Episode Notes

Episode Links

Kalpana Subbarao – Dance is the language of her soul (wordpress.com)

Kalpana Subbarao - YouTube

Kalpana Subbarao (@kalpanasubbarao) • Instagram photos and videos

Bio

Kalpana Subbarao is an artist with over 20 years experience in Indian classical dance forms, Kathak and Bharatanatyam. As a 2018-2019 Artist in Residence for Dance Source Houston, she produced a collaborative show on Kathak-Flamenco with 7 other artists from Houston. In 2021, she extended this work with an original new piece titled Ritmo Zindagi that premiered at the Miller Outdoor Theater. She has been a solo artist at the Barnstorm Dance Festival. She is a certified Teaching Artist through Young Audiences of Houston/University of Houston. She studied Bharatanatyam in a traditional setting in India. A recipient of a 3-year scholarship from the Sangeet Nritya Academy, she holds the 1st rank in the Senior and Vidwat (Proficiency) exams. Currently, she practices Kathak and is a disciple of Pandit Sontosh Kumar Chatterjee for the past 9 years. She is a student of rhythm with Pandit Divyang Vakil for the past 2 years. In 2021, she completed a 15-day workshop on Navarasa Sadhana, a system of acting methodology for dancers, conducted by Guru G. Venu. She has performed in USA, India and Malaysia. She has conceptualized, co-created, co-choreographed and directed an evening-length production of Kathak-Flamenco, A Celebration of Cultures. As a choreographer, she showcased her work, Beloved, at the Mind The Gap show in 2017. She was the lead choreographer for Kathak in Silambam Houston Dance Company’s production, Kāvya: Poetry in Motion staged at Miller Outdoor Theater (2018) and MATCH (2017) in Houston. Kalpana teaches Kathak for Silambam Houston at their Pearland and Heights locations. She has a Master’s degree in Computer Science from University of Houston and has previously worked as an engineer.

Show Highlights

(0:02:30) Getting back on stage after a year

(0:04:26) Kathak in Houston

(0:06:06) Kathak Flamenco collaboration

(0:12:47) What do you look for in youur collaborators

(0:21:53) Being Friends outside of collaborations

(0:24:09) how taalvidya has changed the way you see dance

(0:25:45) Doing online classes pre-pandemic

(0:33:37) Transitioning from Bharatnatyam to Kathak

(0:37:21) How do you teach differently?

(0:48:59) Restarting after a long gap

(0:54:24) Future projects

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

BIO

I am a Kathak enthusiast. I started learning Kathak dance at a tender age in Banaras, U.P., India. I started my training under the tutelage of Dr. Purnima Pandey and continued with Smt. Manju Shukla at Banasthali Vidyapeeth Rajasthan. Both Dr. Pandey and Smt. Shukla are disciples of Sri Mohanrao Kalyanpurkar who was a disciple of Pandit Shambhu Maharaj.

Currently, I teach Kathak dance in Central New York. My students are of all ages, ranging from three to seventy years of age. I find teaching Kathak to be an ideal mechanism to instill confidence and a sense of purpose amongst my students.

EPISODE LINKS

https://www.instagram.com/anjanidanceacademy/

https://www.seemakathak.com/

https://www.youtube.com/channel/UCnucbiE1kf9Lh0k9gH1FteQ

https://www.facebook.com/seemakathak

SHOW OUTLINE

(0:01:41) Building an audience for Kathak

(0:07:46) Cultivating an interest in Kathak for students interested in Bollywood dance

(0:11:45) Community Involvement

(0:16:21) How to connect with people

(0:20:30) The personality traits obtained from being a performer

(0:25:09) How do you teach differently from how you were taught?

(0:28:28) Encouranging students to practice?

(0:32:31) Benefits of the ISTD Syllabus for Kathak

(0:36:57) What are you learning these days?

(0:39:58) Memorable moments with Anjani Academy

(0:42:04) Dance and Spirituality

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

An experienced Human Resources professional and a dedicated Art Enthusiast, I am the Director, Gurukul Studios. I spearhead all the Projects at Gurukul. I bring to the table, strong corporate and business experience of aviation industry with companies like Cathay Pacific and Emirates.

At Gurukul, I have established distinct methodologies and fair business practices with a vision to be a culturally rooted yet progressive dance organisation! It is currently one of the leading Indian classical dance academy in the Middle East with branches in India and Switzerland.

I have made path-breaking forays into the Dubai Academia and taken Gurukul Art Outreach Programs to several academic and art forums. Gurukul Dubai, works closely with GEMS Modern Academy and other leading schools in the region. As a conscious decision of our Corporate Social Responsibility policy, we worked with specially abled students on SNF, Dubai and Al Noor.

Gurukul Dubai was established by Pali Chandra and me, in 2007. We provide quality and classical dance education to more than 350 students in Dubai, and have started operations in Zurich and Bangalore (India). We are true practitioners of Indian Classical Dance syllabus of ISTD, UK , and strongly believe, that internationally it is one of the the most compatible syllabi. We have been holding ISTD exams annually since 2012 and have enabled and supported approximately 74 in 2012, 91 in 2013, 128 in 2014, 127 in 2015,165 in 2016 and 205 in 2017. Whilst the numbers speak of the popularity and acceptance of the syllabus through us, we at Gurukul have ensured quality education and hence the results. We adhere to the syllabus guidelines for all levels from CEP to Grade 6, with a focus on ISTD safe dance practices.

Many workshops by visiting faculty have been organised by Gurukul to help maintain standards. Some of my successful projects include the 3 days Kathak Festival, Sufi Noor in 2009 and 2012, Five Elements, (2010) Navarasa (2013), Naach – 100 Years of Bollywood (2014), Taalmala (2016), Navinayika (2015), Lasya (2018), Parampara - an annual event of Gurukul wherein we take our students from all our centres to India - to learn from the maestros, to name just a few. My past assignments include those with the Emirates Group as Human Resource Specialist, Commercial Division, Dubai and Cathay Pacific Airways, Vancouver/Canada and Hong Kong.A people’s person at heart, a mentor and an executive decision maker, I worked hard to make Gurukul a well recognised centre for ISTD education and a place for dance lovers to connect with. I must confess that this could not have been done without the artistic guidance of Pali Chandra and my pro-active and committed facilitators and admin teams.! India and specially, the City of Bangalore, holds immense potential for dance education based on ISTD syllabus.

