Having trained under the legendary Pt. Birju Maharaj, Shinjini kulkarni believes Kathak is more than just a dance- it’s a way of life, a form of storytelling that transcends time and culture. In an exclusive chat with The Pioneer, Shinjini, the ninth-generation torchbearer of the Kalka-Bindadin lineage, opens up about her artistic journey, the spiritual depth of Kathak and more
Tejal Sinha
Grace, tradition and artistry find their perfect expression in Shinjini Kulkarni, a prodigious talent born into the revered Kalka-Bindadin lineage of Kathak. As a ninth-generation torchbearer of this celebrated heritage, Shinjini began her journey under the legendary Pt. Birju Maharaj at the age of five and performed her first solo recital at just eight years old.
“Being born into this lineage hasn’t just influenced my journey—it has completely shaped it,” Shinjini begins, reflecting on her unique position in the world of classical dance. “It instilled in me a deep reverence for the art form. Kathak isn’t just something I practice; it’s my way of life, my identity.”
She stresses that Kathak’s essence lies in its storytelling. “Kathak means ‘katha vachan’—the art of storytelling. It’s not just about dazzling movements or intricate footwork; it’s about evoking emotions, or rasa, in the hearts of the audience. That’s what makes it so profound.”
Her foray into dance began as a playful exploration, with Maharaj weaving lessons into small games and activities that captivated the young Shinjini. “In those early years, I didn’t even realize I was training,” she recalls with a smile. “It was only in my teenage years that the training became more rigorous, and I began to understand the intricacies of the art form. Despite the challenges, those years under Maharaj were the golden days of my life.”
Notable milestones include a performance in Muzaffar Ali’s film Jaanisaar, under the dance direction of Pandit Birju Maharaj and a solo for the Bengali movie Har Har Byomkesh, with music by Pandit Bickram Ghosh. Her contributions to Kathak have earned her several prestigious awards, including the Nritya Shiromani Award at the Cuttack Mahotsav and the Parampara Samman by Sangeet Kala Niketan. Despite these accolades, Shinjini remains deeply humble, attributing her success to the divine energy she feels while performing. “There’s a sense of surrender I experience on stage. After all the preparation, when you’re in front of an audience, it’s no longer just you. There’s a divine energy at play that guides your movements, creates the atmosphere, and evokes emotions in the audience. Despite rehearsing a piece hundreds of times, it can feel completely different on two different evenings. It’s truly humbling.”
Initially, Shinjini viewed Kathak as a profession—a career to build. But over time, the art form has become her identity. Reflecting on her formative years, she describes her time training under Pandit Birju Maharaj as transformative. “He was the most comforting, compassionate teacher,” she shares. “He never scolded us, but his sheer presence and love for the art inspired complete surrender to it. Those years were the most golden days of my life.”
Shinjini’s journey has taken her to some of the world’s most iconic cities—New York, London, San Francisco, Oslo and Dubai, to name a few. Performing on global stages has been an enriching experience, one that deepened her appreciation for the universal appeal of Indian classical music and dance. “Audiences abroad have immense respect and regard for the science embedded in our art forms,” she observes. “Indian classical dance is not just an artistic expression; it’s a spiritual journey. It’s been practiced for over 5,000 years, offering a pathway to inner peace and mental wellness, something the world is only now beginning to recognise.”
Performing on prestigious stages has always been humbling for Shinjini. “These are platforms where my grandfather and elders once performed. To uphold their benchmark is both challenging and exhilarating. One of my most cherished memories is performing at Jashn-e-Rekhta in Dubai, where I shared the stage with the Sufi legend Abida Parveen. Her surrender to God and spirituality have deeply influenced me and to receive her blessings for my performance was surreal.”
Interestingly, Shinjini notes a greater receptivity among Indians living abroad compared to domestic audiences. “Sometimes, Indians settled overseas are more attuned to our classical traditions. But it’s heartening to see the younger generation in India embracing this legacy. I truly believe this century will mark a renaissance for Indian classical music and dance.” Her memories of her first performance remain vivid—a mix of humor and humility. “I was supposed to perform a piece called Holi, written by my ancestor Pandit Bindadin Maharaj, after whom our gharana is named,” she recalls. “It was for a school event, and when I saw the packed audience, I panicked. I ended up doing Bhangra steps instead of Kathak and left the stage halfway through. My mother was far from pleased,” she adds with a laugh. “That moment taught me the importance of taking my art seriously.”
Her latest performance, a piece on Krishna where she played the role of Radha, was a marked improvement. “That experience solidified my commitment to Kathak. It wasn’t just about dancing anymore; it was about embodying a story and evoking emotions that connect with people.”
She believes that the universal themes of Indian classical dance—love, devotion, joy, and spirituality—resonate deeply with global audiences. “Even in countries like France or Germany, where people might not understand Hindi or Braj Bhasha, they feel the essence of Radha and Krishna’s love. It transcends language and touches the heart,” she explains.
However, Kulkarni is acutely aware of the need for evolution in traditional art forms. “Any art form that doesn’t evolve risks stagnation and losing relevance. It’s crucial to address contemporary themes and create space for representations that resonate with today’s youth. Whether it’s exploring themes of faith, love, romance, or spirituality, these emotions are universal and can bridge generational and cultural divides.” “When rooted in timeless emotions, Kathak tugs at the heartstrings of audiences across the world,” she says. “It’s this ability to connect with people of all ages and cultures that makes it so powerful. Step one is always about skilling yourself to the utmost perfection. It’s about spending time with your guru and surrendering completely to their wisdom. But it doesn’t end there. It’s equally important to let your own creative voice guide you. If you merely parrot what you’ve learned, you do a disservice to the art. True growth happens when you bring your unique perspective and creativity to the form.”
Shinjini emphasises that experimentation is a double-edged sword. “Experiments may succeed or fail, and that’s fine as long as your intentions are pure. But if done without the right attitude, they can lead to a crossroads where the very essence of Kathak is at risk.” Discussing the evolution of Kathak, she observes, “The dance form is undergoing a metamorphosis. There are liberal borrowings from other art forms and cross-cultural influences, which can enrich Kathak. However, maintaining the purity of its grammar while experimenting with new themes is a delicate balance. My aim is to walk that thin line—to honor the ancient texts while keeping the form relevant to today’s cultural and social realities.”
Shinjini has also explored Kathak through film, having performed under the direction of Muzaffar Ali in Jaanisaar. “Performing for the camera is a completely different experience from live performances,” she explains. “On stage, there’s an uninterrupted rhythm and energy that carries you. In front of the camera, there are multiple takes and long waits between shots, which disrupt that flow. However, the camera captures the minutest expressions, especially those conveyed through the eyes, and that’s a beautiful challenge in itself.
Being directed by Muzaffar Ali, a maestro with such a profound aesthetic sensibility, was an honor. His work in films like Umrao Jaan has left an indelible mark, and to contribute to his vision was humbling.
Awards, for Shinjini, are both gratifying and a reminder of the responsibility she carries. “They recognize the countless hours of riyaaz, rehearsals, and effort that go into a performance. But they also set a benchmark. Every award raises the audience’s expectations’ and as an artist, you’re compelled to meet and exceed them. It’s thrilling, but it also means there are no slow or easy days. You’re constantly pushing yourself to create something of greater value.”
