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
The 1980s and 1990s - Back Home in New York City
Between trips to India in the 1980s and 1990s I was also steadily performing, choreographing and teaching in New York City. During the 1990s I also embarked on a formal language studies program at Columbia University, The Graduate School of Arts and Sciences. ## Language Studies during the 1990s In 1988 and 1989 in the process of researching my Fulbright Fellowship topic - Poetry in the Kathak Repertoire, I realized that I needed to improve my language skills. Consequently, I enrolled in the Middle East and Asian Languages and Cultures Department at Columbia University in Fall 1992. Over the next eight years I studied Sanskrit, Brij Bhasha, Avadhi, Urdu and Hindi. Some of the outstanding language and literature professors with whom I studied include Professor John Stratton Hawley – Brij Bhasha, Avadhi and the poetry of the 16th Century poet saint Surdas; Professor Theodore Riccarde, Jr. – Sanskrit; Professor Frances
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