Kathak-Bharatnatyam
Jugalbandhi
a Video Report by Heidi M. Pascual
Jugalbandhi
a Video Report by Heidi M. Pascual
The Indian Graduate Students Association (IGSA) and ASHA for Education
presented a unique Kathak-Bharatnatyam Jugalbandhi on May 15, 2008 at
UW-Madison Music Hall. The performers were Meenakshi Ganesan, founder
and artistic director of Kalaanjali School of Dance and Kiran Chouhan,
teacher and choreographer at the Anila Sinha Foundation in Chicago. This
musical event was part of IGSA's goal of bringing Indian culture to the UW
campus. ASHA for Education is a secular organization working to help India's
poor children get an education.
Kiran Chouhan executed her kathak numbers in a most graceful but
powerful way, combining soft gestures with swift footwork and lots of turns,
plus a sweet, smiling face each time she faced her audience. Meenakshi
Ganesan combined facial expressions, great footwork, and picturesque
poses in her Bharatanatyam numbers, plus a one-woman skit-like, mime-like
stage acting that only a skilled Bharatanatyam artist can perform. The
performance was highly educational as one saw the differences and
commonalities between kathak and bharatanatyam classical dances. And
both dancers were excellent and beautiful in their colorful costumes.
Hats off to IGSA and ASHA for Education!
presented a unique Kathak-Bharatnatyam Jugalbandhi on May 15, 2008 at
UW-Madison Music Hall. The performers were Meenakshi Ganesan, founder
and artistic director of Kalaanjali School of Dance and Kiran Chouhan,
teacher and choreographer at the Anila Sinha Foundation in Chicago. This
musical event was part of IGSA's goal of bringing Indian culture to the UW
campus. ASHA for Education is a secular organization working to help India's
poor children get an education.
Kiran Chouhan executed her kathak numbers in a most graceful but
powerful way, combining soft gestures with swift footwork and lots of turns,
plus a sweet, smiling face each time she faced her audience. Meenakshi
Ganesan combined facial expressions, great footwork, and picturesque
poses in her Bharatanatyam numbers, plus a one-woman skit-like, mime-like
stage acting that only a skilled Bharatanatyam artist can perform. The
performance was highly educational as one saw the differences and
commonalities between kathak and bharatanatyam classical dances. And
both dancers were excellent and beautiful in their colorful costumes.
Hats off to IGSA and ASHA for Education!