Dance needs discussing, even debate in today's clime of closed minds and doors. It needs dialogue, discourse and deliberations. Each city I go to (in a month, 3 on an average and this past month traversed Trivandrum, Pune, Delhi), makes me realize how badly dance needs catalysts so it cuts across binaries and boundaries.Classical dancers are stuck in their mould. Modern dancers are unstuck because they don't have a mould! In between lies the thinking dance! That can think but not dance. Add the confusion in fusion and you have Bollywood as the only acceptable pan-Indian dance making a mark globally. No matter what classical or modern dance lobbies say most don't practice what they preach. I find myself uniquely placed between two worlds: old India and new; traditional and modern. Wah! What a palate. So I go like a wandering minstrel city to city doing kala prachar. Dancers do that too but they often are limited by their own form, bani, guru, gharana, labels, definitions.
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When Tina Croll and Jamie Cunningham, (directors of From the Horse’s Mouth, a NY-based but pan-US dance institution) asked me to curate a special edition of their show to be entitled “Indian Dance in America”, I was delighted at this recognition of our US Indian dance community. Since the heart of the show consists of stories told by elder members of a particular dance community, I immediately began to think of those who first established Indian dance in this country – and realised that the story of ‘Indian dance in America’ actually begins in America; the early pioneers were all Americans! As early as 1906, Ruth St Denis had choreographed and performed a dance called ‘Radha’. This was even before she met Ted Shawn and they pioneered American dance itself, established the Denishawn School and company (1915) and, later, toured India with over a hundred performances (1926). I have always thought, thus, that 1906 was the beginning of ‘Indian Dance in America’, only after which came legendary dancers like Ragini Devi (mother of Indrani Rahman, born Esther Luella Sherman) and La Meri (Russell Meriwether Hughes) who invited Ram Gopal to New York to dance in her company (1930) and who, to complete the circle, started the School of Natya with Ruth St Denis in 1940!
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The early Buddhist literature, beginning with the ancient Jatakas, is replete with a surprising number of parables and legends. One such treasure trove is Mahavastu Avadhan which, among others, narrates the didactic tale of the court dancer Shyama and her sudden passion for the handsome stranger Vajrasen – caught on a false charge of theft – for whom she does not hesitate to sacrifice her young lover Uttiyo at the gallows. On the felony being revealed, she is summarily discarded by her ‘new’ lover Vajrasen. The two main protagonists, Shyama and Vajrasen, are surrounded by the king’s minions – headed by a crafty Kotwal -- entirely prompted by the power of lucre and the royal dancer’s companions acting as a ‘voice of conscience,’ a well-known ploy inherited by the Bengali folk theatre Jatra essayed by Vivek, literally meaning ‘conscience’. Shyama, Rabindranath Tagore’s delectable dance drama – presented recently in Kolkata by Jahnavi and Sutradhar – was based on the above story line. The 1938 play (preceded by an 1899 long poem by Tagore on the same theme) was set first in a public avenue, moving to Shyama’s private chambers, to the solitary prison cell, to the luxury yacht carrying the lover duo, to the forests on the river bank, and finally to the point of no return. The plot had amour propreplayed out between the lovers: now infatuated, now querulous and then desperately estranged. The point of view was entirely Shyama’s: besotted with passion and eager to elope, the admission of her felony, and her eventual desertion. The mood was of the urgency of the lovers’ union, only to fall apart. The tone was, for both lovers, psychologically resonated. The primary beauty of Shyama was the heaving rise and fall of its conflicts and their Spencerian tempo, almost like Western music’s overture, leading to the waxing and waning of the passage of ardour between the two principal contenders.
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The 23rd edition of Nupur, the three-day classical dance festival was flagged off at Shree Mahalsa Sausthan, Mardol-Goa, by Sushant Khedekar, Vice Chairman of Kala Academy, Goa, with other dignitaries on the evening of 18th March 2017.
