Elisa Fontana reminisces how dance came into her life, her tryst with learning dance from and performing for Nritarutya.

I have to thank BMTC, for my meeting with Nitarutya Contemporary Dance. Was a girl I met on the bus, that invited me to attend to the dance class in Koramangala. Now Pooja is a good friend and Nitarutya my dance school. But the bus remain one of my favourite place where dance. I dance with my glance. I love to observe all these bodies completely different in proportions and movements stuck in a loud metal box with wheels, or people that astonish me jumping out while the bus is still going. I’m moved seeing women that sleep leaning against the glass and the children in their mother’s arms. And I don’t understand how the conductor can spend eight hours a day rubbing his body against hundreds of people. I imagine one day to see him make sparks!

This is dance, for me.

Dance of all micro-elements of life that turn around the body. Body is the center. And I suffer when I see the auto drivers with their back deformed from the handlebars too low from the seat. Sometimes I refrain from asking if they don’t realize it.

First of all, for me, dance is to be aware of body.

Doesn’t matter the choreography. Can be a simple walk on the stage. But if I see a dancer that do it with complete awareness…I can cry. And I remember Pina Baush, in Café Muller show…

When I saw an Odissi dance show I was completely enraptured. I was ecstatic, but at the same time intrigued by all those encoded gestures, by that so exasperated symbolism… It is so different from the dance that I practiced in Europe … I experienced the bodies moving in lines and softness, without precise meanings. It’s a completely abstract aesthetic. And see those Indian dancing bodies so full of decorations, clothes, colors on the face, earrings, rattles … everything felt very far, but at the same time very attractive.

When Niranjan asked me to make a mudra I was ashamed. I asked to myself : was not a contemporary dance class? Why mudras? Then I realized that I never danced with my hands. Why don’t try? And I remember to myself that Contemporary Dance is not a “style” but a continuous research.

My experience with Nitarutya, even if it was short, was a great research. It was like re-write my body gestures with another language, finding connections with the western approach: an interesting mix!

I enjoyed the class, where we were invited to explore different connections between body, space and movement.
And the showcase was an opportunity to be part of a big enthusiastic group, with discipline and practice. Waking up at 4,30am in the morning to reach Brigade Road from Whitefield, where I stay…sometimes I felt crazy. But dance is not about mind…is just body…thinking with the body.

This morning I put the music in my kitchen and I repeated the choreography that Niranjan created for our showcase. Just to find the right energy for the day.

And I’m sure I will do it also when I’ll be back to Italy. Because when we write something on our body, is very difficult to forget it. I teach drama and creative movement for very small children. And the school teacher are always surprised how kids memorize movements. It’s so simple: they don’t think, they dance.

I hope to come back and have the possibility to dance with this very professional and intense Contemporary Dance Company…It’s quite pity to leave…now that I know how to pronounce properly this name: Nritarutya!

Elisa Fontana.
Bangalore, 17th October 2014

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Masoom Parmar writes about the anatomy of the most flexible joint in the human body.

The most flexible joint in the entire human body, our shoulder joint is formed by the union of the humerus, the scapula (or shoulder blade), and the clavicle (or collarbone). Commonly thought of as a single joint, the shoulder is actually made up of two separate joints – the glenohumeral and acromioclavicular joints. These two joints work together to allow the arm both to circumduct in a large circle and to rotate around its axis at the shoulder.

Pic courtesy: hfmhealth.org

The glenohumeral joint is a ball-and-socket joint formed between the articulation of the rounded head of the humerus (the upper arm bone) and the cup-like depression of the scapula, called the glenoid fossa. The glenoid fossa forms a very shallow socket, so the muscles, ligaments, and cartilage of the shoulder joint reinforce its structure and help to prevent dislocations. A ring of cartilage known as the labrum surrounds the glenoid fossa to extend the size of the socket while maintaining flexibility. To further reinforce the shoulder, the four muscles of the rotator cuff extend from the scapula and surround the head of the humerus to both rotate the arm and prevent dislocation.

The acromioclavicular joint is formed by an articulation between the lateral end of the clavicle and the acromion process of the scapula. It is a flat, gliding joint that gives the shoulder joint additional flexibility that would not be possible with just the glenohumeral joint.

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Masoom Parmar shares a few beginner exercises for shoulder strengthening. Read on…

To begin with, the following basic shoulder strengthening exercises should be performed approximately 3 times daily. As your shoulder strength improves, the exercises can be progressed by gradually increasing the repetitions, frequency or duration of the exercises provided they do not cause or increase pain.

