RP Answers

1. What was the biggest surprise to you about coming to NY?
The biggest surprise.
Hmmmm.
That's a hard one because i had so few expectations.
When I met my BF online (a blog reader) everything happened so fast. I barely had time to think about New York before i arrived at its gate. In a way, i think we both needed it that way so we couldn't talk ourselves out of our starry eyed, lovestruck inspiration - being so prone to overthinking and worry that we are.. Once bitten twice shy? Then probably we more closely resembled gnarled squeaky chew toys than people: protecting what was left in our bottled up, cloistered, wounded keeps.

Maybe i'm surprised by how much i love it. How much NY has to offer. How many exciting places and people and terribly interesting things to do there are. But i haven't done them yet so i don't really feel qualified to speak of that yet.

Most importantly, i'm surprised by how deep a connection i've made with this once distant entity (D) known only to me through words.

Its kinda amazing really ~from blog to lover in 60 days.


What do you miss most about Hawaii?
Although you might expect to hear that i miss the year round summer weather, tropical beaches, or the laidback island mentality, i think actually what i really miss the most is simply the comfort of familiarity: knowing where things are, where i am, what's around me, what the people are like, what i'm doing, the routine of work and coworkers and and how to get around.

I don't know why.

It seems terribly lame when i reflect upon it.

Maybe its a sign of something bad. Maybe its the first step on a slippery slope towards getting old and resistant to change - stuck in my ways and unable to adapt.

Actually, now that i think about it, i felt the same way when i first moved from the Westcoast to Hawaii. I experienced a lasting culture-shock of sorts that didn't fully subside for years. The language, the envirornment, the lifestyle, the mentality - everything was different from the Pacific No rth wes t. And prior to that - i also recall having felt uncomfortable at college my first 2 years. A strange town, new streets. "Where's the grocery store? How do i get to the this street?"

Maybe i'm slow. Maybe i'm stubborn. Maybe i'm just afraid.

What's strange though, and totally ironic - is the perception of the people who "know" me. I'm applauded for boldness and admired for bravery. "I could never do what you do," they say when they speak of various choices i've made.

Isn't that crazy?!
Its so totally untrue. And i'm not being humble. Its simply not true. I'm a class-1 grade-A weanie! But i do try to ease my fear of fear, and self-validate by remembering
"Courage is not the absence of fear, it is pushing on despite it."

That said, i wouldn't mind hearing a little local pigeon da kine here and there brah, or perhaps see a spam musubi or Rubbah slippahs in a 7-11 once in a while, or an adobo chicken platelunch at McDonalds, or maybe even indulge in a tasty Leonards Bakery malasada. ::sigh:: ...You know, its the little things, i guess.


2. You are a dancer in a particular field I am only a tiny bit aware of and that’s only because of you. Can you explain the field and what you derive from it?
Hey thanks for asking. I'd love to!

There are 7 styles of cl assical da nce in I ndia; Odis si, which originates from the eastern state of Or is sa, is perhaps the most ancient of the traditions with archeological evidence suggesting a 2,000 year old lineage. And happens to be my favorite. =)

It was a deeply spiritual art influenced by Bud dhis m, Tan trism, Sai vism, and Va isn avis m and performed by temple da nce rs or M ah ari's who danced as a ritual or offering to God, or Jag ana th*. (The orgin of the word" jug ge rnaut" actually.) It was a dance of love that regailed the relationship between human and god, man and woman, the earthly and divine. (R adh a and K rishn a in the sacred G i ta Go vi nda)

The M aha ris, or De vad asis, not only danced, but were also trained in 64 arts, were learned, property holding and passed down their traditions and holdings in a matril ineal tradition - highly unusual in Ind ia at the time. However once revered, Ma haris, became tormented by an influx of vic torian ethos upon the arrival of foreign col onists: and their ka m a s utra inspired arts were all but extinguished until the recontruction period of the 1950's when 4 gurus virtually recreated this nearly extinct artform through painstaking efforts and research; studying ancient and examining ancient text, pa lm-l eaf manuspcripts, caves, and temple sculptures.

My teacher's guru was one of these four -(all now deceased.) He was the son of the last Mah a i's which is a very special tradition to inherit and an honor for me to now get to learn.

Anyway, that was some history. To describe the actual dance is hard. There is very fast complex, rythmic footwork that reminded me a bit of tap dancing the first time i saw it. While the torso moves gently and softly from side to side and the hands make intricate hand gestures

(Top gesture is called "brh ama ra" used to indicate bees for example and the bottom gesture is "ma yara" which sometimes is used to make peacocks)

which are like a sign language. They're all based on a 12th century treatise called The Abi nha ya Darpa na and are used to tell the stories of the G it a Gov inda in Odi ss i abi naya acting pieces. (Which embellish upon the N aty a Sh st a, the original bible of Ind ian Dnce.)

