I have been learning classical Indian dance for over six years, and I have found that it has had a large impact on my identity as an Indian American. My teacher Urmi Samadar and my motivator Pandit Birju Maharaj Ji have deeply influenced my art as a dancer

We often come across such conversations in the artist’s fraternity, an urge to go back to the roots - almost an inescapable conformity that is seldom taught proactively in classrooms- but there is also equally a loud dialogue on breaking some of those, or experimenting with form or style. The panel was a way to ruminate on what those conversations lead to. To understand the point of views of young artists (co age artists..some other word), I hosted panel discussions where leading kathak dancers, bharatnatyam dancers, theorist and Tabla artist brought and shared their point of views.

I moderated a panel in New Delhi, India Habitat Center. Event was graced by Dr Urmimala, Anannya - BharatNatyam Dancer, Siddhi Goel . Some quotes that struck a chord with me are:

Takeaways :

• “The survival of these forms is tied to the retainment of dance forms.” Authenticity is structured, it’s not a ‘given’, she says ‘classical arts don’t come with an authentic seal on it’. Authenticity, at this point, can be defined by the artist. - Urmimala Sarkar Munsi
• At a performance in collaboration with a poetess in the heart of Delhi, surrounded by spectators in the streets, Bharatnatyam was being performed not in the pious atmosphere of an auditorium, but in a very real and everyday space like Connaught Place, which carries historical narratives of resistance. - Anannya
• “Dance is a language that we learn to speak in. certain dancers realize that there is a point when you can’t communicate through your dancer. How do we find a way to express ourselves through dance in a way that we believe does so fully completely. And I do believe that we, as younger artists, should talk steps in order to do so.” - Siddhi Goel
• We should reflect on emerging narratives, and we should be fluid within the discipline without completely uprooting it. A way to include more perspectives from many diverse people and their practices. As of right now, many classical art forms do not cater to a wider audience, instead, catering to a specific taste. Through her work in the fashion industry and contemporary practice, she hopes to make kathak more accessible and inclusive. - Shivani Verma
• Shared the challenges that younger artists in the newer generation face while being in the Guru Shishya Parampara. Ways of servitude and establishing a more personal connection with one's mentor. - Parminder Singh