Podcasts about Indian classical dance

Neesha Jhaveri is a graceful Kathak dancer, accomplished teacher, creative choreographer and a co-founder of Sri Shakti Academy, Hong Kong. She is a disciple of late Guru Pt. Hazarilalji and Smt. Sunayana Hazarilalji, both doyens of Jankiprasad school of Banaras Gharana and has received training in a Guru Shishya parampara tradition. She moved to Hong Kong in 2001 and since then she has completely devoted herself in spreading the awareness of Indian Classical Dance and Culture in Hong Kong.Through Sri Shakti Academy, the first professional Indian dance company set up in Hong Kong, she trains numerous students, gives lecture demonstrations at the prestigious universities of Hong Kong and performs at various dance festivals organized by the Hong Kong Government and the Indian Consulate of Hong Kong. A recipient of the National Scholarship from the Government of India and a graded artist at Doordarshan, she has performed at various dance festivals in India, Africa, America, China, Hong Kong, Macao and Taiwan.

In this episode of Art Heals All Wounds, I talk with Celine Shein Das, Executive Director of the Chitresh Das Institute. We talk about the transformative power of art through the lens of the Kathak dance performance 'Invoking the River,' a multimedia production that draws attention to climate change and the human relationship with water. Celine shares insights on the origins and evolution of Kathak dance, the profound storytelling it enables, and the collaborative efforts behind this performance. The episode also highlights the institute's commitment to art for the planet and the impact of the performance of Invoking the River, both in the United States and India. Celine encourages us all to explore our relationships with art and the planet while reflecting on the powerful messages conveyed through this unique performance. 00:00 Introduction: Can Art Change the World?01:57 Meet Celine Shein Das and Chitresh Das Dance02:40 Exploring Kathak Dance and 'Invoking the River'05:36 The Artistic Vision Behind 'Invoking the River'10:10 The Legacy of Pandit Chitresh Das33:08 Impact and Reception of 'Invoking the River'45:35 Future Performances and Final ThoughtsDon't forget to go to my website and leave me YOUR story of belonging to feature on a future episode!Buy Me a Coffee!Follow Chitresh Das Institute!WebsiteInstagramUpcoming PerformancesFollow Me!●      My Instagram ●      My LinkedIn●      Art Heals All Wounds Website●      Art Heals All Wounds Instagram●      Art Heals All Wounds Facebook

In this episode of Anita Says, we sit down with Sonali Skandan, a renowned Indian classical dancer and teacher based in New York City. Sonali takes us on a journey through her experiences of practicing, preserving, and promoting Bharatanatyam and other classical dance forms in one of the most diverse cities in the world. From her early inspirations to the challenges of maintaining cultural heritage in a modern metropolis, Sonali shares her unique perspective on what it means to be an artist navigating the intersection of tradition and innovation. We delve into her role in shaping the Indian classical dance scene in New York, her passion for teaching the next generation of dancers, and how she bridges cultures through her art. Whether you're a dance enthusiast, a cultural explorer, or someone curious about the vibrant intersection of East and West, this episode offers an inspiring look into the dedication and creativity that drive Sonali Skandan's journey. Tune in for an engaging conversation on the future of Indian classical dance in the West, the importance of community, and the ways art transcends boundaries in the heart of New York City.

“Dance Talk” ® with Joanne Carey and International Bharatanatyam performer and Scholar, Bala Devi Chandrashekar. In this episode of  “Dance Talk” ® with Joanne Carey,  join host Joanne Carey as she chats with Special Guest: Bala Devi Chandrashekar. Listen in as we chat about this unique style of Indian Classical Dance, Bharatanatyam (the highest form of yoga). Hear Bala share about about the profound and spiritual wisdom of this style of dance and learn the meaning of what a Guru is and the humility needed to learn wisdom. Every movement, every gesture, every moment tells a story... This dance style and the words of Bala not only leave you feeling inspired, but lifted and part of a united, loving and peaceful humanity. Namaste. Bala Devi Chandrashekar is a Bharatanatyam exponent and research scholar. Bala is known for her distinct scholarly style and takes on subjects based on ancient texts supported by intense research. She collaborates with renowned scholars in their respective fields, carving messages from scriptures relevant to the contemporary world and actively presenting this form worldwide.Bala Devi's lineage is from a family of philosophers and literary scholars. Through her classical dance, she strives to interpret ancient philosophical and esoteric concepts and present them in a distinct classical style that is always contemporary in interpretation and communicates across cultures. Bala started her initial training under Guru Jayalakshmi Narayanan in Hyderabad and then went on to learn with Dr. Padma Subrahmanyam in Chennai. Bala Devi Chandrashekar has given over 300 performances across 30 countries. Bala is an empaneled artist of the ICCR, New Delhi, and an approved artist by the Ministry of Culture, Govt, of India for overseas performances. Bala is one of the few Bharatanatyam artists worldwide to have released nine critically acclaimed productions. These productions are Nandanar Charithram, MLV favorites, Krishnaarpanam, Vishwam: The Omnipresent, Uddhava Gita: Lord Krishna's last message, Tripura - Divine Feminine, Karna: Destiny's Child, Brihadeeswara: Form to formless & Padmavati - an Avatar. All her productions are accompanied by exceptional world-class music. Bala consistently performs at several prestigious venues across India, the USA, Europe, and the Middle East. In a unique honor, Bala is one of the few Bharatanatyam dancers in the world to have presented her " Brihadeeswara - Form to formless, through eyes of a Devaradiyal " ( based on the 1000-year-old UNESCO Heritage site, The Thanjavur Big Temple) at the UNESCO head office in Paris in June 2019, as a part of the world heritage week celebrations. The show was attended by over 500 art enthusiasts, including ambassadors and dignitaries. As a Professor of Practice, Bala is constantly developing “Performing studies” in collaboration with Theater and Dance, History, Philosophy, Linguistic anthropology, and South Asian Departments of various Universities in the United States and served as a Fellow and Artist in Residence at The Carl A fields Center@Princeton University. Bala Devi in partnership with Sangam festival - 501 c 3 not for profit charity, through art performances, has raised over $500,000 for various social and educational causes in the USA and India. Follow on Instagram @baladevi_chandrashekar Find out more on her website https://www.baladevichandrashekar.com/ Follow Joanne Carey on Instagram @westfieldschoolofdance And follow  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

The Guru-Shishya Parampara has been integral to the learning of Indian classical dance. It is a deeply immersive and rigorous tradition that holds its own even in the modern context. A profound bond forms between teacher and student, through which both a way of life, and the practice and knowledge of art, is transmitted. The Guru goes beyond merely imparting technicalities and nuances to shape and hone the Shishya's voice and their artistic identity. The Shishya becomes part of a lineage going back to the Guru's Gurus and carries this tradition to a new generation of artists and audiences. In this episode of BIC Talks, Pandit Vinayaka Torvi and Dhananjay Hegde discuss their artistic journeys. This event took place at the BIC premises in June 2023. Subscribe to the BIC Talks Podcast on your favourite podcast app! BIC Talks is available everywhere, including iTunes, Spotify, Google Podcasts, Castbox, Overcast and Stitcher.

सुनिए डॉ. गरिमा आर्या की अद्भुत कहानी। गरिमा एक कथक नृत्यांगना और दिल्ली स्थित कलाकुलम-एकेडमी ऑफ परफॉर्मिंग आर्ट्स की फाउंडर है। बचपन से ही नृत्य में इनकी गहरी रूचि थी। गरिमा चार साल की उम्र से ही नृत्य कर रही हैं, और नृत्य के क्षेत्र में इनके पास 25 साल का अनुभव हैं। आपको बतादें गरिमा ने दिल्ली विश्वविद्यालय से संगीत और नृत्य में पीएचडी की है। ये पद्म विभूषण पं. बिरजू महाराज जी की शिष्या रही है और अपने गुरु की दी हुई शिक्षा के साथ आगे बढ़ते हुए इन्होंने नृत्य के क्षेत्र में खूब प्रसिद्धि भी पाई है। अपने काम को पूरी लगन और ईमानदारी से करना ही इनके जीवन का मंत्र है। ये मानती है कि जब हम अपना काम पूरी लगन और ईमानदारी से करते हैं तो हमें उसका फल पुरस्कार स्वरुप प्राप्त होता है। इन्होंने जब से नृत्य में अपना दिल लगाया, तो इसी में समर्पित होकर अभ्यास किया और नृत्य सीखने की इनकी इसी लगन इन्हें एक पेशेवर कथक नृत्यांगना बना दिया। डॉ. गरिमा आर्या की सफलता की ये कहानी देश के कई युवा डांसर्स को इस क्षेत्र में आगे बढ़ने के लिए प्रेरित कर रही है। पूरी कहानी सुने https://stories.workmob.com/dr-garima-arya-kalakulam वर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #बनाओअपनीपहचान #प्रेरककहानियाँ #डॉगरिमाआर्या #कथक #नृत्यांगना #कलाकुलमएकेडमीऑफपरफॉर्मिंगआर्ट्स #नृत्य जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर अपनी कहानी साझा करने और प्रेरणादायक कहानियाँ देखने के लिए। ये एक ऐसा मंच है जहां आप पेशेवरों, लघु व्यापारियों, उद्यमियों और सामाजिक कार्यकर्ताओं की वीडियो कहानियां देख सकते हैं और दूसरों को प्रेरित करने के लिए अपनी व्यक्तिगत और व्यावसायिक कहानी सभी के साथ साझा कर सकते हैं। आपकी कहानी में लोगों को आशा देने, प्रेरणा देने और दूसरों का जीवन बदलने में मदद करने की एक अद्भुत क्षमता है। यह 100% मुफ़्त है। इस लिंक पर क्लिक करें और देखें प्रेरक कहानियां https://stories.workmob.com/ हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570  

Aksinya Samoylova is both a pioneering HR professional, and a passionate progressive educator. She saw that versatility is often overlooked or ignored in the hiring and management process, and that the same issue is endemic to international educational practices. Aksinya felt compelled to investigate polymathy and how it impacts education and work. The result was her book, Why Polymaths? Aksinya's keynote speeches and public talks, delivered in English and German draw on a unique combination of the original research she has compiled over many years, and her passion for Philosophy, Psychology, World History, Art History, Science, Asian Studies, and Indian Classical Dance. She is fluent in four languages and knows three others at different levels. As a graduate in linguistics and pedagogy, she created a concept for a polymathic approach to learning for both individuals and educational insitutions. Aksinya manages a polymath agency, the first talent acquisition service in the world to specialize in working with companies seeking multidisciplinary professionals. Aksinya lives with her husband and daughter in Vienna, Austria. Social Links LinkedIn: @aksinya Twitter: @aksinyaPolymath Instagram: @polymathhistory

In this episode, independent dance practitioner and writer Ranjana Dave talks to us about the evolution of Indian classical dance, and what it means for dance to be political.‘In Perspective' is The Swaddle's podcast series where academics reveal little-known facts about Indian history, society and culture. Notes: 00:00:47:09- How do we interrogate the relationship between classical dance and contemporary Indian society? Is classical dance a rigid art form, or is there scope for fluidity and evolution of the form with time?00:05:17:06- What notions of gender and gender roles do we see in these narratives, and do dancers question some of these narratives through the way in which they perform them?00:08:50:04- Are contemporary performers of classical dance bringing ideas of queerness and consent into stories they depict, especially canonical ones? 00:10:39:24- Are there common notions of the perfect ‘ideal' body that are espoused across different dance forms? How are contemporary movement artists questioning these notions?00:13:38:15- Do ideas of transgressive desire percolate in classical dance forms? Are there ways in which contemporary movement artists are making those speak to society?00:17:41:18- Does theIndian classical dance community resist these transgressive narratives and interpretations of canonical stories, because of ideas about the purity of form?00:19:33:16- Has there been a history of resistance through dance in India?00:22:28:02- As the internet becomes central to our content consumption, in what ways is dance interacting with the digital medium, and is this resulting in an evolution of the form?

