The Power of Dance - Colleena Shakti Documentary

00:27:31
https://www.youtube.com/watch?v=lkVI_XlZs4k

Resumen

TLDRThe video narrates the story of a Western woman who embraced Indian culture and classical dance, residing in Rajasthan, India. Over thirteen years, she dedicated herself to learning ODC and Kalbeliya dance by living closely with local communities, particularly the Kalbeliya gypsies. She emphasizes the importance of traditional teachings, spirituality, and living in the moment, as seen in her devotion to the Guru-shishya parampara, a crucial facet of Indian arts education. Her efforts culminate in establishing a dance school in Rajasthan, where she combines art with philosophy. Her approach is holistic, viewing dance as a path to spiritual fulfillment, blending traditional Indian dance with contemporary styles. The video explores how she perceives art as a conduit for divine expression, insisting on maintaining a connection with ancient virtues and traditions. She believes in the transformative power of art and its role in fostering personal and collective growth.

Para llevar

  • 💃 Western woman embraces Indian classical dance, ODC and Kalbeliya.
  • 🌍 Resides in Rajasthan, India, living and learning with local communities.
  • 🕉️ Dance seen as spiritual path; emphasizes traditions and Guru-shishya parampara.
  • 🏰 Established dance school in a temple, preserving artistic devotional context.
  • 🎭 Teaching dance as a blend of tradition and contemporary styles.
  • 📚 Dance education includes philosophical discussions and spiritual teachings.
  • 👁️ Observes the beauty of communal living detached from societal pressures.
  • 🔄 Fusion dance as a contemporary expression with traditional roots.
  • 🌟 Art as a conduit for divine expression and personal growth.
  • 🗝️ Emphasizes the transformative power of adhering to traditional lineages.

Cronología

  • 00:00:00 - 00:05:00

    The speaker is a Western woman who has dedicated over thirteen years to Indian classical dance, specifically ODC and Kalbeliya dance in Rajasthan. She shares her journey of learning dance by immersing herself in the culture, spending time with local gypsy camps and traditional artists of Rajasthan, which helped her understand their values, humor, and dance improvisation.

  • 00:05:00 - 00:10:00

    This section discusses the deep connection between traditional music and dance, emphasizing the importance of living in the present moment, free from societal worries. The speaker describes herself as a perpetual student of dance, striving to embody the art and convey stories of Lord Krishna through the dance form, which underwent significant transformation and revival over the years, particularly post-India’s independence. This revival established structured training and classical status for what was once temple dance.

  • 00:10:00 - 00:15:00

    The speaker reflects on her intense dedication to learning ODC under her guru, highlighting the deep connection and devotion she feels, which is fundamental to the guru-shishya tradition. Through dance, she learns the Vedic stories and philosophical teachings, which are believed to lead to self-realization. The importance of internal beauty and spiritual connection within the dance, rather than external aesthetics, is emphasized as essential to truly conveying the art's essence to audiences.

  • 00:15:00 - 00:20:00

    The speaker describes how establishing a school within a temple brings authenticity and depth to the practice of the ODC dance, allowing for teaching beyond technique to include the spiritual and philosophical elements. She emphasizes the importance of understanding the energy of a guru (guru-shakti) in making a dancer’s performance resonate spiritually and emotionally. The speaker highlights that her teaching aims to retain and communicate the ancient virtues and wisdom necessary for liberation.

  • 00:20:00 - 00:27:31

    The final section talks about the fusion of Indian classical dance techniques with contemporary styles by the speaker, who reflects on the importance of pushing students beyond their limits to explore their potential. She feels deeply inspired by her students' sincerity and determination. This segment concludes with the invaluable power of lineage in dance, providing strength and confidence while maintaining the purity and transformative intention of art as per Indian tradition.

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Preguntas frecuentes

  • Who is the featured woman in the video?

    A Western woman living in Rajasthan, India, practicing ODC and contemporary fusion dance.

  • How did she come to learn Indian classical dance?

    She came to India to study ODC and spent years living with the Kalbeliya gypsies, learning their dance and culture.

  • What is the significance of the Guru-shishya parampara?

    It is a tradition where learning is not just about dance technique but about following a way of life and path to fulfillment.

  • How is she contributing to the dance community?

    She runs a school in Rajasthan, teaching dance in a temple setting to preserve its devotional aspect.

  • What other dance forms does she teach?

    She teaches Indian fusion and belly dance, blending classical Indian aesthetics with contemporary styles.

