.
Following this workshop, I continued rigorous training under Kathak exponent Rama Prasad Chattopadhyay and learned Taal Vidya from Kingshuk Mukherjee. During this time, I performed in numerous stage shows, contests, and even on national television. One of the most cherished moments of my early career was at age 12, when I was honored to perform a duet on stage with my Guru, a blessing for any student and an experience that deeply influenced my artistic aspirations.
The defining moment of my journey came when I was selected to perform in Pt. Birju Maharaj Ji’s production, Srishti. This opportunity reinforced my commitment to Kathak and painting, both of which I realized were integral to my identity and future. From that day forward, I knew I wanted to dedicate my life to the pursuit of these art forms professionally.
Ananya, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
I am Ananya Goswami, a Kathak Artist and Visual Artist with over 20 years of experience. I serve as the Founder and the Artistic Director of Srishti-the Kathak Academy based in Delaware and Head of Dance in an ethnic non-profit organization Udaan in USA. I had the honor of training under the legendary Late Pt. Birju Maharaj ji and Vidushi Saswati Sen ji, along with other esteemed Kathak Gurus in India. My journey has been enriched by receiving the National Scholarship in Kathak dance from the Government of India at the age of 10 years and received multiple awards in recognition of my dedication to the arts. Additionally, I am a proud member of the National Dance Education Organization (NDEO) and an Indian Raga Fellow Artist, received Prestigious Delaware Artist Grant award in Kathak Dance.
Kathak is one of the eight major classical dance forms of India, with roots tracing back over 2,000 years to ancient Hindu temples in North India. Its name derives from the word “katha,” meaning “story” in Sanskrit, as Kathak began as a storytelling art performed by nomadic bards who would travel to villages, narrating tales from the epics like the Mahabharata and Ramayana. Over centuries, Kathak evolved during the Mughal era to include intricate footwork, expressive spins, and a blend of Hindu and Islamic influences. Kathak combines nritta (pure dance) and abhinaya (expressive dance), marked by rhythmic footwork with ankle bells, complex compositions, and accompaniment by instruments like tabla and sitar. It is the ancient pedagogical system by which Kathak (and many other Indian arts) is based on the traditional teacher-student relationship in which Kathak is passed down. This bond emphasizes not only technical skill but also discipline and cultural values. Historically, students lived with their guru, absorbing dance and philosophy. Today, while formal institutions are common, this lineage-based approach remains, with students dedicating years to learn under their guru’s guidance.
One of my most cherished experiences was performing as a featured dancer in Late Padma Vibhushan Pandit Birju Maharaj Ji’s production, Srishti, at Raichock Fort in Kolkata. This prestigious opportunity reflected not only my commitment to Kathak but also my dedication to maintaining its highest standards. I also had the privilege of performing at events held by Pt. Birju Maharaj Ji’s Kalashram, where I was able to demonstrate both technical proficiency and a profound connection to Kathak’s cultural nuances. Over the years, I have performed in various states across the USA, including Indiana, Delaware, Pennsylvania, DC, New Jersey, Maryland, and New York, and have conducted workshops that blend traditional and contemporary dance methods. Few of my memorable Kathak productions were: “Sounds of Bell” where I was invited as guest Kathak Artist by Gregory Hancock Dance Company, Indiana, “Colors of India” – Indiana & PA, “Holi”- in Indiana & DC, Jago Durga Dosoprohoronodharini” – Delaware, “Abhaya”- Delaware.
I was invited as judge which allowed me to contribute to the Kathak community through prestigious dance competitions and events in the USA and India. I was especially honored to judge the Kathak Dance competition during the USA’s inaugural Marghazhi Festival organized by AIDA International.
Beyond the stage, I am deeply committed to sharing and promoting the beauty of Kathak, the ancient Indian Art form with communities in the USA and sharing therapeutic benefits of Kathak Dance. Volunteering my time to provide Kathak training, I strive to cultivate an appreciation for this classical art form, particularly among young minds. This passion for community engagement and cultural preservation fuels my work and inspires me to continue advocating for the enduring beauty of Indian Classical Dance. My journey has been defined not only by my performances but also by my dedication to fostering a vibrant, inclusive space for Indian classical dance and arts to thrive.
Each year, I train and choreograph large-scale productions, involving community members of all ages, from young children to seniors. I am particularly dedicated to sharing Kathak’s therapeutic benefits; its expressive storytelling creates a deep emotional connection, allowing participants to release emotions and process feelings through abhinaya (expression). This leads to a cathartic, meditative experience that enhances mental clarity and reduces stress. Kathak’s intricate footwork, spins, and gestures also build stamina, flexibility, and strength, contributing to physical and mental fitness.
Kathak serves not only as a tool for cultural preservation but also as a pathway to healing. Dance has unique therapeutic properties, and through Kathak, I have the privilege of supporting the mental and physical wellness of those I teach. For young students, Kathak’s complex rhythms and sequences stimulate memory, focus, and problem-solving abilities, strengthening cognitive functions and building mental discipline. As an artist, teacher, and choreographer, I take immense pride in knowing that this art form brings lasting benefits and meaningfully enriches lives.
