Podcasts about bharatnatyam

Ojasvi Verma is an accomplished Indian dancer, content creator, and entrepreneur whose journey began on YouTube in 2016, growing to an audience of over 800K subscribers and nearly 1 million Instagram followers. Trained in a variety of dance forms including Bharatnatyam, Waacking, Jazz, Salsa, and Belly Dance, Ojasvi has developed a unique fusion style blending Oriental Belly Dancewith other genres. She has taught over 3,500 students worldwide through her online and offline classes. Alongside her creative work, Ojasvi launched "Ojasvi's Bellydance Closet," a costume line designed to offer affordable and elegant dance wear for performers. Recognized for her influence both on stage and social media, she has performed at prestigious events including TEDx, Mumbai Hafla, and shows for UNICEF, and has been featured in numerous media outlets and awarded for her contributions to dance and digital artistry.In this episode you will learn about:- How belly dance helped Ojasvi to stay dance-active and recover from the knee injury- Taking it slow with your training, and benefits of focusing on the beginners moves for a long time- Stereotypes surrounding belly dance in India- Developing unique fusion style, including Ojasvi's signature back moves- Taking a decision to put on hold a super successful dance wear business in order to find fulfilling balance in lifeShow Notes to this episode:Find Ojasvi Verma on Instagram, YouTube and website. Her dance wear brand: Instagram.Details and training materials for the BDE castings are available at www.JoinBDE.comFollow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

In this episode of The Brand Called You, Priya Mohan, partner at General Catalyst shares her fascinating journey from a disciplined childhood in Chennai to becoming a trailblazer in venture capital, co-creating impactful companies in India. Priya discusses her approach to nurturing innovative startups, the importance of diversity, and her deep connection to Bharatnatyam. 00:36- About Priya Mohan Priya is the partner at General Catalyst - India. She is a venture capital firm that partners with founders from seed through growth stages.

On this week's episode of Women on the Line, we speak with Manjusha and Anya about Temple of Desire, a Karma Dance production exploring themes of gender, feminism, rage, queerness and spirituality through the traditional dance form of Bharatnatyam, and featuring queer South Asian artists. Manjusha (she/her) is a South - Asian Australian woman who lives, works and creates on across unceded Wurundjerii land. Manjusha is the producer and stage manager of Temple of Desire working closely with Govind Pillai the Director, Choreographer and dancer to bring this production to life. Manjusha is a multidisciplinary artist and arts worker, who lives, works and creates on the intersection of Performing arts, Intangible Cultural Heritage practices and Events Management.Anya (she/ they) is a South Indian Tamil woman living on unceded Wurundjeri land and one of the dancers in Temple of Desire. Outside of dancing, Anya works in family violence policy reform, and spends any spare time obsessing over her dog Appu, who sadly is obsessed with Anya's partner instead.  

News headlines // 7:15AM // Carolyn Mogharbel, Manager of 1800 My Options at Women's Health Victoria, on a new report ‘Realising Access' released last week by Women's Health Victoria, which revealed that there remain major ongoing inequities in abortion and contraception access across Victoria. For more information, you can go to 1800myoptions.org.au or call the confidential free phone line at 1800 696 784. 7:30AM // A speech by Caterina Cinanni, National Executive Director of the United Workers Union, at this Sunday's Free Palestine Rally in Naarm, on 27 October, on upcoming union action and the importance of worker solidarity across the globe. 7:45AM // An excerpt of this week's episode of Women on the Line, where Kannagi speaks with producer Manjusha and Bharatnatyam dancer Anya about Temple of Desire, a Karma Dance production exploring themes of gender, feminism, rage, queerness and spirituality through the traditional dance form of Bharatnatyam, and featuring queer South Asian artists. For the full episode you can head to www.3cr.org.au./womenontheline 8:00AM // An organising member of Teachers and School Staff for Palestine, on the Public Sector Workers Rally taking place tomorrow, Wednesday 30th October at 5:30pm, outside Parliament House, and the importance of workers coming together to demand the Victorian government take action against Israel. The rally is organised by Teachers and School Staff for Palestine, Healthcare Workers for Palestine, ANMF (Australian Nursing and Midwifery Federation) Victoria for Palestine, Community and Public Sector Union for Palestine and Health and Community Services Union for Peace, and you can find more details by going to @teachers4palestine_vic on Instagram. 8:15AM // Upcoming events and fundraisers Songs:Girlie Bits - Ali Barter Old Body, New Mind - NemahsisGhar - KinariBaby - Aya Nakamura

Oxana Banshikova is a distinguished dancer, choreographer and dance educator. Hailing from Kazakhstan, she specializes in Bharatanatyam– South Indian Classical Dance and its fusion with other art and dance forms. Oxana graduated from the world famous Kalakshetra College of Fine Arts, Chennai,India. In 20 years of her professional dance career, Oxana has performed and taught this dance form in India, Kazakhstan, Armenia, and Hong Kong. She is founder and director of Cosmic Dance company, founded in Hong Kong in 2009. Rather than staying in her comfort zone, she continues to challenge herself in different industries. Oxana has background in ballet and jazz and is certified Pilates and Zumba instructor. This breadth of experience has allowed her to develop a unique perspective and approach to directing and teaching by creating supportive, safe and inspiring environment for her students. Oxana is passionate about identifying current dance trends and innovations to keep her choreographies fresh and exciting. www.cosmic-dance.com https://instagram.com/oxanacosmicdance

In Singapore's multicultural landscape, the decline in mother tongue usage is a growing concern, as noted by Education Minister Chan Chun Sing. Here comes Qrious Culture, supported by the Lee Kuan Yew Fund for Bilingualism, who addressed this by revitalizing bilingualism among the youth. The latest season features bilingual documentaries by storytellers like Priyanka Tamilarasan, who honors Bharatnatyam dancer Ambiga Krishnasamy, and Yusri "Shaggy" Sapari, who captures the voices of Singapore's heavy vehicle drivers; these films highlight the importance of preserving cultural and linguistic heritage. On Culture Club, Hongbin Jeong and Roshan Gidwani speaks to Priyanka, Content Creator & Creative Head of Sit Still, Look PRI- TEA, and Yusri "Shaggy" Sapari, Documentary Filmmaker, Paradise Pictures, to find out more.   Presented by: Hongbin Jeong and Roshan Gidwani Produced and Edited by: Alexandra Parada (alexparada@sph.com.sg) Want to get featured on our show? Drop me an email today!See omnystudio.com/listener for privacy information.

Dipika Vijay is an academically trained designer, and a belly dance artist by passion. Her belly dance company is called Badass Belly Dance and her fitness classes fly under the name Firefly Aerial Fitness. She lives in Mumbai but grew up in multiple cities in India and as a result picked up folk dance forms like Bhangra, Garba, Bollywood apart from brief training in classical Indian dance styles such as Bharatnatyam and Odissi. She has a keen interests in popping, waacking, yoga and she recently started learning body control and mobility. Now Dipika practices belly dance not only as a sensuous dance form but as a powerful tool that generates awareness of the body, mind and spirit. She uses movement to create form and form to shape thoughts.In this episode you will learn about:- Belly dance in India- How learning design and geometry can make you a better choreographer- Improvisation vs choreography- What is the difference between creativity and art- Helping students discover their feminine side and sensualityShow Notes to this episode:Find Dipika Vijay on Instagram, FB, website, or email her to dipikavijay@gmail.comTake the Belly Dance Habits Quiz HERE.Details and training materials for the BDE castings are available at www.JoinBDE.comFollow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

Abhay is joined by bharatnatyam dance artist and choreographer, Rukmini Vijayakumar.  They chatted about everything from sharpening her observational skills to being a spiritual artist to the effect that her bharatnatyam vocabulary has on her.Rukmini directs the Radha Kalpa Dance Company and the LshVa artistic space.(0:00 - 2:55) Introduction(2:55) Part 1 - observation, reverance, practicing Bharatnatyam through neutrality(18:09) Part 2 - describing her persona, versatility in dance, spirituality and innovation(33:02) Part 3 - being self-aware in performance, developing and evolving as an artist(45:41) Conclusion

In this episode we sit with Raja Kumari, aka Svetha Yallapragada Rao, a world renowned Telugu-American rapper, Grammy-nominated songwriter, singer, previously first female rapper to be signed to Nas' label Mass Appeal Records, now the founder of her own label; Godmother Records. In this heartwarming conversation, we discuss her growing up with classical dance and music influences, going on to train in Bharatnatyam, Kathak and Kuchipudi as well as discovering rap and hip hop at an early age. We talk about what it means to represent the diaspora as a Telugu woman within mainstream music in India, all the way from underground hip hop and rap to high-flying Bollywood. We also cover some of the incredible projects she's worked on, including her rap in Shah Rukh Khan's Jawan Title Track, as well as the release of her new album 'The Bridge' and her 2023 North America tour. We also revel in the impact manifestation has had towards her professional goals and dreams, of course while discussing the challenges along the way, We also chat about what spurred her on to create her record label: 'Godmother Records' where she now aims to provide opportunities to young, up and coming South Asian artists. A queen in every sense of the word. Raja Kumari's Instagram: https://www.instagram.com/therajakumari/ Brown Game Strong's Instagram: https://www.instagram.com/browngamestrong/

In this episode, Shana is in conversation with Sheema Kermani. You may know Sheema as the dancer in the hit Coke Studios video of Pasoori but, for Sheema, dance is more than an artform. For her, it is also an act of defiance. A classically trained Bharatnatyam dancer, Sheema took on the Pakistani military dictator Zia-ul-Haq when he abolished public dancing. Since then, Sheema has steadfastly defended the rights of minorities and women. In this interview, Sheema talks about her activism, the early days of Aurat March and how she came to perform the feminist anthem “A Rapist in Your Path” in Urdu - a performance that connected Pakistan to the Fourth Wave of Feminism, which has ebbed and flowed around the globe.   Follow Sheema Kermani on Instagram @sheemakermani and Twitter @tehrikeniswan   CREDITS: Host and Creative Director: Shana  This is a Maed in India production Head of Production: Mae Mariyam Thomas Project Manager: Shaun Fanthome Producer : Nikkethana Kamal, Sonali Gupta  Sound Editor & Mix Engineer: Kartik Kulkarni

Arvind Kumaraswamy and Mohanapriyan Thavaraja, both moved to Singapore from Sri Lanka. They both have made a name for themselves in Bharatnatyam not only in Singapore, but also in many parts of the world. They are currently in Australia, staging one of their master pieces, ‘Parama Padham.' - இலங்கையிலிருந்து சிங்கப்பூருக்குக் குடி பெயர்ந்து, அந்நாட்டில் மட்டுமன்றி, உலகின் பல பாகங்களிலும் பரதநாட்டியக் கலையில் தமக்கென ஒரு தனி இடத்தைப் பிடித்திருக்கும் அரவிந்த் குமாரசாமி மற்றும் மோகனப்ரியன் தவராஜா இருவரும் தமது படைப்புகளில் ஒன்றான ‘பரமபதம்' என்ற நாட்டிய நிகழ்ச்சியை நடத்துவதற்காக ஆஸ்திரேலியா வந்துள்ளார்கள்.