Shoulder Blade Squeeze 

Begin this exercise standing or sitting with your back straight. Your chin should be tucked in slightly and your shoulders should be back slightly. Slowly squeeze your shoulder blades together as hard and far as possible provided it is pain free (figure 1). Hold for 5 seconds and repeat 10 times.

Figure 1

Shoulder Blade Shrug 

Begin this exercise standing with your back and neck straight. Your arm should be at your side, slightly away from your body with your palm facing forwards as demonstrated. Slowly elevate your shoulder blade towards your ear as far as possible provided it is pain free (figure 2). Hold for 5 seconds and repeat 10 times on each side.

Figure 2

Shoulder Blades Forwards Against Wall
Begin this exercise standing with your back and neck straight and your hands against the wall as shown (figure 3). Your shoulder blades should be squeezed together fully in this position, your elbows straight and you should be leaning into the wall slightly. Keeping your back straight, slowly bring your shoulder blades forward allowing your arms to lengthen. Hold for 5 seconds and then slowly return to the starting position. Repeat 10 times provided the exercise is pain free.

Static Rotator Cuff Contraction
Begin this exercise standing with your back and neck straight and your shoulders back slightly. Keeping your elbow at your side and bent to 90 degrees, push your hand out against the other hands resistance as hard as possible provided it is pain free (figure 4). Hold for 5 seconds and repeat 10 times on each arm.

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Few pictures from the sets of “DANCING STAR 2″

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A grand production by ‘Nritarutya’ for Karnataka Tourism, performed on September 6th 2015 at BIEC, Bengaluru

Inspired greatly by the architecture and sculptures in the temples of Karnataka and the carvings from Ajanta and Ellora, this Production included an aerial act showcasing different Indias, 3D mapping and LED projection giving the audience an even greater visual treat.

With a spectrum of 7 classical forms, 4 turbans of India, Bombeatta, Yakshagana, Dollu and Veeragase, the grandeur was heightened with the entry of a life sized mechanical Elephant walking through the aisles.

The amount and magnitude of challenges was overwhelming but as they say ‘the show must go on’ and indeed the show with over 100 dancers was a huge success.

The post MAKING OF ‘PATA 2015′ appeared first on Nritarutya.

Instructor of the Jayanagar Kids batch, Seher Noor Mehra shares her methodology of inducing creativity through vivid imagery and prompt reaction to different situations.

A certain sense of creativity is observed when they’re put through a situation.” Says Seher, “I ask them to imagine a jungle and be the branches of a tree while asking other kids to fill in the spaces that the branches may leave, in a dynamic sense I would ask them to move around the branch in a manner which they see fit” she adds. “It teaches them concepts like accommodation, material creation and understanding bodies.” She concludes.  She also begins to ask them to move around the space as if they are walking around a jungle, what would they do if they come across a stream? Or a scary animal?

A particular movement is then picked up from each child, which seher then connects to create one sequence finally culminating in a choreography of  their own.

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GURU MINAL PRABHU, BENGALURU’S ONE OF THE MOST LOVED BHARATANATYAM GURU!

1. A secret mantra for confidence?
To know yourself and the subject that you deal with. To love your profession. To be able to honestly accept your mistakes and move on.

2. best advice given to you?
To work hard and keep at it! There are no short cuts in life.

3. the day you fell in love with dancing
Recognising my talent my father started me off on dance and music classes from the age of four onwards. At age eight, I was sent to Kalakshetra and honestly I’m not sure if I loved dance or music however, the ten years stint in Kalakshetra honed my dancing skills and supported my music knowledge too. I discovered a genuine love for the art form when I started teaching followed by choreography . This led me to push boundaries as I discovered the limitless possibilities offered by the dance form.

4. favourite place in the entire world?
Where else but my dance class with my students!

5. Most embarrassing moment?
I’d rather not share it and embarrass myself further.

6. A movie/book you would recommend (dance related)?
The Gita- Govind is my all time favourite.

7. Worst pick up line used on you?
There have been no pick up lines! But I allowed my husband to ‘pick me” as his wife and vice-versa.

8. Funniest moment while taking a class?
Funniest moments in class? My students may be more equipped to answer it! I make light of stressful situations in class to make it easy for both the students and myself.

