Life is random. This is a space to unclutter my ideas, give voice to my thoughts and choreograph through writing. It is about all things random but mostly about dance
Alternative healing, naturopathy, homeopathy and Ayurveda have always been a huge part of my life. Popping pills and taking medication was something we (my family) just didn't do! Having a grandmother who continues to practice yoga at the age of 90, a mother who has studied reiki, an aunt and uncle who are homeopathic doctors, my inclination to explore non-traditional healing methods is TREMENDOUS. As a kid, when contracting colds became a frequent phenomenon, my mom took me and my brother to an ashram, where they taught us jal neti, where you pour water up one nostril and it comes out of the other, to irrigate the sinuses. Many years later, my mother studied acupressure, and eventually acupuncture (even though she cannot practice the latter, as one needs to be a medical doctor for the same).
From http://www.kapuracu.com
So basically I am giving the background as to how I landed up in an acupuncturist's clinic; why I agreed to succumb to needles being put into me, given my phobia of needles. (This does not include piercings as I have 11 of those!) I decided to get acupuncture in India because its more affordable and my mom could accompany me, as I was TERRIFIED. In fact, it was she who suggested I try it. This was because my knees were beginning to hurt, and there was stiffness in my neck and back, due to excessive dancing. And by the time I went to the clinic, I also had a horrible cold and sinus. (shouldn't have stopped that jal neti!)
Doctor Raman and Sunita Kapur's Clinic in GK 1, New Delhi, is well known, but I was still not prepared for the large number of people who flocked there. They do acupuncture for all kinds of ailments, diseases, for quitting smoking as well as for cosmetic reasons. They conduct a test using a specialized instrument which they place on your palms and determine where the "blockages" are. Acupuncture is based on the concept of Qi, the life energy in the body, and needles are inserted to allow it to FLOW and rejuvenate, by removing any BLOCKAGES.
From http://www.silverpointacupuncture.com
My first day and I had 27 needles in me, including 7 on my FACE. But almost immediately, I could feel a relaxing sensation and a flow of energy within me. There were several needles on my knees, and they put herbal pellets called moxa through them, which were burnt to allow the heat to seep into the knees. I know it sounds INTENSE, but it was actually really soothing. 30 minutes later, they came in and removed the needles. The sinus went away in about 3 days and the gradually the deep ache in my knees eased too. 10 days and over a hundred needles later, I felt GREAT!
Now that I am back in the studio, dancing for several hours at a time, I am glad I spent that time taking care of my body. I would highly recommend acupuncture to anyone who has any chronic pains (though my pain wasn't caused by any medical condition like arthritis, it was more due to the high impact of dancing). Doctor Raman Kapur is FANTASTIC; my only criticism is that the clinic tends to be really NOISY. The staff chatter constantly and sometimes are just a bit haphazard. There were few times when my mother had to remind them to put the moxa, or tell them that my session was over. The most annoying was one day when the moxa was too hot, I rang the bell for the staff and no one showed up! My mom just added extra paper, but that is not the point.
Overall it was a good experience, though I wish that the atmosphere was more peaceful. But my pain has VANISHED so I can't really complain!
As I arrived at the Kingdom of Dreams, I was dazzled by the massive SCALE and GRANDEUR of the setting, the sprawling culmination of art, culture and cuisine. Faithful to the resplendent settings, the musical 'Zangoora', showcased in the Nautanki Mahal, is nothing less than magnificent in terms of the production and the scale. The world of the Kingdom of Dreams, located in Gurgaon, Haryana, (just beyond New Delhi) is comparable to the theaters of Las Vegas.
'Zangoora' itself has a fairly traditional plot which would make a weak movie but works for the musical. What was extremely DISAPPOINTING for me, was the choreography. It seemed, since the sets were so sensational, the choreography simply relied on the large number of people, the amazing costumes and the use of props. There didn't seem to be a lot of thought put into it, and having seen Shiamak Davar's shows in the past, it seemed like a recycling of old ideas. There was nothing that was unique or fresh. The dancers performed well and I know that musicals rely on stereotypes but everything that is Bollywood does not need to be so CHEESY (for lack of a better word!)
There were some dances that were stronger than others such as Gauhar Khan (Laatchi's) dance (I have forgotten the song, but it is right after she finds out that Zangoora doesn't love her) which she performed with skill and intensity, and the sculptural choreography worked well. Her body language was very powerful; in fact her emotions and personality were better portrayed by her dancing than her acting.