With the backdrop of the temple with deepa stambh and deepamala, the dance found a devotional ambience. At the very outset, I would like to congratulate the organizers for giving opportunity to young Goan dancers under the guidance of Shama Bhate of Pune in a group choreography of Kathak for four dancers under the scheme of workshop organized by the Directorate of Art and Culture. They included Varada Bedekar, Prerna Palekar, Arpita Shirodkar, Tejaswini Loundo. They did Shama Bhate proud with their neat and unhurried graceful Kathak which consisted of traditional numbers like thaat, aamad, paran, parmelu, bol baant ki tihai and footwork. All of them performed with clarity and confidence. Kajari by Dr. Prabha Atre for abhinaya dwelt upon abhisarika nayika. Music by vocalist Vikrant Naik, Amar Mopkar, and Swapnil Mandrekar (tabla), Prasad Gawas (harmonium), Sonik Velingkar (flute) and recitation by Guru Shama Bhate complimented the dance.
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Behind every successful Bharatanatyam dancer, is her mother. This is something I can swear by. Of course, fathers, husbands and in-laws do play a hugely supportive role, but the role of the mother of a dancer is something else entirely! She performs the combined roles of a guru, companion, confidante, aesthetic guide, stage designer, make-up artiste, program consultant, costumer, nutritionist, fitness coach, and much more…In my own case, I have been lucky to have had two such strong and nurturing women, my maternal grandmother and my mother, by my side throughout my dance career. My life as a dancer began at the age of three, when I started my training with Kamala. For the next ten years, it was really my grandmother who steered me through classes, school, homework, performances and travel. Until this day, most old timers from the Chennai Bharatanatyam scenario, remember her with affection. Following that, my mother has been the one nurturing and supporting me, for the last 45 plus years of my career as a Bharatanatyam performer.
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Acclaimed as one of the best male classical dancers of Mumbai, having won several accolades, Nilesh Singha is gaining recognition as a painstaking teacher and choreographer and his institute, Shivoham Institute of Performing Arts has successfully completed eleven glorious years, having produced students who have become professional dancers as well. Nilesh narrates his experience as a performer and teacher that spans more than two decades.How did you get fascinated with dance?Dancing has come naturally to me. When I was a kid I started dancing at the start of music on the radio or television. My parents observed my passion for dance and decided to put me into a dance class. Those days we used to live in Dombivali in Thane district. The class that I was enrolled in was for Kuchipudi and the teacher was the established exponent Guru Vijaya Prasad. After completing the course, I started participating in competitions and become a regular first ranker for more than ten years at the competition organized by Swar Sadhana Samiti at the national level.
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Mother Earth does seem to extend her best foot forward at the advent of spring every year. In land after land, post-winter, spring invites an unmatched floral kaleidoscope from nature. In the harsh northern clime, while Holland sees its expansive gardens swathed in breathtaking colours of flowers, Birmingham in England bursts all over into a colourful extravaganza with many-hued tulips. It is not without some pride (if not actual devotion) that Robert Browning sang: The year's at the spring, And day's at the morn, Morning's at seven, The hillside's dew-pearled, The lark's on the wing, The snail's on the thorn, God's in his heaven, All's right with the world!In the far away land of the Rising Sun, the country waits with bated breath for its first warm winds at the winter's thaw. And when that happens, all the cherry trees everywhere suddenly sprout blossoms: unbelievably all together and entire communities - from schools and colleges, offices and factories - come out in the wide open to observe holiday and witness the wonderful spectacle. It is Ohanami festival, the aesthetic nation's only unchartered holiday on the calendar. If in Myanmar, it is the water sprinkling festivity, in India, it is sharing gulal and crimson-coloured water, and shouting Holi hai in unison.Eons ago, Kalidasa composed his unique ode to nature, Ritu Samharam, creating metaphor after exquisite metaphor for seasons. If it was Ashadasya prathama divase megham ashlishta sanum... for the rains, it was a beautiful damsel striking with her left heel the Ashoka tree to let it bloom; and it was for a bashful bride to pluck at the mango grove, allowing it to spread fragrant offshoots. Kalidasa was emphatic: then and only then it would be spring, not otherwise.A millennium had to elapse before a worthy successor would arrive to pen his tender thoughts on India's all six seasons. In an outpouring of 293 songs on nature as many as 96 were on spring, written by Tagore. Unfailingly in Vasanta Utsav every spring, his dream scion Santiniketan erupts into a flurry of dancers' and singers' processions of colourfully attired youth and the old - meandering through roads and meadows - carrying red abir and singing, Come out, you domestic denizens, it's spring on waters and earth, in the wood's cool corridors...
