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
Arts - in - Education
From the moment I landed on Indian soil in 1967, I was aware of India’ great cultural heritage, and of the ways its manifestations had been incorporated into educational settings. I lived with the P.P.Garga family on the grounds of Bal Bhavan, the National Children’s School, where “Poppa” Garga was the head of the art department. Waking early in the morning, I took tea with the family, then walked across the playing field to the classroom building. I practiced Kathak in Poppa’s classroom, where the children’s art projects were always on display. When I returned from India to the United States in 1969, I started working with the Chicago arts-in-education organization Urban Gateways, as I have described in a previous section of this paper – “CHICAGO-1969 to 1971”. Two years later, when I moved to New York City, I immediately became engaged in arts-in-education, presenting programs in
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