We have received 98 entries from all around the world from young dancers of ages 10-18 years old and all dance styles. They have submitted an essay on the topic - "Why is being a dancer important to me." In a world full of utter chaos, teenage issues and competitiveness; dance bring these young people - joy and physical and spiritual well being. Dance enriches their lives with positive aura and life long health benefits. We would like to thank the parents and gurus for taking good care of our next generation of dance leaders.
Dance School s Name: Dance School s Name: Nritya School of Dance
Dance School s Name:
Blaring music and dynamic light surround my silhouette, a warped halo of ominous colors accentuating the restrained passion of my abrupt, powerful gestures. A thunderous bang resonates from my carefully bent feet, a sense of power emanating from my very pores. I summon my strength for my greatest achievement, my moment of glory, the heroes of humanity having fallen before my wrath, as pleas for reconsideration bombard my deaf ears. The melodious tune of the flute continues, my ears summoning the notes to travel to every part of my body as beads of sweat run down my forehead. A shooting pain erupts in my legs, and my arms feel like twigs, ready to break off at any given moment. The flute gets louder, accompanied by the distinct sound of the mridangam.
So shall be the final moments before I exit the stage gracefully, not a trace of pain or defeat in sight. A tranquil-like state takes over my body. Ignoring my assorted pains, I am in a complete and total oblivion.
I was once told that everything is meaningless, until you give it worth. For me, Indian classical dance (Bharatnatyam) has been my everything. In a world thriving on competition, chaos, confusion, and alienation, truly knowing the flow of life is a difficult task. But somehow, Bharatnatyam provides me with just that. It has the capacity to combat daily annoyances, rekindle old desires, and regain happiness. In the nine years of participating in this cultural and traditional art form, I have found a new meaning for it. It's not just about a performance; it is the expression of feeling in movement- an art form of the human body. As such, it is temporal; no performance is like the last. And once it is done, it can't be undone; it says living, somewhere in the heart of the dancer.
Bharatnatyam allows for me to change from ordinary to enchanted. I transcend and become beautiful. I may be alone in my room, yet I am in a space outside of finitude where I move as a fairy to my own centric rhythm. I am truly connected with my being, both physically and mentally; tension is eased and fatigue is lifted, leaving me refreshed, aware, and receptive. I am connected to my life. I have been touched momentarily by indescribable joy. It is palpable and expansive. This is happiness.
Name: Melvin Varghese
Grade: 12th
Residence: Bronx, NY, USA
Dance Style Learning: Bharathanatyam
Dance Teacher Name: Guru. Chandrakala Raghavan
School Attending: Cardinal Spellman High School
Dance School s Name: Sri Amruthakala Dance Academy
Dancing has been a major part of my life ever since I started learning Bharathanatyam at the age of six. I have always shown an avid interest to pursue the classical arts, something that other first generation Indian-Americans normally try to stray from. In a time when parents forced their daughters into a dance class, I was the only boy in my class who wanted to learn how to dance. Even in India, male Bharathanatyam dancers are rare, its number diminishing, and here I was to change the circumstances. I also felt out of place coming from the Bronx to a class of students who resided in wealthy suburbs. Transcending barriers, I was ready to learn this ancient dance deeply rooted in the Hindu tradition. And I was a Christian for that matter!
I have stayed with Bharathanatyam for so long, it has taken over a decade of my life. It's surreal to even say that. But there was a point when I felt something was missing and so did my parents. We realized that I reached a turning point in my career where I should go further and excel on a more professional level, namely pursue an Arangetram. Arangetram is considered the first professional performance of an artist who exhibits full knowledge and mastery of the art, which takes many years of experience to do. At this time had gone through a number of teachers and I had even spent summers learning in India. I was fortunate enough to learn under the tutelage of my first teacher�s guru, Sri V. Krishna Kumar. However, after learning a few items from the virtuoso, he unfortunately passed away due to a heart attack. I was fortunate again to learn under his senior disciple, Chandrakala, who became my current teacher. One of the reasons I love the Indian arts is because of the "guru-shishya parampara" or teacher-student relationship, an age-old tradition that is the foundation of trust in a given art. When we inquired about an Arangetram, she was hesitant at first because of her high standards. However after studying under her for a couple of months, it was decided that October 30, 2004 would be the date of my Bharathanatya Arangetram.
