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
28. The Making of an American Kathak Dancer
29. Title
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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