Sanjib Bhattacharya and Jagannath Lairenjam - Sapta, Manipuri-Pung Cholom (drum dance)
Kavya Ganesh - contemporary Bharatanatyam
Ananya Chatterjee - Group contemporary
Bhavana Reddy - (solo Kuchipudi)
Jin Won - Kathak genre, with live music
Alvin Ailey - Saa Magni, x mins
Mythili Prakash - Contemporary Bharatanatyam
Tanya Saxena - solo BN, 5 mins
Tanveer Alam - solo Kathak, 12 mins
Sebastian Tan - duet modern, 7 mins
Mythili Anoop - solo, 11 mins
Deepali Salil - 5 dancers, Animals, contemporary Bharatanatyam, 15 mins
We are only taking applications through video submissions this year.
You can submit solos, duets or larger groups.
Typically, artist/s performs for 7-12 min.
Your video is the most important part of your application. An impressive video can catch the eye of the curator and make your performance memorable. When submitting a video, make sure the video is well-lit and appropriately edited for maximum impact. Check out technical guidance. Below are some tips for editing your videos:
- The dancer should be clearly visible in the video.
- The video(s) you submit should be of the work that you propose to perform at the festival, and you should submit a plan outlining exactly what you plan to perform. In case the video exceeds the timing, please indicate time markers in your application for the segment/s you are proposing.
- You may submit up to 2 additional alternative videos with your application. Each video should follow ideally be less than 13 minutes.
- Dance works are often better appreciated when placed in context. We suggest that you include a commentary/explanation of process in the Details of the Proposed Work section of your application.
- Live explanations (i.e. spoken commentaries on your video) will be counted as part of the timing of the total presentation, so you may prefer to send in a written explanation as program notes.
- The video you submit should include the complete, continuous work you intend to perform, OR a work-in-progress with detailed explanation. It is imperative for the curators to see the entire work, because our decision making involves thinking through how all the selected works (by different artists) will collectively form a unique, cohesive experience for our audience. An excerpt put together with bits and pieces from different parts of a work or different works WILL NOT BE ACCEPTABLE for the application.
August 6: Saturday: In person in New York
August 7: Sunday: Morning workshop,Evening digital performance
August 8: Digital Evening digital performance
Deadline extended to March 20, 2022
(Due to requests from several dancers, we are extending the deadline till March 20.)
Indo-American Arts Council’s Erasing Borders Dance Festival will be presented in a hybrid format in 2022: specific artists will be selected for a live performance in New York on August 5th and 6th, 2022 and specific artists will be selected for digital performances on IAAC’s streaming platform Facebook and Youtube, also for August 7th and 8th, 2022.
For this year, we are looking for dance works that speak to the theme of time. Kala mein Kaal. Birju Maharaj-ji said time is the paper on which the patterns of the talas are drawn.
The temporal structures of dance are most particularly intertwined with those of music and literary forms. Together they give formal expression to processes that permeate Indian culture and which are taken for granted. What are these expressions of time, and in how many ways can we dance them?
Pondering on these thoughts and prompts, we urge you to think of your own works and assess what time means to you. Please submit a 100-150 word description of how the theme of time connects to your own creative works.
- Original works in multiple or new vocabularies and forms deriving from or relating to the traditions of Indian dance.
- Works that are challenging or critically thinking on their own terms.
- Given the hybrid format of the future we encourage shorter works. Professional works of up to 12 minutes duration (you can submit multiple works for us to consider).
- Completed Application Form, which will include a place for you to send us a link to the performance piece you want to showcase at the festival.
- Video: Applicants need to submit the entire video recording of the proposed works (not excerpts or sampling of past works). Since this is a virtual festival, we ask that you not apply with a work that is already published in video format with other platforms. This is a work that would be choreographed for camera, so we need to get a sense from your application as to how you would accomplish this.