Arvind Kumaraswamy and Mohanapriyan Thavaraja, both moved to Singapore from Sri Lanka. They both have made a name for themselves in Bharatnatyam not only in Singapore, but also in many parts of the world. They are currently in Australia, staging one of their master pieces, ‘Parama Padham.' - இலங்கையிலிருந்து சிங்கப்பூருக்குக் குடி பெயர்ந்து, அந்நாட்டில் மட்டுமன்றி, உலகின் பல பாகங்களிலும் பரதநாட்டியக் கலையில் தமக்கென ஒரு தனி இடத்தைப் பிடித்திருக்கும் அரவிந்த் குமாரசாமி மற்றும் மோகனப்ரியன் தவராஜா இருவரும் தமது படைப்புகளில் ஒன்றான ‘பரமபதம்' என்ற நாட்டிய நிகழ்ச்சியை நடத்துவதற்காக ஆஸ்திரேலியா வந்துள்ளார்கள்.

https://www.instagram.com/theyouthkathakfestival/ Bio Sreeja Chakraborty is an Artist from Mumbai. She has done her undergraduation from Christ University, Bangalore in BA Triple Majors in Performing Arts, English and Psychology. She specialises in Contemporary and Kathak. She has taken kathak training from her mother, Guru Madhumita Chakraborty, and is currently the performance curator at Banichhanda Dance Academy Mumbai. Sreeja is also a mental health Facilitator, associated with Project Mumbai and BMC and works on mental health programs with underprivileged children in over 20 schools of Mumbai. Sreeja has been the winner of Mumbai's got talent and various other dance events. She is the founder and director of The Youth Kathak Festival, 2023 which is going to launch in January which is India's first one-of-a-kind Youth led classical dance event happening in Bandra on 28 and 29th of January. Gaurvi Jain originated from the city of lakes Udaipur who set her course in the field of performing arts having learned various artforms like Hindustani classical music, kathak, Bharatnatyam, sitar, Hawaiian guitar etc. having done her BA in Performing arts, english and psychology from Christ University Bangalore, she recently finished a course in Creative Fashion styling from NIFT Mumbai. she is the first member to join The youth kathak festival as an executive producer. Show Highlights (0:02:11) An Introduction to The Youth Kathak Festival (0:04:00) What's different about it (0:08:03) Sreeja and Gaurvi's favorite festivals and themes (0:12:20) Will audiences dance with the performer in a Kathak Festival? (0:14:34) What kind of artists are you looking to bring on? (0:20:16) Details on the festival and events: 28th and 29th January (0:31:41) Behind the scenes: TYKF Team (0:47:52) Running a safe festival for the audience (0:51:05) What is the one thing you're looking forward to?

Ojas Rawal is an actor-writer-director in films, television and theatre. You may spot him in plays: the serious and poetic play "Sir Sir Sarla" (drama), the hilarious laughter riot "Mera Piya Ghar Aaya" (horror comedy), the nostalgia of Ismat Chughtai "Jaane Woh Kaise Log The" (drama), and the riveting and poignant take on physical disabilities "Ishaaro Ishaaro Mein" (drama) which will soon be touring the US, Canada and UK this summer. Ojas also periodically emcees for our PM Shri Narendra Modi's events, among others. His play "Sabarmati Ke Sant" is a biopic on Mahatma Gandhi where Ojas plays the title role, and was performed in front of PM Modi Ji on 2nd Oct 2019 celebrating Bapu's 150th birth anniversary.  Ojas is also professionally Stand-up Comedian performing in Gujarati, Hindi and English. He has made audiences laugh not only across India, but also in USA, UK, Canada, Belgium, Kenya and Australia. In comedy, he has worked with legends like Johnny Lever, Raju Srivastav, Vir Das, etc.  A medical Doctor by education, but a Professor of Socio-economics and Humanities in USA. Former editor of The Oracle newspaper. Two-time TEDx Speaker. USF's Global Ambassador to India (twice) and student advisor with the Mumbai US Consulate since 17 years. Voice-over and dubbing artist (13 languages). Student of Bharatnatyam, and an enthusiast at painting and sculpting. Avid gardener.   Listen to his exciting journey on Rangmanch with Bhawana Somaaya. Subscribe/Follow now to receive regular updates about the latest episodes You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For advertising/partnerships send you can send us an email at bonjour@eplog.media. If you like this show, please subscribe and leave us a review wherever you get your podcasts, so other people can find us. You can also find us on https://www.eplog.mediaSee omnystudio.com/listener for privacy information.

Bharatnatyam teacher Shiphony Pavithran was approached by a 58-year-old former schoolteacher with Parkinson's disease to learn dance. Both ended up learning a lot more in the process. This episode is also available as a blog post: http://eshe.in/2022/12/08/shiphony-pavithran-bharatnatyam-shuchi-bhasin-parkinsons-disease/

Welcome to Everyday People, a show featuring the admirable people all around us. Here are your timestamps:* 00:00 What's new with you, TxU?* 01:22 Everyday People w. Dr Anoosha* 56:00 Mailbag* 59:00 Letters to MyselfWrite in to the show: https://forms.gle/MCZZic3h6vTDXriF8Thorough and Unkempt is a reader-supported publication. Thanks for becoming a free or paid subscriber!What's new with you, TxU?This week's blog:Bonus podcast:Everyday People — Dr. Anoosha N ShastryDr. Anoosha is an ayurvedic doctor from Bangalore, currently residing in Munich. She is also a professional Bharatnatyam dancer with 25 years of experience and a Masters degree.Her research deals with integrating holistic sciences like ayurveda, yoga, and dance in pain management, especially in post-surgical recovery.Quotes from the conversation:Why she chose pain management for her research:There is no person who doesn't have pain - physical, mental, emotional - some or the other pain will always be there. I chose pain management because of personal experience.I've been connected to dance and yoga since I was six. I met with an accident and had pain and it kept me away from everything I loved. Fortunately at that time, I was in the final year of an internship, and I asked, “why not look at it from a medical perspective?”On her relationship with the stage:I love being on stage! With dance and performance, I went on stage at a very young age. I've been the MC for the Ministry of Ayush and hosting global wellness meets, and so on. Theatre, dance, and MCing - it's wonderful.I drive my energy from the butterflies in my stomach, and once they're resolved, it's meditative to be on stage.On principles she wants to follow for yourself:Staying true to yourself, believing in yourself, and handling bad situations gracefully. My father once told me [the last one]. To accept every situation is something that is a huge principle for me.You do not need to mask yourself to achieve things. The same sun that hardens clay, melts ice - [situations are different for different people].On her mental health:Ups and downs with mental health is something everybody goes through and I'm not exception. Especially with a lot of changes - professionally, personally, change in country, in work. To handle all these situations [was stressful]. That's when those principles I mentioned helped.Now that I look back, I don't think I handled it very neatly… but I don't have a lot of regrets. The struggle is still real, but I'm in a better place now.Dr. Anoosha's recs:* Instagram: @sanatana_akademie* http://sanatanaakademie.com/* Facebook (page and closed support group)MailbagSend your letters for the show by commenting below, or by emailing vaibhavguptawho@substack.com.Abhilash - What, if any, is the impact and importance of literary fiction on designing one's life?I think it's paramount. As we go through life, it is important for us to travel and engage with different cultures so that we can see how many of our rules are made up and so that we can overcome some of our cultural biases and conservatisms.Not everybody can travel though, and reading is a cheap and comprehensive way to travel. When you read non-fiction, you read accounts from people all over the world and learn new things.And when you read fiction, you read what is possible and how creators put their hopes and dreams into new worlds where the problems of this one don't exist. What does a world like that look like? What can we learn from it. This sort of input is helps us overcome our shortsightedness and expand our horizons.Thorough and Unkempt is a reader-supported publication. Thanks for becoming a free or paid subscriber!Letters to MyselfHello Vaibhav,I've been unwell. I don't know if it's an illness, or if it's just fatigue. I find myself coasting through days, working or playing or creating, without much attachment to any of it.On one hand, that's good! Dispassion is a friend of consistency, and to have been able to be consistent (up to a reasonable standard, not my insane one) has filled me with some joy and some pride in myself. This is what I've wanted for all of this year.On the other hand, dispassion is not a lifestyle I want to live. I want to enjoy everything I'm doing, and that's really hard if I'm doing a lot. Finding true balance still remains an unachieved goal. I wonder what balance is, because it sounds really boring.I am going to sleep a lot this week, because sometimes sleep is the best reset. Remember that. As much as possible, sleep. Recover. From there, you will find a foundation to not just chase achievements, but to actually enjoy them.Zombie walking through time,Vaibhav. Get full access to Thorough and Unkempt at vaibhavguptawho.substack.com/subscribe

The Indian Consulate in Sydney hosted an Amrit Sandhya event with performances by visiting Indian artists. Cultural troupes led by Bharatnatyam icon Pavitra Krishna Bhatt, established flute artist Dr Jayaprada Ramamurthy and folk troupes led by Dhara Shah (Gujarati Folk Dance) performed across Australia. The Indian Council for Cultural Relations (ICCR) supported this cultural exchange.

