Indian Classical Dance on Global Stages? The Case of Madame Menaka

Abstract

This paper traces the development of what would become the “classical” North Indian dance form of Kathak after India’s independence. It presents the findings of extensive research on a nearly forgotten female artist, based on the Menaka Archive (www.menaka-archive.org)—a digital meta-archive dedicated to the choreographic works of Leila Roy-Sokhey (1899–1947), known by her stage name, “Madame Menaka.”

The archive, managed by a multidisciplinary team of researchers, focuses on materials from the Menaka Ballet’s European tour (1936–1938). It houses documents detailing the ballet’s performances across Europe and South Asia, supporting research into postcolonial dance history. This includes the reinvention of Indian performance arts like Kathak and Bharatanāṭyam within the broader framework of India’s cultural reform movements.

The archive situates these developments within a transnational and historical context. Menaka’s presence on theatrical stages in both Europe and South Asia offers a nuanced perspective on an artistic enterprise that sought to bring Indian tradition into dialogue with global ideas about dance and music. This rich collection of material enables the telling of an alternative narrative—one that portrays Kathak as a product of global artistic influences and examines how it was (or was not) incorporated into Indian dance historiography.

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