The night of my recital came sooner than I expected. But before I knew it, I had performed my last item called Mangalam, thanking all those who have blessed me in a special way. That day, I felt like a true Indian artist, one who gives memorable
performances, although my performance was far from flawless or inspiring. Nevertheless, it felt great actually accomplishing one of my life's goals. I realize now that it is my responsibility to continue keeping this living art form in existence. This is not just a job, but this is who I am. The beats "Takita Taka Dhimmi" are no longer empty phrases, but the tempo to which I walk and the rhythm to which I breathe.
Name: Sushupta Gouri Srinidhi
Grade: 12th
Residence: Centennial, Colorado, USA
Dance Style Learning: Bharathanatyam
Dance Teacher Name: Guru. Usha Muralidharan
School Attending: Smoky Hill High School
Dance School s Name: Abhinaya School of Dance
I stand in the hot South Indian sun examining the carved details of dancers on the side of the Belur temple. My fingers outline the figures slowly. Some are faded, weathered by the centuries they have stood; yet, their positions are still unmistakably firm, and graceful. Praises of God; stories of eternal love, peace, and devotion are all caught in stone, by figures in mid-dance. While I stand there in awe, I cannot help but think, �This is Bharathanatyam.� A dance that has lived for centuries yet moves in fast, rhythmic moments. A dance that can bring beads of perspiration in an instant, and devotion in seconds.
Bharatanatyam, to me, is a connection to my inner self. Although millions of people in India perform Bharatanatyam, each dancer has some individual emotion and association for the dance. One link it provides me is to my religion. I learn stories of the Hindu Gods and Goddesses through dancing to my own interpretative sentiment of a song. However, it is more than just learning the stories. Demonstrating the stories captivates your audience as well as yourself, till you become a part of the story that you are enacting. It is not just another account of a sage praying; dance allows you to become the sage worshipping God. Dance connects me deeper to the Hinduism by
letting me feel it in my heart.
Seeing the carvings of dancers on the ancient Indian monuments gives me goose bumps every time. Who would have thought that dance would connect me so deeply to India, to my culture, and to my heritage? The dancing bells that I put on are a part of my Indian identity, and Bharatanatyam lets me proudly remember who I am.
Bharatanatyam is very important to me because it is piece of the puzzle that makes the inner core of my personality. Learning this ancient form of dance is a privilege. Even though I live in the 21st century and thousands of miles from India, I have had the honor of learning Bharatanayam in the United States. The dance teaches me perseverance and dedication; understanding and emotion; grace and precision; expression and devotion. It has given me a connection to my religion and to my heritage, and an insight into myself.
Name: Melody Singh
Grade: 12th
Residence: Iowa City, Iowa, USA
Dance Style Learning: Bharatanatyam
Dance Teacher Name: Guru. Monica Cooley
School Attending: West High
Dance School s Name: Kala Nivedanam
Miss Monica taps her short wooden stick on her block to keep the difficult seven-count rhythm in time. The voices on the tape fill the studio, along with six pairs of feet stamping the beat in unison. "Stretch those arms! Deeper araimandi, Munmun." I bend my knees while trying to maintain the 180 degree angle of my feet. It is difficult to believe I am a dancer of one of India's oldest art forms. Bharatanatyam requires years of dedication to master; I am in my fifth year. As the tempo speeds up and Miss Monica;s tapping accelerates, our footwork falls
apart. Most of the girls stop, but I continue. Miss Monica taps the block furiously, egging me on to the end. Finally, I am finished. The tape clicks off: "Good footwork, Munmun!" I smile through shallow breaths, exhausted and proud. "But you still need a deeper araimandi." I groan inwardly. After class I am anxious to go home and practice, this time with a proper araimandi. By next week it should bemastered.
Instead, I am lying in a hospital bed the entire next week. My nervous system has shut down. I am no longer able to move my arms or legs. Doctors perform tests to determine a diagnosis. They diagnose me with Multiple Sclerosis; later they reconsider, thinking I have Acute Disseminated Encephalomyelitis. My doctor gently explains to me that I cannot dance for a few months. I begin to sob. The situation seems surreal and impossible. Annual Day is three weeks away. I have toiled too hard and too long for it to be over in just a week. It does not matter that I am physically incapable. I resolve to dance in the recital, no matter what.