Many of the songs will start slow and sensuously and increase in tempo until a dramatic vigorous end. The movement will often stop and be punctuated by a single position that is held in a sculpture-like position which i love. I think the stillness gives you a pause to reflect on the beauty of the shape and then makes the energy of the crescendoing rythym all the more dramatic.

It incorporates and codifies the complicated movements of the entire body and face: chin/eyebrow/eyes/feet/toes/hips/waist/knees/hands - there are hundreds of intricate positions all detailed and named. Learning it all is challenging for my faulty memory. I have alot to brush up on. Alot i neglected. But i like the challenge. The history. The complexity.

The passion.

The energy.

I like the way it feels. The goal of ascention....

"even a modern Odi s si dancer still reaffirms the faith of the dev ada sis or mah ari s where they sought liberation or mo k sh a through the medium of dance."

Maybe its the yogi c, tan tric principles falling into my bones, maybe its the creative expression, maybe its the merging of art forms: visual, music, sculpture and movement. I'm not sure. (My teacher said her guru used to paint with his dance choreography. )

Mostly i like connecting with an audience and most ideally (if they enjoy it) gifting them with an experience or ride. My goal would be to work on this connection and embellish it until i could be an excellent story teller through dance.

On sociopolitical level, i wouldn't mind challenging our conception as to what a "dancers body" looks like. I'd like to demonstrate and model that not only bones are beautiful, but that grace and beauty comes in all sizes. I'd like to give pause and provide an opportunity for normal women (greater than 100 pounds) to see themselves through someone else in a way that's complimentary and lovely.



*jug· ger· naut Pronunciation Key n.()

1. Something, such as a belief or institution, that elicits blind and destructive devotion or to which people are ruthlessly sacrificed.
2. An overwhelming, advancing force that crushes or seems to crush everything in its path: “It doesn't assume that people need necessarily remain passive when confronted by what appears to be the jug gernaut of history” (Ch risto pher Lehm ann-Ha upt).
3. Ju gg erna ut Used as a title for the Hi ndu dei ty Kr is hna.

*jaga nath

Jug rn au t \Jug"ger* na ut`\, n. [Skr. jaga nn[=a]tha lor d of the world.] One of the names under which Vis hn u, in his incarnation as Kris hna, is worshiped by the Hin doos. [Written also Jug ge rn nat h, Jag an ath, J aga nat ha, etc.]

Note: The principal seat of the worship of Jug ger naut is at P[^u]ri in Or iss a. At certain times the idol is drawn from the temple by the multitude, on a high car with sixteen wheels. Formerly, fanatics sometimes threw themselves under the wheels to be crushed as a sacrifice to the god.

Anyway, sorry that was such a long answer. But its so hard to leave things out!

3. Have your politics changed since Sept. 11? If so, how?
Not really actually. If anything they've been more reinforced. My concerns validated.

4. Has the internet brought people closer together or made it easier to maintain isolation?
That's interesting. How would you answer this, i wonder?
I'm sure it varies, but i can't help but think we've been increasingly isolated since..... i dunno... since we became Americans? Independance, individuality, competition: you know -all that highly venerated stuff.... Subtlely but surely there seems to be forces that exert pressure that pull us apart, both from each other and ourselves. If some contradictory longing arises, we flagellate ourselves for being "weak," if we live in mutually dependant communities, or don't want to win at the expense of others, we're less advanced or sophisticated. It means we can't afford a re-enforced gate and alarm system. Somehow, i think we were destined for widescale alienation long before the net was ever a glint in Apple's eyes. If anything, its unprecedented universal appeal reflects and fills a dire pre-existing need.
(i think)

5. Why do you blog? What do you get out of it?
Erm. See number 4? hehehe.... I long for community. Connection. Meaningful relationships beyond myself. This blog is an outstanding methodology towards achieving that. (Or at least, a great tool.) Its fun. Its interesting. It will be neat to look back over the years and see where i've been. It puts a face on my anonymous existance.

6. What bad habit do you have that you wish you didn't?
Seeing myself as "Victim." Filtering things through a persecuted lens and reacting in a way that comes from a position of powerlesness rather than strength and self-assurance. Woe is me, woe is me gets so old after a while.. Know what i mean?...

That and wearing dirty clothes.
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Well, there you have it...RP's interview... Thanks so much RP!!! That was good fun.
(Even if i did write completely unreasonably long responses.) =)

"Whither the hand goes, the glance follows,

Whither the glances lead, the mind follows,

Whither the mind goes, there the mood follows

Whither the mood goes, there is Ra sa born."

......... A bhin aya Darp ana