summer I had been to the United
Kingdoms and The Netherlands to perform and conduct small workshops
Both the experiences were memorable.
The most admirable quality of the audience was the patience and eagerness to know
and understand this totally new form of art.
asked innumerable pointed questions which helped me provide them more basic information
about the rhythm pattern, the origin of Kathak and importance of "Taal"
- They were also
curious to know why performances begins with obeisance to a deity.
- At Rotterdam, I conducted a workshop in which
about 25 children in the age group of 6 to 12 years participated.
- Though they found it difficult to move their bodies
and adapt to different steps, they did not give up their efforts.
- During one such programme, I
taught the dance steps after my performance, to school
children. The parents were thrilled to see their children
try the Indian classical dance.
- What I found remarkable was,
though the children would possibly not get the opportunity
to learn this dance again in the near future, their
enthusiasm did not wan.
London I performed "Nandi Te Pasaydan", which
traces the history of Marathi poetry of more than 700 hundred years through dance.
- The Maharashtrian audience was only
too delighted to listen to old Marathi songs accompanied by the dance. For them
it was a visual treat. They could experience all the scenes described in the poems,
while savouring our dance.
- The Brits
were enthralled by the sound of the "ghungaroos" and equally amazed
at our ability to wear so heavy, such anklebells and yet move our feet so fast
and for so long a time.
- I also got an opportunity
to perform in front of the French in India at a show organised by the Indo-French
- The French were impressed
by my expressions and colourful costumes and the richness of the Indian Mythology
which we presented through the dance.
all these places, the audience also showed interest in the costume and music that
accompanied us, while we danced.