Dance and Psychology

For it still seemed to me “that it is not we who sin, but some other nature sinned in us.” And it gratified my pride to be beyond blame, and when I did anything wrong not to have to confess that I had done wrong. … I loved to excuse my soul and to accuse something else inside me (I knew not what) but which was not I. But, assuredly, it was I, and it was my impiety that had divided me against myself. That sin then was all the more incurable because I did not deem myself a sinner.

Ghritachi and Menaka and Rambha and Purvachitti and Swayamprabha and Urvashi and Misrakeshi and Dandagauri and Varuthini and Gopali and Sahajanya and Kumbhayoni and Prajagara and Chitrasena and Chitralekha and Saha and Madhuraswana, these and others by thousands, possessed of eyes like lotus leaves, who were employed in enticing the hearts of persons practising rigid austerities, danced there. And possessing slim waists and fair large hips, they began to perform various evolutions, shaking their deep bosoms, and casting their glances around, and exhibiting other attractive attitudes capable of stealing the hearts and resolutions and minds of the spectators.

The historical weight of traditional forms (in India) provides both a firm technical base to train in, and a firm place from which to launch into new territories. ‘Distinctive Indian style’ is arguably more about the diversity of styles than anything more unifying. From my individual Western viewpoint as a theatre programmer and producer, I see a lack of professionals to help link artists and their work with the right audiences. It is extremely testing for artists to do the fundraising, marketing, press and publicity and contractual negotiations - as well as have the energy and focus to create fresh, stimulating work."