- We plan on leaving the work accessible online for one week after the last day of the festival, so make sure you secure rights from your gurus, musicians, and collaborators. Please also make sure you own the rights to publish the music and other elements that you are using. This permission can be sent to you by other producers through emails, social media messages etc. so it can be documented if the need arises. If you submit work that we select, we assume you have done the due diligence.
- Only professional level performances will be considered for the festival. We plan on selecting between 4-6 artist/s this year for digital presentations and 4 performers for the live performances in New York depending on the pool of applications we receive. Typically, we receive about 80 applications each year that our curators go through very carefully. Due to limited time, we do not email all applicants back, and prioritize writing to applicants we seriously consider for the festival.
- Selected artists will receive $250 for achieving a professional grade production value in addition to the performance fee. Please submit a sample budget plan up to $250 for the final production to account for videography and editing.
- Non-refundable application fee of $15.
- Application Due date: March 10, 2022
Deadline extended to March 20, 2022
HOW TO SUBMIT:
We are only taking in digital applications this year.
- First, review the Curatorial Guidelines we have compiled. These guidelines will help you submit a strong application which catches the eye and interest of our professional curators.
- Selected artists are compensated with professional standard artistic fees for their work and time. Our fees are commensurate to other New York area professional companies.
- Additionally, if selected for the digital presentation, we will provide funds towards video production costs for which technical guidance will be provided. If selected for the live festival, we will take care of all theatre needs in New York. We will not be able to process visas.
- Next, complete your application form. Bear in mind that you will not be able to save your application and come back to it later. So, it is recommended that you first draft your answers in a separate document, and then enter them on this online form in one sitting.
- Pay your $15 application fee through PayPal (using any credit card) Click here >>
- If you have any questions, check the Frequently Asked Question (FAQ). We keep updating this FAQ as new questions are received. If the FAQ does not address your questions, you can email us via this Inquiry form. Please note that we will only respond to questions that have not been addressed in the FAQ, so make sure to check the FAQ first!
- Artist would film themselves at home/studio/outdoors.
- Make sure sound quality of the music is clear. It could be played on a different device close to the recording camera.
- Shoot in well-lit conditions. Have lighting from the front and avoid lighting at back (unless it is part of your aesthetic)
Saturday Aug 6, 2022 7-9PM
Alvin Ailey Citigroup Theatre
Hosted by Indo American Arts Council
Ticketed event, with special pricing for artists and students
Sanjib Bhattacharya and Jagannath Lairenjam Sapta, Manipuri-Pung Cholom (drum dance), 15 mins
'Sapta' meaning seven, is an attempt to paint the canvas of time, using 3 sets of 7 beats.
12 minutes of time is celebrated through three ornate sets of 7 matras (beats), each set depicting a significant tradition of Manipuri Classical Dance. Meanwhile, each set is uniquely designed to invigorate one of the five senses of the human body.
- In the first set, the dancer creates designs using his masculine (tandav) and feminine (lasya) body movements; aimed at the audience’s sense of sight, as they watch the dancer turning, rising and falling through time and space.
- In the second set, the dancer using rhythm and percussion (mridang), weaves magic through the sense of touch. The fingers drumming the two faces of the percussion instrument, at times gently, at times with force; create sounds that reverberate through body and mind.
- In the final set, the dancer moves in step to complex compositions (tarana) of auspicious words and melody; as audience, through their sense of hearing, gets immersed in the ocean of sounds.
Sapta, therefore, is a celebration of time that invigorates the senses, using the diversity and traditions Manipuri Classical Dance. Concurrently, ‘Sapta’ turns into a medium (of time) for the preservation of this classical dance form.
Sanjib Bhattacharya is a renowned dancer, choreographer and teacher; who has won numerous awards across the world, including Appreciation awards by the Presidents of India in 2006 and 2011. He has trained professionally in both Manipuri Classical and Contemporary Indian Dance techniques under world-renowned dance icons like Guru Bipin Singh, Padmasree Darshana Jhaveri, Kalavati Devi, Manjushree Chaki Sircar and Mamata Shankar. In addition to giving stage performances, Sanjib has collaborated with dancers and choreographers trained in various dance forms from around the world to create many landmark productions. Currently based in the United States; Sanjib Bhattacharya is the Artistic Director of Movements in Motion; where he continues to teach, perform and collaborate.