The structural engineer and author Roma Agrawal tells Michael Berkeley about her passions for tall buildings, bridges, concrete and Indian classical dance. Roma Agrawal is a highly successful woman operating in what is still very much a man's world. Her job is, essentially, to make sure that the buildings, bridges, roads and tunnels we use every day don't collapse. She spent six years working out the incredibly complex structure of the spire and foundations of the Shard in London, the tallest building in western Europe. As well as engineering, Roma has another passion: she tells Michael about her lifelong love of the ancient Bharata Natyam form of Indian Classical Dance, and we hear the first piece of music she danced to as a child in Mumbai. She chooses songs by Abida Parveen, Anoushka Shankar and Nitin Sawhney as well as pieces by Tchaikovsky and by Carl Davis which drew her to Western music. Roma tells Michael about her campaign to encourage more women to become engineers, why she decided to speak out about the emotional and physical strain of IVF and how working on the Shard helped her overcome her fear of heights. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3

Kathak is one of the eight major forms of Indian classical dance. The origin of Kathak is traditionally attributed to the traveling bards in the of ancient northern India known as Kathakars or storytellers.The term Kathak is derived from the Vedic Sanskrit word Katha which means "story", and Kathakar which means "the one who tells a story". Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music. Kathak dancers tell various stories through their hand movements and extensive footwork, their body movements and flexibility but most importantly through their facial expressions. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo) and the movement harmonized to the music Sonali Loomba, the Artistic Director of Kaladharaa Dance established this dance company in 2017 in Utah and Washington D.C along with her sibling Nidhika Loomba, which focuses on imparting the nuances of this ancient form to others in the community as a way of passing it down to generations and aims at preserving this ancient dance style, which traces its roots back to 400 BCE. Sonali Loomba completed her post graduate in Human Resource Management from India and worked at a multinational company there for over 6 years before she decided to quite and completely dedicate her self to Kathak as full time performing artist. She started learning Kathak in 2006 under the guidance of Gurus (teachers) Hari and Chethana from Bangalore, India. She believes Indian Classical Dance is like an ocean which is limitless. The deeper you dive in the more beauty you see of the form. It can take up-to several years to call oneself a master of this art form. She visits India often to advance in her studies of Kathak under her Gurus. Sonali has performed at multiple leading festivals in the states as well as international, Such as TEDx Salt Lake City, North American Festival of Colors- (Utah & LasVegas USA), Living Traditions – (Utah, USA), Hampi Utsav – India , Nritya Utsav – Orissa, India, to name a few. Sonali is also the recipient of several state art grants which are a driving force in her mission to spread the knowledge of this art form , beyond. Sonali Loomba is currently serving as a board member of the Salt Lake Arts Council. Kaladharaa Dance has trained several dance enthusiast and continues to do so. The school host's a bi-monthly open house event which is in invitation to all community members to come and experience this art form in a classroom environment. The school's social media pages on facebook and instagram are constantly updated with upcoming events, we would encourage you all to follow our page to stay connected and hopefully learn this art form. ‘ Facebook & Instagram : Kaladharaa Dance https://youtu.be/X5SnjGTG41w https://youtu.be/QDuXEVrBC8c https://youtu.be/e6wgWRD_c8U

What is Taal.? Importance of Taal in Indian Classical Dance and music.

Theater as public entertainment has taken many forms throughout time and among different cultural groups. We'll hop through various times and places to look at the places where performances were held, the types of pieces performed, and the role of theater as an emotional pocket dimension. Interested in sponsoring this show or podcast ads for your business? Zencastr makes it really easy! Click this message for more info. Links History of Theatre (Wikipedia) Tragedy (Wikipedia) Theater in Ancient Greece (Metropolitan Museum of Art) Indian Classical Dance (Wikipedia) Comparative mask study, ancient India and ancient Greece Examples of Animals in Indian Classical Dance: https://in.tiktok.com/@achukuttannn/video/7131910942908091690?is_from_webapp=v1&item_id=7131910942908091690&lang=bn-IN The History of Chinese Shadow Art (Google Art and Culture) Shadow Plays (Wikipedia) The Roots of African Theatre Ritual and Orality in the Pre-Colonial Period Performance Archaeology - Michael Shanks Michael Shanks' website GRID Performance Archaeology page Contact Email the Dirt Podcast: thedirtpodcast@gmail.com ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet Tee Public Store Affiliates Wildnote TeePublic Timeular Motion

Theater as public entertainment has taken many forms throughout time and among different cultural groups. We'll hop through various times and places to look at the places where performances were held, the types of pieces performed, and the role of theater as an emotional pocket dimension. Interested in sponsoring this show or podcast ads for your business? Zencastr makes it really easy! Click this message for more info. Links History of Theatre (Wikipedia) Tragedy (Wikipedia) Theater in Ancient Greece (Metropolitan Museum of Art) Indian Classical Dance (Wikipedia) Comparative mask study, ancient India and ancient Greece Examples of Animals in Indian Classical Dance: https://in.tiktok.com/@achukuttannn/video/7131910942908091690?is_from_webapp=v1&item_id=7131910942908091690&lang=bn-IN The History of Chinese Shadow Art (Google Art and Culture) Shadow Plays (Wikipedia) The Roots of African Theatre Ritual and Orality in the Pre-Colonial Period Performance Archaeology - Michael Shanks Michael Shanks' website GRID Performance Archaeology page Contact Email the Dirt Podcast: thedirtpodcast@gmail.com ArchPodNet APN Website: https://www.archpodnet.com APN on Facebook: https://www.facebook.com/archpodnet APN on Twitter: https://www.twitter.com/archpodnet APN on Instagram: https://www.instagram.com/archpodnet Tee Public Store Affiliates Wildnote TeePublic Timeular Motion

Movement and Emotions in Indian Classical Dance | Anuradha Vikranth | #SangamTalks SrijanTalks

We spoke to iconic Malaysian dancer Datuk Ramli Ibrahim and his protegee Tan Mei Mei, who studied Indian classical dance with him.

सुनिए पल्लवी शर्मा के जीवन की प्रेरक कहानी। पल्लवी पेशे से एक डांसर एंड कोरियोग्राफर है। ये मुद्रा डांस स्टूडियो की डायरेक्टर भी है। इंदौर शहर में जन्मी और पली-बढ़ी पल्लवी ने अपनी प्रारम्भिक शिक्षा इंदौर शहर से ही पूरी की। अपनी मास्टर्स की डिग्री लेने के साथही इन्होंने अपने डांस के पैशन को भी फॉलो किया और कत्थक एवं भरतनाट्यम की ट्रेनिंग ली। इसी के साथ राजस्थानी डांस में भी डिप्लोमा किया। पढ़ाई करने के दौरान ही शादी भी हो गयी। ऐसे में इन्होंने परिवार की सभी ज़िम्मेदारियां निभाने के साथही अपने करियर को भी बखूबी आगे बढ़ाया। इन्होंने अपने डांस के जुनून को पेशेवर रूप से आगे बढ़ाया। इस बीच इनके पति का इंदौर से नागपुर, पुणे सहित अलग अलग शहरों में ट्रांसफर होने के कारण इन्हें भी उनके साथ शिफ्ट होना पड़ा। लेकिन फिर भी इन्होंने अपने जुनून का पीछा किया और अपनी डांस एकेडमी प्रारम्भ की। पुणे में खुद को स्थापित करने के दौरान इन्हें कुछ चुनौतियों का सामना भी करना पड़ा। इन्हें वहाँ बच्चों का इंडियन क्लासिकल डांस से ज़्यादा वेस्टर्न डांस में रुझान देखने को मिला। ऐसे में उन्हें अपनी भारतीय संस्कृति से परिचित करवाने और इंडियन क्लासिकल डांस से जोड़ने के लिए इन्होंने अपने स्तर पर प्रयास करने शुरू किये। धीरे-धीरे बच्चों का रुझान भी क्लासिकल डांस की ओर बढ़ने लगा और जहां पहले एकेडमी में 7-8 स्टूडेंट्स आया करते थे वो आंकड़ा अब बढ़कर 100 के भी पार हो गया और आखिरकार ये अपने प्रयास में सफल रही। आज इन्होंने डांस के अपने जुनून को आगे बढ़ाते हुए एक डांसर के रूप में अपनी पहचान स्थापित की है। पूरी कहानी पढ़ें https://stories.workmob.com/pallavi-sharma-music-dance-academiesवर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #बनाओअपनीपहचान #प्रेरककहानियाँ #पल्लवीशर्मा #डांसर #कोरियोग्राफर #मुद्राडांसस्टूडियो #कत्थक #भरतनाट्यम #डांसएकेडमी #इंडियनक्लासिकलडांस #वेस्टर्नडांस जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर अपनी कहानी साझा करने और प्रेरणादायक कहानियाँ देखने के लिए। ये एक ऐसा मंच है जहां आप पेशेवरों, लघु व्यापारियों, उद्यमियों और सामाजिक कार्यकर्ताओं की वीडियो कहानियां देख सकते हैं और दूसरों को प्रेरित करने के लिए अपनी व्यक्तिगत और व्यावसायिक कहानी सभी के साथ साझा कर सकते हैं। आपकी कहानी में लोगों को आशा देने, प्रेरणा देने और दूसरों का जीवन बदलने में मदद करने की एक अद्भुत क्षमता है। यह 100% मुफ़्त है। इस लिंक पर क्लिक करें और देखें प्रेरक कहानियां https://stories.workmob.com/हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570 

सुनिए एक सक्सेसफुल डांसर के रूप में खुद को स्थापित करने वाली प्रियंका लोटंकर की ज़िन्दगी की कहानी। प्रियंका को इस मुकाम तक पहुँचाने ने इनकी माँ ने एक बहुत बड़ी भूमिका अदा की है। जी हाँ ये अपनी सफलता का श्रेय अपनी माँ को देती है। जिन्होंने हमेशा इनकी कला पर विश्वास जताया और हमेशा इन्हें आगे बढ़ने के लिए प्रोत्साहित किया। उन्हीं के प्रोत्साहन के कारण इन्होंने नृत्य के अपने इस सफर को आगे बढ़ाया और फिर डांस में ही ग्रेजुएशन करने के बाद मुंबई के नालंदा नृत्य कला महाविद्यालय से भरतनाट्यम में मास्टर्स किया। आज प्रियंका ने इस क्षेत्र में एक सफल मुकाम हासिल किया है। जी हाँ ये आज एक प्रोफेशनल डांसर है और पिछले 5 सालों से सुधा चंद्रन डांस एकेडमी से जुड़ी है। साथही ये अपनी डांस एकेडमी 'नृत्यविद्या पिवोट ऑफ़ डांस' की ओनर भी है, जिसकी स्थापना इन्होंने वर्ष 2006 में की थी। इसे ये वर्तमान में सफलतापूर्वक संचालित कर रही है। इसके अलावा ये बतौर डांस टीचर कई डांस इंस्टीटूशन्स और डांस स्कूल में डांस सिखाती है। साथही कई सारे डांस शोज़, डांस फेस्टिवल्स कोरियोग्राफ कर चुकी है। एक डांसर बनने की इनकी ये जो यात्रा है वो आज कई लोगों को प्रेरित कर रही है। पूरी कहानी पढ़ें https://stories.workmob.com/priyanka-lotankar-music-dance-academies वर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #बनाओअपनीपहचान #प्रेरककहानियाँ #डांसर #प्रियंकालोटंकर #नृत्य #प्रोफेशनलडांसर #सुधाचंद्रनडांसएकेडमी #नृत्यविद्यापिवोटऑफ़डांस #डांसएकेडमी #डांसटीचर #डांसफेस्टिवल्स #डांसस्कूल #डांसशोज़ जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर अपनी कहानी साझा करने और प्रेरणादायक कहानियाँ देखने के लिए। ये एक ऐसा मंच है जहां आप पेशेवरों, लघु व्यापारियों, उद्यमियों और सामाजिक कार्यकर्ताओं की वीडियो कहानियां देख सकते हैं और दूसरों को प्रेरित करने के लिए अपनी व्यक्तिगत और व्यावसायिक कहानी सभी के साथ साझा कर सकते हैं। आपकी कहानी में लोगों को आशा देने, प्रेरणा देने और दूसरों का जीवन बदलने में मदद करने की एक अद्भुत क्षमता है। यह 100% मुफ़्त है। इस लिंक पर क्लिक करें और देखें प्रेरक कहानियां https://stories.workmob.com/ हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570  

#vanimadhav #odissidance #indianclassicaldance Watch an exclusive interview with Odissi dancer Vani Mashav. Vani Madhav is an Odissi Dance Exponent, she is the founder-director of Nritya Dhara. She is also a Culture -Head of ASSOCHAM Women's Forum. NRITYA DHARA is a voluntary cultural organization working for the propagation of Indian Art & Culture since 2011 based in Gurugram. A prominent Odissi Exponent conducting Odissi Dance Classes for more than 15 years and is an empaneled artist of Doordarshan, ICCR, and Festival of India- abroad and also a Senior Fellow from Ministry of Culture, Govt.of India. --- Send in a voice message: https://anchor.fm/raag-giri/message