9. Common phrase that you use in your rehearsals?
I threaten to slap/ kick the butt of my most trying students . I have never done it but the threat works!

10. What is the weirdest compliment you have received?
Weirdest compliment? Compliments are always graciously accepted.

11. Favourite unhealthy food item?
Spicy food and chillie pakodas!

12. How do you see dance develop as a career option in india?
Opportunities to make dance a career has grown immensely in India over the last decade or so. During our time it was the passion for the dance that propelled us, opportunities were few. Today the dancers have so many festivals , corporate shows, they free lance and also have an opportunity to be part of a company ! It is a good time for dancers. What we need now especially are dance coordinators.

The post In conversation with… appeared first on Nritarutya.

The above videos show the use of plié and mandi in these two forms. The similarities show the influence of Ballet on Bharatanatyam and the differences show the changes made according to functionality and movements.

The post A comparative study: Ballet plié and Bharatanatyam mandi explained appeared first on Nritarutya.

IN CONVERSATION WITH BBOY NAS of Black Ice Crew, bangalore

1. A secret mantra for confidence?
Well i wasn’t always confident, before becoming a dancer i was a pretty shy kid and never expected to get on stage, but i think all it takes is overcoming the things you think you cant do. After i got on stage for the first time my confidence started to grow.

2. best advice given to you
I think the best advice i have heard would be not to follow the boring system we call “Life”, the get a normal job work hard have kids and grow old thing never was on my agenda, i think that everyone has a dream that they bury deep inside their minds because its not part of the regular system. and i think everyone should give their dreams a shot, even if its just once. you have nothing to lose, but if you dont try you will forever wonder if your life could have been different.

3. the day you fell in love with dancing?
well it didnt happen in 1 day for sure, but i think 2007 was when i found my love for dance, with the help of family friends and my high school sweetheart i am where i am today.

4. favourite place in the entire world?
I have alot of favourite places in the world, i think Slovakia is on the top of my list because of my experience there at a hip hop Camp and the beauty of the place. But on the reals i think Home would always be my favourite place (Bangalore)

5. Most embarrassing moment?
I have had many of these moments, i really cant think of one that stands out.

6. A movie/book you would recommend (dance related)?
well you could watch “Beat street” which is a dope old school movie, also Planet Bboy the documentary is very inspiring. or You got served is also a pretty cool movie that i used to watch.

7. Worst pick up line used on you?
hahaha i have used a lot of bad pick up lines just because i think its fun, but no i don’t recall anyone actually using a pickup line on me. But i would love to hear some soon.

8. Funniest moment while taking a class?
well the usual funny moments at class is when kids try a move and end up farting, and the look on their faces is priceless. but it happens to everyone at some point, even me. That would actually count as one of my embarrassing moments now that i think about it.

9. Common phrase that you use in your rehearsals?
i really cant think of one sorry :p

10. What is the weirdest compliment you have received?
i think i have heard this at least twice, i was told that i would have been really pretty if i was born a girl. and apparently that was a compliment so i didn’t mind haha

11. Favourite unhealthy food item?
Big Juicy Beef Burgers!!! Thats my weakness. im on a quest to find the best burgers in the world.

12. How do you see dance develop as a career option in india?
Dance as a Career in India is actually not bad, India had a huge dance/cultural background so there are definitely a lot of amazing opportunities. You just have to have the right uncles to have that influence haha. That makes it easier.

The post In Conversation appeared first on Nritarutya.

In the videos provided above we have shown the very basic form of the ‘spiral technique; used in contemporary dance and also ‘mandi adavu; used in Bharatanatyam.

We forget and fail to notice that in actuality that there are many similarities between Indian classical forms and Western contemporary forms. And so we bring to you a comparison between two techniques.

Both these techniques require the dancer to hold their centre or core to avoid crashing onto the floor and injuring the knee, we have to think ‘upward’ in order to feel lighter.

Another important aspect is to land on the shin and not the knee, again in the videos provided above it is clear that the dancer is not landing on the knee but the shin which makes it all the more easier to recover from the technique.

These are things that one must keep in mind to be able to carry out the technique correctly and smoothly.

The post THE SPIRAL AND MANDI ADAVU: compared appeared first on Nritarutya.

