2.2 | Interaction with (senior) performing students| Key Findings

No comparison with newer popular form: Dancers and senior students say that it's not possible to compare classical dance forms with Bollywood dance, salsa, tango and other newer and equally popular forms.

Base for other dance forms: For a classical dancer to attempt western form of dance is easier than it is for a primarily western style dancer to perform classical. Classical dance is like a base to all other dance forms.

Lack of awareness: Lack of awareness in the society is surprising, as dance is our cultural identity which is showcased and appreciated on the global platform.

Value based learning: Classical dance training involves not just physical dance but emotional and mental growth resulting in overall personality development.

Sensitizing audience: Majority of the audience is ignorant about the classical dance forms resulting in the lack of popularity and demand for classical performances.

Distortion of art forms: In the modern day scenario where fusion is the current buzzword, experimentation is often replaced by distortion.

Lack of opportunities: The lack of enough exposure in the field of dance and also lack of exposure as a young debutant are often the reasons why classical dances are the least preferred.

Classical dance in backlight: In the dance reality shows classical dance forms always remain in the backlight. Personally they feel they would love to see Indian classical contestant win, after all it is an Indian show and should showcase best in Indian dance.

Multi-fold benefits: The classical dance learning comes with multi-fold benefits but the parents should be made aware of them so that they would encourage their child.

Generation Gap: There is this generation gap between the senior artists and the new young generation of artists willing to experiment which makes it difficult to define the differentiating line between traditional and contemporary.

Continuity rather than enrolment: The problem with dance institutes is continuity rather than enrolment because each year the institutes are full of new bright faces which are lost in next few years that follow.

2.2 | Conclusions:

• Need for opportunities for the budding artists to showcase their talent
• Need for platforms where the dance communities could be connected to interact and critically analyse the existing classical dance scenario
• Taking measures to stop the distortion of classical dance forms and making the audience aware of what classical dance forms are all about
• Encouraging the new learners to continue learning
• Need a bridge to draw common guidelines between the traditional gurus and contemporary performers
• Living with the age and making significant changes wherever needed