सुनिए कला के दम पर अंतर्राष्ट्रीय स्तर पर ख्याति प्राप्त कर चुकी लेकसिटी की रहने वाली चन्द्रकला चौधरी (@chandrakala choudhary)  के जीवन की प्रेरक कहानी। उदयपुर शहर ने जन्मी और पली-बढ़ी चन्द्रकला आज पेशे से एक डांस टीचर है। साथही ये कत्थक आश्रम की डायरेक्टर है। आज से कई साल पहले इन्होंने मात्र 3 बच्चों के साथ कत्थक आश्रम की स्थापना की थी, और आज इनके यहाँ प्रति माह लगभग 200 बच्चे नृत्य सीखते है और अबतक ये उदयपुर में 10 हज़ार से भी अधिक बच्चों को नृत्य सिखा चुकी है। इनके स्टूडेंट्स ना सिर्फ इंडिया बल्कि अबतक 9 अलग अलग देशों में परफॉर्म कर चुके है। इन्होंने हालही में इंटरनेशनल डांस कॉम्पिटिशन एंड फेस्टिवल आयोजित किया, जिसमें देश ही नहीं बल्कि दुनिया के लन्दन, मलेशिया जैसे कई अलग-अलग देशों से पार्टिसिपेंट्स ने हिस्सा लिया और अपनी नृत्य कला का प्रदर्शन किया है। ये मानती है कि आज की युवा पीढ़ी जो पाश्चत्य संस्कृति की चकाचौंध में ग़ुम होती जा रही है, उन्हें हमारे देश की संस्कृति एवं परम्परा को अपनाना चाहिए और इसे आगे बढ़ाने के प्रयास करने चाहिए। भारतीय शास्त्रीय नृत्य कला को आगे बढ़ाना एवं पूरी दुनिया से परिचित कराना ही इनका उद्देश्य है और इसी उद्देश्य के साथ ये आगे बढ़ रही है। पूरी कहानी पढ़ें: https://stories.workmob.com/chandrakala-choudhary-music-dance-academiesवर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये  हर कोई  छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #बनाओअपनीपहचान #प्रेरककहानियाँ #कला #चन्द्रकलाचौधरी #डांसटीचर #डांस #कत्थक आश्रम #डायरेक्टर #कत्थक #इंटरनेशनलडांसकॉम्पिटिशनएंडफेस्टिवल #नृत्यकला #संस्कृति #भारतीयशास्त्रीयनृत्यकलाजानिए वर्कमोब के बारे में:  जुड़िये वर्कमोब पर अपनी कहानी साझा करने और प्रेरणादायक कहानियाँ देखने के लिए। ये एक ऐसा मंच है जहां आप पेशेवरों, लघु व्यापारियों, उद्यमियों और सामाजिक कार्यकर्ताओं की वीडियो कहानियां देख सकते हैं और दूसरों को प्रेरित करने के लिए अपनी व्यक्तिगत और व्यावसायिक कहानी सभी के साथ साझा कर सकते हैं। आपकी कहानी में लोगों को आशा देने, प्रेरणा देने और दूसरों का जीवन बदलने में मदद करने की एक अद्भुत क्षमता है। यह 100% मुफ़्त है। इस लिंक पर क्लिक करें और देखें प्रेरक कहानियां https://stories.workmob.com/हमारे ऐप्प को डाउनलोड करें:Android: https://play.google.com/store/apps/details?id=com.workmobiOS: https://apps.apple.com/in/app/workmob/id901802570

सुनिए हैदराबाद के रहने वाले एक मल्टी टैलेंटेड शख्स वैभव कुमार मोदी की सफलता की प्रेरक कहानी। वैभव पेशे से एक क्यूरेटर, कथक डांसर एंड म्यूजियम प्रोफेशनल है। इसके अलावा ये LGBTQ कम्युनिटी के लिए भी काम करते हैं। आपको बतादें कोलकाता में जन्मे वैभव की परवरिश उत्तर प्रदेश के एक छोटे से शहर में हुई थी और फिर ये वर्ष 2000 में हैदराबाद शहर में आ गए थे और और तब से लेकर आज तक ये पिछले 20-22 सालों से इसी शहर में निवास कर रहे है। वैभव मानते है कि ज़िन्दगी के हर मोड़ पर संघर्ष और चुनौतियां होती है, ज़ाहिर सी बात है ये भी इससे अछूते नहीं रहे। जी हाँ ज़िन्दगी के हर कदम पर लोगों द्वारा इनका उपहास बनाया गया। लेकिन ये कभी निराश नहीं हुए, और ना ही चंद लोगों के डर से अपनी ज़िन्दगी की रफ़्तार को इन्होंने धीमा होने दिया। हमेशा अपने दिल की सुनी और अपने फैसलों पर यकीन करते हुए आगे बढ़े। कहा भी यहीं गया है कि ज़िन्दगी में जीतता हमेशा वही है जिसे खुद पर विश्वास होता है, जिसके अंदर आगे बढ़ने का जोश, जुनून और जज़्बा होता है। इनकी भी हमेशा से यही सोच रही है और इसी सोच ने इन्हें आज सफलता के इस मुकाम तक पहुंचाया है।वर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #प्रेरककहानियाँ #वैभवकुमारमोदी #क्यूरेटर #कथकडांसर #म्यूजियमप्रोफेशनल #LGBTQ #कम्युनिटी जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर अपनी कहानी साझा करने और प्रेरणादायक कहानियाँ देखने के लिए। ये एक ऐसा मंच है जहां आप पेशेवरों, लघु व्यापारियों, उद्यमियों और सामाजिक कार्यकर्ताओं की वीडियो कहानियां देख सकते हैं और दूसरों को प्रेरित करने के लिए अपनी व्यक्तिगत और व्यावसायिक कहानी सभी के साथ साझा कर सकते हैं। आपकी कहानी में लोगों को आशा देने, प्रेरणा देने और दूसरों का जीवन बदलने में मदद करने की एक अद्भुत क्षमता है। यह 100% मुफ़्त है। इस लिंक पर क्लिक करें और देखें प्रेरक कहानियां https://stories.workmob.com/हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570

Intro Music Credit: Bansure Raga by Doug Maxwell SHOW HIGHLIGHTS (0:01:49) Current Trends in Kathak Research for Academia (0:09:05) How Kathak has picked up movements from other dance forms (0:10:47) The case for the Bengal Gharana (0:23:16) spreading awareness on the Bengal Gharana (0:25:23) How you choose a Taal (0:30:59) Portrayal of Durga (0:40:03) How poeple were affected by the portrayal (0:44:31) How do you teach Abhinaya to your students (0:48:22) The importance of formal education for a career in dance (0:53:46) The 5 types of Student Interactions Amita di has (1:08:27) How to make Kathak more accessible, and build an audience EPISODE LINKS Amita Dutt | Facebook BIO Amita Dutt, Uday Shankar Professor of Dance at Rabindra Bharati University, Kolkata, has been serving the world of Kathak for more than three decades. Groomed in the strictest classical traditions under Pdt. Birju Maharaj, Prof. Bela Arnab, Pdt. Vijay Shankar and other leading maestros of the premier Kathak gharanas, Amita dances with a hypnotic force and subtle sensitivity combining rhythmic virtuosity with delicate expressiveness, commendable, ‘taiyaari' with mastery in ‘abhinayanga'. In her art we find a successful blend of tradition and talent, environmental totality as well as breathtaking dynamism. Her innovative, analytic mind has also constantly encouraged her to experiment with new ideas - thus expanding the boundaries of Kathak. Having her roots in Calcutta, Amita has performed far and wide across three continents. Among her innumerable dance recitals in prestigious dance and music festivals, mention may be made of the Khajuraho Dance Festival, the Konark Festival, Utsav Mahakaleshwar, Rajgir Mahotsav, the Biswa Banga Millennium Festival, the First South Asian Festival of SAARC Countries, the India Festival in USSR, the American Dance Festival, Uday Shankar Festival, Sarat Chandrika Festival, North American Bengali Conference, Nritya Nitya Utsav, the Young Choreographers Festival, Nir Mahal Tourism Festival, Bishnupur Tourism Festival, the India Festival at Singapore entitled Incredible India @ 60, China Kunming International Culture and Tourism Festival and many more. During the Autumn Festival of 1990 at Darjeeling, when the President of India, Sri R. Venkataraman, came as the Chief Guest, the Governor of West Bengal Prof. Nurul Hassan invited Amita to present her traditional dance and choreographic composition Durga. She also performed for the official government function for the Golden Jubilee of Indian Independence at Patna (1997). During the visit of the Prime Minister of Japan Shinzo Abe to Kolkata, Amita performed in the lead with her University troupe in her own choreographic creations on Tagore's songs. She has also popularized her dance by performing at academic conferences and institutions. The Governor of Bengal Sri Narayanan invited her to present her dance before the King of Bhutan HM Jigme Khesar Namgyel Wangchuk at the Raj Bhavan Kolkata on October 5, 2010. In addition to giving solo recitals, Amita has been experimenting with new choreographic patterns blending pure Kathak movements with popular songs and innovative themes and has staged a number of very successful choreographic productions including Durga, Chitra Jhankar, Nazrul nana Chande, Biswa Beena Robey, Bhanusingher Padavali, Geetanjali, East West Encounter, Nrityanajali, Joyodhwani, Amrapali, E ki Madhura Chanda, Swadesh, Mother, Celebrating Light, Dash Avatar, Celebrating Light, Varsha and Basant-Bahar. She has given three recitals for the National Programme of Dance on Doordarshan. Her performances have also been telecast over various channels innumerable times both in India and abroad including USA, Germany, Hungary and the former USSR. Her interviews over the radio and the television in various parts of the world have spread the message of Kathak far and wide. Besides being an excellent dancer Amita is also a brilliant student of English Literature and a Gold Medalist of the Calcutta University. Her academic background has helped her to popularize her dance form through her prolific publications in major books and journals such as Bhakti in Indian Classical Dances (Bharatiya Bhasha Parishad), Desh Binodon 1987 (Special Issue on Dance), The Statesman Festival Number 1990, Special Independence Golden Jubilee Issue of Desh and Dance Specials of Nandan. Papers on major aspects of dance written by her have been published in various departmental Journals of Rabindra Bharati University and Gauhati University and in Rabindra Bharati University Convocation Volumes 2005 and 2006. Amita's Kathak Mahotsav (monograph) was published by Kathak Kendra, New Delhi and she is a regular contributor to the dance sections of The Statesman, Aajkaal and Bartamaan and has written for The Hindustan Times, Sananda, Pratidin, Business Economics, Dainik Statesman, West Bengal and Paribartan. She is a regular columnist for Maashik Basumati with a special page – Prantik - assigned to her for each issue. She has written papers for innumerable journals of major Universities. Her conference paper - The Resurgence of Indian Classical Dance in the Twentieth Century: Colonial Inheritance or Indigenous Self Fashioning? - presented at an international seminar of the Department of English, Calcutta University, has been published in the volume ‘Colonial and Post Colonial Perspectives: Context, Text, Intertext'. Edited by Krishna Sen & Tapati Gupta. (Published by Das Gupta and Co. Pvt. Ltd., Kolkata. 2007.) Her article Bhakti in Indian Dance features in the volume ‘Religion and Art' edited by J.K.Sadani and published by Bharatiya Sahitya Samsad, Jaipur, Ahmedabad and Kolkata. 2007. Her contributions in cultural encyclopedias include ‘Some Indian Dance Forms: Kathaka, Bharata Natyam, Kuchipudi' in Aesthetic Theories and Forms in Indian Tradition Vol. VI Part I (Ed.) Kapila Vatsayan & D.P.Chattopadhyaya - A Project of Indian Science, Philosophy and Culture, Centre for Studies in Civilization, New Delhi, 2009 and three sections: ‘Kathak Dance: Origin and Variations of Gharana', ‘Technique of Kathak Dance' and ‘Hasta Mudras in Indian Dance' in Vol. VI Performing Arts in Indian Culture: Encyclopaedic Survey in Eight Volumes edited by Jaikishandas Sadani, Bharatiya Vidya Mandir, Jaipur & Kolkata, 2008. Amita's moving deliberations in seminars and conferences all over the world in academic conferences and other forums have helped to spread the message of her dance. The Tagore Festival at the University of Illinois at Urbana Champaign, USA featured Amita as the Key-note Speaker (Tagore on Education) as well as the star performer (2004). The Peking University, Beijing, China invited her to perform on Tagore in their conference on “Understanding Tagore” (2010). A dedicated teacher, Amita's students include National and State Scholarship Awardees, University Gold Medalists and successful performers. Amita has been the research advisor of many research scholars including Fulbright scholars. As Artistic Director of Ananda Chandrika, an organization (with a Government Partnership) for research and productions on dance, Amita has choreographed and presented many innovative dance programs and documented many dance productions. Amita has served as Judge and Member of the Jury in important national events such as National Kala Utsav organized by the NCERT, Ministry of Human Resource Development, in National competitions organized by the Ministry of Culture and Pdt. Birju Maharaj ji's Kalashram and in state level competitions organized by the Ministries of Information & Culture and Sports & Youth Affairs, WB. In an attempt to popularize and make available authentic training of Kathak all over the world, Amita has embarked on a program of teaching through the television and the web. She has been the Resource person for 36 episodes on Kathak covering the entire Bachelor of Performing Arts Foundation Course in Kathak as prescribed by the University Grants Commission and produced by the Educational Multi Media Research Centre, Kolkata, for the University Grants Commission - Consortium for Education Communication scheme. This project is still continuing with more episodes under preparation for the Bachelor of Performing Arts 2nd Year, 3rd Year and 4th Year Courses. These courses are available as CDs from the UGC-CEC office at Delhi and are telecast often on the Indian television Doordarshan National and UGC network and on the EMRC website. These programs have received citations in the 19TH UGC-CEC All India Educational Video Competition held at New Delhi in Oct-Nov 2007 in the categories Best Programme in E-content and Best Presenter / Anchor Person. Amita was awarded Lifetime Achievement Award by Prasar Bharti (Doordarshan) in November 2015. She has been the Head of the Department of Dance (2001-2003 & 2014) and the Dean of the Faculty Council of Undergraduate and Post Graduate Studies in Fine Arts (2006-2010) at Rabindra Bharati University, Kolkata. Her associations with other major Universities as Resource Person, Expert, Visiting Fellow and Examiner include Visvabharati (Santiniketan), Indira Kala Sangit Vishwa Vidyalaya (Khairagarh), M.S.University (Baroda), Punjabi University (Patiala), Calcutta University, Banaras Hindua University, North Bengal University, Bhatkhande Music Institute Deemed University, Jadavpur University, Kalyani University, Tripura University, Bharatidasan University (Tiruchirapalli) and University of Burdwan. She has also given Lecture Demonstrations at various Universities in USA including the Universities of Arizona, Duke, Yale, Purdue, Ohio, Miami, Delaware, Fayetteville State, Illinois at Urbana Champaign, Tulsa and Central Florida. Amita has been teaching Online through the Massive Open Online Course titled Foundation Course in Kathak (June to December 2020, July to December 2021) and Junior Course in Kathak (January to June 2021) hosted on MHRD's SWAYAM portal with EMMRC, St. Xavier's College as the Regional Nodal Agency. These courses are supported by the Consortium for Education Communication (CEC) and the University Grants Commission (UGC). Amita was awarded the Shiksha Ratna Award for 2017 by the Government of West Bengal, Department of Education for her contribution to Higher Education and the Parul Shiksha Samman 2017 by the University of Calcutta. She was also awarded the Anupama Award 2017 for her contribution to Women's Empowerment by Turnstone Global. She was invited by the Government of the United States to the prestigious American Dance Festival where she performed, taught in Master Classes and attended an Arts Management Course. Subsequently she has also contributed to her field as an organizer and manager. She was the Convener, Culture of the Bishwa Banga Millennium Festival and the Artistic Director of the Kathak Mahotsav 2000. She has also been the Coordinator for UGC Refresher Courses on Performing &Visual Arts at her University. Amongst the innumerable awards and honours conferred on her, mention may be made of the titles of Singar Mani, Nritya Urvashi, Nritya Sagar, Nritya Jyoti and Nritya Bharati. She has been honoured at the North American Bengali Conference and the Mayor of Cincinnati, USA gave her the Keys to the City thereby making her an Honorary Citizen and also called that day, May 15, 1994, Amita Dutt Day. In November 2004 she received the Governor's Commendation in recognition of her contribution to Art from Brad Henry, Governor of the State of Oklahoma, USA. On May 26, 2014, she was conferred the Uday Shankar Award – Lifetime Achievement Award for Dance - by the Government of West Bengal. Always eager to serve society and the downtrodden, Amita has given innumerable performances for social service causes – both to create awareness and collect funds. She is an active member of the Rotary Club of Calcutta, having served in the capacities of Editor, Director and Chairperson. She is a multiple Paul Harris Fellow and is the wife of the Past District Governor of Rotary International, Dr. Amitava Mookerjee. She is the Founder Director of the Performing Arts Therapy Centre at Rabindra Bharati University where research is conducted and training is given to serve the ailing and the impaired through dance, drama and music. She has been the Chairman of the Special Cell for Women's Issues at Rabindra Bharati University for five years and has taught on issues of Women's Empowerment at various Universities and Institutes. She is the External Expert for Committees on “The Sexual Harassment of Women at Workplace (Prevention, Prohibition & Redressal) Act, 2013” for several divisions of Indian Oil Corporation Limited and La Opala RG Ltd. Scholar, choreographer, danseuse and professor, Amita's main aim is to popularize her dance and she has never turned down an opportunity to spread the message of her art at home or abroad. She has given innumerable performances for academic institutions and conferences and social service causes. Amita's present passion is to establish the Bengal Gharana of Kathak. Over the last 150 years Kathak has become a part of the cultural heritage of Bengal. Innumerable performers, teachers and students of Kathak are spread all over the state. Amita wants to crystallize Bengal's contribution to Kathak - which also features her Kathak creations - and lay the foundations of the Bengal Gharana of Kathak.