Lathas journey with Nritarutya started in the year 2011, and after that there was no looking back. She fell in love with the ‘Nritarutya style of dancing’ very Indian but still modern and connected with it on every level. But what transformed her into a more versatile and creative dancer was Nritarutyas very own unique artistic production ‘Prayog 4’ in 2013. For someone who came from a completely Indian classical background to be able to perform pieces like ‘Chakra’ and

‘Matsyaagana’ was challenging yet extremely satisfying for her and that is what Nritarutya is all about, it transforms you into a better version of yourself. Latha is now conducting Indian contemporary classes for beginners at the Jayanagar studio from 7-8pm every Tuesday and Thursday. During her journey with Nritarutya and its many productions she also got a valuable insight on how to deal with teaching different individuals, she understands how to teach a student depending on his or her learnability and applies this in her classes. She is also well versed with other western classical techniques trained within the company and imparts this knowledge to her students through her classes.

Lathas journey so far has been driven by passion, hard work and dedication towards the world of dance.

The post Introducing Latha Srinivasan: Nritarutya very own dancing mermaid! appeared first on Nritarutya.

Inspired greatly by the song Lallati Bhandar from the Marathi movie ‘Jogwa’, Choreographer VishwaKiran Nambi’s piece can be described as a tribute to surrendering oneself to anything that has a higher meaning and purpose. From the moment he heard the track his body explored newer realms of movement and dance which invoked a different feeling of being content and it changed the way he moved into something divine, inhibited, no geometry or lines, this piece became purely about the physicality of ones body and not the practicality of the mind. He began to realize that a dancer could come to a point in his or her life where the mind can be completely shut off, while the body moves to rhythms and vibrations of what it hears.

The track had a crude, authentic and folk feel to it, which is what appealed to Vishwa, he began to venture into a different territory of movement. He began to research more into the meaning of all this, how people moved in certain festivals where the entirety of their body and mind belongs to the The Man Above, losing their bodies in something that they believe in. How one dances in a Jatre or a procession which is directed to the energy that they believe in. This kind of movement was something he did not initially understand, but with this change, his thoughts also transformed, he began to understand the idea behind why people danced with such vigor, vibration and bounce. Another aspect that excited him, was the speed factor in the track; something he had not given notice to earlier, this resulted in the creation of multiple fast images. When he actually began to create the movement there were two things that were most important, the speed and the idea of surrendering and immersing oneself into a moment completely. Training and technicality were thrown out of the window, what mattered now was releasing energy and reaching a higher level of consciousness by losing consciousness.

The challenge now, was to teach this movement vocabulary to polished contemporary dancers, it was a task not only for him but for them as well. To be able to break out from years of technical training and go into a space that required everything but technique, was a grueling but emotionally uplifting journey. All the texture came from Vishwa, because it was new for him, every time he moved he thought ‘wow, what is this?’ as he listened to the music, his eyes automatically closed, his mind shut off, his core became like a magnet to the rest of his body and he could feel his chin sinking into his chest and every movement coming out from the very depth of his core, his soul ‘it felt so within, yet so loud and dynamic’. The choreography as such did not take time, it was the soul of the piece that needed time.

After performing the piece for the first time at the annual student showcase by Nritarutya, the dancers were so overwhelmed, some of them had tears in their eyes, they told vishwa that they had completely lost themselves in the moment and that they had connected to the piece, that was the highlight for him, for all he wanted was for them to feel what he felt; complete surrender.

The post Jogwa – A choreography by Vishwakiran Nambi appeared first on Nritarutya.

Nritarutya performing for the Inaugural Ceremony of the Make In India Week held in the NSCI Stadium in Worli, Mumbai was one of the most prestigious accolades achieved by the company yet. In the presence of dignitaries from many countries and the chief guest Honorable Prime Minister of India, Shri Narendra Modi, Nritarutya’s spectrum of the Indian Cultures was spread across the vastness of the entire country.

With dancers coming in from various parts of the country such as Manipur, Delhi, Mumbai, Pune and many more, the ceremony consisted of three sections, The Opening was quite the stellar sight which had the culmination of attires, costumes, dance styles and rituals from all across the country to give the beloved guests a feel of what really runs in the veins of this magnificent land.

A thematic section shed light on how India has progressed through the centuries and what we can expect to see in the future as India powers through fields of technology, research and information. With the introduction of body mapping as a beautiful window to unite dance and technology, there was so much more for the eye to grasp visually. A vision of what we might look in the future was portrayed elaborately conceptually and choreographically.