Jagannath Lairenjam started training in Pung (Manipuri drum) under Guru Mani Singh from the age of 8. From 1979 to 2000 he lived, trained, and performed with various gurus in Manipur and Kolkata including Guru Bipin Singh. He has performed across the world as Sankirtan accompanist on Pung Cholom. His key performances include at the Ratha Yatra (Puri), India Lokranga Festival, (Jaipur), Sana Leibak Festival (Mumbai) and Khajuraho Festival (Uttar Pradesh) and at various events in the US.
Kavya Ganesh contemporary Bharatanatyam, 12 mins
Kavya Ganesh is a passionate Bharatanatyam dancer and a disciple of Sangeet Natak Akademi awardee Smt. Rama Vaidyanathan. Dedicated to her craft from a very young age, she brings rhythm and grace to her dance.
She has performed across India, USA and Europe in solo performances as well as group works with her teacher’s ensemble. Some of her notable performances include Konark festival, NCPA Mumbai’s Mudra Festival, Natyanjali festival, Esplanade Singapore, SWEAT festival Hong Kong, and many more.
She is currently pursuing her Bachelor’s degree in Literature and the Performing Arts at Ashoka University, Haryana, India and is also selected for the ‘Conservatory for Actors’ drama program at Yale University in the summer of 2022.
Ananya Chatterjee Group contemporary, 25 mins
They were dying like fish, and we rose like tigers (a preview excerpt from Nün Gherāo, Salt Water Stories)
Taking the 1978-79 heinous massacre of refugees from Bangladesh on Marichjhapi Island in West Bengal, India, as its point of departure, this work explores dispossession, betrayal, exile, resistance, memory, and the struggle to hold on to those who we have lost. In the circular structure of this work, the artists converge to energize close formations, but repeatedly dissolve them, suggesting the fierce desperation of global resistance movement, fighting against many odds. The last moments of the work, imagined as a circle of ritual destruction, activates liminal spaces where the salt waters of our tears meet the rising and warming oceans of our world.
The work is choreographed in Ananya Dance Theatre's singular vocabulary, Yorchhā, where movement principles of Odissi, Mayurbhanj Chhau, and Vinyasa yoga intersect and remix to articulate a contemporary feminist consciousness.
Ananya Dance Theatre is a professional ensemble of BIPOC women and femme artists who believe in the transformative power of dance and identify as cultural activists. Their work electrifies on the intersectional frontiers of artistic excellence, social justice, and community-embedded practice. In dancing stories where the lives and dreams of women from the global majority occupy the center, they shift the landscape of mainstream culture, build understanding about arts and social justice, and empower women's voices. Ananya Dance Theatre's Shawngrām Institute for Performance and Social Justice is located in St. Paul, Minnesota. Ananya Dance Theatre was named a Regional Cultural Treasure through a joint initiative of the Ford Foundation and McKnight Foundation in 2021.
Concept & Choreography: Ananya Chatterjea
Score: Spirit McIntyre (recorded and live)
Stage direction: Marcus Young
Costumes: Annie Cady
Scenography: Chelsea Warren
Filmography: Darren Johnson
Performers: Ananya Chatterjea, Kealoha Ferreira, Alexandra Eady, Parisha Rajbhandari, Lizzette Chapa, Noelle Awadallah, Alexis Araminta Renee, Spirit McIntyre.
