Gateway to the World of Dance

Narthaki Monthly Newsletter

August 2022

Ashta Nayika and Disney heroines
- Tejsree Bhangeeruthee Beharee
To understand those Nayikas better, an attempt has been made to compare them to some Disney characters. It is important to point out that in their respective stories, these Disney characters show a myriad of moods...

Not forgetting Hena and Parimal: Indian dancers on Broadway in 1930 and 1931
- Donovan Roebert
I first came across the untold story of the Indian dancers, Hena and Parimal, in a cutting from the Arizona Republican dated 12 November 1930.

The dancing lord: Nataraja, lord of the cosmic dance
- Karan Singh
The galaxies are moving just as the subatomic particles are moving and our consciousness is forming and reforming.

Dramatic scene change
- Achuthan T.K.
Women seem to be taking over the once male-dominated Koodiyattam stage as they reclaim traditional roles and choreograph new productions.

Intricate Imagery
- Anuradha (Jonnalagadda) Tadakamalla
A Kuchipudi exponent and scholar provides an insightful look at the history and evolution of a dance form rich in colour and culture.

Can music for dance stand alone?
- Alice Shields
In response to the question of whether classical music written for dance can be effective when heard alone, without the dance, I write that yes, it can, under certain circumstances.

The Heart of Kathak
- Uma Dogra
A leading exponent takes a long walk down memory lane in an essay about one institution that trained almost every single virtuoso of one of the most popular forms of Indian classical dance-Kathak.

Rejection, the Rejected, and the Rejector
- Aseng Borang
How do we begin writing or talking about something like rejection? Firstly, let's get comfortable with the context.

Radical Radhas
- K Srilata
In a climate charged with Victorian prudery, two women celebrated female desire in an erotic epic one wrote and the other reintroduced.

Throwback to Balamuralikrishna's thillanas
- Ram Rakshith V
Balamuralikrishna stood apart from his contemporaries because he could bring unique rhythmic patterns to his compositions.

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