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Desplazamiento automático:
  • 00:00:33
    people want to be moved to tears people
  • 00:00:37
    want to feel a mystery that can't be put
  • 00:00:41
    into words they want to feel inspired
  • 00:00:44
    they want to feel hopeful and that's
  • 00:00:47
    what we have been taught to create with
  • 00:00:51
    Indian classical dance and what I hope
  • 00:00:53
    to transmit through my performances who
  • 00:01:07
    is this woman living in Rajasthan India
  • 00:01:11
    dancing ODC classical dance dancing with
  • 00:01:15
    kalbeliya gypsies in the desert and
  • 00:01:17
    traveling the world performing
  • 00:01:19
    contemporary fusion dance how does a
  • 00:01:21
    Western woman embrace a different
  • 00:01:23
    culture and make it her own you know
  • 00:01:27
    over thirteen years I came to India for
  • 00:01:44
    ODC but it was also in my mind to take a
  • 00:01:47
    trip to Rajasthan and find a tribe of
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    gypsies that I had seen in a beautiful
  • 00:01:52
    film called macho drum and I came to
  • 00:01:55
    Rajasthan to find this tribe of
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    kalbeliya and I found the kalbeliya here
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    in pushkar
  • 00:02:10
    when I met the Kabylia they were not
  • 00:02:13
    teaching their dance to others they
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    learn by watching their older sisters
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    their auntie's their mothers it's not a
  • 00:02:21
    dance form that was taught and they had
  • 00:02:24
    no idea of how to break it down it took
  • 00:02:27
    a long time even for them to understand
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    how would you convey this dance movement
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    to someone from outside of our tribe and
  • 00:02:39
    really the way that I learned their
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    dance was spending years and years in
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    the gypsy camp eating with them playing
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    with the children learning their songs
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    and just being a part of their culture
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    and understanding what are their values
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    and what do they consider beautiful what
  • 00:03:00
    is the kalbeliya sense of humor and what
  • 00:03:03
    is an artist in the Cavalia world there
  • 00:03:06
    is an aspect of charm in their dance
  • 00:03:08
    that is what makes it so fun to do it's
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    a completely improvisational dance this
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    my teacher of Merida and so d/c
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    sometime kalbeliya also I know her ankle
  • 00:03:25
    when I'm is small round fourteen tucked
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    in I know she's like my sister
  • 00:03:38
    I use rajastani dance to tell my story
  • 00:03:41
    because I've been living there for it's
  • 00:03:44
    now over 13 years and I really feel at
  • 00:03:47
    home there it's just a pure expression
  • 00:03:50
    of joy for me I also work with another
  • 00:03:57
    cast of artists from Rajasthan very
  • 00:04:00
    traditional people that are called lunga
  • 00:04:03
    and also manga near
  • 00:04:10
    they memorize these stories they
  • 00:04:15
    memorize songs these rods and they pass
  • 00:04:18
    it down generation to generation they
  • 00:04:21
    are the ones who used to perform for the
  • 00:04:23
    Maharajah's in Rajasthan
  • 00:05:07
    when I danced with lunga when I danced
  • 00:05:10
    with this traditional music I feel that
  • 00:05:14
    history it's a sense that you get being
  • 00:05:17
    with people who have held their
  • 00:05:19
    tradition intact that they live as they
  • 00:05:23
    lived 800 years ago they keep those
  • 00:05:27
    traditions alive and there's meaning to
  • 00:05:31
    the music there's meaning to their way
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    of life
  • 00:05:55
    these people who are villagers who are
  • 00:06:00
    nomads these traditional people who I'm
  • 00:06:04
    associated with in Rajasthan teach me
