PROFILE

Bharatanatyam dancer from Pune , India , he began learning Bharatanatyam at the age of 4 1/2 under Guru Rema Shrikant http://www.ecpa.org.in/ in the kalakshetra style. He learnt for 15 years under her.

During his brief stay in Lucknow , Parimal also learnt from Guru Vasanti Subramanium at the Bhakhande School of Music and Dance which is now Bhatkhande University.

He completed his Masters in Bharatanatyam under Guru Dr.Sucheta Chapekar (www.kalavardhini.org of Tanjavur style ).

His dissertation in the final year was“ Angika(Body Language) in Bharatanatyam from Bharata's times till know”. The study of Angika(Body Language) is his area of interest. This study has led him to Guru Jayashree Rajagopalan (disciple of Dr. Padma Subrhamanyam) http://www.jayashreerajagopalan.com where he is also undergoing training in Bharata Nrityam since 2000.

He is taking guidance in structure( Musical and Choreography) of Abhinaya Padams in Bharatanatyam from Guru Smita Mahajan ( senior disciple of Guru Sucheta Chapekar)

THE PERFORMER

Recepient of National Scholarship for Dance , the national title –Singarmani , Pt.Vishnu Digambat Paluskar Puraskar, Junior Research Fellowship from the UGC. He has performed in several festivals in India and Abroad.

THE CHOREOGRAPHER

Parimal believes that “Content inspires the form”. It is this belief that has inspired Parimal to choreograph several productions – “Nayaka” , “Svarnim” , “Shakti” and “Kavyanjali”

THE RESEARCHER

Parimal’s research is based on the concept of “Nayaka” or male protagonist . He has added several compositions to
Research on the concept of a “Hero” or Nayaka. He has created new compositions to enhance the scope of a male dancer in the Bharatanatyam repertoire under the able guidance of Guru Smita Mahajan.

THE WRITER

Parimal is an avid writer on dance . He has contributed articles to several e-zines and regional magazines . He has also contributed to the Encyclopedia on Hinduism project of Univ. of South Carolina .

THE PHILOSOPHER

"I feel I am trying to trace the past, blend in the present, and see the future. Thus, my experience in performing and choreographing for dance deals with the following three main aspects.
1) Indian dance as was present during Bharata, the most ancient scholar on dance, drama and music.
2) Indian dance as is present today , the principles behind the repertoire of Bharatanatyam.
3) Dance as it would evolve for tomorrow."