This Young Teacher In Bihar Is Empowering Schoolgirls Through Kathak

In the heart of Gopalganj, Bihar, where the sun dips low over fields of sugarcane and the air hums with the rhythm of daily life, a quiet revolution is unfolding. It’s not marked by grand speeches or political fanfare, but by the delicate chime of ghungroos, the ankle bells that sing with every step of Kathak, a classical Indian dance form.

At the centre of this transformation is Pallavi Raj, a 25-year-old government school teacher, posted in Uchkagaon village, whose passion for Kathak is reshaping the lives of young girls in her community. From the halls of Banaras Hindu University (BHU) to a school and a modest temple courtyard in her hometown, Pallavi’s journey is a testament to the power of art to uplift, empower, and inspire.

A Dance That Began in Childhood

Pallavi Raj’s story begins in the dusty lanes of Gopalganj, a small town in one of India’s most educationally challenged states. Born into a supportive family, her mother enrolled her in a dance class when she was four years old. However, she discovered Kathak only at the tender age of 10, when she was in the fifth grade.

The intricate footwork, expressive gestures, and storytelling of Kathak captivated her, offering a world beyond the constraints of her surroundings.

“I was first enrolled in Pandit Omkar Nath Mahavidyalaya, where I spent a year. After that, I moved to Bhairvi Sangeet Mahavidyala, where I trained for 6 years under my Guru Vinod Kumar Sinha, until I moved to Varanasi,” says Pallavi. 

Her parents, though modest in means, nurtured her passion, enrolling her in classes despite raised eyebrows from relatives and neighbors who saw dance as a frivolous pursuit for a girl.

Undeterred, Pallavi’s talent blossomed. She didn’t stop at Kathak; she trained in sitar, harmonium, and vocal singing, weaving a tapestry of classical arts into her life. She pursued a junior and senior diploma in music from Prayag Sangeet Samiti, Prayagraj. Her dedication was evident even in her teenage years, as she balanced schoolwork with hours of practice. 

Pallavi has performed in almost every government event that the district administration organised. Be it Republic Day or Independence Day celebrations, or Bihar Diwas, Thawe Mahotsav and Youth Festival, Pallavi has been a part of them for several years. 

After completing her 12th grade in Science, she set her sights on Banaras Hindu University for Indian classical arts. “My father wanted me to become either an engineer or a doctor. My tuition teacher advised my family to get me enrolled in a BBA and subsequently, in an MBA programme. My brother, who’s an IIT graduate, eventually came to my rescue and encouraged me to apply in BHU,” recalls Pallavi.

Her admission to BHU’s prestigious Faculty of Performing Arts marked a turning point, opening doors to a world of rigour, tradition, and self-discovery. 

The Varanasi Years: A Transformation

Varanasi, with its ancient ghats and pulsating cultural heartbeat, was more than a city for Pallavi—it was a crucible. Over five years, she pursued a Bachelor’s and Master’s degree in Performing Arts, immersing herself in the nuances of Kathak under renowned gurus. The city’s vibrant arts scene, from impromptu performances on the banks of the Ganges to rigorous training sessions at BHU, shaped her into a confident artist and thinker.

“Varanasi taught me that art is not just performance; it’s a way of seeing the world. When I initially moved there, I got a reality check on my training and skills. I felt demotivated seeing my classmates—who had the same diploma but more skillset than I possessed. However, I was determined to learn, improve, and evolve every single day,” she says.

“My Professors, particularly Dr Vidhi Nagar ma’am and Dipanwita Singha Roy ma’am, guided, mentored and shaped me into what I am today. I made some lifelong friends there. Without them, survival in a new city would not have been that easy,” Pallavi further added. 

After finishing the stint with BHU, she took admission at Kathak Kendra in New Delhi. In the middle of it, she had her UGC-NET exam, which she qualified for. Soon after this, the Bihar government released a notification for the recruitment of dance teachers in government schools. Pallavi saw this as an opportunity to return to her roots.

Varanasi had also exposed her to the stark realities of inequality. She saw girls her age, particularly from marginalized communities, denied access to education and opportunities. These encounters planted a seed in her mind: to return to Bihar and use her skills to make a difference.

Pallavi returned to Gopalganj, not as a celebrated artist seeking fame, but as a qualified government school teacher, determined to share her love for Kathak with Bihar schoolgirls.

Dancing in the temple courtyard

In her hometown, Pallavi found a canvas for her vision: the government school where she teaches, and a small temple in her locality that becomes a dance studio every evening. Her classes, offered free of charge, are a beacon of hope for schoolgirls and young women from nearby neighbourhoods. 

The temple courtyard, bathed in the golden glow of dusk, comes alive with the rhythmic stomping of feet and the jingle of ghungroos. Here, girls as young as six and as old as 18 gather, their eyes bright with curiosity and determination.

Pallavi’s classes are more than dance lessons; they are a sanctuary. For many of these girls, life in Bihar is a constant negotiation with societal expectations, limited resources, and early marriage pressures. Kathak offers them a space to express themselves, to dream, and to build confidence. 

