Haimanti Banerjee speaks to Neena Gulati, who hails from Delhi and is the founder-director of the Triveni School of Dance in Boston area for many decades, on how she has been sustaining her decades-long guru-shishya parampara.
When did you come to the US?
In 1963 on a scholarship as an exchange student from Lady Irwin College, New Delhi, to Briarcliff College in New York
What motivated you to take teaching Indian classical dance as a profession? Why did you choose dance over music as your hobby and profession?
I had been learning Indian Classical dance since childhood. I learnt music also but realized that dance was my real passion. I was trained to be a performer, but when I came to Boston in 1968, I performed at MIT, where I was approached by an American family whose daughter, Andrea wanted to learn Indian classical dance. I told her that as soon as I get my studio, I would let her know. In 1971, my husband and I bought a house in Brookline where I was able to start teaching not just Andrea but there other little girls. I realized that teaching would be very rewarding because I will be able to share my talent and knowledge with my students and also keep up the ancient tradition of guru-shishya parampara.
Tell us about your education on Indian classical dance back home?
My formal training in classical dance started at a tender age of four and half years, but my mother told me that since the age of three I used to sleep with my ghungroo under my pillow. I started with kathak in New Delhi, but soon we moved to Mumbai. There I learnt Manipuri dance for six months, and then switched to Bharatnatyam at the age of six when I found Krishna Kutir teaching at my elementary school. I really loved dance and two years later when we moved back to New Delhi I started training with Guru N.V Venkatraman at Triveni Kala Sangam. I performed my Arangetram (graduation recital) in 1961. After that I was a part of many cultural shows all over north India. In 1972, I met Guru Srinath Rautji and started learning Odissi. I found it spiritually uplifting and devoted lot of time to really grasp the intricacies of this exquisite art form. Unfortunately, my Guruji died in a car accident and my Odissi came to a halt. I had met Sri Raja Reddy at a performance in Boston and heard that he lives very close to my parents’ house in New Delhi. For the next three years. I did intensive training in Kuchipudi. I am fortunate to have had so many wonderful teachers and I am glad that I have been able to share my knowledge of these three styles of dance with my students at Triveni.
You teach three unique forms of dance, Bharat Nat yam, Kuchipudi and Odissi, among these three Odissi is very much different than the other two. What inspired you to teach Odissi as well?
Actually, Odissi looks different but all three dance styles I teach require excellent sense of rhythm & coordination and bhakti rasa which needs to be projected through appropriate facial expression. Odissi is most complex because of the subtle torso movement which has to be executed with tremendous control and grace.
How many students you think in your teaching school at Triveni have gone — through your school over these 40 years?
By now, I must have taught at least 5, 000 students and almost 500 have performed their arangetram.
Are you satisfied about the level of awareness about Indian classical dance among the Americans?
Awareness is definitely increasing as more Indian organisations sponsor shows and more teachers start offering classes not just to Indians but also non-Indians. Three of my top dancers are American and whenever they perform at Triveni functions, Americans realize you don’t have to be Indian to learn these dances. I also encourage all my students to perform at their schools so they can be proud of their heritage and also give American children an opportunity to see Indian culture through its dance & music.
Do you think Indian children are becoming more interested in learning Indian Classical dance in recent times or it is the other way around?
Interest is definitely increasing & in our last annual show, Triveni presented 245 students. Since then we have added 20 more and I am not the only one teaching in the New England area. There are 30 other teachers teaching different styles of Indian dance.
Children who learn Indian classical dance get any credit in college admission?
Definitely that is why each year my students ask me to write recommendation letters for them to include w/ their college applications.
What type of recognition Triveni School of Dance received over the years from the government of Massachusetts? How about you personally?
For the past 25 years, I have been on the Mass. Cultural council roster of artists recommended for programs in schools. I have received grants twice from the MCC. I have been nominated by India New England News twice for Woman of the year. But what is most rewarding for me is the wonderful thank you letters that my students write after their graduation recitals.
Do you think by learning Indian classical dance, children may also develop some interest to learn more about India’s rich culture and history? What other benefits people can get by practicing Indian classical dances?
Absolutely, it is a great way for children to learn about their culture. In fact many Americans who have adopted Indian children are eager for them to learn Indian dance so they can keep up w/ their roots.
Did you face any opposition or struggle so as to start the Triveni School of Dance in the US? If yes, please describe.
No, I have been very fortunate. Never received any opposition.
It was not an easy task to start an institution like this outside of India, what are the challenges you faced and how did you succeed?
I was fortunate to have my own studio and equally fortunate that many of my senior dancers are still nearby and are able to help with the teaching.
What is your definition of success and failure?
I think you can tell if you have been successful if students continue to come w/ enthusiasm to learn from you and then stay with you for years. I have students who have been with me now for over 30 yrs. When two of these students had daughters they called me from their hospital to inform me “Neena aunty your next student has arrived”
What is/was your most exciting moment in the course of 40 years of teaching?
I have had many exciting moments in my career. First, when I was invited to perform at the U.N. General Assembly hall 2. When I started my school three, when we presented Triveni’s 35th Annual recital at MIT & a lady in the audience said , “I have been coming each year and it gets better & better”
What is your message for the New Global Indian (NGI) children and the parents?
I will request all NGI parents to please encourage your children to stay in touch with their heritage through dance and music. To help them develop love for this beautiful art form so it will thrive for many more centuries.
