A generation of established artists and teachers of South Asian dance forms, Menaka Thakkar and Lata Pada, who teach bharatanatyam, and Joanna de Souza, who teaches kathak, discuss the various roles they have had to adopt along their careers. They reflect on the development of their teaching and performance practices and, now that they are nearing retirement, how that knowledge and institutional momentum will be shared with the next generation.
Hari Krishnan has always challenged simplistic notions of tradition. His latest work, Holy Cow(s)!, attempts to break up what Krishnan calls “false binaries”, informed by news headlines around the election of Donald Trump and stereotypes that Krishnan has had to deal with all his life.Posted April 7, 2017
These are times in which we need to bear witness. The impetus for Nova Bhattacharya’s latest work, Infinite Storms, came from her experience living with migraines yet speaks to a greater, universal suffering. How do we persevere through pain?Posted February 28, 2017
Brandy Leary and Soraya Peerbaye launch a project looking to make understandings of contemporary dance performance to be more inclusive and more diversePosted January 27, 2017
Sudha Khandwani, artistic director of Kalanidhi Fine Arts of Canada, pioneered the contemporary face of South Asian classical dance while also paying homage to its rich tradition.Posted December 16, 2016
Patience might be the last word that many kathak dancers think of when either practising or preparing for a show. After all, for the most part, kathak is known these days for fast, stomping footwork and pirouettes that leave the audience dizzy in their seats. But for Nahid Siddiqui, one of the foremost proponents of kathak today, patience is the key to unlocking the potential – of both the form and the dancer.Posted October 14, 2016