I was not very moved by Kashmira Irani. She is a graceful dancer but her performance was not riveting. It was beautiful without being touching. Her lyrical movement was somewhat convincing, but she could not do justice to the more typical item songs like 'Mehbooba Mehbooba,' and 'Choli ke Peeche' was particularly disappointing.
The actor who played Zangoora (Hussain did not perform that night!) had a certain ease in his dancing and acting, which made one connect and empathize with him. Even though I didn't think of him as an incredible dancer, he was connected to the movement and was able to communicate the emotions behind each song. His acting and stage presence were memorable.
The entire cast of dancers were exploding with energy and enthusiasm but their performance was sometimes a bit fake. Expressions for a Bollywood dance, especially on stage, do have to be exaggerated, but a lot of dancers seemed to put on a face, rather than really feel the movement and then emote. There was a difference in the level even within the ensemble dancers. Several dancers from the cast did stand out on the basis of their skill and performance.
What I did really like, besides the amazing production of course, was the use of the SPACE. The action was not limited to the stage. Dancers often came into the audience. There were entries happening above the audience, with the use of aerial apparatus. The aerial dancers showered the audience with flower petals. At one point there was a "rainfall" of foam particles which landed on the audience, and we hurriedly covered our drink glasses! There were projection screens on either side of the stage, which were used well to enhance certain scenes.
Overall, the show was SPECTACULAR. I have been fortunate enough to have seen a lot of shows in various countries and cannot help but compare. I think the environment created by 'Zangoora' can compete with any international show and Bollywood has a mass appeal that cannot be ignored. The tickets, priced from Rs 1000 to Rs. 6000, may not be affordable for all, but are definitely worth it. Being a dancer, I cannot help but focus on the intricacies of the choreography but for those who can look beyond it, 'Zangoora' is a VISUAL TREAT. I am really excited that such an amazing facility has been created and I know it will pave the way for other productions that will only continue to evolve.
Fusion is a word that gets thrown around a lot, especially in dance. Literally, it means "a blend of styles" but each choreographer interprets it differently.
I first began exploring fusion in college in India, when as the President of the Dance Society of Lady Shriram College, New Delhi in 2002, I choreographed a piece called "Rhydhun" in collaboration with various dancers. It was set to the song "Rhydhun" by composer Taufiq Qureshi, the title itself combining the English word Rhythm with its Hindi equivalent dhun. It began with a Kuchipudi dancer dancing on a plate, flanking with a Tap dancer, creating complementary rhythms. In addition, there were five Bharatnatyam dancers, three Jazz dancers, one Contemporary Ballet dancer and two Odissi dancers. The piece showcased each of these styles individually and culminatinated in a dance conversation between three dance forms.
At that point, the mere co-existence of various dance forms, especially Indian Classical with Western dance forms, in the same work was considered fusion. Several years later, being a much more experienced choreographer, my concept of fusion has altered. It is less about staying true to each style, and more about capturing the ESSENCE of different genres to allow the emergence of an entirely new style. This has been an organic process for me, as I see influences of my cultural background seep into my Modern Dance works. A focus on intricate hand gestures, grounded postures and other movements that have become a part of me, after studying Indian Contemporary Dance, Yoga and Mayurbhaj Chhau, and from all my years of just living in and experiencing India.
Sometimes I do try to create work that is true to a certain dance form, but mostly I look BEYOND GENRE. When I was choreographing A.R. Rahman's "O Saaya," for the Mona Sampath Khan Dance Company, I asked Mona Khan, whether she wanted a modern piece or something more influenced by chhau. She said to let the music GUIDE me. What ended up was a work that was very Contemporary, with a distinct Indian feel.
Since then, I usually trust my instincts, whether I am inspired by music or a conceptual idea. Fusion for me today, is really about TRANSCENDING genre, being open, allowing my mind and body's experiences to guide me, and exploring a place that is familiar yet new. My journey in dance may make me question this a few years from now, and take me to a whole new place. I stay open to the ENDLESS possibilities...
Gretchen Garnett and Kelly Bowker are two amazing artists who I have had the opportunity of working with, in the past. Dancing and choreographing together and being part of each others' visions, we decided to collaborate to produce our own show which will be on April 8-9, 2011 in CounterPULSE in San Francisco.
Among the other logistics came the photo shoot. We figured that it would be nice to have pictures of all of us together, representing the new project, rather than yoking together individual pictures. Gretchen suggested the BART station as the venue. The BART is such a big part of any San Francisco and even Bay Area commuters' life. Impeccably dressed office workers, people making beautiful music for mere pennies, students, homeless people, people going for games and concerts and factory workers, can all be seen on a BART station.
