If lineage could be worn like a ghungroo, Sanjeet Gangani's would ring with the history of a gharana built on thunderous footwork, mathematical precision, and a flame that refuses to dim with time. A senior exponent of the Jaipur Gharana, he is the son and disciple of the great Kathak maestro Pandit Rajendra Kumar Gangani.
In an interview that’s more meditation than conversation, Gangani unfolds his journey like an aamad: measured, graceful, and rooted in the taal of truth.
“In childhood, I would watch my father practise for hours at a stretch, just him and the floor. That’s where it began for me,” he says. “But he taught me that being born into a tradition is just the start. Carrying it forward with integrity... that’s the actual sadhana.”
As a child of the Jaipur Gharana, he speaks most fluently in the language of footwork. “Jaipur is rhythm-based, taal-based. It’s like having a conversation with time itself,” he explains. “But it’s not just percussion. It’s philosophy. It’s emotion expressed through mathematics.” Sanjeet Gangani’s own compositions (many taught to him by his father during the pandemic lockdown) are part of that legacy now. “During lockdown, I practised for over 12 hours a day. My father taught me pieces he hadn’t shared before. He said I was finally ready to receive them.”
But Gangani’s brilliance doesn’t end at inheritance. It extends globally. He has toured Australia, China, Rome, Spain, Bangkok and more, performing at prestigious international festivals, leading workshops, and conducting masterclasses. From cultural centres in Spain to university auditoriums in China, Sanjeet has carried the thrum of Kathak’s ghungroos to places where the word ‘Kathak’ had never been uttered. One of his most moving experiences was at a Krishna Leela performance in China. “There was a little girl in the audience. After the show, she came to me and said: ‘I didn’t understand your language. But I understood your story.’”
His teaching philosophy is as grounded as his stage presence. “The most common misconception young students have is that Kathak can be mastered in a few months,” he laughs. “There’s a hunger for quick results. But Kathak is not an instant cup of tea. It is a lifelong commitment. Riyaaz is your only real guru.”
He is also quick to address questions about gender in dance.
“I’ve never faced that stereotype personally,” he says. “In my family, dance is seen as masculine... imbued with veer ras. Our tradition honours strength and rhythm. Look at the greats: Pt. Birju Maharaj, Pt. Gopi Krishna, Pt. Durga Lal and Pt. Rajendra Kumar Gangani. They showed that grace and emotion don’t belong to one gender. In fact, Birju Maharaj ji could perform bhaavs more beautifully than any female danseuse.”
Gangani points out that the roots of Kathak are rich in masculine expression; especially in the tandav, the dance of Lord Shiva. “It’s about discipline, legacy, and strength not just aesthetic beauty,” he adds. And yet, he acknowledges the biases that persist. “Things are better now. In my batch, there are 15–20 male students, some from other countries too. But we still have a long way to go.”
As a choreographer, he’s currently working on a piece that brings mythology to movement: Dashavatar, the ten incarnations of Vishnu retold through the rigorous language of Kathak. “It’s my offering to the tradition,” he says, “to show how ancient stories can still speak through our steps.”
Even in an era of viral reels and social media clips, Gangani’s approach is devotional. “If the audience doesn’t know Kathak, I explain every detail before I begin,” he says. “There are two kinds of viewers—the ‘guni’ and the ones new to the art. It’s my job to make both feel something. In the latter case, I make sure I explain every aspect of the dance to the audience and break it down for them, so they go home a little more aware than before.”
Whether it’s rhythmic jugalbandi with flamenco artists abroad or mentoring young male dancers in India, Gangani’s Kathak is borderless yet deeply Indian. With over 200 stage performances, awards for excellence in dance, international cultural residencies, and a growing number of students worldwide, he has become one of the finest cultural ambassadors of Indian classical dance today.
“My advice to young male dancers?” he says finally. “Stay rooted. Don’t try to imitate what’s popular. Kathak will reward your sincerity. Eventually, the world will catch up.”
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