On Women's Day special episode, Bhawana Somaaya is joined by renowned Dancer, Choreographer, academic and Mohiniattam exponent - Dr. Kanak Rele. She is the founder-director of India's premier institution for Classical Dance - the Nalanda Dance Research Centre and the founder-principal of the Nalanda Nritya Kala Mahavidyalaya. Listen to her exciting journey that shaped the foundations for Indian Classical Dance in Modern India.   You can follow us and leave us feedback on Facebook, Instagram, and Twitter @eplogmedia, For partnerships/queries 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.media See omnystudio.com/listener for privacy information.

Shika Chauhan in Conversation with Moly Mukhertee Gupta.Completed 2 years course in Indian Classical Dance – Katthak from Bhatkhande, Lucknow. And also a Graduate in BSC.She has done Adverts for Tata, Sketch with TVF. Have been a part of Movies like MUKKABAZ, BOLE CHUDDIYAN and worked in a Web Series – LITTLE THINGS (Season 3 and 4) and part of few YouTube short films.Working as a Casting Assistant at “The Perfect Way Casting Company”, Mumbai.Had been part of Mirzapur 2 with Casting Bay and some Adverts as a freelancer or Casting Assistant (Mahindra, Vivo, Mumbai Indians, Google, OLX, Cred, Instagram and many more).

Episode Notes An experienced Human Resources professional and a dedicated Art Enthusiast, I am the Director, Gurukul Studios. I spearhead all the Projects at Gurukul. I bring to the table, strong corporate and business experience of aviation industry with companies like Cathay Pacific and Emirates. At Gurukul, I have established distinct methodologies and fair business practices with a vision to be a culturally rooted yet progressive dance organisation! It is currently one of the leading Indian classical dance academy in the Middle East with branches in India and Switzerland. I have made path-breaking forays into the Dubai Academia and taken Gurukul Art Outreach Programs to several academic and art forums. Gurukul Dubai, works closely with GEMS Modern Academy and other leading schools in the region. As a conscious decision of our Corporate Social Responsibility policy, we worked with specially abled students on SNF, Dubai and Al Noor. Gurukul Dubai was established by Pali Chandra and me, in 2007. We provide quality and classical dance education to more than 350 students in Dubai, and have started operations in Zurich and Bangalore (India). We are true practitioners of Indian Classical Dance syllabus of ISTD, UK , and strongly believe, that internationally it is one of the the most compatible syllabi. We have been holding ISTD exams annually since 2012 and have enabled and supported approximately 74 in 2012, 91 in 2013, 128 in 2014, 127 in 2015,165 in 2016 and 205 in 2017. Whilst the numbers speak of the popularity and acceptance of the syllabus through us, we at Gurukul have ensured quality education and hence the results. We adhere to the syllabus guidelines for all levels from CEP to Grade 6, with a focus on ISTD safe dance practices. Many workshops by visiting faculty have been organised by Gurukul to help maintain standards. Some of my successful projects include the 3 days Kathak Festival, Sufi Noor in 2009 and 2012, Five Elements, (2010) Navarasa (2013), Naach – 100 Years of Bollywood (2014), Taalmala (2016), Navinayika (2015), Lasya (2018), Parampara - an annual event of Gurukul wherein we take our students from all our centres to India - to learn from the maestros, to name just a few. My past assignments include those with the Emirates Group as Human Resource Specialist, Commercial Division, Dubai and Cathay Pacific Airways, Vancouver/Canada and Hong Kong.A people's person at heart, a mentor and an executive decision maker, I worked hard to make Gurukul a well recognised centre for ISTD education and a place for dance lovers to connect with. I must confess that this could not have been done without the artistic guidance of Pali Chandra and my pro-active and committed facilitators and admin teams.! India and specially, the City of Bangalore, holds immense potential for dance education based on ISTD syllabus. With the very first studio that opened last month (December 2017) in one of the most centrally located communities on Wood Street, off Brigade Road, I can clearly visualise reach of our programs with ISTD at its heart ! As a child I had learnt kathak dance for 7 years under the able guidance of Guru Vikram Singhe and am currently being trained under Pali Chandra for Vocational Course of ISTD. Show Highlights (0:02:04) The need for systematic dance Education (0:03:16) Career Options in Dance (0:07:12) Being good vs being the best (0:08:39) What made you want to return to dance? (0:10:17) Roles and Responsibilities in Gurukul (0:15:09) Interviewing Teachers for Gurukul (0:22:25) Onboarding process at Gurukul (0:25:03) What do students need? (0:27:15) When can you start using dance to express yourself? (0:29:28) What do your students love about you? (0:33:36) Building an audience in Dubai (0:36:02) Persevering during the hard times (0:38:21) Sponsorships (0:40:03) Building relationships with sponsors (0:45:09) Managing sponsorship expectations (0:49:29) What do artists want? (0:52:05) Leaving good feedback to artists (0:56:58) Gurukul India (1:01:09) Competition in Bangalore (1:03:45) Culuture of dance in Bangalore (1:04:12) Future of Gurukul Title Track Audio Credit: Doug Maxwell | Bansure Raga

सुनिए  रचना अग्रवाल की प्रेरक कहानी।पिंक सिटी के नाम से मशहूर जयपुर शहर की रहने वाली रचना अग्रवाल पेशे से एक डांस टीचर है और पिछले पंद्रह सालों से ये नृत्य सीखने के इच्छुक लोगों को प्रशिक्षण दे रही है। वर्तमान में ये अपनी खुद की डांस एकेडमी संचालित कर रही है जहां ये तीन साल से अधिक उम्र के बच्चों और महिलाओं को सेमी-क्लासिकल एंड फोक डांस सीखा रही है। हालांकि इन्होंने कभी भी डांस की कोई प्रोफेशनल ट्रेनिंग नहीं ली है। बल्कि ये हमेशा से ही इनका पैशन रहा जिसे शादी के बाद इन्होंने पेशे में परिवर्तित कर दिया। अपने पैशन को आज ये खुलकर जी रही है। और ये मानती है कि डांस एक ऐसा आर्ट फॉर्म है जो हमें हर पल सुकून का एहसास कराता है, मन को एक ख़ुशी देता है इसीलिए इन्होने हर किसी को नृत्य करते रहने और अपने पैशन को फॉलो करने का सन्देश अपनी इस कहानी के माध्यम से देने का प्रयास किया है। पूरी कहानी पढ़ें: https://stories.workmob.com/rachana-agarwal-music-dance-academies वर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #प्रेरककहानियाँ #रचनाअग्रवाल #जयपुर #पिंकसिटी #डांसटीचर #डांसएकेडमी #सेमीक्लासिकल #फोकडांस #आर्ट #डांसफॉर्म जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर - ये है भारत का अपना एक प्रोफेशनल सोशल नेटवर्क। जोश और जुनून से भरी प्रेरणादायक कहानियां देखिये। मजेदार प्रतियोगिताएं खेलिए, उनका हिस्सा बने, लाइव जुड़िये, और भी बहुत कुछ पाए वर्कमोब पर । यह सौ प्रतिशत बिलकुल मुफ्त है। जाइये इस लिंक पर - https://stories.workmob.com और देखें ढेर सारी प्रेरक कहानियाँ। हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570  

सुनिए विशाखा वर्मा एक अद्भुत नर्तिका की प्रेरक कहानी। विशाखा दुबई में विशाखा डांस एकेडमी नामक इंस्टिट्यूट की डायरेक्टर एंड ओनर है। ये एक डांस स्कूल है जहां विशाखा लोगों के विश्वास और मुस्कान को मजबूत करने के लिए उन्हें अपनी प्रतिभा दिखाने और उसे और ज़्यादा निखारने के लिए एक मंच प्रदान करती है और क्लासिकल के साथ-साथ हर तरह की नृत्य शैली को दुनियां से परिचित करा रही है। आपको बतादें दिल्ली में जन्मी विशाखा वर्मा का बचपन दिल्ली में ही बिता। इनके पिता एनएसजी थे। वही माँ एक गवर्नमेंट स्कूल टीचर है।विशाखा ने अपनी स्कूली शिक्षा दिल्ली से की और फिर आगे की पढ़ाई के लिए ये औरंगाबाद गयी।जहां से इन्होंने अपनी सिविल इंजीनियरिंग कम्पलीट की। कत्थक कब इनकी ज़िन्दगी में आया इसका एहसास इन्हें भी नहीं हुआ।स्कूल के दिनों से ही कत्थक नृत्य में इनकी एक विशेष रूचि रही थी और देखते ही देखते कुछ ही सालों में कत्थक से इनका जुड़ाव कुछ ऐसा हो गया कि मानों कत्थक इनकी आत्मा में जा बसा। जिसे ये खुद से दूर ना कर पायी। और ये सिलसिला आज भी जारी है।जी हाँ आज ये एक डांस थेरेपिस्ट है और दुबई में इनकी अपनी डांस एकेडमी है जहाँ ये बच्चे, युवा के साथ ही दिव्यांग बच्चों को भी कत्थक नृत्य सिखाती है और उन्हें कत्थक नृत्य से जुड़ी बारीकियों के बारे में बताती है। ऐसा करके इनके मन को एक सुकून मिलता है। और अब ये इसे ही अपने जीवन का एक मकसद, अपनी ज़िन्दगी का हिस्सा बना चुकी है। पूरी कहानी पढ़ें: https://stories.workmob.com/vishakha-verma-music-dance-academies वर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #प्रेरककहानियाँ #विशाखावर्मा #नर्तिका #दुबई #विशाखाडांसएकेडमी #डायरेक्टर #ओनर #क्लासिकल #नृत्यशैली #नृत्य #सिविलइंजीनियरिंग #कत्थक #दिव्यांग जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर - ये है भारत का अपना एक प्रोफेशनल सोशल नेटवर्क। जोश और जुनून से भरी प्रेरणादायक कहानियां देखिये। मजेदार प्रतियोगिताएं खेलिए, उनका हिस्सा बने, लाइव जुड़िये, और भी बहुत कुछ पाए वर्कमोब पर । यह सौ प्रतिशत बिलकुल मुफ्त है। जाइये इस लिंक पर - https://stories.workmob.com और देखें ढेर सारी प्रेरक कहानियाँ। हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570  