Listen to ASCO's Journal of Clinical Oncology essay “Mudras in Medicine: A Role for Dance in Appreciating Non-Verbal Communication in the Clinical Encounter,” by Drs. Maheetha Bharadwaj, Nagda Dipal, et al. Essay authors Dr. Bharadwaj, a urology resident at the University of Washington, and co-author Dr. Dipal, a medical student at Harvard Medical School, are interviewed by host Dr. Lidia Schapira. Drs. Bharadwai and Dipal provide insight on how they use non-verbal communication in the form of Bharatanatyam, an Indian narrative art form, as a way to reflect oncology patient care. TRANSCRIPT   “Mudras in Medicine: A role for dance in appreciating non-verbal communication in the clinical encounter,” by Maheetha Bharadwaj, MD, MS, Mphil; Dipal Nagda, MPH1; and Lipika Goyal, MD, MPhil  (10.1200/JCO.22.00657) Narrator: We present a classical Indian dance piece that depicts a patient and their partner receiving a cancer diagnosis from their oncologist. The primary purpose of this piece was to provide a vehicle for patients, physicians, and caregivers to process a life-altering cancer diagnosis. The piece was choreographed and performed by two of the authors (M.B. and D..), who are medical students and classically trained Bharatanatyam dancers, and the project was guided under the mentorship of the senior author (L.G.) who is a medical oncologist. Through the process of designing this project during the COVID-19 pandemic, the authors also reflect on the role of visual arts in providing a space for contemplation and in promoting nonverbal communication in the era of virtual medicine.   Mudras, or hand gestures, embody one of ancient India's most visual forms of storytelling and are the threadwork of the Indian classical dance form of Bharatanatyam. Historically performed as a temple dance, Bharatanatyam serves as a vehicle for communicating and preserving narratives from Hinduism's greatest epics.1-3 Every mudra is intricately crafted and distinctly designed, with each bend of a finger and curve of the wrist representing an object, an emotion, or a state of being. Mudras are interlaced with rhythmic footwork and facial expressions in Bharatanatyam, producing a language that connects the performer to themselves, to the audience, and to the story being told. The style of Bharatanatyam specifically has been previously adapted for therapeutic relief and healing among survivors of natural disasters and victims of trauma. Although some artists have explored the use of Bharatanatyam to convey medical narratives, none to our knowledge have directly covered the nuances of clinical relationships in the context of a cancer diagnosis.   A few weeks after the onset of the COVID-19 pandemic, we found ourselves in an exchange of mudras over coffee on the patio. As both medical students and trained Bharatanatyam dancers, we were lamenting the difficulties of communicating to patients with masks. “He couldn't hearme,” one of us expressed. After some pause, the other extended her right hand in Katakamukham toward her chest, whereas her left hand also in katakamukham drifted toward her ear, together signifying a stethoscope. “Is this how you asked your patient if you could listen to their heart?” she asked. We both smiled. With her hands in place, she leaned her torso to the left and extended both hands in chaturam. She painted a rectangular frame in mid-air, signifying a chest x-ray. In silent melody, we played call and response, gliding our hands across the table and delicately placing our fingers into mudras.   As case counts ticked upward, distressing news filled our personal and professional lives and we both found ourselves turning to mudras to express our states of emotion and responses to the pandemic. It dawned on us that dance may play a critical role in reflecting on and processing difficult medical situations, especially in the isolating environment of the pandemic. We thus embarked on a project to explore the relationship between a patient and an oncologist through Bharatanatyam. Over the course of our clinical years in medical school, we collaborated with patients, clinicians, caregivers, and artists to choreograph this Bharatanatyam narrative medicine project. Mudras were combined with facial expressions, eye movements, and footwork to craft a narrative between a patient, a doctor, and a caregiver in the setting of a cancer diagnosis. In what follows, we describe our choreographic process, the resulting narrative, and key takeaways from this artistic exploration. We propose a role for Bharatanatyam and other visual arts in enabling both the performer and the viewer to process narratives of cancer, suffering, healing, and hope. We further use this piece as a call to reclaim the importance of nonverbal communication in the therapeutic relationship.   Developing and Choreographing the Narrative We first reached out to several physicians to help develop a medically accurate narrative. Our clinician collaborators included an oncologist who specializes in cholangiocarcinoma, a hematology-oncology fellow, two head and neck surgeons, and a palliative care physician. Our patient and caregiver collaborators included three patients undergoing treatment for metastatic cancer and two parents. Through multiple conversations with these partners, we developed our narrative. For musical and artistic input, we partnered with Indian Raga, an organization dedicated to the celebration of South Asian art and music. Indian Raga developed a musical score for the piece, provided a dance collaborator, and offered creative feedback on our choreography.   Our choreographic process was iterative, as we moved from the dance studio to conversations and back again to the dance studio. We incorporated the feedback from our collaborators into our storyboard and our final choreography. We recorded the performance on March 1 31, 2021, at the Cambridge Community Center for the Arts, in Kendall Square.   The Dance Narrative A video of the performance can be accessed at https://youtu.be/Nru_nWiiDXk.   Our narrative details the journey of receiving and processing a cancer diagnosis and features three members of the therapeutic triangle: the patient, the caregiver, and the physician.   Part 1: The diagnosis (0:00-2:05). The first part opens with a couple that, amid a jubilant celebration, receives an urgent phone call to present to their doctor's office. At their appointment, the physician performs a history and physical examination and subsequently prepares to disclose the patient's diagnosis of a worrisome mass visualized on a chest x-ray. We drew from mudras in the existing Bharatanatyam repertoire to depict clinical objects. For instance, a stethoscope was depicted using katakamukham as the earpiece and the bell, whereas an x-ray was depicted by drawing a square in the air using chaturam.   Part 2: The malignancy (2:05-3:20). The second section represents an interpretation of the physiologic growth and uncontrolled spread of malignancy. Our change into redcolored garb signifies a switch in character from representing three individuals to three cells. At the beginning of this section, the three cells are depicted as physiologically normal, dancing in unison with each other. Their uniform vitality is demonstrated with the suchi and alapadma mudras. One cell undergoes a somatic mutation and becomes malignant, gaining ruthless vigor in her dance form. We demonstrate rapid replication of the malignant cell with the mudra kartarimukham. As the malignant cells continue to replicate, they pull resources and grow in their harsh dynamism, portraying the unchecked growth potential of cancer cells.   Although the choreographic intention of this section was to represent a growing malignancy, many of our reviewers provided varying interpretations, including a depiction of the patient's inner anxieties, the therapeutic fight against the cancer, and the turmoil of treatment resistance.   Part 3: The emotion (3:20-5:05). The third and final section returns to the patient, doctor, and caregiver. Here, we explore the nuanced emotional journeys of the three characters as they come to terms with the gravity of a cancer diagnosis. Each has their own moments of grief, fear, recognition, and solidarity. The caregiver expresses concerns of the patient passing, and the doctor struggles with her ability to offer hope. The patient is overwhelmed with denial, anger, and grief. The piece ends in a message of unity, as the patient, doctor, and caregiver embrace their role in this shared journey.   Reflections What began as an exchange of mudras over coffee blossomed into a reflective process to understand the role of Bharatanatyam within the therapeutic triangle of the patient, doctor, and caregiver. Witnessing how reviewers who were unfamiliar with Bharatanatyam responded to our narrative dance piece shed light on common themes that emerged from engaging with this piece. Here, we describe two key takeaways that surfaced through our own reflections and discussions with members of the medical community. First, we were reminded of the role that visual art holds in promoting self-reflection and empathy for all members of the therapeutic relationship. Second, facial expressions and body language from the dance narrative resonated with the experience of oncologists and patients in the clinic. The repeating motif of body language served as a critical reminder of the role of nonverbal communication in the therapeutic relationship. In the era of virtual training and medicine, we use performative arts as a reminder to deliberately preserve nonverbal communication when interacting with patients.   Visual arts as a space to process, reflect, and empathize. Our dance narrative received a range of interpretations, only some of which matched our original intention. These similarities and differences in choreographic intention and audience interpretation demonstrated the power of visual arts in both representing universal emotions and reflecting one's personal experiences. For us as choreographers, the dance studio became a space of contemplation and healing. We dissected the impact of illness on the human body, adjusting our limbs and contorting our faces to embody raw human emotions of pain, anguish, and resilience. As viewers, patients and physicians also expressed moments of reflection while processing our piece. For example, many physicians discussed how the piece reminded them of the personal toll that repeated delivery of bad news can take on them as a clinician. Although one clinician thought that this difficulty in delivering bad news was best represented by the emotional end of the piece, another felt that this internal turmoil was better portrayed through the middle section that consisted of more intense footwork. Engaging with our dance piece encouraged viewers to recognize certain universal clinical themes while also providing room to reflect on nuanced personal experiences.   As a broader entity, visual arts have often been underrepresented within the field of medical humanities. Searching the literature for examples of visual arts curricula across medical schools across the United States yielded a plethora of prose and painting-based visual arts curricula yet very scarce incorporation of movement-based art.7-10 We propose that dance plays an important role within medical humanities curricula in understanding illness, emotions, and empathy. Movement-based arts promote a sensory experience of illness and an expression of physical and emotional states that cannot be conveyed through words alone.11 With more medical training programs embracing humanities in clinical training, we attest that the visual arts, particularly movement-based art, should also be considered.   Recognizing the value of nonverbal communication. As the COVID-19 pandemic progressed, virtual medicine replaced in-person encounters and masks grew to be a necessary component of the hospital environment. Like many, we encountered muffled words and frozen facial expressions on Zoom. Faced with the dramatic change in verbal communication as medical trainees, our choreography unfolded into an exploration of the ways in which physical space, facial expression, and hand gestures enhance the clinical relationship.   Early in our choreography, we shared a rehearsal video with our collaborators. Although all immediately recognized the role of the patient and the doctor, several felt that something critical was missing. One patient felt that the physical distance between the doctor and the patient was too great, and one physician pointed out the lack of compassionate physical contact by the oncologist. Inspired by these conversations, we re-entered the dance studio and experimented with the physical space our bodies occupied. We explored nonverbal ways to convey care and concern. In our choreographic revision, we had the doctor place a hand on the patient's shoulder when she was coughing, and we incorporated a stool to allow the provider to be eye level with the patient and increase the portrayal of open communication. Intentionally incorporating the empathetic touch into our choreography increased the perception of care between the doctor and the patient.   In a time where we are forced to embrace virtual care and communication, our choreographic process reminded us of the critical role of nonverbal communication in the therapeutic relationship. We found that physical space, facial expressions, and eye contact are just as integral to the clinical encounter as they are to Bharatanatyam. What we have lost through the screen is the unspoken care held in the extra moment of eye contact, the supportive forward lean of the torso, and the comfort of a hand on the shoulder. These wordless extensions of care are a cornerstone of patient satisfaction and the therapeutic alliance. With masks and virtual visits becoming potentially permanent fixtures in medicine, we highlight the importance of trainees and clinicians being deliberate in using nonverbal communicative techniques in caring for patients.   In our exploration of Bharatanatyam within Western medicine, we found that, ultimately, the qualities most coveted in a dancer and a physician are one and the same: a broad understanding of the human body, a deep sense of empathy and humility, and a profound commitment to using body language to support the journeys of themselves and those around them.   Dr. Lidia Schapira: Hello, and welcome to JCO's Cancer Stories: The Art of Oncology, brought to you by ASCO podcasts, which cover a range of educational and scientific content, and offer enriching insight into the world of cancer care. You can find all ASCO shows, including this one at: podcasts.asco.org. I'm your host, Dr. Lidia Schapira, Associate Editor for Art of Oncology and Professor of Medicine at Stanford University. Today, we are joined by Dr. Dipal Nagda, medical student at Harvard Medical School, and Dr. Maheetha Bharadwaj, urology resident at the University of Washington. In this episode, we will be discussing their Art of Oncology article ‘Mudras in Medicine: A Role for Dance in Appreciating Non-verbal Communication in the Clinical Encounter.' At the time of this recording, our guests have no disclosures. Dipal, Maheetha, welcome to our podcast, and thank you for joining us. Dr. Maheetha Bharadwaj: Thank you for having me, Dr. Schapira. Dr. Dipal Nagda: Thank you for having me. It's a pleasure to be here. Dr. Lidia Schapira: So, tell us a little bit about the origin for your narrative. You've told us about your collaboration in dance, and your appreciation for what movement and dance can bring to self-expression and to the clinical encounter. But let's start by hearing what brought the two of you also to collaborate on a narrative, a written piece. Dr. Dipal Nagda: I'm happy to get started on this one. So, Maheetha and I met our first year of medical school and we hit it off right away for a variety of reasons, one of which was that we both shared a training in Bharatnatyam. And so, we had actually performed early in our first year of medical school, a piece for a local performance at Harvard, and then, around the start of the COVID pandemic, which was about two years into our second year of medical school, right in the middle of our clinical rotations, we both found ourselves pulled from the clinical environment, with a lot of time on our hands. And as dancers do, we both turned to dance in our own ways, and collaboratively, to try to find a way in which to channel some of the feelings and emotions that we were having into a creative performative piece. Maheetha, I don't know if you have anything else to add to that. Dr. Maheetha Bharadwaj: Yeah. No, I think that sums it up pretty well. Just one thing to add is that both of us remember kind of talking to each other about how, when we came back from COVID, right around June of 2020, our clinical experience had changed dramatically, in that, masks were now mandatory. And I distinctly remember thinking about how it was hard for me to hear this one patient who was this 90-year-old woman, and she was a little bit hard of hearing. I just remember feeling that that encounter was just so much more difficult, and Dipal and I have been talking about encounters like these ever since we came back after the first surge of the COVID pandemic. And I think just all of that also kind of led to this idea for this project. Dr. Lidia Schapira: And so, the project starts with the two of you who are dancers and very aware of the power of movement, again, just for yourselves, right? And you're now thinking about exploring that as a narrative, or as a story, and you chose cancer as your example. What path led you to cancer? Dr. Maheetha Bharadwaj: I think cancer is a disease that can affect everyone. And I think, I, personally, have had family members affected by cancer. My mom is a palliative care physician. So, talking about cancer and cancer-related illnesses is not new for me and my family. And on top of that, I think the emotional impact of having such a life-altering illness is something that I think was deeply affected by COVID. We saw that patients weren't coming into the hospital, from a surgical perspective, patients weren't getting the treatment that they needed, and those treatments were being put off. And I think that adds a wealth of anxiety to an already very stressful situation. So, I think for both of us, I know that Dipal is really interested in Oncology at the moment, and me, as a Urologist interested in Urol Onc as well, I think that topic really hit home for both of us. And I think it was a great way to kind of also explore the different types of emotions that someone might feel with a life-altering illness. Dr. Lidia Schapira: So, did you co-create the scenario, the narrative? Dr. Maheetha Bharadwaj: Yes, we did. Dr. Dipal Nagda: Yeah. So, I would agree with everything that Maheetha said. And in addition, I think when we were originally thinking about this, we were thinking about dance in the setting of a patient-doctor relationship. And so, when trying to map out the numerous patient-doctor relationships that exist within the field of Medicine, I think both of us felt that within Oncology, specifically, there is that longitudinal component, and there is that, as Maheetha mentioned, that deeply emotional piece, not only for the patient, but for the physician as well, and caregivers. And while that definitely exists in other fields, I think within Oncology was one that we felt would really come alive in a dance narrative, to both explore that collective journey of the patient, doctor, and caregiver and the individual journey of each of those three individuals. Dr. Lidia Schapira: Well, I can speak for the readers of Art of Oncology and say that we don't disagree with you, we totally agree that there are very strong bonds and that there's an emotional resonance to being a professional caregiver, and of course, of the patient and family members and family caregivers. So, kudos to you for recognizing that. How does movement affect communication? And how did the experience of that additional layer of isolation, and perhaps masking, and distancing during COVID affect your entry into this world of Medicine and Cancer Medicine? Dr. Dipal Nagda: That's a great question. First, I think for my specific clinical rotations, I was in an ambulatory predominant clinical rotation site. And so, a lot of the interactions that I was having in my early clinical years were via virtual patient interviews. And I think that is a place where movement really came out, and I found turning to hand gestures. And I also found that there was a certain distance via zoom that the clinician and the patient were trying to overcome, that isn't totally, from what we found through this piece, able to be overcome through zoom. And I think that was really perspective-changing, in terms of realizing the value of movement, and the value of proximity and the distance, and the ways in which eye level, and body gestures, and physical contact really impact that relationship. Dr. Lidia Schapira: I read in your narrative and in watching your video, sort of the lament for not having the ability to move and touch. And I'm very happy that you're able to express that, and I hope that now that things are more normal, that you have gone back to feeling that you are freer to connect with patients, and with your colleagues, even, through facial expressions and touch. And so, tell me a little bit about how you view movement as a potential tool in your therapeutic connections with patients going forward at this early stage of your careers. Dr. Maheetha Bharadwaj: I think that's a fantastic question, and a question that's really important because, in Medical Education, we often talk about the Art of Medicine, which I think, cannot be emphasized more in this time of wearing masks in hospitals. And just as Dipal had said, I also found myself with patients compensating for wearing masks. Patients often ask, "Are you smiling under that mask? Are you frowning under that mask? I can't tell." And the ways in which we compensate, which is, coming down to the level of the patient. So, sitting down in a chair, or sitting down at the edge of the bed with the patient's permission. You know, in pre-op sometimes, I actually remember distinctly doing this the other day, I was on the colorectal service, and oftentimes, colorectal cancer is diagnosed in one day, in one week, and then you have the surgery two weeks later. And patients are just kind of taken for this whirlwind of emotions while they're contemplating chemotherapy versus surgery, and before and after surgery. And so, almost everything happens so quickly, and in pre-op, during the pre-op time, before they go into the procedure, it's amazing how much as medical students having been working in these environments with masks, we have adapted to be able to recognize when someone is anxious, nervous, crying, not crying, sad, happy. And I distinctly remember this one patient who was very clearly nervous, and I just took a little bit of time before signing her in, checking her consent forms, I just said, "Hey, how are you? Are you okay?" And the gesture was, going to her bedside, just laying an arm next to her hand, in between her hand and her blanket, and saying, "Are you okay?" And immediately, this patient burst into tears. And she said, "I'm not. I was just diagnosed last week, and next thing you know is, surgery is this week." And it's just because the masks are there, it kind of makes me be more aware of what the patient is feeling because I can't immediately tell. So now I'm thinking about it a lot more and I'm trying to understand it a lot more. I'm paying more attention to it. The ways that we compensate is, trying to bring our physical bodies a little bit closer to the patient in order to compensate for the distance brought into that rapport by the masks. And I think that's like really, really crucial. Dr. Lidia Schapira: It warms my heart to hear you talk like that because instead of viewing this as an impediment, you work extra hard to try to understand the emotion that your patient is feeling, to connect with her or him in that circumstance, and to show some humanity. And it's amazing how much comfort that can bring to a person who is feeling extremely vulnerable and anxious. Dr. Maheetha Bharadwaj: Yeah. And I just want to add that, I had been taking care of this patient after her surgery for the entire week. I was rounding on the weekend as well, and we discharged her on a weekend. And as I was giving her discharge papers, she burst into tears again. And she said, "It was lovely seeing your face every day. I look forward to seeing your face every morning. It's nice to have that continuity of care." And I did feel that that pre-op interaction made a difference. It 100% made a difference in how she viewed us, our care, and the hospital system itself. Dr. Lidia Schapira: So, bottle that feeling, and on a bad day, bring it out, and it'll carry you through some of those more difficult moments in medicine. So, tell our listeners a little bit how the two of you took your dance to a written narrative. Dr. Dipal Nagda: Absolutely. So, actually originally, when we came up with this idea of a dance, we did not think about sort of the next steps from that original dance narrative. And when we started to show our piece and our choreography to different physicians, but more importantly, I think the patients and the caregivers who watched our piece, who had so, so much, not only input and feedback for us, but their own reflections, and their own takeaways. And what was incredible, was their own interpretations. That really took us for a surprise is, people find different pieces of the visual arc of our dance piece to relate to, to comment on, to help us improve. And I think Maheetha and I both realized that the benefit of visual arts, specifically, this dance piece, wasn't just from doing the dance itself, but from interacting with the wider community of people who are either watching our piece, or providing feedback. And that sort of bridged, for both of us, this idea of, "Let's try to put all of these things that we're feeling into words, into concrete ways in which we can use visual arts broadly in medical education." Dr. Lidia Schapira: And what was your relationship to the third and senior author in your paper, Dr. Goyal? Dr. Maheetha Bharadwaj: Dr. Goyal has been incredibly supportive throughout this entire process. I think early on that Dipal and I were looking for mentors who are familiar with Indian classical dance, familiar with Indian culture, but also had a strong passion for Narrative Medicine, for understanding and improving upon empathetic care for patients. We searched and emailed many, many mentors, all whom gave us valuable feedback, and we've acknowledged in our acknowledgement section, but Dr. Goyal for us, really took our vision under her wing and said, "You know, I think what would be great is, if you could show the beginnings of your narrative, whatever rough choreography you have, to patients." And she helped us connect with some of her own patients, and to be able to give feedback on the narrative, and improve the narrative to be perhaps more all-encapsulating, more relatable to a wider group of individuals, to tweak the narrative itself a little bit. I think she's been incredibly instrumental in helping with that, but also shaping our narrative as well, and kind of pinpointing, "What exactly do we want to convey? And what do we want to tell people? What do we want to tell the world?" Dr. Lidia Schapira: So, what is the take-home message from your narrative? Dr. Dipal Nagda: I think for me, beyond the scope of what we've written, this project for me, really served as a reminder of the things that matter to me outside of the clinic, and how all of those passions that we have for, Maheetha and I specifically, dance, really not only provide us a reflective outlet outside of the clinical environment, but I would argue it enhanced our performance as doctors, our relationships with our patients, and I think truly contribute to the clinical environment as well. So, I think that's a personal takeaway for me, and a really important reminder as I think about applying to residency in the next step of my life, but then I think broadly, as we are starting to recover from the COVID 19 pandemic, and we're thinking about how to deliver care in both measurable and non-measurable ways, I think there's parts of the clinical environment that matter so deeply that we don't always think about. And for us, it was really non-verbal communication, and body language, and how to keep that authenticity alive. And if we know, you know, as Medicine turns more and more to virtual care, how do we train the next generation of medical providers to really keep some of those aspects of body language, and eye contact, and non-verbal communication really alive in virtual delivery of care. And so, for me, that was sort of the broader call to action. Dr. Lidia Schapira: Any plans to do more pieces? Dr. Maheetha Bharadwaj: Absolutely. I think this is just the beginning, and Dipal and I have already talked about different topics that we could do, particularly because, Bharatanatyam, which is the style of Indian classical dance that we have used to choreograph this narrative, has always been heavily tied to religion. And now in the modern days, we're seeing the secularization of this art form, or in other words, the use of this art form and other Indian classical art forms to depict and portray more secular pieces. Pieces that convey aspects of human lives that aren't necessarily connected to religion. And I think that's incredibly important, and you know, Narrative Medicine is a field of its own that I think is very important in order to, as people said, kind of craft the Art of Medicine within you, and within each clinician. And so, we've definitely talked about, for example, having stories about COVID, potentially having stories about erectile dysfunction - topics that aren't necessarily talked about on a day-to-day basis, but are relatable to each of our fields in different ways. And I think the goal of that is to be able to reach people, to be able to talk about topics that are important to people, but people don't have awareness of. To increase awareness, education, and I think there's many avenues we can take. This is just the beginning. Dr. Lidia Schapira: Well, it's been a pleasure to work with both of you. I'm very impressed by what you have already accomplished. I love hearing your humanistic visions for what good Medicine is, and your contributions to the Art of Medicine. So, thank you so much. Until next time, thank you for listening to JCO's Cancer Stories: The Art of Oncology. Don't forget to give us a rating or review, wherever you listen. Be sure to subscribe, so you'll never miss an episode. JCO's Cancer Stories: The Art of Oncology is just one of ASCO's many podcasts. You can find all of the shows at: podcasts.asco.org.   The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement. Show Notes: Like, share, and subscribe so you never miss an episode and leave a rating or review.  Bios Dr. Dipal Nagda is a medical student at Harvard Medical School Dr Maheetha Bharadwaj is a urology resident at the University of Washington. In this episode we will be discussing their Art of Oncology article Video Performance: https://youtu.be/Nru_nWiiDXk

