woman of many talents—social activism, classical dancing and theatre directing—Sheema Kermani held an informative and interactive session at the Olo Junction, the headquarters of Olomopolo Media. Renowned for her steadfast contributions to the promotion and preservation of culture and the arts, in her talk Kermani focused on the essential forms of dance, including both folk and classical styles. She also talked about how dance and theatre intersect as forms of expression.

The session took place in a well-conditioned and cozy room. Lanterns cast a warm amber glow, creating a soothing ambience in the otherwise cool space. Cushions on the floor provided the main seating. Couches were positioned at the ends. Kermani, dressed in an elegant cotton sari, illuminated by the soft light of an arching floor lamp, sat on a sofa.

Kermani began her talk with a traditional greeting, the namaste or namaskar, a common gesture by dancers when taking the stage. The history behind this form of ‘hello’ is quite meaningful: in ancient times, dancers performed directly on the soil. The centuries-old practice of this greeting serves to seek forgiveness from Mother Earth for stomping upon her during the dance.

Having trained in various dance forms such as Bharatanatyam, Kathak and Odissi, dance holds a profound place in Kermani’s life. To underscore the immense significance of self-expression through dance, Kermani read a poem by Suheir Hammad titled What I Will. Her invigorating delivery, and the sheer strength of conviction in her voice captivated the audience. How the perspectives of two women from different corners of the world intersect and inspire not only them but also the listeners was truly impressive.

The talk then shifted to Kermani’s holistic perspective on dance, which she said she considered the mother of all performing arts. During the colonial era, the essence of dance and other cultural practices diminished in significance, often dismissed as simple, vulgar or irrelevant. Kermani challenged the notion that “dance na karna kyun keh ye acha nahin hai“ (Don’t dance because it isn’t good). She said that dancing was fundamentally about movement, an integral part of life—where there is movement, there is life. According to Kermani, all elements of dance are inherently within us, making it a magical and powerful form of expression.

According to Kermani, all elements of dance are inherently within us, making it a magical and powerful form of expression.

Kermani also discussed folk and classical dances. She began with folk dances, describing them as the simple, everyday movements of people’s lives that evolve into distinct folk dances. According to Kermani, these movements do not need to be learnt consciously; rather, one should draw them from within themselves. She highlighted how geography, climate and history of different regions influence their folk dances. For example, fertile ground of the Punjab has given rise to bhangra, an energetic dance characterised by vigorous jumping movements. In contrast, Sindh’s desert landscape, with its scorching sand, has led to the evolution of jhumar, a dance performed on tip-toes, as stamping and jumping would be impractical on hot sand.

Kermani then spoke about classical dance, a tradition passed down through centuries, which remains vibrant and actively practiced. She discussed various forms of classical dance, noting the symmetrical beauty of Bharatanatyam, the striking makeup of kathakali (katha meaning story and kali meaning flower, suggesting that the dance unfolds a story that blooms like a flower) dancers—which enhances the dancer’s expression—and the grounded posture of Odissi.

In comparing Western and Indian classical dance forms, Kermani shared an intriguing observation. In Western classical dance, female dancers typically perform graceful, delicate movements, while male dancers showcase strength by lifting or powerful movements. In contrast, Indian classical dance allows for a full range of expression for all dancers, regardless of gender. Both delicate and bold movements are accessible to everyone, reflecting a more inclusive approach to performance.

As the session drew to a close, Kermani engaged with the audience, addressing their questions. Later, she also set aside some time to allow individual photographs with the audience.

Kermani said dance was far more than mere movements or a trivial activity. Dance, she said, was a collective passion that brought communities together, fostering a sense of camaraderie and preserving history through an art form handed down from one generation to the next.

The writer is a student based in Lahore