So the venue was finalized and so was the photographer, Kevin Wong. Then we decided that we would wear dresses and heels; what better juxtaposition to the grittiness of the BART station? So the shoot took place among dust and grime, flashing train signs, announcements and the motion of the moving trains. We hung from railings, leaned against the walls, jumped off the sitting area, lay on the platform. People did stare but then, it was San Francisco!
The shoot culminated in some gorgeous pictures and a fabulous experience. There is something so special about taking dance outside the proscenium and into the heart of a city. The beauty of art nestled within the mundane everyday world of the transport system. It would be interesting to bring that grittiness to dance as well.
Everyone loves Sunday. Waking up late, being lazy, just chilling. Welcome to a MSDC Sunday!
As an MSDC dancer Sunday is probably the CRAZIEST day of the week, not to say we don't still love it.
Most instructors teach on Sunday mornings for a few hours. I teach the Emerging Performers from 12:00-3:00 pm and lot of other instructors teach several classes in the morning hours. Then 3:00-5:00pm is the instructor act rehearsal. So all of us instructors and a lot of emerging performers who are also assistant teachers, continue our stint in the studio. Not so bad? I'm not done yet!
Then 5:00-8:00pm are rehearsals for other shows. Currently we are rehearsing not only for our student spring showcase but 2 major shows, ALSO in May. Whats more, all these shows are in the SAME week. So we had to split our team so two rehearsals are running parallel in two studios. Mona is running from one studio to the other, we are constantly looking at each others' progress and of course the general chaos, characteristic when 50 dancers are in the studio, occurs.
So 8:00pm and everyone is getting burnt out. But we are INCORRIGIBLE. We don't look at the clock, say its 8pm, and we should go home. Despite the junior performers' parents collecting outside the studio door, some of us reduced to a state where even lifting an arm seems like a Herculian effort, and the studio floor slick with sweat (sic!) we continue to ask Mona if we can run it one more time. This happens a few times. Even after that, people start running routines for another show, trying stunts, rolling on mats, doing handstands against the wall, until we are literally pushed out by the lone person from the Indian Community Center, who has agreed to stay on late to lock up after us.
With great reluctance we drag ourselves out, only to reconvene in the lobby or parking lot and begin talking, discussing and analyzing what we just did. Typically Amrita will pull out a bunch of costume options and we will spend another few minutes in further discussion. Then, instead of going home, we will decide that we haven't really hung out, so we will head to the closest restaurant (El Torito) and spend the next few hours there. Once again we will get stuck in the parking lot, when they kick us out of El Torito and then make our way home. Usually, when I get home I have a flurry of MSDC emails waiting to be read, so I start on the the work we have to do outside of the studio.
It is exhausting but in a great way. Everyone's Facebook statutes talk of soreness, but all with a sense of joy and accomplishment. MSDC Sundays are GRUELING but INCREDIBLE. We wouldn't want it any other way!
BART is the train I use for all my commuting to San Francisco. I love it! I hate it! I can't survive without it. I get a lot of work, reading, writing, calls, done during transit. At the same time the 50 min. each way commute can be tedious, especially if one is going to be in SF for a short time.
Anyways these are the craziest things that I have experienced in BART:
#3 This dude gets on the train and falls asleep after figuring out that he has the last stop. We get to the last stop. He doesn't wake up. People around him try to wake him up but give up. He continues to sleep as the train heads back where it came from. Wonder where he woke up!
#2 This guy keeps looking at me and finally asks me if I have a boyfriend. I tell him that I am married. He gets worked up and upset at me for not keeping my ring more VISIBLE!
#1 This one is the WORST! This girl sitting across the aisle, suddenly comes to the old lady and starts screaming at her, asking her not to stare at her. The old lady is disoriented and she says "I wasn't even looking at you." This girl takes it to a WHOLE new level. She's says "I am not a lesbian. Don't look at me." She says this like 5 times. Another lady says, "hey relax! You are a pretty girl. Its OK." This girl goes CRAZY and starts cussing the lady, saying "I know you wish you could get with me." She just trips out. It was a little bit scary, a little bit icky (she was so homophobic), a little bit pathetic.
These are just 3 incidents that I was thinking about. There have been so many more. Public transport can make for interesting blog entries, never knew that before.
This weekend we were shooting Emcee Hash's video. Emcee Hash is a talented rapper who fuses sounds of the East & the West. He also happens to be my husband!