Radha Kumari, 14, says Kathak classes have helped her gain a new skill, and she trains for over two hours in every session. “My mother asks me to do the household chores. But I came here to learn Kathak after telling her that I would not miss this opportunity,” she said.

15-year-old Rajnandini says she has been learning Kathak from Pallavi for the last 4 months now. She says, “I had absolutely no interest in dance until I started coming here. Now, I don’t even miss a class.”

The impact is palpable. Girls who once shied away from public spaces now perform at local festivals, their heads held high. Some have gone on to teach younger peers, creating a ripple effect in the community. Pallavi’s approach is inclusive, welcoming girls from all backgrounds, including those from economically disadvantaged families. She provides ghungroos and practice attire for those who can’t afford them, ensuring that no one is turned away.

The Role of the Bihar Government’s Arts Initiatives

Pallavi’s work aligns with broader efforts by the Bihar government to revitalise education and cultural arts. The state’s Department of Art, Culture, and Youth has been working to integrate arts into the education system, recognising their potential to foster creativity and social development. Initiatives like the Bihar Kala Kosh aim to preserve and promote traditional art forms, including folk dances like Jat-Jatin and classical forms like Kathak. The department has also supported cultural festivals and training programs, creating platforms for local artists to showcase their talents.

However, the integration of arts into schools remains a challenge. Bihar’s education system, historically plagued by underfunding and neglect, has made strides under initiatives like the School Education Shagun program, which emphasises quality education.

Yet, arts education often takes a backseat to core subjects like math and science. Pallavi’s work fills this gap, bringing structured arts training to government schoolgirls who might otherwise have no exposure to it.

The Bihar government’s teacher recruitment drives also play a crucial role in supporting educators like Pallavi. In 2023, the state distributed appointment letters to 1.2 lakh teachers in a high-profile event at Gandhi Maidan, Patna, marking a significant step toward improving the student-teacher ratio. The second phase, announced in November 2023, aimed to recruit an additional 70,000 teachers, including specialized roles for arts and physical education.

In 2024, the Bihar Public Service Commission (BPSC) conducted the TRE 3.0 exam for 84,587 teaching posts, covering primary, middle, secondary, and senior secondary levels. While specific data on dance teacher recruitment is scarce, the inclusion of arts educators in these drives reflects a growing recognition of the importance of cultural education.

The BPSC TRE 4.0, expected to fill an estimated 80,000 to 1.6 lakh vacancies this year, further underscores Bihar’s commitment to educational reform. These efforts provide a supportive framework for teachers like Pallavi, enabling them to focus on innovative teaching methods without the burden of job insecurity. However, challenges remain, including the need for dedicated funding for arts programs and training for teachers in specialised fields like dance.

A Ripple Effect of Empowerment

Pallavi’s classes are more than a local phenomenon; they are a microcosm of change in a state grappling with deep-rooted socio-economic challenges. Bihar, with its history of educational neglect and high poverty rates, has long struggled to provide equitable opportunities. The state recorded 26.59 per cent share of MPI poor in 2022-23. MPI, which stands for Multidimensional Poverty Index (MPI), measures poverty beyond income, assessing deprivations in health, education, and living standards across multiple indicators.

The arts, often seen as a luxury, are rarely prioritized in a state like Bihar. Yet, Pallavi’s work deprioritisedmonstrates a transformative potential.

Her students are not just learning to dance; they are learning to lead. One girl, inspired by Pallavi, who once dreamed of becoming a doctor, now sees a future in performing arts, thanks to the confidence she gained in Pallavi’s classes. The temple courtyard, once a quiet space for prayer, has become a stage for dreams, where girls envision futures beyond the constraints of their circumstances.

Despite her success, Pallavi faces challenges. Community skepticism persists, with some questioning the value of dance for girls who “should be preparing for marriage.” Infrastructure issues, like unreliable electricity and limited space, also pose hurdles. Yet, she remains undaunted, drawing strength from her students’ enthusiasm and the gradual shift in community attitudes.

The Bihar government’s initiatives offer hope. Programs like the Mukhyamantri Kala Samman Yojana, which honors artists and educators, could provide recognition and resources for grassroots efforts like Pallavi’s.

Expanding teacher training programs to include classical arts could also ensure that more educators are equipped to teach forms like Kathak. For now, Pallavi’s classes rely on her tenacity, but a more robust state-backed framework could amplify her impact.

Every evening, the temple courtyard echoes with the sound of Kathak, a reminder that change can begin in the most unlikely places. Pallavi Raj, with her ghungroos and unwavering spirit, is not just teaching dance; she is teaching girls to dream, to defy, and to soar. Her story is a beacon for Bihar, a state slowly awakening to the power of education and art to transform lives.

In a world that often measures progress in numbers and infrastructure, Pallavi’s work is a reminder that true change is measured in the spark of a child’s eyes, the confidence in her step, and the courage to chart her own path. For these girls, and for Bihar, Pallavi Raj is not just a teacher—she is a catalyst for a brighter, more vibrant future.

Pallavi’s journey is also a personal triumph. In a society where women’s ambitions are often curtailed, she has defied stereotypes, blending her roles as a teacher, artist, and community leader.