With the very first studio that opened last month (December 2017) in one of the most centrally located communities on Wood Street, off Brigade Road, I can clearly visualise reach of our programs with ISTD at its heart ! As a child I had learnt kathak dance for 7 years under the able guidance of Guru Vikram Singhe and am currently being trained under Pali Chandra for Vocational Course of ISTD.

Show Highlights

(0:02:04) The need for systematic dance Education

(0:03:16) Career Options in Dance

(0:07:12) Being good vs being the best

(0:08:39) What made you want to return to dance?

(0:10:17) Roles and Responsibilities in Gurukul

(0:15:09) Interviewing Teachers for Gurukul

(0:22:25) Onboarding process at Gurukul

(0:25:03) What do students need?

(0:27:15) When can you start using dance to express yourself?

(0:29:28) What do your students love about you?

(0:33:36) Building an audience in Dubai

(0:36:02) Persevering during the hard times

(0:38:21) Sponsorships

(0:40:03) Building relationships with sponsors

(0:45:09) Managing sponsorship expectations

(0:49:29) What do artists want?

(0:52:05) Leaving good feedback to artists

(0:56:58) Gurukul India

(1:01:09) Competition in Bangalore

(1:03:45) Culuture of dance in Bangalore

(1:04:12) Future of Gurukul

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Rohit Parihar was initiated into Kathak dance at an early age by his Father and Guru Sampat Kumar Parihar of the Jaipur Gharana. Later began learning Kathak dance under the guidance of Guru Pandit. Rajendra Kr. Gangani

He's currently a lecturer in JG College of Performing Arts, and a visiting artist at Kadamb Centre for Music and Dance.

(0:02:05) Earliest memory of doing Kathak

(0:03:26) Being at Ease on Stage

(0:04:52) Building relationships with artists

(0:06:25) Keeping the audience engaged

(0:08:12) Pre-Stage Rituals

(0:11:15) The Intricacies of Sawaal Jawab

(0:13:14) Guruji ki Kripa

(0:18:00) Riyaz Rituals

(0:21:28) Generating Curiosity in Students

(0:23:13) Teaching practice

(0:25:46) How you teach differently from how you were taught

(0:30:48) The importance of padhant

(0:38:49) Work with Kadamb

(0:45:43) Changes in Stylization when working with others

(0:46:56) What's unique to Kadamb

(0:47:58) Where does uniqueness arise from?

(0:49:30) Work with Drishtikon

(0:51:49) Dancing with an injured toe

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Show Highlights

(0:01:35) Aparimita Production

(0:02:51) The importance of Powada in Maharashtra

(0:04:25) Providing Opportunities for Students

(0:05:55) Riyaz with Students

(0:07:53) Injury Prevention

(0:10:33) How does Maneesha Tai teach differently from how she was taught

(0:14:30) Hastasoundarya: What makes movements beautiful:

(0:20:58) Sangatkalar: The importance of accompanying artists

(0:25:07) Accompanying Artists in Maneesha Nrityala

(0:27:53) Teaching students the essentials of music and rhythm

(0:30:43) Process of creation

(0:32:06) Raag Maala

(0:35:40) DIfference in students since 1975

(0:38:52) changes in teaching over time

(0:42:56) The evolution of audiences

(0:47:34) When and how Tai's family members got into Kathak

(0:51:34) Overcoming Major life miltestones

(0:57:06) The importance of support systems for performing artists

(1:01:34) Memorable performances and anecdotes

(1:03:01) Doing 60 performances in two years before 60th birthday

(1:08:48) Performing with Kishan Maharaj ji

(1:14:23) Feelings about the future

Mrs. Maneesha Sathe, one of the senior Kathak exponents of India, has been trained initially with Pandit Balasaheb Gokhale in Pune and later with none other than Kathak Maestro Nataraj Pandit Gopi Krishna ji in Mumbai. For the last 45 years, she has been running Maneesha Nrityalaya Trust in Pune, an institute dedicated to the field of Kathak dance. She has performed Kathak in many conferences and dance festivals in different parts of India, including the most renowned Sawai Gandharva Sangeet Mahotsav, Shaniwarwada Dance Festival, Khajuraho Dance Festival, Lucknow Dance Festival, Kamakhya Festival - Guwahati, Nehru Centre - Mumbai, Tata Theatre - Mumbai, Dancejathre Bangalore etc. She has also performed in many countries including USA, Japan, China, Bahrain, Sweden etc., individually and also with her troupe. Her choreographies in Classical and Contemporary Kathak dance form have been revered by one and all in dance festivals of high esteem.

She has won great renown for presenting Kathak along with Japanese Music. Maneesha Sathe and Mr. Yasuhito Takimoto- a Japanese musician and Taiko player- have given the most unforgettable fusion concerts over the last 25 years. “World Peace Art Festival”, “Divine Confluence” have been some of the recent programs presented through this international collaboration. Her collaborative choreographies are a wonderful blend of traditional Kathak, contemporary music and energetic Taiko playing. More than a hundred Indians, Chinese and Japanese artists have been a part of these events in India, Japan and China.

She has also choreographed for Marathi Films like “Sarkarnama” and “Vaarsa Lakshmicha” and others. She has been awarded the Best Dance Director’s awards (Maharashtra State award and Alpha TV award), while one has been record breaking hit in the history of Marathi Cinema. She is the recipient of many accolades like the Maharashtra State Cultural Award for the year 2006, Citadel Excellence award, Gaanvardhan’s Vijaya Bhalerao Puraskar, Rashtriya Swayamsevak Sangh’s Shri Golwalkar Guruji Puraskar, Ajit Soman Smruti Puraskar, Shri Ashok Paranjape Puraskar, Pune Municipal Corporation's Shrimati Rohini Bhate Puraskar, to name just a few. Several of her students have been awarded scholarships and fellowships by CCRT and Ministry of Cultural Affairs, Govt. Of India. She is a guide for Ph.D. students in Pune University. Under her guidance, Mrs. Madhuri Apte has been awarded the first Ph.D in Kathak from Pune University. She is a visiting faculty and honorary Guru in institutions like the Centre for Performing Arts (Lalit Kala Kendra) - Pune University, Bharati Vidyapeeth School of Performing Arts Pune. She has recently curated and created an online course on Kathak for SWAYAM, the online education portal for Govt. of India. This unique syllabus-based course has been produced by EMMRC, Pune and Savitribai Phule Pune University.