This particular song, called "Naach," has a smooth, sensual and GROOVY feel which Mona Sampath captured beautifully through her choreography. I was really excited that she agreed to choreograph it and six of my gorgeous dancer friends, totally set it on FIRE. Hash and Steve worked out the venue months ago; it was shot at The Garage, a space that resonates with intimate familiarity, being the first space, where I presented my work professionally in the Bay Area.
As always, overloaded with preparation for various shows and classes, we managed to finally squeeze in a SINGLE rehearsal where Mona taught us the choreography. Amrita had spent a good three hours the previous night coordinating mine and Hash's clothes. Me and Hash spent many more hours in the mall, figuring out things to match. Ruby, who does the makeup for all MSDC shows, did our makeup even though we had a super low budget. It was GLAMOROUS! Most of us rushed straight from teaching class, to spend hours getting ready and finally arrived at the venue in San Francisco. Hash and Steve, with the crew, had already set up the lights.
Since Hash had insisted I be the lead, I had a chance to watch the dancers, which I usually don't get to do. Even as I was dying to join them, I was blown away by how amazing they are and I felt so PROUD, that I dance with them. I was also really proud of Hash, because he always gets into the zone and it is amazing to watch him in action. It was funny to see him surrounded by my friends who were exuding hotness!
After 5 hrs of shooting in various angles, different permutations and combinations and costumes, we were done. It was a lot of work but in a satisfying way. It was so great that the entire crew knew each other. Hash and me were both a bit nervous but we had such a supportive environment that it all fell into place. Between the dancers, Steve, Mona and Ruby (who insisted on doing our touch-up after every few shots), I think we managed to bring out the best in each other.
The video will take while to edit and I can't even IMAGINE how incredible it will be! Stay tuned!
There is something PRICELESS about being able to take a day untainted by routine and just slip through a gap in time. Spending just one day in Sonoma, among the gentle roll of the green hills, the hints of spring in the air and the delicious sunshine.
We indulged a bit by staying at this beautiful place called Cottage Inn and Spa. My FAVORITE thing was the fountain in the center, where in the evening flames simmered through glass pieces, while the water continued to flow underneath. I also loved the outdoor courtyard with its beautiful sculptures, plants and comfy seating. The designer was a ROMANTIC, no doubt about that! All the lights in the room could be dimmed, there was an in-room jacuzzi, and candles everywhere. There was a little T.V with some movies and a boombox with a collection of cds. And a heated mattress which can heat just one side of the bed which is awesome because I like to be TOASTED, and Hash, definitely not.
We went to Bartholomew winery which was nestled in the midst of the hills and it was fun to just hang there. I preferred the wines at Roche and Charles Creek, though they were in downtown so nowhere as picturesque. It was a fabulous day enhanced by sun-soaked skies and colorful blossoms, punctuated every so often with wine tasting (also cheese and olive oil tasting!) We woke up early on Sunday to find a basket of fresh baked goodies outside our door. Hash made coffee and then after a stroll through town, it was time to go.
It was a PERFECT day. It is nice to have a prolonged, luxurious holiday but small tidbits of time, in the midst of daily chaos, are MUCH needed. A week later, drenched in work, I am reminiscing...
My students and their parents constantly shower me with appreciation but I haven't had a chance to tell them how IMPORTANT they are to me. This is for them.
There are days when I am exhausted, overworked and life has poured unusual amounts of insanity into my plate. And I really feel like I cannot get through class, but the moment I walk into the studio and start conducting the warm up, EVERYTHING falls into place. I love the energy, enthusiasm and the willingness to learn that greets me every time I walk in.
Over the years, I have seen students walk in who say "I have never danced before. Is that ok?" And I always say "that's what I am here for." Someone once said that the "limits are only in your IMAGINATION." I have learnt to believe it. I have seen students grow and blossom and with every session they become stronger dancers, better performers. I am not very liberal with praise and often have a reputation of being a strict and demanding teacher when it comes to the junior/teen age group. That is because I want them to constantly push themselves, but every time a session ends, I feel a tremendous sense of pride. And when they are on stage, they always SHINE. And sometimes I don't say anything because words fail me.
The kids are a different story altogether. They have a question for everything, an explanation for everything. They always bring a smile to my face. Often when I try to teach a step, they come up with INCREDIBLE imagery to describe a movement. I teach them how to dance but in the process learn so much more. Parents often talk about how its hard for kids to adjust to another instructor but the feeling is MUTUAL! It is really hard for us to give up our classes. I still drive an hour to Evergreen because I am so attached to my classes. And I know its the same for so many other MSDC instructors.
