(October 24, 2025) Be it the rhythmic footwork of Kathak or the syncopated beats of jazz, artist Mukti Shri has found poetry in motion across cultures. An internationally acclaimed Kathak dancer, educator, and cultural ambassador, she has performed over 200 solo concerts across the world: from the Southbank Centre in London and Thailand Cultural Centre in Bangkok to the Temple of Fine Arts in Malaysia.
Having spent four years in Bangkok and 10 in London, she kept the spirit of Indian dance alive abroad. Calling her performance before 3,000 people in Switzerland one of her most memorable experiences, the danseuse describes performing before Ustad Zakir Hussain as her most divine moment.
A senior disciple of Pandita Shama Bhate and a student of Padmashri Pt. Suresh Talwalkar, Mukti’s performances are marked by precision, lyrical grace, and emotional depth. As the founder of Kalavati School of Performing Arts and the Director of ArtHub, she’s also a mentor and curator committed to ensuring that Indian classical arts continue to evolve in harmony with the world.
The early rhythm
Born and raised in India, Mukti’s tryst with Kathak began early. “I started at the very young age of six, with Mullah Sir,” she recalls warmly in a chat with Global Indian. “He used to take me on his old moped to all his classes during summer vacations. That time spent with him taught me the love for riyaz, the intense, daily practice has shaped my life ever since.”
Her artistic journey deepened when she became a disciple of Vidushi Shama Bhate at the renowned Nadroop Institute. “Shama Tai is the embodiment of devotion, dedication, and diligence,” Mukti says. “My twelve years of rigorous training under her transformed me.” It was Bhate who introduced her to the rhythmic universe of Taal Yogi Padmashri Pt. Suresh Talwalkar, whose mentorship continues to this day.
One of the key aspects of her training, she adds, was exposure to diverse music forms. “Shama Tai encouraged us to listen to jazz and contemporary music. That openness is what later allowed me to collaborate with any genre with authenticity and confidence.”
Falling in love with kathak
For the danseuse, Kathak has always been a living philosophy. “My mother’s strong will to see her daughter become a Kathak dancer laid the foundation,” she shares. “The finesse, the vibrant structure, the costumes, the makeup: everything about Kathak’s aesthetics made me fall in love with it.”
Over time, her relationship with the form evolved. Mukti believes that Kathak has grown remarkably in its technique, presentation, and openness to experimentation yet what remains constant, she says, is its soul and storytelling power.
Blending Kathak with jazz, world music, and contemporary movement is not without its challenges. “As any art form evolves, so does the artist,” she reflects. “Because my training was so rigorous, my foundation in Kathak remains unshakable. That’s what allows me to explore global sounds without losing the grammar and integrity of the form.”
For her, collaboration is not about dilution but dialogue. “Each cross-cultural project is an exchange, a conversation between traditions. The mutual respect and curiosity make it meaningful and authentic.”
The creative process
Behind every performance is a process both cerebral and spiritual. “Whenever I choose a topic, I immerse myself completely: reading, researching, and understanding the subject deeply,” she explains. “Once connected, I sketch out what I want to express. Then begins the beautiful journey of refining and reworking, where the raw idea transforms into a complete presentation.”
Creation can never be hurried. “The process teaches patience, humility, and faith. Every stage, from the first spark to the final performance, becomes part of your own evolution as an artist.”
Nurturing a movement
As much as she is a performer, Mukti is also an educator and community builder. Through her Kalavati School of Performing Arts, she mentors the next generation of dancers, emphasizing discipline and creative thinking.
She also plays a key role at ArtHub, an initiative led by her husband, Dr. Shrinivas Rao. “I support ArtHub in every possible way from curating concerts and conferences to hosting podcasts,” she says. “Our aim is to address the challenges artists face and make Indian classical arts more accessible and enjoyable.”
Balancing performance, teaching, and administration is no small feat. “No matter how busy I get, my own riyaz always comes first,” she insists. “As a performing artist, regular practice is non-negotiable.”
Kathak in a changing world
In an age of short videos and digital audiences, Mukti reflects on both the opportunities and the pitfalls. “Technology has helped Kathak reach the world,” she acknowledges. “But it has also created a culture of short attention spans. A one-minute clip can never replace the endurance and depth of a 45-minute solo performance.”
She’s also concerned about the dilution of training. “In the past, the gurukul system emphasized years of rigorous learning before performing. Now, many focus on stage appearances without fully mastering the technique.”
Her vision for the future is clear. The kathak exponent emphasizes the need to balance innovation with depth, acknowledging that while technology is a gift, the spiritual and intellectual core of the art must never be compromised.
Performances that transformed
Among her more than 200 solo performances, a few remain etched in her heart. “My first big international concert was at the Nyon Festival in Switzerland with Trilok Gurtu, the world-famous percussionist,” she recounts. “There were 3,000 people roaring in the audience as I performed Kathak in my traditional costume. It was surreal, I felt the global pulse of rhythm.”
Another highlight was performing with her guru, Pt. Suresh Talwalkar. She also cherishes Sanchit, a concert celebrating 40 years of Nadroop. “Performing alongside my peers and in front of both my gurus: with Pt. Yogesh Samsi, on the tabla, was deeply emotional. It was like my entire journey coming full circle.”
But perhaps the most divine moment was performing before Ustad Zakir Hussain. “To dance in front of him felt like performing for the gods. His blessings and encouragement are something I will carry forever.”
How does she keep her creativity alive? She shares, “By constantly creating new works. Each new piece allows me to dive deeper into Kathak, discovering new layers of meaning. It keeps the art, and me, alive.” For her, burnout is prevented by curiosity. Her guiding philosophy: When you approach your art as a lifelong learner, every day feels like the first day again.
Despite the many challenges, Mukti is optimistic about the future of Indian classical dance. “The younger generation is incredibly talented and aware. They understand the value of our heritage and are eager to preserve it while bringing in their own creativity,” she observes. “I have no doubt these art forms will continue to thrive for centuries.”
Spirit of Indian dance abroad
Having lived abroad: in Bangkok (2002–2006) and the UK (2007–2017), Mukti’s connection to India remained unbroken. “Kathak was not just my career, it was my lifeline,” she says. “Even when far from home, I practiced, performed, and stayed engaged with the classical community.”
Her daily discipline continues wherever she is. The artist shares that she still practices for at least two hours every day, regarding riyaz as sacred: a way to stay connected to the divine.
As she continues to teach, perform, and inspire across continents, one truth remains: her dance is both a celebration of India’s heritage and a bridge to the world, a dance of many cultures, yet one soul.
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