सुनिए रागिनी महाराज की प्रेरक कहानी। दिल्ली में कालका-बिंदादीन घराने के प्रतिष्ठित परिवार में जन्मी रागिनी महाराज पद्म श्री पंडित बिरजू महाराज जी की पोती है और एक कत्थक डांसर है। ये अपने भारतीय शास्त्रीय नृत्य कत्थक को पूरी दुनियां से परिचित करा रही है। रागिनी ने बचपन से ही नृत्य ने अपनी दिलचस्पी दिखानी शुरू कर दी। तीन साल की उम्र से इन्होंने परफॉर्म करना शुरू कर दिया। जी हाँ आपको बतादें रागिनी महाराज ने अपने दादा एवं गुरु पद्म विभूषण पंडित बिरजू महाराज जी एवं घर के अन्य सदस्यों से कथक की बारीकियां सीखी हैं। नृत्य के प्रति अपने जूनून को आगे बढ़ाते हुए आज इन्होने इसी क्षेत्र में अपना करियर बनाया और एक प्रोफेशन डांसर बनी। इन्होंने ना सिर्फ राष्ट्रिय बल्कि अंतर्राष्ट्रीय स्तर पर भी कई सारे पर्फॉर्मन्सेस दिए है वहीं अपनी प्रतिभा के दम पर कई खिताब भी अपने नाम किये है। पूरी कहानी पढ़ें: https://stories.workmob.com/ragini-maharaj-arts-entertainmentवर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #प्रेरककहानियाँ #रागिनीमहाराज #कालकाबिंदादीनघराने #पद्मश्रीपंडितबिरजूमहाराज #भारतीयशास्त्रीयनृत्य #कत्थक #पद्मविभूषणपंडितबिरजूमहाराज जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर - ये है भारत का अपना एक प्रोफेशनल सोशल नेटवर्क। जोश और जुनून से भरी प्रेरणादायक कहानियां देखिये। मजेदार प्रतियोगिताएं खेलिए, उनका हिस्सा बने, लाइव जुड़िये, और भी बहुत कुछ पाए वर्कमोब पर । यह सौ प्रतिशत बिलकुल मुफ्त है। जाइये इस लिंक पर - https://stories.workmob.com और देखें ढेर सारी प्रेरक कहानियाँ। हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570  

A common thread runs through much of Australian theatre's boldest and most influential new work: director Paige Rattray. From humble beginnings in Tasmania, she now helps our most exciting new playwrights to realise their vision. Also, Stage Show regular Leith McPherson introduces her new role as Voice and Text Coach at the Sydney Theatre Company and dancer Raghav Handa and musician Maharshi Raval skirt the boundaries of Indian classical dance in Two at the OzAsia Festival.

Anjali Mavi (of Unity 101) talks to GULAL SHARMAA Post Graduate in Indian Classical Dance – Bharatanatyam from Prayag Sangeet Samiti, Allahabad. And also a Graduate in Fine Arts, as an Applied Artist.She is also a trained actor and have been working in this industry from past 3 years now. She has done Ads for Emami Spices, Keventers. Have been a part of TV Serials like Kum kum Bhagya, Kaha hum kaha tum, Wagle ki duniya and more.Runs an Art and Dance Academy in Dehradun, Uttarakhand by the name “Rising Star”.Awarded Pearls of Nation Award 2018 for outstanding performance and exceptional commitment as a Dance Artist.

A common thread runs through much of Australian theatre's boldest and most influential new work: director Paige Rattray. From humble beginnings in Tasmania, she now helps our most exciting new playwrights to realise their vision. Also, Stage Show regular Leith McPherson introduces her new role as Voice and Text Coach at the Sydney Theatre Company and dancer Raghav Handa and musician Maharshi Raval skirt the boundaries of Indian classical dance in Two at the OzAsia Festival.

A common thread runs through much of Australian theatre's boldest and most influential new work: director Paige Rattray. From humble beginnings in Tasmania, she now helps our most exciting new playwrights to realise their vision.Also, Stage Show regular Leith McPherson introduces her new role as Voice and Text Coach at the Sydney Theatre Company and dancer Raghav Handa and musician Maharshi Raval skirt the boundaries of Indian classical dance in Two at the OzAsia Festival.

भारतीय फिल्मों के प्रसिद्ध निर्माता एवं निर्देशक ऋषिकेश मुखर्जी से जुड़ी कुछ यादगार कहानियाँ।

Episode Notes Sampada was initiated into Kathak at 6 yrs of age and is an alumni of Kala Academy, Goa. Having successfully completed the Parangat diploma in Kathak at Kala Academy, Sampada moved to Pune and came under the tutelage of renowned Kathak legend Late Pandita Dr. Rohini Bhate at Nrityabharati Kathak Dance Academy, Pune. Sampada has many solo and group performances to her credits such as performances in the dance festivals at Somnathpur and Halebid-Belur in Karnataka, Nakshatra Utsav, Goa, Nimhan dance festival- Madhya Pradesh, Articulate Festival Mysore, Sutra Festival, Sai Nrityotasav Bangalore, Shilparamam - Hyderabad, Goa Doordarshan, DD Chandana, Natya Tantra on Shankara TV to name a few. Sampada has co-choreographed a short film- Radha Bhakti Sudha in 2007 which received the Jury's Special Mention Award at the New York Short Film Festival in 2008. She has been a panelist for the topic Guru-Shishya parampara on World Dance Day 2017 curated by eminent dance historian and scholar Prof. Ashish Mohan Khokar. Recently she has been on the jury's panel for Kathak in Sammaan 2020 a worldwide talent hunt contest in Indian Classical Dance hosted by the Shankar Mahadevan Academy. Sampada settled in Bangalore in 2012 and established ‘RIDDHAM – Kathak School' in Yelahanka New Town. She brings forth a beautiful synthesis in the Lucknow-Jaipur gharana of Kathak as established by her Guru ji, late Dr. Rohini Bhate. Show Highlights (0:02:42) Getting Students in Bangaore (0:05:48) What does Bangalore Like about Kathak (0:09:51) Change in audience over time (0:12:58) Doing a themed performance (0:14:09) Difference between a Vandana and a Stuti (0:15:13) What helped to get through the initial struggle period (0:18:09) Riddham School of KAthak (0:23:32) Abhinaya Darpan (0:27:31) Guru Shishya Parampara (0:32:39) Akhil Bhartiya Gandharva Mahavidyalaya Kathak Syllabus (0:36:39) How to approach exams (0:43:17) How to guage if a composition is performance ready (0:47:17) Continuous improvement over compositions (0:50:19) The importance of learning about previous generations and great Gurus (0:52:27) Being called a guru (0:54:47) Relationship with senior students (0:59:07) Preparing students for competition (1:04:42) What's different in performing for a competition (1:07:15) Connection and relationships with Guru (1:11:53) Legacy Title Track Audio Credit: Doug Maxwell | Bansure Raga

सुनिए लौरा गैलुची (लाली) की प्रेरक कहानी। आपको बतादें मूल रूप से अर्जेंटीना की रहने वाली लौरा वैसे तो एक डांसर है लेकिन इन्हें भारतीय शास्त्रीय नृत्य से प्यार हो गया है। जी हां इन्हें भरतनाट्यम डांस फॉर्म बेहद ज़्यादा पसंद है। वैसे तो अर्जेंटीना में भी कुचिपुड़ी, ओडिसी और भरतनाट्यम जैसे इंडियन क्लासिकल डांस फॉर्म्स के कई टीचर हैं। लेकिन, ये भारत देश की खुशबू को महसूस करना चाहती थी। यहाँ की सभ्यता, संस्कृति और परम्पराओं के बारे में जानना चाहती थी इसीलिए ये 2009 में सीधा अपने हस्बैंड के साथ भारत चली आयी। आपको बतादें भारतीय संस्कृति के रंग में रंगी लौरा 2018 से वाराणसी में अपने पति के साथ रह रही है। इनके पति भी यहाँ तबला सीख रहे हैं। ये भारतीय संस्कृति को पूरी दुनिया में फैलाना चाहती हैं। पूरी कहानी पढ़ें: https://stories.workmob.com/laura-laali-arts-entertainment वर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #प्रेरककहानियाँ #लौरागैलुची #अर्जेंटीना #स्पेनिशडांसर #भारतीय #शास्त्रीयनृत्य #भरतनाट्यम #डांसफॉर्म #कुचिपुड़ी #ओडिसी #इंडियनक्लासिकल #क्लासिकलडांसफॉर्म्स #भारतीयसंस्कृति #वाराणसी #तबला जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर - ये है भारत का अपना एक प्रोफेशनल सोशल नेटवर्क। जोश और जुनून से भरी प्रेरणादायक कहानियां देखिये। मजेदार प्रतियोगिताएं खेलिए, उनका हिस्सा बने, लाइव जुड़िये, और भी बहुत कुछ पाए वर्कमोब पर । यह सौ प्रतिशत बिलकुल मुफ्त है। जाइये इस लिंक पर - https://stories.workmob.com और देखें ढेर सारी प्रेरक कहानियाँ। हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570

নাচের মাধ্যমে স্বদেশের সংস্কৃতিকে প্রবাসে তুলে ধরছেন নৃত্যশিল্পী অর্পিতা সোম চৌধুরী। এসবিএস বাংলার সাথে এক আলাপচারিতায় তিনি নিজের জীবনের কথা, নৃত্যচর্চার কথা, নাচ নিয়ে তার স্বপ্নের কথা বলেছেন।

Khanzada Asfandyar Khattak خانزادہ اسفندیار خٹک is Classical Kathak dancer کلاسيکی کتھک رقاص, teacher, choreographer and researcher محقق. He is from 11th generation of Khushal Khan Khattak خوشحال خان خٹک, national poet of Afghanistan افغانستان قومی شاعر. He belongs to the family of Nawab of Teri ٹِیري نواب (princely state of Khattaks in Kohat خٹک نوابی ریاست ۔ کوهاٹ )۔ Asfandyar's ancestors have always promoted art in Teri Durbar ٹیری دربار۔ He has been working with international NGOs since 15 years. Asfandyar learnt Indian Classical Dance ھندی کلاسیکی رقص from Mrs. Indu Mitha Jee مادامِ اِندُو مِٹھا جي - Kathak کتھک and Bharat Natiyam بھارَت ناٹِیَم. He has brought innovation in Classical Kathak by fusing it with his tribal Khattak Dance and creating Khattak Kathak خٹک کتھک. He has represented his country in Afghanistan افغانستان and Malaysia ملائیشیا. He teaches dance at international online platforms and also in the country. Asfandyar is CEO of Teri Nawab Durbar ٹیری نواب دربار and works for promotion of art and bringing a social change through dance. He works to bring peace and economic prosperity and promote diversity and human rights through culture, heritage, history, art, music, dance and tourism.

Learn an Indian classical dance lesson from Kathak Guru Prerana Shrimali. She is answering all frequently asked questions in Kathak, Indian Classical Dance. Prerana Shrimali is a senior dancer of Jaipur Gharana of Kathak. Born in 1959 at Banswara in Rajasthan, Shrimati Prerana Shrimali was initiated in Kathak dance by Shri Gauri Shanker. Later, she was groomed in the art at Kathak Kendra, New Delhi, under Shri Kundan Lal Gangani of the Jaipur gharana. She also learnt to play the Pakhawaj and studied vocal music. Shrimati Prerana Shrimali is among the leading Kathak dancers of her generation. A versatile dancer, she has evolved an individual style in her presentation and gained wide popularity as a soloist. She has also choreographed several productions including Doosro Na Koi – Verses of Meera, Aavartan, Vistaar, Vivriti and Aaratis. She has participated in several international dance seminars and conferences and has presented Kathak in the Festival of India in the U.K., the Asian Performing Arts Festival in Japan, the Avignon Festival in France, and the Dance Festival in Switzerland. In the U.S., she has performed at Carnegie Hall, New York, and presented a series of performances in Jordan, Syria and Muscat. She has also imparted training to young dancers at well-known institutions such as Gandharva Mahavidyalaya and the Shriram Bharatiya Kala Kendra. She has served as Repertory Chief of the Kathak Kendra, Delhi. Shrimati Prerna Shrimali has been bestowed the Rajasthan Sangeet Natak Akademi Award and the Rashtriya Ekta Award of the Rajiv Gandhi Foundation. Her dance has been featured in the film The Far Pavilions produced by BBC. She has herself directed a film, Pathrai Ankhon ke Sapne, for Doordarshan. Shrimati Prerana Shrimali was awarded Sangeet Natak Akademi Award for the year 2009 for her contribution to Kathak dance. --- Send in a voice message: https://anchor.fm/raag-giri/message