Bhavana Reddy (solo Kuchipudi), 20 mins, Narasimhavataram
Hiranyakashyapu, a demon king worshiper of Shiva, underwent severe austerities and sought a boon from Brahma, to be unvanquishable by any weapon, by any man or animal, inside or outside, by day or by night. With this boon Hiranyakshyapa grew powerful and fearless bringing his tyranny over men and gods alike, who had fallen victim to his actions. One fateful day, a devotee of Vishnu was born to Hiranyakashyapa and despite his many efforts, son Prahlada did not leave the path of Vishnu. Father grew tired and challenged him “Where is this god of yours?” He questioned. “If he truly exists let him come forth and save you!” Lord Vishnu then appeared as neither man nor animal, at even time (neither day nor night and neither inside nor outside. He emerged from within a pillar with nails as his weapon and appeared as Narasimha, the man-lion. He disemboweled Hiranyakshyapu, drank his blood and wore his entrails around his neck as jandhyamu (sacred thread). Prahlada is crowned King by Narasimha himself, who gives him boons and blesses him to reign happily for a thousand years. Lord Vishnu once again restores hope and his devotees celebrate the triumph of good over evil.
Bhavana Reddy, internationally acclaimed young Kuchipudi Indian Classical Dancer. Nearing three decades, her career started at the tender age of 4 under her illustrious parents Dr.s Raja Radha Reddy. Los Angeles Times review headlined “Indian Classical Soloists Stand Out” mentioned “The Reddys’ 8-year-old daughter, Bhavana, made her mark, displaying a budding ability to mesmerize in her own solo.” - Jennifer Fisher. As a solo performing artiste she has presented workshops and concerts for prestigious organisations, Embassies and Consulates of India across the world including Germany, Singapore, Sydney, San Francisco, Spic Macay, Temple of Fine Arts Malaysia, Indonesia, National Museum Copenhagen, Kennedy Center Washington DC, Mudra Festival NCPA, Mumbai Sanskriti Festival, Kalidas Samaroh Nagpur, Yagnaraman Festival Krishnagana Sabha. She founded Natya Tarangini International Institution for Kuchipudi Dance training dedicated students under her. Some collaborative highlights include - the Los Angeles Philharmonic Orchestra’s, ‘Rite of Spring’ with Kitty Mcnamee at the Walt Disney Concert Hall. Currently she is on tour in Europe as the ‘Artist-in-Residence’ choreographing with Leo Spreksel for India Dans Festival, Korzo Netherlands, and with Prof. Ronan Guilfoyle, Director School of Jazz Performance, Dublin City University, Ireland.
Sunday Aug 7, 2022, 7-9PM
Alvin Ailey Citigroup Theatre
Hosted by Indo American Arts Council
Ticketed event, with special pricing for artists and students
Jin Won Kathak genre, with live music, 12 mins
Alvin Ailey Saa Magni, x mins
Noted American dance company Alvin Ailey II will be joining Indian dancers to celebrate the 75 years of Indian independence. They will be performing Saa Magni in the spirit of hope, celebration and dance.
Mythili Prakash Contemporary Bharatanatyam, 45 mins
Poo | Poo
[flower] | [shit]
Polarity. Co-existence. Singularity.