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One of the highlights of a superbly mounted, third consecutive annual two-day Sindhu Festival in Pune by 'Sankhya' headed by Bharatanatyam artist Vaibhav Arekar, with its thematic accent this year on the Margam, was the dancer's own solo presentation - premiering a centerpiece comprising Poochi Srinivasa Iyengar's Varnam strung in raga Vasantha and tala misra jhampa. “Dani korikenu niraverchutakide tagina samayamu, raa tamarasaksha,” pleads the sakhi with Lord Vishnu conveying to him her friend's message, entreating that he hurry to her to assuage her pangs of love, for the time is ripe for their union. “Dayadoochi dani,” she begs for his compassion to answer her friend's call forthwith. Supported by an excellent team of musicians led by nattuvangam by Kaliswaran Pillai (son of Kadirvel Pillai), melodious vocalist in G. Srikanth, taut mridangam accompaniment by Satish Krishnamurthy and impactful interventions on the violin by Narayana Parthasarathy, Vaibhav treated the audience to the grandeur of Bharatanatyam nritta and interpretative dance at its best. The theme is as old as the varnam though its translation in Vaibhav's myriad danced images was anything but hackneyed.
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With the passing away of this renowned dancer this month, the world of
Bharatanatyam has lost a legendary artist who blazed an unforgettable
trail in her youth.
The name of Pandanallur, a temple town near Kumbakonam is synonymous
with the most renowned Guru Meenakshisundaram Pillai. Equally famous in
her time and remembered as the darling of Pandanallur is the dancer
JAYALAKSHMI who became a legend in the short time that she danced. A
star at a young age when most dancers were in fact young girls, she
gained a reputation unmatched in the history of Bharatanatyam. In her
own words: "It all happened so fast that even I never imagined that I
would be so famous and so popular." It was a dream run for the young
girl, her talent shining with each performance, so much so that long
after she stopped performing she was talked about as one who was "born
to dance" and was blessed to bring fame and name to both her guru and
her homestead....the village of Pandanallur. Today the temple of
Pasupatheeswara stands tall. When she was an eight year old, Jayalakshmi
had her arangetram on an auspicious day in this temple. The house of
Guru Meenakshisundaram Pillai is still there in its modified form. So is
the house of Jayalakshmi, with the walls adorned with portraits of her
and the Rajah of Ramnad, her husband. A bygone era lingers only in
memories. A visit to the temple and its beautiful precincts presided by
Shiva the Lord of the dance makes us believers sensitive to a lost
history.
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Hope you have enjoyed the “Go Green Smoothie” and have incorporated it
as your main breakfast food. I have become so used to it, that I can’t
think of any other breakfast now for the past 8 months. Leaving our
idli, dosa, pongal, upma is a big step, but remember this is a lifestyle
change and not a diet. As you make the Green Smoothie a habit, you will
realize it is an energetic start for the day! If you are comfortable
with your change in your breakfast, you are ready for the changes for
your lunch.
A bowl of cooked vegetables and a bowl of lean meat for non-vegetarians,
or a bowl of cooked vegetables and a bowl of salads for vegetarians is
an ideal lunch. I did it for a week or two, but missed my sambar rice,
curd rice etc, and this is when I found a recipe on cauliflower rice. It
was a treasure, I tried different variations and it suited the lunch
menu perfectly.
We are so used to rice, sambar, rasam, curd, veggies, meat etc for
regular meals… So, I incorporated that in a slightly different way. My
meal will be Cauliflower Vegetable Biriyani or Cauliflower Vegetable
Pulao or Cauliflower Bagala Bhath in place of our rice, this helped me
most in sticking to my lifestyle change. So, you have a rice, vegs and
salad…. It is so filling that you will not be hungry till 6-7pm.
View the recipes for Cauliflower Vegetable Biriyani & Thai Veg Tofu Curry in the site
King Serfoji II devoted his life, interest and wealth for the cultural
uplift in spheres of literature, medicine, music, dance, drama and other
fine arts which paved the way for an upheaval in art, literary and
cultural fields.
Swati Thirunal, Maharaja of Travancore, kept contact with King Serfoji
II ((Maharaja of Thanjavur from 1798 to 1832) even before he came to the
throne and exchanged scholars, musicians and even their personal
compositions. Saint Tyagaraja, Syama Sastrigal, Muthuswami Dikshitar -
the musical trinity - were the contemporaries of Rajah Serfoji II.