One of my recent works, “Abhaya”, staged on October 12, 2024, on behalf of the non-profit organization Udaan, embodies this mission. This production was designed to highlight Kathak’s expressive and therapeutic dimensions, celebrating its power to heal and inspire, and emphasizing my commitment to preserving and sharing this ancient art for future generations.
My journey as a Visual Artist began in early childhood, even before my school years. By the age of 9, I had already created my first sketch depicting a human figure. Over the years, I have developed proficiency in various mediums, including oil pastels, dry pastels, charcoal, colored pencils, watercolors, acrylics, and oil paints. With formal training in Fine Arts in India, I have received numerous accolades in international art competitions.
I have actively participated in global art exhibitions, showcasing my work in both India and the USA. Notably, several of my pieces were selected for the prestigious Penrod Art Festival, one of the premier art festivals in the United States. In addition, I have donated artworks to support fundraising initiatives for various charitable causes.
My commitment to Art extends beyond personal practice. I conduct free workshops to inspire and nurture emerging artists, making art accessible to all and fostering a vibrant, inclusive community. Through community outreach programs, I am dedicated to creating diverse, equitable, and inclusive spaces in the arts—ensuring that everyone, regardless of race, gender, sexual orientation, age, or physical and neurological abilities, is treated with respect and fairness.
Is there mission driving your creative journey?
As an Artist, I deeply committed to the preservation and promotion of Kathak, I view my role not just as a performer, but as a custodian of this ancient Indian classical dance form. By spreading awareness of Kathak both within India and globally, I strive to ensure that this treasured art form continues to thrive and inspire future generations. My efforts include teaching, choreographing, and performing, which play a significant role in keeping Kathak alive in contemporary spaces while staying rooted in its rich traditions.
One of the most profound contributions an artist can make is through community outreach and educational initiatives. By offering workshops, classes, and cultural programs, I engage with diverse groups, introducing them to the intricacies of Kathak. These efforts are especially impactful among young students, helping to spark an appreciation for Indian classical dance and cultivate a sense of pride in their cultural heritage. Additionally, through organizing cultural events and performances, I create platforms where people from various backgrounds can experience the art form, fostering cross-cultural understanding and appreciation.
Kathak’s contributions extend beyond cultural preservation; it also serves as a powerful tool for healing and wellness. By integrating dance therapy into my practice, I use the art of Kathak to help individuals connect with their emotions, process feelings, and find mental clarity. The expressive storytelling and emotive abhinaya (expressions) in Kathak create a cathartic release, enabling participants to experience a therapeutic journey that relieves stress and promotes emotional well-being.
The rhythmic footwork, graceful spins, and intricate hand gestures in Kathak are not only aesthetically pleasing but also offer physical benefits such as improved coordination, flexibility, and stamina. As a holistic workout, it enhances both physical and mental fitness, making it a transformative practice for people of all ages.
By leveraging the therapeutic power of Kathak, I aim to help individuals find balance, healing, and resilience. This dual focus—preserving a centuries-old art form while harnessing its benefits for modern well-being—embodies my dedication to making Kathak a living, evolving tradition that continues to enrich and heal lives.
Can you share a story from your journey that illustrates your resilience?
In my journey as a Kathak artist, there was a particularly meaningful experience that truly embodied my mission of preserving and promoting this ancient dance form on a global platform while also leveraging its therapeutic potential.
A few years ago, I was invited to conduct a series of workshops and performances in various cities across the United States. The focus was not only on showcasing the beauty of Kathak but also on introducing its therapeutic aspects to a diverse audience. One of these events was held at a community center that catered to individuals dealing with stress, anxiety, and other emotional challenges. The attendees, who were mostly new to Kathak, included children, teenagers, and adults from different cultural backgrounds.
I began the session by introducing the rich history and philosophy of Kathak, emphasizing how this classical dance form is more than just an art—it is a journey of self-expression and emotional release. The participants were particularly intrigued by the concept of abhinaya (expressive storytelling) and how it can be used to connect deeply with one’s emotions. As we moved into the practical part of the workshop, I guided them through the fundamental footwork, spins, and hand gestures. We explored how rhythmic patterns and facial expressions can mirror inner feelings, allowing for an emotional release.
The most transformative moment came when I introduced a segment on abhinaya, where participants were encouraged to express a story or emotion through their movements. One participant, a young woman struggling with anxiety, later shared that the experience had given her a new way to express emotions she had been holding inside. For her, the dance became a safe space to explore her feelings, and she found a sense of relief she hadn’t experienced before.
The workshops culminated in a performance that brought together participants from various backgrounds. It was incredible to see how they had not only embraced the technique but also found joy and healing through the process. The experience reaffirmed my belief that Kathak is not just an ancient art form to be preserved but also a powerful tool for healing and transformation.
This journey of bringing Kathak to a global platform, especially in therapeutic settings, has been deeply fulfilling. It has allowed me to bridge cultural gaps, share the timeless beauty of Indian classical dance, and use its profound therapeutic properties to heal and uplift individuals from all walks of life.
Contact Info:
- Website: https://www.thekathakacademy.com
- Instagram: @ananyagoswamikathak
- Facebook: https://www.facebook.com/ananyagoswamikathak?mibextid=LQQJ4d
Image Credits
All Photos covered by Rakesh Goswami