Lingering between past and present, global and local, sacred and worldly, stylized and pedestrian, structure and fluidity, Poo | Poo negotiates the weight of past and tradition through the freedom of our bodies and voices today in the re-imagining of a traditional myth--the dance-off between Shiva and Kali
Mythili Prakash (Concept, Choreography, Dance) is one of the most celebrated and respected Bharatanatyam dancer/choreographers today. Her unique repertoire is an embodiment of narratives of the many worlds that shape her. Trained by her mother Viji Prakash and currently mentored by iconic dancers Malavika Sarukkai and Akram Khan, Mythili began her performing career with her solo debut in India at the age of eight and has since performed extensively and toured her own solo productions worldwide. She is recipient of numerous accolades from premiere institutions of Dance and Music in India. Her collaborations span a breadth of artists including Sitar player Anoushka Shankar, India-based Director/ playwright Gowri Ramnarayan, and her brother/vocalist Aditya Prakash. She worked with director Ang Lee, as a choreography assistant and played the role of Pi’s wife in his award-winning film Life of Pi. Nominated by celebrated dancer/choreographer Akram Khan as “choreographer of the future” for UK-based Dance Umbrella’s “Four by four commissions,” Mythili premiered her solo work “HERE and NOW” at their 2019 Festival. She is a principal dancer in Akram Khan Company’s currently touring “Outwitting the Devil.” She is a recipient of the National Dance Project touring Grant for her work “She’s Auspicious,” which previewed in November 2021 at the Reflektor Festival curated by Anoushka Shankar at the Elbphilharmonie, in Hamburg Germany. She is also a recipient of the Sky Art’s Artists
Aditya Prakash (vocal, sound design), a Los Angeles based award-winning vocalist known for his powerful and emotive voice, is one of the foremost virtuosos of Karnatik music. At only 16 years of age, he became one of the youngest musicians ever to tour and perform with sitar maestro Ravi Shankar, accompanying him to such prestigious stages as Carnegie Hall, the Hollywood Bowl and Disney Concert Hall. Aditya has collaborated with a diverse range of innovative artists, including sitarist Anoushka Shankar; jazz pianist Tigran Hamasyan; electronic experimental artist Karsh Kale, and the acclaimed dancer and choreographer Akram Khan. Aditya founded the eclectic music group, Aditya Prakash Ensemble, which creates a space for dialogue between Karnatik and jazz. The Ensemble’s most recent album, “Diaspora Kid,” garnered praise from Songlines, KCRW and was featured in the top 15 albums on the Transglobal World Music Chart in May 2020. Recently, Aditya produced and composed the musical score for the NEFA awarded production – “She’s Auspicious” by Mythili Prakash. One of Aditya’s produced songs for the album “HOME,” by Sushma Soma, was selected to be featured on BBC at the Earthshot Awards. Aditya’s current focus in production and composition lies in pushing boundaries within the “classical” tradition.
Rajna Swaminathan (Percussion, Sound Design) is an acclaimed mrudangam (South Indian percussion) artist, composer, and scholar. Rajna received her creative foundation on the instrument from her father, P.K. Swaminathan, and mrudangam legend Umayalpuram K. Sivaraman. Described as “a vital new voice” (Pop Matters), Rajna’s artistic trajectory blossomed through a search for resonance and fluidity among musical forms and aesthetic worlds. Since 2013, she has led the New York-based ensemble RAJAS, writing expansive, boundary breaking music for herself and like-minded improvisers, spanning multiple musical approaches. As a composer, Rajna has received commissions from the LA Phil, Chamber Music America New Jazz Works, and Bang On A Can Marathon, among others. She holds a PhD in Music (Creative Practice and Critical Inquiry) from Harvard University, and degrees in Anthropology and French from the University of Maryland, College Park. She is currently an Assistant Professor of Music (Integrated Composition, Improvisation, and Technology) at UC Irvine's Claire Trevor School of the Arts.
Ganavya Doraiswamy (vocal and sound design) is a transdisciplinary scholar, vocalist, word-craftswoman and double-bassist. recent credits include: this body is so impermanent... (2021) directed by Peter Sellars, featuring ganavya (solo voice, composition), Ch.7: The Goddess (2019) directed by Peter Sellars, Daughter of a Temple (2019), a sound installation composed for the 13th Bienale de Habana; singer and lead researcher with Esperanza Spalding on the Grammy- nominated album Songwrights Apothecary Lab (2021), contributing writer for Iphigenia by Wayne Shorter and Esperanza Spalding, writer/singer of first Tamil lyrics to win a Latin Grammy award (2020), vocalist in Vijay Iyer’s Ritual Quartet, album and touring solo vocalist on the Quincy Jones’ produced Tocororo which hit #1 in jazz charts. Her fellowships include Civitella Ranieri Foundation and the Camargo Foundation. Her publications include written guide for the Songwrights Apothecary Lab album, shards of ether, a collection of 101 short essays for John Zorn’s Arcana: Musicians on Music series; [ ]: on the Form behind form, an analysis on repetition in music, for Journal on Mutual Mentorship for Musicians. Her graduate degrees in music are from Berklee College of Music (contemporary performance) UCLA (ethnomusicology) and Harvard University (Creative Practice and Critical Inquiry). Recently, she completed a post-doctoral fellowship at the Cynthia Mitchell Center for the Arts.
