Awarded a 3-year mini grant by New York Presbyterian![]() I am so excited to announce that as part of The Memory Tree, I have been awarded a a 3-year mini grant from New York Presbyterian. This work titled "Activating the Mind-Body Connection with Eastern Dance & Art" and will engage seniors experiencing early-stage Alzheimer’s disease who live at two Naturally Occurring Retirement Communities (NORCs): Morningside Gardens in Harlem and River Terrace in Washington Heights. These funds will provide 8 bi-weekly sessions at each NORC focused on learning and performing Bharatanatyam, creating hand sculptures, and holding culminating event/celebration with performance and art exhibit.
0 Comments
Learning different rhythmic patterns (this time, in 5 counts, or Khanda Jati)With learners at YM & YWHA of Washington Heights and Inwood, we have worked on many kinds of rhythmic patterns, exemplifying the modular nature of Bharatanatyam, and the possibility of a challenge alongside beauty and expression with simple elements. We have gone over a 7-beat rhythmic pattern (Mishram jaati) in the past. Now, we are learning a 5-beat rhythmic pattern (Khanda jaati). Bharatanatyam also provides the possibility of doing the steps in various formations, giving rise to beautiful imagery. The one below reminded us of a flower unfurling. Ask the Elders: Views about the Arts-in-HealthTwo recent articles regarding arts-in-health: the Jameel Arts and Health Lab report on the health benefits of the arts [1], and Clift et al. suggesting caution while interpreting these results [2] - gave me food for thought. When two eminent groups of researchers report on what seems to be the same topic and reach strongly differing conclusions, it raises the possibility that the question has not been framed well. For insights into how these differing perspectives might be harmonized, I suggest we expand our understanding of the interaction of arts and health to include learnings not only from the scientific and clinical sides of the question but also from practitioners of the arts. Though they do not come from laboratory, research, or clinical settings, we have thousands of years of insights into how the arts interact with personal health. I suggest that the learnings of the past, as embodied in the traditions and practices of experienced teachers of the present, could be a very fruitful source of insights that would help us reconcile and unite seemingly opposing points of view and move the field of arts-in-health forward. My comment is from the perspective of a neuroscientist and practitioner of a traditional Indian dance form called Bharatanatyam - a 2,000-year-old art form. I have been a practitioner of Bharatanatyam for more than 30 years having started my journey in my hometown of Ahmedabad, India. In New York City now, I continue my training from my gurus in dance, Carnatic music, and language, and use Bharatanatyam for creative aging [3-5]. My field of expertise in neuroscience is synaptic plasticity in temporal lobe epilepsy [6]; and I share my love of science at The American Museum of Natural History by teaching educators neuroscience, evolution, genetics, and marine biology. Current practitioners and teachers in the arts might constitute a potentially abundant and untapped resource on how the field of arts-in-health might be developed. For example, while my gurus do not have certifications in dance, or accreditation in medical care or the sciences, they have many decades of experience with, and insight into, the practice of the arts, and how that practice impacts personal health and well-being. Their expertise is guided by and adds to the wealth of information that came before them. The Clift et al. article 2 includes a review of a randomized controlled trial investigating the benefit of dance-movement therapy in adolescent girls [7]. This paper correctly reports several methodological flaws, including the lack of a clear rationale, issues with randomization, and the control condition [7]. Not included are any details or inquiries if any elder practitioners in the field of dance were consulted before designing, conducting, or evaluating the studies. The paper also mentions future steps in the field such as ensuring replication of data, and an interdisciplinary team to conduct systematic reviews and meta-analyses. I suggest that we add to this list, a summary of how input from elder practitioners was gathered. Where do we find these elders though? They have no interest in publishing in peer-reviewed journals or speaking at international venues. Instead, they are actively and quietly studying and teaching for decades, very often, as a generational vocation; they are continuing the work of their ancestors and adding to their legacy. This poses an exciting challenge for the scientific and research communities – how can we use our scientific knowledge to listen to and learn from our elders and teachers in respectful ways, that amplify their work, and not supplant or diminish it? How do we communicate our findings back to them in ways that can enrich what they do? For scientists, this approach is not new. To contribute to a field, we read books and articles on the topic, consult those who have worked and published before us, and actively add to the body of knowledge. An analogous approach, where researchers learn from those who came before them would be a good place to start to understand and describe the benefit of the arts-in-health. Literature cited:
Performance and community dance at Independence Plaza Older Adult Center in TribecaI had the pleasure of working with participants at the Independence Plaza Older Adult Center in Tribeca in NYC. After a short demo, I talked about the benefits of dance in brain health, and then led the group through collective movement (some pictures below): A participant said "I had a wonderful time seeing you dance. I think you noticed that I was smiling all the time. Thank you for making our afternoon happy. You are great. I was smiling because I was enjoying your dancing so much. I loved every movement. Thank you again. I am lucky to have met you. I could use some of those wonderful movement to help my body move better. I am 86 years old! Thank you again." Image credit for pictures above: Joseph Mayock
Bharatanaytam and sculptures at the YM & YWHA of Washington Heights and Inwood![]() On May 4, 2025, I will invite Aravind Mallapudi of Hrudayam Arts and we will share about sculptures and their role in Bharatanatyam. We will discuss South Indian temple architecture, the role of temples in life (historically and currently), objects found in the temples and their significance. We will then explore the sculptures of three deities - Ganesha, Shiva, and Parvati - and bring alive their sculptures through dance. PC: Aravind Mallapudi (images below) PC: Tom Frambach (images below) PC: Padma Narayanaswamy (images below)
Moving Poetry at Kips Bay NYPL (6)For the sixth and last session of "Moving Poetry: Indian Dance and Poetry" at the Kips Bay New York Public Library, we explored the theme of song and its place in dance and mankind through the poem "My Song" by Rabindranath Tagore. My Song Rabindranath Tagore This song of mine will wind its music around you, my child, like the fond arms of love. This song of mine will touch your forehead like a kiss of blessing. When you are alone it will sit by your side and whisper in your ear, when you are in the crowd it will fence you about with aloofness. My song will be like a pair of wings to your dreams, it will transport your heart to the verge of the unknown. It will be like the faithful star overhead when dark night is over your road. My song will sit in the pupils of your eyes, and will carry your sight into the heart of things. And when my voice is silent in death, my song will speak in your living heart.. ![]() Group poem This song of mine will.. Enchant Be sung for three generations Be an eternal melody Be forever on your tastebuds Be on your wrist and be fragrant the room Be soft Moving Poetry at Kips Bay NYPL (5) For the fifth session of "Moving Poetry: Indian Dance and Poetry" at the Kips Bay New York Public Library, we explored the theme of emotions and its depiction in dance, through the poem "Unending Love" by Rabindranath Tagore.