एसबीएस हिंदी की प्रस्तुति : बॉलीवुड टाइम

Episode Notes Sonali Loomba completed her post graduate in Human Resource Management from India and worked at a corporate sector in Bangalore for over 6 years before she decided to quite and completely dedicate her self to kathak as full time performing artist. During her college years she started learning Kathak which was in 2006 under the guidance of Gurus (teachers) Hari and Chethana from Bangalore, India. She believes Indian Classical Dance is like an ocean which is limitless. The deeper you dive in the more beauty you see of the form. It can take up-to several years to even call oneself a master of this art form. She also visits India often to advance in her studies of Kathak under Gurus.. She moved to Utah,USA in 2017 from India and the first performance she gave was at the Krishna Temple in Salt lake city at one of their events and was really appreciated for bringing Kathak to Utah. She has also benefited largely from this form in terms of developing strong mental and physical health because of the complexities and the various body movements this dance form has to offer. Thus she started offering kathak classes to the community because an art form like this needs to be preserved and promoted, She went on to establish her dance school in Utah, Kaladharaa Dance School which focuses on imparting the nuances of this ancient form to others in the community as a way of passing it down to generations to come. As a performer, She has given numerous dance presentations as a soloist in India and USA. She has performed in leading dance festivals like Hampi Utsav (Hampi, India), Brahmotsav (Tirupathi, India), North American Festival of Colors ( Utah, USA and Vegas, USA) ,Living traditions ( Utah, USA) , World Folk fest ( Utah, USA), Utah Arts festival ( Utah, USA) to name a few. She has recently presented kathak at the 2019 TEDx Salt Lake City. Publications: https://www.thehindu.com/entertainment/dance/kathak-dancer-sonali-loomba-is- now-propagating-the-classical-form-in-the-us/article28328289.ece https://www.udayavani.com/supplements/women/kathak-kalravaram-in-foreign-land https://www.thestatesman.com/entertainment/music/sonali-loomba-going-beyond- cultural-barriers-with-kathak- 1502747430.html?fbclid=IwAR2u_YFQ8YTfZ5FmPWww38KmBoFEGTsjPqxvDcoiiYIevN5 ngtUTPwx4fmM https://catalystmagazine.net/aarambh-an-enchanting-night-with-indian-classical- dance/?fbclid=IwAR0_EfP_qtDUrw_s7wDpsPxVku-WCUBoSYy0kJgqx9x- 7Y6VAmnIJOinG8I http://lovedancemore.org/reviews/2019/8/24/sugar-space-presents-sample- tracks?fbclid=IwAR0HuOxFWzofFx0_iSvpRS0A7WY3iJM86-lnDtdJ-roZ2encCvIlc1cq4-k Show Highlights (0:03:12) How Teaching makes one a better performer (0:10:48) Preparation for each class (0:13:42) Making of a performer (0:24:07) The importance of a guru (0:36:12) How to decide if their guru is right for them? (0:40:31) Dealing with students quitting (0:48:56) Learning Hindustani Classical Music (0:53:58) The need to learn Taalvidya (1:00:45) TedX at Salt Lake City (1:04:10) Most memorable performances Title Track Audio Credit: Doug Maxwell | Bansure Raga

एसबीएस हिंदी की प्रस्तुति : बॉलीवुड टाइम

Svetlana Tulasi was born to a mixed Indian/Russian family in Moscow, Russia. She currently resides in Los Angeles, CA. Star of upcoming US full length feature film "The Xenophobes" as Captain Shriya Ballah. Education: Svetlana is professionally trained in Indian Classical Kathak Dance by her Guru Yekaterina Seliviorstova, a Russian graduate of the National Institute of Kathak Dance - Kathak Kendra (Delhi, India), where she received her training from Urmila Nagar (Jaipur Gharana of Kathak). Svetlana has completed her training in Kathak as a member and lead dancer of "Chakkar" School of Indian Classical Dance in Moscow. Russia. Svetlana holds a Bachelor of Arts degree (6-year Sangit Prabhakar) in Kathak Dance from Prayag Sangeet Samiti University of Indian Classical Music & Dance (Allahabad, India). Svetlana has received trained in acting from the "New Collective LA" studio, a Hollywood-based branch of the "Susan Batson Studio" (New York City, USA) known for coaching many celebrities for their major films, such as Nicole Kidman, Tom Cruise, Juliette Binoche, Oprah Winfrey and Lady Gaga among others. Career highlights: Svetlana's first major breakthrough was upon her appearance with an Indian Classical Dance to a Bollywood song at the Ukraine's Got Talent TV show in 2013, that has caught attention of wide audiences and eventually went viral on the internet with over 10 million views till date. Some of the other TV shows where Svetlana presented Kathak dance since then include: Russia's Got Talent, So You Think You Can Dance (Ukraine), Dance Plus (India) and many others. Svetlana is constantly touring the world with various TV show appearances, acts as a headliner for major Indian Dance festivals worldwide, conducts live dance shows and dance workshops. She also works as a dance teacher, choreographer, model and a creative lead for music and dance videos both in Kathak and Bollywood dance styles. Svetlana starred as a lead in several music videos including Zee Music Company's "Hanju - Tears of Happiness" by Vanit Bakshi and "Trilokam" by world fusion music band Indialucia. Svetlana recently appeared on the cover of the Indian Talent Magazine (October 2018), where she covers her journey as a performing artist. In 2018 Svetlana starred in a short documentary film "Why I Dance" covering her story of the real reasons why she chose to become an Indian Classical dancer. Svetlana has collaborated with various well known performing artists & dance companies in the Kathak & Bollywood dance industry, with whom she has co-lead, choreographed and performed: Kumar Sharma, Nakul Dev Mahajan, IndianRaga One of the recent highlights has been performing at the Opening ceremony of ISSF World Cup 2019 in Delhi, India together with Kumar Sharma and Kathak Rockers. Show Highlights (0:01:37) Move to LA (0:03:49) Teaching Style (0:07:18) Pros of Cons of having a Strict Teacher (0:09:00) Style vs Technique (0:12:57) The value of Explaining in Detail (0:14:58) Making corrections online (0:16:28) Balancing Friendliness and Leading Students (0:18:12) Meeting Fans in Kathak Classes (0:19:28) Encouraging Students to Practice (0:21:43) The Psychology behind practicing 5 mins a day (0:23:25) Excercises that help you get better at Kathak (0:25:18) Riyaaz Rituals (0:27:43) Training and Background (0:34:49) Kathak in Russia (0:40:03) Kathak Fusion (0:45:48) Moving from Fusion to Pure Kathak (0:48:06) Dealing with Criticism from the community (0:51:57) Process of Choreography (0:56:26) The importance of staying grounded (0:59:06) Memorable Performances: Russia's Got Talent (1:00:36) Working with Kumar Sharma (1:06:05) Impact and Legacy

#kathak #indianclassicaldance #gauridiwakar Watch kathak dancer Gauri Diwakar's exclusive interview only on Raaggiri. Gauri Diwakar is a talented new-generation Kathak dancer.

On the 6th episode of season 3, ‘Vistāra', we speak to Acharya Indira Kadambi, who is a brilliant performer, a sensitive and innovative choreographer. Kadambi has carved a niche for herself as one of the excellent exponents of Bharathanatyam with nearly three decades of performing experience. Blending the form and content in an aesthetic manner, her works are traditional yet contemporary keeping in focus the contemporary awareness. She is the Director of Performing Arts at Ambalam, Center for Performing Arts. She is also the co-founder of e-Ambalam – the world’s first online college of Indian Classical Dance and Music with Yoga. On this episode you will listen to her speak about: Early days Story of e-Ambalam How to find a good teacher Message to art pactitioners

This episode follows two interviews with practitioners of Indian classical cance who have followed very different paths to an appreciation of the techniques, meanings, and experiences of the art form. Kinga Malec is a professional dancer, choreographer, and teacher specializing in Kathak. She grew up with a strong love of dance, partaking in Polish folk dance and dabbling in ballet, as well as training professionally in figure skating. But her discovery of Kathak compelled a series of journeys, from India to the world stage. Anuradha Nehru is the artistic director of Kalanidhi, a Kuchipudi dance company based in DC known for its elite standards and professional large-scope productions that it has taken across many stages, from the Library of Congress to the Lincoln Center. Episode by Laliltha Vallabhaneni Interviews with Kinda Malex and Anuradha Nehru

Retracing our history on #84 we're joined by Shaili! We talk: 0:00 -

Actor and playwright Meyne Wyatt, recently named one of Time magazine's 100 emerging leaders, reflects on his life in the arts, success with the paintbrush at the Archibalds and his recent turn as a voice actor, narrating The Boy from the Mish for Audible.Also, Opera Queensland present the Australian opera Lorelei, conceived and performed by Ali McGregor, and we learn about Sooraj Subramaniam's journey from Indian classical dance lessons at the age of six to a career as a globetrotting dancer.

Actor and playwright Meyne Wyatt, recently named one of Time magazine's 100 emerging leaders, reflects on his life in the arts, success with the paintbrush at the Archibalds and his recent turn as a voice actor, narrating The Boy from the Mish for Audible. Also, Opera Queensland present the Australian opera Lorelei, conceived and performed by Ali McGregor, and we learn about Sooraj Subramaniam's journey from Indian classical dance lessons at the age of six to a career as a globetrotting dancer.

Actor and playwright Meyne Wyatt, recently named one of Time magazine's 100 emerging leaders, reflects on his life in the arts, success with the paintbrush at the Archibalds and his recent turn as a voice actor, narrating The Boy from the Mish for Audible. Also, Opera Queensland present the Australian opera Lorelei, conceived and performed by Ali McGregor, and we learn about Sooraj Subramaniam's journey from Indian classical dance lessons at the age of six to a career as a globetrotting dancer.

Actor and playwright Meyne Wyatt, recently named one of Time magazine's 100 emerging leaders, reflects on his life in the arts, success with the paintbrush at the Archibalds and his recent turn as a voice actor, narrating The Boy from the Mish for Audible. Also, Opera Queensland present the Australian opera Lorelei, conceived and performed by Ali McGregor, and we learn about Sooraj Subramaniam's journey from Indian classical dance lessons at the age of six to a career as a globetrotting dancer.

Episode Notes Notes from Pramit My conversation with Dr Sarah Morelli is a fascinating look into how she became a Kathaka, Academic, and a student of Hindustani Music. Her book, "A Guru's Journey" detailing the life of Pt Chitresh Das is my favorite book on Kathak and I feel honored to be able to present this episode to all of you! PS: Please note that the name of the book in the introduction is "A Guru's journey" and not "Tales of A modern Guru" Bio Sarah Morelli was blessed to train with two of the greatest artists of recent generations: renowned kathak master Pandit Chitresh Das and maestro Ali Akbar Khan, from whom she studied vocal music and the sarod, as well as their disciples Dr. George Ruckert, Gretchen Hayden, Steve Oda, and Pt. Rajeev Taranath. Her book, A Guru's Journey: Pandit Chitresh Das and Indian Classical Dance in Diaspora (University of Illinois Press, 2019), is an ethnographic examination of Pandit Das's artistic contributions and the development of kathak's “California gharana.” Active as a kathak performer, scholar, and educator, Sarah is an Associate Professor at the University of Denver Lamont School of Music and a founding member of the Leela Dance Collective. Her kathak performances have included full solos and leading roles in productions in U.S. and India at venues such as Mumbai's Royal Opera House, LA's Ford Amphitheatre, and Philadelphia's Kimmel Center. Sarah is founder and artistic director of Sureela, a kathak academy in Denver, CO that has recently joined sister schools in Los Angeles, San Francisco, and New York in creating the national institution the Leela Institute of Kathak. Show Highlights: 0:02:26 How did Sarah Morelli Get into Kathak 0:14:52 Keeping up with Everything 0:18:14 Teaching Kathak to different ethnicities 0:21:49 Why did people stick to learning with Pt Chitresh Das ji 0:23:55 Personal Connection with Pt ji 0:25:17 Meaning of Intense Workshop 0:51:42 Dynamics of Leela Collective 1:02:25 Memorable Experiences in performing 1:10:20 What is Sarah ji's Style of Kathak 1:13:50 Work in Denver 1:17:34 Differences between now and then 1:25:17 Portrayal of Pt Chitresh Das ji 1:25:33 Make this book controversial

As our world addresses gender equality under various conditions some of which include unequal pay, education as well as economic and political rights, today’s guest focuses on women empowerment through dance, specifically Indian Classical Dance. Today we will touch on why preserving the culture, values, traditions and heritage of Indian Classical Dance is important and how an education in dance is valuable for girls and women. GUEST: Guru Dr. Rehks Desai, is the Founder of Kalakruti Dance Academy. She has worked tirelessly for over 3 decades to empower girls and women through the culture and tradition of Indian Classical dance. Desai holds a Masters in Commerce, a Master of Arts and was honored with a PhD from Chennai University in 2017. She is currently writing her biography, as well as a book on the Indian Classical Dance Kalakruti Margam. She also holds a diploma, post-diploma and teacher training certification in the Bharatanatyam ba-rata-nat-ti-em training method. Currently Desai is working as a pranic psychotherapist and life coach, while facilitating workshops on girl, child and women empowerment. Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada Inc. (“DEC”) and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. DEC makes no representations about the accuracy or suitability of this content. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns.

Abhinaya Darpan and Natya Shastra are two major treatise in the field of INDIAN CLASSICAL DANCE. Let's know more about it.

Abhinaya Darpan and Natya Shastra are two major treatise in the field of INDIAN CLASSICAL DANCE. Let's know more about it.