  • 00:06:07
    what it is to be detached and living in
  • 00:06:12
    the present moment not worrying about
  • 00:06:14
    fame and fortune not worrying about
  • 00:06:16
    where I stand in society not worrying
  • 00:06:18
    about tomorrow is really how these
  • 00:06:21
    people live
  • 00:06:32
    gentle again
  • 00:06:41
    as a dancer I have many phases within
  • 00:06:45
    the dance I'm a performer and I'm a
  • 00:06:48
    student and I'm a teacher I feel much
  • 00:06:52
    more like a student than a teacher
  • 00:06:53
    because when you study under great
  • 00:06:56
    masters you just can't imagine that ever
  • 00:06:59
    one day in your life you will measure up
  • 00:07:02
    to their greatness I really focused
  • 00:07:05
    myself more as a student I want to
  • 00:07:07
    embody the art at such a height
  • 00:07:18
    temple dancing was a tradition that in
  • 00:07:23
    recent history was centered in certain
  • 00:07:26
    very famous temples throughout India and
  • 00:07:28
    one of those famous temples was the
  • 00:07:30
    juggernut temple in puddi and so women
  • 00:07:33
    called Maharis would dance in the
  • 00:07:35
    juggernut temple and Jagannath is a form
  • 00:07:38
    of Vishnu who is also Krishna
  • 00:07:41
    and so this vation of temple this temple
  • 00:07:44
    of jagannatha these dancers were dancing
  • 00:07:47
    and acting out the stories of Lord
  • 00:07:49
    Krishna and the mood and the bhava of
  • 00:07:51
    Lord Krishna is very sweet and romantic
  • 00:07:53
    and it's like associated with springtime
  • 00:07:57
    and just loveliness
  • 00:07:59
    so this feeling in the dance form this
  • 00:08:01
    little bit of sensuality that's there is
  • 00:08:05
    not a earthly sensuality it's a divine
  • 00:08:08
    kind of romantic mood relating to the
  • 00:08:11
    Lord as your beloved and finally the
  • 00:08:14
    tradition died out so temple dancing at
  • 00:08:17
    one point in India in 1935 it was
  • 00:08:19
    outlawed women were outlawed from
  • 00:08:22
    dancing inside of temples and slowly the
  • 00:08:26
    dance was revived in and classic alized
  • 00:08:29
    into what we call OTC before it was just
  • 00:08:32
    what was done in the juggernut temple
  • 00:08:35
    and then when it was classic alized
  • 00:08:37
    there were gurus who were male gurus and
  • 00:08:40
    actors from the theatre and scholars who
  • 00:08:43
    got together and read the old text on
  • 00:08:46
    dance studied the sculpture in all the
  • 00:08:49
    temples in Orissa and then classical
  • 00:08:52
    eyes this dance form made it even more
  • 00:08:54
    highly structured and the training
  • 00:08:58
    process was established how one would go
  • 00:09:00
    through the training and then it was a
  • 00:09:02
    dance form that was put on the stage
  • 00:09:07
    and this was at a time when India became
  • 00:09:09
    independent and classical ization of
  • 00:09:12
    many indigenous dance forms were
  • 00:09:14
    underway just you know the masters tried
  • 00:09:16
    as much as they could to retain the
  • 00:09:18
    ritualistic practices and the spiritual
  • 00:09:21
    intention in the dance form
  • 00:09:32
    really can't explain why I was so sure
  • 00:09:36
    when I took that leap of faith to come
  • 00:09:38
    to India to study ODC and the chance to
  • 00:09:43
    meet the Masters that I have had my
  • 00:09:46
    category my OTC gurus my spiritual guru
  • 00:09:49
    it's pure luck to meet a master of such
  • 00:09:53
    immensity I met Sujata just in the last
  • 00:09:58
    few years I had another guru to start
  • 00:10:02
    ODC and I don't think I would have been
  • 00:10:04
    ready if I met her from the first day
  • 00:10:07
    because she's full power it takes a very
  • 00:10:10
    ready and willing student to already be
  • 00:10:14
    surrendered completely to work at the
  • 00:10:16
    level that she demands Galena is a very
  • 00:10:22
    good human being first of all I should
  • 00:10:24
    say that and such a devotee the first
  • 00:10:29
    year when I see her I could feel the
  • 00:10:32
    devotion in her eyes in her heart and by
  • 00:10:37
    staying with her spending some time with
  • 00:10:40
    her with closed circuit I could feel she
  • 00:10:43
    has that guru bhakti you know - devotion
  • 00:10:47
    to her guru and I could clearly
  • 00:10:49
    understand because it relates to me also
  • 00:10:52
    because I also a devotee of my guru so
  • 00:10:56
