'I Did It All on My Own Without Any Sugar Daddy': Sonal Mansingh on Her Centre for Indian Classical Dances’ Golden Jubilee Year

New Delhi: In an evening steeped in memory, resolve, and artistic conviction, the Centre for Indian Classical Dances (CICD) marked fifty years of its journey on April 30 with the launch of the Dr Sonal Mansingh Award and the inauguration of its Golden Jubilee celebrations.

Founded in 1977 by Padma Vibhushan Dr Sonal Mansingh, a dance legend, the institution has long stood at the intersection of rigorous training and philosophical inquiry. The Golden Jubilee event, held in the national capital, reflected both the weight of its legacy and the urgency of its future mission.

The evening opened with the unveiling of a commemorative Golden Jubilee logo and an audio-visual chronicle tracing CICD’s evolution from a modest cultural initiative into a nationally significant institution. At the heart of the celebrations was the announcement of the newly instituted Dr Sonal Mansingh Award, an annual honour that will recognise two dancers for their outstanding contributions to Indian classical dance.

Complementing this was the launch of a mentorship programme personally guided by Dr Mansingh, designed to nurture two emerging dancers through close artistic guidance, an initiative that signals a deliberate investment in the next generation.

The performances that followed echoed the institution’s ethos: rooted yet expansive. Beginning with the Shri Kamakhya Kalapeeth Stotra, the programme featured classical presentations by senior disciples, including Ganesh & Natesh Kavutvam and Kevat Prasang, before concluding with the Swasti Vachan shloka.

In her address, Dr Mansingh reflected on the philosophy that has guided CICD for five decades. She described it as “a space for training in dance, allied arts and for a journey of life through art,” underscoring its commitment to remaining inclusive and adaptive while grounded in Bharatiya traditions. Referencing sources such as the Vedas, Upanishads, and Puranas, she emphasised the responsibility of transmitting this knowledge meaningfully to future generations.

“Building an institute is like nurturing a child. My virasat is kala,” she said.

Her remarks also carried a deeply personal tone. “No political backing, no business house sustained this journey. I did not have any sugar daddy. I carried it on my own shoulders,” she said, recalling her early years in Delhi and the resistance she faced from her conservative Gujarati family when she chose dance as a profession.

Born into a family with a rich legacy--her paternal grandfather, Mangaldas Pakvasa, a freedom fighter and one of the first five Indian Governors, and her social activist parents, Arvind Pakvasa and Poornima Pakvasa--she was naturally expected to pursue a career in academia or the civil services.

But destiny had other plans for her. Her determination to pursue dance as a career left her with no other path. She has built an illustrious career for herself through her art.

The event drew a distinguished gathering from the worlds of politics, arts, and academia. Delhi Assembly Speaker Vijender Gupta attended as Chief Guest, while Rajya Sabha MP Sudhanshu Trivedi was the Guest of Honour. Among those present were Padma Shri Shovana Narayan, Dr Sachchidanand Joshi, alongside several Members of Parliament and cultural figures.

Speakers at the event highlighted the enduring relevance of classical arts in a rapidly changing world. Sudhanshu Trivedi, in a wide-ranging address, spoke about India’s cultural resilience and asserted that while technology may advance, it cannot replicate bhava (emotion) and rasa (aesthetic essence). 

"If anyone is not aware of literature or music, they can be considered animals without horns and tails. India will lead the world not only in terms of the economy but also in literature, music, poetry and dance," Trivedi said.

Vijender Gupta, meanwhile, described dance as a synthesis of all art forms, urging continued commitment to traditional values.

CICD, also known as Shri Kamakhya Kalapeeth, was established at a time when Delhi offered limited avenues for holistic dance education. Dr Mansingh’s vision extended beyond choreography to include yoga, Sanskrit, and music, creating an integrated framework for artistic and personal growth. Over the decades, this approach has shaped generations of dancers who carry not just technique but a deeper awareness of Indian aesthetics and philosophy.

Its guiding credo--Art for Heart, Art from Heart, Art to heal Hearts--has found resonance far beyond the classroom. Alumni and repertory groups have performed across India and internationally, positioning classical dance as a vital expression of India’s cultural identity.

As CICD enters its next chapter, the Golden Jubilee year promises a series of curated events across the country--performances, dialogues, and initiatives aimed at re-engaging audiences with the pedagogy and relevance of Indian classical dance.

For Dr Mansingh, however, the message remains simple and enduring: institutions may evolve, and power structures may shift, but art endures. “Artists,” she said in closing, “have no shelf life.”