El origen del zapato de tacón no respondió a la vanidad, la superficialidad, ni para exaltar las cualidades femeninas… todo lo contrario. Casi tan antiguo como la humanidad, el zapato alto y de plataforma tuvo un nacimiento que respondió a fines bien prácticos y masculinos. Y haciendo kabkab nos fuimos chiflando y huaracheando sacándole brillo al piso con la música de: https://www.youtube.com/watch?v=JWhA3ldZcyY Shiva Shambho: Most Watched Bharatanatyam Dance | Best of Indian Classical Dance, 3:55 min. https://www.youtube.com/watch?v=wpJRByHdj5Q Carlos Núñez - O Castro Da Moura Etnodance, 13:40 min. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/nora-reyes-costilla/message

SPIC MACAY कॉन्सर्ट के APAC चैप्टर के लिए भारत के चार महान कलाकारों द्वारा एक ऑनलाइन 'ग्लोबल हेरिटेज सीरीज' कॉन्सर्ट आयोजित किया गया है। इस चैप्टर में ऑस्ट्रेलिया, जापान, सिंगापुर और कोरिया के अलावा न्यू जीलैंड भी जुड़ा है।

Links to Socials Instagram: https://www.instagram.com/thatdancerboi/ Twitter is @thatdanceboii (yes 2 i's) LinkedIn: https://www.linkedin.com/in/adityasharma17/ Email: adityasharma.dance@gmail.com YouTube link: https://www.youtube.com/channel/UCcx2iEFl3ej-WKdarPlAKYQ Bio Aditya Sharma began his dancing career at the age of 4. He is a versatile dancer, trained in Kathak, Bharatanatyam, Contemporary and Ballet disciplines and Bollywood, Hip Hop and Jazz with years of experience under the professional guidance of various dance faculties of the art. He is an active performer and has performed in various locations in India and Internationally. Initially trained under the guidance of late Smt. Arpita Rao, Aditya presently focuses on kathak and has trained in the Lucknow and Jaipur Gharana vocabulary. He now trains as a student of Samarpan Association for Culture and Education (SpACE) under Smt. Anjana Gupta's tutelage. He has launched his own performance unit in Bangalore India called Yatra Dance Productions which currently specialises in the Indian Classical Dance form of Bharatanatyam with is premier showcase 25th January 2019, Yatra – The Journey of a Dancer. The show explored the avenues of classical dancer's mind with a view to answer the everlasting question of why dancers have become what they are today in an intimate performance experience. Aditya has also been a part of Shiamak Davar's Institute of Performing Arts in Bangalore, India since 2012 and performed both nationally and Internationally with the troupe for various shows and corporate events at locations including Bangalore, Mumbai, Bangkok to name a few. Show Notes 0:04:55 Dealing with Bullying 0:06:30 Advice for Male Dancers 0:08:03 Snide Remarks 0:09:35 Training and Lineage 0:10:40 Transition between Gharanas 0:12:10 SpACE Academy, Bangalore 0:13:08 Anjana Tai's teaching style 0:14:30 The value of Riyaaz 0:16:07 Riyaaz Rituals 0:19:46 Teaching 0:20:45 Transition to Teaching 0:21:50 Workshops 0:41:27 Learning about costumes 0:43:34 Makeup 0:45:45 Eyeliner Tips 0:47:31 Marketing in Kathak 0:48:48 Social media in Kathak 0:49:42 which platform to choose 0:52:43 Spiritual Readiness 0:54:30 Conclusion

How do we learn about our feelings and emotions? How do we learn about the expressions that convey our emotions? How do we express our emotions through our body language and where do we go to explore our own expressions? A good starting place, that some might not immediately consider, is the dance class. The reasons people study dance can vary from a unique fitness experience, to a social outing, while others love to express themselves through movement. Expressing oneself is empowering, and using our expressions and body language to do so, can become even more empowering. Dr Vrushali is using the art of Indian Classical Dance to help others gain a deeper understanding of their emotions, expressions, body language and feelings. Today we have the honour of speaking with Dr. Vrushali, who will give us some insight into her research, work and practice. GUEST: Dr Vrushali started training in Kathak at age 6 under the guidance of Guru Dr Manjiri Deo and Guru Mookoondrajdeo and has spent the last 23 years promoting Kathak dance. She recently completed PhD in Kathak. She acquired her BA and MA degrees from Gandharva University and an MA in Kathak. She is the recipient of numerous notable awards including the rotary excellence award and hosts many workshops for her community in her spare time. Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada Inc. (“DEC”) and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. DEC makes no representations about the accuracy or suitability of this content. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns.

Bharatanatyam dancer, Nrithya Pillai has been asking some tough questions of the Bharatanatyam tradition. She has the right to do so, she claims as she is linked to the artform by lineage. Nrithya belongs to the Isai Vellalar, a hereditary musical community from Tamil Nadu, India. Nrithya talks to Kulasegaram Sanchayan about her gripes and her quest to find justice. - பரதநாட்டிய நடனக் கலைஞர், நிருத்யா பிள்ளை, பரதநாட்டிய பாரம்பரியம் குறித்து சில கடினமான கேள்விகளைக் கேட்டு வருகிறார். அந்தக் கலையை உலகுக்குக் கொடுத்த இசை வெள்ளாளர் பரம்பரையில் வந்ததால் அவ்வாறு செய்ய தனக்கு உரிமை உண்டு என்கிறார் அவர். தனது கோபங்களின் காரணம் குறித்தும் அவரது சமூகத்திற்கான நீதி தேடுதலில் தனது ஈடுபாடு குறித்தும் குலசேகரம் சஞ்சயனுடன் மனம் திறந்து பேசுகிறார்.

Bharatanatyam dancer, Nrithya Pillai has been asking some tough questions of the Bharatanatyam tradition. She has the right to do so, she claims as she is linked to the artform by lineage. Nrithya belongs to the Isai Vellalar, a hereditary musical community from Tamil Nadu, India. Nrithya talks to Kulasegaram Sanchayan about her gripes and her quest to find justice. - பரதநாட்டிய நடனக் கலைஞர், நிருத்யா பிள்ளை, பரதநாட்டிய பாரம்பரியம் குறித்து சில கடினமான கேள்விகளைக் கேட்டு வருகிறார். அந்தக் கலையை உலகுக்குக் கொடுத்த இசை வெள்ளாளர் பரம்பரையில் வந்ததால் அவ்வாறு செய்ய தனக்கு உரிமை உண்டு என்கிறார் அவர். தனது கோபங்களின் காரணம் குறித்தும் அவரது சமூகத்திற்கான நீதி தேடுதலில் தனது ஈடுபாடு குறித்தும் குலசேகரம் சஞ்சயனுடன் மனம் திறந்து பேசுகிறார்.

The practice of Guru Shishya Parampara is still followed by Indian Classical Dance and Music.

Kathak is among 9 forms of Indian Classical Dance. Kathak is native of North India

Sandhya is a respected and beautiful dancer who has quite the story. Her perspective on dance, art and performance raises interesting and inspiring thoughts, showing the deeper meaning behind it all. In this interview, We talk about classical Indian...

This is the second episode of a two-part series on Neuroscience and Hindustani Music. It explores a research program on understanding the emotions that Hindustani music can evoke in people. This research is guided by Dr. Nandini Singh Chatterjee, a scientist at the National Brain Research Centre at Manesar, India, where she heads the Language, Literacy and Music Laboratory. This episode specifically focusses on the second study that was published in 2019, based on the responses of Indian participants to a set of Hindustani music samples. The music used in this podcast is a part of the samples used in the research study, played by sarod artist Pandit. Mukesh Sharma. Hymavathy Balasubramanian kindly provided access to the music files. Here is the website where you can listen to the music samples and contribute your responses to the ongoing research program. Dr. Nandini Singh Chatterjee is on our database of Indian women neuroscientists, NeuroFem India. Apart from her, the other people who were interviewed for this episode are: Dr. Suhas Vijayakumar, who created the website where the listener survey for the research on Hindustani music is conducted. He is currently a postdoctoral researcher at Harvard University. 2. Pandit. Mukesh Sharma is the sarod artist who created the music used in this study. He belongs to the Senia gharana. 3. Vishal Midya, the lead author on the 2019 study, is currently pursuing a doctorate at the Penn State College of Medicine. 4. Dr. Thomas Bak is a cognitive neuroscientist at the University of Edinburgh Dr. Nandini’s group based their calculation of tonality on the method shown in this earlier research on Carnatic music by another group of researchers. Here is the previous research from scientists at the University of Wisconsin-Madison and University of Pennsylvania on emotion expressions in Indian Classical Dance. The NIH Director’s blogpost about NIH funded research on universality of human song Update on Feb 12th, 2020: After rebalancing for better overall audio quality between voices and background music, the audio file has been re-uploaded.

Natyaloka School of Indian Classical Dance - Swaroopa Unni

Ms. Pennsylvania America 2019 is Dr. Mahima Singh. She is a Dental Surgeon(DDS, BDS),  former Dental Director at Volunteers in Medicine in Wilkes Barre, Pennsylvania. She is also owner and CEO of a brand new all natural skincare line- Pink Monkey USA, Junior Diploma holder in Kathak form of Indian Classical Dance & Junior Diploma in Hindustani Classical Vocal. When she's not volunteering, she's running around with her four children and two Irish Wolfhounds. Her platform is Oral Cancer and oral health awareness.“I fought being labeled ‘beautiful' all my life considering it a shallow presumption or summing up of my personality until I started ‘losing' the physical beauty because of age, pregnancies and my own lack of attention to my physicality. I sent in my application for the Ms Pennsylvania pageant just because of the challenge of doing something new and to stay afloat with a distraction during my mom's sickness. I was happy to be crowned when I had lost so much hair and am 2 dress sizes bigger than my baseline, thereby proving my eternal belief that beauty is always what beauty does, winning the crown for my qualifications, communication abilities and inner qualities set me on a path of finally not fighting the ‘beauty' label but owning it. It validated me at age 44, as a strong, independent career woman, wife, mother, leader. Most importantly, I was good enough just as I am, with all of my life's battle scars.”COMMUNITY INVOLVEMENT: Spokesperson and volunteer dentist at the Mission Of Mercy in PA event where we provided free dental treatment to about 2000 people in 2days, doing about a million dollars worth of dentistry, Supported local soup kitchens as the main organizer & chairperson holding a cultural event that raised $4000, Many hours of dentistry every week as a volunteer dentist and as former Dental Director at Volunteers in Medicine, Ran free oral screening event in the community, Creating awareness about Oral cancer and oral health through online platform Mundaii (published article)SPECIAL AWARDS  /  RECOGNITION / ACHIEVEMENTS: Outstanding Volunteer Dentist award 2016, published article on Oral Cancer Risks for Generation Z on Mundaii,  Distinction in 1st year and graduated at the top of the class in Bachelor of Dental Surgery, Miss Fresher, 1st yr Bachelor of Arts- Philosophy Honors, Miranda House, Won many awards in school for extemporaneous speeches.