Maneesha Tai is known to be a highly sympathetic and generous teacher. She has given many young dancers to the Indian Dance field, several of whom are now performers and teachers in their own respect and settled in various parts of India as well as abroad.

In 2018, Maneesha Tai presented a very unique production - Nritya Dhaara. It is a Kathak performance by four dancers of the Sathe family - Maneesha tai herself, her daughter Shambhavi Dandekar, her daughter-in-law Tejaswini and her granddaughter Sarveshwari. It is an extremely unique performance in the Kathak world and was performed in India and the USA.

Her perseverance and dedication to the art is reflected in the success in this field, and her growing family of disciples all over the globe. She has been instrumental in keeping our ancient heritage alive and inspiring several generations to take forward this legacy of classical art.

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

https://www.facebook.com/profile.php?id=507433370

https://www.annjalishah.com/

Annjali has discovered and learned Kathak dance with Sandhya Desai, in Kadamb Dance Institute, in Ahmedabad, in India. She has then trained under Sharmila Sharma in Paris and in Switzerland during private classes and collective workshops. She has created and toured differents shows in Switzerland and in India (Le Duel - 2011 à 2014, Lotus -2015, Gulzaar – 2016, Muskaan – 2017 à 2019, Nautanki – 2018, Yatra – 2019, Namak – 2020, Chandini & Roshni

• 2021). She is currently working to create a new show Krishna Katha. She has also presented solos in different occasions related to India (Embassy of India - BE, Museum Rietberg – ZH). Since 2008, Annjali is sharing her knowledge and teaching dance. She teaches every week indian dance classes in Ton sur Ton, in Neuchâtel and in Kulturfabrik, in Biel. She also gives private classes and workshops.

(0:03:43) Making Notes for Students

(0:06:55) Teaching dance in Bern

(0:09:29) Identifying and connecting with dance

(0:10:46) preparation done before class

(0:13:34) Riyaz/Practice RItuals

(0:15:14) Donning multiple hats

(0:15:57) Support Systems/Grants in Switzerland

(0:16:46) Process of Grantwriting

(0:20:30) Building familiarity with the audience

(0:23:21) Current Projects

(0:26:31) Kathak Workshops

(0:32:14) Process of Choreography

(0:38:20) Showing up to dance vs "level" of dancing

(0:42:05) Training from Kadamb

(0:46:04) Learning from Sandhya Desai ji

(0:52:36) Drawing Sharmila Sharma ji

(0:57:07) What keeps you going?

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

I’m Meher Kriti Nigam, a Kathak artist and a final year student of engineering. I study Electronics and Communication with a specialization in Biomedical field. Apart from my technical education, I’ve also attended 2 diplomas, in Kathak and Hindustani Vocals. I’ve fortunate enough to get trained under Smt. Leena Malakar (Jaipur Gharana) and Guru Pandit Divyang Vakil ji. My journey with Kathak when I was just 3-years-old. Over the years I’ve performed at various events across the country, from Indywood Film Festival in Hyderabad to performing for MNCs like NIIT Technologies Ltd. I’ve also won a number of competitions at both school and college level. The world has been nice to me and in the past 2 years I’ve got the opportunity to hold fundraising dance workshops for NGOs. I’ve also been a dance instructor at various NGOs and taught their children for free. I wish to pursue Arts and Cultural Management for my masters. With the world progressing, I believe Art, Technology and Commerce are no longer separate fields. We can advance so much by attaining knowledge in all fields and create masterpieces.

Show Highlights (0:04:21) Working with Spicmacay

(0:09:28) Running a Kathak club in VIT University

(0:16:02) Auditioning process for the Dance Club

(0:19:10) Brinigng about uniformity in movements

(0:21:03) how a choregraphy comes together*-

(0:26:03) What audiences like?

(0:27:34) Performing in college fests/competitions

(0:29:43) how Meher started dancing?

(0:30:35) earliest memory

(0:32:32) Kathak Training Smt Leena Malakar ji

(0:34:43) Cultivating a habit of Riyaz

(0:40:25) What is Meher leanring in Kathak at the moment

(0:44:35) Taalvidya Classess

(0:49:19) Getting over fear

(0:51:24) Kathak on Reels

(0:53:37) Gender Expression in Kathak

(0:57:31) Future plans

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Founder and director of Nrityam - The Kathak Studio and a founding member of the Layom Institute of Kathak, Nirajkumar Solanki is an MA in Kathak (Alankaar) and and his Gurus include Pt Rajendra Gangani ji, Bode Gurji, and Rahim Sheikh ji.

His major performances include Parush in Pune and Pryaas in Akola, Thane, and Pune. He's also a Senior Verbal Faculty and CRT (soft skills) trainer, equipped with a Master of Arts Degree in English Literature.

(0:01:16) Coming back to Kathak

(0:05:46) The logistics of returning to Kathak after a long break

(0:09:53) Keeping a prolonged interest in Riyaz

(0:12:53) Nrityam Kathak

(0:16:57) Different Teaching

(0:23:44) Finding time for Kathak for busy professionals

(0:28:58) Interest in English Language and Kathak

(0:34:44) Favorite Kathak books

(0:39:27) Tips for getting into reading

(0:42:50) The positve impact of reading

(0:44:07) The highs and lows of being a male dancer

(0:52:59) How to handle bullying

(0:56:24) Progressive Ideas in Kathak

(0:58:57) How does Kathak thrive in Pune?

(1:02:52) Most memorable performance

(1:07:02) The practicalities of making a full time career out of Kathak

(1:12:19) Costume selection and design

(1:16:53) Future Plans

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Show Highlights

(0:01:44) Performing at the Chekov Festival in Russia

(0:08:20) How productions are started?

(0:09:34) Choreographic investigation

(0:13:15) Developing a good sense of music

(0:15:11) The importance of writing things down

(0:20:30) The meaning of discipline

(0:24:45) Work with Spic Macay

(0:31:32) How working with Spic Macay has improved Gauri di's dance

(0:33:04) Dealing With Unruly Audiences

(0:36:15) The importance of playing sports for dance

(0:38:51) How Gauri di teaches differently?

