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