Nahid Siddiqui, Pakistan’s Kathak supremo (Review)

September 17 2014

One of her country’s foremost artistic figures, Nahid Siddiqui spoke openly and candidly about her inspiration, her recent political problems and treated the audience to a very personal view of her art and philosophy…

BY Khakan Qureshi

ANYONE expecting an evening of just traditional Kathak dancing by living legend Nahid Siddiqui would have been pleasantly surprised by what transpired.

“In The World of Nahid Siddiqui” at the Midlands Art Centre (MAC) in Birmingham on Sunday (September 14), was an undoubted privilege to see and hear, “the face of Kathak dance in Pakistan” up close and personal.

Birmingham-based Asian arts support group Sampad provided the platform for Siddiqui to be quizzed by well-known broadcaster and arts champion Anita Bhalla, allowing the audience a rare glimpse and insight into her life in dance, as well be witness to her talent.

Introduced as “dance personified” by Sampad director Piali Ray, Siddiqui was greeted with rapturous applause as tabla players Hassan and Kasim prepared themselves.

Kasim then read a poem to which Siddiqui displayed her skills and technique in small steps, with intricate gestures and movements. It was a mesmerising 15-minute performance – the light and shade of her footwork and the sound of the ‘ghunghru’ (ankle bracelets) moving in perfect harmony with the beats of the tabla music.

She glowed, smiling generously, her timing was immaculate, her eye contact intense, and the subdued and subtle nuances of the dance contrasted sharply with sudden sharp movements. The foot work was almost identical in style to flamenco and the passion to dance was clearly evident.

After the performance, Bhalla interviewed Siddiqui, stating – “How can we (in Britain) possibly let such a great talent get away?”

These short exchanges of conversation were interspersed with five short film clips chosen by Siddiqui herself to illustrate various stages or times in her life – from her humble beginnings as a solo dancer, to a fully-fledged choreographer at the Birmingham Royal Ballet.

“Did Siddiqui aspire to be global? Do you feel immense pressure and responsibilities?” asked Bhalla.

“I followed what is in my heart and soul. I’m a student in life – my joy is in learning and sharing,” said Siddiqui. There followed several video montages, beginning with a dance called “One Thousand Borrowed Eyes”, a solo piece.

“What is it that inspires you?” Bhalla posed.

“There are many layers of life. We need to open ourselves up to discussion. There are many universes and we need to tap into that. We need to tap into our hearts and my soul is leading me forever. We need to open up to life. Dance is a physical activity and it should be led from somewhere else,” she exclaimed.

“Tihai”, a piece which was filmed in silence, was very much movement based and covered the ideology of emotions and blessings.

Bhalla explained that Siddiqui was a very “controversial figure in Pakistan”, and told the audience that Siddiqui had fallen from grace.

As to the why was Siddiqui has become a controversial figure was initially left unexplained.

However, she conceded that, due to the political upheaval in Pakistan (the regime had changed), she had found that whole experience “disturbing” and the fact she was banned from television – they had planned to air 13 episodes of Kathak dancing but only four or five were eventually shown – confounded her anxieties about not being able to practise her art. Siddiqui saw the opportunity to come to the UK as a blessing in disguise.

The question of why Siddiqui was a “controversial figure” was answered in an excerpt of a performance entitled “Dancing in the mist” a sister piece to “Tihai”.

It was another highly original, yet controversial, piece as it explored the world of “Sufis of Punjab”. But with military-style precision of dance movements and the deployment of religious verses or chants in the background, juxtaposed with the sounds of ghunghru, it appeared to be very provocative and powerful.

“Rung”, another emotive piece looked at the Persian and Islamic influences on dance.

Siddiqui talked very openly about her house arrest in Pakistan, and how it impeded her dance practice. She told the audience how she coped under mental and emotional duress, and how she had to learn how to live a certain lifestyle. She opened her heart to how she felt about teaching, nurturing her students, the enjoyment of being immersed in the camaraderie and friendships and proffered her plans or ideas to create her own dance school.

This then led onto demonstrating through film, Siddiqui’s work as choreographer at The Birmingham Royal Ballet.

Siddiqui had to admit that, at the time, it was an opportunity to learn and she didn’t know what “choreography” meant. This raised a few smiles and bemusement amongst the audience.

She ended answering a few questions from the audience.

One or two members, in awe and gratitude, complimented her dance technique, and the questions ranged from – what hope there was for the arts in the current socio-political firmament with fundamentalism and extremism seemingly on the march and virulently opposed to anything outside a literal rendering of scriptures, to why students from the Romany Gypsy community fail to see the connections between Kathak and flamenco? And finally one about whether she could sing.

The audience was then treated to a very personal song, written by Siddiqui’s brother-in-law. She sang with the same calm, serene and controlled passion that she demonstrated in her dance routines. Her voice was pure and harmonious, and the audience greatly appreciated the fact that this wonderful artist had revealed one of her many ‘hidden talents’.

Overall, Siddiqui was open, honest, and sincere, and gave us a real insight into a deeply emotional and very personal journey. What came through was her strength in the face of political adversity and her deeply held belief that life is an education.

After 60 years in the field of Kathak dance, Nahid Siddiqui is truly an inspiration.