(0:40:49) How to deal with Students Who are not practicing

(0:42:34) Bringing up the next generation of teachers

(0:43:35) When Students pick up mannerisms

(0:45:02) Gauri Diwakar Sanskriti Foundation

(0:49:53) Joy in Kathak

(0:53:23) Time Management in Dance

(0:59:34) Ustad Bismillah Khan Yuva Puraskar

(1:06:34) Performing in front of 10,000 people

Gauri Diwakar’s elegant, graceful moves, striking facial expressions, along with her powerful presence on the stage, leaves her audiences spellbound. In 2008 she was awarded 'Ustad Bismillah Khan Yuva Puraskar' by the Sangeet Natak Akademi- India’s national academy for music , dance and drama.

Her journey started from Jamshedpur where she learned under the watchful eyes of Ms Sumita Chowdhary. She further honed her skills under the tutelage of the renowned Gurus, Pandit Birju Maharaj and Shri Jai Kishan Maharaj at the national capital's Kathak Kendra. After graduating with distinction from Kathak Kendra, Gauri further perfected her skills under renowned exponent of Kathak, Ms Aditi Mangaldas.

Gauri is also passing on her skills by training young students under her own trust. " Gauri Diwakar Sanskriti Foundation- Sarvatra Nrityam " and thus helping to keep the age old tradition alive.

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Smita Rawal Alves – Smita has been dancing for over 30 years, having toured across the US and Canada, with her primary training and Guru Smt. Anjani Ambegaokar. In recent years she continues to learn kathak under Vidushi Smt. Durga Arya ji and extensive taal vidya studies under Pandit Divyang Vakil ji. As much as she loves to dance and tour, after about a 5-6 year hiatus to raise her own children, Smita’s current aspiration is to share the beautiful tradition with others to emphasize the value and relevance of Indian Classical arts in society today. Since 2015, Smita runs her own Kathak school: Bhakti Bhav Dance, teaching classes to all ages of students across Orange County, CA. Kathak is the schools’ platform to nurture and encourage students to appreciate musicality, movement, rhythms, self-expression, discipline, and the richness of the cultural history which Kathak stems from. Smita especially loves seeing the students become more confident and self-sufficient dancers who can take what they learn and apply it in their own way and in their own expression. She hopes to help students and audiences alike, find joy through the experience of Kathak dance.

(0:03:16) Dance as an offering

(0:04:41) Who does the offering of Kathak go to?

(0:08:43) Bhakti Bhav Dance Academy

(0:12:53) Teaching kids with a busy schedule

(0:17:43) Retaining students after High School

(0:22:00) Starting Taalvidya

(0:26:04) The impact of taalvidya on Kathak

(0:30:04) Working with Guru Durga Arya ji

(0:38:23) Riyaaz Rituals

(0:42:56) Finding balance in Life

(0:44:16) What do Smita di's students like about them

(0:52:05) Work with Nakui Dev Mahajan and Mira the Royal Detective

(0:56:59) Future Projects

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Show Highlights

(0:03:12) Tips for Hybrid Classes

(0:04:33) How art transforms the induvidual

(0:06:14) How Kathak infulences Antara di's life

(0:09:50) Goal Setting in Kathak for Beginners

(0:12:30) The importance of patience

(0:13:58) Anga Shudhdhhi

(0:16:42) Feedback loop between students and teachers

(0:19:08) How to End on Sum

(0:22:42) Rasa Theory

(0:25:32) How audience reactions are felt on stage?

(0:29:06) Managing Teaching and creative work

(0:33:55) Academies across the country

(0:34:45) Driving in Blizzards

(0:38:15) Standardization in Anga Kala Academy

(0:38:58) The issue of students leaving Kathak after high school

(0:43:59) The importance of allied subjects

(0:47:41) When and how to introduce allied subjects

(0:48:01) Creating your own compositions using Taalvidya

(0:50:16) Why the current generation needs Taalvidya

(0:54:44) Training and background

(0:58:29) Gurkul learning : Kathak immersion training

(1:00:09) Kathak in the midwest

(1:02:36) Tips on growing a Kathak Academy

(1:04:07) Outreach work and NGOs

(1:07:02) Angakala Dance Company

Antara Datta started learning Kathak at the tender age of five from Srimati Laxmi Bannerjee in Kolkata, India. She holds a double diploma in Kathak from the Bangiya Sangeet Parishad in Kolkata and the Prayag Sangeet Samiti in Allahabad, India. She received advanced training in the Lucknow gharana of Kathak from "Sringar Mani" Srimati Anuradha Nag (a senior disciple of Pandit Birju Maharaj and the artistic director of the Tarangini School of dance, San Jose, California).

To hone her skills further Antara Datta also receives training from Kathak maestro Pandit Birju Maharaj and Vidushi Saswati Sen, during her annual trips to India at Kalashram, New Delhi. In addition, she regularly visits Mahagami (a dance Gurukul in Aurangabad, India) to receive intensive training from Guru Parwati Dutta. To gain better control of laya Antara receives taal vidya lessons from the legendary Guru ji Pandit Divvang Vakil. Antara is the artistic director of Anga Kala Kathak Academy, which has branches in the Pacific Northwest, North East and Central Ohio and also in Pittsburgh, PA. She held an adjunct faculty position of Kathak at the Cornish College of Arts in Seattle, Washington in Fall 2010 and then at Kent State University in Kent, Ohio in Winter, 2014 and also taught master classes at University of Akron, OH in February 2017.

