Natavar joined Shantiniketan during the summer vacation and fortunate as he was, Tagore was there during the summer vacation. Tagore gave him recommendation letters and armed with those letters Natavar went to Java and Bali and studied those dances. His daughter, dancer Papiha Desai, asked me to write on Nataraj Vashi, who her father had worked with and knew him for his innovations, large-scale production and making a name in the United States by 1946.Opening with the Mangalacharan, dancers Praveena, Minal and Lakshmi, in colourful costumes and attractive hairdos, a la one sees in Ajanta frescoes, offered flowers to the God presiding over the stage. Nataraj also got admission in Chicago University. The Indira Gandhi National Centre for the Arts (IGNCA) has acquired Mohan Khokar’s dance collection and one looks forward to it being a major source for such information. Shantiniketan was one of the destinations where they were drawn like magnets. Lord Shiva blesses her, telling her that Kamadeva will be in every human being minus the physical body, “atanau”, and will be always the God of love.The writer is an eminent dance historian.Natavar received $500 from the Dr Albert Barns Foundation for his lecture and wanted to develop choreology as per Labanotation for Indian dance. pvc bathroom cabinet The date: May 21, 1946, Monday night. And when it came true, he was thrilled.The venue is: The Belasco Theatre, 115, West 44th street, East of Broadway, New York City. Looking into the mirror, they decorate themselves with hair ornaments, apply black to the eye, place red dot kumkum on the forehead, and so on looking again and again into the mirror overcome by their own beauty. It depended upon the theory of kinesthetics, a whole science of the use of the body. From 1937 till 1947, after spending a decade in the US travelling across several cities, Natavar reached San Francisco. Nataraj had known about the dances of Java and Bali and knew that Tagore had close contacts with artistes from those regionsHe expressed his desire to study dance in Java and Bali. Among his associates was a charming young girl Praveena who was also an architect. Praveena devoted her time to the practice of architecture.The Maharaja of Baroda was much impressed by Nataraj and Praveena’s dances and efforts to showcase Indian dances in the US — he gave a generous grant to them to present their dances at The Belasco Theatre. Sporadic individual efforts are not enough. The performance which I have referred to in the beginning, above.It so happened that Praveena received a scholarship to study architecture further in the US. By the time India became Independent, they returned to India. A close friend of Susheel Jhaveri and Nayana Jhaveri, my friends, Nataraj Vashi had agreed to talk about his fascinating career with me. Both of them used to perform together duets and also group dances selecting themes from mythology. He had a deep interest in linguistics as well. Young artists like Yog Sundar, Kumar Jayakar, Yogendra Desai, Mahendra and Govardhan Panchal were all beaten by the bug of dancing.
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