Eminent dance masters like Gangaimuthu, Salapathy, Subbarayan, Mahadana
Annachi, Tanjore Quartet and Sundari were patronised by Serfoji.
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In a three day event based on traditional teacher to disciple lines,
with their stylistic identities and signature compositions, this year’s
Kathak Kendra Mahotsav featured solo recitals, duets and group
presentations, in that order each day. With her winsome stage presence,
Nandita Puri, a prime disciple of Roshan Kumari, presented the
uncompromisingly erect-bodied Kathak, with straight hand stretches,
unrelieved by needless filigree-like minimal gestures of
fingers or torso, in the severe style of her guru. Starting somewhat
timidly with the “Shantakaram Bhujagashayanam” chant, the occasional
missed chakkars and footwork in nritta, unable to articulate all the
mnemonic syllables impeccably, revealed a lack of ‘riyaz’. But after
that she warmed up somewhat to compositions like the Chakradhar Paran,
the 9 syllabic Chhand, the idiosyncratic grouping of syllables in
“Makadi ki jaal” (spider’s web) like travelling on a bumpy road, and the
Kaliyamardan Kavit “Jamuna ki tat par.” “Aavat mori galiyan me
Giridhari”, the abhinaya projection even with its simple word/gesture
translation would have had more impact if the loud singer Vaibhav Mankar
had been more in sur. The “moramukut manohar sohe” concluding in
chakkars with two layers of the kurta unfurling like an inverted open
parasol, made a fine visual picture.
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It is indeed sad to come across the news item that the State Government
of Andhra Pradesh on Women’s Day 2017 has nominated a novice as Youth
Ambassador for ‘Classical Kuchipudi art form with fusion’ without any
sort of consensus, in a right manner to a deserving person befitting the
onerous responsibility of being a role model of the classical art form
to the world at large with State grants and orders.
This has understandably irked a large section of the Kuchipudi
fraternity stirring quite a few to take refuge to social media
protesting with emotions running high, painting the pictures of
Kuchipudi seer Siddhendra Yogi, doyens Vempati Chinna Satyam and
Vedantam Satyanarayana Sarma blindfolded. Further some artists,
organisers, art lovers are imploring the social media users to post
their protest by way of status message seeking for the revocation of the
orders and so on. We are more emotional than most countries and the art
world thrives on emotions so to say and the reactions were on expected
lines.
However, this is not a black day for Kuchipudi art form as much as it is
a black day for the present day stake holders of Kuchipudi, who have
failed in taking adequate timely action together when noticing
proceedings going awry. Instead all that was shown was indifference
looking away from the main problem and thus the stakeholders should wear
black or more preferably close their eyes and repent looking deep into
their hearts to answer the seer, the legends if and when we have to meet
them in heaven.
This is not the first time that Kuchipudi classical art form has been
misrepresented and misunderstood for one has seen umpteen number of
articles, references in movies in derogatory way the female
personification role portrayed in Kuchipudi Yakshaganam to the extent of
misquoting and distorting one such specialist Vedantam Satyanarayana
Sarma’s views and linking to performance of stree vesham being one of
the social problems leading to AIDs by a reputed journalist in a
national level daily.
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Ever seeking new challenges and scaling artistic heights, contemporary
dancer Astad Deboo choreographed Rhythm Divine II- River Runs Deep, with
traditional drummers from Imphal, Manipur, in collaboration with Shree
Shree Govindaji Natsankirtan headed by Guru Seityaban Singh. Presented
by Astad Deboo Dance Foundation and Raza Foundation on March 3 at Kamani
Auditorium, Delhi, the show was a runaway success from the word go.
Astad has been working with Manipuri martial artists and drummers for
the past 16 years. Ten years ago, the young, vigorous, steeped in their
own cultural traditions Pung Cholom drummers performing in a comforting
cycle of familiar security, and he started working together. Astad
interacted with them with help of Guru Seityaban Singh, and
planned contemporary work, exploring the tradition of Pung
Cholom with eight drummers drawing inspiration from their movements,
extracting the essential movements minus drums, resorting to
abstraction, choreographing sections which reflected, as Astad explained
in his program notes, more open articulation of old fears through bold,
new creative with music and movement, a brasher engagement with
restlessness and frustration.