At the same time, I want to thank the students for their faith in me and for registering quarter after quarter and believing in my ability to teach them something more, challenge them in a different way, draw out something new from them. Ravi Shekar and Shobha Kunder have been with me since the first class I taught with Naach and then with Mona; a journey of 3 yrs. My Pleasanton juniors Akanksha, Saumya, Ankitha & Saloni have been there for every performance quarter, also for 3 yrs. There are so many more who have been with me EVERY quarter since they began and that really means so much.
This is just for all my students to know that I feel honored and humbled, and to thank them for their loyalty and love. Got to LOVE being a teacher!
So I always think of dance as an art but as one tries to make a living out of it, at some level it does become a business. But it is still dance. Its about being in the moment, experiencing something special and SHARING that experience.
As I am gradually learning, grant writing, marketing and knowing how to talk and write about one's work is essential. Joe Landini, who runs The Garage in San Francisco, once said to me that "the more you are successful at doing what you do, the more time you need to spend away from it." That is so so TRUE. I had my first home season last year and I spent less time in the studio than I did on my computer. But even as we strive to get more students, audiences, funds, what drives the process is passion and commitment.
I think an environment where one is competing but in the process, enabling and supporting one another exists, such has been my experience in the SF Bay Area community. There are some stunning dancers who dance with me, who also choreograph their own work, dance for other artists and sometimes we are showcasing our choreography in the same festivals. I think that is freaking AMAZING! And its so much fun to feed off each others' energies and ideas.
On the flip side, I have had some really BIZARRE experiences as well. People claiming credit for stuff they haven't done, joining one company and then soliciting their students and teachers to join their own, and other UNETHICAL stuff that I cannot even begin to describe. But when I look at them I don't see artists, and they are definitely not driven by their love for dance.
I think that as artists we have to learn to market ourselves, but not at the cost of our art. Else, what is the point? We may as well quit and take up a career that actually pays!
I remember, when I started learning dance, people would always keep talking about FINDING CENTER. Finding that point where you push down through your feet, reach up from the top of your head, extend and lengthen and lo and behold! you achieve balance! Photographer: Rob Kunkle
Easier said than done. Much like life. That is one of my goals for this year. Balancing choreography and performance, teaching and learning, dance and other aspects of my life. Every day I try. Sometimes I fail, sometimes succeed. But I try to do it with a sense of calm, which does not come easily. TRY is the keyword.
Teaching about 14hrs a week, spending a few (or a lot of) hrs. in rehearsal, taking class (which I want to do a lot more of), doing other non-dance stuff which supports the dance stuff, I come home quite exhausted and usually with zero inclination to research, mail, cook, clean, or all the other things I should be doing. Sometimes I even become a social recluse. I am oblivious to what is happening in the world and am often jolted awake by Facebook statuses.
Then I go an a MANIC spree catching up on everything and realize that once again something is getting left out. Emails slipping through gaps, applications getting dangerously close to deadlines, me getting seriously close to exhaustion. Then a reevaluation of everything and a new beginning. Photographer: Rob Kunkle These are a few of my goals for the year: take more dance classes, practice more yoga, BREATHE, read more and in a more balanced manner (usually a book can keep me riveted to an extent that I forget to eat, sleep and move). Cook more (don't think it will become a passion, but maybe a habit), wake up earlier, less CAFFEINE, spend more quality time with friends and family, less negative energy, try and have our place look more habitable, STRESS less, be willing to let go, write more, and just try and be a better dancer, better teacher, better PERSON.
Finding balance does not happen. Just like one doesn't ever become a dancer. One is constantly BECOMING; it is a process. I may never find it. But I will get closer.
Bollywood & NBA, an unlikely combination. But boy did it work! Mona Sampath Dance Company in action
The Golden State Warriors versus the 76ers game held last night at the Oracle Arena in Oakland, was on India Heritage Day. And so Mona Sampath Dance Company was invited to perform at half-time.