Antara believes that learning Indian classical dance is a lifelong experience. She relentlessly strives for perfection. She has attended numerous workshop by the legendary Guru Pandit Birju Maharaj. To gain better control on laya she took laykari lessons from the tabla virtuoso Pandit Samir Chaterjee and currently undergoing training under Pandit Divyang Vakil. Antara Data has performed extensively in different parts of the USA, as well as India. The list includes solo and group performances in Cleveland (Ohio), Columbus (Ohio), Canton (Ohio),Pitsburgh (Pennsylvania), Seattle (Washington), Tacoma (Washington), Olympia (Washington), Chicago (Illinois), Grays Lake (Illinois) and Houston (Texas). She and her students have been regular performers at the Northwest Folk Life Festival in Seattle as well as the Asian Festival and the India Fest in Cleveland. In July 2012, she performed solo Kathak with live music at the Triguna Sen Auditorium in Kolkata, India. In 2016 she performed at the Madison Square Garden, New York, USA with Pandit Birju Maharaji's Company. In 2017, she performed at the International Dance Festival (Bharath Nriytasav) at Vishakhapatnam, India. In 2019 she performed at Kalpashree festival (Hyderabad, India), Bharat Sanskriti Utsab (Kolkata, India) and Naadam and Nrityalaya(New Delhi, India) Her innovative cho- reography has brought together seemingly unrelated dance-forms (such as Kathak and Tap Dance or Kathak and Flamenco), Kathak and Ballet in beautiful 'jugalbandi's, captivating audiences across cultures.

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Twice Dora Award nominated Joanna de Souza received a Master’s Degree in kathak dance through Prayag Sangit Samiti, Allahabad, India. Her study, premised in deep respect for the tradition, began in 1978 under her guru, the late Pandit Chitresh Das. Joanna is celebrated internationally as a dancer, a choreographer, and is a much sought-after teacher. Named one of the "leading Indian classical dancers in Canada" - INDIA TODAY Magazine, she has represented Canada at festivals in Lahore, Pakistan, and Holguin, Cuba. In 2006, she toured Australia with Jeff Martin (The Tea Party) and Toronto Tabla Ensemble.

Joanna co-founded M-DO/KathakToronto, which since 1988 has been home to dance classes, master classes and workshops, at the highest artistic level. Her dance company Chhandam, has toured nationally and internationally with their innovative approach to kathak. In 2018, Chhandam, in collaboration with choreographer/dancer Misty Wensel, performed a five-city India tour of their contemporary work BARDO. Joanna was a musician and dancer with the acclaimed Toronto Tabla Ensemble from 1993-2010. She maintains a regular Toronto-based teaching schedule, and teaches across Canada, India, and the US. In 2015 she was recipient of Angikam’s Dr.Maya Rao Award, in recognition of her career-long body of innovative kathak choreography.

Show Highlights

(0:02:20) How did Kathak find you/?

(0:08:07) What is it about Kathak?

(0:10:07) How is the physicality of Kathak different?

(0:11:53) Balancing Chakkars on both sides

(0:13:01) The importance of stamina

(0:15:54) Pt Chitresh Das ji's Father Prohlad Das ji

(0:22:29) A day's worth of training

(0:25:06) The process of learning

(0:28:58) Length of depth of training

(0:35:19) Life in California

(0:42:38) MDO Toronto

(0:52:52) What draws people to you?

(0:55:03) How do you teach differently from your guru?

(1:02:17) Contemporary Work in Canada

(1:09:49) The versatility of Kathak

(1:11:58) Future of Kathak in Toronto

(1:16:18) Topping the Master's Kathak Exam

Episode Notes

Show Highlights

(0:02:21) Driving force behind collaborations

(0:07:41) Performing Spontaneously on stage

(0:10:51) What happens behind the scenes during collaborations

(0:12:34) Work with Purbayan Chatterjee

(0:14:09) Level of readiness needed for collaboration

(0:16:24) The importance of listening to music

(0:18:51) Riyaaz rituals and nuances

(0:24:41) Using a mirror for riyaz

(0:26:31) The importance of finding the right apartment

(0:28:08) Behind the scenes: Mharo Pranam

(0:31:05) Dancing on rough surfaces

(0:31:41) The beginnings of Rujuta soman Cultural Academy

(0:38:43) Trends in previous decades

(0:41:18) When students go their own way

(1:00:56) Outreach work: Orphanages and NGOs

(1:08:09) Legacy and Impact

Rujuta Soman is one of the international leading Kathak dancers of India and founder of the Rujuta Soman Cultural Academy.

Rujuta was honed and polished under the tutelage of late Guru Pandita Dr. Rohini Bhate for over 20 years. She has completed her Master’s Degree in Kathak from Pune University. Born with an artistic flair, Rujuta has also explored the nuances of Taal and Laya under the guid?ance of Taalyogi Pt. Suresh Talwalkar. Recently she is learning intricacies of Jaipur Gharana of Kathak under the able guidance of Pt Rajendra Gangani . She is creative advisor at Rithwik Foundation for Perfprming Arts, and also curator at Ishaanya- Art & Culture Club of Creaticity, Pune. Her academy, RSCA , is a knowledge partner with MIT ADT University.

She is mentor at M.E.S. College of performing arts, is on panel of Guru at Lalit Kala Kendra, (Savitri Bai Phule University) and BVDU School of Performing Arts. She is also working as a visiting faculty at Flame University, Pune. She has been bestowed with many honors and titles like “Nritya Alankaar” by Akhil Bharatiya Gandharva Mahavidyalaya and “Singaar Mani” by Sur Singar Samsad. In January 2018 , Rujuta has been awarded the “ Shree Nandini award" for outstanding contribution in the field of dance by the FIFTH NOTE ACADEMY ( a new vertical of Shakhri Begum Memorial Trust) at the hands of Mr. Praveen Kadle , Ustaad Rashid Khan and Prof. Mandavi Singh . She has been awarded with “Dr. Vijaya Bhalerao Kathak Nrutya Puraskar” by Ganawardhan Sanstha, Pune (2019). Last year, Rujuta presented ‘Rajhansa’ in Kathak with over 13 dancers on stage ( it had lavish sets, costumes and music) on a theme of environmental concerns interlaced with two dancers’ journey and jealousy, and this mega production won the 'Mrinalini Sarabhai Choreography Award at the Trivandrum Festival.'

Rujuta is empaneled with 'Established Category' of ICCR's (Indian Council For Cultural Relations, Ministry of External Affairs) reference panel of Artists. Under the aegis of the 'Rujuta Soman Cultural Academy', Rujuta and her dance troupe has delighted and enthralled dance enthusiasts all over India and the world at various prestigious platforms including China, France, United Kingdom and Germany. Through ICCR Rujuta has got an opportunity to travel and showcase Indian Culture through Indian classical dance Kathak along with her senior disciples to the seven European countries Switzerland, Ger?many, Serbia, Croatia, Montenegro, Austria and Spain. The troupe had 17 performances and 2 workshops which were very well received.

