From Temples to Mughal Darbars and Modern Stages: Dr. Tina Tambe on the Transition of Kathak

What began centuries ago in the sacred corners of temples as a form of storytelling has today become one of India’s most celebrated classical dance forms. The journey of Kathak from temple courtyards to Mughal darbars and now to global stages is a fascinating tale of transformation, adaptation, and preservation. Dr. Tina Tambe, a renowned Kathak exponent from the Jaipur Gharana, has spent almost 40 years witnessing and contributing to this evolution in her capacity.

“Kathak has gone through a lot of changes,” shares Dr. Tambe. “It belongs to North India, especially Uttar Pradesh. Since most of the invaders came through the North, Kathak too underwent transformations with every new influence.”  Originally performed by a community of village folks known as Kathaks or Kathakars, the dance was a sacred narration of religious tales through the medium of music, dance, dialogues and expressions in the temple premises or village chaupals (community spaces in rural areas/ villages).  However, with the invasion of the Mughals and the destruction of temples, the performers scattered. “Some dancers found patronage under Rajput kings, giving birth to the Jaipur Gharana where Kathak was performed in a more fierce and bold way, as liked by the Rajas (kings). Others entered the Mughal courts, where Kathak took on more shringarik (romantic) form and integrated elements like nazakat, nafasat, adaah—blending with Persian aesthetics,” explains Dr. Tina. 

As Kathak evolved through royal patronage, the British era once again redefined the form to suit proscenium stages and urban audiences. However, it was during the modern period that pioneering artists like Uday Shankar and Madame Menaka brought contemporary movements into Indian classical dance. “Kumudini Lakhia ji from Ahmedabad was the one who truly modernized Kathak. She introduced abstract themes beyond the traditional Radha-Krishna and Shiva episodes,” says the Kathak dancer.

This openness to experiment led to global collaborations—Shri Pratap Pawar explored flamenco-Kathak fusion, and artists like Aditi Bhagwat continue to build on that legacy. “But it is very necessary to maintain the balance,” cautions the PhD holder in Kathak. “You cannot go out experimenting if you don’t know the form deeply. One must first reach a level of mastery before adding modern elements or fusing it with other forms.”

As a trained academician and performer, Dr. Tina’s journey reflects this commitment to depth and discipline. She herself has given almost 40 years of her life to this art form. She began Kathak at the age of 8 as a hobby but found her passion for this classical dance form. Growing up, she earned a 9-year diploma from Gandharva Mahavidyalaya, followed by a Master’s degree in Kathak from Devi Ahilya Vishwavidyalaya, where she topped the university and a PhD from Vikram University, Ujjain. 

Putting all her knowledge and skills, she is open to experimentation with Kathak while staying true to the original art form. Despite the wave of modern performances, she insists on also showcasing Kathak in its purest form. “I still perform 'Draupadi Vastraharan,' an ancient piece, even though some say it’s outdated. But that is important—it keeps the roots alive and educates the audience about Kathak’s historical depth.” I have had the absolute pleasure of training under Dr. Suchitra Harmalkar in Indore and later expanding my horizons under the guidance of Guruma Shrimati Uma Dogra when I shifted to Mumbai, who has taught me to create a balance between both. 

Continuing their legacy forward, in 2006, she founded her own Kathak Institute in Mumbai, where over 30 students have since graduated under her mentorship. She continues to teach, choreograph, and perform extensively, but cites some words of wisdom for young classical dancers. The dancer also voices concern over how today’s aspirants approach classical dance. "Many start professionally performing and teaching even without proper understanding, knowledge and achieving the required perfection and depth. They must know this is a passion-driven field, not a money-driven one, so monetary rewards might be very limited for quite a long time, especially from performing. It takes years of dedicated practice, consistent hard work, perseverance and patience to become a seasoned dancer. Also, there is no destination to reach; it’s a continuous journey of putting in sincere efforts for growth and evolving as an artist to achieve excellence,” she emphasises.

In the Western and Northern zones of India, Kathak remains the most popular classical dance style, and artists like Dr. Tina Tambe are ensuring that its journey, from temples to global stages, continues with authenticity, grace, and purpose.