How New-Age Festivals, Classes, and Workshops are Reshaping Kathak Performers' Livelihoods

The question of how classical dancers sustain themselves economically has never been straightforward in India. Unlike the era of courtly patronage when Kathak flourished under Mughal emperors and Lucknow's nawabs, today's practitioners navigate a landscape where feudal support systems have faded, whilst market economies struggle to adequately value artistic labour. 

The British anti-nautch campaign of the 19th century systematically destroyed livelihoods and severed patronage networks. Whilst institutional support through bodies like the Sangeet Natak Akademi exists primarily for cultural organisations rather than individual artists, new platforms, festivals, workshops, digital showcases and interdisciplinary collaborations are beginning to reshape how practitioners earn their livelihoods, even if the transformation remains incomplete.

Multifaceted Practice And Beyond Performance Alone

A newer generation of practitioners is discovering that survival requires moving beyond performance as a singular revenue stream. Nishit Gangani,a tabla player specialising in Kathak accompaniment, whom we interviewed at the World Kathak Day 2026 celebrations at Safdarjung Tomb, articulates this shift. "These platforms have expanded my professional visibility beyond traditional performance circuits, connecting me with presenters, cultural institutions and diverse audiences," he explains. Curated showcases have helped position his work "in a more contemporary and thematic context, leading to repeat invitations and better curated remuneration structure."

Crucially, Gangani describes how "collaboration with musicians and artists from different disciplines has also opened new revenue streams such as interdisciplinary productions, workshops and international engagements," representing what he calls a move "from primarily a performance-based income into a multifaceted professional practice." This model, teaching, conducting workshops, participating in residencies, touring internationally and creating commissioned work, is increasingly common amongst established performers.

The Curatorial Challenge Of Quality Versus Commerce

Yet even as opportunities proliferate, questions of quality and fair compensation persist. Shivani Varma,founder of World Kathak Day and a disciple of the late Pandit Birju Maharaj, spoke candidly about the dilemma facing organisers. "There are these massive festivals happening with lots of money being pumped in by corporates, but there's nobody who's giving it the depth of knowledge. It's too commercial, and there's no substance," she observes.

Varma positions her festival in "the middle ground", maintaining artistic integrity whilst creating meaningful opportunities. Her approach creates "a platform for the artist to experiment freely" whilst ensuring fair compensation. She confirms that "everybody gets work after Kathak Day from those shows." Yet funding remains challenging. "It is the biggest challenge to try and convince people to fund a performance art festival which has not got the trappings of a corporate event."

The Ground Reality Where Passion Wins Over Profit

For those further from the limelight, the economic reality is starker. Alaknanda Dasgupta, a veteran Kathak dancer and teacher in Delhi, frames her practice through a spiritual lens, describing dance as "oxygen for all the artists."

Mohana and Madhavi Krishna,sisters from Noida and core team members of their respective dance societies at their colleges within Delhi University, offer perspectives from younger practitioners. When asked about sustained income, Mohana states, "I don't know anybody whose income is solely performance-based." Madhavi, however, contradicts, "You can make it a permanent profession if you 100 per cent want to, but you have to genuinely put in your all. It is more rigorous than a 9-to-5 job."

The transformation of Kathak from courtly art to a viable modern profession remains a work in progress. Whilst new-age platforms have created unprecedented visibility and networking opportunities, they have not yet translated into comprehensive financial security. As Gangani notes, "Fees frequently fail to reflect the depth of training, practice and preparation involved, and artists are often expected to contribute creative and emotional labour without adequate compensation." 

The journey continues, requiring collective efforts from practitioners, organisers, policymakers and cultural institutions to ensure this art form thrives in contemporary India.