There were months of excitement and anticipation but only 4 rehearsals, owing to other events. So those 4 rehearsals were intense, grueling and LONG. We would not fit in the studio where we usually rehearse; we could not fit our entire team of 50, properly spaced, ANYWHERE. So we booked a basketball court in Newark. The court was partitioned, and some folks were still playing, who watched curiously as our endless party streamed in. We stretched, positioned, practiced. Then the BEST part. We had to resort to using their PA system and suddenly "Ringa Ringa" started blaring in the basketball court. Half-embarrassed, half-zealous, we danced!
make up, curls & more... The 4 days melted away in soreness and joy, fatigue and excitement, as we danced, danced, danced. Finally yesterday was IT. We showed up at the Arena, frozen due to the constant downpour. An army of 50, ranging from ages 8 to 30, with golden tikas peering from hoodies, long plaits pinned to sweatpants, the usual glitter and glamour, trying to camouflage (quite unsuccessfully!) with the viewers. We were led to our seats where we sat for all of 5 minutes. Then we were taken "backstage" to the locker rooms.
We had already spent a few hours getting ready before we even got there. But there are always loose strands to gel back, stray fabric to be pinned, the usual touch up and Amrita's INSPECTION. She will detect a gold pin where a silver would be more appropriate, a gray hair tie, which will be promptly changed to black, and other details which most people cannot even see with the naked eye.
warming up those legs Then finding a place to warm up,which can be challenging with 50 people. People going over different parts of the routine in all possible spots, including the restroom. Dancers practicing the lifts, the flips, the crucial timing for partnering. Dancers dodging flying limbs, flipping bodies, turning circles. And somehow we were READY. We stood in a circle, holding hands, CONNECTING one last time, before being led out into the court.
We stood in two single files, pressed against the door, watching the stadium and taking in the shear numbers. It was ELECTRIFYING, it was NERVE-WRACKING, the wait, those last few minutes. Deep breathing, running in place to keep ourselves warm, random hugs and arm presses and then the music began. Everything went away. Only the dance remained. There was a WHIRLPOOL of energy as we danced, jumped, ran, turned, while 15,000 people watched. As Brian brought me dofrom the last lift, I felt our energy echo in the stadium, as the audience cheered. It was EXHILERATING! waiting to exhale...
I don't think any of us have performed in a stadium, in front of 15,000 people before. It was an incredible opportunity to share our vision and passion with so many people. It was also great to showcase and represent our culture at the NBA. Bollywood is becoming mainstream, and since Bollywood in the Bay Area is almost synonymous with Mona Sampath, as part of her team, we were all extremely proud. People actually said that it was the best half-time performance they have ever seen. As we went back to watch the last quarter of the game, we felt part of something intangible. It is like the roar of the crowd, the excitement of the game, the hysteria of the fans. Something which cannot be explained, can only be EXPERIENCED.
We recently adopted 2 kittens called Too Tiny and Jazzy, whom we then renamed Masti and Zanzi, then changed Masti to Pixie and have finally settled on TUNA and JAZZY. Of course they respond to NONE of these names!
They are beginning to recognize our TONES (when we attempt to assume an annoyed tone, a warning, welcoming or accusing tone, though that could just be wishful thinking!)
So the joy of having 2 kitties in the house? Where do I even start? They are completely and absolutely ADORABLE, from their tiny pink noses to their constantly wagging tails. There is nothing like 2 cuddly fur balls on either side of you, purring away happily. Coming home to an empty condo versus these two, stretching slowly, and coming to greet you.
And nothing beats their INSANITY over a piece of string. They go BALLISTIC. Tuna & Jazzy also entertain themselves by attacking their reflections in the mirror, soaking the sun on the window sill and grooming each other.
The word MANIAC acquires a new meaning when it comes to meal times. They will be chilling, taking a nap on my shawl, dress, blanket, Hash's office bag, or wherever they fancy, and we just have to pick up their dishes and that is it! Within the few MINUTES, while we wash their food dishes, open the cat food tin, fill the dish and replace it, the pitch of their mewing has gone up by many OCTAVES. But unlike dogs they do not sit and beg for food, so we can happily sit on the couch with our food and them, and they will not try to put their mouths in it. (though that could be a comment on my cooking!)
Despite the fact that we need to scoop away the poop from the litter, have them walk all over us in the morning, if they wake up early, and the (not so) occasional scratch when they get excited, I couldn't be happier to welcome these two in our home.
Not to mention that writing this has been a bit challenging due to their INEXPLICABLE fascination with the laptop. They need to gently paw the screen, sniff the track pad and walk all over the keys.
So my Valentines eve was EVENTFUL...I mean literally! I was at a Valentines event at the Indian Community Centre, where I did this hot hot duet with Brian to a luscious, soulful song. My Valentine did come to watch which was PERFECTO! (We will do our romantic, celebratory, somewhat traditional Valentines celebration next week. I am tempted to go for the pillow fight in San Francisco, but Hash is not too excited about it.)
