Sonal Mansingh is one of the leading exponents of Odissi and is a well known social activist, thinker researcher, orator, choreographer and teacher. Besides Odissi, she is also the master of Bharatnatyam.
Born into an open minded family, Sonal took to dance professionally from 1962 onwards. She took training in Bharatnatyam under Prof. U.S. Krishna Rao and Chandrabhaga Devi. She learnt Odissi from various renowned gurus. This world known dancer is also a trained Hindustani Classical vocalist. She learnt it under prof. K.G. Ginge. This versatile dancer has also undergone a special training in Abhinaya from late Mylapore and is also a trained Kuchipudi dancer. An expert in Chhau and Indian music, she has made many choreographies based on Indian mythology. She is also concerned about the social issues like saving the environment, emancipation of woman and her dance portrays all these issues.
This alumni of Elphinston College, Bombay Mumbai founded the Delhi based Center for Indian Classical Dances (CICD) in 1977. Here she imparts training to students in Indian classical dance. Sonal is a member of the Executive Board and General Council of Sangeet Natak Akademi, National Cultural Fund, Ministry of Culture. She is also the trustee of the largest institution in India, the Indira Gandhi National Center For Arts
Sonal Mansigh has been honored with many awards. She is the youngest recipient to get Padma Bhushan awarded by the President of India in 1992.
Other awards received by Sonal Mansingh include:
Singer Mani, Haridas Sangeet Sammelan
Nritya Choodamani, Sri Krishna Gana Sabha, Madras
State Award, Sahiya Kala Parishad, New Delhi
Natya Kala Ratna, National Cultural Oraganisation, Delhi
Nrityakal Kaumudi, Kala Priya, Nellore, Andhra Pradesh
National Award, Sangeet Natak Akademi, New Delhi
Rajeev Gandhi Excellence award, New Delhi
Padma Bhushan,1992
Indira Priyadarshini award, New Delhi
Medal of Friendship from the Council of State of Cuba
Sanatam Nritya Samman
Padma Vibhushan, 2003
Sonalji's training in Bharatanatyam began with the inimitable Guru Shri. U.S. Krishna Rao in Pandanallur style and Padamashri K.N. Dandayudhapani Pillai of the Karaikkal Sampradaya. One of her early performances in 1962 at the Chennai Kalaivanar Arangam (Childrenʼs Theatre) was conducted by Dandayudhapani Pillai himself. As a young girl of twelve, I watched it along with my father Dr. V. Raghavan, who also happened to be presiding over that event. The performance still remains etched fresh in my memory. Sonalji vibrant and spirited, danced with amazing dexterity to the rigorous nattuvangam of her guru, who was uncompromising and strict. Another mesmerizing presentation was a lecture-demonstration by Sonal along with her illustrious teacher, Guru Kelucharan Mahapatra on the technique of Odissi at the prestigious Music Academy in Chennai. To her goes the credit for making such a presentation which was the first of its kind in the city, bringing the Chennai audience much closer to this art form.
Sonalji is a social activist, thinker, orator, researcher, choreographer, spiritualist, and a teacher besides being an acknowledged master of dance. She breathed her own brand of special artistry into both traditional art forms bringing in that special freshness to Bharatanatyam and Odissi at a time when both forms were emerging out of their old norms.
Many honours have come her way-the Padma Vibhushan from the President of India, the Central Sangeet Natak Akademi Award and two honorary Doctorates from well known universities are only a few.
About her holistic approach to dance Sonalji says, "I try to assimilate in my performances, my exposure to other art traditions, stories and cultures of the world, the universality of the power inherent in each of them and use it as a major binding force." For instance, she picked on the theme of Mary Magdalene, weaving it into the Indian classical dance idiom and presented a deeply moving performance of love and compassion. Another example is her interpretation ofthe symbolic Kshana Vidya, the Ashta Chakras, the three Dhatus (kama, roopa and aroopa), all from Buddhist texts, beautifully narrated in a moving piece called Shoonya Mahari in Chariya or Oriya Prakrit. Sabari, the living energy within the individual, calls out to denounce the constant restlessness of the body and merge together in maha sukha (the great bliss). Sonalji's depiction of Sabari who resides in the fourth loka among the seven lokas, draws on the great feminine force that pervades all of space.
Contents:-
Kavutvam
Jatiswaram
Varnam-1 Navragamaalika
Varnam-2 Khamas
Shloka "Nidrarthe Janani"
Padam-Indendu Vachitivira
Padam-Cheliya Ne
Tillana
Thiruppugazh
Padam-Tattai Mozhiyal
Shloka-Oshtham Jighram
Dwivarna Bharatanatyam and Odishi
Shiva Shringaar Odishi and Kathakali