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I recollect how in 1964, eyes shining with fiery plans for spreading art
knowhow in Rajasthan, particularly Jaipur, Kaushal Bhargav had in a
private conversation told me about how he had started Shruti Mandal in
Jaipur with the patronage of a prosperous local business magnate - late
Prakash Chand Surana who shared his love for the arts. For Kaushal
Bhargav, a bachelor who spent all his life’s efforts in the cause of
creating and spreading art, any production on the theme of Rajasthan,
the land, the tableaux, getting group dance scenes of dances of
Rajasthan, presenting classical dances before the general population,
exchanging ideas with Jaspal Singh who headed the cultural unit of Ashok
Hotel, was forever engaged in myriad art spreading activities.
He started the Uday Shankar festival in Jaipur and one remembers the
early instances when a variety of dances were featured in different
venues. Going through the fifty year activities documented in their
publication ‘Adi sadi ka sunahara safar’ is like going through a who’s
who of the Indian performing arts world. It is replete with photographs
of archival value - a very youthful Yamini Krishnamurti, Sonal Mansingh,
Uma Sharma, or a young Basavarajaguru or Sharan Rani Mathur, or a
boyish Vijay Kichlu -all in the starting years of their career looking
at you in these pages. There were, I remember, in Jaipur of those days,
the odd few art scholars like Komal Kothari who were engaged in doing
very detailed, sophisticated research while providing patronage and
working with Rajasthan’s (what have now become) world famous musical
families - the Manganiyars and the Langas. Kaushal Bhargav’s
efforts were more for the general public and his contribution to
Rajasthan’s art encouragement is highly valued today. Shruti Mandal, now
celebrating fifty years of work in promoting art, remembers with a deep
sense of gratitude the pioneering zeal and guidance provided to their
organization by the founder, Kaushal Bhargav.
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Are our classical dances, especially in the manifestation of
Bharatanatyam – revived and revitalized around Independence – already
tending to become somewhat gender specific? Do the viewers, especially
in north India and among the vast Indian diaspora, show any special
preference for the female dancer with ‘prettification’ ruling the roost
and gaudier, the better? In a land where dance as a performative art
draws its genesis as well as entire inspiration from Lord Shiva as Nataraja and Lord Krishna as Natabara – both revered as dancers nonpareil -- would a trend such as this not appear to be anachronistic?
There is another germane issue about the male dance teachers who
nourished and nurtured the muse, giving it ‘a local habitation and a
name,’ beginning from the legendary Thanjavur Quartet, who shaped the
early Pandanallur form, followed by a string of illustrious gurus who
honed Bharatanatyam in its various manifestations, including
Meenakshisundaram Pillai who aided Rukmini Devi Arundale in conceiving
the Kalakshetra style. Then there were Bhagavatars and masters from
Andhra and Chennai who moulded Kuchipudi; Kalamandalam products,
International Centre for Kathakali and others who guided the Kathakali
dance-theatre to achieve its present pattern; stalwarts from the
‘Jayantika’ conclave who conceived the modern day Odissi; the Bindadin
family and a host of others in Lucknow, Jaipur, Banaras and Raipur
gharanas who showed Kathak the way forward from being mere storytellers;
Manipuri Sankirtan and Raas Lila leaders who lovingly brought Manipuri to the open; and, by the turn of the twentieth century, the Sattra adhipatis
who brought the male Sattriya dance to the fore. While, no doubt, the
female dancers joined wholeheartedly in this exciting fray, it appeared
for a long while that the male of the species was the dominant
dancer-scholar-choreographer-conductor in the performance arena. Is this
scene now in for an almost irrevocable change?
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I missed the Kathak solo by Rasmani Raghuvanshi, but saw Manjiri Kiran
Mahajani's solo Kathak. Trained by Rohini Bhate, Manjiri has grasped her
guru's Kathak style faithfully. Since it was the day of Mahashivaratri,
most of the dancers concentrated on Shiva theme. Manjiri also chose
story of Daksha Yagna, written by Rohini Bhate as kavit Kathak form. To
the recitation of the story through abhinaya she described the
humiliation of Sati, and Lord Shiva's Tandava, Lord Vishnu appearing and
requesting Lord Shiva to regain peace. Full of natya element it was a
memorable number. Another noteworthy presentation was Tirvat in Bihagda.
Few dancers present this number which has melodious musical element.
Munnalal Bhar (vocal), Nissar Hussain (tabla), Praveen Arya (pakhavaj)
and Amala Shekhar for padhant, gave Manjiri musical support with
customary finesse.