Anyways so the event tonight was SUPER fun. You can't go wrong with chocolate fountains, an open bar and of course, performances choreographed by the Mona Sampath Dance Company. I LOVED working with and watching Jollywood, our SENIORS' performing group. The girls SIZZLED in gold tights and orange feather boas, shimmying to the tunes of "aap jaisa koi" The boys matched their rhythms in "ek main aur ek tu." Jollywood are just amazing, and their ZEST is inspiring.
Then of course the company kids set the stage on FIRE, like they always do, and the StayFit group did a bunch of SCINTILLATING numbers. I really had fun dancing with Brian; we were INCREDIBLY connected and it felt really, really good, especially after the few but intense rehearsals, that resulted in cuts, bruises and the usual soreness. And of course our SHOW STEALER Akhil was the compere, the most ARTICULATE 5-year old I have ever met, with a VOCABULARY that far exceeds his years (and cuteness I cannot even begin to describe).
We followed up the performance with drinks and dancing. Now I am home and it is past midnight, so its already Valentines, the day Hash proposed 3 yrs ago. Today I teach and rehearse from 12 to 5pm. It will be another CRAZY day. Hash and I will probably do dinner together.
So even though Valentines wasn't what I had thought or hoped it would be, it was still a BEAUTIFUL day. I got to share my love for dance with so many people and spent the evening with a lot of people I care about. As the day closes, I am HAPPY and THANKFUL for all the wonderful people I have in my life, some who are far away, but always in my thoughts.
How many times do we encounter this question in our lives? People ask out of a mild curiosity, genuine interest, to fill up awkward silences and as an opening into what could develop into an engaging conversation.
What happens to me is something like this…
Person: So what do you do?
Me: I am a dancer
Person: ohhh! (sometimes "how nice!" as an afterthought)
Me: Modern dance originally began as a reaction to the rigidity of ballet…blah bah
(FIRSTLY, it is difficult to define Modern Dance. SECONDLY, the whole point is, it is constantly evolving and subverting prior definitions. THIRDLY, what Modern Dance means to me is a different discussion altogether.)
This is usually THE END.
But I often hear “so it is like what you see on MTV?” No comment! In fact, in December, in a dance workshop in India, where we had to do short solos someone asked me, with the air of superiority which several Indian Classical dancers acquire, if I did Hip Hop. Honestly, I do not believe in compartmentalization and I have seen performers blend Hip Hop and Modern Dance with absolute flair and finesse. (And they can choose to call it Modern Hip Hop, Hip Hop Modern or something else altogether.) But I DO NOT do Hip Hop. And Hip Hop is not Modern Dance.
Anyways, this is just one scenario. More often, this is what happens, (usually in India), after I say that I am a dancer. (In fact, the same someone also had this conversation with me before he decided that I did Hip Hop)
Person: So you do Bharatnatyam or Kathak?
Me: neither
Person: Ohhh (SILENCE)
And sometimes…
Person: But Classical is a MUST.
Me: I have studied Western Classical forms like Modern Dance, Ballet and Jazz.
Person: Yes, but Indian Classical is THE BASE.
10 years of immense effort, my B.A. in Dance, and all the work I continue to do: DISMISSED. But I don’t take it personally. It usually reveals their ignorance or bias, rather than my lack of knowledge.
There are stereotypes that trail me in the Bay Area too. A lot of times, I am asked “what ETHNIC form I do” as if that was a given. I have been invited for a few South Asian showcases and I like to clarify that I am an Indian doing Modern Dance, so I know I am not chosen to represent something that I don't do. The STRANGEST experience was when my choreography was performed at a Contemporary Dance Festival and the organizer kept asking me what Indian Classical form I did! I couldn’t believe that after watching my application dvd and the live performance, she was asking me that!
These are some of my FAVORITE comments:
Person: so is dance a profession or a hobby
Me: Not sure (This was 10 yrs ago)
Person: Better it stays a HOBBY ONLY
Person: What do you do?
Me: I am a dancer
Person: No, I mean REAL WORK.
Person: You should do something that is PROFESSIONAL
Person: Do something WORTHWHILE.
Person: People will not want a dancer in their family. No one will want to MARRY you.
What is my SAVING GRACE? I have a degree in English Literature from LSR in Delhi. People can relate to Eng. Litt. and LSR and it means that I have the potential to have a REAL JOB, even if I am wasting it!
What makes it WORSE?