Rujuta has performed in various prestigious music and dance festivals across India like 'Ganasaraswati Mahotsav' on one of the compositions by Ganasaraswati Kishori Amonkar, 'Khajuraho Festival', Swarateerth Festival', 'Kathak Mahotsav' by Kathak Kendra and many more. Additionally, she has collaborations with “ Saxophone melody and Kathak” with George Brooks, “Sufi and Kathak” with Suha Khan, “Kathak along with Rajasthani folk music” with the famous Mame Khan, "Flute and Kathak" with the great flautist Pt. Pravin Godkhindi. Rujuta was a part of the concept “Sangam” - a Confluence of Kathak, Sitar and Tabla featuring Purbayan Chatterjee , Ojas Adhiya and Rujuta herself. These performances were remarkably applauded and well-received. She has to her credit many productions like Rajahansa, Trishna, Krishna Sankeertan, Shivashakti Tatva, Bhairav Bhawataraka and many more which were highly appreciated on various presti?gious platforms.

FACETS

Rujuta has on her facets a video CD "Kathak Ranga"- A duet performance based on traditional Kathak repertoire produced and marketed by "Alurkar Music House" Pune. Rujuta also has the video CD of her production “Bhairav Bhavatarak” produced and marketed by R.S.C.A. Pune. Rujuta Soman Cultural Academy (RSCA) The Rujuta Soman Cultural Academy (RSCA) was founded and managed by Rujuta to provide one platform for her various teaching engagements. Here, she trains students of all ages from different cities and countries in pure classical Kathak - in gratitude to her Guru and to carry forward her work. RSCA aims to extend the boundaries of Indian traditional dance and create a new benchmark in the aesthetics of presentation by using state-of-the-art technology and innovative dance techniques. FILM CHOREOGRAPHY Rujuta has choreographed for the Marathi film 'Bayo' directed by Mr. Gajendra Ahire. She has also choreographed and performed in the Marathi film Mai-Baap also directed by Mr. Gajendra Ahire. Rujuta has also conceptualised and choreographed for some ad films. WORK REFERENCES

WEBSITE : www.rujutasoman.com

YOUTUBE : https://www.youtube.com/channel/UCW_ZX9AkWYFg0L7sGbNmPWw

SOLO PERFORMANCES : https://drive.google.com/open?id=1peKDJqWWk4LXa7rERrGy?HQ9EfhS3oRX

FACEBOOK PAGE : https://m.facebook.com/rujutasomanculturalacademy/

LATEST PRESS REVIEWS :

https://epaper.thestatesman.com/m5/2077227/ SECTION-2/21-03-2019#dual/2/1/

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Guru Smt Radhika Sathe Master of Arts (Kathak), Khairagad University. Kathak Nritya Alankar (ABGMV) Master of Science (Electronics and Telecommunication)

Radhika has been a pioneer in the field of Kathak, for the last twenty flourishing years, under the tutelage of Late Shri Bode Guruji, Guru Smt Madhurita Sarang and currently Guru Shri Rajendra Gangani. She has travelled across the globe presenting her art form, right from UK, France, Reunion Islands to performing in some of the prestigious festivals within USA and Canada.

Having trained more than a few thousand students till date at kathak school titled, Kathak Nritya Mandir, and producing some of the excellent young dancers active today, KNM stands home to numerous National Award winners of this country in the field of kathak, along with numerous scholarship holders of the Cultural Ministry of the Government of India, having been granted the scholarship to train under Guru Smt Radhika Sathe.

Radhika Sathe also is a member of the ABGMV, one of the highly accredited institutions in the field of Indian Classical Art forms within India and abroad, and has been appointed to be a part of the judgement panels of many events and competitions across the nation. Guru Smt Radhika, as a well known name today, in the field of kathak, not just for her work as a teacher, but also for her charisma as a performer. Some of her most accredited dance productions include “Srirangayan” , “Shri Ram Rasrangayan” , “ Genesis” and her recently launched premiered solo production titled “Satva”.

(0:02:19) The Meaning of Taalim

(0:06:57) How to find the right Guru

(0:10:05) Teaching kids vs teaching adults

(0:12:39) how to guage progess/interests in students

(0:16:33) Oral vs written traditions

(0:24:35) Taal Lipi

(0:30:40) Trends from past decades

(0:40:31) Kathak in akola

(1:02:43) Stories from dance dramas

(1:11:04) The process of lifelong learning

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Maneesha is the senior disciple of Late Guru Rohini Bhateji. She has taken intense training in the Lucknow – Jaipur Gharana, now known as 'Rohini' Gharana.She has done her Masters In Kathak from Savitribai Phule Pune University.She holds a diploma in Buddhist Physcology And Ethics from pune university pali department. Currently she is a Guru and a teaching faculty in the Lalit kala Kendra pune university. She is the founder and director of ‘Sukruti Kathak Dance Academy’ which has completed 32 years. Maneesha has a unique reportiere in presenting Buddhist literature through kathak dance. She has been the FIRST performer to present dance at the heritage sight of Bodhi temple at Bodhgaya, in 2016.She has also received special mention from His Holiness Dalai Lama and got the opportunity to perform in front of him and seek his blessings. Maneesha has choreographed and performed some unique compositions as poems of Harivanshrai bacchhan and performed in front of Amitabh Bacchhan and received mention in his blog too. She has also been fortunate to choreograph sequences and perform them for Lata mangeshkar.and Late Minister vilasrao deshmukh Choreographies & ballets impart an important place in today’s dance world. To sustain classical dance in the era of bollywood & reality shows, presentation plays a vital role. Performing classical reportoire in a beautifully choreographed sequence is an insight given to Maneesha by her guru Rohiniji . Maneesha has performed in all major festivals in India & performed & conducted workshops abroad. To name a few…. Sadaneera festival bhopal Konark Festival

Hampi Festival Mandu Festival Dhauli Festival Kaalidas festival Kalka binda festival She has also performed abroad in U.K. Germany, France, Singapore, Malaysia ,Vienna, Zurich Maneesha is an eloquent speaker and has given lectures in reknown colleges on dance and space, dance and photography, origin of kathak etc.she also does programmes of poetry recital with a few dancers and theatre actors. Maneesha has done several choreographies like” Maya darpan” “MAYINI”, “Pravash” “SHIVTANDAV” and also choreographed for a short film. She has been awarded the title of Outstanding performer by RCJC PUNE. IN December 2017 she was felicitated by the Orissa mandal trust and conferred by the Devdasi award for consistent performance in the field of kathak.

