India, Oct. 25 -- 1Is the book written with the primary intention to educate or are you also trying to address how Bharata Natyam is perceived in the popular imagination, especially in the current times? I neither wish to educate nor change existing points of view. "Live and let live" is my preferred philosophy. Some enjoy living in ignorance if it conforms to a larger, bullish point of view. It is a safe haven. 2We often hear about the hegemonic presence of the Natyashastra in the performing arts. There are those who are critical of this position and some who embrace it openly. Where do you stand in this debate vis-a-vis its relevance for Bharata Natyam dancers? Both these points of view are relevant. However, the truth lies somewhere in-between. Any shastra is important. They hold in themselves an obsession with details far beyond what the practitioner requires perhaps. A practitioner arrives upon the truth of the form through the five senses, through daily practice and changing social norms and circumstances. The greatest practitioners of the previous century of any form lived the life of a practitioner of the form with little or no reference to the Natyashastra. They respectfully listened to references to it but did not let it move their attention away from learnt practice and the spirit of the dance art itself. There were also regional texts such as the Abhinaya Darpana and the Abhinaya Chandrika that were more practical for ready reference and addressed a particular style. These were not generic texts that covered all music, dance, props, stage, and theatre practice, like the Natyashastra does. 3You mention Gangaimuthu Nattuvanar and your guru, Rukmini Devi Arundale. It is said that Rukmini Devi sanitised the dance form to make it more acceptable. How do you respond to such a claim? You can arrive at your own conclusions. When you as a writer, repeat words like "sanitised" in a question, you support and propagate the claim of those who use such a word loosely and insult a sacred memory. It is a ridiculous proposition. But very popular with those who never knew Rukmini Devi. Thank God they didn't. They will never know what they missed. 4You end by saying that Bharata Natyam has stood the test of time because it is inclusive. The caste of the performer may not be relevant. This is in contrast with the experiences of many who have faced caste-based discrimination in the classical performing arts. How would you address these concerns? Which age are we talking about? A century ago? If you are talking about that time or before, then what about the prejudice expressed against the upper caste or any other caste from learning these arts? There is no prejudice that you cannot overcome. I am an example of it....