The Finale brought out all the grandeur and colossal display of everything that is the strength of one’s country, one’s patriotism and one’s belief especially more so after the ever-so-inspiring speech by Shri Narendra Modi.

With over 22 dance forms and 100+ dancers, another huge milestone was attained as the Inaugural ceremony of the Make In India week was a huge success and definitely one for the books.

The post Make In India – 2016 Inaugural Performance appeared first on Nritarutya.

A Dancer’s Diet

On waking up:

Lukewarm water with 2 drops of lime juice and a banana.
or
Apple
or
A cup of mixed nuts.

Consume 2 glasses of water.

Breakfast – Between 9 to 9.30 AM:

A bowl of mixed fruits or a whole fruit / fruit juice (without sugar), 2 slices of brown
Or
Whole wheat bread with peanut butter, 4 egg whites and 1 green tea / glass of milk;
Or

2 chapattis with a bowl of channa, 1 whole fruit / fruit juice (without sugar), 2 egg whites,
glass of milk / green tea;

OR

6 egg whites, bowl of green salad, 1 whole fruit / fruit juice (without sugar), 1 glass of milk /green tea

Mid-morning snack –

11.30AM:

1 whole fruit / 2 slices of wholewheat bread with peanut butter
Or
1 cup of mixed nuts
Or
almond bar
Or
2 idlis.

Lunch –
Between 12.30 to 1 PM

3 chappatis / 1 bowl of brown rice / 1 bowl of broken wheat with a bowl of channa gravy / boiled vegetable soup / a cup of yoghurt, half a fruit, 1 green tea, 1 small candy;

OR

Brown bread sandwich (4 slices) with lettuce, tomato, cucumber, pudina chutney, 1 whole fruit / fruit juice (without sugar), 1 small candy, green tea.

Evening snack -5PM:

1 bowl of fruit / whole fruit / fruit smoothie / 4 slices of brown bread with peanut butter and 1 cup of mixed nuts;

OR

2 idlis /a bowl of poha / 1 plain dosa /4 egg whites/3 pieces of boiled yam
/ sweet potato / 1 cup of boiled channa / green salad and green tea / lemon tea.

Dinner –
Between 7.30 to 8PM:

2 chappatis/ 1 bowl of brown rice / 1 bowl of broken wheat with a bowl of channa gravy / boiled vegetable soup / a cup of yoghurt, a bowl of salad, cup of green tea, a piece of dark chocolate;

OR

Brown bread sandwich (4 slices) with lettuce, tomato, cucumber and pudina chutney, small bowl of salad, green tea, small piece of dark chocolate.

The post A Dancer’s Diet appeared first on Nritarutya.

The 30-second video contest, an interesting concept put foreword by Nritarutya for the students of all Nritarutya dance batches, is now open!

We are calling on all the students of our classes to send in their 30 second dance video clips to us by the 15th of March, the kids batches will have a different winner and the adult batches will have a different winner, which will be announced at the end of March. The winner then gets free classes for the whole month of April and a special gift from their tutor!

Remember, your choreography need to be inspired by the techniques that you learn in class! This is an exciting opportunity so get those feet tapping. Looking foreword to watching some creative choreography.

This is your chance to show us what you’ve got!

The post 30 second Video Contest appeared first on Nritarutya.

In conversation with Guru Sri Kiran Subramanyam.

1. A secret mantra for confidence?
Work hard, believe in yourself & trust.

2. Best advice given to you?
My teacher used to say – Only 50% of what you practise will show up on stage. So make sure you give 200% when you practise.

3. The day you fell in love with dancing?
When I watched the film Sagara Sangamam.

4. Favourite place in the entire world?
UK

5. Most embarrassing moment?
When a colleague of mine farted next to me on stage making me forget my movements!

6. A movie/book you would recommend (dance related)?
Sagara Sangamam, Abhinaya Darpana

7. Worst pick up line used on you?
Can’t really think of anything!

8. Funniest moment while taking a class?
While teaching a number on Krishna, my student spontaneously & confidently takes a Ganesha pose! So much for being in the moment!

9. Common phrase that you use in your rehearsals?
Get into the character! Learn Dance! Don’t just learn a dance item.

10. What is the weirdest compliment you have received?
You just dance like me!

11. Favourite unhealthy food item?
Cheese pakora

12. How do you see dance develop as a career option in India?
Dance is a great career option provided you have the passion, perseverance and patience, patience, AND patience!

