From the verandas of the National Art Gallery of The Bahamas to international Odissi stages, Carlito Catalano’s journey is one of devotion, resilience, and cultural bridge-building. As the sole practitioner of Indian classical dance in his homeland, this artist has turned solitary passion into a global pursuit.

How did your journey into Indian classical dance begin?
Around age 11 or 12, I stumbled upon a Bharatanatyam video online. The vivid costumes, precise movements, music, and wordless storytelling captivated me instantly. I taught myself by watching videos and joining forums. Later, I discovered Odissi, its lyrical grace and soulful music resonated deeply, and I continued self-learning.

What led you to formal training?
By 2019, self-training felt limiting. I attended a transformative workshop in Atlanta with Bijayini Satpathy, my first solo travel. She was surprised I’d learned entirely online and shared my story. When the pandemic began, she offered online classes; I became her student in May 2020 and have since travelled to India three times for in-person workshops.

What challenges come with pursuing Odissi in The Bahamas?
It’s extremely difficult; I’m likely the only Indian classical dancer here. No local infrastructure, community, or teachers exist; schools emphasise Western forms like ballet and contemporary. The internet has been my classroom and connection to resources, but true growth requires international travel for technical refinement and cultural immersion. Locally, I record sessions for analysis and practice on the National Art Gallery’s verandas, an open, creative space despite heat, humidity, and rain.

As a male dancer in a female-dominated form, how do you approach it?
Initially, I tried to preserve a sense of “masculinity” in my movements. Over time, I realised Odissi transcends gender; it’s about embodying the form’s grammar, beauty, and emotional depth. My focus now is honouring the style itself. If audiences appreciate its complexity and beauty, I’ve succeeded in serving the tradition.

How has Bahamian society responded?
For years, it was private, dancing alone in my room. Pandemic-era outdoor practice made it visible to neighbours. My family understood my commitment through my travels and growing online presence. Local collaborations remain limited, but my deepest connections are with Indian classical dancers abroad who grasp the discipline required.

How are you promoting Odissi locally?
My public practice at the National Art Gallery draws curious onlookers who stop, watch, and ask questions. I’ve become a living, performative artwork there. I hope to explore future blends with Bahamian music or poetry, though independent performances pose financial and logistical hurdles.

What are your future goals?
I’m deepening my training while pursuing opportunities. I recently performed with Bijayini Satpathy Dance Collective in the world premiere of Akara in Salt Lake City and am collaborating on Homeward with Mandala Arts Chicago, exploring cultural intersections. Long-term, I aim to perform, teach, and collaborate widely, planting seeds of appreciation for Indian classical dance in The Bahamas and the Caribbean.

Who inspires you most in Odissi?
My guru, Bijayini Satpathy. Beyond her brilliance, she’s a holistic artist and lifelong learner who integrates diverse influences while staying rooted in tradition. She teaches me not just technique, but how to be a confident, versatile dancer who honours the past while embracing possibility.

Carlito Catalano’s path proves that dedication can bridge oceans, turning isolation into inspiration and one dancer’s quiet practice into a beacon for cultural connection.