Heritage in every step and stitch: Verushka Pather’s creative journey - IOL

Verushka Pather, a renowned Indian classical dancer, teacher and businesswoman. She is seen performing for Shivaratri 2026 at the Brihadeeswara Temple in Thanjavur, Tamil Nadu, India.

From the intricate movements of Indian classical dance to the vibrant colours and fabrics of her clothing designs, Verushka Pather has woven her heritage into every aspect of her creative life. 

Pather, 49, of Ballito, is an Indian classical dancer, guru (teacher), and businesswoman who uses the stage and her clothing designs to keep centuries-old traditions alive for a new generation. 

During Heritage Month, the POST spoke to Pather about her journey, which began in Malabar in Gqeberha (formerly Port Elizabeth). 

She grew up in a traditional home with her parents, Krish Moodley (now late) and Maliga, and her elder sister, Pasha Naicker. 

Pather said her now-late maternal grandmother, Gonam Pillay, an astute woman, played a significant role in her life. 

“My grandmother, who was a widow, was the matriarch of the family, raising five daughters and a son on her own. All of her daughters were dancers, but when they came of age, my grandfather asked them to stop. Of 28 granddaughters, I am the dancer. She loved me as a dancer, and I keep her in my heart with all of my productions. She is my guardian angel,” said Pather.   

While she often danced for her family, Pather attended formal classes at the Badhini Natyala School of Indian Dance at age eight. 

“Savitri Naidoo, an amazing Indian classical dancer from Cape Town, arrived and opened a dance school (in Malabar). The temple community encouraged parents to let the young girls join. When we started performing in shows, initially performing Indian folk dances, I was amazed by the costumes, jewellery, and makeup. We often travelled to Cape Town to perform, and my teacher, who saw my interest and talent, often gave me the lead roles. 

“At age 11, I was introduced to Bharatha Natyam, a traditional Indian classical dance form from South India. Although the teachings were structured, focused, and disciplined, I found every movement purposeful, and it ignited something in me.

“Once, a group of Indian classical dancers from the Kalakshetra, a training institute in Chennai (India), performed at our community centre. I was blown away. It was the first time I saw Bharatha Natyam costumes. Following this, I used to take a bus or get a ride to the city library to read about this beautiful dance form,” she said. 

A young Pather, while rehearsing for her arangetram(graduation) in India.

Pather attended Malabar Primary School and performed in shows at both her primary and dance schools. 

She matriculated at Woolhope Secondary School in 1994. 

Pather said that by Standard 8 (Grade 10), she knew she wanted to study dance in India. 

“I remember two teachers at the time told my parents that I was wasting my time wanting to be a dancer. They said I was intelligent and should go to university to study, and forget this grandiose idea of being a dancer. But I was not deterred, and I proved them wrong. I returned as a guest to the school on many occasions to share my story of success. 

“Some people will say, ‘she is only a dancer,’ but for me, dance is the greatest thing to have happened in my life. I would not have done anything different because of the magical life that dance has given me." 

Despite being accepted to study law, Pather’s heart was set on studying dance.

“I attended a few law lectures, but my heart was not in it, and I told my parents. At this time, a dancer had just returned from studying at Kalakshetra and offered Bharatha Natyam classes in Durban. Instead of going to India, my parents suggested I go to him for classes, and I soon left for Durban.” 

While attending classes, she worked as a bank teller and applied for scholarships to study in India. 

“The Indian Consul General’s office secured me a scholarship, and after applying to Kalakshetra, I was accepted.” 

Pather also applied to Bharata Kalanjali, run by renowned Indian classical dancers Master VP Dhananjayan and his wife, Srimati Shanta Dhananjayan, whom she referred to as her gurus.  

“On the day I received my acceptance letter from Kalakshetra, I also received a call from Master Dhananjayan, saying I had also been accepted. However, they were a private dance school, and my scholarship was only for government institutions. 

“At that moment, I did not worry about where I was going to get the money, and instantly agreed. I am grateful to my family and the community who jointly raised the money for me to go to India." 

With her gurus, renowned Indian classical dancers, Master Dhananjayan and his wife, Srimati Shanta Dhananjayan.

She started studying at the school in 1996, and after two years, had her arangetram, a debut solo performance marking her formal graduation. 