A week later I return to class. My legs are weak and shaky. They threaten to collapse at any given moment, yet I have surprised everyone, including the doctors. When Annual Day arrives, I am ready. While on stage, my bare feet stamp the warm wooden floor. Determination courses through my thin legs. My feet are sweaty, slippery, and work hard to grip the floor. I am already exhausted and nowhere close
to completing the routine. My slender arms sting and my muscles throb in agony. My neck aches under the sagging weight of jewelry and the long plait tugging at my nape. I glance down to the front row where Miss Monica sits. Her eyes and broad smilespell praise. I straighten my back. I bow deeper at my knees. I forget the pain and focus on what I know and feel by heart. My feet no longer feel as though I am dragging sacks of potatoes, but are weightless. I lift my chin higher while tightening and stretching my fingers. I bend my elbows just so and listen to the cheerful clinking of bangles and bells that call attention to the rhythm of the movements. Finally, the end. I bow to the audience, especially Miss Monica. In spite of my exhaustion, I have never felt so powerful.
Name: Rucha Desai
Grade: 12th
Residence: Ridgewood, NJ, USA
Dance Style Learning: Bollywood & Middle Eastern
Dance Teacher Name: Guru. Lateefah Ravish
Academic School Attending: Ridgewood High School
Dance School s Name: Arya Dance Academy
Dance ignites the flame that illuminates my soul. When I move, I feel a surge of energy reverberate through my veins. However emotionally or physically exhausted I feel, dance invigorates my senses, bringing my heart and mind together. When I am dancing, I am not a girl, a student, or an Indian--I am empowered to become simply me. As an Indian girl attending American schools, I have been subject to stereotypes. When I am dancing, I forget my labels, remove myself from arbitrary categories, and delve into a world without external forces trying to shape my life. As a dancer, I am alone, but not lonely. Driven by this passion of art, I become one with the world around me.
Dance has brought me closer to my roots. I partake in all forms of dance, currently swaying to Bollywood and Middle Eastern beats. In the past, I have partcipated in Kathak, Hip Hop, Ballet, Modern, West African, and Salsa. Through the Kathak and Bollywood styles, I have become more attuned to my culture. I learn to move to the rhythms of my people, and understand our channels of expression. Dance has provided me more than the dense pages of a history book has ever given me. I come alive when I am performing. When I dance in front of people, I am telling them a story. I speak through my dance, akcnowledging emotions I do not express through words. Like Nora, in Henrik Ibsen's "A Dollhouse," I am "dancing as if life depended on it." Without passion, a human in merely a machine, operating by social mores. Dance is my passion; it allows me to develop my own being, express myself, and become aware of my senses. Without dance, without an illimunating force, I would be another machine. Through dance, I attain light, bliss, and peace. I am a dancer.
Name: Anisha Kumar
Grade: 11th
Residence: Scarsdale, New York, USA
Dance Style Learning: Bharata Natyam
Dance Teacher Name: Guru. Indhra Rajashekar
Dance School s Name: Indhra Rajashekar's Dance Academy
Academic School Attending: Edgemont Jr./Sr. High School
Mahatma Gandhi once stated, "All true art must help the soul to realize its inner self." Being a dancer has allowed to me enter a world of precision in detail, self-discipline, and spirituality. Yet, most importantly, it has helped me find a part of myself that I never knew I had. It never really seemed to me that tennis, violin, or any of the other activities I did, represented all that I wanted to do. Even though I loved playing in orchestra and playing varsity sports with my friends, there was always something missing that prevented me from thoroughly embracing these activities. This void in my life was filled by dance. I started learning Bharata Natyam since the age of five, yet I never realized its true importance to me until now. Looking back, I've often wondered how I could have spent my entire sixth grade
summer dancing six hours a day in strict discipline and then ascending the stage to perform solo in my Arangetrum or how I could have dedicated eleven years of my life to this art without thoroughly loving it.