    it is a connection when one of my
  • 00:10:59
    student she starts loving me or he
  • 00:11:02
    starts loving me I could clearly
  • 00:11:04
    understand the point of view which angle
  • 00:11:07
    the devotion comes to me
  • 00:11:09
    so Kalina is definitely one of them to
  • 00:11:12
    whom I understood that she loves her
  • 00:11:16
    guru
  • 00:11:17
    she loves the art and she want to be
  • 00:11:20
    into inside that the involvement the
  • 00:11:23
    deep sense of getting the art and to
  • 00:11:27
    nurture whatever possibility from the
  • 00:11:29
    art the thing about studying under a
  • 00:11:32
    guru and that tradition in India which
  • 00:11:35
    we call the Guru shishya parampara that
  • 00:11:38
    lineage is not just about learning dance
  • 00:11:40
    technique it's a
  • 00:11:42
    about learning the way of life the path
  • 00:11:45
    of the artist and the way to fulfilment
  • 00:11:49
    ultimate fulfillment because in India we
  • 00:11:52
    believe that art is a path to
  • 00:11:55
    realization
  • 00:11:57
    she is someone who's very devotional and
  • 00:12:01
    I learned what it is to be a devotee
  • 00:12:03
    from her I learned the deeper meaning
  • 00:12:07
    the deeper nuance of the stories we tell
  • 00:12:09
    in our dance our dance is rooted in
  • 00:12:12
    Vedic philosophy the stories from the
  • 00:12:15
    Puranas about the gods and the goddesses
  • 00:12:17
    are what we use as content in the dramas
  • 00:12:21
    that we portray we have to understand
  • 00:12:24
    that connect with it we have to believe
  • 00:12:26
    in it so she not only teaches me the
  • 00:12:32
    steps the mudras and the stories that
  • 00:12:34
    were acting out but she really lives by
  • 00:12:38
    those values that we convey through our
  • 00:12:40
    stories and I have rarely met another
  • 00:12:43
    classical Indian dance guru that I can
  • 00:12:46
    say really lives by that for that code
  • 00:12:49
    of ethics that code of values that we
  • 00:12:52
    learn about through the Vedic stories
  • 00:12:58
    that beauty inside of the dance is not
  • 00:13:02
    to be confused with a beauty that is an
  • 00:13:06
    external beauty so what Indian classical
  • 00:13:09
    art teaches us is Satyam Shivam Sundaram
  • 00:13:13
    but what is the binding element of
  • 00:13:16
    beauty is is an eternal truth what is
  • 00:13:19
    eternal truth its spirit
  • 00:13:37
    standing on stage is a very vulnerable
  • 00:13:39
    thing it's thrilling in that way the
  • 00:13:42
    audience gets to participate in your
  • 00:13:46
    vulnerability to strip things down to
  • 00:13:49
    their essence and try to reveal a truth
  • 00:13:53
    I know that if my mind is clouded with
  • 00:13:57
    insecurities or doubts or fears or any
  • 00:14:00
    concern or even pride that that will
  • 00:14:04
    cloud the experience for the audience
  • 00:14:06
    that they won't get that divine
  • 00:14:09
    transmission of beauty of peace and
  • 00:14:13
    contentment because I'm busy worrying
  • 00:14:15
    about my own experience and really
  • 00:14:18
    performing in front of an audience it's
  • 00:14:21
    a shared experience it's just as much
  • 00:14:23
    mine as it is the audiences
  • 00:14:49
    I have dedicated my life over a decade
  • 00:15:15
    to collecting this wisdom this these
  • 00:15:19
    precious teachings it just feels natural
  • 00:15:23
    the next step would be to share that my
  • 00:15:32
    school in Rajasthan is been a temple and
  • 00:15:34
    I don't think I would still be doing or
  • 00:15:37
    DC if I didn't have a school that was
  • 00:15:39
    inside of a temple it brings context to
  • 00:15:43
    the dance why it's a devotional dance
  • 00:15:45
    form and why we're dancing and acting
  • 00:15:48
    out stories of the gods and goddesses it
  • 00:15:51
    all finds a context and make sense in
  • 00:15:54
    that temple atmosphere so life in a
  • 00:15:57
    temple it's not a fantasy it's a reality
  • 00:16:01
    which takes a lot of discipline and it
  • 00:16:03
    takes a lot of sacrifice
  • 00:16:12
    one of the special things about the
  • 00:16:14
    school is that it's not just the dance
  • 00:16:17
    or it's not just yoga she is working to
  • 00:16:21
    have us them understand the hidden
  • 00:16:26
    layers in all of this and she explained
  • 00:16:29
    a concept called guru Shakti where when
  • 00:16:33
    you see a dancer dancing and their
  • 00:16:34
    technique is beautiful and perfect but