Show Highlights

(0:03:37) Favorite thing about Abhinaya

(0:04:50) Finding depth in abhinaya

(0:10:05) Developing an appreciation for Abhinaya

(0:16:40) Emoting Thumris at a young age

(0:23:49) Dealing with Jealousy

(0:24:58) Creative process

(0:28:03) Favorite Creation

(0:31:24) Effects of social media

(0:39:39) What is considered good feedback/engagement?

(0:44:18) Sukruti Kathak Academy

(0:49:41) When students open their own academies

(0:53:52) Ensuring uniformilty across different branches

(1:00:02) Most memorable performance

(1:04:19) Relationship with the word Guru

(1:07:50) Legacy

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Afsar Khan started kathak at an early age under the tutelage of his father, Guru Mulla Jafar Khan (Kala Samarpan Awardee), of the Banaras Gharana. Afsar later joined Kathak Kendra New Delhi, under Guru Pt. Rajendra Kumar Gangani (Sangeet Natak Academy Awardee) of the Jaipur Gharana and completed his post diploma there. He has performed widely all across the world through ICCR, Teamworks, and Spic Macay. Afsar has choreographed kathak with other dance forms such as Bharatnatyam, Kuchipudi, Manipuri, Flamenco and Tap dance. Notably, he choreographed for the Queen’s Baton Relay and the closing ceremony of the Commonwealth Games in 2010. He was picked by ICCR to teach kathak in Mauritius at IGCIC. Afsar Khan has been a senior kathak tutor at the Singapore Indian Fine Arts Society since 2015 and has had many students excel under his guidance. He is well known around the world for his rapid footwork, fast chakkars, and clear padhant.

Show Highlights

(0:01:50) Padhant being a skillset

(0:08:05) The evolution of opportunities for male dancers

(0:12:43) 9 hour riyaz sessions

(0:20:09) The concept of Chilla

(0:35:40) Being called a guru

(0:42:21) Bearing the responsibility of spreading Kathak in singapore

(0:46:34) Insights of Kathak in singapore

(0:51:02) How Afsar ji teaches differently

(0:57:51) Exploring while staying true to yourself

(1:01:41) finding the right fit with organizers

(1:06:11) How to talk about Kathak in foreign countries

(1:11:09) Most memorable performances

(1:13:24) Dancing on broken glass

(1:18:51) Legacy

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Sampada was initiated into Kathak at 6 yrs of age and is an alumni of Kala Academy, Goa. Having successfully completed the Parangat diploma in Kathak at Kala Academy, Sampada moved to Pune and came under the tutelage of renowned Kathak legend Late Pandita Dr. Rohini Bhate at Nrityabharati Kathak Dance Academy, Pune. Sampada has many solo and group performances to her credits such as performances in the dance festivals at Somnathpur and Halebid-Belur in Karnataka, Nakshatra Utsav, Goa, Nimhan dance festival- Madhya Pradesh, Articulate Festival Mysore, Sutra Festival, Sai Nrityotasav Bangalore, Shilparamam - Hyderabad, Goa Doordarshan, DD Chandana, Natya Tantra on Shankara TV to name a few. Sampada has co-choreographed a short film- Radha Bhakti Sudha in 2007 which received the Jury’s Special Mention Award at the New York Short Film Festival in 2008. She has been a panelist for the topic Guru-Shishya parampara on World Dance Day 2017 curated by eminent dance historian and scholar Prof. Ashish Mohan Khokar. Recently she has been on the jury’s panel for Kathak in Sammaan 2020 a worldwide talent hunt contest in Indian Classical Dance hosted by the Shankar Mahadevan Academy. Sampada settled in Bangalore in 2012 and established ‘RIDDHAM – Kathak School’ in Yelahanka New Town. She brings forth a beautiful synthesis in the Lucknow-Jaipur gharana of Kathak as established by her Guru ji, late Dr. Rohini Bhate.

Show Highlights (0:02:42) Getting Students in Bangaore

(0:05:48) What does Bangalore Like about Kathak

(0:09:51) Change in audience over time

(0:12:58) Doing a themed performance

(0:14:09) Difference between a Vandana and a Stuti

(0:15:13) What helped to get through the initial struggle period

(0:18:09) Riddham School of KAthak

(0:23:32) Abhinaya Darpan

(0:27:31) Guru Shishya Parampara

(0:32:39) Akhil Bhartiya Gandharva Mahavidyalaya Kathak Syllabus

(0:36:39) How to approach exams

(0:43:17) How to guage if a composition is performance ready

(0:47:17) Continuous improvement over compositions

(0:50:19) The importance of learning about previous generations and great Gurus

(0:52:27) Being called a guru

(0:54:47) Relationship with senior students

(0:59:07) Preparing students for competition

(1:04:42) What's different in performing for a competition

(1:07:15) Connection and relationships with Guru

(1:11:53) Legacy

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Director, Kathak Kendra Allahabad, Kathak Nrityangana, and Pandit Birju Maharaj's shagird; Urmila Sharma ji is a Top grade Doordashan Artist, and began learning Kathak in 1971 under Pandit Ram Baboo Bhatt

(0:00:58) Urmila ji's Kathak journey (0:07:35) 500 bell ghungroos (0:07:58) Starting Riyaz at 4am (0:10:13) Encounter with a snake (0:25:19) Kathak main badlav (0:27:29) How Urmila Ji started teaching (0:30:02) Teaching Online (0:35:45) How often should students meet their teachers (0:44:28) Learning with Maharaj ji in Guru Shishya Parampara (0:51:40) Work on Thesis (1:06:48) Choosing the right organizers (1:10:04) Encouraging students to practice (1:19:07) Future of Kathak in Allahabad