In dance, I have found so much more than intricate footwork and facial expression. Dance has provided an escape from the
demanding realities of life into a world where competition and judgment disappears and one dances solely for oneself. The self-consciousness and doubt of everyday life are washed away, and the sole point of concentration is the beat of the mrudungam
(drum). As a dancer, my mind has been conditioned to ignore the pains of my feet maintaining perfect posture and my arms tightening into absolutely clear gestures; momentary pain is insignificant when it can create grace and portray the intricate symmetry and precision of this ancient art-form. However, true art is far more than its physical form.
As a dancer, I have been introduced to spirituality and Hinduism. Despite my parents' painstaking attempts to teach me about Hinduism when I was little, I have come to realize that one cannot truly understand the customs, mythical sto ries, and morals without experiencing it for oneself. Reading a picture-book on the life of Krishna cannot come close to the experience of depicting and feeling Devaki's
despair when witnessing the deaths of her seven children, Krishna's mischief when stealing butter, or Krishna's majestic dance atop the serpent Kaliya. Bharata Natyam has given me great respect for my culture and encouraged my desire to pass on its meaning to future generations. Not only has dance changed my life, it has allowed me to share my passion with others. By raising funds through dance to better the lives of people less fortunate than me, I was able to use this art to help the community. Dance has been more than a mere extracurricular activity, it has been a decisive factor in shaping my world. In high school, college, or later in life, dance will
still be the art that helped me find my true calling and my inner self.
Name: Reshmi Kaur Oberoi
Grade: 11th
Residence: Queens Village, New York, USA
Dance Style Learning: Kathak
Dance Teacher Name: Guru. Poonam Punj
Dance School s Name: For The Love Of Dance
Academic School Attending: Townsend Harris High School
Kathak is a complete dynamic theater, not compromised to, but rather co-existed in the dance form which has made many more doors open, outside of the academic life of the dancer; myself. Perhaps "Devdas" was the initial propaganda to popularize it, and perhaps the entrancing chaakars or the intimidating fast footwork, taal, was the spark to ignite a kathak dancer�s fire. Indeed, that would disguise the
artist's realistic form. Perhaps the angarkha fascinated spectators' pupils as she spun her way into their hearts. This cryptic dance form has been cracked and there is a most complex answer that is only yet to be learned.
Kathak: An art form based on fast footwork and even faster pirouettes, with an element of storytelling or drama. The hastamudras, hand gestures, the poses, and even the walk of the dancer further filters into this narrative. The background music, in vocal or orchestral form, seamstresses the story that is accompanied by aharya, the artist's accessories and make up of him or herself. And then there is my semantic of dance: The "X" factor; Satvika is the eye movement and the whole feeling conveyed by the dancer. This feeling emanates anonymously from within and reflects through a human's natural expression. A dancer may forget to be human while dancing and may
focus on the technicality of the actual dance. In contrast, when the dancer becomes human, her dance can convey even the most miniscule of stories. The "human" audience is keenly perceptive to such stories because they can relate to the story. This is
the aesthetic self -actualization of a dancer.
Epiphany- My dance does in fact fit the ancient kathak philosophical theory of "Katha Kahe So Kathak Kahaye" - One who tells a story is a storyteller. Once I put on my ghungroos, dancing bells, fifty on each ankle, I lift off my feet and lose myself to the music in a euphoria that perhaps no one can feel unless they are on that stage and moving their feet in patterns at "tenth speed". Though my mother is from Puerto Rico, and my father is from India, language has never been an obstacle. This has only progressed my knowledge of Punjabi, Hindi, and even some Sanskrit. For once, as my dance teacher says, you can think with your heart and not your brain. This idea amuses me because I, infatuated with science and realistic ideas, would never think that a heart could be anything more than a cardiovascular muscle. However, Kathak is a stimulus that affects the body in its entirety.
Kathak is a truly unique and complicated dance that is mastered by the dancer who conveys the message of her dance. Bharatnatyam's poses, and Kuchipudi's high jumps, in my opinion, cannot compare to the beauty in any far-fetched story that is told through kathak. Kathak signifies the importance of dance and is the revolutionary new way to communicate. Indeed, the "science" of dance is equivalent to the complex art of expressions found in dance.
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