In the world of classical dance, few voices resonate with as much passion and purpose as Momina Farooq Khan’s. With a journey deeply intertwined with Kathak, theatre, and cultural storytelling, Momina’s work is a testament to the power of movement as a language of resistance, self-expression, and heritage preservation. From her early years as a self-taught dancer to her extensive training under legendary mentors, she continues to redefine what it means to be a classical dancer in today’s society.
A Love for Dance from the Start
Momina’s journey with dance began almost instinctively. As a child, she found solace in movement, often mimicking dances she saw on television. “I was an extremely shy child, and I had a stammer, but dance became my voice. It was my way of expressing emotions that I couldn’t put into words,” she recalls. Raised in a conservative family, formal training in classical dance was not an immediate option, but her passion never wavered. As soon as she had the opportunity, she sought out the legendary Nahid Siddiqui and began her formal Kathak training.
The Pursuit of Knowledge and Mastery
With an academic background in Cultural Studies from Beaconhouse National University and postgraduate studies in South Asian Studies at SOAS, University of London, Momina’s approach to dance is deeply rooted in research and cultural analysis. Her thesis focused on the ethnography of Kathak in Pakistan, reflecting her commitment to understanding the art form beyond performance.
Her training has been extensive—beginning with Nahid Siddiqui and later with Bina Jawad at Harsukh, she has continued to refine her craft under Sujata Banerjee in London. Alongside Kathak, she has explored Flamenco, Bharatnatyam, and Odissi, broadening her artistic vocabulary. “Dance is a living, breathing language. It evolves with you, and each performance adds a new chapter to its history,” she explains.
Classical Dance as Resistance
For Momina, dance is more than an art form—it is a political act. “In a society that often tells women to shrink themselves, to be invisible, classical dance is an act of defiance. It demands space, presence, and agency,” she asserts. She integrates her dance with theatre, working with community collectives to bring stories of resistance and resilience to life. Through her involvement in socialist feminist theatre and vernacular performances, she uses movement to challenge societal norms and spark conversations.
Memorable Performances and Career Milestones
Reflecting on her journey, Momina highlights her performance at the Habib Jalib Festival as a defining moment. “It was a culmination of years of learning and growth. Seeing people connect with the performance emotionally affirmed my belief in the power of storytelling through dance.”
Her recent performances include a fusion of Kathak and Bollywood in “Layla Majnu” at The Colony and a contemporary take on the folk tale of Sohna Jehni at Alhamra. With each performance, she continues to push boundaries and reimagine classical dance for modern audiences.
Wow Pakistan by British Council- performance titled “Bebaak” (fearless) with Suhaee Abro (contemporary and Bharat Natyam trained) and Wajeeha Wasti (Contemporary Dancer): Performed and choreographed a thirty-minute performance based on the resilience of women through life.
Challenges and the Future of Classical Dance
Despite her successes, the journey has not been without obstacles. Misconceptions about classical dance persist, often reducing it to a stylized form seen in Bollywood rather than recognizing its depth and historical significance. “Kathak has a rich lineage, intertwined with storytelling, folk traditions, and courtly elegance. But due to colonial and patriarchal narratives, it has been misrepresented and even stigmatized,” she explains.
Momina remains hopeful, though. She believes that awareness and education are key to reviving classical dance in Pakistan. By teaching at institutions like Olomopolo Studio and engaging in dialogues around performance art, she is playing a crucial role in this revival.
Looking Ahead
In the next five years, Momina envisions herself continuing to perform, teach, and advocate for classical dance. “My dream has always been to take this art form to audiences everywhere, to reclaim its space in popular culture,” she says. She encourages aspiring dancers to embrace performance as a learning experience. “Improvement doesn’t happen in isolation. You grow when you engage with the audience, when you tell stories through your body.”
With an unwavering commitment to her craft and an inspiring vision for the future, Momina Farooq Khan is not just a dancer—she is a storyteller, a cultural custodian, and a force of artistic transformation.