  • 00:16:37
    there's something that's not nice
  • 00:16:40
    worse is a dancer where yes their
  • 00:16:42
    technique is perfect but there's
  • 00:16:43
    something extra maybe in the way that
  • 00:16:45
    they move their eyes or just in their
  • 00:16:47
    their energy that makes you have this
  • 00:16:50
    emotional reaction to them and that is
  • 00:16:53
    connected to the Guru's sort of the
  • 00:16:57
    ancestral blessings and the ancestral
  • 00:17:00
    energy flowing through them when they
  • 00:17:01
    dance and that's what I what I've seen
  • 00:17:03
    when I see Kalina dance and when she's
  • 00:17:05
    sharing her practice and her sort of
  • 00:17:07
    gems of wisdom with us and that's why
  • 00:17:09
    she has this community of women who are
  • 00:17:12
    coming to her to learn more than just
  • 00:17:15
    the physical practice of dance and yoga
  • 00:17:18
    something different that I get from
  • 00:17:21
    studying with Kalina is that she really
  • 00:17:26
    sees dance as a very holistic practice
  • 00:17:32
    and she incorporates you she truly sees
  • 00:17:34
    it as a yoga it's not just a dance form
  • 00:17:38
    it's a very full experience and she
  • 00:17:41
    really transmits this to us in every
  • 00:17:45
    moment every day the evening classes
  • 00:17:47
    where we sit down and talk about various
  • 00:17:50
    philosophies and theories
  • 00:17:53
    this is the perfect place and the Temple
  • 00:17:56
    Dance Festival and the Shakti School of
  • 00:17:58
    Dance it's like living it's like a
  • 00:18:00
    living workshop where you're living you
  • 00:18:02
    know getting to that place for your
  • 00:18:04
    offering offering your efforts offering
  • 00:18:06
    your dance offering your love offering
  • 00:18:08
    yourself so that something's hopefully
  • 00:18:11
    divine and greater can flow through what
  • 00:18:16
    do you see is the most important art in
  • 00:18:19
    my life although I do other art forms
  • 00:18:22
    like fusion dance and Rajasthani folk
  • 00:18:25
    dance no other art that I've come across
  • 00:18:27
    offers that potential of expressing your
  • 00:18:32
    higher self because we do or DC to
  • 00:18:37
    become a conduit for something divine I
  • 00:18:40
    have my cultural roots my familial roots
  • 00:18:43
    but spiritual roots even you know
  • 00:18:48
    metaphysical wisdom of ancient times all
  • 00:18:51
    over and indigenous cultures are being
  • 00:18:53
    lost slowly and we're focusing on other
  • 00:18:55
    things in our society in this school and
  • 00:18:59
    in our philosophy classes or even just
  • 00:19:01
    in the art itself in the stories were
  • 00:19:03
    portraying we are keeping alive these
  • 00:19:07
    ancient virtues and wisdom that leads to
  • 00:19:11
    a place of liberation
  • 00:19:27
    and philosophy also comes with a simple
  • 00:19:29
    reason that I'm asking Who am I I'm
  • 00:19:32
    doing a book on Upanishads and even in
  • 00:19:35
    those times that is we're talking of
  • 00:19:36
    BC's they're talking of these Rishi's
  • 00:19:41
    this money is going to the forest are
  • 00:19:42
    Enya's and asking the question about Who
  • 00:19:45
    am I what is my existence and what is my
  • 00:19:48
    connection to the world that I perceive
  • 00:19:51
    and even this model will you asking the
  • 00:19:53
    same question and I think arts do answer
  • 00:19:55
    these questions at least they get you
  • 00:19:58
    closer to it
  • 00:20:06
    Nadia
  • 00:20:12
    from years of training in Indian
  • 00:20:15
    classical dance I bring these techniques
  • 00:20:17
    and aesthetics together with
  • 00:20:19
    contemporary dance and belly dance
  • 00:20:29
    Nadia
  • 00:20:36
    I travel the world teaching Indian
  • 00:20:41
    fusion Indian fusion belly dance I teach
  • 00:20:44
    these styles of dance and I perform them
  • 00:20:47
    and they're really the style of dances
  • 00:20:50
    it's my own creation it's where I'm able
  • 00:20:54
    to play with the classical Indian
  • 00:20:58
    aesthetics and the values of Indian art
  • 00:21:02
    and carry them over to something modern
  • 00:21:05
    that is something maybe outside of
  • 00:21:07
    Indian culture but is my own experience
  • 00:21:10
    my life experience my dance experience
  • 00:21:32
    all of my students who've come to any of
  • 00:21:36
    my workshops I just feel so proud of
  • 00:21:42
    them I respect them so much because
