Mandapa Mahotsav: 50 Years of Indian Classical Arts in Paris

Tucked away on Rue Wurtz in Paris’ 13th arrondissement, Centre Mandapa has, for five decades, quietly, yet profoundly influenced the global appreciation of traditional performing arts. As it marks its 50th anniversary in 2025, this intimate theatre and cultural hub remains a vital space for preserving oral traditions and performance arts from around the world, with a special devotion to the classical arts of India.

Milena Salvini: The Visionary Behind the Mandapa

The story of Centre Mandapa is deeply intertwined with the life and legacy of Milena Salvini (1933–2022), an Italian-born French artist, whose passion for Indian classical arts reshaped the cultural landscape of Europe. She was trained in Western classical music and ballet. A graduate of the Conservatoire Supérieur de Paris, she earned distinctions in piano, composition, and counterpoint. Her early career included composing and orchestrating works for Éditions Heugel. She also worked as a choreographer and performer, notably for the Féeries des Eaux at the Grand Rex cinema in Paris. She also collaborated with avant-garde artists like Nicolas Schöffer. [See Sruti 19, 453 & https://www.sruti.com/articles/spotlight/mandapa-in-paris-the-passion-of-milena-salvini)

Her artistic journey took a transformative turn in 1962 when she received a scholarship to study Kathakali at Kerala Kalamandalam. Immersed in the discipline and depth of Indian theatre, she developed a lifelong reverence for its spiritual and aesthetic richness.

Her legacy continues through her elder daughter: Isabelle Anna, a Kathak dancer, actively teaching and performing at the Mandapa.

A European Gateway to Indian Classical Arts

Centre Mandapa has played a pioneering role in introducing Indian classical arts to European audiences. It was the first venue in Europe to present Kathakali, Kalaripayattu, and Koodiyattam, often in collaboration with UNESCO. In 1985, they hosted the iconic “24 Hours of Raga” at the Théâtre National de l’Odéon. And a second edition of 24 hours of uninterrupted Hindustani music to usher in the new millennium. This was followed by “Great Epic Nights” in 2011 at Théâtre du Soleil.

The Mandapa’s Indian dance school has nurtured generations of students, both French and international, in Bharatanatyam, Mohini Attam, and Kathak, under the guidance of masters such as Vidya, Thomas Vo Van Tao and Isabelle Anna. Many alumni have become professional performers, carrying forward these traditions with authenticity and creativity.

The centre has also contributed to the preservation of Indian arts through acclaimed productions, including the “24 Chants of the Gita Govinda”, which won the Grand Prix du Disque in 1992. Its documentary on Koodiyattam, co-produced by Milena and Roger, played a key role in the art form’s recognition as a UNESCO Intangible Cultural Heritage in 2001.

Centre Mandapa stands as a rare beacon of live performance and cultural preservation in an age dominated by digital media. With over 100 concerts, dance recitals and theatre productions each year, it remains a vital space in Paris where global cultures are celebrated, studied and passed on to future generations. As it enters its next 50 years, Centre Mandapa continues to honour its founding vision as a meeting point for cultures and a home for the timeless language of the arts. 

Isabelle Anna: Carrying the Legacy Forward

Isabelle Anna, a Paris-born dancer, choreographer, and teacher, is the current Art Director of Centre Mandapa. Raised in a culturally rich environment shaped by her parents, Milena Salvini and Roger Filipuzzi. Isabelle was immersed in Indian performing arts from a young age. She began her training in Bharatanatyam at the age of five and later studied classical ballet, music, and drama.

Her journey into Kathak, the classical dance form of North India, began in 1998 under Sharmila Sharma, a disciple of maestro Birju Maharaj. Driven by a deep passion, Isabelle pursued formal training at the Kathak Kendra in New Delhi, studying under Jaikishan Maharaj, son of Birju Maharaj. She earned both her Honours Diploma (2004) and Post Diploma (2006), becoming one of the few Westerners to complete this demanding program.

Recognised by the Indian Council for Cultural Relations (ICCR) as a Kathak soloist, Isabelle has performed widely across India, Europe, and Asia, appearing at festivals such as Khajuraho, Chakradhar Samaroh, and Bonjour India. In 2007, she founded the dance company Kaleidans'Scop, blending traditional Kathak with contemporary influences. Today, she leads Centre Mandapa with a vision that honours its legacy while nurturing a new generation of dancers.

Isabelle Anna in Conversation with Cynthia Srikanth

Mandapa is celebrating an incredible 50-year journey. When you look back, what do you think were your parents’ original aspirations when they founded Mandapa?