The post In Conversation With… appeared first on Nritarutya.

Vishwakiran Nambi does a comparative study between the yogic asana and headstand.

While both the techniques look similar visually, anatomically the weight and alignment is different.

The Sheershaasana provides a cushion for the head with the palms, the deltoids and bicep takes majority of the weight. The head hip and feet are in one line.

Headstand uses a tripod like alignment, with the elbows and wrists in one line making a 90 degree angle with the shoulders. If done incorrectly, weight may go directly to the skull, the correct technique is only to keep the head for support while the deltoids and elbows do the work.

https://youtu.be/pfhNJ8OHacM

The post Comparative Study: Sheershaasana v/s Headstand appeared first on Nritarutya.

As dancers these are some important basic exercises that can help prevent shoulder injury. Strengthening the rotator cuff is imperative for any active performer. These muscles around the shoulder are extremely important for stabilizing the shoulder joint, which can ultimately assist in preventing shoulder injuries.

The rotator cuff is comprised of four muscles:
1. Infraspinatus
2. Supraspinatus
3. Subscapularis
4. Teres minor

All of these muscles give stability to the shoulder and each has a specific, unique attachment to the upper humerus, or arm. Each muscle works in conjunction with the others to provide the harmony of motion essential for maintaining the muscular stability of the shoulders and preventing injuries such as rotator cuff tendonitis or rotator cuff tears. These muscles work in union with the labrum to keep the shoulder in the best positions kinematically when working out or dancing.

Here are the exercises highly recommended for a that will assist you in strengthening your rotator cuff and potentially preventing injury:

1. Internal and External Rotation Dumbbell Curls.

2. Abduction Shoulder Dumbbell curls.

3. Forward Flexion Shoulder Raises/Forward Raises.

4. Pendulum Exercises: Circle & Reverse Circles.

5. Pendulum Exercises: Crosses.

The goal of these preventive shoulder exercises is to assist you in avoiding shoulder injuries and to elevate the level of your stage performance and safety prowess. So remember to go at your own pace, so that all exercises can be executed with quality form. This is essential to the health of your shoulder.

The post Shoulder Muscle Injury Prevention appeared first on Nritarutya.

The finale of the Pro Kabaddi between Mumbai and Patna had an electric atmosphere, and Nritarutya delivered quite the electrifying performance with the fieriest bunch of dancers to hit the spectators to the very bone in the huge Indira Gandhi Indoor Stadium, Delhi. As a performance to reveal the magnificent trophy, the energy was overwhelming and a perfect setup for the players to fight for the crown.

The epic, Amrutha Manthan was retold as the two sides fought to no end, splitting the oceans apart to have the ultimate prize of immortality. With 24 dancers from different places in the country, the rivalry and the rage that comes along with it was crystal clear to portray the urge for the final trophy.

The choreography consisted of techniques from many contemporary, Indian and Martial art forms to capture the essence of Kings, Generals and Soldiers constantly battling it out. The audience were ecstatic and could have not asked for a better way to kick off the finale. The much awaited performance was watched by millions on Star Sports and thousands sitting on the edge of their seat, leaving them with a performance for the books.

You can check out the performance here!

The post Dance meets Pro Kabaddi! appeared first on Nritarutya.

Few not-so-known things about Bangalore’s favorite dancer, Nakula Somana

1. A secret mantra for confidence?
Deep and regular Breathing

2. best advice given to you
The words find out! 

3. The day you fell in love with dancing?
When i fell for its flight to different spaces. I was a child back then, don’t remember..
fell many times.

4. Favorite place in the entire world?
Countryside 

5. Most embarrassing moment?
when i say something and no one is with me on that. 

6. A movie/book you would recommend (dance related)?
Burroughs book on Choreography. There’s a ‘movie of this working class kid, English, who learns Ballet, but i can’t recall the name.

7. Worst pick up line used on you?
Are you going my way? Do I know you?

8. Funniest moment while taking a class?
People loosing their clothing!

9. Common phrase that you use in your rehearsals?
“Do that again please?”

10. What is the weirdest compliment you have received?
That I am good at what I do; I should take it up professionally! 

11. Favorite unhealthy food item?
Bondas

12. How do you see dance develop as a career option in India?
Maybe for the few who are successful, yes.. Lots of people struggle too.

The post In conversation with Nakula Somana appeared first on Nritarutya.