With the one and only Bolly Illusion aka Anthony Pius. Everything from Topping Masculine Men to how Shahid Kapoor is a waste man? Miss Bolly is a Perfomance artist, Host, Dancer, Choreographer, Curator, Drag queen and full on SEX.  Their credits include: The Glory, The Hoxton, Glastonbury, London Queer Fashion show, Manchester Pride 2019, The Chateau, The Roundhouse. Pussy palace, , Birmingham Pride 2021, Daytimers x Somerset House, Won the lip-sync 1000 in 2019. Working for artists such as Mic Jagger, Joy Crookes, Priya Ragu, Mawaan Rizwan. And featured in campaigns for Levis, Rimmel London, Vogue Italia-- to name a FEW!  In the episode we talk about:  Yaha Waha--their film/ documentary which premiered at BFI Flare The world of Bharatnatyam and its impact whilst being non-binary and Catholic. The learning unlearning and influence on gender, sexuality and self  creative work.  The world of Bollywood. Advice and tips on curating shows.  Their personal journey on having Sex and their gender. The Cabaret and Performative space. Thoughts on the South Asian Queer scene. And on organisations/ communities such as the Bitten Peach. Social: Myself: https://www.instagram.com/chaiwithrai_/  Guest: https://www.instagram.com/bolly_illusion/  Links: Myself: https://linktr.ee/raimuitfum Guest: https://linktr.ee/bolly_illusion  Hope you all enjoyed it and Thank you for tuning in. To Subscribe, share, follow my work and everything else is listed above.  

