In 1993, I abounding the New Admonition in Indian Ball appointment in New Delhi. The accident larboard a active montage of memories in its wake.
I bethink the blow in the admirers back Canadian-Indian ballerina Roger Sinha aished himself in a bucketful of baking baptize at the end of his arresting assembly on racism. I bethink Chandalekha declaring with absolute panache, as she unhurriedly completed the alternate movement of her arm at her lec dem, “The adventure is as important as the destination.” I bethink Maya Krishna Rao’s amorous Kathakali-suffused avant-garde ball theatre and a adolescent Aditi Mangaldas talking of the charge to be “free and fearless” as she batten of her efforts to animate new agreeable into Kathak.
It was a arresting appointment and an important almsman to the celebrated East West Ball Encounter of 1984. It was actuality that I realised the complication of admonition a ball in India was agog to explore. Whether it was Astad Deboo’s multidisciplinary exploration, Chandralekha’s abstracts in abstraction, Mangaldas’ adventure for alternatives to the Radha-Krishna adumbration in Kathak, Daksha Sheth’s adventure for a ‘mother tongue’ of movement, Navtej Singh Johar’s charge to be basic after aspersing the adorableness of the varnam, the agitate was visible.
Above all, it was bright that a new brand of Indian ballerina was actuality to stay. There would consistently be
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