Dr. Elina Komarova is a medical practitioner specializing in holistic medicine and a lifelong devotee of Indian classical dance. Born and trained in Moscow under the guidance of Galina Dasgupta, she was among the first Russian students to receive a scholarship to study in India. Despite her medical career, Bharatanatyam and Kathak have remained an integral part of her life. Now based in South Africa, she continues to perform at cultural festivals and diplomatic events, embodying the timeless connection between art, spirituality, and healing. In this conversation, she reflects on her extraordinary journey through Indian dance and culture.
Can you share how your journey with Indian classical dance began?
It all started with my teacher, Galina Dasgupta, when I was a teenager. I was preparing for medical school exams, and she told me, “The best thing to do before an exam is to come for a rehearsal.” She believed that dance helped with concentration and focus, and I found that to be true. That advice stayed with me throughout my life.
You eventually pursued a career in medicine. Did dance continue to play a role in your life?
Yes, absolutely. Some of my peers became full-time professional dancers, but I became a medical doctor practicing holistic medicine. However, Indian classical art remained an integral part of my life. Even ten years ago, I thought that maybe this chapter of my life was over, but I realized it was not possible. Dance is a life commitment.
You now live in South Africa. How do you continue engaging with Indian art there?
South Africa has a large Indian diaspora, and many children and adults study Indian art. Even if they become professionals in other fields, they still cherish Indian culture. In Cape Town, I perform once a year at festivals and am often invited by the Indian Consul General for cultural events. For me, performing is the highest expression of my artistic being.
You were part of the White Lotus dance group in Moscow. What was that experience like?
The White Lotus group was very special. We started with Bharatanatyam, then learned folk dance and Kathak. Every year, I would return to Moscow for about five weeks while my parents were there. We attended many concerts, and through this, our connection to Indian art deepened.
Our teacher, Galina Dasgupta, was a graduate of Moscow University. She taught us not just dance but also Indian philosophy, the stories of major deities, and the impulse of creation. It was a unique way of learning, and it shaped us deeply.
What role did the Jawaharlal Nehru Cultural Center in Moscow play in your learning?
When the center was opened, it became possible to formally study Hindi, tabla, Kathak, and meditation. However, before that, we had limited options. We learned Indian classical dance gradually, and for many years, we practiced just one item—Alaripu. This deep, conscious engagement with dance made us unique.
You mentioned a strong sense of destiny in your artistic journey. Can you elaborate?
A few years ago, I met Rashmi and Suparna, two dancers in Moscow. Two years later, we performed together in Bangalore at Rashmi's cultural center - Shankara. It made me realize how interconnected we all are—this is karma, moving beyond life.
Similarly, when I looked at the history of Indian classical dance in South Africa, I saw the same patterns. The White Lotus group in Moscow was founded around the same time as the Indian Academy of Music and Dance in Durban. During apartheid, the Indian community in South Africa quietly gathered in temples and homes to teach Bharatanatyam. This parallel development in Russia and South Africa—the synchronicity, it’s destiny.
You were one of the first students to receive a scholarship to study in India. How did that decision shape your life?
Yes, I was among the first. On the day of my flight, I told my father that I was taking a sabbatical from my PhD program for a year. He was surprised, but he said, “Do what you feel is more important.” That year changed everything for me.
Later, we even started a pioneering holistic treatment and massage school in Moscow. My understanding of dance, medicine, and holistic healing all came together in different ways.
What does Indian classical dance mean to you today?
Dance is nurturing. Even if I perform just one item, I feel connected. It is an eternal source of energy. I love Indian dance, Indian music, and the dedication to the divine. I was deeply influenced by texts like the Ramayana and Mahabharata, but I did not become a disciple in the traditional sense. As performers, we were directly in touch with the divine—our art itself was an offering.
You mentioned that performing arts can be transformative, especially for young people. How so?
The path of art is one of extreme emotions. It allows us to step into different characters, live through intense experiences, and emerge stronger. In today’s world, young people face many challenges—bullying on social media, insecurity, isolation. Art helps them understand emotions like jealousy, love, and sorrow in a constructive way.
In the White Lotus group, there were eight of us. We were trained not just to perform but to appreciate the beauty of others on stage. Today, people struggle with criticism. But art teaches us reflection, humility, and growth.
What do you think is the role of Indian culture in the world today?
India has played and continues to play a key role in our evolving civilization. I may not know every detail about India, but I have lived with love for India my entire life. The essence of Indian culture, tradition, and philosophy is constantly evolving, and I feel deeply connected to it.
India is in a continuous cycle of contributing to the world—through its arts, its philosophy, and its civilization. This journey of art and spirituality binds us together, freely and beautifully.