Distinct styles of dance have evolved in different regions of India, each with their own specific nuances. However, all these dance forms are governed by the basic rules and guidelines laid down in the Natya Shastra. Presently, as per Sangeet Natak Akademi, there exists eight classical dance forms in India, which include Bharatnatyam, Kuchipudi, Kathakali, Mohiniattam, Odissi, Manipuri, Kathak and Sattriya. Whereas, the Ministry of Culture has recognised 9 classical dance forms including Chauu dance. --- Send in a voice message: https://anchor.fm/venus-jain3/message

The episode is about a successful IAS aspirant, Anna Sinha. She shares her UPSC preparation experience in the episode. She explains how she went from being a student to clearing the world's 2nd most challenging exam - UPSC. She shares her story of how she overcame all the difficulties in life and achieved success. Her story is motivating for all the students who are preparing for UPSC exams. This motivational episode is meant for all students preparing for the UPSC exam who want to know how to clear it. It also provides tips on how to prepare and what one should do before appearing for the exam. We hope you also work hard and achieve your goal of becoming an IAS officer. Anna Sinha cleared the Indian Civil services exam 2021 with rank 112, while pursuing her Phd in Economics. She is a NET-JRF Scholar and has done her Masters in Economics from Ambedkar University Delhi and Bachelors in Economics from Ramjas College, Delhi University. She is also trained in Hindustani Classical music and Bharatnatyam. Deeply interested in international relations and economic policy, she has been associated with the likes of NITI Ayog, Defence Research and Studies, Indian Statistical Institute and the Ministry of commerce and Industry, Govt of India. She was also Founder-President of the Model UN Society of her college, where she trained students in debate around issues of international concern. A believer in 'giving back' to society, she has mentored over 350 students to find research paths, get internships and apply for higher education. Her journey so far has been of multi-tasking between her love for academics, her commitment towards the Civil Services Exam and her love and responsibilities towards home and her juniors. Her current work lies in the area of labour economics and MSMEs, where she feels India has great potential. She wishes to see and be part of India's ascendance on the global stage in all spheres-economic, cultural and political. Watch it on YouTube: https://youtu.be/WotAOlxxSmU #UPSC #SuccessStory #SimerjeetSingh #UPSCMotivation #UPSCTopper #UPSCCracker #UPSCEkZidd #UPSCPreparation #StudyMotivation Follow us on: https://linktr.ee/SimerjeetSingh

"Taka dhimi, taka dhimi" is one of the many dance rhythms, or taals, of Bharatanatyam, the oldest classical dance tradition in India. Expressed as a living form of art, Bharatanatyam has a deep devotional component that pervades the artist beyond just the dance. Mastering this art form can be very demanding, both mentally and physically, and takes years of dedication and discipline, but ultimately, the journey is very rewarding. Learn how this art form influenced the life of one such individual.Mahima Dave, Student in Public HealthChicago, IL

Episode Notes BIO Neha Seshadrinath is an innovative and versatile performer of Indian classical dance forms. Her passion for the arts is palpable in her elegantly crafted performances. She has been trained in Kathak and Bharatanatyam under the tutelage of Smt. Nirupama and Shri T. D. Rajendra of Abhinava Dance Company (ADC) for over 18 years. She has also been trained in Natya Shastra under the guidance of her guru Smt. Nirupama Rajendra. She has worked as a principal dancer and a faculty member at ADC and has performed at a number of prestigious festivals and events throughout India and abroad like the USA, UK, Hong Kong, Singapore, China, Bahrain and South Africa. She has worked with other dance companies such as Sampradaya Dance Company, Canada and also in a production by Smt. Kumudini Lakhia ji which was featured in Russia. Neha is also a successful solo performer in her own right. She is a graded artist of Doordarshan. She is also the recipient of the Young Artist Scholarship, Ministry of Culture, Govt. of India and also an empanelled artist of Indian Council for Cultural Relations. She also holds a Masters degree in Psycho-social counseling and Rehabilitation. She is currently living in Czech Republic and continuing her passion for dance through conducting classes, workshops and also through performances. SHOW HIGHLIGHTS (0:01:09) The concept of Karunas (0:08:22) The importance of having a strong core (0:13:52) How stamina is affected by consistency (0:15:17) How do you teach differently than how you were taught (0:19:09) Drawing the line between being compassionate and being a therapist (0:21:06) Finding more lullabies with girls in it (0:22:34) Creative process (0:25:17) memories from her first performances (0:26:16) How being in Karnataka influenced Neha's kathak practice (0:29:45) Working with Abhinava dance company (0:32:35) Doing both Kathak and Bharatnatyam (0:35:33) Connection with Gurus (0:43:32) Spreading awareness about Kathak

#madhavimudgal #odissi #odissidancer Watch an exclusive interview of Odissi exponent Madhavi Mudgal Part 01 only on Raaggiri. Madhavi Mudgal was born to Professor Vinay Chandra Maudgalya, the founder of Gandharva Mahavidyalaya; one of the most famous dance schools for Hindustani music and classical dance in New Delhi. Professor Vinay Chandra Maudgalya is best remembered today for the lyrics of the song Hind Desh ke Niwasi in the animation film Ek Anek Aur Ekta by Vijaya Mulay which won the National Film Award for Best Educational Film. She inherited a deep love for art and dance from her family and under the proper guidance of her guru Shri Harekrishna Behera, the world soon came to know about her extraordinary skills. She gave her first public performance at the age of only 4. Initially, she learned Bharatnatyam and Kathak, but finally, she chose Odissi as her medium of expression. Her Odissi art skills were refined to the finest under the tutelage of legendary Guru Kelucharan Mohapatra. --- Send in a voice message: https://anchor.fm/raag-giri/message

When the stage is the canvas, The movements- the paintbrush, Bharatnatyam- the palette, With colors that come from the heart, Dance truly becomes an art! Come with me and experience the magic of Bharatnatyam in the 13th episode of ‘A Poetry Tribute.' _____ I am Hemangini Mandaliya, also known as The Hedonist Writer. I ardently believe that words have the power to change worlds and that is what I am striving for with this podcast. Find me on Instagram and revel in new literature content at The Hedonist Writer Get in touch with me at thehedonistwriter@gmail.com _____ “…And one day, the girl with the books became the woman writing them!”

Bio Mansi Khosla's dance journey began at the age of 4 in Nairobi, Kenya, when she started learning Bharatnatyam under the tutelage of Kamini Thakkar. She completed her training and arangetram in 1997. In 1998, Mansi became a student of Pali Ji Pali Chandra Kathak in London. Her journey is still continuing today, not just through her dance and relationships, but also through her 3 blessings, her daughters, who are also now, a part of this beautiful legacy Episode Links Show Highlights (0:03:10) Dance as an expression (0:09:48) Creating an environment of freedom (0:12:57) Process of creation (0:21:07) Being a dancer and a mother to dancers (0:25:57) Returning after a sabbatical (0:28:28) What was it like to be away from the stage? (0:31:23) The importance of having the right support system (0:35:20) Most memorable performance (0:41:18) The humanity of dance (0:45:10) Relationship with Pali Chandra ji (0:53:17) Strengths and weaknesses of today's dancers (0:59:24) Riyaz Rituals Into music credit: Bansure Raga by Doug Maxwell

About Guest: This Episode features Rathika Rajaloganathan - A Supermom whose background in music and dance as a child played an integral part in her success in media and limelight. Being a former TV show host and having worked with Sun TV and Vijay TV,  she has interviewed many VIPs, celebrities, and superstars. Since her move away from media, she has founded “Nrithya Sangeetha Academy” in London, U.K. to pass on her learning of Bharatnatyam and singing to kids and adult in connecting them to their cultural heritage. Catch the video episode on YouTube: https://www.youtube.com/channel/UCBNr2GN3gEWcmgI3tKy6lfA

Episode Notes Episode Links Kalpana Subbarao – Dance is the language of her soul (wordpress.com) Kalpana Subbarao - YouTube Kalpana Subbarao (@kalpanasubbarao) • Instagram photos and videos Bio Kalpana Subbarao is an artist with over 20 years experience in Indian classical dance forms, Kathak and Bharatanatyam. As a 2018-2019 Artist in Residence for Dance Source Houston, she produced a collaborative show on Kathak-Flamenco with 7 other artists from Houston. In 2021, she extended this work with an original new piece titled Ritmo Zindagi that premiered at the Miller Outdoor Theater. She has been a solo artist at the Barnstorm Dance Festival. She is a certified Teaching Artist through Young Audiences of Houston/University of Houston. She studied Bharatanatyam in a traditional setting in India. A recipient of a 3-year scholarship from the Sangeet Nritya Academy, she holds the 1st rank in the Senior and Vidwat (Proficiency) exams. Currently, she practices Kathak and is a disciple of Pandit Sontosh Kumar Chatterjee for the past 9 years. She is a student of rhythm with Pandit Divyang Vakil for the past 2 years. In 2021, she completed a 15-day workshop on Navarasa Sadhana, a system of acting methodology for dancers, conducted by Guru G. Venu. She has performed in USA, India and Malaysia. She has conceptualized, co-created, co-choreographed and directed an evening-length production of Kathak-Flamenco, A Celebration of Cultures. As a choreographer, she showcased her work, Beloved, at the Mind The Gap show in 2017. She was the lead choreographer for Kathak in Silambam Houston Dance Company's production, Kāvya: Poetry in Motion staged at Miller Outdoor Theater (2018) and MATCH (2017) in Houston. Kalpana teaches Kathak for Silambam Houston at their Pearland and Heights locations. She has a Master's degree in Computer Science from University of Houston and has previously worked as an engineer. Show Highlights (0:02:30) Getting back on stage after a year (0:04:26) Kathak in Houston (0:06:06) Kathak Flamenco collaboration (0:12:47) What do you look for in youur collaborators (0:21:53) Being Friends outside of collaborations (0:24:09) how taalvidya has changed the way you see dance (0:25:45) Doing online classes pre-pandemic (0:33:37) Transitioning from Bharatnatyam to Kathak (0:37:21) How do you teach differently? (0:48:59) Restarting after a long gap (0:54:24) Future projects Title Track Audio Credit: Doug Maxwell | Bansure Raga

This week on the MoodyMo Awaaz Podcast we have Medha Dixit Vellal.Childhood is a time when children usually explores and also learns different things about themselves as well as the world around. This learning takes place either on their own while playing or with the help/guidance of their guardians.Medha started to follow her passion for Bharatnatyam when she was only 5 years old but she also had to go through her own set of ups and downs to reach where she is today.  INSTAGRAM: @medha_dakiniDisclaimer: The views expressed by our guests are their own. We do not endorse and are not responsible for any views expressed by our guests on our podcast and its associated platforms.