  • 00:21:44
    usually people come to my school or come
  • 00:21:48
    to my retreat to have a paradigm shift
  • 00:21:51
    to have a moment in their life where
  • 00:21:55
    they step outside of the mundane and
  • 00:21:58
    step outside of just going through the
  • 00:22:01
    motions and they want to challenge
  • 00:22:03
    themselves and they want to grow and
  • 00:22:05
    they want to explore their potential and
  • 00:22:08
    I really try to push everyone to their
  • 00:22:11
    limits in my class and when I see people
  • 00:22:14
    rising to the occasion I just feel
  • 00:22:17
    really in awe of that they're my heroes
  • 00:22:20
    I want to be like that I want to push my
  • 00:22:23
    limit every day and every dance class
  • 00:22:26
    and when I see my students doing that I
  • 00:22:30
    feel like it's this bouncing back and
  • 00:22:33
    forth of inspiration that they inspire
  • 00:22:35
    me and their sincerity
  • 00:22:37
    you know the students who come with
  • 00:22:39
    really sincere intentions and just to
  • 00:22:42
    enjoy every moment in the class and I
  • 00:22:45
    see that on their face it's like oh my
  • 00:22:47
    god I just have so much to learn from
  • 00:22:49
    them in their contentment in in going
  • 00:22:54
    through that struggle of learning a new
  • 00:22:55
    dance and I love to be a part of that
  • 00:22:58
    it's very inspiring a real incredible
  • 00:23:04
    teacher who offers such simplicity and
  • 00:23:08
    such elegance and such beauty like those
  • 00:23:11
    three words just keep coming through
  • 00:23:13
    even though the dance is so complex
  • 00:23:17
    watching kalenna dance and the devotion
  • 00:23:20
    that you see when she's doing it it's
  • 00:23:24
    and you you don't just see it you feel
  • 00:23:26
    it you know like and it's this feeling
  • 00:23:28
    of like god I want to be a conduit of
  • 00:23:31
    that of grace of this human not human
  • 00:23:37
    feeling it's very rare to find a
  • 00:23:40
    performing artist in the dance field who
  • 00:23:46
    constantly challenges herself and who
  • 00:23:50
    lives big : is such an inspiration
  • 00:23:56
    that's what so much of this is we will
  • 00:23:59
    act as conduits between the past and the
  • 00:24:02
    future and we're in a position where we
  • 00:24:04
    can take this information and make daily
  • 00:24:07
    choices of how are we going to
  • 00:24:08
    perpetuate this knowledge this beauty
  • 00:24:11
    this tradition and make it relevant
  • 00:24:14
    while not diluting it for personal
  • 00:24:18
    purposes if that makes sense there's a
  • 00:24:21
    much higher calling here
  • 00:24:23
    I find so much power and so much beauty
  • 00:24:27
    and so much inspiration from my lineage
  • 00:24:29
    I feel like more than being a dance
  • 00:24:32
    teacher I just want to teach people
  • 00:24:33
    about the power of lineage that adhering
  • 00:24:37
    to a lineage is not limiting that it's
  • 00:24:39
    limitless once you're inside of the
  • 00:24:41
    technique and the form but that's where
  • 00:24:44
    you get a hidden power and a hidden
  • 00:24:46
    confidence that it's not me who stands
  • 00:24:49
    on stage it's me and my whole lineage
  • 00:24:51
    standing right behind me backing me up
  • 00:24:54
    and giving me energy and giving me
  • 00:24:55
    inspiration and reminding me that what
  • 00:24:59
    I'm doing is right I wouldn't trade that
  • 00:25:01
    for a watered down version and I think
  • 00:25:05
    Elena's that kind of devotees and I
  • 00:25:07
    might just be born an Indian I
  • 00:25:09
    understand the language I'm blessed to
  • 00:25:11
    be heard because I love it there in its
  • 00:25:13
    own sense but there are people whom I
  • 00:25:16
    admire and I think she should be won as
  • 00:25:19
    individuals as real devotees of the art
  • 00:25:24
    is something which transmits transforms
  • 00:25:28
    and transcends and if it doesn't do
  • 00:25:31
    those things then it's not considered
  • 00:25:34
    art in our Indian tradition to transmit
  • 00:25:38
    a positive message that transforms
  • 00:25:41
    people for the better and will help them
  • 00:25:44
    transcend the mundane then this is what
  • 00:25:48
    art is this is our goal of art
Etiquetas
  • Indian Classical Dance
  • ODC
  • Kalbeliya
  • Rajasthan
  • Spiritual Fulfillment
  • Guru-shishya Parampara
  • Cultural Immersion
  • Dance School
  • Fusion Dance
  • Tradition