Sushma Somasekharan (Vocal, sound design) is an award-winning Carnatic Vocalist based in Singapore and Chennai. She most recently received the coveted Young Artist Award in Singapore, the highest honour for young artists. Sushma has performed in several prestigious organisations including Madras Music Academy, Esplanade Theatres by the Bay Singapore, Indian Embassy Brussels amongst others. Sushma is also a lecturer at the National Institute of Education, Singapore where she hopes to introduce and inspire students to learn more about Carnatic Music.
Mike Faba (lighting design) is a Lighting Designer and Production Manager for dance, theater, and events. Recent design credits include The Return of the Jinkx and DeLa Holiday Show Live!, and All I Want For Christmas is Attention (BenDeLaCreme and Jinkx Monsoon) international tour, Beyond Ballet (Sara Mearns) at Jacob's Pillow, No. 1 (Wang Ramirez & Sara Mearns) at New York City Center, Spectral Preludes (Tom Gold Dance) at Florence Gould Hall, Wednesday Morning, 11:45 (Pilobolus) at Skirball, Marksman (Kate Weare) at The Joyce and the Guggenheim, and Unstruck (Kate Weare) at BAM Fisher. Event design work includes Life Is Beautiful Festival, as well as PatBO and MONSE for NYFW (Rob Ross Design). Lighting Supervisor credits include Jacob's Pillow Dance Festival, Mark Morris Dance Group, Paul Taylor American Modern Dance, Camille A. Brown & Dancers, Wang Ramirez, Pilobolus, Martha Clarke, and Radiolab Live: In The Dark. Mike is also the Production Manager and Artist's Assistant for Kurt Perschke's RedBall Project, the world's longest-running public art piece.
Hosted by Indo American Arts Council
Aug 8 2022, Virtual
Streamed on Indo American Arts Council Facebook and Youtube with artists from India, US, Canada
Amjad Ali Khan Introduction by Subhalakshmi, 1-2 mins
Tanya Saxena solo BN, 5 mins
Tanveer Alam solo Kathak, 12 mins
Sebastian Tan duet modern, 7 mins
Mythili Anoop solo, 11 mins
Deepali Salil 5 dancers, Animals, contemporary Bharatanatyam, 15 mins
Looking Within Looking Around is created by a team of artists from all over India. It is conceptualised by Deepali Salil.
“ANIMALS” is choreographed and performed by Bharatanatyam dancers
Nilava Sen as Gazelle
Shubhamani Chandrashekar as Orca
Athul Balu as Hyena
Deepali Salil as Sarus Crane
Original music composition – Sanchit Choudhary
Sponsored by Sundari Silks India
“Animals” is a part of our larger work LOOKING WITHIN LOOKING AROUND. It is a dance film which urges the audience to “LOOK WITHIN” them and “LOOK AROUND” them. In our film “animals” the viewers are made to look around them. It focusses on how it's high time we become more aware of all the other beings that inhabit this planet with us. By taking four animals; Gazelle, Hyena, Orca and Sarus Crane, which are not much explored by Indian Classical Dancers. We wanted to renew the connection with our animal kingdom and develop that connection into care and compassion because the only way forward is together. Conserving and living sustainably needs to become a lifestyle.