I do Bollywood Dance, which is a further negative for a lot of folks who revere the Classical Arts and brings to mind a preconceived image. (Again this brings up the question of what Bollywood is to me. I like to stretch existing definitions, but that will be another posting!)
Anyways, I have learnt not to dwell on the words of those who typecast me or don’t appreciate my art. Instead I focus on the amazing RICHNESS of the Bay Area Dance Community, the wonderful dancers who inspire me every day and make my vision a reality and friends and family who support me, sometimes from 1000 miles away. I don’t want to list their comments as it would sound narcissistic, I’d feel shy and they are private. But they understand that I am constantly EXPLORING, QUESTIONING and FINDING MY VOICE. That I choose to speak in the language of Modern Dance is merely incidental.
Being a diehard SRK fan, when I heard about the event at the Fairmont in San Jose where people would get to interact with SRK, my immediate reaction was “I'M GOING!”
One look at the ticket prices and my plans were DEMOLISHED... $500 (later reduced to $250) for VIP and $100 for regular. I mean, who can afford that? YA RIGHT! There were folks, with full family, bacchas and all, bejeweled and caked, to take their pics with SRK.
That same evening, Mona, with the demeanor of a person who is going to drop a freaking bomb, told us about the event. Veiling her words in an air of complete nonchalance, she told us how they approached her to feature her brand new company, Mona Sampath Dance Company, which I am a proud part of.
The next few days were unreal. We had one week to put together a MIND BLASTING (for the difference between mind blowing & mind blasting, watch Russell Peters) act to honor King Khan. Besides the incredible excitement was the nagging fear that this may not come through. I mean there is no contract, no mention of our name, NOTHING! Not to mention
several Bay Area companies, swarming around the organizers, offering to PAY THEM to perform!
But we set out to do what we know best: DANCE.
Mona put together the mind blasting medley of song and dialogue, selecting epic songs from SRK’s movies. The medley itself was a driving force, but TREMENDOUS work lay ahead. Over the next week, we worked endlessly to prepare something that would truly capture the essence of Shah Rukh Khan. We incorporated different dance styles, moods, and props to prepare a 9-minute dance. Buckets of sweat, toil, endless rehearsals and bottles of Gatorade, led to our SRK medley.
Then of course, the costumes arrived and we realized that we had to wear heels. It was immaterial that we were expected to jump on tables, run from spot to spot, fall on the floor and basically tear apart the stage. Blisters followed soreness; but the dancing continued.
Finally THE DAY arrived. We arrived at the Fairmont, at 3 pm, for the technical rehearsal. Then began the waiting game.SRK was supposed to arrive at 8pm, but didn’t arrive till 11pm. Meanwhile we waited in the room, the corridor, the room again, the corridor again and finally the dingy kitchen. All this while, with 3-inch long heels, curled hair kept in place with half a bottle of hair spray and several props. All this while, we grumbled about not being at the grand entrance, where the fans were milling to greet him. Luck was on our side though, and at 11:05pm, SRK walked in, not through the grand red carpet entrance, but THROUGH THE KITCHEN.
After a quick picture, and the fact that some of us had been rendered BREATHLESS and SPEECHLESS, it was show time. We began dancing.
SRK pulled his chair closer as dialogues and soundtracks enmeshed. And closer when "main hoon don" came. And closer, smiling now, as "kaali kaali ankhen" blared on. Finally he stood up and started walking towards us. There was confusion, commotion, CHAOS! Security restrained people, asked SRK to stay put, waves of people charged forward and us? We danced! And Then. There was Shah Rukh, in front of us, on the dance floor, as waves of people rose and fell around him. He rocked with us, until the crazed fans enveloped the stage and security had to lead him away. But those few moments when we danced for him and then with him, justified EVERYTHING.
It was incredible to share our passion with him, and see him affected by our zest for dance. We were told that it was highly unlikely for him to join us on the dance floor, due to his injured shoulder; but there he was, doing “Dard-e-disco” right in the center.
It was an incredible first performance for our company. We can never forget how despite protests by the security, and the mob of fans, SRK couldn’t help joining us on stage. What greater compliment can there be?
Doctor Raman and Sunita Kapur's Clinic in GK 1, New Delhi, is well known, but I was still not prepared for the large number of people who flocked there. They do acupuncture for all kinds of ailments, diseases, for quitting smoking as well as for cosmetic reasons. They conduct a test using a specialized instrument which they place on your palms and determine where the "blockages" are. Acupuncture is based on the concept of Qi, the life energy in the body, and needles are inserted to allow it to FLOW and rejuvenate, by removing any BLOCKAGES.
