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
The Making of an American Kathak Dancer
Why am I a Kathak dancer? What compelled me - an American - to study Kathak dance, which is embedded in an entirely different linguistic and cultural landscape from the one into which I was born? What gave me the courage to go alone to India in 1967 with the single purpose of studying Kathak with Pt. Birju Maharaj? This is the story of childhood and early adult experiences in my life, which led to my profound attraction to Kathak. It helps to explain why I felt compelled to dance Kathak, as if my entire life had been a preparation for that specific life path.
In this article I have written about my childhood and early adulthood in more detail than might be customary in a NARTANAM artist profile. It goes without saying that some of the experiences during the formative years of an American childhood are very different from
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