Episode Notes Afsar Khan started kathak at an early age under the tutelage of his father, Guru Mulla Jafar Khan (Kala Samarpan Awardee), of the Banaras Gharana. Afsar later joined Kathak Kendra New Delhi, under Guru Pt. Rajendra Kumar Gangani (Sangeet Natak Academy Awardee) of the Jaipur Gharana and completed his post diploma there. He has performed widely all across the world through ICCR, Teamworks, and Spic Macay. Afsar has choreographed kathak with other dance forms such as Bharatnatyam, Kuchipudi, Manipuri, Flamenco and Tap dance. Notably, he choreographed for the Queen's Baton Relay and the closing ceremony of the Commonwealth Games in 2010. He was picked by ICCR to teach kathak in Mauritius at IGCIC. Afsar Khan has been a senior kathak tutor at the Singapore Indian Fine Arts Society since 2015 and has had many students excel under his guidance. He is well known around the world for his rapid footwork, fast chakkars, and clear padhant. Show Highlights (0:01:50) Padhant being a skillset (0:08:05) The evolution of opportunities for male dancers (0:12:43) 9 hour riyaz sessions (0:20:09) The concept of Chilla (0:35:40) Being called a guru (0:42:21) Bearing the responsibility of spreading Kathak in singapore (0:46:34) Insights of Kathak in singapore (0:51:02) How Afsar ji teaches differently (0:57:51) Exploring while staying true to yourself (1:01:41) finding the right fit with organizers (1:06:11) How to talk about Kathak in foreign countries (1:11:09) Most memorable performances (1:13:24) Dancing on broken glass (1:18:51) Legacy Title Track Audio Credit: Doug Maxwell | Bansure Raga

Today, I am joined by The Dancing Storyteller, Savitha Sastry. We discuss the beautiful art of Bharatnatyam and the importance of Storytelling.Check out Savitha's website - https://www.savithasastry.com/Follow us on InstagramSubscribe to our Youtube Channel

In this episode of Failure to Success I have spoken about dreams. Its very important to see the dreams & pursue them even in the most difficult times of our lives. I have narrated a story of a Bollywood actress & Bharatnatyam dancer Sudha Chandran who met with an accident at the age of 17 and to save her life doctors had to amputate her leg. For a person who has aspired to be a dancer loosing a leg can be the most devastating experience and the last thing to expect. But Sudha Chandran never gave up on her dreams, this is a story of a pain and agony she had to go through while dancing with an artificial leg. Her leg use to bleed but she never stopped. Sudha Chandran not only became one of the best dancers but she also acted in movies in various languages. She also acted for many serials for television. Her story teaches us not to give up and pursue our aspirations no matter what obstacles come in our lives.

Today's guest is Ms. Vyju Iyengar who runs her own Bharatnatyam dance school called Noopur Nritya Academy in Attleboro, Massachusetts. She has been dancing since she was just 4 years old and she took on her first teaching job at the age of 16. She has continued to dance with some amazing local dancers and been part of fund raisers for causes that are close to her heart. For more information, please visit: https://www.noopurnritya.com/

The world premiere of a classical South Indian music and dance performance piece based on Philadelphia's historic themes of liberty and freedom. Each a powerhouse in their own right, bharata natyam dancer Priyadarsini Govind and Carnatic musician T. M. Krishna perform a new work interlacing elements of traditional repertoire with improvised segments. This performance is co-presented with Sruti, the India Music & Dance Society and has been supported by The Pew Center for Arts & Heritage. In this podcast, John Schafer of WNYC speaks to Priyadarsini Govind and TM Krishna, who are world famous practitioners of the south Indian classical art forms of Bharatnatyam (dance) and Carnatic music respectively. They discuss their upcoming Saayujya event in Philadelphia, featuring a world premiere of a new piece centered around the themes of freedom and equality. Performance Saturday, April 30, 2016 @ 7 PM Annenberg Center for the Performing Arts

Episode Notes https://www.instagram.com/nikkitakathak/?hl=en https://in.linkedin.com/in/nikita-banawalikar-39745b19a https://www.facebook.com/nikitabanawalikar.kathak/ An ICCR empanelled artist,Nikita also holds an MBA in HR from Symbiosis.She has successfully completed her Masters in Performing arts with distinction from Bharati Vidyapeeth and has passed the All India UGC Net examination and is eligible for the post of Asst.Professor. She has done her Masters in Commerce from R.A Podar college. A promising budding kathak artist,NIKITA was introduced to Indian Classical dance at the age of 4.She began her training initially in Bharatnatyam but developed interest in Kathak at the age of 9.She was under the tutelage Dr.Manjiri Deo and completed Visharad from Gandharva Mahavidhyalaya under her guidance.Later she was trained in Padma Bhushan Kumudini Lakhia jis Kadamb centre for dance,Ahmedabad . Her advance training was under Guru Shama Bhate in Pune. A CCRT young artist scholarship holder ,Nikita has been conferred with numerous prestigious awards.Menaka award by Mumbai University for 2 consecutive years,Akhil Bharatiya Prathibha Puraskar,Gopi Krishna Award,Pandit Vishnu Digambar Paluskar Award,Nritya Vilasini ,Nritya Sadhak to name a few. A gold medalist of All India National Youth Festival ,She has represented India twice at South Asian Universities International youth festival. Nikita has presented her solo classical recital in many festivals India and abroad.She completed her successful tour of UK where she presented her recent production SAMARPAN at prestigious venues. She has also toured CHINA & Europe for her performance and workshops .She has given her performance for TEDX at the young age of 16.Her other noteworthy performances include:The music summit by kala Sangam Bombay,Delhi International arts festival, Durga festival,Kalaghoda arts festival,Kalakshetra Chennai,Karavali Utsav,Aura-Aurangabad at Mahagami,Navapallava Mumbai ,kinkini festival ,ICCR----BANGKOK, ,BRAHMA SADHANA SAMAROH.KISHOR SANGEET SAMMELAN,OCTAVE FESTIVAL ,AVEG'12 at NCPA and many more. Nikita has assisted choreographer Remo D souza to choregraph Ghar more pardesiya from the movie kalank. She got an opportunity to collaborate and present her solo recital with great musicians Shankar Mahadevan and Hariharan ji.Nikita has assisted renowned chochoreographer Vaibhavi Merchant to choreograph for various projects. Nikita aims at carrying forward the rich cultural classical dance tradition throughout the world and preserve its true essence by the medium of her institute KALA VATIKAA in Mumbai .

Episode Notes Seetal Kaur combines her love for rhythm and music with swift movement and emotive expression as a Kathak dancer. Having trained in Bharatnatyam and vocal music from a young age, she started learning Kathak with Amina Khayyam in 2012 and toured nationally and internationally with the company's production of 'Yerma' from 2013-2015. For the past 6 years, Seetal has been focusing on developing her Kathak practice under Smt. Aditi Sen and has also been seeking guidance from Guru Pandit Rajendra Gangani for intensive periods in India, Switzerland and the UK. She has been involved in many creative and collaborative projects including 'Hanuman Tales' (Curve Theatre 2018-19), 'The Hen-nah Party' (Rich Mix London 2019), 'SHAKTI' (South Asian Arts-UK, 2020) and was selected for the New York Kathak Festival 2020. Highlights 0:03:35 The next steps 0:05:28 Musicians and Dancers Collaborations in the UK 0:07:18 The benefits of practicing with musicians 0:09:02 Training and background 0:13:24 Intenstive Workshops 0:16:27 South Asian Women in dance 0:19:43 Reactions and Reception to History 0:24:15 Radha Krishna Ched Char 0:30:50 Approach to perfomances 0:33:34 How to make a character and come alive 0:36:05 Enhancing practice through life experiences 0:38:59 Memorable performances and anectodes 0:42:19 Aspects of Kathak Seetal Finds Interesting 0:46:55 Teaching 0:50:01 Pt Chitresh Das 0:52:51 Style of Teaching 0:57:41 Encouraging the value of practicing

Samhitha of grade 9 speaking about one of the dance forms Bharatnatyam II PMS@ Alwal Campus

Living in the present is an art, isn’t it? This episode is all about Santoshi and her golden spirit. From being a Bharatnatyam dancer to not being able to stand after being diagnosed with limb-girdle muscular dystrophy, an incurable disease. Her story is filled with wisdom, love, and light. Are you ready to get goosebumps? Can Inspire is a Production of WYN Studio. Hosted by C Pallavi Rao Narvekar. Produced by Prapti Khanna, Executive Production by Bijay Gautam and Souniya Khurana. Editing and Mixing by Shrey Oberoi. The show intro was created by C Ravishankar Rao. Find us at www.wyn.studio. See omnystudio.com/listener for privacy information.

The multi-talented Broadway performer in offerings like Wicked joins Abhay to talk about her pathway to success, the surprising intersections of Hamilton and classical Bharatnatyam, and representation of South Asians. A brief amount of singing may or may not happen at the end....

In the first episode of Season 4, Bonnie interviews Thanmayee. They talk about growing up in New Jersey, doing 4H and Bharatnatyam as a kid, and practicing self-reflection through painting.

Sanmitram – सन्मित्रम् – Enhancing Relationship through Cultural Heritage is a series of short episodes with Young Thinkers in the field of Art & Culture . This episode of IF Podcasts features a conversation with a group of Bharatnatyam dancers from LA.

We continue our discussion with Bharatnatyam Priyanka Raghuraman. who is also the student of Bharatnatyam dancer Anita Guha. Priyanka is not only Bharatnatyam dancer, but also a teacher, theatre artist and an anchor. In this episode, Priyanka tells us more about the scope of technology is classical dance and how it could help artists sustain themselves. Listen to the podcast. --- Send in a voice message: https://anchor.fm/business-line/message

Life has changed by leaps and bounds since the beginning of the Covid-19 pandemic. With work-from-home becoming a norm for many professionals, many people wonder when the world of concerts, recitals over-dramatic presentations would return to its grandeur. In this episode, we explore the impact of technology in the world of professional classical dance. To dig deeper into these aspects, we are joined by Priyanka Raghuraman, the disciple of eminent Bharatnatyam dancer Anita Guha. Priyanka is not only Bharatnatyam dancer, but also a teacher, theatre artist and an anchor. She was also involved in the organisation of a cultural festival called Drive East in San Francisco situated in the United States. Listen to the podcast. Stage Business is a weekend podcast exploring multiple angles related forms of performing arts and entertainment that are driven by a stage and a live audience. --- Send in a voice message: https://anchor.fm/business-line/message

Bharatnatyam, as a dance form has always been considered a female oriented art form. But my today's guest, has dedicated his life to Bharatnatyam and giving it a male format. Let's get into a conversation with Parimal Phadke and get to know about his journey and work he's been doing in the filed of performing arts.#Bharatnatyam#indiandanceforms#indianculturalartformats

Bharatnatyam, as a dance form has always been considered a female oriented art form. But my today's guest, has dedicated his life to Bharatnatyam and giving it a male format. Let's get into a conversation with Parimal Phadke and get to know about his journey and work he's been doing in the filed of performing arts.#Bharatnatyam#indiandanceforms#indianculturalartformats

Divya Deswal and Saloni Zutshi - an M.Phil in Sociology discuss about Learning vs Schooling in this heart-to-heart conversation. She worked in the development sector in the field of gender, domestic violence, street children, HIV, and AIDS. ⁠A mother of two children, she is also a graduate Bharatnatyam and an urban gardener. ⁠In 2013, she co-founded a school based on Rudolf Steiner's education, along with her sister Aparajita Zutshi. For the last 7 years, Ukti Waldorf school has been providing a nurturing environment and wholesome education to the children of Delhi- NCR. ⁠ She believes in bringing all that is simple and natural into every aspect of our modern lives be it education, parenting, food, work, or our lifestyle in general.⁠

Aditi Subedi is a student, residing in Mijwan. She debuted her acting career in the dance film Mee Raqsam directed by Baba Azmi. She talks about, how she landed the film, her preparation for the film that involved Bharatnatyam dance & acting. Listen to her on this episode of Meri Kahani with Bhawana Somaaya- Diary Of A Dancer. For advertising/partnership, you can send us an email at bonjour@eplog.media. You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia. If you like this show, please subscribe and leave us a review wherever you get your podcasts, so other people can find us. You can also find us on https://www.eplog.media See omnystudio.com/listener for privacy information.