Committee and Curators
Deepsikha Chatterjee: Dance Director
Deepsikha Chatterjee is a tenured faculty of Theatre at Hunter College CUNY where she enjoys teaching a diverse student body. She received her undergraduate degrees from University of Madras and National Institute of Fashion Technology before moving to the US for her MFA in Costume Design from Florida State University.Currently she is pursuing her PhD in Theatre and Performance from CUNY Graduate Center.Her costume design for Butoh Medea and Hide Your Fires received the Best Costume Design award at United Solo in 2014 and 2017 respectively. Her designs have been seen recently at Barnard College, Mabou Mines, Rattlestick Playwrights Theatre, Women’s Project, New York Musical Festival, Drive East, United Solo, Pan Asia Repertory, and Capital Fringe.
She researches costumes and masks for Indian performance and has received notable grants for this work. Her presentations have been seen at conferences including USITT, Costume Society of America, and the Rubin Museum of Art in New York City. She has published articles on Indian and Asian theatre, and Indian fashion. Since 2017 she has served as the dance director for Indo-American Arts Council’s Erasing Borders Dance Festival bringing international dancers to the New York stage.
Uttara Asha Coorlawala: Curator
Uttara Asha Coorlawala currently teaches in the dance program at Barnard College/Columbia University and serves as Curator for Erasing Borders--the annual Festival Of Indian Dance. Had previously also taught at Alvin-Ailey- Fordham University Dance Program, Long Island University's C.W. Post Campus, and at Princeton University, NJ. Earlier as a dancer, her solo show, (1973-87) brought modern dance, BharataNatyam and yoga, to stages of India, Europe, East Europe, Japan and the United States. For her pioneering choreography she was recently awarded the Sangeet Natak Akademi national award. (India) Uttara also served on various global dance research (CORD) and educational (IB) Committees, and as Performing Arts advisor to the late Prime Minister Rajiv Gandhi, and at the National Center of Performing Arts, Mumbai.
Awards for writing include AHRB Fellowship for South Asian Dance Research, London, The Graduate Research Award from CORD, USA, the Homi Bhabha Fellowship, India, a Ford Foundation research project (USA) on changing demographies of cultures in the U.S. and an award to study choreography from the Asian Cultural Council.
Currently, she is even more invested in the ongoing global re-flows of body knowledges.
Parul Shah: co-curator
Artistic director, Parul Shah of the Parul Shah Dance Company is an internationally acclaimed Kathak and contemporary dancer and choreographer whose work is expanding the classical medium beyond cultural boundaries. With a dedication to excellence, Shah preserves the form’s aesthetic integrity while exploring contemporary stories and questions around belonging, identity, and empathy. Her work aims to create shared experiences and lasting connections between performers and audiences.
Sruthi Mohan: co-curator
Sruthi Mohan is the Founder and Creative Director of Tat Tvam Asi, a boutique art organization in Austin, Texas, created specifically to curate and present works of internationally acclaimed Indian classical dancers touring the US.
An active and passionate community organizer, with more than a decade of organizational experience, she currently serves as the Cultural Committee Chair of the Austin Hindu Temple and has been instrumental in creating various cultural outreach initiatives that aim to showcase the spiritual beauty of Indian classical dance and other temple arts.
An accomplished and well trained classical dancer who started training at the age of three, she continues to perform to a diverse international audience. She also shares her passion for dance by writing about dance, appearing on radio and TV talk shows to promote and educate a wide and diverse audience about Indian Classical Dance.
Apart from being a dancer and a dance presenter she is also a Co curator for the Erasing Borders Dance Festival, New York.
Dipashreya Sur - Erasing Borders 2020 Festival Intern
Dipashreya Sur is a rising sophomore at Barnard College of Columbia University majoring in Mathematical Sciences and History and Theory of Architecture. She has been learning Kathak, an Indian Classical Dance form, in the Lucknow Gharana for more than 14 years. On campus she dances with Columbia Taal, an Indian Classical Fusion Dance team. Though Dance originally started off as an extracurricular activity introduced by her parents, overtime it became her passion. Over the years she has also explored dance styles ranging from Contemporary to Afro Cuban. She is honored to be a part of this year’s Erasing Borders Festival.