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Show Highlights

(0:06:13) Building Mindfullness into Kathak Practice (0:09:47) Transitioning from being a student to teaching (0:15:43) Relationship with the word Guru (0:19:59) The Jaipur Gharana for Swati di (0:27:26) Common misconceptions of the Jaipur Gharana (0:31:15) The relationship with a Bandish (0:34:11) The personality of a bandish (0:36:39) What it means to perform (0:39:30) Being your own teacher and your audience (0:41:43) The common pain points of kathakas (0:43:29) Most memorable performances

Swati Sinha is one of the foremost practitioners of Kathak today. Having learnt the nuances of the Jaipur style of Kathak from the great master Pt Rajendra Gangani at the Kathak Kendra New Delhi, she has committed herself to practicing and propagating the art form. She has performed widely all over the globe and her performances have always been appreciated. A bright and vivacious artiste she has gained praise from connoisseurs and critics alike. Sharp yet graceful movements combined with command over deft and intricate rhythm patterns, lithe footwork and subtle, poignant expressions, mark her style. The right blend of 'taalim' and' upaj' i.e. the practiced aspect and improvisational aspect, find a place in her recitals. An 'A' grade artist of Doordarshan she has performed in major cultural events such as Khajuraho Dance Festival; Soorya festival, Trivandrum; Konark festival; Kathak Mahotsava, Delhi; Delhi International Arts Festival; The Danube Carnival, Budapest to name a few. She has also toured China, South Africa and South Korea for performances sponsored by ICCR. Swati also gives Lecture Demonstrations in schools in rural areas besides the major cities for organisations such as IRCEN and SPIC-MACAY thereby contributing to creating an awareness about our culture in the far flung villages as well. Carrying the mantle of a tradition forward as a performer, choreographer and guru Is indeed a daunting task: but she does it all with elan. Her creative streak led her to explore various themes which she presented through her choreographic work, such as 'Anvarat', based on the cosmic cycle; 'Chand Pravah', based on the grammar defined in Natyashastra for the choreography festival in Delhi; 'Of love nature and devotion' based on the poetry of Guru Rabindranath Tagore for his 150th year celebration. She choreographed on the poetry of great Sufi saints such as Bulle Shah,Kabir and Shah Hussain for the ICCR tour to South Africa in 2012 and directed “SAMPRAVAH an amalgamation of four classical dance styles of SWATI SINHA performer choreographer guru India for the Sarang festival in South Korea. She has also performed duets with Flamenco. All her productions aim to keep the sanctity of the style intact. For her contribution to the field of Kathak she has been awarded the “Women Achievers Award” by the Women’s International Network and the “Glory Award” by the Jalota Welfare Foundation and the Guru Kelucharan Mahapatra Yuva Prativa Samman by Srjan, Bhubaneshwar. A complete artiste is the one who understands and accepts the responsibility of Carrying a tradition forward. She has established ‘Sampada’ where a perfect blend of the traditional, and institutionalised training style is followed. Knowledge of Yoga, Classical music and Literature along with study and understanding of cultures beyond our own, are provided to the students. A holistic approach is undertaken for creating not merely performers but artistes who can preserve and add new dimensions to Kathak. Swati is the founder Secretary of Ras Raj Foundation for the arts which aims to take our classical dance and music to the grass root level. Ras Raj Foundation works with the underprivileged section of the society and organises performances and lec-dems of the traditional art forms of India.

Title Track Audio Credit: Doug Maxwell | Bansure Raga

Episode Notes

Notes Charlotte Moraga is a Kathak dancer, choreographer and educator. She is currently the artistic director of the Chitresh Das Institute. She began dancing at the age of nine, but it wasn’t until her serendipitous meeting with Pandit Chitresh Das that she found her calling. Four years after beginning her study with Pandit Chitresh Das she joined his company and was a principal dancer in his original works from 1996 to 2016. Some of those seminal productions include: Darbar, Pancha Jati, Subali Sugriwa, Sampurnam, India Jazz Progressions, Sita Haran, Yatra, and Shiva. In 2002 she had her Ganda Bandhan ceremony in Kolkata and performed her first 2 hour solo concert. Since then, she has toured as a solo artist throughout the US and India. She has performed in many prestigious venues and festivals around the world. The San Francisco Chronicle wrote of her performance at the International kathak festival at YBCA: “Thursday night's triumph belonged to Charlotte Moraga…She has technical virtuosity, but more importantly she has intention, and an intelligence that shapes every step.”

Also in 2002, she became the inaugural director of the Chitresh Das Youth Company. She is committed to developing and nurturing the next generation of kathak artists. She has created choreography for the CDYC for almost two decades. In 2018, in her Guru’s birthplace of Kolkata, India, Charlotte received the “Anugami” for her dedication to her Guru and his legacy.

In 2007, she received a Shensen Performing Arts Fellowship which helped her to create original work in collaborations with tap dancer, Chloe Arnold, in ‘Sangam’ at Das’ India Jazz Progressions. Her Performing Diaspora residency at CounterPulse in 2009 helped her to create original work based on a 12th century Sufi poem with saxophone artist Prasant Radhakrishnan. In 2018, her choreography to music composed by Ritesh Das, premiered at the War Memorial Opera House for the San Francisco Ethnic Dance Festival to critical acclaim, and in 2019, her work ‘Aranya Devi’ premiered at the S.F. Ethnic Dance Festival at Zellerbach Hall. She is currently collaborating with musician Alam Khan and scenic designer, Matthew Antaky in a new work, ‘Mantram’, set to premiere at ODC Theater October 15th, 16 and 17th, 2021.

The short film, ‘Agni’ directed by Alka Raghuram with music composed by Alam Khan was conceived and choreographed in 2020 by Moraga and recently won the award for the Best Mini Arts and Fashion Film at the iHollywood Film Festival, June 2021. In addition to training the next generation in the legacy of Pandit Chitresh Das, Moraga is committed to creating new work in kathak that resonates with the moment.

https://www.chitreshdasinstitute.org/

(0:08:14) Dancing down the steps (0:22:09) How Concepts become dance (0:38:23) The connection of nature and dance (0:45:36) going from ballet to kathak (0:54:53) When should a Kathaka go out of the box? (1:03:30) How Charlotte di teaches differently (1:09:31) How does Charlotte di prepare students

Title Track Audio Credit: Doug Maxwell | Bansure Raga