Can traditions be tweaked? Do they still remain traditional? Listen to Arathi speak about Bharatnatyam with a passion, and Bollywood music with glee! Arathi claims to be “reborn" in her new American life. Her search for masala chai in India is hilarious, as is her observation about spaghetti strap dresses! Don't miss her special tea ingredient, helpful for her art and aging knees! ! Sound editor : Nakul Agrawal. Art: Vicki Qvintero

Shabana Azmi, Danish Husain and Baba Azmi speak to RJ Stutee about their new venture 'Mee Raqsam' in the latest episode of Aur Batao. The movie revolves around a man, played by Danish Husain, who fully supports his daughter Mariam's (Aditi Subedi) dream of becoming a Bharatnatyam dancer. Shabana is a producer on her brother Baba's debut film which they call a tribute to their father Kaifi Azmi, an eminent poet. 

Mee Raqsam on Zee5 is presented by Shabana Azmi and directed by her brother, the acclaimed cinematographer Baba Azmi. Mee Raqsam is an ode to their father Kaifi Azmi. The film is about a girl  Mariam obsessed with Bharatnatyam, played by Aditi Subedi, and her father Salim, played by Danish Hussain. The film also stars Naseeruddin Shah & Rakesh Chaturvedi Om.

Mee Raqsam on Zee5 is presented by Shabana Azmi and directed by her brother, the acclaimed cinematographer Baba Azmi. Mee Raqsam is an ode to their father Kaifi Azmi. The film is about a girl  Mariam obsessed with Bharatnatyam, played by Aditi Subedi, and her father Salim, played by Danish Hussain. The film also stars Naseeruddin Shah & Rakesh Chaturvedi Om.

India is a diverse country and has many cultures and art forms imbibed in it. One of the art forms, and a beautiful one, is Bharatnatyam. On my journey of collecting & sharing real life stories, I host Guru Shumita Mahajan, who has devoted & dedicated her life to Bharatnatyam. In this 1st episode of the 3 part series, we talk about her story, about parenting and about Bharatnatyam.Guru Shumita Mahajan can be reached out by simply searching for "Sadhana Nrityalaya" on Google, Facebook, Instagram and YouTube.BharatnatyamSadhana NrityalayaIndian CultureParentingIndian Art formsCultural Talks

India is a diverse country and has many cultures and art forms imbibed in it. One of the art forms, and a beautiful one, is Bharatnatyam. On my journey of collecting & sharing real life stories, I host Guru Shumita Mahajan, who has devoted & dedicated her life to Bharatnatyam. In this 1st episode of the 3 part series, we talk about her story, about parenting and about Bharatnatyam.Guru Shumita Mahajan can be reached out by simply searching for "Sadhana Nrityalaya" on Google, Facebook, Instagram and YouTube.BharatnatyamSadhana NrityalayaIndian CultureParentingIndian Art formsCultural Talks

In this episode, Sandeep Soparkar talks to Madhoo. She talks about her foray into Bollywood and freestyle dance forms from traditional forms like Bharatnatyam and Arangetram.

In this episode, Sandeep Soparkar talks to Madhoo. She talks about her foray into Bollywood and freestyle dance forms from traditional forms like Bharatnatyam and Arangetram.

On this episode we speak to Kruthi Nagaraj who is a classical dancer and a psychology student and get to know more about human mental health and understand how to appreciate and find meaning in the dance steps.

In every field of life, to give your 100%, be on the cycle of constant learning and work hard is what takes you places. This podcast episode is a centric to this theme, and I'm in conversation with Mrs. Amala Akkineni who I believe is the perfect fit for this discussion for we talk about her journey onto becoming an actor, the requirement of coming into the industry (being a daredevil), and about the rise of women in Indian Cinema Space. She is a trained Bharatnatyam dancer from Kalakshetra, known to be one of the finest actors who has worked across industries ( Telugu, Malayalam, Tamil, Hindi...) and in various film formats ranging from short films, feature films to web-series. Mrs. Amala Akkineni is also actively involved in educating young minds to gain a sound knowledge in various aspects of filmmaking be it as a bachelor's degree or hobbyist courses as the Director of Annapurna College of Film and Media in Hyderabad, Telangana.

SHOWNOTES FOR EPISODE 26:Sudarsna's website https://www.sudarsna.com/ and instagram https://www.instagram.com/sudarsnak/?hl=enUrban Nutcracker - read more about the show and buy your tickets now! http://urbannutcracker.com/BOOKS and OTHER STUFF we discussed:To Dance by Siena Cherson Siegel and Mark Siegel - a graphic memoir which captures a dancer's life beautifully (Mark Siegel is also the creator of the fab 5 Worlds graphic novel series that my daughter and I love) https://www.indiebound.org/book/9781481486644Life in Motion Misty Copeland's memoir https://www.indiebound.org/book/9781481479790Firebird kid picture book by Misty Copeland https://www.indiebound.org/book/9780399166150Lush Cosmetics https://www.lushusa.com/I just picked up this YA novel (in verse!) from a Bharatnatyam dancer's perspective: A Time to Dance by Padma Venkatraman https://www.indiebound.org/book/9780147514400Follow us on Instagram for more on Sudarsna and everything we discussed in this episode! https://www.instagram.com/theindianeditpodcast/Special thanks to Aman Moroney @ Flying Carpet Productions for audio post-production engineering!

In the first season, you heard about the journey of Padma Shri Bhawana Somaaya... In this special series, she talks to people from the field of classical performing arts. In the second episode, she is joined by her own dance guru, Madhuparna Kumar. She runs her own dance research institute, by her name, where she teaches Bharatnatyam dance. She talks about her journey from starting as a Bharatnatyam dancer, her family, where everyone are professional artists and quite popular in Kolkata and she also talks about the influence of her family in her life. Do share your thoughts about the episode in the comments, you can also DM us on Instagram @eplogmedia or you can mail us on bonjour@eplog.media

In the first season, you heard about the journey of Padma Shri Bhawana Somaaya... In this special series, she talks to people from the field of classical performing arts. In the first episode, she is joined by renowned Odissi dancer, Daksha Mashruwala. She talks about her journey from starting as a Bharatnatyam dancer at the prestigious Darpana Dance Academy in Gujarat to embracing Odissi dance and learning under the guidance of Padma Vibhushan Guru Kelucharan Mohapatra. Daksha has performed in Indian & abroad & has also conducted workshops and lecture-demonstrations, for the last two decades. Her institute, Kaishiki continues to train talented youngsters, some of who are now professional solo dancers. Do share your thoughts about the episode in the comments, you can also DM us on instagram @eplogmedia or you can mail us on bonjour@eplog.media

C. Pallavi Rao Narvekar hails from a family of journalists but chose to pursue her bachelor's degree in Geography. Her childhood love for radio got her to also pursue a full-fledged career as a Radio Jockey and also doing Voice Overs. Everything was going on well in her life when one day she was told she cannot speak. Imagine a Radio Jockey with no voice. She was diagnosed with cancer and she lost her voice post her Thymectomy surgery, one of her vocal cords got paralyzed. The doctor sealed her career and passion for the radio medium by telling her that it was irreversible and that she could never go back on the air again. However, C. Pallavi Rao Narvekar proved the doctor wrong, defied death twice and got back to doing what she loved. Apart from being a famous RJ of Delhi, she is also an accomplished Bharatnatyam and Kuchipudi dancer, a former NCC cadet, a painter, blogger and now an author. She actually wrote a book on love stories while being in the ICU for her treatment. You can listen to this show and other awesome shows on the IVM Podcasts app on Android: https://ivm.today/android or iOS: https://ivm.today/ios, or any other podcast app. You can check out our website at http://www.ivmpodcasts.com/ See omnystudio.com/listener for privacy information.

पूर्वी भावे आपली ओळख एक नृत्यांगना म्हणुन व्हावी असं बर्याच लोकांना वाटतं, पण या स्वप्नाचा पिच्छा करून अथक तालीम करुन हे स्वप्न साकारलं पूर्वी भावेने. वन लाईफ टू लिव... मेक द मोस्ट अॉफ इट... हे ब्रीद वाक्य मानणारी पूर्वी, येत आहे गप्पा मारायला फक्त गोल-गप्पा वीथ तृप्ती खामकर वर. This week's episode of GolGappa with Trupti Khamkar features Bharatnatyam dancer, anchor and actress Poorvi Bhave. She talks about body positivity, her love for Game of Thrones and how the show inspired her choreography. You can follow Trupti Khamkar on Instagram @actortrupti You can listen to this show and other awesome shows on the IVM Podcasts app on Android: https://ivm.today/android or iOS: https://ivm.today/ios, or any other podcast app.

Romi Purkayastha is a writer and blogger who eats and breathes food. She loves to travel and is known to arrange food walks and curate exotic lunches and dinners. A self-proclaimed Dal lover and a trained Bharatnatyam dancer, Romi took to stage a little later in her life. Salone and Romi in this heartfelt chat talk about what is it like to ‘arrive in life’ and the disappointments that come with it.

“Grace is what picks me up and lifts my wings high above and I fly! ― C. JoyBell C. What is grace? Is it as the dictionary defines the noun as a smooth movement or goodwill? Is it politeness or a divine allotment of talent or blessing? Host Joven Hundal tackles this ethereal subject with grace! Brand new reporter, Siri Phaneendra describes her life with dancing the Bharatnatyam. She says that “with my hand gestures, I can depict anything from a lion to the feeling of superiority to a lotus or even an elephant.” Siri shares information about her nonprofit, You and I that provides services for terminally ill children and her A.I. app. Joven reads two chapters about grace, both written by Cynthia's. Cynthia Cheong wrote a chapter for the forthcoming book, Be the Star You Are! Millennials to Boomers, and Cynthia Brian wrote the chapter for the original book in the series, Everyday brings opportunities for grace — open your heart and let grace shine in.

“Grace is what picks me up and lifts my wings high above and I fly! ― C. JoyBell C. What is grace? Is it as the dictionary defines the noun as a smooth movement or goodwill? Is it politeness or a divine allotment of talent or blessing? Host Joven Hundal tackles this ethereal subject with grace! Brand new reporter, Siri Phaneendra describes her life with dancing the Bharatnatyam. She says that “with my hand gestures, I can depict anything from a lion to the feeling of superiority to a lotus or even an elephant.” Siri shares information about her nonprofit, You and I that provides services for terminally ill children and her A.I. app. Joven reads two chapters about grace, both written by Cynthia's. Cynthia Cheong wrote a chapter for the forthcoming book, Be the Star You Are! Millennials to Boomers, and Cynthia Brian wrote the chapter for the original book in the series, Everyday brings opportunities for grace — open your heart and let grace shine in.