Bharatanatyam exponent Rukmini Vijayakumar from Bangalore, disciple of
Padmini Ravi, late Guru Narmada and late Guru Sundari Santhanam from
whom she received training in karanas, gave a scintillating performance
with her commendable technique and natural gifts. Of the two numbers,
she presented Swaraguchha in talamalika, a string of swaras, rhythmic
phrases. Rageswaravali was composed by Raghuram and jati composition by
Gurumurty.
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I know of no other dance festival in India which has continuously lasted
for more than forty two years. This is the forty third year of
Khajuraho Dance Festival (Feb 20-26) with extended art activities
transforming the venue into a multi-art event, engaging cross section of
visitors to Khajuraho, be they tourists from within India and abroad,
performing artists, painters, sculptors, litterateurs, film buffs,
photographers, musicians, event managers, bureaucrats, dance critics, or
common men who out of sheer curiosity walk into the grounds where for
seven days from ten in the morning till ten in the night there is
enough for each one to savour, relish.
From among the organizers, it often happens that someone is bitten by
the bug, as they say and bring his vision to fruition with likeminded
persons, who are willing to stick their necks out, work tirelessly
against all odds and difficulties, surmounting them and creating
opportunities to expose those who visit Khajuraho to various expressions
of culture besides classical Indian dance forms.
Having been associated with the festival from early years, I see its
growth from mere presentation of the dance forms to dialogues with
dancers, art historians, critics, thinkers, film makers, theatre
workers, painters, photographers and from this year beginning a new
series of interacting with neighbouring countries, beyond borders,
drawing attention to interconnectedness, sharing common traditions, that
transcend gender, caste, religion and bring to one an awareness of
human quality but also universal truth, offer space to reflect and
elevate one through art to a higher level not only of enjoyment but also
to involve and care and concern for people.
I have been attending the festival again since last three years and am
delighted to share with readers the magic spell the festival is casting
with these added activities. I have shared with a team of people and in
particular Rahul Rastogiji, along with Chinmayji, their vision which
with Rahulji’s natural leadership quality and ability to galvanize his
colleagues and convince the government officers to raise the bar of the
festival.
Right from turning the ground in to a festival area, where workshops
with crafts people, who mould shapes from earth into objects of art,
earthen wares, the weavers that weave magic with warp and weft, their
looms, the boundless variety of handloom, handicraft, textiles from
different parts of the country, the exhibition Art Mart of painters
mainly from Madhya Pradesh, sculptors, venue for Kalavarta, also sharing
in the afternoon screening of documentary films not generally seen, but
carefully selected, involving actor Raja Bundela, and at a
special enclosure Nepathya where each year focusing on a particular
state and its dance heritage with exhibition of costumes, masks, objects
of rituals, floor paintings, designs, and performances between 6 and
7pm and then leading audiences to main event of dance with the backdrop
of Chitragupta temple metamorphosing the ambience transporting
onlookers to a dream world. Stars shooting in all directions, crescent
moon resting like ardha Chandra on jata of Lord Shiva, appearing in sky
above, resting on shikhara of the temple prepare the audience to relish
the classical dance forms with enchanting music.
To weave around the main event of dance, all that I have mentioned above
is fascinating. And when the dancer appears in solo from the side to
strains of music
its appeal visually is stunning. The temple provides a context, a
setting for unfolding of mythological stories, which dancer enacts,
stringing the chords and evoking archetypal memories. Be it a prayer to
Sun God, or Ganesha or Lord Shiva, the audience gets ready to receive it
in moments of bliss. What the rhetoricians call Rasa, the relish is
experienced with this god given setting of Khajuraho temples.
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How much dance can one watch in a month?
For yours truly, it becomes difficult to attend shows more than 4 times a
week, since feelings and images blur and bleed into one another and the
distinct memories and architecture of each performance dissolves to
leave one large incomprehensible stain. February was one such month. So
much dancing, rehearsals, touring, watching.... the year's shortest
month flew by.
February also gave me the opportunity to be a part of a dramatically
diverse swathe of dance experiences. Erotica, arangetrams, doom as
personal diary, the evergreen Krishna as protagonist, an outdoor
performance in an open maidan, day long immersion seminars, clueless
university professors - I was thrown into the thick of them all!
Read the message in the site