In Worldmaking: Race, Performance, and the Work of Creativity (Duke University Press 2018), Dorinne Kondo brings together critical race studies, affect theory, psychoanalysis and her critically keen awareness of the politics and potential of theatre production and reception to ask how theatre ‘makes, unmakes and remakes’ race. Building on over 20 years of experience as an ethnographer, dramaturg and playwriter, Kondo exposes the racial structures that are mutually constitutive of the theatre specifically, and the arts more generally. So doing, she attends to the economic forces and representational practices that have not only enabled the affective violence through which the theatre so often operates; she also draws attention to how these forces and practices can produce the grounds for theatre’s restorative and transformative potential. Dorinne Kondo is Professor of American Studies and Ethnicity and Anthropology at the University of Southern California. Her research focuses on cultural theory, performance, aesthetics and politics, cross-racial identification/ multiracial collaboration, modes of embodiment, ethnography and genre, the integration of "creative" and "critical" writing. She is also the author of About Face: Performing Race in Fashion and Theater, and Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In Worldmaking: Race, Performance, and the Work of Creativity (Duke University Press 2018), Dorinne Kondo brings together critical race studies, affect theory, psychoanalysis and her critically keen awareness of the politics and potential of theatre production and reception to ask how theatre ‘makes, unmakes and remakes’ race. Building on over 20 years of experience as an ethnographer, dramaturg and playwriter, Kondo exposes the racial structures that are mutually constitutive of the theatre specifically, and the arts more generally. So doing, she attends to the economic forces and representational practices that have not only enabled the affective violence through which the theatre so often operates; she also draws attention to how these forces and practices can produce the grounds for theatre’s restorative and transformative potential. Dorinne Kondo is Professor of American Studies and Ethnicity and Anthropology at the University of Southern California. Her research focuses on cultural theory, performance, aesthetics and politics, cross-racial identification/ multiracial collaboration, modes of embodiment, ethnography and genre, the integration of "creative" and "critical" writing. She is also the author of About Face: Performing Race in Fashion and Theater, and Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In Worldmaking: Race, Performance, and the Work of Creativity (Duke University Press 2018), Dorinne Kondo brings together critical race studies, affect theory, psychoanalysis and her critically keen awareness of the politics and potential of theatre production and reception to ask how theatre ‘makes, unmakes and remakes’ race. Building on over 20 years of experience as an ethnographer, dramaturg and playwriter, Kondo exposes the racial structures that are mutually constitutive of the theatre specifically, and the arts more generally. So doing, she attends to the economic forces and representational practices that have not only enabled the affective violence through which the theatre so often operates; she also draws attention to how these forces and practices can produce the grounds for theatre’s restorative and transformative potential. Dorinne Kondo is Professor of American Studies and Ethnicity and Anthropology at the University of Southern California. Her research focuses on cultural theory, performance, aesthetics and politics, cross-racial identification/ multiracial collaboration, modes of embodiment, ethnography and genre, the integration of "creative" and "critical" writing. She is also the author of About Face: Performing Race in Fashion and Theater, and Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In Worldmaking: Race, Performance, and the Work of Creativity (Duke University Press 2018), Dorinne Kondo brings together critical race studies, affect theory, psychoanalysis and her critically keen awareness of the politics and potential of theatre production and reception to ask how theatre ‘makes, unmakes and remakes' race. Building on over 20 years of experience as an ethnographer, dramaturg and playwriter, Kondo exposes the racial structures that are mutually constitutive of the theatre specifically, and the arts more generally. So doing, she attends to the economic forces and representational practices that have not only enabled the affective violence through which the theatre so often operates; she also draws attention to how these forces and practices can produce the grounds for theatre's restorative and transformative potential. Dorinne Kondo is Professor of American Studies and Ethnicity and Anthropology at the University of Southern California. Her research focuses on cultural theory, performance, aesthetics and politics, cross-racial identification/ multiracial collaboration, modes of embodiment, ethnography and genre, the integration of "creative" and "critical" writing. She is also the author of About Face: Performing Race in Fashion and Theater, and Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire's Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Worldmaking: Race, Performance, and the Work of Creativity (Duke University Press 2018), Dorinne Kondo brings together critical race studies, affect theory, psychoanalysis and her critically keen awareness of the politics and potential of theatre production and reception to ask how theatre ‘makes, unmakes and remakes’ race. Building on over 20 years of experience as an ethnographer, dramaturg and playwriter, Kondo exposes the racial structures that are mutually constitutive of the theatre specifically, and the arts more generally. So doing, she attends to the economic forces and representational practices that have not only enabled the affective violence through which the theatre so often operates; she also draws attention to how these forces and practices can produce the grounds for theatre’s restorative and transformative potential. Dorinne Kondo is Professor of American Studies and Ethnicity and Anthropology at the University of Southern California. Her research focuses on cultural theory, performance, aesthetics and politics, cross-racial identification/ multiracial collaboration, modes of embodiment, ethnography and genre, the integration of "creative" and "critical" writing. She is also the author of About Face: Performing Race in Fashion and Theater, and Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In Worldmaking: Race, Performance, and the Work of Creativity (Duke University Press 2018), Dorinne Kondo brings together critical race studies, affect theory, psychoanalysis and her critically keen awareness of the politics and potential of theatre production and reception to ask how theatre ‘makes, unmakes and remakes’ race. Building on over 20 years of experience as an ethnographer, dramaturg and playwriter, Kondo exposes the racial structures that are mutually constitutive of the theatre specifically, and the arts more generally. So doing, she attends to the economic forces and representational practices that have not only enabled the affective violence through which the theatre so often operates; she also draws attention to how these forces and practices can produce the grounds for theatre’s restorative and transformative potential. Dorinne Kondo is Professor of American Studies and Ethnicity and Anthropology at the University of Southern California. Her research focuses on cultural theory, performance, aesthetics and politics, cross-racial identification/ multiracial collaboration, modes of embodiment, ethnography and genre, the integration of "creative" and "critical" writing. She is also the author of About Face: Performing Race in Fashion and Theater, and Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In Worldmaking: Race, Performance, and the Work of Creativity (Duke University Press 2018), Dorinne Kondo brings together critical race studies, affect theory, psychoanalysis and her critically keen awareness of the politics and potential of theatre production and reception to ask how theatre ‘makes, unmakes and remakes’ race. Building on over 20 years of experience as an ethnographer, dramaturg and playwriter, Kondo exposes the racial structures that are mutually constitutive of the theatre specifically, and the arts more generally. So doing, she attends to the economic forces and representational practices that have not only enabled the affective violence through which the theatre so often operates; she also draws attention to how these forces and practices can produce the grounds for theatre’s restorative and transformative potential. Dorinne Kondo is Professor of American Studies and Ethnicity and Anthropology at the University of Southern California. Her research focuses on cultural theory, performance, aesthetics and politics, cross-racial identification/ multiracial collaboration, modes of embodiment, ethnography and genre, the integration of "creative" and "critical" writing. She is also the author of About Face: Performing Race in Fashion and Theater, and Crafting Selves: Power, Gender, and Discourses of Identity in a Japanese Workplace. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental’ and the ‘ornamental’. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental’ and the ‘ornamental’. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental’ and the ‘ornamental’. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental’ and the ‘ornamental’. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental’ and the ‘ornamental’. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental’ and the ‘ornamental’. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental’ and the ‘ornamental’. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental’ and the ‘ornamental’. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In her original and thought-provoking book Ornamentalism (Oxford University Press, 2019), Anne A. Cheng illustrates the longstanding relationship between the ‘oriental' and the ‘ornamental'. So doing, she moves beyond a simple analysis of objectification to reveal the powerful role Ornamentalism plays in constituting modern ideas of personhood, racialized femininity and the figure of the Asian woman. Drawing on examples from the realms of law, popular culture and art from the 19th and 20th centuries, Cheng deepens our understanding of racial formation by demonstrating how race and gender are conceived not only in relation to the body, but inorganic ornamentation as well. Anne A. Cheng is Professor of English and Director of American Studies at Princeton University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology from Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire's Stage (Routledge 2017).

Neesha has spent the last 12 plus years training and delving deeply into the practices of Kathak Indian Classical Dance, Yoga, Meditation. She has always had a passion for creativity, self-development, and philosophy from a young age and practices which enrich, inspire transformation, self-healing and teach experiential-based self-awareness. If you have got any value from this podcast I would love it if you would pop over to iTunes and leave me a review

Victoria Fortuna's new book Moving Otherwise: Dance, Violence and Memory in Buenos Aires (Oxford University Press, 2018) examines the different ways in which contemporary dance practices have engaged in resistance amidst the political and economic violence experienced in Argentina, from the 1960s to the mid-2010s. Covering performances on the concert stage to staged protests and impromptu movement, Victoria Fortuna brings to light histories of Contemporary Dance that have until now been under-explored. Victoria Fortuna is Assistant Professor in the Dance Department at Reed College. She received her PhD in Performance Studies from Northwestern University, is a trained modern and contemporary dancer, and collaborates with several dance collectives based in Buenos Aires. Prior to joining Reed University, Dr. Fortuna was a Mellow Postdoctoral Fellow in Dance at Oberlin College. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Fortuna's new book Moving Otherwise: Dance, Violence and Memory in Buenos Aires (Oxford University Press, 2018) examines the different ways in which contemporary dance practices have engaged in resistance amidst the political and economic violence experienced in Argentina, from the 1960s to the mid-2010s. Covering performances on the concert stage to staged protests and impromptu movement, Victoria Fortuna brings to light histories of Contemporary Dance that have until now been under-explored. Victoria Fortuna is Assistant Professor in the Dance Department at Reed College. She received her PhD in Performance Studies from Northwestern University, is a trained modern and contemporary dancer, and collaborates with several dance collectives based in Buenos Aires. Prior to joining Reed University, Dr. Fortuna was a Mellow Postdoctoral Fellow in Dance at Oberlin College. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Fortuna's new book Moving Otherwise: Dance, Violence and Memory in Buenos Aires (Oxford University Press, 2018) examines the different ways in which contemporary dance practices have engaged in resistance amidst the political and economic violence experienced in Argentina, from the 1960s to the mid-2010s. Covering performances on the concert stage to staged protests and impromptu movement, Victoria Fortuna brings to light histories of Contemporary Dance that have until now been under-explored. Victoria Fortuna is Assistant Professor in the Dance Department at Reed College. She received her PhD in Performance Studies from Northwestern University, is a trained modern and contemporary dancer, and collaborates with several dance collectives based in Buenos Aires. Prior to joining Reed University, Dr. Fortuna was a Mellow Postdoctoral Fellow in Dance at Oberlin College. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Fortuna's new book Moving Otherwise: Dance, Violence and Memory in Buenos Aires (Oxford University Press, 2018) examines the different ways in which contemporary dance practices have engaged in resistance amidst the political and economic violence experienced in Argentina, from the 1960s to the mid-2010s. Covering performances on the concert stage to staged protests and impromptu movement, Victoria Fortuna brings to light histories of Contemporary Dance that have until now been under-explored. Victoria Fortuna is Assistant Professor in the Dance Department at Reed College. She received her PhD in Performance Studies from Northwestern University, is a trained modern and contemporary dancer, and collaborates with several dance collectives based in Buenos Aires. Prior to joining Reed University, Dr. Fortuna was a Mellow Postdoctoral Fellow in Dance at Oberlin College. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire's Stage (Routledge 2017).

In Making Samba: A New History of Race and Music in Brazil (Duke University Press, 2013), Marc Hertzman revisits the history of Brazil’s quintessential music and dance genre to explore the links between popular music, intellectual property, law, racial democracy and nation formation. Charting more than a century of samba’s development, Hertzman challenges simplistic narratives of the all too often romanticized form, focusing instead on the material conditions under which this cultural powerhouse came to be produced. So doing, he highlights the complex social, cultural and political processes at the heart of making samba, and indeed, making Brazil. Mark Hertzman is Associate Professor of History at the University of Illinois. His first book, Making Samba, was awarded Honorable mention by the Latin American Studies Association for the Bryce Wood Book Prize. He is currently working on his next book project, titled The Death of Zumbi: Suicide, Slavery and Martyrdom in Brazil and the Black Atlantic. Prior to joining the University of Illinois, he was an Andrew W. Mellon Postdoctoral Fellow in Latin American Studies as Wesleyan University, and then Assistant Professor of Latin American Cultural Studies and Director of the Centre for Brazilian Studies at Columbia University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In Making Samba: A New History of Race and Music in Brazil (Duke University Press, 2013), Marc Hertzman revisits the history of Brazil’s quintessential music and dance genre to explore the links between popular music, intellectual property, law, racial democracy and nation formation. Charting more than a century of samba’s development, Hertzman challenges simplistic narratives of the all too often romanticized form, focusing instead on the material conditions under which this cultural powerhouse came to be produced. So doing, he highlights the complex social, cultural and political processes at the heart of making samba, and indeed, making Brazil. Mark Hertzman is Associate Professor of History at the University of Illinois. His first book, Making Samba, was awarded Honorable mention by the Latin American Studies Association for the Bryce Wood Book Prize. He is currently working on his next book project, titled The Death of Zumbi: Suicide, Slavery and Martyrdom in Brazil and the Black Atlantic. Prior to joining the University of Illinois, he was an Andrew W. Mellon Postdoctoral Fellow in Latin American Studies as Wesleyan University, and then Assistant Professor of Latin American Cultural Studies and Director of the Centre for Brazilian Studies at Columbia University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In Making Samba: A New History of Race and Music in Brazil (Duke University Press, 2013), Marc Hertzman revisits the history of Brazil’s quintessential music and dance genre to explore the links between popular music, intellectual property, law, racial democracy and nation formation. Charting more than a century of samba’s development, Hertzman challenges simplistic narratives of the all too often romanticized form, focusing instead on the material conditions under which this cultural powerhouse came to be produced. So doing, he highlights the complex social, cultural and political processes at the heart of making samba, and indeed, making Brazil. Mark Hertzman is Associate Professor of History at the University of Illinois. His first book, Making Samba, was awarded Honorable mention by the Latin American Studies Association for the Bryce Wood Book Prize. He is currently working on his next book project, titled The Death of Zumbi: Suicide, Slavery and Martyrdom in Brazil and the Black Atlantic. Prior to joining the University of Illinois, he was an Andrew W. Mellon Postdoctoral Fellow in Latin American Studies as Wesleyan University, and then Assistant Professor of Latin American Cultural Studies and Director of the Centre for Brazilian Studies at Columbia University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices

In Making Samba: A New History of Race and Music in Brazil (Duke University Press, 2013), Marc Hertzman revisits the history of Brazil’s quintessential music and dance genre to explore the links between popular music, intellectual property, law, racial democracy and nation formation. Charting more than a century of samba’s development, Hertzman challenges simplistic narratives of the all too often romanticized form, focusing instead on the material conditions under which this cultural powerhouse came to be produced. So doing, he highlights the complex social, cultural and political processes at the heart of making samba, and indeed, making Brazil. Mark Hertzman is Associate Professor of History at the University of Illinois. His first book, Making Samba, was awarded Honorable mention by the Latin American Studies Association for the Bryce Wood Book Prize. He is currently working on his next book project, titled The Death of Zumbi: Suicide, Slavery and Martyrdom in Brazil and the Black Atlantic. Prior to joining the University of Illinois, he was an Andrew W. Mellon Postdoctoral Fellow in Latin American Studies as Wesleyan University, and then Assistant Professor of Latin American Cultural Studies and Director of the Centre for Brazilian Studies at Columbia University. Sitara Thobani is Assistant Professor in the Residential College in the Arts and Humanities, Michigan State University. Her research focuses on the performance arts in colonial and postcolonial South Asia and its diasporas, especially as these relate to formations of nation, gender, sexuality and religion. She received her DPhil in Social and Cultural Anthropology form Oxford University, and is the author of Indian Classical Dance and the Making of Postcolonial National Identities: Dancing on Empire’s Stage (Routledge 2017). Learn more about your ad choices. Visit megaphone.fm/adchoices