Nina talks to Anjal Chande about Bharatnatyam dance, what it looks like now, and why she dedicates her life to the art form. Check out her other work here. Follow us at @almirahradio. Follow Nina at @onlynina. Follow Sheela at @queenofblah. Our opening track is "Laung Gawacha" by Nucleya. Other original music is by Michael Dwan Singh. Our cover art is by Mili Sethia.  (photo) --- Send in a voice message: https://anchor.fm/almirah-radio-hour/message

At the age of seven, Varsha Seshan discovered she wanted--and could be--a writer. Since then, there has been no looking back. She wrote through her college years at Junior Herald, the children's supplement of Maharashtra Herald, where over 20 stories of hers were published. The budding writer has now blossomed into a confident author for children who has published a book of short stories for children titled The StoryCatcher and a series of illustrated books for children on the Indian Railways. Varsha will now speak at the Asian Festival of Children's Content in Singapore to be held between May 25-29 2017. Along the way, Varsha has gone through more than her fair share of rejections but the love of writing never waned. The hardest thing, as per her, is to promote your book especially as a writer for children. She is also a trained Bharatnatyam dancer.

How to startup.  Process and steps to becoming an entrepreneur. The vision for vFit. Founders background, the role of team and coming together. I speak with Savanna Leavitt, Co-Founder, and her other four Co-Founders of vFit an online shopping technology for shoppers.  Savanna is a student enrolled in the Biomedical Engineering program at Drexel University with a focus on Biomechanics and Human Performance. She was raised in a very rural area of Maine.  Savannah’s mother is entrepreneurial and runs her very own beauty salon with a line of makeup she has branded, Savannah learned a great deal about entrepreneurship and being passionate about what you do from her mom. Savannah has always been intrigued by the sciences and how things worked and she found her interested in a medical degree at a young age, that’s when she discovered biomedical engineering and as they say she was hooked. Since beginning at Drexel, her interest grows in her major. She feels blessed to have been given the opportunity to work with this diverse group of individuals for the development of vFit. The idea is something the group of five co-Founders has dreamt about since they were young, and now the excitement rises as they will bring their idea to the public for use.  You should all keep up with their progress of the online shopping design and technology for shoppers like you. The CMO will be overseeing the marketing, graphics and client relations department. This role guarantees that the application is well advertised, designed as well as aesthetically pleasing and maintains a rock solid reputation for meeting the user’s criteria. Startup Entrepreneurs, Online Shopping for Shoppers. vFit: sizing charts, online shopper, guessing the size of clothes across different brands and styles. the best way to decide on an article clothing is to try it on, and let’s be honest trying on clothing can be exhausting and impossible if you’re buying online! has recognized the frustration most people feel when it comes to choosing the right size and style and is trying to change that. create 3D models of human bodies, technology will use the anthropometric dimensions of the user and create an avatar like a model The idea is to help resolve a problem: Use existing photographic technology to create realistic images with legitimate dimensions. With these images create three-dimensional models of an individual’s body from the accurate photographs taken Create holographic projectable images with the 3D models. Long-term beyond 10-week span Create a better shopping experience Reduce theft Save customer time and trouble The vFit design will use body scanning technology to scan the body of the user and create a 3D model of it along with dimensions. By using this technology the user will be able to project the holographic image into a mirror to display how an article of clothing will appear in one’s body. With this technology, the process of trying on clothing can be properly simulated to make it more efficient for the online shoppers. With the time spent shopping in stores greatly decreasing, online shopping will be more user-friendly with the technology available to be able to simulate trying clothing on from home. vFit is expected to make the process of finding a clothing size easier as the sizes in stock and best fit for the body dimension projected will be provided. So, if you are tired of non-fitting clothes and constant returns, this is the right solution for you, a stress-free experience! Visions/vFit vFit is the revolutionary new application that will change the way people shop forever. Have you ever ordered clothing online and then received it in the mail only to find out it wasn’t what you thought it would be or just didn’t fit in general? Or have you ever been in the store and unsure if you should purchase something because you didn’t know what it would look like paired with something you already owned? Well vFit can do all that for you. Using virtual reality and metrics software this app can tell you exactly what that cute sweater will look like on you, because we are not using avatars, but instead take a video or picture of yourself and that piece of clothing will be displayed so you can see yourself from all angles and have confidence that what you are buying online will look the same when you receive it at home. Not to mention you can browse multiple catalogs and mix and match it with clothing that already exists in your closet. Never be afraid to buy clothes online again with vFit. Resources relied on by startup entrepreneurs: GoPro, Autodesk, Holographic Imaging, Adobe, SmartPhone, Anthropometric Measurements   Riddhi Ameser, Co-Founder: freshman computer engineering major at Drexel University from Lansdale, Pennsylvania. Born into a family of computer engineers, from day one technology, innovation, and thinking.  One day aspires to be a leader who can manage her employees and effectively communicate from a technical and mechanical standpoint. She is honored to be a part of this team. CEO is also responsible to oversee the board as well as develop and maintain relationships with business partners.  To ensure the business side of the application is prosperous by developing the best strategies to make sure that vShop is able to compete with similar apps on the market and take a hold of the total market share. Juliana Kocibelli, Co-Founder:  born in Germany and raised in Albania, a small and beautiful country in Southeastern Europe. She is currently studying Biomedical Engineering at Drexel University with a concentration in Tissue Engineering. Always been fascinated by science and technology. Since I was very young I wondered how the heart pounds continuously and how the brain can control the body and make it function. With the years passing, the interest for science grew even more, especially when she was first introduced to Biology and Chemistry. That was the point when she started to realize that she loves studying the human body and serving the society by developing technology that would help people live a better life. Being part of a project like vFit she says is very exciting to her because it is a technology that she has always wanted to have access to, so why not create one! So you should like and support the idea of vFit design as much as they do. The CFO will be overseeing the finance and legal teams.Must manage the company’s finances to keep the operation afloat as well as searching for new outlets and sources of revenue allowing for future expansion and development of the application. Joti Saha, Co-Founder: freshman enrolled in the Biomedical Engineering program at Drexel University. She plans to major in Biomechanics and Human Performance. Born in Brooklyn, New York and moved to a small suburb outside of the Philly area at a young age. She is passionate about dance and trained in an Indian classical dance form, called Bharatnatyam, for ten years.  Her team fundraised for underprivileged kids in India with their annual charity shows. This experience has brought me closer to my future aspiration of making a difference in the world and helping others. Aside from dance, I became fascinated with math and science during my years in middle school. Around that time, my dad was diagnosed with cardiomyopathy and needed a pacemaker implant. The surgery was successful and he gradually recovered. Since then, the marvels of this heroic device forever piqued my interest. With more research, I found a deeper appreciation for the amount of time and effort put into this intricate, yet small device. It was fate when I discovered biomedical engineering. During my time here at Drexel University, I have become more aware of global and household problems. With that being said, I look forward to developing vFit with my team and eager to see where this project will take us. I hope you find our design useful and interesting. The COO’s role is crucial to the day-to-day operations of the application as well as overseeing the human resources department. The duties of this role include setting up meetings, making sure that things run smoothly among the different departments as well as internal and external deadlines and goals are being met. Ada Wang, Co-Founder: currently a freshman enrolled in the College of Engineering program at Drexel University with a focus on Mechanical Engineering.  She was born in Newburgh, New York and moved to a very suburban area in Lancaster, PA.  Growing up she enjoyed watching and playing sports, such as basketball, soccer, baseball, tennis, and golf. Her parents are co-owners of a Chinese restaurant. Because this was a family business, Ada grew up at a very fast age, mentally. Through the work experience and through the constant hardship that her parents had to suffer, as well as the fact they did not have the option to go to college, she fully devoted myself to take advantage of the opportunity to go to school and to choose a major that I felt fulfilled not only my interest in designing but also to make my parents proud. Through the courses that she has taken at Drexel, Ada slowly begun to find what really made her special and thus given the amazing opportunity to attend college, she also feels truly blessed to have met such an amazing group of women engineers who not only share the same passion as her but as excited to present their design: vFit. So join them on a journey that will change the way you shop today! The role of the CTO is to work with IT and R&D departments and to make sure that the app is working and giving the user the best experience possible by using the most cutting edge technology. Initially, the CTO will be in charge of the massive data migration that will be taking place between the partnered clothing companies and the application’s platform. Mission Statement While some may consider shopping to be one of their favorite hobbies, others dread just the mere thought of being in a department store for more than 5 minutes. Over the years, online shopping has provided some relief to those who hate stepping into the mall; however, it has yet to fully satisfy all of its customers. With over 25% of all items bought online, returned, nearly 80% of that being clothing, it seems as if trying to pick a size on an article of clothing shouldn’t have to be a gamble for your money. With the wide variety in sizing charts among different brands, some with more generous size charts and others less so, it is almost impossible for an online shopper to feel confident guessing the right size across different brands and styles. Not to mention, in-store shopping can take up too much time and energy. But if there was a mobile application that ensures both fit and quality, would you believe it? LAWKS Graphics is proud to introduce vFit, an application designed to accommodate the needs of consumers and the gap within the clothing industry. As of today, there are virtually no applications that allow an individual to see how a piece of clothing would look on them in real time. vFit brings the live shopping experience to you, whether it be in the office, home or public. vFit is the way the next generation will shop. * The post Augmented and Virtual Reality Technology Online Shopping vFit Show 029 appeared first on Startup Entrepreneur Listenup Show.

In this Chaitime we talk to accomplished Hindustani Classical singer Madhuvanti Bhide. Born and raised in Pune, India, Madhuvanti’s fascination with singing started at an early age. Madhuvanti’s golden voice and poignant rendering is a powerful combination that indeed captivates audiences wherever she performs. Madhuvanti has been residing in the Bay area for more than twelve years and has given sparkling performances, time and again. She has received training from N.V.Diwan, Dr Alka Deo Marulkar, and for a brief period, from Pt. Arun Dravid, a renowned exponent of Jaipur Gharana. She has released two albums “Arpan" and "Ase Sur Gave”. In 1991, Madhuvanti was awarded the sangeet visharad degree by the Gandharva Mahavidyalaya, Pune. In this show Madhuvanti is also joined by Shraddha Joglekar, Artistic Director of Kalavishkar to talk about their upcoming performance Sur-Nartan. You can enjoy this enchanting evening of Indian Classical culture - a union of Hindustani vocal and Bharatnatyam dance on Jan 25, 2014. Details can be found here : https://www.facebook.com/KalaawishkarDanceSchool/posts/80170271984509.

Music and poetry exist in time; painting and architecture in space but the dance lives at once in time and space. - Sachs, C. 1937. World history of the dance In this Chai Time episode, we will take a journey to celebrate the spirit of dance, through a very young and talented dancer Shraddha Joglekar. For her, dance is a worship, a passion and a spiritual connection. Shraddha is the creative director of dance school KalaAvishkar, where she teaches Bharatnatyam to the students of all ages. Shraddha has conceived, choreographed and produced dance dramas Geet Ramayan, and Tichi Goshta(Her Story), which have been received with great critical acclaim in the USA and India. Shraddha and her students will be presenting her latest dance drama “Shivo-Aham, Shiva the self appeared” , on Friday April 5th, 2013 at Sunnyvale Community Center. In this show, we will discuss basics of Bharatnatyam, Shraddha’s journey as a dancer and her other experiences.