Unending Love Rabindranath Tagore I seem to have loved you in numberless forms, numberless times… In life after life, in age after age, forever. My spellbound heart has made and remade the necklace of songs, That you take as a gift, wear round your neck in your many forms, In life after life, in age after age, forever. Whenever I hear old chronicles of love, its age-old pain, Its ancient tale of being apart or together. As I stare on and on into the past, in the end you emerge, Clad in the light of a pole-star piercing the darkness of time: You become an image of what is remembered forever. You and I have floated here on the stream that brings from the fount. At the heart of time, love of one for another. We have played alongside millions of lovers, shared in the same Shy sweetness of meeting, the same distressful tears of farewell- Old love but in shapes that renew and renew forever. Today it is heaped at your feet, it has found its end in you The love of all man’s days both past and forever: Universal joy, universal sorrow, universal life. The memories of all loves merging with this one love of ours – And the songs of every poet past and forever. Moving Poetry at Kips Bay NYPL (4) For the fourth session of "Moving Poetry: Indian Dance and Poetry" at the Kips Bay New York Public Library, we explored the theme of nature and its depiction in dance, through the poem "Over the green and yellow rice fields" by Rabindranath Tagore. Over the Green and Yellow Rice Fields Rabindranath Tagore Over the green and yellow rice-fields sweep the shadows of the autumn clouds followed by the swift- chasing sun. The bees forget to sip their honey; drunken with light they foolishly hover and hum. The ducks in the islands of the river clamour in joy for mere nothing. Let none go back home, brothers, this morning, let none go to work. Let us take the blue sky by storm and plunder space as we run. Laughter floats in the air like foam on the flood. Brothers, let us squander our morning in futile songs. ![]() Flying High Together (Group poem) Brothers and sisters, we shall... Eat the rice for dinner, Sing with joy, Dance in the rice fields with the stalks, Catch the fish, prawns, and crabs, Go to work and go back home, Fly high with bees and ducks, Meditate. Moving Poetry at Kips Bay NYPL (3)For the third session of "Moving Poetry: Indian Dance and Poetry" at the Kips Bay New York Public Library, we explored the theme of rhythm through the poem "The Same Stream of Life" by Rabindranath Tagore. The Same Stream of Life Rabindranath Tagore The same stream of life that runsthrough my veins night and day runs through the world and dances in rhythmic measures. It is the same life that shoots in joy through the dust of the earth in numberless blades of grass and breaks into tumultuous waves of leaves and flowers. It is the same life that is rocked in the ocean-cradle of birth and of death, in ebb and in flow. I feel my limbs are made glorious by the touch of this world of life. And my pride is from the life-throb of ages dancing in my blood this moment. ![]() Rhythms of Life (Group poem) Sirens, traffic, traffic lights, taxis honking Day and night, the subway Pedestrians walking, bicycles The rhythm of nature, leaves, flowers, birds Construction, doors opening and closing, beeping Cellphones, conversations, and music. Bharatanatyam gives learners an opportunity to build on complexityOne of the reasons Bharatanatyam is so suited for older adults is that it gives a way to build on complexity of movement in a modular way. Simpler movements can be combined together to create something longer, giving participants a sense of accomplishment. The video below comprises a pattern that we learned in this sequence: we first learned the rhythm (3 steps + 1 gap), the sollu (the way the rhythm is articulated and spoken), feet movements, hand movements, and then hands in four different directions. At any time, participants can choose to pick all, some, or none of the modalities, as watching is also considered a part of dance in Bharatanatyam. We also did these movements in different speeds, adding an additional layer of complexity. Dancers: Sloka, Marshall Douglas, Deanna vanSecondorf, CS Rani
Video credit: Michael Setter Venue: YM&YWHA of Washington Heights and Inwood. |
AuthorMy name is Sloka. I am a neuroscientist and dancer; you can find more about me here. Archives
May 2025
|