My mother had a dream: to open a school where Indian dance could be taught and shared. That dream led us to this very place. And when my father, who is an architect, first saw it, he imagined something even more expansive: a theatre that could become a home for the arts, not just Indian, but every art form from around the world. Yet, at its heart, it would always carry a special focus on Indian traditions.

What were some of the early challenges they faced in creating a space for traditional Indian performance in Paris?

Fifty years ago, the mission of promoting Indian art forms, many of which were unfamiliar to the French public, seemed bold, even exotic. There was a real fear that the general audience might not be receptive. But my parents believed in the cosmopolitan spirit of France, and they held onto the hope that this new idea would find its place.

Like any great dream, theirs came with immense challenges. They had very limited resources and, for 35 years, they were the only two people working tirelessly, day and night, to keep the vision alive. My father was also running his construction company at the time, balancing both worlds with unwavering dedication.

The theatre itself, with its acoustics and design, was conceived and planned by my father. And in those formative years, my grandfather played a vital role. He was the first to lay the foundation, quite literally, by pouring the very first batch of melted cement. Their story is not just about building a space, it’s about building a legacy—a legacy of art, culture, and the courage to dream beyond borders.

Growing up in that environment, what are some of your personal memories of artists, performances, or cultural moments at Mandapa?

As a child, I was captivated by the sight of Kathakali artists dressing up in this hall. The vibrant colours, the striking characters, and the dramatic transformation were thrilling for a curious young mind.

My parents organised a remarkable musical event titled “24 Hours of Raga” at the Théâtre National de l’Odéon, which seats 1,000 people. Conceived by my father, the program was inspired by the time-bound nature of Hindustani ragas, some traditionally performed at dawn, others at dusk. It was a full day and night of Hindustani classical music, celebrating the passage of time through melody.

Just an hour into the concert, a bomb alert threatened to disrupt the event. Yet, the audience’s spirit remained undeterred. People continued to arrive, and every performance played to a full house. The music prevailed, and the celebration endured.

It was also my parents’ vision to pay homage to Carnatic music. Sadly, by then, my father had passed away. Six months later, my mother and I carried that vision forward by organising the event “Great Carnatic Night” at the Théâtre du Soleil. This time, it was a 30-hour uninterrupted celebration of Carnatic music.

We traveled to Chennai to carefully select the artists, immersing ourselves in the heart of the tradition. The project took two years to bring to life, and finally, it was realised, a tribute not only to the music but also to my father’s enduring legacy.

How has Mandapa managed to remain relevant and vibrant through changing generations?

We had to rethink the format of our programs. In the early years, our flyers and posters were filled with dates and long lists of artist names, which offered valuable information but lacked the visual appeal. After 2018, we revisited our approach, not just in presentation, but in concept. We began promoting diverse art forms from different cultures, always with a special emphasis on Indian traditions.

That’s when the idea of honoring one cultural art form each year was born. In 2018–2019, we celebrated Vietnamese art. In 2019, we turned our focus back to Indian art forms. We introduced a new title for this evolving series: Passport pour…(Passport to..) : a symbolic invitation to travel through cultures via the arts.

When my parents were alive, they organised nearly 200 programs a year, an extraordinary rhythm of cultural activity. Later, my mother and I continued the tradition, hosting around 150 events annually. Even after her passing, I maintained that pace for some time.

Over time, I found it necessary to recalibrate. As an artist, it became essential to harmonise my creative practice with my teaching commitments. Unlike my mother, who devoted her entire life to Mandapa with unwavering focus, I had to discover a rhythm that allowed space for both my dance and the responsibilities of running Mandapa. I also had to evolve with the digital age, where time and attention have become increasingly fragmented.

Could you share what special events or highlights are part of this 50th anniversary celebration?

As part of Mandapa’s 50th anniversary celebrations, we curated a special series of 80 programs showcasing 50 diverse cultural traditions. Each event was thoughtfully selected to reflect the richness of global artistic expression, while continuing to honor our deep connection to Indian art forms.

What is your vision for Mandapa in the next decade-both artistically and culturally?

I wish to carry forward the vision of my parents for as long as I can. Mandapa has withstood the test of time, not as a commercial theatre, but as a space rooted in cultural integrity and artistic devotion. Our operations have always been modest, limited to humble means, yet we have consistently pulled through.

Many leading artists choose to perform at Mandapa for its history, its energy, and the positive atmosphere it radiates. Today, I am fortunate to be surrounded by a deeply committed team: Philippe and Martin, who have dedicated themselves wholeheartedly to our mission. They don’t watch the clock; they work with passion and purpose.

Refurbishing the theatre was a financially challenging endeavour, but thanks to the grants we received from the City of Paris, we managed to complete it successfully. I look forward to organising more and more events, guided by the savoir-faire passed down from my parents, and continuing to nurture the spirit of Mandapa.