“It was hard work. I spent eight to 12 hours a day dancing.” 

Pather recalled that her parents gave her a sum of money that her late grandmother had saved from her pension for her. The money was used to make Pather’s arangetram costume. 

“My grandmother was unable to be at my arangetram as she passed away just a few months earlier, but she was there in spirit.”

She said her family, who attended her big day from different countries, each gifted her a piece of jewellery.  

Thereafter, she returned to South Africa and performed in various shows before returning to India. 

“I was now a senior dancer and performed as part of my dance school’s group around India. I was also managing my gurus’ dance camps in their village where 60 to 80 children attended.” 

During this time, she obtained a diploma in Creative Movement Therapy from the Spastic Society of India, was featured in advertisements and local television series, as well as a dancer in the movie Kandukondain Kandukondain featuring Aishwarya Rai Bachchan.

In 2002, she returned to South Africa and opened the Natya Ananda Fine Arts Academy. 

“I felt I had a greater purpose, not just to perform but to teach.” 

She has taught over 200 students, of whom 12 have graduated. 

“It has never been about pushing out graduates, but about instilling in students the values taught through dance.”  

With the High Commissioner of South Africa in Mauritius, Dr Hlamalani Nelly Manzini. She is wearing one of her own designs, an Ndebele-inspired sari.

Other than India and South Africa, she performed in Germany, Canada, the United Kingdom, Mauritius and Reunion Island.

Another highlight was performing her production, Sri Krishna Leela, 27 times globally, and becoming the first artist from South Africa and India to be accepted to perform the ancient art of temple dancing. She performed with 14 students in 10 temples over 15 days.

“I have kept my art very devotional, sharing stories of the scripture. My aim is not to create something that is visually appealing, but lessons must be taught. It is important that people learn from it, and not for us to be seen as just entertainers.” 

In 2019, Pather opened Khanya Designs, a unique blend of cultural heritage and modern-style clothing. 

Her passion for designing her own clothing started while still in India. 

“My mother’s sister, who lived in Canada, went to India to start a non-governmental organisation. She was part of a group looking to bring back home births in the villages. They started clinics in various villages. 

“My aunt was also a designer and ran boutiques in Canada. I often went to the villages with her and saw women dyeing fabrics. I loved the dye’s fragrance and that they used all-natural fabrics such as cotton. 

“I used to buy the fabrics and make my own punjabis or saris and blouses. If I used a plain sari, I wore a bold blouse. I mixed and matched, as I did not like to conform. I never thought I would one day start my own fashion design business." 

Pather said that when she later returned to South Africa, she started looking for the same natural cotton fabrics, which led her to visit the markets in Durban. 

She said it reminded her of being in India. 

“I came across the ladies selling different prints of fabrics. I initially did not know it was an African print. They were bold and beautiful, and I started making punjabis and saris with these fabrics. I wore them to events in South Africa and internationally, and people were in awe that I wore traditional Indian outfits, but the print was different.

“Around 2018, the night before I met Bongiwe Sithole-Moloi, then the MEC for Arts and Culture in KwaZulu-Natal, I made an Indian-African inspired sari by adding an African print fabric to a sari, and wore a contrasting blouse. 

“She looked twice before saying, ‘I have never in my life seen such social cohesion’. It was a turning point for me as she encouraged me to start the business. After research and planning, I registered my business a year later, and it has just been an amazing journey." 

Pather said Khanya Designs had significant meaning. 

“It was inspired by the isiZulu word ‘Inkanyiso’, which means light, and ‘Kanyakumari’, which is the southernmost tip of the Indian subcontinent. Khanya represents the merging of Africa and India.”

With her children. At the back, from left, Tahren and Darshan, and at the front, Kailash and Odyana.

Her resilience and commitment to the global arts arena and Indian indenture have earned her respect and recognition from the South African Department of Arts and Culture; the Indian Council for Cultural Relations, New Delhi; the Minister of Arts and Culture in Mauritius; and the High Commission of India for South Africa and Mauritius, among others. 

In February, she was honoured by the Minister of Arts and Culture of Tamil Nadu and she was invited to dance for Shivaratri at several Shiva temples.

Pather enjoys cooking, watching movies, running, and spending time with her children Darshan, 19, Tahren, 16, Odyana, 10, and Kailash, 8.