List in progress. It is tempting to want to curate this very carefully, but as the internet increasingly proves itself ephemeral, I am also beginning to wonder what it means to have all my writing catalogued in one place. Because writing is a history of my body, and the places it has inhabited. Here is writing done in bathrooms, behind water tanks, on trains, buses and flights, at desks with and without views, in waiting rooms of various kinds, on purloined internet, writing I am proud of, writing that makes me roll my eyes at how formulaic it can be, triggering alarm bells when I discover how I use words to say nothing at all, because a deadline must be met and the rent must be paid. But words, when used to say something, or conversely, nothing, still fill time and space, and I am still here.

recent work

Sentient Beings (2020)
Five Million Incidents blog
Recalibrating the ‘human’ in isolation

There’s Still Time (2019)
Indent: The Body and the Performative | Vol. 2 | Present Continuous
An introduction to the second volume of the peer-reviewed performance journal, Indent

Body | Space | Time (2019)
Harper Collins Publishers India

A curatorial essay on four new works of performance at Serendipity Arts Festival 2018

Interview with Astad Deboo (2018)
An interview with choreographer Astad Deboo, on the brink of 50 years in dance

Where does the body begin and end? (2018)
Indent: The Body and the Performative | Vol. 1 | Strategies of Resistance
An introduction to the first volume of the peer-reviewed performance journal, Indent

Classical dance in the here and now (2018)
What learnings from the section 377 judgement can we take to classical dance?

The ‘real’ thing (2018)
Does the act of watching or seeing always function in relation to the ‘live’?

Motion Control (2018)
We relate to each other through the digital interface, and yet there can be discomfort and anxiety around how technology intersects with dance.

Love and Swan Lake (2018)
Swan Lake attracts choreographers who want to re-evaluate what the tale signifies, as well as the question of who gets to fall in love on stage

‘Ability’ and the spectrum of performative possibilities (2018)
Dismantling notions of the ‘perfect’ dancing body

Person or performer? The value of process (2018)
Does ‘performance’ exist in a detached capsule of time that is a respite from daily life, or do we see it in the context of how dance relates to society?

Dance as an accumulation of past, present and future (2018)
Dance forms that now seem consolidated and ‘permanent’ are themselves works in progress, snowballing into accumulations of their past, present and future selves.

As our understanding of dance expands, the boundaries of the discipline call for reconfiguration (2018)
On interdisciplinarity and the porous boundaries between various idioms of performance

Significant Issues for Contemporary Dancers in India (2017)
Marg: A Magazine of the Arts, Volume 68 Number 4
What does it mean to be a contemporary dancer in India?

A search for tawaifs in Old Delhi reveals a present that’s not always comfortable with the past (2017)
Looking for traces of courtesans on a walking tour of Old Delhi

How the Not in My Name protests inspired us to create nightlong performances of resistance (2017)
The Long Nights of Resistance series mobilises dance, music and poetry to reclaim the citizen body

Friends with Benefits (2017)
Pondering classical love in the digital interface

Liminal Spaces: Odissi as a Continually Evolving Form (2016)
In ed. Anita Cherian, Tilt Pause Shift: Dance Ecologies in India, Tulika Books, New Delhi.
Interrogating the changing meanings of Odissi

25 Years of Nrityagram (2015)
A tribute to the Odissi institution in its silver jubilee year