1. EDITORIAL
2. The Making of an American Kathak Dancer- Introduction
3. Childhood – Dance & Music
4. Swarthmore College- 1962 to 1966- Russian Language
5. Kathak Kendra- 1967 to 1969- Kathak, Tabla, Hindustani vocal
6. Chicago – 1969 to 1971
7. New York City – Dance Capital of the World
8. The 1980s - Return to India with Baby Lela
9. The 1980s and 1990s - Back Home in New York City
10. Arts - in - Education
11. Performing in the 21st Century - A selection
12. Recent Recognition
13. Afterword
14. HARIKATHA: Ādibhaṭla Nārāyaṇa Dās' Era in Indian Classical Music and Dance traditions- Introduction
15. Harikatha: An Ancient Tradition
16. The Art Form in Maharashtra
17. The Tradition of Harikatha in the Southern States
18. Harikatha, The Era of Ādibhaṭla Nārāyaṇa Dās
19. Harikatha: A Divine Art
20. References of Harikatha as Yakshagāna
21. ‘Harikathā Pitāmaha’ Ādibhaṭla Nārāyaṇa Dās
22. Harikathaka lakṣaṇamu
23. Harikatha Vaggēyakāra-s
24. Disciples of Nārāyaṇa Dās
25. Harikatha-s of Nārāyaṇa Dās
26. Purpose of Harikatha
27. Bibliography
Afterword
This retrospective documents the breadth of my work. I have explored many of the technical structures of classical Kathak, as well as the stories and myths, the sacred texts and oral chants, the historic and contemporary literature, which feed the Great Art of Kathak. Some of my work presents pure classical Kathak. But some of the perspectives driving my work have diverged from classical interpretations. For example, an eminent writer-scholar on Indian dance objected to the title of one of my productions -- “Power Play”. She objected to this title for dances depicting the great divinities Shiva and Kali and the archetypal image of Ardhanarishwara. She felt this title would be appropriate for talking about New York City’s business world on Wall Street, but not about Indian gods and goddesses.
I differ. I believe that the stories we dance in Kathak have endured for millennia precisely because they are
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